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• Jul 31 2024 Outlaw Music Festival Los Angeles 2024 Los Angeles, CA, USA  –  Find tickets Add time Tickets Add time Add times
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John Mellencamp at The Soundtrack of Our Lives: A Tribute to the Legendary Clive Davis 2024

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John Mellencamp at American Music Honors 2024

• Jack & Diane

John Mellencamp at Johnny Mercer Theatre, Savannah, GA, USA

John mellencamp at chrysler hall, norfolk, va, usa.

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• Paper in Fire
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• Longest Days
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John Mellencamp at Township Auditorium, Columbia, SC, USA

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John Mellencamp

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John Mellencamp is an American rock musicians, songwriter and singer. He is best known for his catchy heartland rock, and is originally from Seymour, Indiana.

John Cougar Mellencamp was born on 7 October 1951 and formed his first band at the early age of 14. Around 1975 he found someone who was receptive to his music from MainMan management named Tony DeFries, who insisted Mellencamp used Johnny Cougar as his stage name in order to be easier to market. Mellencamp recorded an album of cover songs, but it didn’t sell well. Eventually, he parted ways with DeFrieds and signed to Riva Records and paired with Rod Stewart’s manager, Billy Gaff. Mellencamp then briefly moved to London to record and tour for his album “A Biography.” The record, which was not released in the United States did manage to chart in Australia.

Upon returning to the United States, he recorded and released “Nothin’ Matters an What If It Did?” which did have two charting singles; however, Mellencamp was not too happy with the finished product. His breakthrough album finally came in 1982 with the release of his album, “American Fool.” With the commercial success, Mellencamp was allowed to push to use his surname.

The 1985 release of “Scarecrow” was the first album that he recorded in his home studio, and saw it as the start of his alternative country genre. Shortly after, he partook in the first Farm Aid benefit concert with other founders, Willie Nelson and Neil Young, followed by a tour for “Scarecrow.” By the early 90s he dropped Cougar from his name and was billed simply as John Mellencamp.

By the early 21st century, he paired up with other artists for collaborations, and in 2005 set out on tour with John Fogerty and Donovan. He released his eighteenth album, “Life, Death, Love and Freedom” in 2008, and sold over 50,000 copies. Continuing a strong touring schedule and releasing albums, he continues into 2014, most recently with his album “Troubled Man.”

Live reviews

This was my first time seeing John Mellencamp after being a fan since I was a young kid. I grew up listening to his music and watching his videos on MTV and I thoroughly enjoyed the rock with a dash of country violin.

The show at the Chicago theater was probably a lot different than someone who would have seen Mellencamp in the 1980s would expect. Mellencamp is older and maybe/maybe not wiser from the lyrics of his songs. His newer music has a slower tempo, seems more introspective and looks at the world from the viewpoint of a man who has seen a lot of life.

The show started off with new material from his Plain Spoken album (most recent release). "Lawless Times," "Troubled Man," and "Minutes to Memories" were all played at the start of his show to capture the attention of his audience and hopefully focus it on his newer work. As a long time fan, I find it hard to reconcile his new music with the music I grew up loving. I do not mean this in a bad way. It is just that in my brain, John Mellencamp is still under thirty and raising hell in rural Indiana. Hearing his more mature voice in his new work is a pleasant surprise because the songwriting is in the same vein, just from a man who still dances, albeit a bit more slowly.

Mellencamp also played several fan favorites, "Small Town," "Jack and Diane," "Paper in Fire," "Check it Out," "Cherry Bomb," "Crumbin' Down," and "Authority Song." Each of these was a thrill to hear live from the man who defined so much of my youth. "Jack and Diane" was done acoustically which was a nice change to a song well over thirty years old. Mellencamp mentioned a sore throat and an almost cancellation of the show a few songs in but it was hard to tell how much his voice was affected because it sounded like John Mellencamp. Several songs seemed to have minor changes but that could have just been normal recorded-to-live-version differences. If the songs were changed structurally to give them a different feel for an audience that has been hearing them for thirty years or longer then I do not object as they were true enough to the originals to still resonate even if they stood apart from the originals themselves.

Overall, the energy level was pretty intense when you consider that Mellencamp has been performing live for "45 years" in his words. The band was tight and sounded great. Guitar, drums and violin packed the same punch for me as they did on the radio in 1982.

The show was my fiance's first real exposure to Mellencamp (she is from the East Coast originally and was not into him prior to the show). She danced, liked his bluesy renditions of "Catastrophe Called Life" and "Longest Days" and left with a much deeper understanding of why I have been such a long time fan. She commented on the walk back to the car how the songs really capture all of his life, from frustration with the small town life, the craziness of youth and a final acceptance as he gets older.

I wish the sound people at the Chicago Theater would have punched up the violin because being up the balcony, it sounded a little too quiet compared to the rest of the band and especially in his older work, the violin drives the tempo of the music. Also, Theater staff should have done a better job of shutting down or moving out obnoxious fans who did not know when cackling and loud voices were uncalled for when Mellencamp was speaking.

As far as Mellencamp and his band, I hope I get to see them again.

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John Mellencamp - or John Cougar Mellencamp, depending on who you ask - is one of those songwriters who seemed to embody the eighties for all who followed him; like Bruce Springsteen, his trademark style of heartland rock certainly tapped into something undeniably American, but not necessarily in a way that was trite or exploitative of the flag; instead, this was music for the people. A slew of the top ten hits that he had in his homeland during his eighties heyday were very much rooted in that way of thinking; the likes of ‘Pink Houses, ‘Cherry Bomb’ and ‘Small Town’ were all based around Mellencamp’s everyman lyrical style, with his critical attitude towards the Reagan administration prominent throughout. That’s not to say, though, that Mellencamp’s considerable cult fanbase is exclusively politically-minded; instead, many of them buy his records and turn up to his shows for nothing more than good old fashioned rock and roll. He’s more than happy to oblige, too; on his most recent tour of the UK, in the summer of 2011, he performed epic, career-spanning sets to the delight of packed theatres, proving that his appeal is not just limited to the U.S. With his twentieth studio album set for this Autumn, it won’t be too long until he’s back on these shores - news that will thrill his cult following over here.

Seeing John Mellencamp was never a goal of mine, nor was it truly an interest of mine; however, my dad is a huge fan of John Mellencamp, so I was dragged to a live set to keep my dad company. Luckily it turned out to be a pleasant surprise and a great experience to have shared with my dad. As we filled into the venue, the first thing I noticed was how I may or may not have been the youngest person there. Most of the people were around my dad’s age, but there was still that high excitement of anticipation of the coming show. The anticipation and cheers were matched by the high energy from the moment the band started to play. They opened with “Small Town,” and Mellencamp was center stage playing his guitar. The entire venue was filled with people having a good time, both on and off stage. I was surprised to realize that I really knew a good amount of the songs that he performed, even to a point where I was singing along. Despite no longer being at the absolute height of his music career, his vocals were so on point, sound exactly the same as his younger days. Clearly a seasoned performer who knows how to give the audience what they want.

The opening act for the show was actually a 25-minute long documentary it was quite boring most people in the crowd were talking through it. A few of the crowd were being disruptive and security did nothing. One joker kept booing Mellencamp, another lady kept getting out of her seat and moving forwards to record her own video and pictures and blocking the view of us who stayed in our area.

Mellencamp himself was great. He sounded awesome, did all the favorite songs, talked with the audience, told a hilarious joke about the US/Canada proposed wall, and was a fun guy to watch. Some of the loudest sing-along segments I've ever seen too.

It was a 90 minute or so set once the documentary was over, and no encores, however. So not a very long concert.

Still worth going if you like his music. I still enjoyed myself.

Ps - at least at TD place you were only allowed a drink in a cup, no water bottles allowed.

The show started about 5 minutes late with a "movie" showing the background and life of John Mellencamp. It lasted 30 minutes, the sound was horrible and it was difficult to see the pictures. It was dissappointing it was so long as We all paid good money to see a musical concert not to watch a 30 minute movie. Once the band started it was a great show. John didn't talk much except for a small story about his Grandmother and introducing himself which was fine. He played all the big hits except for one and many new and not so common songs. The concert ended in under 90 minutes and though there was lots of shouting and cheering, the lights came up and it was over. I really expected him to come back out for an encore of the song he was known for and hadn't sang during the evening. When playing it was great, though short and the movie was way too long to see while waiting for him to perform.

I saw Mellencamp in 1985 in Chattanooga. I wasn't a fan of his at the time, didn't own any of his albums, but I did know his songs that played on the radio. I got tickets and went only because it was something to do. Wow, that was one of my good choices. He had no opening act and except for a 5-10 minute break he had to take to run to the bathroom, he and his band lit up the arena for nearly 3.5 hours. From that day on, I was a Mellencamp fan. Some 500 concerts later, that show still ranks in my Top 3 of all time. Take some advice and listen to the "Uh, huh" and "Scarecrow" album and hear what a very tight band sounds like. Then catch him live, you won't see great live shows like him very often, especially now with computer generated music and autotune vocals running rampant in music today.

I loved the show! It did start promptly at 8:00pm, with a documentary film, which was nice. It got people in their seats before he actually came on stage. He performed many of his oldie-but-goodie songs and several new songs. John engaged the audience with a few stories, but spent most of the show singing. The acoustics at our venue were fantastic- so everything sounded perfect. I really really enjoyed hearing the songs I grew up listening to. Unfortunately, some of my favorite songs never received much airplay so weren’t included in the show. But the songs he did play, brought down the house. I’d highly recommend seeing the show if you have the chance!

The show began promptly at 8...with a 30 minute documentary about John Mellencamp. It was boring. Every time it faded out the crowd cheered thinking "Now the show will start!" But it kept going! The concert goers were annoyed and bored.

The concert itself lasted about 90 minutes. It was a good show, John took one short break while his keyboardist and violinist played very very well.

He did most of the hits I could think of and a bunch of songs I'd never heard before. A mix of new and old. There was no encore, which was a tad disappointing for the price of the tickets and given length of the actual concert.

Can't say I'd recommend it at the price of entry.

What a wonderful show!! I have been desperate to see John for only the second time for many years and I wasn't disappointed. The show begins with a film showing the long history of this great artist and then the band comes on and what a band. They were brilliant and so enthusiastic with the electric fiddle played bouncing around the stage. They are all talented musicians in their own right but in combination with John's great songs they were phenomenal. John interacted with the audience a little but this was about his music and we got plenty of that. What an incredible show, would love him to bring it to the UK, I would be first in line to see it again!!

This was my first time seeing John Mellencamp in concert. I did not really have the money to go to concerts growing up. But all I can say is I wish u could have, but I'm just glad I got to see him perform. He still sounds amazing even at a ripe 68 years old. The entire auditorium was singing the choruses fo songs for him. It was truly amazing. John Mellencamp was my favorite artist as I was growing up. I remember telling my mom I think Mellencamp deserves the the title of the king more than Elvis. Anyways, if anyone gets the chance to go and experience John in concert, do yourself the favor and go. You won't be let down.

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John Mellencamp

A pop sensation in the 1980s, singer-songwriter John Mellencamp has evolved into one of rock’s most enduring acts, and given voice to the small-town experience.

Who Is John Mellencamp?

John Mellencamp began his musical career in the mid-1970s as Johnny Cougar. A pop sensation in the 1980s, Mellencamp has evolved into one of rock’s most enduring acts. He often gave a voice to the American small-town experience in his music — something he knows quite well from his childhood in Indiana. His breakthrough 1982 album, American Fool, featured the No. 1 track "Jack & Diane," and throughout the decade he cemented his popularity through hits like "Pink Houses and "Small Town." Mellencamp continued churning out music as his sound matured, returning to the spotlight in 2007 with his album Freedom's Road . Elected to the Rock and Roll Hall of Fame the following year, he continues to release new material and tour regularly.

Early Career

John Mellencamp was born on October 7, 1951, in Seymour, Indiana. Mellencamp, who recovered from neonatal surgery to correct a spinal defect, developed an early interest in music. He started playing in a cover band called Crepe Soul in his early teens. With a rebellious streak, Mellencamp hung out with his friends and partied instead of paying much attention to his schooling. His disciplinarian father, an executive with a local electronics firm, tried to motivate him to pursue athletics and his studies, with little luck. At the age of 18, Mellencamp eloped with his pregnant 21-year-old girlfriend, Priscilla Esterline. The couple soon welcomed a daughter, Michelle.

The first Johnny Cougar album, Chestnut Street Incident , was released by MCA in 1976, but failed to sell many copies. Derided by critics, Mellencamp was viewed by some as a lesser version of Bruce Springsteen or Bob Seger. MCA never released his second album and dropped him from the label, and Mellencamp soon parted ways with DeFries, as well.

Mainstream Success: "Jack & Diane" and "Hurts So Good"

Mellencamp’s fortunes eventually improved. His single "I Need a Lover" became a hit in Australia in 1978, and then a Top 30 track in the U.S. upon its release with the John Cougar album in 1979. His next effort, Nothing Matters and What If It Did (1980) had two successful singles, “This Time” and “Ain’t Even Done With the Night.”

While his career was gaining traction, Mellencamp was going through some changes in his personal life. His first marriage ended in divorce, and he wed Vicky Granucci in 1981. The couple had two daughters, Teddi Jo and Justice, before divorcing in 1989.

Mellencamp’s big breakthrough came in 1982 with the chart-topping album American Fool . His ode to a young couple in middle America, “Jack & Diane,” reached the top of the pop charts. For “Hurts So Good,” another hit from the album, Mellencamp won the Grammy Award for Best Rock Vocal Performance, Male. The videos for both songs were often played on MTV, further boosting the artist's popularity.

The following year, Mellencamp enjoyed more commercial success with Uh-Huh , which became a Top 10 album on the strength of three hit singles: “Crumblin’ Down,” “Pink Houses” and “Authority Song.” Now calling himself John Cougar Mellencamp, he was also garnering stronger critical acclaim for his songwriting abilities.

Mellencamp's next album, the widely acclaimed Scarecrow (1985), featured a mixture of styles, from the uptempo “R.O.C.K. in the U.S.A (A Salute to 60's Rock)” to the more introspective “Small Town,” to the stormy dirge “Rain on the Scarecrow,” which explored the plight of the family farmer. This subject was especially close to his heart: A co-founder of Farm Aid, an organization dedicated to supporting American family farms, Mellencamp helped organize its first concert in 1985 and remained active on the charity's board.

Maturing Sound

Mellencamp continued to mature as an artist with his next recording, The Lonesome Jubilee (1987), which featured some experimentation with a folk rock-type sound. Three tracks from the album—“Paper in Fire,” “Cherry Bomb” and “Check It Out”—reached the Top 20 of the pop charts.

Mellencamp's following albums remained strong sellers, though he delivered fewer singles that made it onto the charts. Big Daddy (1989) had the self-satirizing hit “Pop Singer,” while Whenever We Wanted (1991) featured “Get a Leg Up.” For the artist, the making of the album was a life-changing event: Not only was it his first release under his given name of John Mellencamp, it also allowed him to meet model Elaine Irwin, who was featured on the album cover and in the video for "Get a Leg Up." The couple married in 1992, and went on to have sons Hud and Speck.

Around this time, Mellencamp tried his hand at acting. He directed and starred in the feature Falling from Grace (1992), a semi-autobiographical drama about a successful musician returning to his small-town roots. The screenplay was written by famed Western novelist Larry McMurtry.

Continuing with his music, Mellencamp delivered Human Wheels (1993), scoring solid radio play with its title track and "What if I Came Knocking." His next release, Dance Naked (1994), featured his biggest hit in years, a cover of Van Morrison's "Wild Night" with singer Meshell Ndegeocello. However, that year Mellencamp had to abruptly cancel a tour after suffering a heart attack. This health crisis led to some lifestyle changes for the artist, who curbed a serious nicotine habit and began exercising. “I didn’t work out at all until I had the heart attack,” he later told People magazine.

Recognition and Revival

Returning to the studio, Mellencamp teamed with dance music producer Junior Vasquez to create Mr. Happy Go Lucky (1996), which featured a modest hit in "Key West Intermezzo (I Saw You First)." The following year, he resumed touring regularly.

While no longer a mainstay on the pop charts, the artist continued churning out music that reflected his musings on life and middle age via the albums John Mellencamp (1998), Rough Harvest (1999) and Cuttin' Heads (2001). He was also honored for his impressive body of work with the 2001 Billboard Century Award. "John Mellencamp is arguably the most important roots rocker of his generation," said Billboard editor-in-chief Timothy White. "Mellencamp's best music is rock 'n' roll stripped of all escapism, and it looks directly at the messiness of life as it's actually lived."

The release of a greatest hits album in 2005 seemed to herald a return to the pop culture spotlight, and in 2007 Mellencamp capitalized on the momentum with the unveiling of Freedom’s Road . Debuting at No. 5 on the Billboard charts, Freedom's Road included the ubiquitous single "Our Country," which was featured in a series of Chevrolet commercials and earned a Grammy nomination.

In 2008, he found his music caught up in the midst of the election-year politics. A well-known Democratic supporter, Mellencamp had his representatives ask Republican presidential candidate John McCain to stop playing his songs “Our Country” and “Pink Houses” during his rallies, according to People magazine.

That March, Mellencamp was inducted into the Rock and Roll Hall of Fame, an occasion he punctuated with a rousing rendition of "Authority Song," featuring his son Speck on guitar. Not content to rest on past accomplishments, he then followed with another acclaimed album, Life, Death, Love and Freedom .

Still Going Strong

While touring with Bob Dylan and Willie Nelson in 2009, Mellencamp recorded new songs at a series of historic locations in the South, including the First African Baptist Church in Savannah, Georgia, and Sun Studio in Memphis, Tennessee. The result was the stripped-down and earnest No Better Than This , which was released in August 2010 to strong reviews. Late that year, he announced he was separating from wife Elaine, and the divorce was finalized the following summer.

With decades of popular music success behind him, Mellencamp proved willing to explore new frontiers. A long-planned collaboration with novelist Stephen King finally came together in 2012, when the production of Ghost Brothers of Darkland County began its run at the Alliance Theatre in Atlanta, Georgia. Mellencamp wrote the songs for this Southern Gothic musical, about a pair of bickering siblings and the spirits that haunt their family.

Around this time, Mellencamp also revealed his talents as a painter to a wider audience. Having devoted more energy to this hobby in recent years, he compiled a collection that led to his first exhibition, Nothing Like I Planned: The Art Of John Mellencamp, at the Tennessee State Museum in Nashville in 2012. In subsequent years, his works were also exhibited at galleries in Georgia, Ohio and New York City.

Still, there was plenty of new music to create. In 2014, Mellencamp released his first studio album in four years, the folk-and-blues infused Plain Spoken . The tireless rocker went on tour to support the album, its final leg winding down in the fall of 2016.

In recent years, Mellencamp has been romantically linked to actress Meg Ryan and supermodel Christie Brinkley.

QUICK FACTS

• Name: John Mellencamp
• Birth Year: 1951
• Birth date: October 7, 1951
• Birth State: Indiana
• Birth City: Seymour
• Birth Country: United States
• Gender: Male
• Best Known For: A pop sensation in the 1980s, singer-songwriter John Mellencamp has evolved into one of rock’s most enduring acts, and given voice to the small-town experience.
• Astrological Sign: Libra

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New Leg of John Mellencamp’s Tour Kicks Off With Solo Acoustic Miniset and Country-Blues Combo

By Patrick Doyle

Patrick Doyle

“If you’re coming to hear the greatest hits, don’t even come,” John Mellencamp , who kicked off a 33-date run last night in Lowell, Massachusetts, tells Rolling Stone . For his first theater tour since 1997, Mellencamp is playing a two-hour-plus show that includes a solo acoustic miniset and a country-blues combo, before finishing with a full band.

“I have zero interest in walking into an arena and banging out those hits again,” he says. “I’m 59 years old. and I look fucking ridiculous.” Instead, he’s busting out rarities like 1989’s “Jackie Brown” and covering Blind Willie McTell. Even his biggest songs are getting reworked: “Authority Song” got a rockabilly makeover, and “Jack and Diane” has become a country-swing tune.

Farm Aid 25: Willie Nelson, John Mellencamp , Dave Matthews, Neil Young, Steven Tyler and More 

Instead of bringing along a warm-up band, Mellencamp is screening a documentary, It’s About You , shot on the road during his tour with Bob Dylan in 2009. “I like the idea of people walking into the theater and a movie is playing,” he says. “It’ll be like those old Dick Clark Caravan of Stars revues.”

Photos: Random Notes

The singer is touring off No Better Than This , his 25 th album, which was recorded with producer T-Bone Burnett in historical locations like Sun Studio in Memphis, the First African Baptist Church in Savannah and a hotel room in San Antonio where Robert Johnson recorded. It’s received some of the best reviews of his career, which baffles Mellencamp.

“I write the same fuckin’ four songs over and over again,” he says. “It all depends on how we dress ‘em up.” Still, he admits he’s improved from his Nineties output. “When I was with a major label for 29 years, they looked at me as a singles hit maker. When you have that kind of pressure put on you, you tend to kind of accommodate people. But as my career went on in the Nineties I didn’t care abut making records. I made them, but I didn’t give a shit. It was just something I had to do.”

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As for the singer’s upcoming plans, his decade-in-the-works musical Ghost Brothers of Darkland County – a collaboration with Stephen King – will premier at Atlanta’s Alliance Theatre in 2012. Liv Ullmann is set to direct, Meg Ryan may star and the soundtrack is nearly done. Produced by T Bone Burnett, the LP will include tracks written by Mellencamp and sung by Kris Kristofferson, Elvis Costello and Rosanne Cash. “For Americana music,” says Mellencamp, “it’s about as different as Sgt. Pepper was for rock music.”

Here are John Mellencamp’s full tour dates:

Feb. 4 – Waterbury, CT – Palace Theatre Feb. 6 – Ottawa, ON – National Arts Centre Feb. 9 – Toronto, ON – Massey Hall Feb. 10 – Toronto, ON – Massey Hall Feb. 15 – Washington, DC – DAR Constitution Hall Feb. 18 – New York, NY – Radio City Music Hall   Feb. 19 – New York, NY – Radio City Music Hall Feb. 21 – Philadelphia, PA – Academy Of Music Feb. 24 – Richmond, VA – Landmark Theatre Feb. 26 – Columbia, SC – Township Auditorium Feb. 27 – Atlanta, GA – Fox Theatre Mar. 1 – Durham, NC – Durham Performing Arts Center Mar. 3 – Ft. Lauderdale, FL – Broward Center Mar. 4 – Clearwater, FL – Ruth Eckerd Hall Mar. 5 – Jacksonville, FL – Times Union Center Moran Theatre Apr. 1 – Grand Prairie, TX – Verizon Theatre Apr. 2 – Austin, TX – Austin City Limits Live at The Moody Theatre Apr. 3 – Houston, TX – Jones Hall for the Performing Arts Apr. 6 – Denver, CO – Temple Buell Theatre Apr. 8 – Los Angeles, CA – Nokia Theatre Apr. 9 – San Francisco, CA – The Warfield Apr. 12 – Seattle, WA – McCaw Hall at Seattle Center Apr. 13 – Vancouver, BC – Orpheum Theatre Apr. 15 – Edmonton, AB – Northern Alberta Jubilee Auditorium Apr. 16 – Edmonton, AB – Norther Alberta Jubilee Auditorium Apr. 19 – Saskatoon, SK – TCU Place Apr. 22 – Regina, SK – Conexus Arts Centre Apr. 23 – Regina, SK – Conexus Arts Centre Apr. 25 – Winnipeg, MB – Centennial Concert Hall Apr. 27 – Omaha, NE – Omaha Civic Music Hall Apr. 28 – Ames, IA – Stephens Auditorium  May 1 – New Orleans, LA – Jazz & Heritage Festival

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The Setlist:

Authority Song No One Cares About Me Death Letter John Cockers Walk Tall West End Check it Out Save Some time to Dream Cherry Bomb Delia Don’t Need This Body Right Behind Me Jackie Brown Longest Days Easter Eve Jack and Diane Small Town Scarecrow Paper in Fire The Real Life What If I came Knocking If I Die Sudden No Better Than This Pink Houses Rock In The USA

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March 09, 2024 Music » Music Reviews

Concert Review | John Mellencamp 

• PHOTO BY DANIEL J. KUSHNER

John Mellencamp, center, and his band perform at West Herr Auditorium Theatre on March 8, 2024.

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Mellencamp, back on tour after four years, brings it home with grit and energy

Halfway through a two-hour expedition through half a century of folk-rock storytelling, John Mellencamp spun a little Indiana wisdom for his hometown crowd at Indiana University Auditorium Sunday.

"I'm 71 now, and I'm going to tell you what I've learned … the trick is not giving a f---."

Cheers and light laughter from the crowd.

"We give too many f---s about things that don't matter … what I found out is you need to give a f--- about yourself and the people who love you. Beyond that?"

He gave a little shrug.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Sunday night's show marked the launch of Mellencamp's first tour in four years. He was grayer, and his voice had more gravel. But he brought energy and intent to the performance, proving able to occasionally spit out the rocks and coat his vocals in just a hint of sugar.

It worked. You don't need a purely angelic voice for heartland anthems. In fact, the salt probably helped.

In an era in which younger, lesser artists sing along with backing tracks just to make it through an evening, Mellencamp gave us his music, new and old, using the voice and body he has in 2023. And a few slip ups — including an unfathomable omission from his setlist — did not spoil the evening.

Album review: John Mellencamp's new album is a grim, diverse musical journey with mixed results

The show began with one fan's Indiana invocation, followed by the strangest opening to a rock concert I have ever seen.

As the audience awaited the Seymour-born songwriter, someone in the balcony shouted "IU beat Purdue, and now we're at Mellencamp."

Some sparse applause confirmed it: We were on the figurative Indiana mountaintop on this night.

But 30 minutes before showtime, and an hour before Mellencamp actually hit the stage, the auditorium darkened and a film screen dropped down. I realized Turner Classic Movies had sponsored the tour. This was the opening act — scenes from 60-year-old movies like "Hud" and "The Fugitive Kind."

After 45 minutes of this, the crowd grew rabid.

While Blanche DuBois proclaimed she had always depended on the kindness of strangers, more than a few of the kind strangers surrounding me were howling in anger. This was made even more awkward when the screen ascended to show Mellencamp and his band populating a "Streetcar Named Desire"-themed stage, complete with life-sized mannequins representing the film's four main characters.

It was a bizarre distraction the entire evening. There was Mellencamp, soulfully singing about Jack and Diane with his acoustic guitar, with Stanley Kowalski menacing the crowd from stage right. I wish Mellencamp would have sauntered over and yelled for Stella, just to acknowledge the silliness of it.

One woman in the lobby delivered a pithy critique of this situation as we left the auditorium: "I'm sorry, but 'Animal House,' 'Caddyshack' — those are the classic films of our generation."

The show started slow but picked up a few songs in with "Minutes to Memories" and "Small Town," which blasted the audience to attention. It was a common theme, and one not exclusive to Mellencamp: Sit for the slow or new songs, jump and scream for the classic hits.

More: John Mellencamp to play 8 Indiana shows, reissue 'Scarecrow'

After "Small Town," Mellencamp, dressed simply in a white T-shirt with a dark vest, pants and suspenders, noted his first performance in the Bloomington university's auditorium was in 1984. He thanked the audience for its support ever since. Violinist and fellow Hoosier Lisa Germano, whom Mellencamp said had rejoined the group after 29 years away, led a crack band.

The group carried a lot of the newer music, which is very composition heavy and much different than the singer-songwriter vibe for which Mellencamp became famous. "I Always Lie to Strangers," for example, brings a sweeping melodrama that is definitely not a catchy tune about growing up in the country.

I heard a few sound issues, mainly mic feedback, throughout the night. But overall, it was a decent little noise from my seat in the orchestra.

Mellencamp, his band and his audience heated up down the stretch. He punctuated excellent versions of "Rain on the Scarecrow" and "Crumblin' Down" with limbering up and getting around the stage a bit.

A thunderous cover of Them's "Gloria," which he then brought back to "Crumblin' Down," was the evening's highlight.

Germano slashed an excellent solo for "Pink Houses," which saw Mellencamp turn the clock back. Although not radio perfect — and who wants that at a live show, anyway — his voice came through clear and strong.

He ended with a suitably explosive "Cherry Bomb."

No one has a right to feel cheated after two hours of solid rock music, but confusion and even alarm rang out when Mellencamp did not return to the stage for an encore.

We didn't get "I Need a Lover." OK, that's really Pat Benatar's song at this point. But hold on. What about "Hurts So Good?"

Mellencamp is still creating art. This tour is supporting his 2022 album "Strictly a One-Eyed Jack," and his setlist drew heavily from that and other more recent releases. I'm sure he doesn't want to be pigeonholed into pure nostalgia.

But come on. "Hurts So Good" is the first result when you Google "John Mellencamp song." It was definitely the first song I ever associated with him. It'll be played and enjoyed long after any of us are gone. The disappointment was justified.

More shows in 2023: 20 big live shows in 2023 that you don't want to miss around Indianapolis

We probably should not have been shocked, though. Mellencamp had already brought a jovial "get off my lawn" energy to the stage.

Before slowing the set down, he chastened the audience against screaming during his ballads.

"If you want to do that, go out in the f---ing hallway," he said.

At the end of the show, he attempted to teach the crowd the chorus to "Chasing Rainbows,' one of his new songs. He explained he had never tried this before. If we didn't get it, he would cut it from the tour, which snakes across the country before ending in South Bend in June.

He sang it twice, then handed it off.

We nailed the first line, then immediately flubbed the second.

"Well, that wasn't great, but I appreciate the effort."

The sing along may hit the chopping block. A Bloomington crowd ruining something before it can ever reach South Bend. There's a metaphor somewhere in there.

Looking for things to do?   Our newsletter has the best concerts, art, shows and more — and the stories behind them

Rory Appleton is the pop culture reporter and columnist at IndyStar. Contact him at 317-552-9044 and [email protected], or follow him on Twitter at @RoryDoesPhonics.

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John leguizamo begs for diversity at emmys, takes out full-page ad, john leguizamo takes out full-page ad, begs for change stop whitewashing emmys.

John Leguizamo is pleading with the Television Academy to stop whitewashing award shows -- taking drastic action to get his message across by taking out a full-page signed ad.

The actor begged Academy members to start recognizing people of color for their contributions via an ad he took out in The New York Times -- just in time before voting kicks off for the Primetime Emmy Noms June 13.

He writes, "Dear Hollywood, please let this be the year we finally embrace change. The year we truly find equity and see artists of color represented across not just one category but ALL categories."

JL acknowledges academy members might be tired of hearing buzzwords like "inclusivity" and "diversity" ... but he encouraged them to move beyond just talking about it.

I know everyone one is exhausted about inclusion but not us who are not included. So that’s why I took this add out in the NYTimes. White peoples are only 58.9% of the population but over represented in top positions across the board. They are the decision makers in tech,… pic.twitter.com/hj1nbWKwlu — John Leguizamo (@JohnLeguizamo) June 9, 2024 @JohnLeguizamo

John says taking action is pretty simple, writing ... "There are hundreds of prolific non-white artists who deserve to be considered for awards this year, not because they are simply ... Black, Brown, Indigenous, or Asian, but because they are truly great ... exceptional artists who have achieved that greatness with a foot on their neck for far too long."

He says he hopes this change could mark the start of a new era -- a catalyst to inspire the next gen of minority artists who can finally see themselves onstage or on camera.

John himself has put in some serious work breaking diversity barriers in Hollywood. He bagged his first Emmy in 1999 for Outstanding Performance in a Variety or Music Program for his comedy special "Freak." He's also received 3 other Emmy noms, most recently for 2019's "When They See Us." So he's been one of the most visible actors of color.

John's no stranger to calling out the lack of diversity either. Last year, he threw shade at "The Super Mario Bros. Movie" for its glaring omission of Latinos in the cast.

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The most unusual celebrity baby names of all time.

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Gone are the days when “John” and “Sarah” were viable naming options for the children of the rich and famous. Now, A-listers are getting creative. Here is a list of some of the most unusual celebrity baby names of all time.

X Æ A-12, Exa Dark Sideræl and Techno Mechanicus, kids of Elon Musk and Grimes

Elon Musk and girlfriend Grimes stunned the world after announcing that their firstborn son, whom they welcomed in May 2020, was named X Æ A-12.

The pair clarified that there is a hidden meaning behind the jumble of letters and numbers, with Grimes explaining , “X, the unknown variable, Æ, my elven spelling of Ai (love &/or Artificial intelligence), A-12 = precursor to SR-71 (our favorite aircraft)  … A=Archangel, my favorite song … metal rat.”

The duo were forced to change the youngster’s name to X AE A-XII the following month, however, because special characters and numbers were prohibited on the California birth certificate.

Musk and Grimes didn’t let that deter them, though, and named their daughter — whom they secretly welcomed via surrogate in December 2021 — Exa Dark Sideræl.

The musician and Tesla mogul — who has a total of 11 kids — refer to their daughter as Y, which makes sense since they call their eldest X.

The billionaire revealed in September 2023 that he and his ex quietly welcomed their third child , a boy whom they named Techno Mechanicus but refer to as “Tau.”

Very little is known about the little one, including his birth date.

Bambi , daughter of Molly-Mae Hague and Tommy Fury

Molly-Mae Hague and Tommy Fury, who met on Season 5 of “Love Island,” welcomed their daughter, Bambi, in January 2023. The influencer announced the baby’s name, which is seemingly inspired by the Disney classic, by posting a picture of her nursery featuring a neon sign of her moniker.

Aire Webster, son of Kylie Jenner and Travis Scott

Kylie Jenner revealed in January 2023 that she and Travis Scott named their son Aire , nearly a year after she announced his birth .

The “Kardashians” star clarified that her baby boy’s name is pronounced like “Air” and not “Airy.”

Aire was originally named Wolf , but Jenner shared in March 2022 that she had changed the moniker because it “didn’t really feel like it was him.”

Malibu Barbie, daughter of Trisha Paytas and Moses Hacmon

Trisha Paytas gave birth to her daughter in September 2022. The YouTuber and husband Moses Hacmon named the infant Malibu Barbie.

“She has arrived,” Paytas gushed via Instagram at the time.

Zillion Heir Cannon, son of Nick Cannon

Nick Cannon is no stranger to tapping into his creative side when it comes to baby names. The Nickelodeon alum appeared to use word play in June 2021 when naming son Zillion Heir Cannon — which rolls off the tongue to sound like “zillionaire.” Cannon and Abby De La Rose gave baby Zilly’s twin brother another “Z” name: Zion Mixolydian. 

Cannon’s older children also sport unusual names: Powerful Queen Cannon (whose mom is Brittany Bell), Golden Cannon (whose mother is also Bell), and twins Moroccan and Monroe with ex-wife Mariah Carey.

Summer Moon Honey Davies, daughter of Scheana Shay and Brock Davies

View this post on Instagram A post shared by Scheana (@scheana)

Scheana Shay and Brock Davides’ baby’s name is totally out-of-this-world — and sweet. They welcomed their daughter, Summer Moon Honey Davies, on April 26, 2021.

The “Vanderpump Rules” star previously said on the Bravo show that if she had a daughter with ex-boyfriend Robert Parks Valletta, they would have named their baby girl Madison Marie Parks Valletta.

Wednesday Grint, daughter of Rupert Grint and Georgia Groome

Rupert Grin and longtime girlfriend Georgia Groome went with an “Addams Family”-inspired moniker for their daughter, Wednesday Grint. The “Harry Potter” star revealed their baby’s name when he joined Instagram and his first photo was a selfie with Wednesday.

North, Saint, Chicago and Psalm, kids of Kim Kardashian and Kanye West

Kim Kardashian and Kanye West had fans waiting in anticipation before announcing the name of their first child together, and when daughter North West was born in 2013, no one was disappointed. From there, the names only got more creative. They welcomed son Saint in 2015, daughter Chicago in 2018, and son Psalm via surrogate in 2019.

Blue Ivy, daughter of Beyoncé and Jay-Z

Beyoncé and Jay-Z went all-out naming their firstborn child, daughter Blue Ivy, in 2012. The name wasn’t picked randomly and holds significance for the couple. Beyoncé hinted what Blue represented by sharing a poem , and fans speculate that Ivy represents the Roman numeral IV, which is the number 4, significant for the couple. The pair went for slightly less unusual names for their twins, welcoming son Sir and daughter Rumi in June 2017. The rapper explained that Rumi is named after their favorite poet and Sir came from the way the baby carried himself.

Pilot Inspektor, son of Jason Lee

Jason Lee and Beth Riesgraf welcomed their first child together in September 2003 and named their baby boy Pilot Inspektor. Lee explained that the name was inspired by one of Riesgraf’s favorite songs by indie rock band Granddaddy. Lee and Riesgraf’s relationship didn’t last, but their son’s name has earned its place in the record books.

Lee also has kids Casper Sonny and Alberta with current wife Ceren Alkac.

Seven, Puma and Mars, kids of Erykah Badu

Erykah Badu’s baby names are as random as it gets. The singer welcomed son Seven, whom she shares with André 3000, in 1997. Then in 2007, she and The D.O.C. christened their newborn daughter Puma. Finally,  Badu and Jay Electronica welcomed to Earth a daughter named Mars in 2009. Sensing a pattern? Neither are we.

Banjo, son of Rachel Griffiths

No baby-naming books were instrumental for Australian actress Rachel Griffiths and painter Andrew Taylor. Their son Banjo was born in 2003 and named after poet Banjo A.B. Paterson . They also share younger daughters Adelaide and Clementine.

Speck Wildhorse, son of John Mellencamp

John Mellencamp went with a truly wild name for one of his children. He and Elaine Irwin welcomed son Speck Wildhorse in 1995. Mellencamp also has three other daughters: Michelle, Justice and “Real Housewives of Beverly Hills” star Teddi — as well as another son, Hud. While we may not understand the name choices, we definitely respeck them.

Apple, daughter of Gwyneth Paltrow and Chris Martin

Gwyneth Paltrow and ex-husband Chris Martin out-Gooped themselves when they named their firstborn child, daughter Apple, in 2004. The pair didn’t shy away from getting creative with their son either, welcoming Moses in 2006.

Zuma Nesta Rock, son of Gwen Stefani and Gavin Rossdale

It comes as no surprise that rockers Gwen Stefani and Gavin Rossdale would choose a baby name that, well, rocks, and so christened their first son Zuma Nesta Rock in 2008. They also share sons Kingston and Apollo.

The rockers split in 2016.

Moon Unit, Diva, Dweezil and Ahmet, kids of Frank Zappa

Frank Zappa couldn’t be stopped. The late artist and his wife Gail made sure their creativity lived on in the naming of their four children, with daughter Moon Unit in 1967, son Dweezil in 1969, son Ahmet in 1974, and lastly, daughter Diva in 1979. Frank died of cancer in 1993 and Gail passed away in 2015 .

Additional reporting by Tiffany Garcia

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Advertisement

JOHN 5 Releases New Song 'A Hollywood Story', Announces September/October 2024 Tour

Guitar virtuoso John 5 is giving fans a look into his life and career with a brand-new song called "A Hollywood Story" . The track, and accompanying video, details John 5 's incredible journey, from picking up his first guitar at the age of 7 to recording acclaimed solo material and touring the world with the likes of Marilyn Manson , Rob Zombie , JUDAS PRIEST 's Rob Halford and — currently — MÖTLEY CRÜE .

Says John 5 of the song: " 'A Hollywood Story' is a look back on my career and how lucky I am to have had the experiences that I've had. When you're a little kid, in your room, dreaming of your future, I never could've dreamt of what has happened to me in real life. I'm so appreciative and so happy. So go after your dreams whatever they may be."

The new track comes after the release of the instrumental masterpiece "The Ghost" last October as well as a series of sold-out tour dates in 2023. John 5 will hit the road again this fall on the "Strung Out" tour, with special guest TURNING JANE , beginning September 1 in Boston, Massachusetts and ending October 24 in Novato, California, with a number of Canadian dates. These new solo appearances will be in addition to John 5 's confirmed dates with MÖTLEY CRÜE , including Summerfest , Louder Than Life and Aftershock festivals.

Tickets for John 5 's fall tour go on sale this Friday, June 14.

John 5 "Strung Out" 2024 tour dates:

Sept. 01 - Boston, MA @ City Winery Sept. 02 - Hampton Beach, NH @ Wally's Sept. 04 - Albany, NY @ Empire Live Sept. 05 - Montreal, QC @ Le Studio TD Sept. 06 - Toronto, ON @ Lee's Palace Sept. 07 - Cadillac, MI @ Venue Event Center Sept. 08 - Westland, MI @ Token Lounge Sept. 09 - Chicago, IL @ City Winery Sept. 10 - Madison, WI @Majestic Theater Sept. 12 - Sioux Falls, SD @ Bigs Bar Sept. 13 - Fargo, ND @ Sanctuary Events Center Sept. 14 - Winnipeg, MB @ Park Theatre Sept. 15 - Regina, SK @ The Exchange Sept. 17 - Edmonton, AB @ Starlite Room Sept. 18 - [to be announced] Sept. 19 - Kelowna, BC @ The Revelry Sept. 20 - Vancouver, BC @ Rickshaw Theater Sept. 21 - Seattle, WA @ El Corazon Sept. 22 - Portland, OR @ Bossanova Ballroom Oct. 23 - Menlo Park, CA @ The Guild Theater Oct. 24 - Novato, CA @ Hopmonk

For over 30 years, John 5 has been one of the most in-demand guitar players on the planet. As well as being a songwriter/guitarist for hire, John 5 has shared the stage as axe-man for Rob Zombie , Marilyn Manson and Rob Halford . He has also worked with an impressive array of names, from all walks of music, including KD Lang , Rod Stewart , David Lee Roth , Alice Cooper , Tina Guo , LYNYRD SKYNYRD , Meat Loaf , Dolly Parton and Ricky Martin . In October 2022, it was revealed that John 5 would be joining MÖTLEY CRÜE as their guitarist following the announcement that Mick Mars would be retiring. John 5 continues to tour with MÖTLEY CRÜE on their 2024 world tour.

Photo credit: Matt Wilson

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The Beatles touched down in Australia 60 years ago — our culture was never the same

In the early 1960s, Australia was still besotted by 50s American rock'n'roll and surf music. 

Young music lovers would stomp and twist across dance floors the country over, and artists like Jerry Lee Lewis, Ricky Nelson and Bobby Rydell played packed houses around the country. 

But the world's musical landscape was changing, thanks to four young men from Liverpool. And one meeting in July 1963 made sure that Australia would not be left out. 

One big choice: The Beatles, or Gerry and the Pacemakers?

Kenn Brodziak had barely even heard of The Beatles when he sat down with the band's representatives to discuss bringing them to Australia. 

The Australian concert promoter — who had cut his teeth in theatre before booking tours for the likes of Dave Brubeck, Gene Krupa, and Lonnie Donnegan — had partnered with Dick Lean of Stadiums Limited, who owned most of the country's large capital city venues. Lean wanted Brodziak to bring something fresh and vibrant to Australia to tap into a younger market. 

"It was at Dick Lean's insistence that Kenn look for something for the kids," says Greg Armstrong, co-author of the new book When We Was Fab: Inside the Beatles Australasian Tour 1964. 

"When Kenn went overseas looking for acts, he wasn't looking for The Beatles. He didn't know about them. 

"But he had been clued into their existence by an agent in London by the name of Cyril Berlin. 

"He wrote to Ken, putting forward new ideas of different artists that are bubbling through in the UK, and he mentioned The Beatles. That was the first time Kenn Brodziak had heard of them."

Berlin's letter, which is one of many key pieces of correspondence reprinted in Armstrong and Andy Neill's book, is effusive. Something big was happening with this band and Cyril Berlin knew it. 

"I don't think I have ever in all my years in the business, seen such scenes of enthusiasm by the youngsters, who were quite ecstatic, and also the acclamation of grown-ups," his letter reads. 

"Up til now, I have had an open mind on this group, but after seeing them at work and meeting them personally, I have not the slightest doubt that this is the most exciting and interesting group this country has ever had and will undoubtedly become internationally famous. 

"There really has never been anything quite like their phenomenal success in this country and you can rest assured that they will steadily become more popular in Australasia and be quite sensational, if and when they play there."

Brodziak thought little of Berlin's suggestion. He had a London visit planned in the coming months and they could discuss new acts, whoever they might be, at that point.

"When Ken arrived in London, it wouldn't have taken him very long if he opened the newspapers or had his ear on the radio to hear that The Beatles were big business in the UK," Armstrong says. 

"They were on the radio all the time with their radio programs on the BBC. Newspapers were starting to bubble through with a lot of hype, and The Beatles were starting to make a big noise."

In what seems like a stroke of very good fortune, Brodziak met up with a promoter named Arthur Howes, who offered him a list of names featuring artists available to tour. 

"The list of names included Gerry and the Pacemakers and The Beatles," Armstrong says. 

"He knew the name The Beatles, but he didn't know anything about them. He said, 'Well, I can't take them all, but I'll get back to you'."

He put a call through to Dick Lean back at home, who had even less idea of who The Beatles were than Brodziak. He did, however, know how he could do some quick market research.

"Key to that decision making was Bruce Stewart, Dick Lean's friend," Armstrong tells. 

"He was a young DJ on 3DB radio, and he knew about The Beatles."

He was also booking charity concerts at Melbourne's Festival Hall, which were popular with teenage music fans. So, Lean put him to work. 

"Dick asked Bruce to ask the kids in the audience at this Sunday charity event," Armstrong explains. "He literally went out and asked the audience, 'Who would you like to see come out to Australia?'. 

"He gave the two names and there was a little bit more applause for The Beatles. He basically went back and recommended The Beatles, Dick agreed, called Kenn back, and a verbal agreement was made to book to The Beatles to come to Australia."

A tale of two Beatles

The Beatles can't have slept much in the early 1960s. Their procession of perfect pop songs and endless string of live commitments and radio appearances puts the work ethic of most other bands to shame. They even made their first feature film in 1964. Things moved quick in The Beatles' camp.

"Months went past and a huge amount of progress occurred, whereas you could talk about other artists where years went by and perhaps not as much happens," Armstrong says. 

"They were incredibly busy, they were willing to do anything. It wasn't unusual for them to be recording at EMI in the morning and then driving 200 miles on the old roads to perform in a hall somewhere in 1963.

"It's quite remarkable the output of these boys, they were writing songs in the backs of vans. 'She Loves You' was written in a van."

This means The Beatles that Brodziak agreed to tour in July 1963 were a very different proposition by the time paperwork for their Australian tour was settled almost six months later. They weren't just a bit bigger, they were becoming a cultural force. And they were worth far more money. 

"The initial fee was put on the table by Arthur Howes for 1,000 pounds sterling, plus there'd be airfares and accommodation and perhaps a royalty or a part of the gate," Armstrong says. 

"A thousand pounds was pretty good money for any band back then. But of course, by the time the ink got on the contract, The Beatles had absolutely taken off and it more than doubled."

It was still a great deal, even at twice the price. The band and their manager Brian Epstein could very easily have reneged and focused their attention on bigger, more lucrative markets. 

"They could have commanded much more by the time the contract was actually signed by January '64," Armstrong says. 

"[Epstein] honoured earlier commitments to come to Australia which is very honourable. He could have got US$50,000 a night at that point in time."

Why Adelaide mattered

All of this is covered in almost forensic depth in When We Was Fab, which Armstrong co-wrote with fellow Beatles expert Andy Neill. 

Correspondence between managers and booking agents, telegrams from the band to local radio DJs, and a ton of photographs and reflections are all included in this fascinating and very in depth look at the band's sole Australian visit. 

One key piece of correspondence comes from the people of Adelaide to the tour's promoters. 

The Beatles were coming to Australia, but they weren't playing in Adelaide because the promoters didn't own a venue there. People weren't happy. 

"The moment that Bob Francis, a 5ID radio disc jockey, realised that Adelaide were not on the on the announcement in January '64, he got on the mic on the radio and said, 'This isn't good enough. Why don't we do something about it?'" Armstrong says.

"Within a few days, 80,000 signatures were gathered by people on the street, boxed up and sent to Melbourne by Bob Francis. We put the correspondence in the book because it's almost unbelievable to even realise that that's true, but also that the span of time was so short that they gathered those signatures."

Not only did The Beatles end up visiting Adelaide, it's where they faced their largest ever crowd. Over 200,000 people lined the streets to see the band drive from the airport into the city. 

The Beatles' tour is broadly considered one of the pivotal moments in Australian music history. This was more than a chance for kids to see their favourite band perform, it was an indication that the youth had a culture of their own, and anyone could participate.

"The impact was that we were in the 1960s all of a sudden," Armstrong says. "That was a lasting cultural shift in our teenage culture. Kids had their own thing.

"Bands started to form, everybody realised you can actually do something."

The Adelaide visit alone is perhaps responsible for some of the finest Australian bands of the era.

"In South Australia, there was a couple of smaller bands that joined up and became The Twilights," Armstrong says. "You're talking about a band that would go off and record in Abbey Road Studios and have great fame. 

"Glenn Shorrock, John Bywaters, the names are commonly known today. These were young kids that realised 'I can do that' they want to be they want to make music, and perform and write their own songs. 

"The Masters Apprentices formed out in Adelaide in the wake of The Beatles tour.

"Up in Sydney, we've got The Easybeats, Dutch English migrants forming and becoming Australia's biggest music force with Friday On My Mind. 

"All of these things came in the wake of the Beatles tour and directly impacted by the Beatles as a clear signal that kids can actually do these things."

It's no surprise that Australia fell for the band. Yes, there songs were perfect, but there was a greater appeal than that.

"The Beatles came across as very much everyday people," Armstrong says. 

"They weren't pompous university kids or anything like that. 

"They came across as happy go lucky. They were forceful. They were a bit cheeky. And they were very funny. And I think a lot of people noticed that, 'Hey, we can do that' or try and do that."

When We Was Fab: Inside the Beatles Australasian Tour 1964 is out now.

Hear episodes of The Music Show on ABC RN right here . 

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