At long last, Bacharachonline.com is moving to a new server this week, so if you encounter any difficulties with the site, that’s probably the reason. Hopefully, everything will moved, updated and running smoothly by the end of this week. Thanks in advance for your patience.
In addition to the previously announced concert dates, Burt has added three U.K. festival appearances to his summer 2014 itinerary. On July 11, he’ll perform at the Henley Festival in Henley-on-Thames, England. On Aug. 7, he’ll appear at the Brecon Jazz Festival in Brecon, Wales. And on Aug. 9, he’ll headline the Wilderness Festival in Oxfordshire, England.
For the latest confirmed tour dates I’ve got, visit the On Tour page.
In April, Burt returns to Japan for the first time since 2012 with a whirlwind tour that promises nine concerts in eight days. The tour kicks off on April 10 with a concert at NHK Hall in Tokyo. On April 11, 12 and 14, Burt will perform two shows per evening at Tokyo’s Billboard Live. Next, it’s off to Osaka for a concert at Osaka’s NHK Hall on April 16. Burt wraps up his Japanese tour on April 18 with a performance at Kyoto Concert Hall in Kyoto.
This summer, Burt and his band head to the U.K. for performances at London’s Royal Festival Hall on July 23 and 26; at Birmingham’s Symphony Hall on July 28; at the Edinburgh Playhouse on July 30; at Manchester’s Bridgewater Hall on Aug. 1; and at Liverpool’s Empire Theatre on Aug. 3. This is Burt’s second tour of the U.K. in as many years. Tickets for the U.K. shows are available via ticketmaster.co.uk.
As always, for the latest tour dates, check out the On Tour page.
Burt and his band played the Hard Rock Casino in Biloxi, Miss., on Jan. 11, and for the first time in nearly 10 years, I was lucky enough to be in attendance. I’m happy to report the performance was terrific from start to finish. Both Burt and band were in fine form, and it was nice to hear a few new-to-me performances, such as a soulful update of the old Etta James track “Waiting for Charlie (To Come Home)” courtesy of vocalist Donna Taylor and “My Little Red Book,” which got a full-length rendition featuring keyboardist Bill Cantos on vocals. Burt said at the beginning that he’d be performing both old and new songs, and he didn’t disappoint, including two songs from the musical “Some Lovers,” his recent collaboration with Tony Award-winning lyricist Steven Sater.
Thanks to the generous assistance of discographer Davide Bonori, the chronological Bacharach discography has finally been updated. Davide has been compiling his discography for more than a decade, and it contains almost every song Burt has written — including unreleased demos — as well as selected recordings that Burt produced or arranged. For Bacharach fans, it’s an essential resource and a great read. Thanks Davide!
I’ll be the first to admit that I was a little skeptical when I first got wind of What’s It All About: Bacharach Reimagined. The idea for a Bacharach review had already come to Broadway and, according to most, it had failed pretty badly. (Bacharach himself wasn’t a big fan.) The concept of another Bacharach review, especially one conceived and arranged by a 26-year-old musical theater performer and which promised a “re-imagining” of Bacharach’s music, sounded like a train wreck waiting to happen.
I’m happy to report that Kyle Riabko’s show, which is being staged with Bacharach’s support, appears to be a resounding success. It opened at the New York Theatre Workshop on Nov. 19 to mostly positive reviews and was recently extended through Feb. 2. Updating Bacharach for the millennial generation while still remaining true to the songs was a tall order, but Kyle Riabko seems to have pulled it off.
Here are a few reviews:
And just for good measure, here’s a not-so-positive review by Newsday.
Burt Bacharach performed at the Pikes Peak Center in Colorado Springs, Colo., last Thursday (Dec. 19), but before that show, he spoke with the Colorado Springs Gazette about his legacy, performing for the first time and his recent activities, which include collaborations with Elvis Costello on two new musicals, one based on Painted From Memory and the other on Austin Powers.
I think this is my direction now. There is no record business now. No albums, only singles or downloads. Which is a travesty. There are a lot of people not getting paid what they should get paid. Artists, writers, publishers. Hopefully it will get straightened out. I don’t know how.