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"A New 'Baby Grand' For 'Piano Man'?"
Billy Joel's Young Galpal Wants To Be A Mom...Whether She's Married Or Not!
By: Patricia Towle, Michael Glynn, & Richard Gooding
(April 1st, 2003)

Billy Joel's new 21 year-old girlfriend knows what she wants - a baby with Billy. But young Kate Lee is not at all sure she's interested in marrying the 53 year-old "Piano Man!"

Last week The Enquirer broke the news that Billy was dating Kate, who is only four years older than his daughter, Alexa, and Kate's furious father accused the singer of robbing the cradle.

Now, the couple have made their first pulbic appearance at the annual Rock and Roll Hall of Fame induction ceremony in New York on March 10th, 2003. And a friend of Kate reveals her surprising hopes for the couple's future.

"Kate's really fallen for Billy and she's quite taken with the lifestyle of dating a celebrity," the friend told The Enquirer.

"When she saw how beautiful Billy's daughter Alexa is, Kate got an inkling of what it might be like to have a child with him. She thinks they'd make a beautiful baby together."

(Note to Kate: Alexa's mother is Christie Brinkley. That might have something to do with her beauty!)

"But marriage is another matter - not that Billy has asked yet," said the friend. "She's not sure she could commit herself to him for the rest of her life."

A source close to the singer declared: "This isn't a one-night stand for Billy. He's looking for a long-standing relationship. But he's aware that Kate isn't out for a quick fling either and is telling her friends she wants to have children.

There's no telling what he might do to keep her happy."

A graduate of a Catholic high school in Huntington, West Virginia, where he stepfather is a doctor, Kate is a sqeaky-clean, all-American girl," her friend told The Enquirer.

"She was always a fan of Billy Joel, and when she was in New York last fall she happened to run into him at her hotel. The attraction was mutual.

"Billy gave her some tickets to his Broadway show "Movin' Out," and they met backstage afterward.

"She and Billy have been together ever since."

The source close to Billy, who did a stint in alcohol rehab last year, added: "His friends are hoping Kate will sober him up for good - and make him happy."

"John, Joel Return To Ames"
Music Legends Bring Out Old Favorites, New Songs
By: Megan Hinds
(April 2nd, 2003)

Fresh off a two-day stint in Las Vegas, true entertainers Elton John and Billy Joel performed for a near-capacity Hilton Coliseum crowd Tuesday.

The multi-generational crowd rose to its feet as the house lights dimmed to blackness and two pianos rose from the floor of the stage. Dressed in head-to-toe black, Joel emerged from the wings first to a patriotic medley, followed by a dapper, fuschia-clad John.

The duo met at center stage, embraced, sat down and launched into the John classic "Your Song." Drinking from a blue plastic cup, Joel welcomed the crowd with an announcement.

"I'd like to take this opportunity to announce my engagement to my new fiancé, Nicole Kidman...April fool!" he joked.

John's voice seemed a bit raspy as the two traded verses during the three-song opening set.

The "face-off" ended with "Don't Let The Sun Go Down On Me," complete with a full band and dazzling sunset light effects, and the duo received a warm standing ovation from the audience.

Joel departed after the set, donning a pair of sunglasses from an adoring fan, and Sir Elton took over, starting with a compliment to the 14,660-seat venue.

"This is a really good building to play because it's so intimate," John said.

"So we're going to have a big old party in here tonight."

John's set included several of his newer tunes, including his latest single, "I Want Love."

The showman also broke out the old favorites, including a warm rendition of "Rocket Man" with an extended ending. John may not be able to hit some of the high notes anymore, but his piano work proved his lasting power as a performer.

Pulling out the old hit "I Guess That's Why They Call It The Blues," John was at his finest - at times, the singer simply gazed at the accompanying audience like a slightly bemused teddy bear, later hopping off his bench to orchestrate the light show.

The set wrapped up with the old-school hit "Crocodile Rock," bringing the crowd to its feet once again to dance like only white people can.

The song was highlighted by a full-on sing-along of the ever-catchy "la, la, la" chorus, and Sir Elton left the stage to yet another lasting standing ovation.

Joel emerged from the wings to perform his 1977 hit "Scenes From An Italian Restaurant."

The singer's voice was in top form, and soon pleased the crowd again with his 1993 smash "The River of Dreams."

Maybe it wasn't Vegas, but the "Piano Men" were in full effect Tuesday night - the show was worth the hefty price tag.

"Elton John, Billy Joel Perform 'Face 2 Face' In Ames"
By: Jason Kristufek
(April 2nd, 2003)

Six words uttered by Elton John and Billy Joel Tuesday night summed up what many in the capacity crowd at Hilton Coliseum were feeling.

"To forget about life for a while."

That crowd wasn't only from Mid-Iowa. Music fans from Nebraska, Missouri, Minnesota, Illinois, Indiana and Kansas were all a part of the 14,000-plus crowd who sang part of "Piano Man" as Joel and John listened.

"Sing us a song, you're the 'Piano Man.' Sing us a song tonight. For we're all in the mood for a melody, and you've got us feeling all right."

That song and those words ended an enthusiastic, high-energy 3½ hour performance that had fat old men and college coeds dancing in the aisles side-by-side.

"It was unbelievable," said Jeanne Skutnick of Omaha, Nebraska. "There are not words that can describe that ending. We all said what we were feeling. I cannot believe how great that was."

The tone was evident from the outset. Joel, with swagger and confidence in his step, came on stage to the music of "Yankee Doodle Dandy." John strolled on stage in an all-pink suit with matching shoes.

As both entered the concert, the flags of the United States and the United Kingdom were shown on a screen hanging above the stage.

"This is a really good building to play in," John told the crowd. "It is so intimate. We are going to have a party tonight."

Those words came true as late in the performance Joel showed his dance moves on top of the two pianos that faced each other at the front of the stage. John at one point lay on his piano.

As for the highlights of the show, the duo played three songs together to open the show and five to close.

John then roused the crowd with favorites such as "Rocket Man" and "I Guess That's Why They Call It The Blues."

He also played some songs off his newest album, including the first single, "I Want Love."

Joel led the crowd with such tunes as "The River of Dreams," "Only The Good Die Young," "An Innocent Man" and "New York State of Mind."

"John, Joel Put The Rock Back In The 88s"
By: Daniel Durchholz
(April 2nd, 2003)

At the opening of a 2000 Smithsonian exhibit celebrating the 300th birthday of the piano, Billy Joel enthused about his very first grand piano, a huge instrument that he recalled having to wedge into his decidedly modest living quarters.

"It took up the whole apartment, and all I wanted was that grand piano, a black grand piano," he said. "I slept under it for about a week. It's always been a friend to me, through relationships that haven't always lasted, friendships that have come and gone or business associates, the piano has always been a great source of comfort and friendship."

The piano's relationship with rock and roll music has not always been so steadfast. It was there at the beginning, of course, when Ike Turner and singer Jackie Brenston fired up the genre's alleged original hit, "Rocket 88," and when Johnnie Johnson teamed with Chuck Berry to create timeless classics such as "Maybellene," "Sweet Little Sixteen" and "Roll Over Beethoven."

But whether it's because of the piano's physical size, the fact that it's fairly necessary to sit down to play it or its relative incompatibility with distorted, high-volume sound, there's little doubt that the piano long ago lost out to the guitar as rock's predominant instrument.

Joel and fellow pianist Elton John, who are touring together once again this year in their latest series of "Face 2 Face" concerts, are easily the most famous and most successful tinklers of the ivories of the past 30 years. But it doesn't diminish their astounding accomplishments - tens of millions of records sold, dozens of hit singles, Grammys, election of both to the Rock and Roll Hall of Fame, and even a knighthood for Elton - to say that they haven't had all that much competition.

If you remember (in Elton's words) when rock was young, you'll recall a time when piano played a much more important role in the music. In the pre-rock days, there were pianists such as Jelly Roll Morton, whose flamboyant style and powerful blues stomps laid the foundation for rock ad roll as early as the 1920s. Years later, blues balladeer Charles Brown and jazz/pop great Nat King Cole brought a sense of sophistication to the music. Ray Charles added soul to the mix, and the likes of Otis Spann and Pinetop Perkins added some raw blues.

But when rock and roll piano erupted for real, it did so with the earthshaking talents of artists such as Jerry Lee Lewis and Little Richard. Richard calls himself the architect of rock and roll, and it's simply too exhausting to argue the point with him. Actually, there's really no need, as he more than proved his abilities with a stunning string of mid-'50s hits including "Tutti Frutti," "Long Tall Sally" and "Lucille," each of them a piano-pounding sensation. Richard, with his mile-high pompadour, heavy makeup and outrageous outfits, cut quite a figure on stage.

None of that was lost on Jerry Lee Lewis, one of rock and roll's wildest performers. As he charged through his classic numbers, including "Great Balls of Fire" and "Whole Lotta Shakin' Goin' On," Lewis' blonde locks came undone and hung down in his face, and he was likely as not to send his piano stool flying. Once, in a famous case of one-upmanship with Chuck Berry, he set his piano on fire to prove himself the superior performer.

Another piano great, though he is perhaps less heralded these days than he should be, is Fats Domino. With hits such as "Ain't That A Shame" and "Blueberry Hill," Fats was a major force during rock's first golden age. In fact, he charted more records in the 1950s than anyone except Elvis Presley.

After the first group of rock and roll stars faded, however, piano players seemed to become somewhat less visible. The early '60s brought us the Motown sound, girl groups and Brill Building pop, which made vocalists, not instrumentalists, the stars. The British invasion brought bands back to the forefront, but by then the guitar had asserted its primacy. Then, too, there were other keyboards, including various types of organs - and, eventually, the synthesizer - to take attention away from the piano.

The late '60s became the era of the guitar hero, with stars such as Jimi Hendrix, Eric Clapton, Jeff Beck, Jimmy Page and Pete Townshend leading the way. With unearthly, dive-bombing, feedback-drenched sounds emanating from guitars everywhere, the piano, with a modest three footpedals to alter its sound ever so slightly, seemed hopelessly tame.

But the tide began to turn in the early '70s, thanks in large part to a short, balding, spectacled singer/songwriter from England, whose given name was Reginald Kenneth Dwight. Elton John was an instant sensation when he hit these shores, and the mellow, introspective "Your Song," written with lyricist Bernie Taupin, immediately leapt into the Top 10.

John pounded the piano with the passion and fervor of Jerry Lee Lewis but sartorially recalled another famous pianist, Liberace. John's penchant for outrageous eyewear, spangled outfits and feather boas provided camp, glam and pure escapist entertainment in an age that needed exactly that.

Over the next three-plus decades, John would be regarded as a rock star, yes, but one who also succeeded with amazing regularity on the pop charts. In 1992, he surpassed Elvis Presley's record of most consecutive years of Top 40 hits on Billboard's singles chart.

And what hits they were, from early smashes such as "Rocket Man," "Crocodile Rock," "Daniel," "Bennie and The Jets," "Goodbye Yellow Brick Road" and "Candle In The Wind" to more mature efforts such as "Sad Songs (Say So Much)," "I Guess That's Why They Call It The Blues" and his triumphant hit from the film "The Lion King" (written with lyricist Tim Rice), "Can You Feel The Love Tonight."

John wasn't just a dependable hitmaker - many of his albums are classics, too, including "Madman Across The Water," "Honky Chateau" and "Goodbye Yellow Brick Road." His most recent album, "Songs From The West Coast," is proof of his staying power as an artist. Not only did it yield a pair of hits - "I Want Love" and "This Train Don't Stop There Anymore" - but it's also his best and most cohesive effort in years.

About the same time John was becoming a huge sensation, Billy Joel was playing and recording in a bizarre organ-and-drums psychedelic/metal duo known as Attila. Luckily, that band sank without much of a trace, and Joel repositioned himself in a singer/songwriter mode not unlike John (albeit much less flashy). His first Top 40 hit, "Piano Man," recounted Joel's stint as a lowly lounge singer at a Los Angeles bar.

Once Joel found his way onto the charts, however, he seldom stayed off for the better part of 20 years. He has battled critics for years over the legitimacy of his music, but the truth is he's produced a body of work with impressive breadth and depth. True, some of his songs, such as "Just The Way You Are" and "New York State of Mind," have been adopted by the easy-listening set, but he's also explored a wide range of styles, including Brill Building pop ("Say Goodbye To Hollywood"), doo-wop ("The Longest Time"), careening rock and roll ("Only The Good Die Young") and even new wave ("It's Still Rock and Roll To Me").

Joel hasn't released a new album of pop songs since 1993's "River of Dreams," instead pursuing his love of classical music. In 2001, the album "Fantasies & Delusions" spotlighted a dozen Joel compositions, performed by pianist Richard Joo.

Writing a Broadway musical was also a longtime dream of Joel's, and it was realized last year, when "Movin' Out," a dialogue-free pop ballet choreographed by Twyla Tharp, hit the Great White Way. If nothing else, the production underscored how dramatic songs such as "Scenes From An Italian Restaurant," "The Stranger" and "I've Loved These Days" were all along.

Of course, John and Joel were not the only "Piano Men" (and women) to come along during the late '60s and early '70s. There were many greats, including Randy Newman, Jackson Browne, Joni Mitchell, Laura Nyro, Warren Zevon, Tom Waits and others. But none of them has had the sustained success of John and Joel. Indeed, very few performers have, whether they sit behind a piano or not.

In the end, the legacy of John and Joel has not just been about writing and performing great hit material. It's also been about bringing the piano back into vogue after its 1960s disappearance from a prominent position in the rock and pop worlds.

The latest crop of singer/songwriters to emerge, including Vanessa Carlton and multi-Grammy winner Norah Jones, are finding that you can be a star and still sit behind the old 88s. It's a lesson that more aspiring musicians should take to heart.

"Piano Men"
By: Rob Thomas & Tom Alesia
(April 3rd, 2003)

How long has it been since Billy Joel last played in Madison? Here's a hint: Billy Joel had hair (left) and Elton John didn't. There is no opening act. Billy Joel and Elton John will begin by performing a few songs together. Then each performer will play a set with their full bands before re-joining during the finale.

Previous shows on the "Face 2 Face" Tour have run more than three hours. Some tickets remain at the top price: $176. As of early this week, all $86 and $46 tickets were sold. The show's stage will be at one end and seats are being sold throughout the Kohl Center, including behind the stage (which is a better view for two piano players than you'd think).

Joel acknowledged the tickets are pricey.

"Let's face it," he said. "With the prices you paid for these tickets, we should all be doing your kids' birthdays and bar-mitzvahs."

Rhythm writers Rob Thomas (Billy Joel) and Tom Alesia (Elton John) compared the two piano titans:

Billy Joel®

Age: 53

Place of Birth: Bronx, NY

Real Name: William Martin Joel (this version of his name is, apparently, not trademarked.)

Number of Albums: 20

Learned Piano at Age: 4

Previous Occupation: Boxer

Name of First Band: "The Echoes," who later became the "Lost Souls" and eventually "The Emerald Lords."

When Quit School: Finished high school, but was not allowed to graduate because of too many absences.

Grammy Award Wins: 5 (last one in 1980)

Last Madison Appearance: 1979

First #1 Single: "It's Still Rock and Roll To Me"

Number of Hugs With Eminem: None verified.

Best Song Title: "Scenes From An Italian Restaurant"

Worst Song Title: "Root Beer Rag"

Oddest Souvenir Sold: A dollar bill with Joel's face on it, selling for $3.75 on eBay.

Official Web-Site's Most Outrageous Claim: Actually, his web-site is pretty hyperbole-free.

Quote On Songwriting: "Manic depression is very useful in songwriting, so put it to work."

Worst Remake: Helen Reddy covered Joel's "You're My Home." Joel used to say in concert that Reddy "ripped it to shreds."

Strangest Duet Partner Who Was Not Eminem: The other guy in Attila, the heavy metal band Joel was in in 1970 just before he went solo.

Best Birthday Present, Given or Received: "Just The Way You Are" was written as a birthday present for his first wife, Elizabeth.

Fun Dog-Related Fact: Billy Joel played a dog in the animated feature "Oliver & Company."

Elton John

Age: 56

Place of Birth: Pinner, Middlesex, United Kingdom

Real Name: Reginald Kenneth Dwight

Number of Albums: 36

Learned Piano at Age: 4

Previous Occupation: Errand boy for a London publishing company.

Name of First Band: "Bluesology"

When Quit School: Age 17

Grammy Award Wins: 3 (last one in 1997; first one in 1991)

Last Madison Appearance: 1999

First #1 Single: "Crocodile Rock"

Number of Hugs With Eminem: 1

Best Song Title: "Don't Let The Sun Go Down On Me"

Worst Song Title: "Bite Your Lip (Get Up and Dance)!"

Oddest Souvenir Sold: The book "Elton John's Flower Fantasies," written by one of his florists, contains 120 photos of Elton's homes and gardens.

Official Web-Site's Most Outrageous Claim: "Elton John's life is one of the most chronicled on the planet. Everywhere he goes people seek him out."

Quote On Songwriting: Most of his songs' lyrics are written by Bernie Taupin. Elton says, "I'm not very good at it. I'm a very verbose person. I can have a great conversation with someone but as far as writing things down, I'm not very good."

Worst Remake: Elton's second version of "Don't Go Breaking My Heart" with RuPaul.

Strangest Duet Partner Who Was Not Eminem: Axl Rose

Best Birthday Present, Given or Received: Cocker spaniel puppy named
Arthur from his partner, David Furnish.

Fun Dog-Related Fact: Elton John owns 21 dogs.

"Elton John, Billy Joel Show Cancelled"
By: Kim Bell
(April 4th, 2003)

Tonight's Elton John and Billy Joel concert at the Savvis Center has been called off because of illness, the concert's promoter said.

The show's promoter, Clear Channel, said Elton John was sick but that they hoped to reschedule. Joe Litvag, vice president of Clear Channel, said a rescheduling date was not yet available.

"I believe Elton is sick," Litvag said. "We are waiting for a reschedule date so we can announce it. Obviously, we're disappointed, but we're talking about people here, not machines. They get sick."

Litvag said the show had sold well. "We've sold over 19,000 tickets to this. We didn't see any price resistance to them. The tickets went very quickly."

The tour moves next to Madison, Wisconsin, to play on Sunday.

Litvag said refunds will be available once the show has been rescheduled. "If people do want refunds, they can get them at the point of purchase," he said.

Some seat prices were as high as $207.

Litvag said, "But it's Billy and Elton. Comparatively speaking to any of the big shows coming through town, it's getting up in that range. We don't like it, but the artist really dictates the ticket prices. They tell us how much they need to make, and based on that we come up with ticket prices. It's a high guarantee."

One industry insider suggested that Elton John and Billy Joel would be guaranteed at least $400,000 apiece to play here. Litvag declined to comment.

"Still An 'Out' & Away Hit"
By: Clive Barnes
(April 7th, 2003)

Not everyone would have guessed that Twyla Tharp and Billy Joel's "Movin' Out," which has moved into the Richard Rodgers Theatre for what looks like a long, long time, would have been a major hit and the Tony Award front-runner.

Because of the enormous physical demands, the show has a second cast on Wednesday and Saturday matinees. But this, like the first cast, is also extraordinarily good.

The original second cast featured the admirable Holly Cruikshank, David Gomez and - in the star role of Eddie - William Marrie.

Since Marrie's tragic death several months ago in a motorcycle accident, the role has fallen to Ron Todorowski, who is fierce, intense and finely acrobatic.

Other changes have taken Gomez into the first cast, replacing Keith Roberts as Tony, a role taken at the matinee I saw by a rather subdued Ron De Jesus, with Judy and Brenda brightly danced by Mabel Modrono and Meg Paul, the last a holdover from the original second cast.

"He's 'Movin' Out'"
(April 7th, 2003)

Sources tell us that Billy Joel has finally gotten rid of his 4,000-square-foot North Haven estate after nine months of trying. But his bank account took a big hit along the way: He boought the fifties manse - which includes a tennis court, a pool, and a deepwater dock, and is just a five-minute walk from Sag Harbor Village - in February 2002 for about $7 million, but the new owners were able to scoop it up for $5.5 million. Joel never actually lived in the house; he had wanted to tear it down and build an even bigger one but wasn't able to get the necessary building permits. The buyers were repped by Sotheby's broker Tara Newman, but she declined to comment. Joel's broker, Biana Stepanian of Allan M. Schneider, did not return our calls.

"Billy Joel, Elton John Were Worth Every Cent"
By: Rob Thomas
(April 7th, 2003)

So was the "Face 2 Face" concert featuring Billy Joel and Elton John concert at the Kohl Center worth the $175 top ticket price?

Nah. $171, $172 tops.

I mean, if you really do the math, Cher was asking $75 for her farewell show last fall, which held the previous record as the most expensive ticket in Madison history. But she only performed for 80 minutes or so, and there's only one Cher (as she keeps reminding us).

Sunday night, however, the sold-out Kohl Center crowd got some quality time with the two men most responsible for securing the piano's place in rock music, Jerry Lee Lewis excepted. And they played, separately and together, for about 3 hours, seemingly trying as hard as they could to give people their money's worth.

"I know how much you paid for these tickets," Joel told the audience. "I should be doing your windows right now."

Since both Joel and John's pianos were placed on stage perpendicular to the crowd, and the stage lacked any kind of backdrop, promoters were able to sell nearly all the seats behind the stage as well as to the front and sides. That meant almost 16,000 people were in the arena, rocking along to John's "Crocodile Rock" or Joel's "Only The Good Die Young."

And it was a truly multigenerational audience, a really rare thing to see, where teenagers, grandparents and everyone in between were singing along.

Joel is 53 and John is 55, and neither has quite the singing voice as when they were in their 20s. The strain on Joel's voice could be heard through parts of the show's final song, "Piano Man," and John didn't even try and scale the high notes in the chorus of "Tiny Dancer."

But their voices are still strong, and can still get to the emotional heart of a song and help the listener get there, too. They're also magnificent performers who seemingly share in the audience's delight in a favorite song, even though they've probably played it thousands of times. The duet they did of John's "Don't Let The Sun Go Down On Me" was thrilling, the kind of magical moment that most performers would kill to end their shows with. And it was just the third song of the evening.

Joel and John embraced on stage as the show opened, then retreated to their respective pianos for the three-song opening round. Then Joel left the stage, and John dug into a substantial 80-minute solo set that spanned his long career, from the gorgeous "Someone Saved My Life Tonight" off "Captain Fantastic" to the bluesy "The Wasteland' off John's 2001 comeback album, "Songs From The West Coast."

John wasn't quite as chatty between songs as Joel was, although he did take time to dedicate "I Want Love" to some Madison friends, including the band Garbage and the Sticha family, who are known around the world for their lighting and sound work, and to whom John has entrusted his piano for years.

Established hits like "I Guess That's Why They Call It The Blues" or "Rocket Man" got more of a crowd reaction than new songs like "The Wasteland," which is par for the course. After every song, John leapt from his piano bench and trotted around the stage, acknowledging the loud cheers of the audience.

The audience was a little more subdued during Joel's 60-minute set, which was surprising, given that it was a more uptempo collection of tunes, including "Only The Good Die Young" and "I Go To Extremes."

Joel seemed much looser than John onstage, willing to crack jokes, prance around and otherwise play the knucklehead to entertain. He hasn't played in Madison since 1979, but he showed right away that he knew where he was by tinkling a few bars of "On, Wisconsin."

"This is the new place, huh?" he said, looking around the Kohl Center. "It beats the crap out of that stock arena we used to play in. We always had to follow some kind of horse show in there. This smells much better."

Joel's set included "Prelude/Angry Young Man," for which he pounded the piano keys at a furious pace, the soulful "The River of Dreams," and a stellar rendition of "New York State of Mind." When he came out from behind the keyboard, he vamped his way through "An Innocent Man" and twirled the microphone stand around like a baton for "It's Still Rock and Roll To Me," almost clocking himself with the microphone at one point.

Finally, Joel and John came back onstage together for a half hour of duet rockers, including versions of "You May Be Right" and "The Bitch Is Back." The duet set had a much more playful vibe - John tried to bump Joel off his stool at one point, and Joel stretched out on John's piano like Michelle Pfeiffer in "The Fabulous Baker Boys."

At the end, they came back on stage for a one-song encore, Joel's "Piano Man." John adjusted the lyrics, saying the audience was a "pretty good crowd for a Sunday," and saying he was glad they joined him "to forget about life for a while." Which can certainly be worth $175.

"It's Still Rock and Roll To The 'Piano Men'"
By: Tom Alesia
(April 7th, 2003)

Billy Joel hammed it up. Elton John wore day-glow suits. Both superstar performers brought their career-long songbooks, turned to the most dog-eared pages and let loose.

Together, Billy and Elton's co-headlining tour at the Kohl Center Sunday night was money. Oh, there I go mentioning money with dozens of fine tunes still ringing in my ears.

See, Billy and Elton are expensive. Top-priced tickets - about 30 percent of the sold-out 16,400 seats - cost a Madison-concert record $176 each. (Add Ticketmaster surcharges, parking fee, maybe a babysitter, and you've got enough for a nice new sofa.) Even the second-tier price, $86, accounting for most of the arena seats, topped anything Cher charged here.

As a result, Billy and Elton played it safe. For a non-stop 3 hours, they played their familiar hits. Even during their brief duets at the start and during a 30-minute encore romp, the pair rarely veered toward anything stretching their own talents. There's not much you can do with "A Hard Day's Night" or "Great Balls of Fire" except get the crowd dancing.

That strategy shouldn't be faulted. It was a memorable, not miraculous, show.

Epic concerts are tough to begin without an opening act. Yet, Elton played "Your Song," with Billy trading lyrics and they were en route to bliss. The pair did Billy's "Just The Way You Are," then Elton's "Don't Let the Sun Go Down on Me - and my fictitious scorecard gave Elton an early advantage which would hold all evening.

Each icon followed that start a with 80-minute set, using his own band. If any two acts can handle crowd-rousing mini-shows, it's Elton and Billy. Elton, though complaining of throat woes, still ripped through "Rocket Man," "I Guess That's Why They Call It The Blues," "Tiny Dancer," "Crocodile Rock" and other vintage cuts.

Billy followed and appeared in remarkably good spirits given what we hear about his recent personal missteps. He's still the New York street tough guy, but he lapped up the crowd's attention like a thirsty dog. He played a snippet of "On, Wisconsin," spun around on his piano stool determined to entertain everyone behind the stage and did some James Brown dance moves. Later, diving across Elton's piano during "The Bitch Is Back," Billy added comic playfulness.

Billy also marveled at the "new" Kohl Center, now almost 5 years-old, ridiculing "the Stock Arena we used to play here." Billy, you haven't played Madison since a 1979 Dane County Coliseum, so no complaints. And you played at UW's Stock Pavilion 25 years ago with tickets priced at $6, or $6.50 at the door.

Odds are, though, each showed ended - as Sunday's did with Elton at his side - by bouncing through the fitting "Piano Man."

"'Piano Men' Stocked With Hits"
By: Dave Tianen
(April 9th, 2003)

When the roadies start to dance, it's always a good sign.

Elton John was pumping some high-octane rock into "Rocket Man" Tuesday night when I happened to look down and saw two roadies dancing away in front of the sound board.

Some nights it's just about the fun.

That's how it was Tuesday night when Elton John and Billy Joel brought their "Face 2 Face" Tour to a sold-out house at the Bradley Center. Sir Elton and Billy have been working the road together on and off for years, but they still seem to be having a blast and the party is contagious.

At one point in the middle of "The River of Dreams," Joel ripped into "The Beer Barrel Polka" and the Bradley Center hit near meltdown. Later he opened their dual encores with a leap into "The Mickey Mouse Club March." As Elton tore into "The Bitch Is Back" Joel climbed up on his piano and did an Irish jig.

At 56 and 53 respectively, Elton and Billy are hardly in what is usually considered rock and roll primetime. Elton is no longer the sequined bauble of yore. In his lavender blue suit, he now looks like a flamboyant retired florist. Joel actually looks a little trimmer than he did a couple months ago on the Grammys, but that famous puff of black hair is now a shiny pate.

They make a terrific match. Elton is a little bit more roadhouse rock and roll. He closed his opening set with "Saturday Night's Alright (for Fighting)" and "The Crocodile Rock." I thought his voice was starting to fray a couple of years ago in the Madison Square Garden concert, but Tuesday he sounded as strong as ever.

Joel's New York roots shine through in his doo-wop leanings. "An Innocent Man" may be the best Drifters song never recorded by the Drifters. In the same way, "The River of Dreams" clearly comes from the same pack as the Tokens' "Lion Sleeps Tonight (Wimoweh)." Joel did seem to have a few throat gremlins Tuesday, and he now lets a backup singer handle those high notes on "An Innocent Man."

Both of them have their neo-classical side. It occurred to me that Elton's an underrated prog rocker. Neither Yes or ELP ever wrote anything with the furious pomp of "Funeral For A Friend/Love Lies Bleeding." Joel indulged his classical tendencies by opening "New York State of Mind" with a slice of "Rhapsody In Blue."

A popular musician has no greater resource than a bulging catalog of proven hits, and both 'Piano Men' are stocked to the hilt. Elton is the only living artist with more Top 40 hits than the Beatles, and Joel has over 30 hit singles himself. In an almost all-hits show that ran 3½ hours, consider what they didn't get to: "Daniel," "Honky Cat," "Candle In The Wind," "Can You Feel The Love Tonight," "Uptown Girl," "The Longest Time," "Keeping The Faith," or "We Didn't Start the Fire."

They opened the night playing together, parted for separate sets and then reunited at the end. It was a flat-out joyous finish: "Bennie and The Jets," "A Hard Day's Night," a medley of "Whole Lotta Shakin' Goin' On" and "Great Balls of Fire."

And then the perfect closer..."Piano Man" as nearly 20,000 people without a word of prompting sang "Sing us a song, you're the 'Piano Man'...."

"Joel Reschedules Thursday Concert"
By: Greg Kot
(April 10th, 2003)

An ailing Billy Joel says he won't be able to perform Thursday night at Allstate Arena, and his co-headlining show with Elton John has been rescheduled to May 8th, 2003, concert promoters announced Wednesday.

Tickets will be honored for the rescheduled date; refunds must be redeemed by April 25th, 2003 at the point of purchase. Joel was expected to recover in time to perform Saturday with John at the Rosemont arena.

"Billy Joel & Elton John Postpone Illinois Concert"
(April 11th, 2003)

It appears that "Piano Men" Billy Joel and Elton John have been spending a little bit too much "Face 2 Face" time on their 2003 "Face 2 Face" Tour. Joel is now sick, and the duo had to postpone Thursday's (April 10th, 2003) concert at the Allstate Arena in Rosemont, Illinois. The concert has been rescheduled for May 8th, 2003.

Last week, it was John who was ill, and the duo postponed an April 4th, 2003 concert at the Savvis Center in St. Louis, Missouri. That show has been rescheduled for May 5th, 2003.

As of press time, Saturday's (April 12th, 2003) and April 30th, 2003's "Face 2 Face" concerts at the Allstate Arena were scheduled to go on as planned.

"Elton John and Billy Joel Set To Go On Tonight"
(April 12th, 2003)

The Elton John and Billy Joel concert set for 7:30pm tonight at the Allstate Arena will go on as scheduled, the show's promoter said Friday.

Thursday's concert was postponed because one of the artists was ill (neither the artists' press representatives nor the promoter would be more specific).

May 8th, 2003 at the Allstate Arena is the make-up date for Thursday's concert. All tickets will be honored. The third local date of the John-Joel engagement, April 30th, 2003 at the Allstate Arena, remains the same.

"'Piano Men's' Fans: There's No Place That They'd Rather Be"
By: Laura Emerick
(April 14th, 2003)

Maybe they should have called it the "Throat 2 Throat" Tour instead. The show went on Saturday night at the Allstate Arena, two days after illness forced the "Piano Men" to postpone the first of three sold-out concerts here. A week earlier, the two called off a St. Louis date for the same reason. Though Billy Joel had been rumored as the culprit, Elton John during his solo segment asked for the fans' indulgence because "Billy and I have been having some throat problems lately." Oh, OK. Guess that's why they call it the $185-a-ticket blues.

Sore throats or not, the "Face 2 Face" team delivered three-plus hours of greatest hits and fan favorites. Say what you will, EJ and BJ are consummate masters of the melody. Though often derided by critics, they deserve more credit as proponents of pop melodicism. Starting in the '70s, they bridged the gap between the Beatles and rock's singer-songwriter movement. And now, 30 years into their long careers, they're still standing.

As usual, the Dynamic Duo started out with duets sung from Face 2 Face" grand pianos: "Your Song," "Just The Way You Are" and "Don't Let The Sun Go Down On Me." Then Elton and his first-rate band riffled through their back pages: "Funeral For A Friend/Love Lies Bleeding," "Someone Saved My Life Tonight," "Tiny Dancer," "Rocket Man," et al.

Though clearly still ailing, with his voice raspy in the upper registers, Elton performed with an intensity that reminded longtime fans why they used to save up their childhood allowances for his latest single. "Philadelphia Freedom" bounced along with blissful abandon, while "Take Me To The Pilot" displayed a evangelical fervor.

Tweaking his elder statesman status, he offered "a few songs written in this century," swinging into "The Wasteland" and "I Want Love" from his excellent last album, "Songs From The West Coast" (2001).

What keeps Elton John vital is the irrefutable quality of his songbook and his obvious love of performing. Billy Joel, however, is not this listener's cup of Long Island iced tea. That said, he almost upstaged his English counterpart Saturday. Whereas Elton displayed his usual British reserve, Billy played the Everyguy, clowning around and serving as the life of the party. With his finely tooled band revving him up, he sounded more in the groove, starting with "Scenes From An Italian Restaurant" and ending 11 songs later with "Only The Good Die Young."

Like "Captain Fantastic," Joel worked several classically influenced intros into his songs, threading Beethoven's "Ode To Joy" into "My Life" and Gershwin's "Rhapsody In Blue" into "New York State of Mind." In "The River of Dreams," he artfully segued into Muddy Waters' "Mannish Boy," as a nod to the hometown crowd.

But for all his keyboard wizardry, his goombah antics grew tiresome: twirling his mike stand, blowing on hands to cool them off, snapping his fingers over his head, flamenco dancer-style, and so on. Of course, the crowd loved it, perhaps one person in particular. Spotting local Elvis imitator Mark Hussman in the audience, Joel announced: "We have a National Enquirer moment here. "Elvis is in the house!" The video cameras then spun over to Hussman, resplendent in a gold lame jacket, who proceeded to trade off Elvis moves with Joel on an impromptu "Don't Be Cruel."

It was a great moment of concert kitsch, almost even enough to forgive Joel all his earlier trespasses. After the show, Hussman happened to catch me at my desk. His telephone assessment of the "Piano Men": "They're classics, they give something for everybody. It's one of the best concerts I've ever heard."

This reviewer wouldn't go that far, having seen them in better form before.

But the seven-song encore segment gave everyone their top dollar's worth, and then some, as Eltonbilly coalesced in a weird and wonderful frenzy on "Bennie and The Jets," "The Bitch Is Back," the Beatles' "A Hard Day's Night" (!!) and the Killer's "Great Balls of Fire." And finally, of course, "Piano Man," with its simple message of "[forgetting] about life for a while."

"Music Review: Billy Joel and Elton John at Allstate Arena"
By: Joshua Klein
(April 14th, 2003)

Now into their fourth decade of music-making, Billy Joel and Elton John face the kind of career conundrum that only concerns superstars. Between the two of them, they have sold hundreds of millions of records and landed many dozens of hits. They have dabbled in classical music and founded charities, written music for the stage and screen, and in the process each made a small fortune several times over. Elton was even knighted. Sure, some bad business decisions and struggles with substance abuse marked major setbacks for both artists, but at this point Elton John and Billy Joel really have nothing left to prove. So the question must loom ominously: what next?

Why, make more money, of course. Some genius in the John or Joel camp first sent the two out on the road together back in 1994, and the tandem tour proved such a landslide of lucre that the pair of "Piano Men" has since repeated the gimmick several times. The aptly named "Face 2 Face" tours make everyone happy, from the accountants to the fans. After all, the upside of a (mostly) greatest-hits set featuring so many songs that have since become standards is that John and Joel could do anything short of slumping across their keys for a nap and still earn acclaim.

Of course, the downside of writing so many songs that have since become standards is that those songs now sound like, well, standards. Thus the burden lay on John and Joel to breathe new life into their familiar tunes at the Allstate Arena Saturday night, a mission they were only partly successful in accomplishing.

Beginning and ending onstage together, they approached their solo sets in surprisingly different ways. John, known for his flamboyance, was actually the more sedate of the two, beginning with the epic "Funeral For A Friend/Love Lies Bleeding" before settling in for a laid-back selection of classics. Joel, on the other hand, gracelessly indulged his inner cheeseball. Between fine renditions of "Scenes From An Italian Restaurant" and "Prelude/Angry Young Man," Joel offered Elvis and Sinatra impersonations, and goofed around on his piano stool like he was still playing hotel lounges. "An Innocent Man" came across as a camp tour de force that Neil Diamond would have found over the top, and Joel spent most of "It's Still Rock and Roll To Me" concentrating on twirling his microphone stand.

John's earlier rendition of "Rocket Man" ended with a tasteful extended piano solo, and "I Guess That's Why They Call It The Blues" bounced along nicely, with John's voice in remarkably good shape (especially considering both he and Joel have apparently been battling throat problems, the reason the April 10th show was postponed). "Saturday Night's Alright (for Fighting)" roused the crowd out of its seats, and John later enlisted them to sing the tough falsetto chorus of "Crocodile Rock."

With their pianos once again facing, John and Joel swapped songs for their surprise-free finale. Joel rested on John's piano as Sir Elton pounded away at "The Bitch Is Back," and John returned the favor with a yellow rose between his teeth while Billy led the band through "You May Be Right." Then the two slopped out rote renditions of "A Hard Day's Night" and "Great Balls of Fire" before leading the Arena in a mass sing-along with "Piano Man."

Indeed, while John and Joel seemed a touch disconnected from the set list - their fault for picking such a predictable slate - the enthusiastic crowd grew only more excited as the night wore on. A lot of artists speak of the energy they draw from their fans, but Elton and Billy owe a big debt to their dedicated base. Without such a rabid response, their roster of standards might have otherwise seemed standard-issue.

"Smokey Gets In Their Eyes On 'Idol'"
(April 16th, 2003)
By: Daniel Fienberg

So it's Tax Day and "American Idol" trots out the songs of Billy Joel as the theme and Smokey Robinson as the guest host. Surely there were better cross-promotional ideas. Anybody up for a Willie Nelson night? The Red Headed Stranger would have been happy to make an appearance (perhaps with a minor honorarium going to the IRS).

It's good to see Smokey Robinson, but Smokey, dawg, what's with the dreds? They do help reduce his similarities to over-bronzed crooner Tom Jones. Best of all, this makes Simon, Randy and Paula into The Miracles.

Billy Joel introduces every song with a disingenuous taped monologue where he downplays his genius, but still gives himself much love. In his introduction he actually says something like, "I don't think I'm that great. Sure, I can write, sing, arrange my own music, play several instruments and marry supermodels. But I don't really think I'm that great." We get it, Billy. You're still just a downtown guy looking for an "Uptown Girl" or something.

Kim Caldwell opens with a disappointingly tuneless rendition of "It's Still Rock and Roll To Me." She looks great and has the crowd clapping along, but she seems afraid to actually sing the song. Randy says she always does her thing, though he's tepid on the actual performance. Kim calls the guest host "My man Smokey" and he responds by saying she has charisma. Paula calls it one of Kim's best performances. Kim, pleased after last week's largely negative comments is all, "Aw shucks, guys." Simon, though, says that it was verging on a Six Flags performance and that he expects better, drawing boos.

America's Velvet Teddybear, Ruben Studdard, gives a standard, strong-lunged rendition of "Just The Way You Are." Randy says Ruben can do anything. Smokey says Ruben has "it." Paula puts another nail in the coffin of the word "irony" by confusing it with "coincidence." Simon says that Ruben is becoming increasingly one-dimensional and that he should move away from the Barry White thing. Randy chips in and agrees. Paula disagrees, but until her control over the English language improves, she's got problems.

Simon is probably right, but Ruben, in his second straight Tuesday sans-205 attire, knows he has nothing to gain from taking risks. Doing what he's doing has him at the top of the competition, so what would he have gained from surprising the judges? Until somebody else kicks it up a notch, Ruben can coast.

Kimberley Locke is up next, singing "New York State of Mind." Kimberley looks fantastic in a pantsuit and little cap. Her voice has sounded a bit better, but she seems more comfortable on stage than ever before. This is clearly her strongest performance. Randy agrees. Smokey says Kimberley laid the track to rest and says that she can "sang." Simon praises her for taking a risk and says she sounded sensational.

"And So It Goes" is Carmen's choice. At this point, she's just in over her head, clutching the microphone like a floatation device. She's not waving, but drowning. She's out of tune, bland and weak. Randy calls it a so-so beauty pageant performance. Smokey praises her for showing up. Even Paula is negative. Simon is in cruel, prime form.

"It was rather like going to some ghastly party and a child standing up at the end, singing for her parents," he says. "And if I was the parent, I'd say, 'Shut up.'"

Ryan apologizes on Simon's behalf and notes that there are people who vote for Carmen every week. He practically begs those people to continue to stuff the ballot boxes by offering a reminder that if you don't vote early and often, your favorites will be gone.

Josh the Marine shows up singing "Piano Man." It takes a heck of a singer to pull the song off, if Billy Joel says so himself. Josh the Marine begins with hints of country, but as the melody gets harder, you can almost hear the twang slipping away. It goes from distinct to conventional in seconds. It's not an interesting performance, but it serves as a reminder that under the right circumstances, Josh the Marine doesn't have a bad voice. Randy and Smokey and Paula are all praise. Simon says the performance wasn’t mesmerizing. Josh greets his insults with an evil grin that suggests that he knows Simon's opinion doesn't carry the weight it once might have.

Trenyce never hits her notes at first. She had a powerful voice coupled with a really faulty sense of pitch. She almost always finds her note eventually, though. Her performance of "Baby Grand" shows a lot of range and plenty of uncertainty. She also keeps trying to fellate the microphone. Though Randy is unimpressed, Paula refers to the performance as sultry and understated. Add "understated" to the words Paula should look up when she gets home. Simon praises Trenyce for taking chances.

Closing the night is Clay Aiken, who looks ready to open a Vegas show. Like Smokey Robinson, he seems to be channeling Tom Jones. Or like Tom Jones, he seems to be channeling Smokey Robinson. Whichever. Clay is singing "Tell Her About It," which begins in Clay's ballad comfort zone, but kicks into a peppier gear about halfway through. Clay almost even dances. Whoever lit Clay this week should be fired, because his hair looks a bright purple, which just isn't going with his base-enhanced pumpkin skin tone. Paula says she hopes Clay will let loose and dance some more. Clay just chuckles and resists the urge to comment that the two-step he just nearly-executed almost killed him.

"I prefer you when I shut my eyes," Simon says before mocking Clay's array of twitchy faux-soulful facial expressions. The camera cuts back to a close-up of Clay inadvertently adding several new odd expressions to his repertoire.

Probably Wednesday night's bottom three should include Kim Caldwell, Carmen and Trenyce. By any logical unit of measurement, Carmen should (for the fourth or fifth straight week) be on her way out. However, this writer is tired of getting burnt each week predicting Carmen's demise. Buoyed by forces beyond all comprehension, she'll survive for yet another week and Kim Caldwell's run will probably end.

"Ticket Masters"
By: John Nemo
(April 16th, 2003)

With top prices for the Billy Joel/Elton John concert nearing $200, you have to wonder whether fans are ever going to cry, 'Enough!'

Billy Joel stood on the massive stage inside Target Center in the spring of 2001, covering his eyes from the spotlight so he could get a good look at the sell-out crowd.

"I want to thank the people in the nosebleed seats for paying," Joel said during his "Face 2 Face" Tour with fellow piano pop legend Elton John. "That's a lot of money to pay for nosebleeds!"

While fans have long paid top dollar to see their musical heroes, Joel and John's "Face 2 Face" Tour - which comes to Xcel Energy Center on Thursday - is a prime example of how escalating ticket prices are changing who can afford to go to rock concerts.

"A lot of people are concerned about it, because it makes going to concerts an elitist experience," said Gary Bongiovanni, editor in chief of Pollstar, the concert industry's leading trade publication. "It's getting to the point where you have to have a certain income level to see certain acts."

Take Joel and John's tour, for example. In 2001, fans paid either $176 for a lower-level or floor seat or $60 for a spot in the upper deck at Target Center. Thursday's show at Xcel will be even steeper, with floor or lower-level seats going for $196.50 and nosebleeds $86.50.

"It's such a great show, but it irritates me the kind of money they ask for tickets," said Gloria Ubardelli, 41, a Los Angeles office worker and fan of both artists. "But there's nothing I can really do about it except not go."

Ubardelli, reached by telephone recently, is a regular on the chat boards of web-pages dedicated to the "Piano Men." She said she has been a fan of both Joel and John since they became stars in the early 1970s.

"When they came to LA in 2001 I saw all three shows there," she said. "And I also saw a show in San Diego. This year, they didn't come to LA and the closest show was Las Vegas. In the past, I would have driven down to Vegas without thinking twice, but this year tickets were like $300 each. I love them both, but no way."

Even though some diehard fans like Ubardelli might have to stay away because of financial concerns, such superstars as John, Joel, Paul McCartney and the Eagles are proving there are still scores of people willing to pay whatever it takes.

"It's supply and demand," Bongiovanni said. "If these shows weren't selling-out, you'd see lower ticket prices."

Case in point: In 2002, "Face 2 Face" was the fourth-highest-grossing tour in North America, taking in $65.5 million, according to Pollstar's figures. The top act of 2002 was McCartney, who took in $103.3 million. In 2001, Joel and John - who have been doing their "Face 2 Face" Tour on and off since 1994 - checked in as the fifth-best act, raking in $57.2 million.

Xcel Energy Center officials said Thursday's show is nearly sold-out. Ticket prices are apparently not a deterrent, even though Joel and John were one of only three acts in 2002 to have an average ticket price in triple digits ($107.88), joining McCartney ($129.02) and the Rolling Stones ($119.20).

Among the many willing to pay the big bucks to see Joel and John is Daniel Bod, 25, who runs the fan web-site www.BillyJoelFan.com and said he has seen the "Face 2 Face" show dozens of times over the past few years.

"Here's how I look at it. I paid $75 to see Bruce Springsteen awhile back," said Bod, a law student and web-developer who lives in New York, during a telephone interview. "He played for two hours. With these two guys, you get them both, and they play for four hours. It's almost like two shows."

Bongiovanni said the average ticket price for major concerts has been rising since the mid-1990s, when major acts like Pink Floyd, the Eagles and the Rolling Stones embarked on ultra-expensive tours and introduced such concepts as tiered pricing and premium seating.

"The whole pricing model has changed," Bongiovanni said. "It used to be every seat in the arena was the same price. But artists were seeing the market value of certain seats was really much higher than what they were charging. Scalpers were getting double, triple, even quadruple the price of those premium seats, and none of that money was going to the artists, the venues or the promoters."

To prove Bongiovanni's point, the average concert ticket has gone from $26.05 in 1995 to $46.56 in 2002, according to Pollstar's figures.

So who is responsible for determining how much a ticket to a show like "Face 2 Face" costs?

"The general public has a misconception that it's a greedy promoter or arena folks," Bongiovanni said. "But it's not. It's the artist. It's a direct reflection of what they want to make from a show. The general rule is that most of the money from each ticket goes to the artist, and they have the power to determine how much they want to charge."

Publicists for John and Joel declined interview requests about the "Face 2 Face" Tour and its ticket prices. And until fans like Bod decide to stay away in larger numbers, artists don't have to worry about whether people think their ticket prices are too steep.

"I think true fans pay no matter what," Bod said. "What I figure with Billy and Elton is both these guys are in their mid-50s, and you don't know how much longer they'll continue to tour and play. You might as well blow your dough now, because you might not get another chance to see them again."

Show Me The Money

Instead of spending $393 plus taxes and fees for a pair of "Face 2 Face" lower deck or floor seats, you could:

• Take 15 one-hour piano lessons at a cost of $25 per lesson.

• Buy 40 large pizzas.

• Buy all 20 of Billy Joel's albums at a price of $12.99 each and still have $133.20 left over.

• Buy 30 of Elton John's 43 albums at a price of $12.99 each.

• See 40 different Twin Cities bands play live for a cover charge of $10 per show.

• Buy a Pioneer 500-Watt Home Theater System with a five-disc DVD changer, five-channel receiver, five surround speakers and 114-watt subwoofer from Best Buy for $399.99 plus tax.

"Piano Duo John, Joel Duet Right at Gund"
By: Anastasia Pantsios
(April 17th, 2003)

Two "Face 2 Face" pianos rose from the stage floor at Gund Arena Tuesday night. And when the lights went up, two of rock and roll's top "Piano Men," Elton John and Billy Joel sauntered out, saluting the cheering, sold-out-to-the-rafters crowd and hugging each other before getting down to the business of a nonstop three-hour-plus show.

John, resplendent in a fuchsia suit and pouffy blond hair, and Joel, bald and bearded in workman-like black, have done a half-dozen tours together since the early '90s. They perform together with ease and lack of ego astonishing for two men who combined have nearly 100 Top 40 hits. In fact, John, with the lengthier hit list, took the opening slot.

The duo opened the show together, trading lead vocals on a pair of ballads that have become standards, John's "Your Song" and Joel's "Just The Way You Are." They followed these with John's big mid-'70s ballad "Don't Let The Sun Go Down On Me," joined by John's five-piece band (which still includes his drummer and guitarist of more than three decades, Nigel Olsson and Davey Johnstone).

Joel then left the stage to John. He tore through an 11-song set leaning heavily on his vast catalog of hits, though he also threw in a pair of songs, "The Wasteland" and "I Want Love," from his most recent studio album, 2001's "Songs From The West Coast." They were respectfully received, but the crowd went crazy for the hits: his #1 rocker "Philadelphia Freedom," a long, schmaltzy version of "Rocket Man," a rip-roaring workout on "Funeral For A Friend/Love Lies Bleeding" and the roof-raising rockers, "Crocodile Rock" and "Saturday Night's Alright (for Fighting)."

Without intermission, John and crew departed and Joel and his six-piece ensemble replaced them. Joel's 10-song set list was more offbeat. Much of it was second-string hits or nonsingles such as "Scenes From An Italian Restaurant," "Allentown," "New York State of Mind," "Prelude/Angry Young Man" and "An Innocent Man," although he closed with two biggies "It's Still Rock and Roll To Me" and "Only The Good Die Young."

On "Movin' Out (Anthony's Song)," he brought out Clevelander Michael Cavanaugh, who stars in the Broadway show "Movin' Out," based on Joel's tunes. After singing back-up for the first verse, Cavanaugh replaced Joel at the piano and sang the remainder of the song.

Joel and John assembled the entire crew for lengthy encores featuring more of their own hits: John's "The Bitch Is Back" and "Bennie and The Jets"; Joel's "You May Be Right" and "My Life"; some good old rock and roll, "A Hard Day's Night" and "Great Balls of Fire"; and loads of clowning around. Joel and John then returned for just the two of them to perform Joel's very first single, 1974's "Piano Man," a fitting conclusion to an evening of piano-based rock.

"Review: Billy Outshines Elton at Chicago Stop"
By: Matt Carmichael
(April 17th, 2003)

The Billy Joel and Elton John "Face 2 Face" Tour, which has been on an on-again, off-again jaunt since the idea hatched in 1994, is supposed to be a summit of equals - two profiles on the Mt. Rushmore of modern day piano gods.

But by the time Joel had finished the opener of his portion of the evening, it was clear that the scales were tilting toward the Long Islander.

The show opened with Joel and John at opposing grand pianos, traipsing through each other's catalogs and cherry-picking the hits. Tackling the task of breathing life into a 30 year-old slate of songs is one few acts can live up to, and John and Joel had mixed results as the 3½ hour show wore on.

After three songs together, Joel retreated and John took over for a 12-song set filled with hits as well as two cuts which he joked were "written in this century," from his 2001 album, "Songs From The West Coast."

A show earlier in the week in Chicago, and some recent dates on the tour, had been canceled due to health concerns by both artists, but if Joel was having voice problems, they weren't audible. John's vocals were thin and raspy in places, especially on songs when he's more exposed such as "Someone Saved My Life Tonight."

His stage performance was likewise subdued on this night, except for a lot of between-song bows and some high-fiving of some of the $195 ticket holders on the main floor. Instead, the usually emotive John spent most of the time behind his piano in a blue jacket and eerie red sunglasses.

Whatever illness has been following him didn't touch his hands and his deft touches on the keys. His (sometimes overly) exuberant band kept the musical energy high even if the overall performance wasn't up to par. His extended piano solos during "Rocket Man" showed off the skills that have made him a master, and he closed the set out strongly with fan-favorites "Tiny Dancer," "Saturday Night's Alright (for Fighting)," and "Crocodile Rock." The table was well set for his counter part on the other side of the stage.

Joel kicked off his 10-song solo segment with one of the best showcases of his talents - the multi-faceted "Scenes From An Italian Restaurant." He wiggled on his stool and mugged as his right hand danced down the keys to the steady left, spinning the saga of the fizzled lives of the prom king and queen with the musings from a lonely table in New York's Little Italy.

Joel's set was animated, high-energy, and not really burdened with as many ballads as John's was. Joel stayed mostly with rockers such as "Movin' Out (Anthony's Song)," "It's Still Rock and Roll To Me," and "Only The Good Die Young." He changed things up for some of the slower numbers, leaving the piano and taking center stage for "An Innocent Man," and adding a "Rhapsody In Blue" intro to "New York State of Mind."

Early in his set Joel turned to the seats behind him and apologized for mostly showing them his back. The piano, he pointed out, is not like a guitar and doesn't allow him too much movement. For what the tickets cost, Joel joked, "We should both be in your houses doing your windows." He was conscious of giving the audience their money's worth and spent a lot of time shaking hands, signing autographs, peppering "My Kind of Town," and other Chicago references throughout the set, and engaging in all kinds of acrobatics with mic stands and the piano stool.

At one point, he noticed an Elvis impersonator in the crowd, directed a spotlight to him and had a little back and forth with him as the band (featuring long-time collaborators Liberty DeVitto on drums and Mark Rivera on sax) launched into the King's "Don't Be Cruel."

Sir Elton then returned to the stage and the two built on Joel's momentum as they performed together again for the final segment of the show. John (now in a dark jogging suit with red trim) and Joel were much more active during this part of the set, clowning around with various bras and flowers thrown on stage. Joel strode across his piano, jumped to John's, and sprawled saucily across it as John rocked through "The Bitch Is Back," and John clowned around behind Joel, donning a bra tossed on stage and taking a yellow rose between his teeth. John added his trademark piano work to Joel's songs as they swapped verses on "My Life," and really showed off his own style, interweaving with Joel's melodies in one of the highlights of the night.

As they blew through blistering versions of "A Hard Day's Night" and "Great Balls of Fire," the momentum continued to build leading up to the obligatory finale of Joel's "Piano Man," which had the sold out crowd swaying back and forth in time to the harmonica. On a night when Joel's energy was the clear, driving force, it was fitting to have his signature song as the finale.

"Review: Billy, Elton Make For A Perfect Match"
By: Jon Bream
(April 18th, 2003)

Like an old married couple, Elton John and Billy Joel are becoming more and more alike. The Rock and Roll Hall of Fame piano men, who have been touring together for several years, are a little paunchy and obviously hair-impaired. Both have been in rehab for their demons, and both have turned to Broadway to resuscitate their songs.

On Thursday at the Xcel Energy Center, the "Piano Men" carried on like a couple on their second honeymoon. They were having as much fun as the 20,250 fans - the biggest crowd for any event at the X - especially during the encore.

Sir Elton climbed on his piano bench and put one foot atop his grand. Billy aped that move on the other side of the stage. Then suddenly he jumped atop his piano and started dancing as Elton started playing. Then Billy leaped across to Elton's piano and spread across the top, Michelle Pfeiffer-style.

He was "Face 2 Face" with Elton, who was singing "The Bitch Is Back." Bemused, Elton pinched Billy on both of his cheeks. Awww, such love. Then Billy returned to his piano to participate musically. On the ensuing "You May Be Right," it was role reversal as Billy sang and Elton danced behind him, like a back-up singer doing steps with Joel's saxophonist Mark Rivera.

All this fun inspired Elton to play an extended piano solo on his "Bennie and The Jets." The two pianists transformed the Beatles' "A Hard Day's Night" into a rollicking vocal duet. Next it was time for a true rock and roll piano workout - Jerry Lee Lewis' "Great Balls of Fire," which turned into a torrid celebration of piano abandon.

The two Hall of Famers reined it in for some seriousness, just their voices and grands, for a tribute to their piano-bar roots - Joel's "Piano Man," whose understated poignancy was a perfect nightcap.

This seamless, no-intermission 3¼ hour concert was superior to both of the EJ/BJ shows in May 2001 at Target Center. The format (and the set lists) was the same: three songs together to start, a 12-song set by Elton and his bands, 10 tunes by Joel and his group, and then both singers and bands for the aforementioned encore.

During his own portion, Elton, 56, was in fine form but not fine voice (it sounded as if he had a cold). Even though he received a standing ovation for nearly every number, he was at his best on the blues - 2001's "The Wasteland" (with a fierce blues piano ending) and "Rocket Man" (with its honky-tonk gospel vibe).

By contrast, Joel, who turns 54 next month, was in fine voice, but he seemed too aggressive at times. His standout efforts were vocal numbers, "An Innocent Man" and "The River of Dreams," with its terrific gospel-meets-doo-wop harmonies.

Every second honeymoon should be so joyous.

"Elton John, Billy Joel Rake In Big Cash, Rock The Crowd"
By: John Nemo
(April 18th, 2003)

In case you were wondering, it was worth it.

How do I know? Because as I write this sentence a record crowd of 20,250 are going bonkers inside the Xcel Energy Center while Billy Joel struts around in a black T-shirt and black pants singing "It's Still Rock and Roll To Me."

Lower-level and floor seats for a whopping $196.50 each? Ask the thousands singing along at this very moment to "Only The Good Die Young" if it's worth it. Upper-deck nosebleeds for $86.50? They seem happy, dancing across the arena, about a mile away, up in the rafters behind the Canadian and US flags.

Joel and fellow "Piano Man" Elton John proved Thursday night why capitalism works. The two keyboard legends made the highest-grossing and most well-attended show in Xcel Energy Center history a fantastic rock spectacle, delivering a rollicking, energetic three hours of entertainment filled with one hit song after another.

The two were in town for their "Face 2 Face" Tour, which has been going on and off since 1994. The audience, which included several members of the Minnesota Wild, gave Joel and John a hero's welcome when the pair stepped on stage about 7:40pm.

Starting out with hits like "Your Song" and "Don't Let The Sun Go Down On Me," Joel and John faced each other at a pair of grand pianos, dueling instrumentally and vocally as the lights came down and the evening began.

After 20 minutes together, Joel exited, and John, dressed in a bright blue suit and red sunglasses, took over for a 75-minute solo set.

Elton "The Energizer" couldn't sit still, popping up after every song to shake hands and bounce around the stage. He flew through classic after classic, hitting his peak with an extended, emotional version of "Rocket Man."

After John finished up with "Crocodile Rock," he left and Joel took over, his 70-minute solo set passing in the blink of an eye. Blasting through classics like "Allentown" and "Movin' Out (Anthony's Song)," Joel had the arena in the palm of his hand from the start.

Oh yes, the arena. In a surprise only to those who have not yet experienced live music in this building, the Xcel Energy Center once again proved why its acoustics should be considered among the best in the country. Every note that floated from Joel's and John's pianos toward the rafters was as clear as if it were being played inside your grandmother's living room.

And believe me, even though Joel and John are both in their 50s, this was not your grandmother's concert.

I'd tell you more about it, but right now John has come back onstage, joining Joel for a version of "Great Balls of Fire" that has everyone jumping around. Both men are clowning now, hopping up on their pianos and closing down the night with some of the most expensive - and satisfying - songs one can expect to hear at a rock concert in 2003.

"He's Still Billy Joel To Them"
By: Glenn Gamboa
(April 20, 2003)

Who was the big winner on this past week's "American Idol" show "celebrating the magic of Billy Joel"?

Well, it wasn't Kimberly Caldwell, who bullied her way through a frighteningly off-key "It's Still Rock and Roll To Me." And it sure wasn't Carmen Rasmusen, who got trounced by the ballad "And So It Goes."

No, the winner really was Joel himself, who, even without singing a note, reminded the Fox show's huge audience how great his versions of those songs are and how versatile his music really is.

Joel also became a bigger hero at home, since he got involved in the show because his daughter Alexa is a big fan. "He really did it for his daughter - a fun little thing for them to talk about," says Claire Mercuri, Joel's spokeswoman. "She's a budding singer-songwriter herself, so she was really into it. That got Billy into it. I don't know that he watches every week, but they certainly talk about it every week."

"Key Performance"
By: Tom Pantera
(April 20th, 2003)

Elton John and Billy Joel still can fill arenas after many of their contemporaries from the last 30 years have become Trivial Pursuit questions and punchlines. At the Fargodome Saturday night, they showed why. With any luck, the roof has settled back onto the building by this morning.

In a three-hour show, together and separately, the English kid who grew up to be knighted and the New York "Piano Man" played sets heavy on their old hits, delighting a near-sellout crowd of 22,500.

They began together, Joel entering first dressed in a black suit and black shirt and John quickly following in a pink suit. They started with numbers that are among the most melodic hits of each - John's "Your Song" and Joel's "Just The Way You Are," with each starting the other's song. Even though they have distinctively different vocal styles, their voices blend wonderfully; neither overpowers the other.

After those two numbers and a third, Joel left the stage, giving the next hour and a quarter to John. He stuck to his most familiar numbers and generally stayed behind the piano.

But if John stuck closely to the sound that has been a radio staple, he wasn't slavishly faithful to the original arrangements. On some, like "Someone Saved My Life Tonight," his singing was passionate and heartfelt. Others, like "Philadelphia Freedom," were dressed up with bluesy intros.

A high point of his solo set was an extended version of "Rocket Man," which featured some delicately beautiful piano work that segued into blues. It brought the crowd to its feet and brought the lighters out.

John's voice betrayed a tiny bit of raspiness at first, and he no longer goes for the high notes on "Tiny Dancer." But the quality still is there.

When he finally left the stage, Joel came on a couple of minutes later and opened with "Scenes From An Italian Restaurant," getting his solo set off to a rousing start.

Joel varied his songs more, often showcasing his backup musicians. He also was considerably chattier than John, thanking those in the higher seats and throwing in a couple of "you betchas" for the Fargo crowd.

He also came off the piano bench for a couple of numbers, including "An Innocent Man," which also showcased the vocal talent of back-up musician Crystal Taliefero, and "It's Still Rock and Roll To Me," during which he did tricks with the microphone stand.

He also got fairly silly at points, like when he played the piano with his butt during "I Go To Extremes."

The concert ended strong after John once again came onstage, this time wearing a jacket that looked like something The Riddler would wear to Mardis Gras. The last act was highlighted by a deft piano duel during "Bennie and The Jets" and some almost-deft riverdancing on his piano by Joel during "The Bitch Is Back."

"Dome Hits Jackpot With Saturday's John/Joel Concert"
(April 22nd, 2003)

Saturday's Elton John/Billy Joel concert set a Fargodome record with about $1.7 million worth of tickets sold, dome officials said Monday.

"This was the single-biggest day in the history of the building," said Russ Johnson, president of the Fargodome Authority.

The concert drew a crowd estimated at 22,500, with a top ticket price of $140.

The dome will end up with a net profit of about $250,000 when rent, food, beverage sales and parking revenue are added, Fargodome Executive Director Paul Johnson said.

Initially, dome officials were concerned concession sales could suffer because the concert did not have an intermission.

But Paul Johnson said he was pleasantly surprised. People made their way to get food and drink throughout the concert and as a result, didn't have to wait in long lines, he said.

Rob Sobolik, dome assistant executive director, said concessions made about $120,000.

The numbers will be similar for novelty sales, Sobolik said.

"Pianists Still Retain Their Flair"
By: Margaret Quamme
(April 23rd, 2003)

They look portly and amiably avuncular, but Elton John and Billy Joel still seem comfortable at the edge where pop meets rock. Although their voices have settled into comfortably growly lower ranges and they spent most of last night's joint concert at Nationwide Arena seated firmly on piano stools, they played and sang easily and enthusiastically.

The concert began with the two facing each other at grand pianos, alternating verses from a few of their greatest hits. Joel wore basic black, and John a scarlet suit with sunglasses.

"This is a song that I wrote for my first ex-wife, so what the hell do I know?" Joel said in introducing "Just The Way You Are."

"This is a song that I wrote for my first ex-husband," John replied, introducing "Don't Let The Sun Go Down On Me."

Their easy rapport was sometimes lost in the semipsychedelic lighting, which emphasized shocking yellows and flourescent greens, as well as overly literal effects such as light simulating a sun setting.

Audience members not already familiar with the words to the songs might also have been lost, because the clarity of the singers' voices was dampened by bass and percussion-heavy background music.

But most of the audience, largely contemporaries of Joel and John, seemed to know what to expect, and applauded at the first chords of a song. But probably the most enthusiastic response of the evening was allotted to Joel's inclusion of "Hang On Sloopy," which he interjected into "The River of Dreams."

After the introductory duets, Joel's piano sunk beneath the stage, and John took over. Although he played a couple of newer songs - "The Wasteland" and "I Want Love" - most of his set was devoted to older hits such as "Philadelphia Freedom" and "Tiny Dancer," which he dedicated to singer Nina Simone, who died Monday.

John's voice may not be as ethereal as it once was, but he compensates for its earthiness with his piano playing, which takes off with the energy of the blues. In a bravura performance of "Rocket Man," he took off from a reiteration of the theme to tear into long bluesy riffs.

John's set was followed by one by Joel, whose music didn't translate as easily into the gussied-up format as John's did. Joel seemed most at ease when he could get away from the keyboard. His version of "An Innocent Man" had corrosive sincerity, as he nearly wrapped himself around the microphone stand. In contrast, an uptempo interpretation of "Allentown" didn't make dramatic sense, and the simple storytelling of "Scenes From An Italian Restaurant" was drowned by dueling saxophones.

Lack of energy was not a problem for either of the musicians. When deadline called, Joel was still going strong.

"Clarkson, Joel & John Scrap Toronto Gigs"
By: Jason MacNeil
(April 25th, 2003)

"American Idol" winner Kelly Clarkson and Billy Joel & Elton John have canceled visits to Toronto due to the SARS (Severe Acute Respiratory Syndrome) outbreak.

Joel and John were due to perform Monday at the city's Air Canada Center, a venue that sold-out in 20 minutes. Clarkson, meanwhile, was also scheduled Monday to appear on "Canada AM," "The Mike Bullard Show," and MuchMusic's Much "On Demand."

The latter cancellation comes as auditions are being held for "Canadian Idol," a spin-off of the top-rated TV show. Auditions across Canada started in Vancouver April 22nd, 2003, but there is concern SARS might affect 4,500 Toronto auditions set for May 25th, 2003.

The outbreak has also forced Styx, the Notwist, and Lisa Marie Presley to cancel Toronto appearances.

SARS has killed 16 people in the Toronto area, the only part of the world outside Asia where people have died from the highly contagious disease, for which there is no known cure. SARS, which has a mortality rate of about six percent, has killed over 265 people and infected about 4,600 in 25 nations.

"Joel, John Hit All The Right Notes"
By: Greg Haymes
(April 25th, 2003)

Pop piano kingpins Elton John and Billy Joel have each performed at the Pepsi Arena in the past, but Thursday was the first that they shared a Capital Region stage. In this case, one plus one equaled more than two, and it's difficult to believe that even a single fan walked away from this show disappointed.

The 56 year-old John and the 53 year-old Joel have been on the road off and on with their "Face 2 Face" Tour for nearly a decade now, so they know what to do and, just as importantly, when to do it.

Warming up with a pair of mano-a-mano ballads - John's "Your Song" and Joel's "Just The Way You Are" - the two traded off verses, and then were joined by John's band for "Don't Let The Sun Go Down On Me."

John was up first, leading his five-piece band through gems like "Someone Saved My Life Tonight," "Tiny Dancer" (spiked with Dave Johnstone's bluesy slide guitar licks) and a semi-funky "Philadelphia Freedom." The best of the batch were the gospel rave-up "Take Me To The Pilot" with a jazzy piano intro, an extended jam treatment of "Rocket Man" and the rollicking "Saturday's Night's Alright (for Fighting)."

Trying to avoid the oldies syndrome, John also added a pair of recent tunes, "The Wasteland" and "I Want Love." "We're going to do a couple of songs written in this century," he declared, but the audience didn't pay much attention, waiting patiently for the next round of hits.

A truly splendid entertainer, Joel opened his set with the epic "Scenes From An Italian Restaurant" and the strutting "Movin' Out (Anthony's Song)," but the energy level skyrocketed with "Prlude/Angry Young Man," as he led his punchy six-piece band powered by drummer Liberty DeVitto.

Joel was in fine voice, especially on the jungle doo-wop of "The River of Dreams" and the majestic crowd favorite "New York State of Mind," which also included bits of "New York, New York" and Gershwin's "Rhapsody In Blue." He jumped up from his piano stool for a finger-snapping stroll through "An Innocent Man" with some fine vocal accompaniment by multi-talented Crystal Taliefero.

Rounding out the concert, John and members of his band returned to join Joel and his band for a batch of tunes ranging from John's "Bennie and The Jets" to Joel's "My Life" (with an intro of Beethoven's "Ode To Joy." They also paid tribute to the Beatles ("A Hard Day's Night") and primal pianist Jerry Lee Lewis ("Great Balls of Fire") before finally calling it a night with a one-on-one rendition of - what else? - "Piano Man."

Both artists have such a deep catalog of hits that they simply don't have time to play them all. Joel didn't get around to "Uptown Girl," "Captain Jack" or "Honesty," for example, and John didn't even play his biggest selling hit, "Candle In The Wind."

But the two piano-pounders dished up such a non-stop hit-parade of sing-along favorites that few in the audience even noticed what was missing.

"Duo Not In Albany State of Mind"
Elton John and Billy Joel Return To Their Homes Between Pepsi Arena Shows
By: Danielle T. Furfaro
(April 26th, 2003)

If you were hoping to catch a glimpse of the "Rocket Man" or the "Piano Man" at the State Museum or making a scene at a local Italian restaurant Friday, you were out of luck.

While superstars Billy Joel and Elton John had a full day to unwind between their sold-out shows at the Pepsi Arena Thursday and tonight, two were "Movin' Out" of the region shortly after the final notes of their duet on "Piano Man."

Both musicians had their own police escort take them to the airport, where each boarded planes and went their separate ways, Joel to his home in the Hamptons, and John to his home in Atlanta.

The quick getaway is the only way for famous musicians these days.

"It's not unusual to have some of them fly in for the concert and fly back out again," said Dennis Miller, general manager of the Crowne Plaza Hotel in downtown Albany. "They do it because they can. Because they are rich. Because they have private planes."

John and Joel have been touring for decades, so most likely, they've had chances to savor the local haunts before. And with nearly 50 records between the two, they can afford to come and go as they please.

"Elton likes to go home. He flies in and out after almost every show to his home in Atlanta," said Celina Aponte, who works for John's publicist, Rogers and Cowan. "This is how he's done it and continues to do it."

When Bruce Springsteen and the E Street Band played the Pepsi in December, they rented their own Amtrak train to take them back to New York City right after the show.

"A lot of these folk establish a home base, like in New York City, so they'll do shows in Syracuse and Burlington, but fly back and forth from New York City in between each show. That's what Dave Matthews does. His band and crew will stay with us, but he'll fly right out," said Gregg Balton, general manager of the Gideon Putnam Hotel in Saratoga Springs.

Even musicians who don't have a private plane often prefer to hit the road after a show.

"Most of them leave right after the concert. They keep their tour bus running during the show and leave as soon as it's done," said Sarah Northup, a desk clerk at the Parker Inn, which is right next door to Proctor's Theatre in Schenectady. "Ani DiFranco didn't even do an encore. I was at that concert. People were still cheering and she had already left on her bus."

Some performers do opt to stay the night. The Marsalis family and Barbara Eden both spent the night at the Parker Inn. After a Backstreet Boys show at the Pepsi in 2000, some of the group members signed autographs for a mob of fans before heading for their suites in the Crowne Plaza.

"A couple of the Backstreet Boys wanted to walk in through the back of the house, and some of them wanted to come right through the front and sign like crazy," said Miller.

Some performers prefer the anonymity of staying at a smaller place. When Bill Cosby played Proctor's in 2001, he stayed at a bed and breakfast in the city's Stockade neighborhood.

Even though John and Joel decided to skip town, fans said they understood.

"Quite honestly, it doesn't bother me a bit. They have lives. They are on the road so many days a year," said Dominick Giombetti of Albany, who has seen both performers in concert. "I'd do it too if I could."

"Elton John/Billy Joel Toronto Show Cancelled Due To SARS"
(April 28th, 2003)

Elton John and Billy Joel have canceled Monday's (April 28th, 2003) "Face 2 Face" concert at Toronto's Air Canada Centre, due to concerns about SARS (Severe Acute Respiratory Syndrome).

A statement on John's web-site says, "The decision comes in response to the World Health Organization's recent SARS-related travel advisory... Tour insurers have been advised against the show taking place in the interest of public safety in Toronto and other concert stops by the Elton John/Billy Joel Tour, potentially jeopardizing the remainder of the tour."

Both Joel and John are said to be "deeply disappointed," and they hope to reschedule the date. Ticket refunds are available at the point of purchase.

Two other "Face 2 Face" dates have been postponed this month. John was too sick to perform on April 4th, 2003 in St. Louis, and Joel had to drop out of an April 10th, 2003 show in Rosemont, Illinois. The concerts have been rescheduled for May 5th, 2003 and May 8th, 2003, respectively.

The next show on the "Face 2 Face" Tour is now Wednesday (April 30th, 2003) at the Allstate Arena in Rosemont, Illinois, which was scheduled before the health issues arose.

Other artists who have dropped appearances in the Toronto area include Styx and Lisa Marie Presley.