On February 19th, Fathom Events is bringing DARYL HALL & JOHN OATES: RECORDED LIVE FROM DUBLIN to selected theatres. Bringing one of the most iconic musical duos together, they will be entertaining not only the crowd in Dublin’s Olympia Theatre but fans in theatres.
Singing such hits at “Rich Girl”, “Kiss On My List”, “Private Eyes”, “Maneater” and “She’s Gone”, there is over 90 minutes of a concert that includes interviews and exclusive backstage footage.
Hall & Oates has recorded their first albums in 1972, it would be in 1975 when fans got their first taste of “Sara Smile” and “Rich Girl”. In 1980 they released VOICES with “Kiss On My List” and “You Make My Dreams” that reached number five on the billboard that year. But it is “Everytime You Go Away” that brings me the most nostalgia.
From 1981 to 1984, Hall & Oates would record the albums PRIVATE EYES, H2O, ROCK ‘N SOUL PART 1 and BIG BAM BOOM wrapping up 1985 with LIVE AT THE APOLLO. With changes in labels and so many projects, both Hall & Oates have made it to Dublin to delight fans once again.
It was a fan-thrill to speak to Daryl Hall and John Oates, which is the best part of what I do. So here it is, ladies and gentlemen, Daryl Hall and John Oates!!
Hi Daryl! You and John spent so many years as a duo then went your separate ways. How is your partnership now?
Well, you know, John and I started as friends, back when we were teenagers, and I think that that friendship, because it was that before it was a musical or creative or business partnership, has sustained us. We’re friends. We’re friends first, partners second. We did all that work together, over that period of time, through the ’70s and the ’80s, and into the ’90s, and even more recently, really.
We have all this body of work that we really enjoy playing. It’s hundreds of songs, and that, you know, we like doing it. I guess that’s the bottom line answer, is we like playing together. We like having a band together. We like playing our songs that we’ve created together. Even though we’re not doing anything currently together as far as music, what we’ve done in the past is certainly enough to sustain us.
Having brought us the songs in the 70’s, do you feel them differently when performed now?
Well, some of these songs were written, that we play and still deal with, the songs that I wrote when I was 21 years old. Twenty years old. Twenty-two. My life has changed. What was real has become ironic, and what was ironic has become real. You know, all these kinds of things. Life changes the perception of the songs. What surprises me is how a lot of these songs that I wrote when I was a kid seem to have come true in my later life. That constantly surprises me.
With thirty-five years for VOICES, how do you feel about that today?
Well, I always knew that I was going to be doing it for a long time. I was trained in it and it’s my greatest love and preoccupation in my life. The fact that I’m still doing it and with a certain kind of strength is great. It’s not surprising, but it’s great. I’m very happy that it’s crossed generations. There’s a certain timeless quality to the music that seems to resonate with people of all ages, even young kids now. It’s all very fulfilling, to tell you the truth.
You have done other projects throughout the years. How did this project in Dublin come together?
Well, we did a tour last summer. We did a UK and Ireland tour last summer, our European tour. When I found out that we were playing in Dublin, I had played in the Olympic Theater in Dublin back in the ’90s as a Daryl Hall show and not with John. My memory of that place was that it was an outrageous concert. There’s something about the crowd, about the room, that was, at that time, very magical to me and really special. When I found out that we were playing there, and that Hall and Oates had never played in Ireland ever, which is kind of strange but true, I suggested that we record and do something with it, you know, record the performance.
The company Eagle Rock, who I’ve worked with before, we decided we were going to film the project, without any idea that what was going to happen happened. After we did it, it exceeded my expectations. It was just an outrageously good night. Not only was the band really on, but the crowd was just crazy. The company who puts these things for theatrical release, saw this performance, and they came to us and said, we’d like to put this in theaters, if you’re into it. That’s really how it happened, very step by step. I knew it from the beginning that it was going to be a special night, and that’s what it turned out to be.
Is there a difference in audiences from the 80’s? How does Daryl Hall and John Oates feel today?
It’s really different. A few of the things are different. Number one, back in those days, we were really concentrating on what was current to us at the time. In 1985, we would play music from what was going on in 1985 in our world. What we’ve done in the more recent past is that we … Our set, it varied. It changes night to night, and it comprises of songs that we’ve written over all of our career. We’ll mix songs from 1972 with songs from yesterday. In that respect, it’s a much more varied show and it doesn’t relate to just one moment in time or anything like that.
Our band, without any doubt in my mind, this is the best band we ever had. A lot of these guys have been with us for a long time and there’s a few new guys, but the combination is just the best. They understand us and we have a fantastic communication and understanding of the music and so I think it’s better than it ever was. I guess that’s the best way I could put it.
Can you tell us about being inducted into the Rock and Roll Hall of Fame and Museum?
Well, that’s a hard question to answer. I probably don’t have that many good things to say about any of it. I’m not a big fan of the concept of the whole. The ceremony is rather tedious to say the least, and my life hasn’t changed a bit afterwards.
You have said touring with John is something you want to do. How about new music with John?
The touring has to do with what we did when we were together and at a period of time in our lives. Right now, we have grown into a place where we’re very individualistic, more than we ever were. We are our own people. I don’t think either one of us has any particular desire to sit in a room and try writing songs with the other guy. We didn’t even really do that that much through our whole career, but we did share album space and stage time. In that respect, we are very much together. We’re together for the sake of that, really, and because we like doing it.
I don’t really feel … I mean, if I want to write a song, or record a song, I just go in and do it, and so does John. I don’t call him up and say, come on and join me on this. It’s just one of those things. Life changes. People move on. Time moves on. People develop. They grow as people, the whole thing, become more individualistic, I think, as you get older. All those factors are … I’m sure they lead to the separateness of us.
On February 22nd you will be performing at the White House. How does that feel and tell us about that?
They asked us. That’s how it came about. We were summoned, I guess you’d call it. I got an email from the Press Secretary. It said, would you guys like to play at the White House? And we said yes. Simple as that. We’re playing a conference of the governors, the Governor’s Ball is what we’re playing. I don’t think I’m going to be dedicating anything.
Do you and John always agree on the set list you will be performing?
Our set list changes all the time. We put our set list together depending on what occasion we’re involved in. The mood of the room, I mean, it’s a very flexible thing. We sometimes change it on stage. We’ll say, let’s not play this. Let’s play that instead. As far as agreement, I think it’s sort of a … It’s the whole band agreement, really. We play what we feel is appropriate to the moment.
Are there things you prefer and song John prefers?
I think we’re both partial to the ’70s as a musical time in general. I think of all the eras that we’ve worked together, it’s definitely within. I think that ’70s music is the time that interests us the most. That’s just personal taste. I guess that’s the answer to that, but other than that, I mean, it’s really a cross-section of our whole writing career. We just draw from anything that moves us at the moment.
What experience do you expect for fans given Fathom has done many concerts such as this?
I have not ever seen one because I pretty much never go to the movies. As far as what people will see, I think it’s a really good example of what we do. I was involved in the rough cuts and everything so I made sure that it was very, that it really captured the moment. As much as you can without actually being in the room as it’s happening.
It was a very … What’s the word I can use? A very loose and laid back and direct version of our show. We weren’t, and I say this in the best way, we weren’t trying. We were just playing. We were there. There was no pressure. I don’t think anybody in the band felt pressured about it. It just felt like we were really just up there having a good time and experiencing the moment. I think that that communicates in the show and I think that the audience will also experience that.
Do you have plans for a tour?
Well, no. We play all the time. I mean, I have so much going on in my life between television shows and everything else that we don’t have any time for any long tours. What we do is we constantly tour for short periods of time. We go out for a week, ten days, something like that. That happens just about every month we do that. Nothing particularly long coming up in the summer.
Live from Daryl’s House is your television show, is there a wish list for someone who haven’t had on yet?
I have no wish list. I learn so much from each experience and every show is to some degree a blind date. Even if I know the artist, it’s still a bit of a blind date. You never know what’s going to happen. I can’t say I wish somebody would be there because whoever’s there is interesting enough for me. I really don’t have a wish list or a person that I could say, oh man, I wish that person was on, because I’m happy with everybody who’s there.
You have found a new generation of fans, how do you reinvent Hall & Oats in the digital age?
Well, I can say it very simply. Live From Daryl’s House. It all happens coincidentally with my show. I think that I started, and as far as dealing with modern technology, dealing the digital age or whatever, dealing with the Internet. It happened because the Internet happened and allowed it to happen. It’s a show that showcases me in a timeless way, working with young people, working with veterans, playing every kind of music you can imagine. I think that perception has carried over into a new perception of what I do with John as well. I really do see that there’s an immediate correlation between that show and the resurgence of our popularity.
A lot of album promoting is done through social media, is that something you’re going to do?
The way to communicate any idea now, you’d have to use a million different things. You have to use whatever’s there. You can’t just expect that you’re going to put out a CD and have people go out and buy it or anything like that. The answer’s yes. Anything that I can do and need to do to get the people whatever I put out there, I will be involved in doing. That’s for sure.
You have a band playing with you on Daryl’s House, can you tell us about them?
I can start with the oldest member is Charlie DeChant, who plays saxophone and some keyboards. He’s been with us from almost the beginning, from 1975. He is by far the longest and oldest member of the band. Then let’s see. The second person would be Eliot Lewis is our keyboard player and I’ve known Eliot for a long time. He’s been with me for quite a long time too, since the ’90s. Klyde Jones, the bass player, I’ve known since the early ’90s and he’s played with us on ad off for that period of time as well. He’s been a permanent member of the band more recently. Brian Dunne is a relatively recent drummer. I’d say now, it’s been about 5-6 years that he’s been with us, and who else is left?
Shane Theriot is the newest member. He’s the guitar player. After the death of my friend T-Bone, who played guitar, we had a bit of a scuffle to see who was going to take his place and for a while, Paul Pesco was playing guitar and now Shane has taken that role and done an amazing job. Did I miss anybody? I don’t think so. That’s the band.
Performing your biggest hit in the film, how do keep them new?
Well, all of our songs we play in our set. Not just the hits but including the hits. They evolve. As we evolve, as band members change … Walking away from them sometimes. One of the good things is if we don’t play for even a month, when we come back to it, something different happens. We have the kind of band that we have an almost telepathic ability to change things on the spot, evolve things and make things different all the time.
Plus, there is a built-in improvisation in the music, just because of the kind of music I write. Soul music, there’s a lot of freedom in it. All those factors, they allow it to be fresh. We drop songs and we don’t play them for a while and we bring songs from the more obvious and all those kinds of things. It just keeps it all fresh.
You both sound so amazing as I remember, not all bands can do that. How do you do it?
Well, it’s hard for me to compare myself to other people. It depends what you start with. I can be cool, but it really does. Depends what you start with. If you start with innate, I don’t know, gifts, then those gifts can sustain you. I’m a real singer. I’m not a song stylist. I’m a singer. So is John. We’re trained musicians.
John Oates:Thanks, Daryl.
John Oates:I said thanks for saying I’m a singer.
Hi John! There seems to be a resurgence of nostalgia that includes Hall & Oats and good songwriting, do you agree?
I think you’re probably right. We started out as songwriters. We have always looked at ourselves as songwriters, in addition to the other things that we do, performers and singers and players and producers and record makers and etc. At the core of everything is the songs and you know, I look back on things like the Rock and Roll Hall of Fame and stuff and I seriously doubt whether we would have ever been inducted in the Rock and Roll Hall of Fame if it wasn’t for the songs we wrote. Therefore, I will agree with you on that for sure.
How do you feel about older songs being reimagined?
Well, that’s the beauty of a well-crafted and well-written song, is that it can be interpreted and re-imagined in a lot of different ways. That’s why our songs have been sampled so many times and they’ve stood the test of time. It’s all about the meat and potatoes, about if the song really got it, do you know? Can you sit there with an acoustic guitar or a piano and play that song for someone and achieve the same emotional impact that you can do by fleshing it out with a complete production and a recording. Here again, all about the songs.
You and Daryl have brought such legendary music to listeners. Do you believe that the music community has a commitment to pay homage to legends such the Little Richards etc.?
Well, that’s a very good point. I’m with you 100%. They are the direct link to a legacy of American popular music that, as you prefaced your question with, has really changed the world. It’s been, in my estimation, and I know I have my own opinion on things, but I think it’s without a doubt one of the greatest exports that America’s ever given to the world. It’s done nothing but create a positive image for America. It doesn’t do anyone any harm. It’s certainly changed popular culture in the Western world. That’s a pretty heavy contribution to history, in a way, and I’m glad I feel like Daryl and I are part of that. We’re proud to be part of it and the people who paved the way for us should be recognized and honored and appreciated during their lifetime as much as possible.
When listening to Live in Dublin for yourself, was there anything that surprised you John?
I was surprised and not surprised by the audience’s reaction. The only reason I would say I was surprised is I had never played that particular venue. We’d never played in Ireland. I did a songwriter’s festival in Ireland a few years back but never played with Daryl. I knew that it was going to be an exciting night, having never played there. The venue was so cool and legendary. It had so much history. All the ingredients were in place for a great night and a great performance. Certainly, I think we captured it. The band was on fire and the crowd was into it.
You put all those ingredients together and you get something very special. I’m so glad we committed to filming this particular show. When you put your eggs in one basket and you say, okay, this is the night we’re going to film this concert. Let’s hope it’s a good one. Here again, all the stars aligned for that.
The music industry has completely changed, which one can you think had an effect on you?
Well, just musicians’ ability to basically make a living from their creative skills. I’m a professional musician. I’ve been a professional musician for a long, long time. I believe that creativity has value and copyrights have value. I don’t believe it should be free. In that regard, I wish there was better ways of selling our music. Unfortunately, I think the establishment, the music business establishment, the old guard, blew it when the digital revolution began and didn’t see the writing on the wall. Unfortunate for a whole generation of musicians to come. Not so bad for me and Daryl because we already have a fan base and we have a legacy. I work with a lot of younger musicians and I feel their pain. I see how difficult it is for them to break through. It’s a very complicated subject.
Is there someone you’d like to have performed with that has gone on?
Curtis Mayfield and Doc Watson. Doc Watson died a few years ago, two years ago, I believe. Two and a half. Curtis Mayfield died, I guess, about 10 years ago. More. They were two of my heroes and people I patterned myself after, in terms of guitar playing and singing, so yes.
What was influence Sound of Philadelphia have on you both?
Well, if you’re talking about the Sound of Philadelphia in terms of Gamble & Huff? We were contemporaries of Gamble & Huff. We grew up around the same time. We started making records. They were a little ahead of us, but not much. There was a point where we were in Philadelphia and we were going to either have to leave Philadelphia and carve our own path or join Gamble & Huff, basically.
The Sound of Philadelphia to me is a much broader subject than just R&B. The Sound of Philadelphia has to do with folk music. It has to do with traditional American music, Philadelphia folk festival, and things that really mattered to me as a kid growing up there and being influenced, and also the sound of the street. The doo-wop, the Street Corner Harmony, the Jerry, teenage dances, the uptown theater, the R&B scene. It’s a huge subject. All that stuff comes into play.
How did you decide the long list for Dublin?
Not really. Not very much. That set list is capturing a moment in time. It’s the set list that Daryl and I have been working off of, with some variation, over the past year or so. It changes. It evolves. We drop certain songs. We add certain songs, but the core of the set are the big hits. In a way, I believe we have a professional responsibility to play those big hits. We’re proud of them. They’ve stood the test of time. That’s why they are the songs they are.
In that regard, we have a really good problem. We have a lot of hits. We sneak in the deep tracks, and we do that because we like it and because we feel like it shows a little bit more of a broader scope of who we are and what we’ve accomplished over the years.
I would like to go more in that direction one day, but the Dublin show is capturing the moment in time. If we do another DVD in 2 years or whatever, it’ll be a different moment in time. This is the band. This is the Hall and Oates band right now, right as it is today, with one of the best backing bands we’ve ever had. With Daryl and I, I think performing pretty well at the top of our games, so I think it’s a great moment to capture.
You have a solo tour going, does that mix the songs from the band?
My solo shows are totally solo. Every once in a while, I’ll do a different interpretation, like I’ll do a Delta blues version of Maneater or something like that, and I’ll do an acoustic version of She’s Gone, but my solo shows are all solo. People come to see what I’m doing now. If you want to see Hall and Oates, why see half of Hall and Oates? That’s the way I look at it. Come see a Hall and Oates show and you get the real thing, but if you want to see what I’m up to and the kind of things that I’m into on my own, then it’s a completely different experience. I like it that way. I think that’s as it should be.
Watsky used Rich Girl as a sample for a song, how do you feel about sampling for rap music?
Oh, I think it’s great. The records we made, the songs we wrote, they represent our musical point of view. Once that’s done, it’s done. It’s there forever. I think it’s fantastic to hear people’s reinterpretations. I think if our music is stimulating and inspiring enough for someone to actually care about it, to want to do something unique with it, I think that’s a compliment unto itself.
Yeah, I’m very happy about that. I think it’s great. I like the idea of getting credit for being sampled and getting compensated for it as well. That’s also a nice part of it as well. In the end, it’s all about someone caring enough about your music to try to make it live on.
John, you have collaborated with Handsome Boy Modeling School, how did you end up with Prince Paul?
Well, I got a call to come and try to do a collaborative effort with them. I was in New York and I went to the studio. We wrote a song and recorded it in one day, and that was it. Then I didn’t hear anything for quite a while, and the album came out quite a while later. At least 6 moths later. Then there it was. It was fun. I like working with unique people who try to do different things. It was quite a while ago.
Disco came in in the late 70’s, your thoughts?
I thought that it was great that there was a style of music that made people want to go the clubs and dance, but I wasn’t interested in making it. I thought, anything that kept the music business moving forward, I thought was a good thing, but it wasn’t for Daryl and I. We didn’t want to become disco artists. We really try to do what we did best and stick to what we’re all about. Like I said, trends have come and gone. There’s been grunge and there’s been the boy bands and all sorts of things over the past few decades. But we have our own niche and what we do is what we do.
There is an evolution of Hall & Oats, can you talk about that?
First of all you don’t have enough time. That’s the first thing. Secondly, we began to play live from the moment we got together. In fact, that’s what we did. In fact, that’s how we got together. We got together as a reaction to what we were doing with other people.
Daryl was doing studio work in Philly and he had made some recordings with some people and he wasn’t satisfied or happy with that situation. I was playing in some blues bands and playing folk clubs and things like that. We got together almost as a reaction to all that, and we said, let’s just go play our individual songs together. You play a song. I’ll back you on guitar and I’ll play a song and you’ll back me on piano or mandolin or whatever.
We started and we started playing coffee houses and art galleries in South Philadelphia. That’s how we started our reputation. Really, we were a live group from the very beginning. We never were anything but a live group, and to this day, we still are. Our recordings came, actually, after that. We started live so it was actually kind of backwards from what you initially said. Like I said, I think one of the reasons we’re still around is because we never stopped playing live ever.
John, you’ve been doing a lot of solo projects, can you talk about the creativity and the changes in your life?
Our son was born in 1996 and we decided to take him on the road with us and keep our family together and home school him. For 13 years, he traveled with us until he was 13. During that period of time, I wanted to be a father and I didn’t want to stop playing so I basically played with Daryl and tried to be the best father I could and be around for him.
At 13, he decided to go to a boarding school and once he went to a boarding school, my wife and I were kind of empty nesters all of a sudden. We moved to Nashville and that’s when it all started for me. I began to rediscover my earliest musical roots, the things that made me want to be a guitar player and a singer from childhood, and I found a community who was very supportive and really coming from the same place as me. I found a kindred spirit in Nashville that I could draw from and the Americana community, the blues. Not so much traditional mainstream country, because that’s not where I’m coming from, but Nashville just has so many amazing musicians and so many great genres.
Once I got there and began to make friends and feel comfortable, everything started happening. I surrounded myself with amazing musicians and songwriters. It’s just like anything. You surround yourself with good people and good things happen. I think that’s why I began to more prolific and I also realized that the bar was set very high in Nashville for musicianship. I began to take myself a lot more seriously because my name would get my in the door, but the only way to hang at the party was to be good. I thought I was pretty good, but not as good as I could be, and so I worked very hard at being better.
How does an artist manage to get through the ups and downs of the music business?
By not identifying your self worth and your own value by commercial success. Artists and people whose self worth is completely intrinsically linked to their commercial success are doomed to fail. I’ve never thought of myself that way and I know Daryl doesn’t either. We cared about the musicians. Every decision we ever made from the time we started pretty much has been what will allow us to continue to do what we love to do and what we were born to do.
When you use that as your starting point, as your criteria for decision-making, you don’t fall into the trap of worrying about whether you have a hit or not. If we had to go back to clubs, we’d go back to clubs. We did that periodically during our … We went from stadiums to clubs and back to stadiums. Now we’re doing the same thing. I play clubs every night. I think it’s fantastic. Then I play big venues with Daryl and that’s fantastic too. You just have to believe in yourself and fortunately for us, we had enough commercial success to give us that foundation to do that.
Can you speak about the generational appeal of Hall & Oats?
What Daryl and I noticed right away when we began to start playing live in the early ’70s, before we had any hits, we would look out in the crowd, even if it was a small little coffee house or a small club or whatever. We always had young people and old people. We had people who were way older than us, back in the early ’70s, and we had people who were younger than us. It’s always been that way.
I believe that it has to do with the songs that we write. I think we appeal to people on a universal level, in some way. There’s something about the things that we talk about that seems to not be tied to age and generation. The younger generation who’s rediscovered us now is an open-minded generation because they’re not being force-fed what’s hip and what’s supposed to be good by rock journalism and by mainstream big business record companies.
They have the Internet. They have the world at their disposal. They can research anything they want. They can find any kind of music they want from all different styles and eras. They just care about good music. Whatever touches them and moves them. I think that’s one of the most positive things about the new digital generation. Maybe that’s why they’ve latched on to us because here, again, our songs seem to stand the test of time.
Was there a time personally John when music spoke to you?
From birth. Really, honestly. I started singing when I was a little kid. I have a recording of me singing Here Comes Peter Cottontail when I was 2 years old at Coney Island Amusement Park in New York. Then I have another recording of me at the same amusement park when I was about 8 or 9, singing All Shook Up. I’ve been playing guitar since, I think, 6 years old. It’s just been part of my DNA, I guess.
Your band is amazing on Live in Dublin, what’s it like for you playing with them John?
I’m very stoked on this band. I’m very high on this band. Daryl and I have been very fortunate over the years to have incredible musicians surrounding us. They have been a big part of our success and what we’ve done over the years. I have to always give credit for the band, the various bands. This particular line up is really amazing.
It was a unique transition. When our long-time collaborator and producer and friend, Tom “T-Bone” Wolk passed away, there was a period of time when I think we were playing as though he was there, even though he wasn’t there. It was this limbo where it was neither here nor there. As time passed, we had some new members join the band and as the new members joined, his legacy kind of faded away a bit and the new band took on their own personality. As they took on their own personality, I think it gave Daryl and I a renewed enthusiasm and a renewed inspiration for the older music, because they play it with such passion and they’re so good. Their singing is absolutely off the charts. Some of the best singers … Every one of the singers in this band could be a lead singer in any band.
Like I said, I’m very high on this line up. I think capturing this line up for the Dublin DVD was a really amazing thing to do, and I think it really represents where we’re at right now, who we are, and where we’re coming from.
We asked Daryl about keeping songs fresh for audiences, what is your take on it?
Well, we’re lucky. The songs hold up. That’s what it’s all about. The songs actually hold up. We don’t have to do anything. The subtleties in the performance and subtleties by the band, little parts that someone might add in spontaneously, will trigger certain things. Things that we do on stage spontaneously will become a canonized into the set list. That’s something that just happens. We also intersperse our set with some deep tracks, which also gives a little bit better overview on which the big catalog, the amazing catalog of music we created over the last 40 years.
How do you feel about the VOICES album in 2015?
Well, it’s a very important album. I would rank that probably in the 3 or 4 most important albums we’ve ever made for a lot of reasons. One, it was the first album we produced ourselves. It was a chance for us to stand on our own creative feet, for better or worse, which is always exciting and scary at the same time. For us, it worked out very well. It set the tone for what we would do for the decade of the ’80s. It coincided with the birth of MTV and videos.
There was so much … Here again, it’s almost like a perfect storm of creativity all coming together on that album. Daryl and I knew. It was the first, as I said, first album we really produced by ourselves, so we felt like, okay, this is really going to be, we’re going to represent who we really are with no filter. That’s why that album. It had a lot of good songs as well.
It has been an amazing time speaking Daryl Hall and John Oates about the release of LIVE IN DUBLIN and an amazing discography they’ve given to fans. Yes, I proudly consider myself on of those millions who have no problem jamming out anytime I hear a Hall & Oates song being played – no shame in my game!
Fathom Events and Eagle Rock Entertainment bring DARYL HALL & JOHN OATS: RECORDED LIVE FROM DUBLIC to selected theatres February 19th. This is a one night concert event!! For tickets go to www.FathomEvents.com