In the Mix: Guns N’ Roses, Sexual Awakening and Dodgers Stadium
When I was a tween, my bestie at the time and I were absolutely obsessed with Guns N’ Roses. It was the era when MTV played videos all day mostly repeating a manufactured countdown show format, and the many videos from Use Your Illusion 1 and 2 filled up much of the airtime. We watched said videos on repeat thanks to VCRs, and indulged in slow motion and pausing to check out Axl’s package or to see Slash frozen in midair jumping off of a speaker. We would sit on the phone every night and listening to our cassette tapes, reading the sexually explicit lyrics and giggling, talking about how hot they were, and concocting ridiculous schemes to go to their concert at Giants Stadium. For HOURS. We were twelve year old music lovers in the throes of puberty. And bless my parents for indulging me.
Fast forward to 2016 (well after puberty), when Guns N’ Roses announced their aptly titled “Not In This Lifetime” tour. I didn’t think I’d ever have a chance to see them play together considering the last two decades have been famously turbulent for the guys. But this was the opportunity I’d be waiting for. My inner tween was squealing with joy when I scored two tickets to see them at Dodger Stadium, in their hometown! Joining the “Nighttrain” fan club was a bonafide way to get the tickets which were selling out quickly thanks to scalpers.
On Thursday, August 18 I attended the first night of their Los Angeles run with a good friend and we were so amped by the music that we literally couldn’t sit still. We avoided our “Reserve level” seats (i.e. one step below nosebleed) with crappy side views of the stage and hung out in the middle sections where we could see them head on. (Duly noted not to buy concert tickets to the left or right of sections 23 and 24 on the Reserve level.) We took a lot of video. They sounded like they do on record (or tape, or digitally) so hearing them play their hits like “Welcome to the Jungle,” “Sweet Child O’ Mine,” and “Live and Let Die” transported us back in time. They are the real deal playing for 90+ minutes and we were fangirling out. Seeing them live brilliantly highlighted their collective musicianship; refining with age.
I woke up the next morning jonesing to go see them again, vowing not to film as much so I could be present and enjoy the sounds. I found a cheap top deck solo ticket and prepared myself for another journey downtown to Dodgers Stadium with about 30,000 other fans.
To my surprise, the top deck was the shit. Granted this was my first concert experience at Dodgers Stadium, I loved being able to see the whole stadium plus enjoy the concert without worrying about being stepped on, pushed or blocked like I would be on the floor. (But if someone wants to give me floor seats for a show, I’m happy to oblige.) I was able to sit or dance and really absorb the music, plus the concession stands and bathrooms were easily accessible and rarely packed. It was also easy to navigate the drunkards.
Overall it was magical. The two nights were slightly different than the other so I feel lucky to have seen both shows. Axl crooned “Patience” on the first night, and treated us to “Don’t Cry” the following night. The first night featured a mindblowing jam session with Axl on the keys, and Slash and Duff holding down the guitar and bass. They also played “Yesterdays,” one of my favorite album cuts, appropriately for the full moon. On the second night, Steven Adler, their first drummer who battled addiction since the 80s, joined the band for “My Michelle” and “Out Ta Get Me” much to the delight of Appetite for Destruction fans.
My favorite part was being able to see Slash’s solos each night. The show by design gives him a lot of room to shine. There were a couple of interludes where Slash played alone or with drummer Frank Ferrer, giving Axl and the band a break. He played the final notes of a few songs, like “Civil War,” giving him the space to riff and show off. There were also his mini tributes to Jimi Hendrix playing a bit of “Voodoo Child,” and covering the “Love Theme from The Godfather.” Something about the way he plays the guitar stirs every cell in my body, it was literally and etherally electric.
By finally seeing Guns N’ Roses live, I was able to hear how Slash’s contributions are critical to the energy and composition of their songs. His solos create the ebbs and flows, evoking feelings that take the listener on a journey. He’s often responsible for the musical climax of many of their tracks. Here’s an example from “November Rain”:
It was dope to see how they are all well-rounded musicians. Listening to the albums are one thing but their talent is more real seeing them on stage together re-creating songs I’ve heard a million times. Duff McKagan is basically the unsung hero of the group: solid AF with his bass but sorely underrated. He also got mad points from me for having Prince’s symbol on his guitar, and that we could see it on the jumbotron. I forgot about Axl’s piano skills which shined brightly (like his massive diamond and ruby ring also seen on the jumbotron) during “November Rain.” Former guitarist Izzy Stradlin held his own with a couple of solos, and was an excellent companion to Slash during some of the interludes.
While it’s clear time has passed and they are not the skinny (thanks cocaine) and raucous guys they once were, they can still f*ckin’ play. That’s what matters, even here in vain LA. It was difficult to see Axl looking a bit awkward in his body on the first night but he maintained his signature vocals so it was easier to overlook. He seemed more natural and comfortable in his skin the second night, he looked genuinely happy to be home and like he got out of his head. My friend and I got a kick out of his costume changes which included cowboy hats, the standard flannel shirt wrapped around his waist, a fringe jacket and a t-shirt that said “Stay away from fuckin’ popo.” Still a relevant message all these years later.
The show ended “Paradise City” and a crescendo of fireworks. I was next-level psyched about that surprise and then really enjoyed watching folks on the following night feel that same jubilance. There’s something about the tangible beauty of music (and a little pyrotechnics) that brings people together. I felt like less of a weirdo nerding out with thousands other fans who were also moved by the melodies and nostalgia. My inner tween is at peace knowing that the music that inspired so many fantasies (and projections) about love and sex is way more real than my youthful, misguided understanding of such things. Longevity may be rare in the fickle music industry but the Guns N’ Roses show was a reminder that true talent is timeless.
