Shania Twain Brings Glam and Smashes to the Hollywood Bowl: Concert Review

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“It’s been nearly 25 years since I’ve been on this stage,” Shania Twain said shortly after her set debut at the Hollywood Bowl Sunday night. He got that right—the calendar shows he last played America’s favorite amphitheater on May 6, 1999. I Feel Like a Woman!” topped the charts.

When it comes out on Saturday as the inevitable final encore, Still He felt like he was making a hill. It’s a song that will never reach its peak until all the generations represented at the Bowl this Memorial Day weekend pass away and/or the day when the privilege of having some fun is codified as a felony criminal. As long as there’s women, gay men, and straight men relaxed enough to buy “Come on girls” T-shirts and pink cowboy hats with flashing diodes, Twain will have the rights to the biggest ladies’ night anthem. just as precise as the federal trademark on the exclamation marks. (She does, right?)

The Twain’s Bowl rendezvous comes nearly a month into a North American tour for the first time since an arena tour that ended five years ago. Along with her new album “Queen of Me” released in February. Residences are a dime a dozen these days, of course, and the album in question vanished from the charts almost as soon as it was released, marking Twain as a mortal subject subject to the same time lapses as others – in stark contrast to the way she’s been acknowledged, where her literal goddess status manifests itself in a sold-out show and top nose At the Bowl, where resale tickets are sold for hours leading up to a minimum of $300 for bleeding/cannabis seats. (Anyone who can’t afford the secondary prices for the bowl has a much more affordable chance to see Twain a few hours east at the Acrisure Arena in Palm Springs this Wednesday.)

Shania Twain (Randall Michelson/Hewitt Silva-Live Nation) at the Hollywood Bowl

Twain did her best to live up to those expectations and still visually presents it as a Marvel-level immortal Saturday, but her cross-song chatter has always shattered the illusion by making her voice sound like a Regular Lady rather than a demigod. (A contrast that audiences are willing to live with and embrace.) This touring production won’t break any records or break any molds for being the most elaborate show in the world when Twain owns it, and it doesn’t have to be. A set of stairs and a single giant LED screen will suffice as the ongoing special effects and set design. There’s a giant prop that pops up early in the show: a massive fake motorcycle that looks like something out of an old Meat Loaf cover, partially configured as a horse to summon the stallion Twain used to ride the stage. Arrive at his original residence in Vegas in the early 2010s. It sits astride — or straddles — for the length of an early song, and then the rest of the show has some super cheesy electronic backgrounds, like a burning animated cowboy saloon, but it’s really all about wings and from then on heels and wigs.

Shania Twain (Randall Michelson/Hewitt Silva-Live Nation) at the Hollywood Bowl

gold with wigs, actually not more than one. The expectation from a diva-type show was that there would be multiple costume changes, but that wasn’t the case. When the two male backup singer-dancers were left alone on set to do a mimic tap-dance early on, it looked like an opportunity for Twain’s first refreshed outfit of the night, but it was really just a break. that fake helicopter took the stage. In fact, right up to the encore episode, Twain probably surprised everyone by wearing the same costume from start to finish – but when you have a costume like Twain’s on Saturday, changing it might seem like a crime. For most of the two hours, he was firmly convinced that no one would stop staring at his high-end underwear look under his coat. It probably seemed about 10 times more revealing than it was, which is probably why Twain was able to withstand the cold off-season temperatures in Hollywood (that and being Canadian). It’s fair to say that the curly blonde wig she wore overnight was a bit polarizing, but there hasn’t been much discussion about the effectiveness of the sheer look, which has now burned the brains of 17,500 fans forever. Long blue belts on each ankle and matching boots added strong splashes of color to break up the monochromatic sexy appeal. (His domination of these epic generations and keeping them out of his way—not even tangling them together when he periodically sits on a stool to play acoustic guitar—should perform alongside any of the night’s more obvious choreographies.)

That look was cast aside for the two-song encore segment only; for this, Twain reappeared in a floor-length black jacket and top hat, stripped to reveal that he was wearing the same bustier that the star wore in “Adam” in the finale. ! I feel like a woman!” The music video dated ’97 – she said she was taken out of a museum for that purpose. (Since she went in for a video and a TikTok a few years ago, whichever museum has been missing it for a few years now.) The outfit is now iconic enough, that’s why back then. hard to remember, it looked like a feminist adaptation of Robert Palmer’s model outfit in “Addicted to Love”, now adapted to express that such a long-legged look can also be appropriate for women with the lights on and someone at home. The woman who showed up at the class meeting at the end of her years and can still wear her ball gown, with one important difference, doesn’t seem to hate her for it.

Shania Twain at the Hollywood Bowl (Chris Willman/Variety)

A Twain show is, as always, dominated by the big album trio she made with producer/co-writer/ex-husband Robert “Mutt” Lange from 1995-2002: “The Woman in Me”, “Come on Over” and “Up!” , none were diamond certified, none deserved less. These albums represent one of the greatest grand slams in the pure pop realm—or not so pure, because there was enough real country in them to allow for a more lively episode of the show titled “Any Man of Mine,” “Whose Bed.” Under the Boots?” and “Honey, I’m Home” back to back. Ear candy was so strong on all these albums that it’s easy to forget there were feelings attached to some of these earworms. You forget, at least until he gets on the stage and introduces “From This And On”, one of his greatest love songs, and you think it’s weird that he sings romantic dreams from that period and forgets what they’re connected to. for him, letting the fans have them? If so, he won’t tell us; There are no moments of reflection in “VH1 Storytellers” on a show that this is meant to constantly entertain. which does.

Twain would be the last artist to open a vein on the stage, and even half a dozen new songs from “Queen of Me” don’t provide the opportunity for “let’s catch up” conversation. (This album feels a little more deliberately nap-like than the more personal “Now” before it… now it’s aimed more at reclaiming commercial peaks, whether it’s possible or not.) personality when it has a built-in moment of fan engagement. On Sunday, he was warned that it was “illegal” to put one in the audience on stage while he was reading the names of the fans he would be spending time with from a card – so he came up with something spontaneous. way down to the middle of the pit to hear designated devotees sing her songs a cappella (on a cruise ship Shania had won a karaoke singing competition). For someone who can easily maintain an air of immunity, it makes it pretty clear that Twain is willing to literally go into the trenches.

She’s also surprisingly shameless when it comes to singing live – although that should come as no surprise at this point – perhaps this is where vulnerability for a pop diva of this era and reputation really comes into play. The proportions are pretty much the same as those for Twain residences and tours dating back decades: The sound of several songs includes mostly or entirely prerecorded vocals—like the opening number the Bowl makes as they cross their mid-aisle. or a particular standout ballad – but that’s how the vast majority of the show blatantly sings live. And there’s no doubt that its singers and actors – including a delightfully high-pitched female drummer – do most of what they do in real time. Some pundits might say any pre-recorded moment is a gimmick, but Twain’s contemporaries often count, by canned standards, almost as a meticulousness of authenticity.

And here, perhaps, is Shania Twain’s paradox: While real or staged stage intimacy isn’t for her, she turns out to be the kind of idol you can have a beer with, despite all the nobility of a show like this. with. Sure, there would be a beer in a castle in Switzerland and probably not in reality. beerand consider NDAs. It’s just that he still exudes the lucky Canuck demeanor he had when he first rose in the ’90s, and the recklessness of the thousands of sound scales and squats needed to maintain it. Man: She feels like a workhorse, and a natural woman.

Shania Twain (Randall Michelson/Hewitt Silva-Live Nation) at the Hollywood Bowl

Hailey Whitters started with a strong set of material that further revealed why provincial traditionalists sought her help in maintaining the faith and why she has the potential to be a suitable successor not only to Miranda Lambert but also to Trisha Yearwood performing with her. in ACMs. (The latter’s “She’s in Love With the Boy” was mixed with “How Far Can It Go?”) Whitters announced the previous day that she had released her country radio top 20 single with the set. – The closing single “Everything She Ain’t” is a good omen not only for him but also for the state of the commercial country.

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