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Surprisingly, much of the crowd appeared to listen to his plea - a rare live music moment sans social media updates.Īrmstrong truly exemplified what it means to be a frontman during the band's set. Right off the bat, Armstrong attempted to create a sense of community and escape by requesting fans live in the moment and put their phones away. After their set, Queen's "Bohemian Rhapsody" played as a mid-concert palate cleanser, and the entire crowd sang and thrashed along.Īfter a video yearbook of their time as a band played across a large screen on stage, Green Day - frontman Billie Joe Armstrong, bassist Mike Dirnt and drummer Tre Cool - took the stage. (After the second song, fans in the front pit could be heard asking about the band's typical onstage pyro, mysteriously missing from this particular set.) At one point, the band surprised guitarist Joe Troham on stage with a cake to celebrate his birthday. Unlike earlier dates of the tour, there was no flame-throwing bass guitar stunt or piano pyrotechnics, much to the dismay of fans. It felt like an immersive experience rather than just songs without a cohesive flow or story line, as they performed a multitude of discography hits, including "Thnks fr th Mmrs," "This Ain’t A Scene, It’s An Arms Race," "Sugar, We're Goin Down," "Uma Thurman" and more. Although they could have headlined a stadium, as they've done in the past, Patrick Stump and co. Casual listeners in attendance perked up every time they recognized one of the band's many hits, from "Hero" to "Buddy Holly," and frontman Rivers Cuomo truly brought '80s classic rock to life with the group's latest album's vibe (and his epic mullet).įall Out Boy were up next, beginning with a Twilight Zone-inspired intro. When "Oh, Boy!" came out only a month after "Peggy Sue" as by the Crickets, Holly was riding sky-high with three Top Ten smashes in barely more than three months.Weezer kicked things off and performed much of their most notable work, the band's signature "W" logo hanging above them on stage. Instead of issuing it on the Brunswick logo under the moniker of the Crickets as his smash "That'll Be the Day" had been, "Peggy Sue" hit the shelves under Holly's own name on another Decca subsidiary, Coral Records. Mauldin abetting Holly's singular guitar work. Producer Norman Petty also is listed as one of the song's writers (Remembering Buddy, John Goldrosen and John Beecher's fine Holly biography, credits Petty with brainstorming the memorable chord change under the "Pretty, pretty, pretty, pretty Peggy Sue" line) the track was cut at the close of June 1957, during three fruitful days of sessions at Petty's Clovis, NM, studios with only Allison and bassist Joe B. The classic collaboration between Holly and Allison had originally been envisioned by Holly as "Cindy Lou," but Allison suggested the switch to honor his girlfriend and future wife, Peggy Sue. No wonder it catapulted up to number three on Billboard's pop charts in late 1957/early 1958. Holly's hiccupping vocals were seldom more charming his crashing guitar solo was a rousing barrage of savage Tex-Mex chords, Allison's drumming brought a new dimension to rock & roll timekeeping, and the song's chord sequence was just distinctive enough to stand tall during a year that was absolutely filled to bursting with seminal rock & roll platters. Throbbing paradiddles by innovative drummer Jerry Allison propelling it onward like a skyrocket, "Peggy Sue" stands as one of Buddy Holly's crowning achievements during a tragically truncated career.