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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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John Mellencamp oozes plenty of heart — and heartland — in rousing Chicago Theatre show

Mellencamp stuck to his tried-and-true songbook, with just two songs from his latest album “strictly a one-eyed jack.”.

John Mellencamp performs at the Chicago Theatre on Thursday night, in the first of a three-night residency.

Tyler Pasciak LaRiviere/Sun-Times

John Mellencamp had a few PSAs for the crowd Thursday night as the blue-collar bard kicked off a three-night stand at the Chicago Theatre. “Things might get a little political.” “If you’re going to yell during the quiet songs you might as well leave.” And, perhaps his most affirmative warning, “This is not a concert, it’s a performance.”

True to his words, the two-hour production was a flip of the script for the rocker, who is now five decades into touring. Though billed as a standard “live and in person” night with the musician, it also had the air of a night at the movies, an overt nod to the 76-date tour’s corporate sponsor, Turner Classic Movies. It’s the first time Mellencamp has done such a thing, as the notorious corporate dodger has rebuffed any formal tour backing for years. Though, Mellencamp and TCM have become interesting bedfellows in the featured attraction, putting an emphasis on the singer-songwriter’s reputation as another one of America’s great storytellers.

John Mellencamp performs to a sold-out crowd at the Chicago Theatre on Thursday night.

With no opener for the evening, the 30-minute preview to the 19-song showdown was a montage of classic films embedded with Mellencamp’s voiceover commentary, particularly honing in on James Dean’s body of work. For years, the rabble-rousing, cussing, smoking frontman with the blue jeans and white T-shirt has played his own version of the quintessential rebel, and that throughline was even more abundant on this night as the Hoosier fully became enmeshed with his Hollywood alter ego.

Once the curtain did drop, the stage further paid homage to this mix of classic rock and classic movies with Tungsten lights that could’ve been pulled from a soundstage and a backdrop and larger-than-life mannequins that resurrected “A Streetcar Named Desire.” The over-the-top theatrics just begged for some notes of “Ghost Brothers of Darkland County,” the American gothic musical Mellencamp wrote with Stephen King and T Bone Burnett a decade ago.

Rather, Mellencamp stuck to his tried-and-true songbook, with just two songs from his latest album “Strictly A One-Eyed Jack.” He relied heavily on landmark gems like a surprise solo acoustic version of “Jack & Diane” and entrants from 1985’s impeccable “Scarecrow” (reissued as a box set last November) and 1987’s “The Lonesome Jubilee.” Seven of the 19 tracks were from those two albums; eight if you count the solemn moment during the show when a recording played actress Joanne Woodward reciting Mellencamp’s poignant lyrics to “The Real Life” as violinist/mandolinist Lisa Germano and accordion player Troye Kinnett provided an intimate soundtrack to the narration.

“This is not a concert, it’s a performance,” John Mellencamp proclaimed Thursday night at the Chicago Theatre to an adoring crowd.

As part of the ensemble supporting Mellencamp, each of the six musicians added undeniable depth and powerhouse sound to the performance, reworking arrangements to really hone in on their rootsy, bluesy, even boogie woogie (“Crumblin’ Down”) foundations as Mellencamp’s now pronounced gravelly voice — result of years committed to his second love, smoking — gave them a rugged finish.

While guitarist Mike Wanchic has been Mellencamp’s wingman for 50 years, the return of Germano after a 29-year absence was a huge boon, as evidenced in the uproarious applause any time she had a solo. As one of the sound architects of Mellencamp’s formative albums, her return brought a full-circle moment at a time that feels like the American treasure is reflecting on the legacy he will leave behind.

A legacy that includes, for example, making a recent donation of his archives to the University of Indiana in his hometown of Bloomington, or a now permanent exhibition at the Rock & Roll Hall of Fame. But also what he chooses to write about and discuss using his platform, as he has done for decades rallying for American farmworkers.

Mellencamp’s focus now turns to what it means to be living in the land of the free. A newer, as of yet unreleased song, “The Eyes of Portland” was most evocative of the message, a Bob Dylan-esque, harmonica-filled monologue pondering the homelessness he witnessed while visiting the West Coast city, asking the audience, “Is this the kind of country we want to live in?”

“John Mellencamp: Live and in Person,” returns Friday and Saturday at the Chicago Theatre, 175 N. State St. Tickets available at ticketmaster.com .

• John Cockers
• Paper in Fire
• Minutes to Memories
• Human Wheels
• Jackie Brown
• Check It Out
• The Eyes of Portland
• Longest Days
• Jack & Diane
• I Always Lie to Strangers
• Rain on the Scarecrow
• Lonely Ol’ Night
• Crumblin’ Down/Gloria
• Pink Houses
• Chasing Rainbows
• Cherry Bomb
• Hurts So Good
• Stephen King, John Mellencamp unite for ‘Ghost Brothers of Darkland County’ musical

John Mellencamp

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John Mellencamp Tour 2024 Review: Unforgettable Moments

The John Mellencamp Tour 2024 received mixed reviews, with some praising the show as fantastic and others describing it as terrible.

Credit: cbsaustin.com

2. Unforgettable Moments From The John Mellencamp Tour

John Mellencamp Tour 2024 was an unforgettable experience for fans of the iconic artist. The opening act and setlist were both incredible. The crowd was electrified as Mellencamp took the stage, starting off the show with one hit after another. The high-energy performances kept the audience on their feet and singing along throughout the night. But the surprises didn’t end there. Several special guest appearances added an extra layer of excitement to the concert. From start to finish, the John Mellencamp Tour 2024 delivered an incredible night of music and memories that will be treasured by fans for years to come.

Credit: www.riverfronttimes.com

3. Fan Reviews And Perspectives

Fans are raving about the John Mellencamp Tour 2024. Reviews and perspectives from concert-goers highlight the fantastic performances and passion that the legendary singer brings to the stage. Experience the excitement and energy of John Mellencamp live in concert.

Credit: www.facebook.com

Frequently Asked Questions For John Mellencamp Tour 2024 Review

Is john mellencamp touring in 2024.

No, there is no information available about John Mellencamp touring in 2024.

What Is The Difference Between John Cougar And John Mellencamp?

John Cougar and John Mellencamp are the same person. John began his career as “Johnny Cougar” but later reclaimed his birth name.

What Ethnicity Is John Cougar Mellencamp?

John Cougar Mellencamp’s ethnicity is Caucasian. He is of white European descent.

How Much Is John Mellencamp?

John Mellencamp’s net worth is not disclosed by reliable sources.

Overall, the John Mellencamp Tour 2024 was a remarkable experience for fans. With his timeless hits and raw energy, Mellencamp captivated the audience from start to finish. The concert was filled with nostalgia and showcased his undeniable talent. From the moment he stepped on stage, it was evident that Mellencamp still has the ability to deliver a powerful and unforgettable performance.

Whether you’re a long-time fan or a new listener, attending a John Mellencamp concert is an opportunity you shouldn’t miss.

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Things To Do | Review: John Mellencamp’s opening night at the…

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Things to do | review: john mellencamp’s opening night at the chicago theatre was full of messages and music.

Shanna Madison / Chicago Tribune

The Chicago Theatre stage lights up as John Mellencamp kicks off his first show in Chicago, April 13, 2023.

John Mellencamp interacts with fans at Chicago Theatre at the April 13, 2023 show in Chicago.

John Mellencamp plays the Chicago Theatre on the first of three nights on April 13, 2023.

Fans settle in for John Mellencamp's show at the Chicago Theatre, April 13, 2023.

John Mellencamp kicks off the first of three consecutive shows at Chicago Theatre on April 13, 2023.

John Mellencamp kicks off the first of three consecutive shows at the Chicago Theatre, April 13, 2023, in downtown Chicago.

Chicago Theatre's marquee glows as John Mellencamp kicks off the first of three consecutive shows on April 13, 2023.

Amid an unfiltered 125-minute performance filled with rambling monologues, self-deprecating jokes and sage advice, Mellencamp suggested some answers. He professed hope that people could come away with a semblance of community. And when he turned political, he spared no quarter for the left or right — a sense underlined by a profanity-laced appeal to end the bitter divisiveness polarizing the U.S.

It seemed par for the course for a heartland musician who in the late ’80s telegraphed his greater ambitions — and refusal to capitulate to convention — in a biting tune that became a Billboard Top 20 hit: “Pop Singer.” That same ornery spirit permeated the show, spurred the crack six-piece backing band and prompted Mellencamp to keep throwing punches. It also proved that no matter how much he insisted he was done fretting over things that don’t impact him, Mellencamp can’t shake a fundamental problem: he cares too much to follow such a creed.

Seemingly free of pretense, Mellencamp has spent the majority of the past three decades going about the music business on his own terms. In the process, he quietly amassed one of the most conscientious and fertile catalogs of the modern era. At 71, he continues to prioritize creativity over commercialism, releasing spare albums anchored by incisive songwriting, rustic arrangements and a deep appreciation for history.

That learned approach extends beyond music. Embracing ideals espoused by two of his heroes — Woody Guthrie and a younger Bob Dylan — the Indiana native remains an outspoken critic of racism and inequality. Mellencamp’s website currently contains a potent, self-authored statement about gun control, pro-life hypocrisy and indifferent politicians. He alludes to some of these issues in the paintings he’s created, whose imagery frequently ties to his lyrics.

Mellencamp tapped into his connections to both mediums in a half-hour concert-opening film that featured clips from classics such as “The Misfits,” “The Grapes of Wrath” and “A Streetcar Named Desire.” The latter inspired the stage backdrop; for all intents and purposes, Marlon Brando’s style probably influenced Mellencamp’s signature look: back vest, white shirt, black pants.

Not that the singer harbors any illusions about youthfulness. Mellencamp spoke with candor about his age and prospects for survival — he claimed he’ll live 10 more years if he gets lucky. He spoke like a man who has learned some lessons the hard way, and who accepts the consequences without cries for pity or attention. Many of the characters inhabiting his songs faced difficult truths in similar manners.

Identity, pride, purpose, trust, understanding: These motifs coursed through Mellencamp’s narratives, songs whose simplicity occasionally gave the impression they stemmed from a distant past removed from today’s distractions. Yet the frank, straightforward chronicles of regular folk and their habits (“Check It Out”), dreams (“Paper in Fire”), contentment (“Pink Houses”) and wisdom (“Minutes to Memories”) felt particularly vital in an age where many struggle on the margins — and many others game the system and turn a blind eye to anyone’s plight but their own.

Deceit, disappointment and loss clung like an odor to many of the songs. The twisted “I Always Lie to Strangers” went so far as to trumpet treachery; “Crumblin’ Down” addressed the fallout of rule-bending and disrespect. Punctuated with dramatic pauses and thick blues, “John Cockers” rebuked values, embraced isolation and welcomed death. Sent up with three guitars, “Rain on the Scarecrow” sounded raw and desperate, its bleak landscapes still recognizable.

Mellencamp also benefited from a secret weapon: fiddler Lisa Germano, a former collaborator who joined him on tour for the first time in 29 years.

All night, Mellencamp and company held a mirror to American society. Except for the two-stepping slide of “Cherry Bomb,” nostalgia took a back seat to the here and now. Choosing not to play nearly a dozen of his Top 40 hits, Mellencamp recast the smash “Jack & Diane” as a solo acoustic number about boredom that welcomed audience participation. The bittersweet beauty of “Jackie Brown” belied the story’s tragic arc. Akin to many songs, it blended Appalachian, folk, rock and spiritual elements — and touched on mortality.

The singer opted for an even more direct route on two of three new, unreleased compositions. Awash in death, “Hey God” functioned as a plea for deliverance from senseless gun violence. Preceded by a story about his encounter with a 20-something homeless woman, the solo acoustic “The Eyes of Portland” took aim at the empty “thoughts and prayers” condolences offered as a solution to major tragedies and dilemmas.

His tones deepened and roughened by decades of cigarette smoking, Mellencamp sang with a pronounced rasp. Though intelligible, save for select verses, his deliveries evoked a building exterior coated in centuries of airborne soot: stained, dark, choked. He was smart enough to hand the highs to his bandmates or the crowd; in certain ways, the grittier vocals suited the material and mood.

So much for those old concerns about being a pop singer. At this juncture, Mellencamp is anything but — and that’s high praise.

Bob Gendron is a freelance critic.

Setlist from the Chicago Theatre April 13:

“John Cockers”

“Paper in Fire”

“Minutes to Memories”

“Small Town”

“Hey God”

“Human Wheels”

“Jackie Brown”

“Check It Out”

“The Eyes of Portland”

“Longest Days”

“Jack & Diane”

“I Always Lie to Strangers”

“The Real Life” (read by Joanne Woodward)

“Rain on the Scarecrow”

“Lonely Ol’ Night”

“Crumblin’ Down / Gloria” medley

“Pink Houses”

“Chasing Rainbows”

“Cherry Bomb”

“Hurts So Good”

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Music | Review: John Mellencamp triumphs in spectacular…

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Music | nearly three weeks after starting, park fire nearing 430,000 acres, music | review: john mellencamp triumphs in spectacular fashion in san francisco concert, mellencamp wows fans at golden gate theatre.

“The older I get, the less I give a (expletive),” proclaimed the 71-year-old Hoosier. “I don’t give a (expletive)”

Yet, Mellencamp doth protest too much, methinks.

You don’t put on a fiery show like he did on Friday and not give a (expletive). Indeed, his passion was burning red hot throughout the just-over-two-hour concert, as he charged through his songbook as convincingly as he has at any point during a recording career that dates back to the 1976 “Johnny Cougar” debut, “Chestnut Street Incident.”

He’s still championing social issues through song, both in his older numbers and in the new ones he’s been writing. His comments to the crowd on Friday — the first half of a two-night stand at the venue — made it clear just how much the art of songcraft still matters to him. And he works really hard to put on a show that matters both to the audience and to the musicians onstage.

So, yes, Mellencamp still cares. He cares a lot.

And he certainly cares about old movies. That was underscored during a 30-minute opening segment where snippets from some of Mellencamp’s favorite classic films — 1954’s “On the Waterfront” and 1960’s “The Fugitive Kind,” both starring Marlon Brando — flashed on a big screen at the center of the stage. This tie-in with tour sponsor Turner Classic Movies, however, only worked moderately well, as the noise from the crowd made it really hard to hear the dialogue.

Right around 8:30 p.m., the screen lifted so that the crowd could see Mellencamp and his superb six-piece band launch into the deep cut “John Cockers” from 2008’s “Life, Death, Love and Freedom.” The star was also accompanied onstage by some creepy looking movie-star mannequins, including one that was supposed to be Brando and another that may have been Paul Newman — although, honestly, it looked as least as much like Pee-wee Herman from my vantage point.

From that soft-sell opener, Mellencamp quickly shifted into high gear for a great three-song run through “Paper in Fire,” “Minutes to Memories” and “Small Town,” the last of which truly got the crowd in party mode. All of those numbers hailed from Mellencamp’s two ’80s albums — “Scarecrow” and “The Lonesome Jubilee” — which rank as the finest outings in his entire catalog. In all, eight of the 21 songs performed were from those two records.

Mellencamp then gave fans time to catch their breath as he veered from the longtime fan favorites to some lesser-known cuts, including “Dear God,” “Jackie Brown” and “Don’t Need This Body.”

“I can tell by looking out at the audience that some of you people can relate to this,” Mellencamp said in the introduction of the old-age ode “Don’t Need This Body.”

The highlight of this middle section of the show came when he played “The Eyes of Portland,” a moving new song addressing the plight of the homeless that Mellencamp wrote after visiting the Oregon city a few years back.

“I just played Portland a couple of nights ago,” he said. “And it’s not getting any better.”

Mellencamp’s vocals were more gravelly than in his commercial prime, but that only seemed to heighten the authority and maturity of the lyrics. You believed every word he sang — a rare treat in 2023.

He also told plenty of intriguing stories, usually at the introduction of the song he was about to perform. He spoke of his family, noting how his grandma lived to be 100 and that his dad is 93.

“I ain’t gonna make it (that long) because I have been smoking since I was 10,” he said.

That eventually led into a beautiful story about a prayer session with his grandma that inspired “Longest Days,” a standout track from “Life, Death, Love and Freedom” that finds Mellencamp at his most John Prine-like.

“Deep down in your soul, you know you, you got no flame,” he sang. “And who knows then which way to go. Life is short, even in its longest days.”

The most humorous part of the evening was when Mellencamp launched into an acoustic version of “Jack & Diane,” which, of course, prompted a huge audience sing-along — just not a very accurate one.

The crowd ended up getting the lyrics wrong — which apparently is not a rarity at a Mellencamp show — so the song’s author stopped to chastise the chorus of hundreds.

“You guys must have been absent the day they taught Songwriting 101,” he said.

He ended up giving the fans another shot, which they nailed, carrying the chorus of “Jack & Diane” with such gusto that it might have been heard way over in the Sunset District.

Mellencamp then made one more movie connection — which, finally, ended up working out — as he played an audio recording of Joann Woodward dramatically reading the lyrics to his song “The Real Life” with live accompaniment on accordion and violin.

From that point on, it was (nearly) all hits as Mellencamp raced through such gems as “Rain on the Scarecrow” (which is the most powerful number in his entire catalog), “Lonely Ol’ Night,” “Crumblin’ Down” (combined with some of Them’s “Gloria”) and “Pink Houses.”

He closed the show with a big version of “Hurt So Good” — from 1982’s quintuple-platinum-selling “American Fool” — leaving the crowd feeling oh so good as it exited the lovely theater and walked out to Market Street.

Mellencamp also performs March 18 at Golden Gate Theatre. Visit broadwaysf.com for tickets and information.

John Mellencamp setlist:

1, “John Cockers”

2, “Paper in Fire”

3, “Minutes to Memories”

4, “Small Town”

5, “Hey God”

6, “Human Wheels”

7, “Don’t Need This Body”

8, “Jackie Brown”

9, “Check It Out”

10, “The Eyes of Portland”

11, “Longest Days”

12, “Jack & Diane”

13, “I Always Lie to Strangers”

14, “The Real Life”

15, “Rain on the Scarecrow”

16, “Lonely Ol’ Night”

17, “Crumblin’ Down”/”Gloria”

18, “Pink Houses”

19, “Chasing Rainbows”

20, “Cherry Bomb”

21, “Hurts So Good”

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Show Review: John Mellencamp in Milwaukee

Mellencamp rounds out Live and In Person tour with make-up dates in Milwaukee

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What can I say about John Mellencamp that hasn’t been said before. The guy has been making music and touring for nearly 50 years. He’s been both praised and condemned a thousand times over. So here’s what I’ll say: he keeps coming back for more, and he just keeps delivering.

Monday’s first of two shows at the Riverside Theater in Milwaukee was a near sell out. Mellencamp was originally scheduled to perform at the venue in April, but an illness within the touring group forced the postponement to the end of the tour. It’s been said good things come to those who wait, and good things came to the Riverside audience Monday night.

That was after they had to sit through a 30-minute collage of vintage movie clips from old black-and-whites like “Fugitive Kind,” “The Misfits,” “Grapes of Wrath” and “A Streetcar Named Desire.” Turns out Mellencamp’s Live and In Person Tour, which wrapped up with the June 26 and 27 make-up dates in Milwaukee, has been sponsored by Turner Classic Movies. Instead of an opening act, concert goers were subjected to the movie clips. Impatience permeated through the theater as guests called for the main attraction to come to the stage.

When he did — with red lights and wailing siren —the purgatory of the last 30 minutes was quickly forgotten, and the crowd sprang (as much as an older crowd can spring) to their feet.

Mellencamp eased them into what would be a career-spanning, two-hour set with a deep track — ”John Cockers” off 2008’s “Life, Death, Love and Freedom.” After that, the hits followed one after another: “Paper and Fire,” “Minutes to Memories,” “Smalltown,” “Human Wheels,” “Jackie Brown” and “Check it Out.”

It was seven songs into the show before Mellencamp dismissed the band and performed what would be the one and only song from his recently released — as in 10 days old — “Orpheus Descending.” As the band exited, Mellencamp began the “storytellers” portion of the show, recalling an incident he experienced at a restaurant in Portland, Oregon.

He spoke of sitting at a table near the window where he noticed a young woman manically pacing back and forth outside. He approached her and asked if he could help. She said she wanted to go home, but was unwanted there and had nowhere to go. Whether or not the story is 100% fact, it nicely set up “The Eyes of Portland,” a seething and plaintive narrative about the problem of homelessness in America.

“All of these homeless, where do they come from? In this land of the plenty where nothing gets done. To help those who are empty and unable to run Your tears and prayers won’t help the homeless.”

For many years now, Mellencamp has been an outspoken activist calling attention to the plights of the outcasts and the downtrodden, and even more importantly has worked to correct the issues and put his money where his mouth is. It’s commonly known that Mellencamp created Farm Aid with Willie Nelson and Neil Young in 1985. To date, the organization has raised more than $70 million “to promote a strong and resilient family farm system of agriculture.” Over the years, he has been a generous supporter of the Boys & Girls Club of America, Fulfillment Fund (helping disadvantaged students graduate from high school, attend college and transition into the working world), Population Services International (a global health organization), Project Clean Water and the Special Olympics among others.

He shared another story, this one about when he was 35, lying in bed with his then 93-year-old grandmother, who admonished him for his frequent cursing. Using his platform on stage, Mellencamp urged this audience to not sweat the small stuff. “Don’t give a fuck about the stuff that’s not fuck worthy,” he said. Rather, he encouraged us to focus on the important things and people in our lives, because as the lyric states: “life is short, even in its longest days” — a song he performed masterfully.

He rounded out this interlude of acoustic songs with a stripped down sing along of “Jack & Diane,” but had to stop when the crowd skipped the second verse and went headlong into the chorus. “I was 26, and I spent the better part of an afternoon writing that second verse. So God dammit, I’m gonna sing it.”

In preparation for the show and this review, I spent the last week revisiting Mellencamp’s extensive and prolific catalog. I forgot just how many great songs he’s penned, and I hadn’t realized he’s put out new music almost annually for the last 45 years — 37 albums in that span. It’s apparent he rarely takes shortcuts, and he seldom takes a break.

At 71 years young, he did take one short break following “Jack & Diane.” After sharing the story of how he recorded Joanne Woodward (who was diagnosed with Alzheimer’s disease in 2007) reciting many of his lyrics as prose, he left the stage as violinist Lisa Germano and accordion player Troye Kinnett accompanied Woodward’s recording of Mellencamp’s “The Real Life” (1987).

Mellencamp returned to the stage with the full band (long-time guitarists Mike Wanchic and Andy York, bassist John Gunnell and drummer Dane Clark) to finish out the night with a parade of seven more of his greatest hits.

You can see the years in the lines of his face, and hear them in the rough gravel of his voice; but that mischievous youth remains evident in his eyes. You can tell he wants to dance about the stage if only his body would let him. Instead, he was content to strut from one end of the stage to the other, actively acknowledging members of the audience before him — from the front rows to the upper balconies.

During the opening movie clip portion of the show, I was surprised to hear an audience member (who I can only imagine had indulged himself with one too many PBRs) yell out, “Enough with this shit. Get out here and sing, you old has-been!” I thought to myself, “Has-been?! John Mellencamp?” The man has been churning out poignant, meaningful music for nearly half a century. Songs that will surely last well beyond his time on this earth.

If you have any doubts, read John Apice’s review of Orpheus Descending ( https://americanahighways.org/2023/06/17/review-john-mellencamp-orpheus-descending/ ). Mellencamp remains here, in the moment — even if not always in the spotlight. You may not hear many of his post-2000 songs on Top-40 radio, but if you give those songs a listen, you will find “the same old trouble you’ve been having for years.” As long as his health remains, I don’t see this Cougar settling down anytime soon.

One final note of appreciation for the man who has been doing things his own way for quite some time now: Mellencamp regularly shuns the tired encore schtick, and I applaud him for it. Why leave the stage when everyone in the building knows you’re going to come back out and perform one or two more of your most popular songs? Mellencamp, much to his grandmother’s chagrin, says “fuck it,” to that, too.

Find tour dates and more information here: https://www.mellencamp.com/tour

Setlist John Cockers Paper and Fire Minutes to Memories Smalltown Human Wheels Jackie Brown Check It Out The Eyes of Portland Longest Days Jack & Diane The Real Life (Joann Woodward reading) Rain on the Scarecrow Lonely Ol’ Night What If I Came Knocking? Crumblin’ Down / Gloria Pink Houses Cherry Bomb Hurts So Good

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This 71 year old Mellencamp fan has seen him perform 25 years ago and this week at Riverside theater. This review was spot on and yes, I was standing and dancing the whole time enjoying his music! Grateful for his talent, enthusiasm and amazing songs!

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Review: John Mellencamp turns his Minneapolis concert into theater, stand-up comedy and a smokin' good time

In his first of three nights, he played hits, little-known songs, singalongs and tunes to dance to..

By Jon Bream

He started his career as Johnny Cougar. Nearly 45 years later, he seems to be possibly winding down his career as Johnny Nicotine.

On Thursday night at the State Theatre, John Mellencamp's long-raspy voice had more gravel than a Minneapolis pothole repair crew.

How many cigarettes must a man smoke before they call him croaky?

Mellencamp, 71, who says he's been smoking since age 10, was puffing on a cigarette onstage Thursday as the curtain went up and he took a few more drags as the night wore on. His tobacco-stained singing voice sounded hoarse and harsh, equal parts Bob Dylan and Tom Waits.

Despite its increasingly pronounced raspiness, the Rock & Roll Hall of Famer's voice still had plenty of growling character (though not as much oomph) and, more importantly, he performed with an unrelenting passion, whether on hits, deep tracks or brand-new tunes. His two-hour effort — part concert, part theater, part stand-up comedy, part social commentary, part self-help lecture and part confessional — added up to a solid evening of entertainment by a beloved '80s and '90s rock hero.

On his first of three sold-out nights in Minneapolis, Mellencamp, always the proud contrarian, used film clips from seven vintage movies, including "Hud" and "On the Waterfront," to open his show. That's because his tour is sponsored by the Turner Classic Movies channel, the first sponsor he's ever used for a tour. (His 2010 Minneapolis show's "opening act" was a documentary movie of his 2009 tour with Dylan and Willie Nelson.)

With life-size mannequins of four movie actors flanking him onstage Thursday, the eternally self-deprecating Mellencamp came across as his usual rebel without a care. In an extended monologue, he admitted he's been angry all his life, but he's reached a point where "I've got no more [f-bombs] to give," as he put it in the vernacular.

Actually, he still cares about some things. The singer told the story of being in a fancy restaurant with fancy people eating fancy food in Portland, Ore., five years ago and spotting a woman pacing manically outside. He offered to help, and she said she just wanted to go home about 500 miles away but wouldn't be welcomed there. That encounter inspired the unrecorded "The Eyes of Portland," a plain-spoken tune about homelessness that could have come from the Woody Guthrie songbook, delivered solo on acoustic guitar.

The Indiana rocker-turned-Americana warbler offered two selections from last year's overlooked and remarkable "Strictly a One-Eyed Jack" — the dark, haunting dirge "I Always Lie to Strangers," which would have fit on Dylan's "Rough and Rowdy Ways," and the childlike singalong "Chasing Rainbows," about finding them everywhere for anyone who cares.

Mellencamp did something that was admittedly unconventional — playing a recording of actress Joanne Woodward, whom he befriended, reciting the lyrics to his 1987 song "The Real Life," accompanied by live music from accordionist Troy Kinnett and violinist Lisa Germano. It was further evidence that Mellencamp, an exhibited painter, is about striving to create art, not to color inside the lines.

After a 29-year hiatus, Germano has returned to Mellencamp's fierce band, and she was the MVP on Thursday, adding a dreaminess to "Check It Out," a mysteriousness to "Human Wheels," a creaky uplift to "Pink Houses," an edgy freneticism to "Rain on the Scarecrow" and a gypsy jazziness to "I Always Lie to Strangers," all of which ranked as highlights.

Still, it was ultimately about the guy in the plain white T, with suspenders holding up his baggy pants. Mellencamp was scrappy, committed and cavalier, as he often strayed outside the unmoving spotlights because, frankly, he didn't have any more f-bombs to give.

Jon Bream has been a music critic at the Star Tribune since 1975, making him the longest tenured pop critic at a U.S. daily newspaper. He has attended more than 8,000 concerts and written four books (on Prince, Led Zeppelin, Neil Diamond and Bob Dylan). Thus far, he has ignored readers’ suggestions that he take a music-appreciation class.

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5 Takeaways From John Mellencamp at Ovens Auditorium

It’s hard to believe that John Mellencamp is 71 years old. Now on the road as part of his Live and In Person Tour, it seems like yesterday that I was a kid watching his videos on MTV … back when MTV used to play music videos.

Here’s five takeaways from the heartland rocker’s concert at Ovens Auditorium on Wednesday, Feb. 8:

1. It was movie night, too. The first 30 minutes of the night were spent watching clips of old movies from the 1950s. Sure, they helped pass the time at first, but after about 15 minutes, the crowd started getting restless with each new clip. Scenes from a wide range of movies, including A Streetcar Named Desire , Hud , and On the Waterfront set the tone only in that there were four mannequins on the stage that resembled Marlon Brando, Marilyn Monroe and others, while the backdrop looked like a scene out of Streetcar . I think most in the audience would have preferred a 30-minute set from just about anyone instead.

2. He’s still got it. Sure, all of the smoking over the years has weathered Mellencamp’s voice considerably, but he can still hit most of the notes. Sure, he relied on the audience or his band for a handful of big choruses and singalongs, but when it was time to hit a power note, Mellencamp never held back and belted notes out like he was 40 years younger. 

3. He’s “not for everyone anymore.” It was approximately halfway through his hour-and-45-minute set on before Mellencamp finally addressed the crowd. “Hey, if you’re one of those cocksuckers who likes to yell during the quiet part of the show, take that bullshit into the hallway…” he told the sold-out auditorium. “I hate that … and I’m sorry, but maybe I’m not for everyone anymore.” Up until that point, Mellencamp was focused on the music. After his quick rant, he opened up a bit more, telling a couple of stories and getting annoyed when the crowd skipped the second verse of “Jack & Diane.” “Do you know how long it took me to write that fuckin’ verse?” he asked the crowd. “And you just kicked it aside and jumped straight to the chorus.” Though it might read a bit ornery, Mellencamp didn’t seem mean spirited in any of his profanity-laced commentaries.

4. Leave ’em wanting more. Mellencamp performed for an hour and 45 minutes and packed in plenty of hits, such as “Pink Houses,” a solo acoustic “Jack & Diane,” a powerful combination of “Crumblin’ Down” and “Gloria” and more. However, there were plenty of hits he left out, such as “Authority Song,” “Wild Night,” and “Ain’t Even Done with the Night.” That being said, I’m just impressed he’s still on the road at 71 and appears to be enjoying every moment. He noted that time seems to go by even faster as you get older.

5. That stinks. What’s the downside of being in a crowded auditorium when the energy is high and the crowd’s loving every minute of the performance? The smells. Maybe I’m getting a bit old and ornery, and this has nothing to do with Mellencamp himself, but before going to a concert, do those around you a favor — be careful what you eat so you’re not ripping farts trying to make your own drum beat, and don’t wear enough perfume/cologne so that the person next to you can taste it. It’s times like this that I miss wearing a mask.

Setlist John Cockers The Eyes of Portland Minutes to Memories Small Town Human Wheels Don’t Need This Body We Are the People Jackie Brown Check It Out Longest Days Sometimes There’s God Jack & Diane I Always Lie to Strangers The Real Life (Joann Woodward spoken word) Rain on the Scarecrow Paper in Fire Crumblin’ Down / Gloria Pink Houses Chasing Rainbows Cherry Bomb Hurts So Good

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Thanks for keeping us informed on the fart situation at the show Jeff. “Sucking on a chili dog” indeed!

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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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Review: John Mellencamp’s American Masterpiece

Lee Zimmerman

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John Cougar Mellencamp/ Scarecrow /UMe 4.5 Out of Five Stars

Scarecrow was a significant step in John —then Cougar—Mellencamp’s early trajectory, one which helped establish his blue-collar identification and continued allegiance to his small-town roots. Keeping his Cougar handle—his nome plume during the initial phase of his career—suggested he was still struggling to make the transition from glam rocker to a sturdier stance, but the songs showed that he had in fact accomplished his mission. It boasted several significant anthems—“Rain on the Scarecrow,” “Lonely Ol’ Night,”  R.O.C.K. in the U.S.A.,” and “Small Town,” chief among them—all of which built on the rural regimen initially established by “Jack and Diane,” “Pink Houses” and Authority Song,” underscoring his standing as a true heartland hero. It was—and remains—an American masterpiece. Even those songs that didn’t grab immediate attention the first time around—the stirring “Minutes To Memories,” a series of steadfast statements of seemingly prophetic proportions (“The Face of the Nation,” “You’ve Got to Stand For Somethin’” and “Justice and Independence ’85” in particular)—helped enhance the revelry and rebellion echoed throughout the album overall.

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Some 37 years on, Scarecrow remains as compelling as ever, perhaps even more so given today’s fracture of faith in the American dream. Consequently, this two-disc reissue is both timely and transformative, courtesy of a remastered sound, an entire disc containing outtakes, demos, and seminal versions of several of its songs, and a booklet that details the album’s backstory. The covers in particular—a fond take on “Under the Boardwalk” and a searing version of James Brown’s frenzied funk-fest “Cold Sweat”—help reveal his roots, but early takes of “Lonely Old Night,” “Rumbleseat” and “Small Town” (a complement to the previously released acoustic version tacked onto the end of previous reissues) provide early insight into Mellencamp’s creative process. Shorn of pretense or posturing, they reflect an artist who clearly had his sights set on championing the Everyman among us and making his own musical mark at the same time.

Like Springsteen, Seger, and Petty, Mellencamp came to represent authentic Americana and the true meaning of what R.O.C.K. in the U.S.A. meant in essence and actuality. Even now, this Scarecrow makes an emphatic impression.

John Mellencamp Photo by Ebet Roberts/Redferns

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John Mellencamp Concert Setlists & Tour Dates

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John Mellencamp at Outlaw Music Festival 2024

• Paper in Fire
• Ghost Towns Along the Highway
• Check It Out
• Longest Days
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• Rain on the Scarecrow
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• Pink Houses
• Hurts So Good
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• John Cockers
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• Crumblin' Down / Gloria
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John mellencamp at outlaw music festival los angeles 2024, john mellencamp at the soundtrack of our lives: a tribute to the legendary clive davis 2024.

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John Mellencamp at The Chicago Theatre in Chicago, IL

John Mellencamp performed his second night of a three-night engagement at the Chicago Theatre to a sold-out crowd.

The Chicago Theatre was about three-quarters full with people slowly filing in as the lights dimmed and a screen over the stage crackled into life. It showed John Mellencamp sitting with a representative of Turner Classic Movies who is sponsoring his tour. He spoke to the fact that this was the first time he’s worked with a sponsor for his shows before a selection of scenes from classic movies, primarily featuring James Dean and Marlon Brando, are shown with voice-over between each clip from Mellencamp. It’s clear that his image is heavily influenced by both Brando and James Dean and he spoke to what a crucial part of his development as a musician/artist these movies were. They were, he said, his comfort movies, a place he could retreat to again and again, always noticing something new each time. These movies contained characters that reminded him of people he knew and came across in real life. Indeed, he mentioned that he used to joke that James Dean wasn’t dead, you just had to come to a small town in Indiana and you’d see that guy everywhere.

Whilst the audience got somewhat restless waiting to see their hero take to the stage in person, this introduction with John’s voiceover provided some fascinating insights into some of the art that, along with his real-life experiences, helped develop his worldview and inform his songwriting. He mentioned at one point that songs and movies are the only things you can watch/listen to and they take you back to the place you were when you first saw them. This is indeed true but Mellencamp’s genius is painting a picture so vivid with his songwriting that it puts you in the place HE was when he was writing it. Regardless of whether you are from a small town in middle America (or even originally from America itself), it’s likely that on numerous occasions at a Mellencamp show, you’ll find yourself right there on Main Street or on a dusty road with the sun on your face. It’s like magic, it’s music and poetry informed by real American life and it’s a trick that very few outside of Petty, Young, Springsteen, and Dylan can perform as well as Mellencamp.

As the final movie clip ended, the house lights went fully down and the audience erupted as Dane Clark’s booming drums kicked off the live music portion of the night and the band launched into a raucous version of “John Cockers” from 2008’s Life, Death, Love and Freedom . Right from the off, the quality of musicianship is evident, with Clark’s drums prominent in the mix, driving the band forward. The rest of the band, made up of long-time member Mike Wanchic on guitar, John Gunnel on bass, Troy Kinnett on keyboards, Andy York on guitar, and the returning Lisa Germano on fiddle provide an evocative and solid platform upon which John can deliver his songs.    

Of course, it’s the gravelly tones of Mellencamp himself that everyone was there to hear and they are right there, raw and emotive as ever, cultivated from a smoking habit he developed at 10 years old (another thing he mentions he learned from the movies!). After a breathless opening, Mellencamp announced that they’ll be playing “some songs you know, some songs you don’t know, some songs you can sing along with, some you can dance to, and some that might make you think a bit” and that “hopefully, by the end of the night we’ll have formed a bit of a community amongst ourselves.”   

True to his word, there were a number of recognizable tracks from his outstanding catalog but his keen eye and need to comment on the issues going on around him today were also on full display. He spoke of his disdain for the “thoughts and prayers” so often espoused by those in power these days prior to launching into a dark and powerful new track “Hey God” which featured some great fiddle from Germano and guitar work from York on the resonator. He also took time to tell the story of his encounter with a homeless girl in Portland prior to another new track, the sparse “Eyes of Portland” which he performed alone on the stage with just his acoustic, ensuring he emphasized the refrain “in this land of plenty where nothing gets done” at every opportunity to cheers from the audience.

A poignant story about his grandmother who lived to be over 100 years old preceded the beautiful “Longest Days” for which Andy York joined him on stage on acoustic. He then went back to the solo acoustic format for “Jack & Diane,” taking a pause to educate the audience on song structure as they attempted to launch into the chorus after he had only just finished the first verse: “You see – 25-year-old John wrote a second verse and I’m going to sing it!”.

The band returned to the stage for “I Always Lie to Strangers” before a special version of “The Real Life.” Mellencamp explained that this would be something a little bit different before telling the story of how he had become close friends with Joanne Woodward (Paul Newman’s widow) after Newman’s death in 2008. The two had collaborated on a spoken word version of “The Real Life” which he wanted to include in the show. He then retreated backstage with Germano and Wanchic remaining out front to provide instrumental accompaniment to Woodward’s recorded voice. It provided an entirely different take on the song and the fact that it translated so well to this format, drawing your attention to every word, demonstrates just how well Mellencamp dances on that line between lyrics and poetry.

There were reflective moments during this show that could potentially lead you to think that Mellencamp is embarking on something of a farewell tour, but we’re not sure that is the case. Whilst he mentioned during the story about his grandmother living to over 100 and his father being 94 that “I don’t think Johnny’s going to make it,” it wouldn’t surprise you at all if he did, simply through sheer force of will. He remains as feisty as ever, is still voraciously creating new music and art but, most importantly, throughout this show, he looked like he was having the time of his life. And as long as that’s the case, we don’t see him stepping back from live performances any time soon.

This was no phoned-in/greatest hits performance. It was, as promised, something a little different with Mellencamp putting his heart and soul into every moment. After the last notes of “Hurts So Good” rang out, he stayed on the stage for a few additional beats after the band had left, taking in his fully deserved standing ovation. And why not, it was a case of “mission accomplished” for the evening. We left feeling that we knew Mellencamp and all the attendees in The Chicago Theatre that little bit better, you know, as though we’d become part of a community… That, of course, was exactly what he stated he was aiming for. Bravo John…

WORDS BY: Phil Walton PHOTOS BY: Kirstine Walton

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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.

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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.

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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 Mellencamp Launches 2023 Tour in Indiana: Set List and Video

John Mellencamp launched his Live and in Person tour on Sunday with a performance in his home state of Indiana at the Indiana University Auditorium in Bloomington.

He included two songs from Strictly a One-Eyed Jack , his most recent album, in the set list: "I Always Lie to Strangers" and "Chasing Rainbows." (He also played "The Eyes of Portland," another recently written song that does not appear on the LP.)

Hits like "Check It Out," "Jack & Diane," "Rain on the Scarecrow" and "Pink Houses" also appeared in the set, which closed with "Cherry Bomb."

You can see the set list, along with fan-filmed videos from the show, below.

Mellencamp will play a second show on Monday at the Indiana University Auditorium, before taking the 76-date tour across the U.S. and parts of Canada. He's playing at least two nights in most cities, with major stops in New York, Chicago, Vancouver, Nashville, San Fransisco, Minneapolis, Atlanta and Los Angeles.

Watch John Mellencamp Perform 'John Cocker/Hey God' at 2023 Tour Launch

The trek will conclude with a pair of shows on June 23 and 24 in South Bend, Ind.

Watch John Mellencamp Perform 'Minutes to Memories' at 2023 Tour Launch

Watch John Mellencamp Perform 'Check It Out' at 2023 Tour Launch

John Mellencamp, Indiana University Auditorium, Bloomington, Ind., 2/5/2023 1. "John Cocker/Hey God" 2. "The Eyes of Portland" 3. "Minutes to Memories" 4. "Small Town" 5. "Human Wheels" 6. "Don't Need This Body" 7. "We Are the People" 8. "Jackie Brown" 9. "Check It Out" 10. "Sometimes There’s God" 11. "Longest Days" 12. "Jack & Diane" 13. "I Always Lie to Strangers" 14. "Joanne Woodward/Real Life" 15. "Rain on the Scarecrow" 16. "Paper in Fire" 17. "Crumblin' Down" 18. "Pink Houses" 19. "Chasing Rainbows" 20. "Cherry Bomb"

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John Mellencamp delivers high energy, nuanced songwriting at Hanover Theatre performance

There was something indelibly ironic about John Mellencamp’s Monday night show at the Hanover Theatre & Conservatory for the Performing Arts : Whereas a lot of “classic” musical acts making the rounds revel in the karaoke nostalgia of their old hits, Mellencamp seems to have become more of the persona he has long portrayed. The grit and gravel of his voice has deepened, and while he has always brought a sense of authenticity to his work, the gravitas of age wears well with him. It gave lines of old favorites whole new layers. Mellencamp has changed, as we all do, and his music has changed with him, and the result is riveting. 

The show began with a series of clips from Black and white films: "The Fugitive Kind" (1960); "The Misfits" (1961); "Giant" (1956); "The Grapes of Wrath" (1940); "Hud" (1963) and "A Streetcar Named Desire" (1951). The clips would go on to reverberate throughout the set, the themes of surviving hardship, rugged individualism and rebelious youth returning again and again, beginning immediately with the night’s first song, a full-blast rendition of “John Cockers.” 

“Well I used to have some values,” sang Mellencamp in a deep growl, “Now they just make me laugh/I used to think things would work out fine/But they never did do that/All these bosses and the rules/It's hard for me to fit in/Must be ten million people/But I ain't got no friends.” “John Cockers” was followed in short order by a blistering rendition of “Paper and Fire” and “Minutes to Memories," before finishing the set’s first passage with the anthemic “Small Town.”  

The crowd erupted in joy, singing along with abandon. Still, it was the first of many times throughout the night where one had to wonder how many people were catching the nuance in Mellencamp’s songwriting, how on one level he really is earnestly singing the praises of small-town America, while at the same time seeing the cracks in that veneer. 

The “American Gothic”-style isolation is a recurring theme throughout Mellencamp’s work and Mellencamp has a way of making it clear he sees the shadows and dangers that come over-romanticizing the “small town.” The persona in “Small Towns” seems happy enough, but as the concert deepens, Mellencamp also shows wasted potential and lives squandered. Unlike most, he doesn’t feel the need to draw a dichotomy. Rough imperfections are, after all, his primary lyrical trade.  

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In any case, Mellencamp and band rode out the standing ovation that came from “Small Town” into the rousing "Human Wheels,” before settling in for “Jackie Brown,” a song which is almost the mirror image of “Small Town,” although one where the darkness is more upfront:  “Going nowhere and nowhere fast,” sings Mellencamp. “We shame ourselves to watch people like this live./But who gives a damn about Jackie Brown?/Just another lazy man who couldn't take what was his.” 

There’s a sense of empathy that permeates Mellencamp’s writing and a definite sense of parallel construction to how he constructs a set. After rocking out the heartbreak of “Jackie Brown” with the audience favorite, “Check it Out,” Mellencamp switched things up again with his recent song, “The Eyes of Portland,” which mulls on the growing number of unhoused persons in America and how poorly we treat them. If empathy is a hallmark of Mellencamp’s writing, a willingness to speak his mind is definitely another:  

“All of these homeless, where do they come from?” sings Mellencamp,” In this land of plenty where nothing gets done/To help those who are empty and unable to run/Your tears and prayers won't help the homeless.” 

Mellencamp then offered a segment of songs about how quickly life goes by. The first, “Longest Days,” is told from the perspective of someone older, cautioning how quickly it all goes by. Then, “Jack & Diane” — easily Mellencamp’s most well-known song and one eagerly anticipated by the crowd — gave the same message, but as Mellencamp himself noted from stage, he wrote that song when was 25. Somehow, the caution of, “Oh yeah, life goes on/long after the thrill/of living is gone” seems to have more weight from him now. There’s a hard-won wisdom in his vocals when he sings it, one that’s easy to miss if you’re caught up in nostalgia.  

Then, in an absolutely brilliant move, he presented a recording of his friend, actor Joanne Woodward, who is currently wrestling with Alzheimer’s disease, reciting the lyrics to Mellencamp’s song, “The Real Life,” accompanied solely by Troye Kinnett on accordion and Lisa Germano on violin. It was a heart-shattering moment, which recontextualized the song and brought forward the importance of everyday moments, and how easily they can slip away.  

From this point on, the concert moved at a breakneck pace, beginning with a biting, almost sinister rendition of Mellencamp’s ode to rural heartbreak, “Rain on the Scarecrow,” followed by the raucous “Lonely OI’ Night” and a blow-out medley of his song, “Crumblin’ Down” and the Van Morrison (and later Patti Smith) song, “Gloria.”  

The audience’s energy stoked to a fever pitch by now, the band exploded into “Little Pink Houses,” and if there was any irony in the gleeful shouts of the refrain “Ain’t that America” to Mellencamp’s portraits of disparate people’s lives, it was drowned out by the gleeful love of the crowd. 

Mellencamp finished his set with songs “Cherry Bomb” and the classic rock fan-favorite, “Hurts So Good,” leaving the audience on their feet and singing loudly.

Mellencamp is a nuanced songwriter, certainly, and that was definitely in evidence at the Hanover, but he can also put on a show and the joyful vibe he left the crowd with echoed onto the streets well after the music had stopped.      

Biting social commentary pulses through John Mellencamp’s near-sellout Syracuse concert (review, photos)

• Updated: Jun. 15, 2023, 7:53 a.m.
• | Published: Jun. 15, 2023, 7:34 a.m.

John Mellencamp performs with his band at the Landmark Theatre in Syracuse, Wednesday, June 14, 2023 Photo by Warren Linhart Warren Linhart - Contributing Ph

• Patrick McCarthy

Blue-blooded Americana rocker and singer-songwriter John Mellencamp torched our country’s present through his nostalgic perspective of an America-of-plenty on Wednesday night during a nearly sold out performance at the Landmark Theatre.

The classic rock icon used a mix of classic hits and new, poignant tracks to critique the rampant homelessness and poverty in our nation, and, as Mellencamp sees it, the political inaction that abets these conditions.

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