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Author Topic: INDEPENDENT TOUR MEDIA REVIEWS  (Read 33298 times)
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« Reply #40 on: April 05, 2004, 08:11:01 PM »

ANAHEIM

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Powerhouse duo show promise
Stepping away from their 'Idol' start, Kelly Clarkson and Clay Aiken display big potential at Pond concert.

By BEN WENER
The Orange County Register

Never let it be said that the typically tin-eared public can't spot a great voice when it wails gloriously at them.

Mind you, we're not so savvy at spotting much else in the way of genuine ability. Time and again we gleefully overlook mediocrity so long as it comes attached to a pretty face or a novel personality. Case in point: the curious popularity of current "American Idol" contestants John Stevens (catatonic crooner with zero rhythm) and Jon Peter Lewis (the spastic clown).

Or consider how it is that "Idol" reject William Hung, a talentless goof who even the tone-deaf realize cannot sing, has an album arriving in stores Tuesday, featuring his infamous version of Ricky Martin's "She Bangs."

So thank whatever musical gods were at work to help pop fans save face - by weeding through the dreck that fills each "Idol" contest to discover Kelly Clarkson and Clay Aiken. As the pair proved repeatedly during their sets Saturday night at Arrowhead Pond of Anaheim, they are powerhouse voices who deserve their devoted followings.

Yet, as with the mighty- piped Ruben Studdard (currently on his first solo tour) and better-than-third-place Kimberly Locke (who issues her full-length debut in May after topping the charts with the single "Eighth World Wonder"), Kelly and Clay are only now facing the true test: establishing themselves as bankable entertainment entities who can achieve longevity without "Idol" assistance.

Hence, the duo's aptly named Independent Tour, which stops again tonight at Staples Center in Los Angeles. Apart from Kelly dropping the show's name once and reviving "Stuff Like That" from her "Idol" appearances, everything we know and love/hate about the immensely popular Fox series was rightly absent. (For his part, Clay simply acknowledged that support from squealing, sign-toting, feverishly flashbulb-popping fans like those on hand is what brought him a career.)

Instead, this was just Kelly belting, Clay soaring, then the two together for a nicely harmonized duet on Journey's "Open Arms," all of it backed by a well-rehearsed band.

But, to steal Simon Cowell's favorite qualifier, if I'm being totally honest, I wasn't particularly moved by much of it.

No question both acts come across like seasoned pros and can top most contemporaries in the vocal department. Kelly, for instance, comes across like Christina Aguilera with more restraint, and she's skilled enough to fit her Texan holler into many styles - R&B-flavored pop, big ballads, torchy slink, even a saucy rethinking of Reba McIntire's "Why Haven't I Heard From You?"

Clay, of course, can effortlessly nail his attention-grabbing "glory notes," but he also has some dynamic capability. In other words, as shown in a pleasing segment of well- known material (Sting's "Fields of Gold," Leo Sayer's "When I Need You," James Taylor's "Carolina in My Mind"), he knows when to downplay his boom and hush.

That said, both sets were more interesting for the potential displayed by these overnight sensations than for the music they're currently making, which is largely bland and forgettable. For as much as they are indebted to the show and style that gave them a start, both clearly want to escape trappings designed to win them a teenage audience.

Barefoot and bubbly Kelly proved that desire right away by revealing guitar skills (she did some basic strumming for two cuts). Here, she seemed more inclined to follow in the footsteps of Jewel than to keep churning out more Aguilera knockoffs like "Miss Independent." (Another sign: She was more comfortable bouncing in a tank top and tattered jeans than strutting in a club- hottie get-up, the high heels of which lasted only one song.)

Goody-goody Clay - whose charm is infectious but whose zipper-studded outfit made him look as ridiculous as Ryan Seacrest - well, he clearly wants to rock out more. This night, he was surer on Beatlesque bits like "Perfect Day" and "No More Sad Songs" (strangely reminiscent of Radiohead's "Karma Police") than on fluff like "Invisible." And though some selections were vapid (Mr. Mister's "Kyrie") or misguided (a sexless take on Prince's "When Doves Cry"), his willingness to explore is commendable.

I still insist it's too soon to tell whether Kelly or Clay will blossom into interesting artists whose creative endeavors are worth noticing. Given that they didn't sell out the Pond and tickets for Staples are still available, this very well could be their zenith - their first and last "Idol"-less hurrah.

Or it could be the start of a promising future. Really, if William Hung can get 15 minutes, aren't Kelly and Clay worth at least a decade?


OC REGISTER (subscription required)

Quote
'Idols' are human, but louder

Though Clarkson's and Aiken's limitations are evident, screaming throngs adore the show.

By Richard Cromelin, Times Staff Writer

When you start out at overwrought, there's only one place to go — into the rarified realm of unmitigated pop bombast, staked out by mighty-mite people's choice pop star Clay Aiken at the Arrowhead Pond in Anaheim on Saturday. What would you call it? Über-wrought? Ultra-wrought? Maybe there is no word for it.

In any case, it's what "American Idol" hath wrought. Aiken is the hit TV talent show's flagship star (even though he was not a winner, losing a close race to Ruben Studdard in the viewer voting last year), and he's the headliner on a national tour that pairs him with first-season champ Kelly Clarkson.

It's a dream team for "American Idol" fans, whose intimate observation of the contestants and participation in the outcome has given them a proprietary relationship with the performers. The Pond audience wasn't one to sit back and clap politely. They screamed and shouted and waved signs that said such things as "Taken With Aiken" and "Kelly Rocks."

Both artists played their determined roles, making sure to be appropriately modest and grateful. But while Clarkson was casual and down-to-earth in her opening set, Aiken fancied himself a more theatrical figure, role-playing to his songs' emotions with melodramatic pauses and heavy glances. If he had a mustache he would have been twirling it.

Striding to the stage from the rear of the arena while belting his version of Mr. Mister's 1985 hit "Kyrie," Aiken immediately set the tone for his hour-plus set, in which his songs — mostly power ballads that sound designed for uplift scenes in "The Lion King" — were spewed with a flat forcefulness that could pin you to the back of your seat if you weren't standing up waving a sign.

It was enough to make Celine Dion seem restrained. But at least Dion has the equipment to make her over-the-top approach technically impressive. Aiken's voice is thin and pinched, with uncertain pitch and little versatility, as one awkward attempt at soul-style embroidery showed on Saturday. His one tool is volume, an appropriate expression of the go-for-it theme that underlies every "American Idol" story line.

And of course the flaws and limitations are part of the appeal, the things that make him one of us even as we send him into career orbit with our votes.

The concert actually reversed the expectations created by their hit albums, Aiken's "Measure of a Man" and Clarkson's "Thankful." On record he at least sometimes seems a slightly eccentric character, while she comes off as a somewhat slick genre-hopper.

But on Saturday she was the one who was easygoing, even a little feisty — as when she criticized the production on her recording "Beautiful Disaster" and proceeded to sing it with bare piano backing.

The giggling and the whooping between songs and the signing of autographs went a little over the top, and nothing she sang suggested she's more than a modest talent aglow in the fairy dust of "American Idol," but as its resident girl-next-door, the pop world could probably do worse.


LA TIMES (newspaper subscripton required)
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« Reply #41 on: April 06, 2004, 06:14:48 PM »

LOS ANGELES

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MTV Concert Review - Cutielicious: Kelly And Clay's Live Show Heavy On The Sugar
Are these performers from "American Idol" or "Last Comic Standing"?

By now, everyone knows that Clay Aiken and Kelly Clarkson "can blow," as Randy Jackson would say. But who knew they were such comedians? As the Independent Tour hit the Staples Center Monday night, Aiken had his fans rolling in the aisles throughout his hour-long set, particularly over a mid-performance cell phone routine.

"I wanna know who all these people are, talking on their phones," he mused. "I mean, you pay all this money ..." With perfect comic timing, he interrupted himself and reached out to a fan a few feet away: "Give me that phone."

Aiken then proceeded to talk to the person on the other end of the line, cracking jokes about the show and imitating her ecstatic screaming. "Here, let's take a picture," he said, holding up the picture phone for other fans to photograph.

He also charmed the crowd with ad-libs. Later in the set, Aiken mentioned being eliminated in an early round of "American Idol" (before voters rescued him in the wild-card round), and the crowd booed. "It's OK, I'm doing fine for myself," he deadpanned. Eventually, his smirk alone garnered laughs. And when he did a few dance moves, hysterics ensued.

But that's not to say he didn't wow the crowd with his singing as well. Clay had plenty of opportunities to show off his pipes, and he started before he'd even taken the stage: He entered by walking from the back of the arena, through the crowd, to the stage while singing his opening number, a cover of Mr. Mister's "Kyrie" that was perfect for his mighty voice.

Dressed in a blue-on-blue tie and shirt combo and a fedora, Clay segued into "Perfect Day" and "I Will Carry You" before crooning another cover, Steven Curtis Chapman's "All About Love."

Although it was his first tour apart from last summer's "American Idol" package trek, Aiken showed the comfort of a stage veteran, interacting with his band and the audience as he seamlessly transitioned from song to song.

And while he was sometimes compared to Barry Manilow on "American Idol," Aiken showed just enough edge to bring Neil Diamond or even Rod Stewart to mind on Monday.

For "Without You," he was joined by backup singer Quiana Parler, a fellow Carolina native Clay met while auditioning for "American Idol." (The song will appear as a duet on Kimberly Locke's upcoming album, which Clay gracefully plugged.)

After getting the crowd on its feet with "Invisible," Aiken slowed it down for an acoustic set of covers, including Sting's "Fields of Gold," Leo Sayer's "When I Need You" and James Taylor's "Carolina in My Mind." "This is my favorite part of the show," he said, as if it weren't obvious by his smile.

The final cover in the set was Prince's "When Doves Cry," which was slowed down to a crawl before exploding into a sexy rave-up. The crowd gasped as Clay grinded on one of his backup singers, who responded by yanking his tie and pulling him closer.

For his finale, Clay explained how "The Way" was about not being able to express feelings — and said he's having a hard time saying how thankful he is for his fans. Performing the sing-along was good enough for them.

Kelly, wearing ripped jeans and a black tank top, opened her set playing guitar and singing "Low." "What's up, L.A.?" she followed, holding the "Aaaaay" to segue into her next song, "What's Up Lonely."

After Aiken's antics, the crowd seemed more eager for Kelly to goof around than sing. "Do the lawn mower!" a fan screamed, prompting Kelly to show off the corny dance (she even wiped her forehead as if "mowing" in the summer sun). "That's why I'm still single," she quipped.

The stage was littered with gifts thrown by audience members, and as Clarkson meandered around it, she picked up gifts and commented upon them: "Thanks, but I've got clothes," she said, picking up a scarf. "And I can't put these panties on!" (They must have been left over from Clay's set.)

But the emphasis was always on the music, some of which was performed in renditions markedly different from the album. For "The Trouble With Love Is," Kelly began the song as it is on the LP, but the band suddenly turned it into a techno rendition. And later she described the album version of "Beautiful Disaster" as having "too much production, and I don't like it." She sat on a piano to sing a scaled-down version and then took center stage for a cover of Bette Midler's "Stuff Like That There."

Later, for the title track to Thankful, the video screens on each side of the stage showed slides of a younger Kelly with her friends and family. Although it was a bit like a graduation party or wedding reception, the crowd loved it. "This is what got me here," she said, introducing "A Moment Like This," during which she spent most of the time signing autographs while singing.

For the final number, Kelly began Journey's "Open Arms" — and just as some audience members started heading out to the parking lot, they were stopped suddenly by the voice of Clay, who slyly strolled onstage to duet with his co-headliner.

"You're so cute," Kelly told him, putting an end to a concert best described as ... cute.

—Corey Moss


MTV REVIEW (pictures at the link!)
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« Reply #42 on: April 08, 2004, 05:08:31 AM »

SAN JOSE

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A runner-up proves his princely worth
Joel Selvin
Chronicle Senior Pop Music Critic    
Thursday, April 8, 2004
 
Clay Aiken bounces when he walks. He has a foxy smile and tiny features that make him look slightly cross-eyed from certain angles. The "American Idol" runner-up also has a glorious set of pipes and among the worst taste of any singer this side of Engelbert Humperdinck, although that jacket with the stripes across the back was so bad, somebody else must have told him to wear it. Nobody would choose to put on something like that.

Teen idols like Aiken get a bad rap. Sure they're callow, dumb and marketable for reasons that have nothing to do with talent, imagination, vision or wisdom (theirs, anyway). But that's no reason to loathe them. Everyone likes a catchy tune now and again or can enjoy the kind of overwrought, show-offy singing that amateur contests like the worldwide hit TV show inevitably encourages. These "Idols" are just the willing puppets.

But behind the scenes, "Idol" entrepreneur Simon Fuller is truly an evil genius. The man who invented the Spice Girls knows something about the pop process. With "American Idol," he has turned dreams of stardom into a television spectator sport. The television show, in turn, creates a constituency for these acts (all, of course, signed to his management company) before they are even handed over to the record business. Families that agonized over Clay's ordeal for all those months on TV shifted the scene Tuesday from their living rooms to the HP Pavilion in San Jose, where the newly anointed pop prince took a victory lap with a sold-out concert co- starring last year's winner, Kelly Clarkson.

Fuller's diabolical scheme is working. The debut album by first season "Idol" Clarkson has sold more than 2 million copies, with Aiken's album (released in October) not far behind. Second-place winner on this season's show, Aiken came under the ministrations of veteran hitmaker and chairman of his record label Clive Davis, who personally produced the young Southerner's album, full of songs from teams of professional songwriters, little committees assigned to develop the perfect pop gem for the maestro's new protege.

First-place winner Ruben Studdard also has an album and a tour, but neither is selling in the same league as Aiken's.

The San Jose audience was a testament to TV's ability to slash through demographic groups. Two moms with their teenage daughters in the row behind me reminisced about seeing Journey in a "Day on the Green" concert. In a rare cross-generational cultural accord, young girls and their mothers alike screamed their approval as the squeaky-clean kid with the haystack hair made his way through the arena singing the 1985 Mr. Mister hit, "Kyrie."

Fans brought hand-painted signs and took thousands of snapshots, along with all the other typical signs of teen mania. They liked Clarkson fine -- she and Aiken have been switching off closing the show over the course of the tour -- but they loved Clay.

Perky Clarkson puts her husky voice equally to overblown ballads, generic dance pop and insincere acoustic folk. Aiken sticks with middle-of-the-road pop. He can go up to frothy and down to solemn, but that's pretty much the emotional range of his material at this point. He seemed only slightly less desperate than Clarkson to be showered with the audience's abundant affection.

Neither was truly contemptible. They did their prefabricated, well- rehearsed parts to perfection, almost too eager to please, too humble and grateful for all the blessings that TV has bestowed upon them. But they were only playing the part. They aren't real musicians. They're TV stars, and they're doing a fine job.

Simon Fuller, on the other hand, apparently has nothing less than world domination in mind. He has "Idol" shows in 20 countries as far-flung as Norway and Poland, Australia and South Africa. There may come a time when all the world's pop stars are selected this way.

 
SAN FRAN CHRONICLE

Quote
Clarkson is just fine, but Aiken shines at `Idol' show.

By Sandra Gonzales
Mercury News

Kelly Clarkson and Clay Aiken shared a concert stage Tuesday night, but it was Aiken who shone like the true pop star.

Just the mere glimpse of Aiken -- who's co-headlining a national concert tour with first-season "American Idol'' winner Clarkson -- sent the audience into a frenzy at the HP Pavilion in San Jose.

With dramatic rock-star flair, Aiken, who played second, opened his set by coming through the crowd singing Mr. Mister's 1986 hit "Kyrie.''

"Idol'' judge Simon Cowell once said he simply didn't "get'' Aiken's popularity or see him as a star. But America's favorite runner-up put those doubts to rest Tuesday as the diverse crowd, ranging in all ages, seemed to get it plenty.

Many of those on the arena floor stayed standing during his hourlong set that included most of the songs from his triple-platinum debut album, "Measure of a Man.'' He sang several covers, from James Taylor to, surprisingly, Prince's "When Doves Cry,'' a crowd favorite as Aiken gyrated with a backup singer.

While the HP Pavilion was not sold out, it was fairly full except for the top tier, half of which was cordoned off.

And, true to "Idol'' form, concertgoers brought signs, lots of them, showing their "Idol'' love -- gestures both singers acknowledged to the squeals of their fans.

Musically, Clarkson proved to be a powerful belter, particularly with her huge radio hit, "Miss Independent,'' which really brought the audience alive, and, finally, to its feet.

Making certain she didn't forget her "Idol'' roots, Clarkson sang, "A Moment Like This,'' a tune she made popular during the end of her "Idol'' run two years ago.

Clarkson, who performed first, was exceptional with a cover of Reba McEntire's "Why Haven't I Heard From You.'' And the crowd cheered her loudly as she rejoined Aiken for a closing duet of Journey's "Open Arms.''

Still, Clarkson never quite established the rapport with the audience that Aiken did. And, in the end, the show was all about Aiken.


MERCURY NEWS


Quote
Clarkson appeases Clay-mates

By Jim Harrington - CONTRIBUTOR

TWO weeks ago we reviewed Ruben Studdard's uneven show at The Warfield in San Francisco.

In response, we received loads of letters from readers, many of whom had found the story on the Internet in places as far away as Ohio and New Jersey.

A few folks thought the review should have been kinder to the man who won last year's "American Idol" competition. But the vast majority came from fans of runner-up Clay Aiken, congratulating us for what they saw as getting it right. To these rabid followers, who go by the moniker "Clay-Mates," the review was just further evidence of who should have been crowned the "real 'American Idol.'"

Despite finishing second, Aiken has certainly stolen the spotlight from Studdard. He's sold more records, drawn more publicity, attracted bigger crowds and developed a fan base that rivals Phish-heads and Trekkies in terms of crazed passion.

Tuesday, Aiken brought Clay-mania to the Bay Area for a show at the HP Pavilion. While much of the attention has been focused, perhaps unfairly, on Clay vs. Ruben, co-headliner Kelly Clarkson made the stronger showing in San Jose.

With long drapes covering many empty seats, the arena looked much fuller than it actually was -- roughly a half-full house. But the fans made up for the vacancies with their loud enthusiasm. That was especially true for Aiken, who received a welcome fit for The King (Elvis, that is).

Following a solid set by openers, the Beu Sisters, Clarkson took the stage for a 50-minute set that nicely showcased her dynamic vocal range.

Clarkson, who won the first "American Idol" contest back in 2002, is a refreshing young pop star. She's no Britney or Christina. She came out dressed in a black T-shirt, worn blue jeans and with her hair pulled back, looking more like the girl next door than a platinum-selling artist.

She came across as very genuine and likable as she greeted the fans, gave a birthday hug and collected stuffed animals. She laughed at herself when appropriate and charmed the audience with her post-song chatter.

Plus, she's got one of the best voices in the industry.

If there's one knock to be made, it's that she tried to do too much in too little time. Her set moved from urban dance tracks and slick power ballads to country numbers and swing tunes. The result felt scattered.

But there was plenty to like during her set. She glided gracefully through the soulful dance number, "What's Up Lonely," and the gospel-tinged "Just Missed the Train." She performed a tastefully hushed version of "Beautiful Disaster" using just her voice and piano -- far more enjoyable than the production-rich rendition found on her debut album, "Thankful.

She jitterbugged her way into a great take on the old standard "Stuff Like That There" before closing her set with a triumphant double-shot of the uplifting "A Moment Like This" and the rocking "Miss Independent."

Aiken couldn't match Clarkson's natural charisma, better song selection or graceful voice. But he still delivered a decent show of popular cover songs and tracks from his debut, "Measure of a Man."

Entering the playing field from the back of the arena, which forced him to walk through his throng of admirers, Aiken quickly showcased his love for gooey inspirational tracks by moving earnestly through "I Will Carry You," "Perfect Day" and "No More Sad Songs."

"I Survived You" sounded like a too-obvious makeover of the "I Will Survive" theme. And the fan-favorite "Invisible," despite the lyrical twist, carried a bit of a stalker element with the line, "If I was invisible, then I could just watch you in your room."

The man needed better material then these numbers, which often read like fortune cookies, and he found it by delving back into the classic pop songbook.

He did a great job following in the footsteps of Leo Sayer, Celine Dion and Perry Como with his tender version of "When I Need You." He brought the house to its feet with an upbeat rendition of the old Mr. Mister number "Kyrie." He also turned in heartfelt performances of Sting's "Fields of Gold" and James Taylor's "Carolina in My Mind."

Following an ill-suited take on Prince's "When Doves Cry," the show came to its conclusion with Clarkson joining Aiken for a splendid duet of Journey's signature ballad, "Open Arms."

It was an appropriate closing number because that's exactly how these fans greeted the two American Idols.


ALAMEDA TIMES STAR
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« Reply #43 on: April 09, 2004, 03:56:25 AM »

SEATTLE

Quote
'Idol' stars Clarkson, Aiken light up KeyArena

By GENE STOUT
SEATTLE POST-INTELLIGENCER POP MUSIC CRITIC
Friday, April 9, 2004

Hearts were achin' for Clay Aiken Thursday night at KeyArena.

Fans sporting "Claymates" T-shirts and holding handmade signs gave the "American Idol" runner-up a big Seattle welcome during his co-headlining concert with fellow "Idol" Kelly Clarkson, who drew her own contigent of enthusiastic, supportive fans.

Aiken and Clarkson have been alternating sets on their cross-country tour. In Seattle, Clarkson performed the closing set in a three-act concert that opened with vocal-pop quartet the Beu Sisters, who performed songs from their debut album "Decisions."

This wasn't a show for couch potatoes. Fans rose to their feet and cheered as soon as Aiken, surrounded by security guards, strolled through the crowd and up to the stage for a 70-minute set that opened with "Kyrie," the 1980s Mr. Mister hit.

Wearing a fedora, striped shirt with tails untucked, matching tie, baggy trousers and sneakers, the singing star explained the hat was a handy prop on a "bad-hair day."

Aiken was charming and animated during a set that included such favorites as "I Will Carry You," "Measure of a Man" and "The Way." Though he doesn't push the creative envelope of popular music, the 25-year-old from Raleigh, N.C., is a natural talent with a powerful voice and a flair for engaging his fans.

His second song, the powerful, hook-filled "Perfect Day," was performed against a watercolor-sky backdrop. Backing him were a five-piece band and three vocalists in white outfits. The simple, two-level stage featured a staircase, balcony, extended platform and stainless steel paneling.

Aiken's voice soared during "I Will Carry You" and "Love, All About Love." During the latter, Aiken harmonized beautifully with his three backup vocalists on the upper balcony.

Aiken often performed on the extended stage that jutted into the audience. When a fan held up a cell phone, Aiken took it from her, hoping to surprise the person on the other end of the line. "I think she passed out," he quipped when he discovered no one was there.

After a stirring version of "I Survived You," Aiken, his backup singers and several musicians settled into a row of chairs at the center of the stage for a trio of songs -- "Measure of a Man," "When I Need Love" and a beautiful version of James Taylor's sentimental classic "Carolina On My Mind."

Aiken and a female backup singer sang a spirited duet of Prince's "When Doves Cry" while the two danced in a tight, awkward embrace. Though not as funky as the original, Aiken brought his own sense of style to the "lite" version of the classic.

For Clarkson, the stage was reconfigured to include several clusters of artificial candles and five cloth panels illuminated with colored spotlights. Wearing a fashionably tight, tattered pair of jeans and a black Aerosmith T-shirt, Clarkson opened with "Low" while accompanying herself on acoustic guitar. Backing her was a five-piece band and a trio of backup singers dressed in black.

Though animated, Clarkson failed to establish a strong rapport with the audience. And much of her banter seemed forced. But her voice was often powerful and engaging.

Her new single, "The Trouble With Love Is" -- from the British romantic comedy "Love Actually" -- featured a throbbing beat. But a new, stripped-down version of the somber "Beautiful Disaster" was more satisfying. Especially fun was the powerful, big band-style tune, "Stuff Like That There," from "American Idol."

Clarkson's barefoot version of the Reba McEntire song "Why Haven't I Heard From You" fell flat, but "Bounce (the Luv)" from her movie with "Idol"-mate Justin Guarini at least got the crowd on its feet.

The sentimental "Thankful" was accompanied by snapshots of friends and family, a bit of self-indulgence that added little to the set. Clarkson continued with "A Moment Like This," her signature song from "American Idol," and her big hit, "Miss Independent."

The concert ended on a high note when Aiken joined Clarkson for the closing song, a crowd-pleasing duet of the Journey song "Open Arms."


SEATTLE REVIEW


Quote
'Idol' duo gets crowd's vote at KeyArena

By Tina Potterf

Judging by album and concert sales, the success of "American Idol" stars Kelly Clarkson and Clay Aiken is no fluke.

Though both pop stars were sculpted and refined in front of a captivated TV audience of millions on "American Idol" — Clarkson was the show's first crowned pop princess and Aiken was last year's runner-up — they are a study in contrasts when it comes to their music and performance style. Clarkson's a little bit rock 'n' roll with a shot of soul and some spunk. Aiken's powerhouse pipes get a real workout in ballads and standard pop fare.

Without question, Aiken seemed to be the one most came to see Thursday night at KeyArena. His fans are notoriously loyal, known in some circles as "Claymates," and reflect a true cross-section of America: from children to tweens and teens, parents and grandparents, students and professionals. Every turn of his lanky body and every honey-glazed note was met with cries of "We love you, Clay," sing-alongs and signs like "Shakin' For Aiken's Bacon."

The boyish singer, sporting a sophisticated fedora-style hat (he said it was because of a "bad hair day") and a 5 o'clock shadow, crooned his way through an hourlong set that showed off his powerful voice and genial stage presence.

Backed by a live band and a trio of back-up singers, Aiken was smooth and polished on stage, his voice clean and loud as he sang of unrequited love, friendship, heartbreak and hope, subjects pervasive on his hit debut album, "Measure of a Man." Especially good was "Perfect Day," the heartfelt and snappy "No More Sad Songs," the dance-friendly "Invisible," which had the arena rocking, and "I Will Carry You."
A few surprises were built into Aiken's set — namely, his dancing and a believable cover of Prince's "When Doves Cry," which had the Aiken doing a little bumping and grinding with a back-up singer.
    
Equally impressive live was Clarkson, who added intensity and a rock 'n' roll bite to the night. Sporting an Aerosmith T-shirt and ripped jeans, sans shoes, to start the show, the pop singer's bluesy voice was spiked with an edginess that came across best when she slowed things down, as she did on the heartbreaking "Beautiful Disaster," accompanied only by a piano. On "Trouble With Love Is," Clarkson mixed up the song's original arrangement and made it into a dance club-style track, as she did with "Miss Independent."

For the night's finale, it was the best of both worlds as Aiken joined Clarkson on stage for a duet of Stephen Perry's (Journey) "Open Arms." Though the chemistry wasn't exactly white hot, the crowd was clearly feeling it.


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« Reply #44 on: April 10, 2004, 06:04:38 PM »

SPOKANE

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Kelly Clarkson and Clay Aiken Spokane Arena, Friday evening
Kelly, Clay delight Arena crowd

Isamu Jordan
Staff writer
Saturday, April 10, 2004

During Kelly Clarkson's set at the Spokane Arena on Friday night, 14-year-old Natalie Petersen was on her feet the entire time, singing every lyric to every song.

It was Petersen's second time seeing the "Independent Tour" with "American Idol" stars Clarkson and Clay Aiken, and she was no less impressed.

She also attended the concert in Seattle on Thursday.

"It was amazing, exactly what I was expecting, just like in Seattle. Kelly has great range and stage presence and she's really sweet. I'm a huge fan of both artists but I like Clay more because he has great looks," said Petersen, who was sporting jeans with the names Kelly and Clay written in marker down each leg.

Judging from the response of Clarkson's and Aiken's fans, mainly middle-aged moms and their pre-teen daughters, the show was an undeniable hit.

With the energy of a superconductor, Clarkson took the starlit stage wearing a black tank top, ripped jeans, a spiked belt and bare feet. Sure, she looked plenty punk rock, but her demeanor was playful and friendly. She even posed for pictures and signed autographs while singing songs that had as much range as her vocals.

"Trouble With Love Is" started out bluesy enough, but suddenly ripped into a techno-lite beat reminiscent of Cher's "Believe." "What's Up Lonely" found Clarkson in the comfortable R&B setting that suits her voice as well as power ballads such as "Low."

Clarkson made a quick change into an all-black outfit with sparkling accessories for her performance of the sassy song that made her an "American Idol" favorite, "Stuff Like That There." This was the liveliest song of the night, next to her cover of Patsy Cline's "Why Haven't I Heard From You," which Clarkson growled and hollered through with tenacity and spunk.

Like Clarkson, there is no doubt that Aiken has the pipes, but he still needs to work on expanding his repertoire, not that anyone at the Arena seemed to notice.

From the moment Aiken entered the stage, fans were roaring.

Aiken looked as goofy as ever -- his hair was typically messy and he wore a tacky gray sport coat with mint-green horizontal stripes on the back while he sang his brand of chicken-soup-for-the-soul music.

There is nothing wrong with love songs, but after Clay's performance you can't help but wonder if that's all he's capable of, along with doing cover songs of hits from the 1980s, such as his opening number, Mr. Mister's "Kyrie."

The worst example was when Aiken sucked all the cool out of Prince's "When Doves Cry" by singing it as an acoustic ballad before the band joined in. That was just plain bad.

One area where Aiken has grown since his "American Idol" days is in his showmanship. While Aiken has a corny appeal that only he seems able to pull off (a mix of equal parts Barry Manilow, Radiohead's Thom Yorke, and "Footloose"-era Kevin Bacon) he seemed more comfortable than ever in his own skin.

Even with an apparent broken foot from tripping during his show in Seattle, Aiken limped around the stage, charming the crowd between songs.

Yes, a lot of Aiken songs are filled with cliche lyrics and generic melodies, sounding like Disney soundtracks, but with gifted voices like Clarkson's and Aiken's, you can get away with glorified karaoke.

Just ask Petersen: "Aiken was the best ever, he was hot and awesome."


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« Reply #45 on: April 14, 2004, 08:19:08 PM »

DENVER

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Aiken, Clarkson give OK performances
'American Idol' duo likable but not standouts
By Matt Sebastian, Camera Music Writer
April 14, 2004

DENVER — Choosing an "American Idol" is sort of like electing a president.

Voters aren't really picking the best performer in the land; instead, armed with a pre-scrubbed slate of telegenic candidates, they tap the most likable performers available, slapping them with instant, pre-fab stardom.

It's the musical equivalent of representative democracy: Everyone can't possibly participate, so a few talented souls are chosen to stand in for the rest.

And what's so wrong with that? Judging by the giddy fan reaction at Tuesday night's "American Idol" double bill at the Pepsi Center, not much.

On the face of it, Kelly Clarkson and Clay Aiken — the winner and runner-up, respectively, of the Fox reality show's first two seasons — delivered exactly what was expected of them: soaring, over-the-top vocals; sappy, generic love songs; and vague, inoffensive declarations of self-empowerment.

Yet that's the problem with these two. While Clarkson and Aiken received tens of millions of votes during their respective "American Idol" runs, there's almost nothing exceptional about either star. And there's certainly nothing to justify either's status as overnight, arena-level acts.

Certainly, both "AI" stars can sing very well; they've each got strong, conventional voices that get the job done, but, in the end, don't really stand out.

In fact, the singers seem to have gotten to where they are by sheer force of personality rather than pure talent: geek-turned-hearthrob Aiken still trades on the "aw shucks" persona that made him last year's surprise stand-out, while Clarkson tempers her newfound role as a pop star with a bubbly brand of G-rated Texas charm.

Aiken opened Tuesday night's concert (the two trade off headlining chores), and appeared to be the favorite of the shrieking, not-quite-capacity crowd, a group ranging from face-painted, school-age kids to senior citizens.

Keeping with "American Idol's" karaoke theme, Aiken devoted about half of his hour-long set to covers, opening with Mr. Mister's'80s hit "Kyrie" before getting to a procession of treacly ballads from his debut, Measure of a Man.

Through it all, Aiken was in fine voice, confidently working the crowd while, seemingly, pouring himself into his songs with an almost palpable joy. After a medley of tunes by Sting, Leo Sayer and James Taylor, though, he made his only misstep of the night: offering a horrid, soulless cover of Prince's "When Doves Cry."

Dig, if you will, this picture: Clay Aiken, one of the whitest men in show businesses, turning the Purple One's stark, funk-pop classic — a song practically dripping with sex — into a bombastic and sterile number that sounded like it belonged in an Andrew Lloyd Webber musical.

After a quick stage changeover, Clarkson followed this travesty with an equally predictable set, mining last year's Thankful for a string of pleasant ballads and a few more up-tempo cuts, like her monster "Miss Independent," the highlight of the night. She wrapped her performance by playing to her teen fans' parents with another vintage nugget: Journey's "Open Arms," a duet with Aiken.

Like Aiken, though, Clarkson was, in the end, neither spectacular nor embarrassing, just merely adequate. And that's really about all you'll get by trying to fabricate a consensus-building candidate, "American Idol" style.


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« Reply #46 on: April 16, 2004, 04:22:16 AM »

KANSAS CITY

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Review: Kelly Clarkson and Clay Aiken
By ROBERT EISELE
Special to The Star

The pungent aroma of peanut butter and cotton candy hung heavy in the air at Kemper Arena Thursday night, providing a portent of the empty musical calories to come in the evening's Kelly Clarkson/Clay Aiken concert.

The singing duo represent one winner and one also-ran from the hit television series “American Idol,” the participatory nationwide talent contest that is currently inching toward the end of its third season. Clarkson, the winner from the show's inaugural outing in 2002, was first out of the gate at Thursday's show.

Dressed in a black halter top over torn blue jeans, the singer demonstrated little stage presence in a 45-minute set that included a number of tunes from her debut “Thankful” disk.

“What's Up Lonely” offered a funky, hip-hop beat, backed up by a toothy lead guitar solo from the hard-working, five-piece band that accompanied both singers.

While young fans hurled a flurry of stuffed animals at her feet, Clarkson plopped herself atop a piano for a stripped-down arrangement of “Beautiful Disaster,” an emotionally charged love song that seemed well beyond the emotional reference points of most of her audience.

“Why Haven't I Heard from You” was a sassy, attitude-filled cover of the Reba McEntire original that provided a welcome change-of-pace from such hopelessly sappy ballads as “Timeless,” which was performed as a duet with one of her backup singers.

But Clarkson was back firmly at center stage in the solo spotlight for her signature power ballad “A Moment Like This,” which she performed while signing autographs for audience members at the edge of the stage.

Aiken took the headliner's slot, emerging at the back of the arena and making his way through the crowd (with the help of a phalanx of security guards) while performing an infectiously percussive arrangement of Mr. Mister's “Kyrie.”

The singer, who could be the gawky lovechild of Barry Manilow and Anne Murray, has a pleasant if unremarkable voice. Sporting an eggbeater hairstyle and a few day's growth of stubble, Aiken was earnest and eager to please throughout a sunny set of ballads, syrupy love songs and bubblegum pop.

Prowling the stage and a runway built out into the audience, the singer offered up a steady stream of bland, connect-the-dots melodies that included “Perfect Day,” “Invisible,” and “Measure of a Man.”

He fared somewhat better on a medley of cover songs delivered with his musicians and backup vocalists clustered around him in a tight circle. Included in the brief acoustic set were Sting's “Fields of Gold,” James Taylor's “Carolina in my Mind” and Prince's “When Doves Cry,” the latter marred by Aiken's tiresome interruptions to trade quips with his backup singers.

The ostensibly sincere performer thanked his fans for their support, and dedicated the love song “The Way” to the loyal crowd sporting the “Clay Mates” t-shirts all around him.

Clarkson reappeared for the finale of “Open Arms” decked out in a Tina Turner fright wig, spiked heels and black mini-dress, which apparently was as much of a surprise for Aiken as it was for the crowd. Her curtain call getup was about the only unpredictable element in a largely forgettable evening.

Reviewed: April 15 at Kemper Arena
Attendance: 8,000 (approx.)


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« Reply #47 on: April 16, 2004, 10:53:43 PM »

ST PAUL

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Concert review: Aiken's star quality shines in St. Paul

Jon Bream, Star Tribune
April 17, 2004

"American Idol" is about that one shining moment when a singer has to prove if he or she has it -- whatever it is.

A concert is about that hour or so when a singer has to prove if he or she has the voice, the repertoire, the moves, the presence, the presentation and the indelible personality that will bring concertgoers to their feet and compel them to stand in line to buy a T-shirt, CD and a ticket for another concert.

"American Idol" stars Kelly Clarkson and Clay Aiken are new at this concert business. And their Independent Tour Friday at the Xcel Energy Center suggested that, despite their obvious talents, both still have a ways to go.

Aiken has it -- that undefinable star quality. He commanded the stage in front of 11,783 screaming fans. There was a bounce in his step, attitude in the tilt of his fedora, drama in his gestures and a twinkle in his eyes.

A natural performer who used to be a special-ed teacher, the North Carolinian, 25, manifested a special way of reaching out and touching people. He just didn't sing into a fan's cellphone but rather carried on a conversation with a surprised woman. He had a sense of where he was, mentioning that St. Paul had been the site of his first-ever concert last year with the American Idol II Tour, and now it was the site of his final show on his second tour.

However, Aiken was clueless when it came to the visuals. His blue-and-gray outfit was as drab as his stage set, and his lighting was as bland as his band's all-white outfits.

Musically, the strong-voiced Aiken showed a sense of style, walking down the middle-of-the-road with big, sentimental pop ballads. He delivered the songs with more dynamics and drama than they have on his best-selling album, "Measure of a Man," but, frankly, his material is unremarkable beyond his hits, the catchy "Invisible" and the schmaltzy "The Way." His choice in covers was hit - and-miss, with James Taylor's "Carolina in My Mind" being as prudent but his interpretation of Prince's "When Doves Cry" was as misguided -- as his dance during the song with Clarkson was awkward and stiff.

During her set, the very casual Clarkson showed a better sense of visuals, her stage decorated with large ersatz candles and colorfully lit sheets of fabric. And halfway through her set, the Texan, 21, changed out of her T-shirt and jeans and brought some much-needed sparkle to the stage with some rhinestone jewelry.

Her powerhouse voice was showy, too, and that's her style, as she jumped from R&B to cabaret to country to pop. Especially impressive was a new, unrecorded ballad, the snarling and spirited "Don't." It could join "Miss Independent,"Low" and "A Moment Like This" in her hit parade. But it was clear that Clarkson, who had an anonymous personality, is more about hits than about it.


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POP MUSIC REVIEW: Clay finding way; Kelly may go another

BY ROB HUBBARD
Pioneer Press
Posted on Sat, Apr. 17, 2004

You could call "American Idol" a triumph of democracy. After a presidential election that went to the Supreme Court, America turned on the radio and found tiresome predictability, with large media companies dictating playlists in every metropolis and small town nationwide.

But the "American Idol" TV show allows music lovers to throw off the bonds of the music industry. Instead of just accepting the flavor of the month pop radio serves up, they have the opportunity to choose their own stars by popular vote, with not an electoral college to be found.

On Friday night, St. Paul hosted a celebration of this relatively newfound form of musical democracy as the first-season winner, Kelly Clarkson, shared a bill with last year's runner-up, Clay Aiken. And what 11,783 fans at Xcel Energy Center found were two talented singers who may be headed in opposite directions.

The elfin Aiken embraces the role of star yet seems uncertain how to fulfill its duties. Clarkson knows the expectations, has plenty of star power and stage presence, but seems to have the confidence to change career directions from the pop queen persona designed for her.

Even Clarkson knows that in the year since she released her debut album, Aiken has eclipsed her in popularity. His first single broke the all-time first-week sales record (previously held by Elton John), and his debut album opened at No. 1.  The special education teacher from Raleigh, N.C., has an astoundingly faithful following for a new artist, and the power-pop ballads he leans on play to his strengths.

On Friday, Aiken did everything in his power to come off as a man of the people — just another awkward guy who happens to have a great voice. Hence, he made his entrance from the back of the Xcel floor, running through a string of songs from his album and selected covers while dressed in Converse All-Stars and a dangling dress shirt.

He seemed out of place amid the flashy pop professionals backing him, but tried to prove his mettle by holding notes longer than his backup singers and engaging in a series of ultimately irritating last-night-of-the-tour practical jokes.

Clarkson opened her set strumming an acoustic guitar, clad in ripped jeans (and not designer-ripped, either) and a black T-shirt reading, "Simon says I'm good." Looking more like the waitress and movie-theater employee she was in Texas before "Idol" beckoned, Clarkson's one-woman declaration of casual Friday was refreshing and left one wondering if she wasn't going to throw off the pop and become a folkie.

But the material from her debut is pretty poppy, so she soon changed costumes to the black spandex of a gangsta queen. However, don't be surprised if the funky diva of "Miss Independent" doesn't declare her own independence and settle into a smaller and more comfortable following.

When she and Aiken performed Journey's "Open Arms" at evening's end, it seemed more his style than hers, and their final embrace seemed like goodbye and good luck to Aiken as he continues down the path from which she may now detour.


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Quote
CLARKSON, AIKEN IDOLIZED

By Brigit - Contributing Writer
and Lindsey Reed - Contributing Writer
Friday, April 30, 2004

Thousands of screaming teenagers. Hundreds of overpriced souvenirs. Six gratuitous key changes. Three fresh-faced, cynical Oles. Two American Idols.

On April 16, three fairly musical St. Olaf students, representing the
bachelor of music major, the Cantorei Choir and the St. Olaf Band, left
campus in their best teenybopper tops and glitter makeup, prepared to
scoff at some of the newest representatives of the pop music world.

Destination? The "Independent Tour, in which Clay Aiken and Kelly
Clarkson, made famous by the popular reality TV show "American Idol",
showcased their bubblegum-pop repertoire before fans whose phone-in votes brought about their initial success.

As the three students representing St. Olaf took their seats in the
crowded stadium of the Xcel Energy Center, they were dissonantly greeted by the opening act, Beu Sisters.

The seeming claim to fame of this group was their ability to perform
endless gyrations in skimpy tank tops while failing to blend vocally or
remain on pitch. For the three Oles in the audience, the situation looked grim.

Luckily, hope materialized in the form of the backup singers for Clay
Aiken's set, who began the cover of Mister Mister's "Kyrie Eleison." The
crowd rose to its feet as Clay's powerful pipes soared through the
Center.  Entering from the audience, Clay made his way to the stage through thousands of screaming teenyboppers, soccer moms and three (now excited) Oles.

Aiken performed a diverse set of music that included selections from his recent album, "Measure of a Man," as well as covers of artists ranging from Sting to Prince. His warm, winning voice wrapped around the notes with ease, showcasing his impressive range.

Aiken's musical choices, especially a medley of covers in which he
ridiculously embellished several other artists songs, seemed like musical
grandstanding. Overall, however, his performance went off without a
hitch, and he more than won his audience over with his undeniable vocal
talent and boyish Southern charm.

Kelly Clarkson's set came next, and she, too, gave a winning  performance.  Particular highlights included a slower, piano accompaniment-only version of "Beautiful Disaster," as well as a new song from her second album, "Don't," which spoke to the millions of people who have ever experienced unrequited longing in supposedly platonic relationships.

Clarkson was at her best in these slower, contemplative moments. Her
fans know she can belt, but in this concert, Clarkson showed them that
she can connect with them on a personal level of shared emotion and
experience.

Although the cynical St. Olaf musicians had come to the Independent
Tour expecting to have fun with Clay and Kelly, they had not expected to
be impressed with the Idols musical integrity. Yet, in the end, even they, musical Oles that they are, had to admit that the two displayed
commendable vocal technique in a genre that is too often tainted with
misguided attempts at vocal agility and sexual affectations.

Their musicality, combined with their approachable, winning stage
personalities, made Clay and Kelly's concert an event worthy of the musical Oles time.


ST OLAF UNIV
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« Reply #48 on: April 24, 2004, 11:23:21 AM »

Concert Data
LOCATION............GROSS.........ATTN.......CAPACITY.......% CAP
Charlotte, N.C.......$367,875......8657.........8959................96.6%
Duluth, Ga............$417,642......9166.........9636................95.1%
Tampa, Fla............$323,247......7198.........7829...............91.9%
Miami, Fla............. $245,818......5395.........6204...............87.0%
Raleigh, N.C..........$586,230.....13538.......13538.............100.0%
Philadelphia, Pa......$368,378......7934.........9229...............86.0%
Uniondale, N.Y........$565,198....12501.......12769...............97.9%
Washington, D.C....$458,128.....10627.......12102...............87.8%
Wilkes-Barre, Pa....$321,470.......7660........7898...............97.0%
Worcester,MA........$448,170.....10408.......10408.............100.00%
Columbus,OH.........$432,28.......9279........11270..............82.33%
Detroit, Mich..........$431,584......9654........11767..............82.04%
Winston-Salem.......$429,090......9828........9828..............100.00%
Grand Prairie.........$287,306.......6094........6094..............100.00%
St Louis, MO..........$375,595.......8195.......10298...............79.58%
Chicago,IL ............$436,250.....10002.......10724.............. 93.27%
Omaha, NE............$320,957.......7081........7526................94.09%
Salt Lake City........$280,235.......6561.......10119...............64.84%
Las Vegas, NV.......$286,109....... 5859.......7199................81.39%
San Diego, CA.......$254,072.......5301........8215...............64.53%

THROUGH MARCH 30, 2004:
Total Shows: 20
Total Sellouts: 4
Total Gross: $7,635,637
Total Attendance: 170,938
Average Gross: $381,781.85
Average Attendance: 8547
Average Capacity: 9580
Percent Capacity: 89.2%
NOTE: There are some discrepancies between Pollstar and Billboard.

You can see that SLC and San Diego really bring down the % capacity. It'll be interesting to see what numbers Billboard reports on that.

BUT, overall, these numbers are GREAT. To be playing Arenas at this point in his career is amazing. Lots of bigger named acts are playing much smaller venues.... Speaking of smaller venues, there wasn't any new data on Ruben's "tour", but as soon as Pollstar has it, I'll report on it.[/quote]

Data compiled by hockeydonna at the Clackhouse.  Thanks!
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