I was nine when my dad brought home a CD from the 1973 Mott the Hoople album, Mott. I had never heard of it but when my dad, in his craziest attempt at a British accent, sang âAll the Way from Memphisâ I was hooked.
So when Mott the Hoople frontman Ian Hunter, wearing sunglasses, announced that he and the rest of the band, Ariel Bender on guitar and Morgan Fisher on keyboard, were returning to the United States after more than four decades, the first person I contacted was my father, telling him that there was no way I would miss this (literally) unique opportunity.
Waiting in line for the show, baby boomers clad in leather jackets and an array of classic touring t-shirts brimming with years of anticipation, feasting on stories about the last time they saw Mott the Hoople live.
“Aren’t you a little young to be a Mott the Hoople fan?” Someone behind me asked. I’m thirty now, but I feel like I’ve waited forty-five, like the rest of Milwaukee – like the rest of the United States – for Mott the Hoople to come back on tour and sing, “young man you can never be old. “I told them that I would sing out loud with everyone as soon as the Dudes got on stage.
As the house lights flickered, a collective wonder arose among the crowd who took everyone to their seats. Warmed up by Midwestern new wave favorites The Suburbs, everyone chanted “74!” 74! 74! As the lights dimmed around a backdrop for a modern mashup of Mott the Hoople album cover art Mott and The hoop: the heads of Augustus and the mirror images of Bond girl Kari-Ann Muller, wearing the iconic Ian Hunter sunglasses.
Introduced by a 1970s audio clip by David Bowie, who wrote one of Mott the Hoople’s greatest and legendary hits – âAll the Young Dudesâ of 1972, the band came out to a standing ovation. Fans remained standing, dancing and singing throughout the evening’s first song, a sequel to ‘American Pie’ by Don McLean and the big band rocker backed by Mott the Hoople’s choir ‘The Golden Age of Rock’. n ‘Roll’. It was an overt message from the group, stating “we know we’ve been gone for a while, but we’re still the ninety-six decibel monsters we always have been.
The show buzzed with a mix of nazz-soaked cuts, such as “Rest in Peace”, “Marionette” and “Walking With a Mountain”; a selection of solo works by Ian Hunter, in particular “Lounge Lizard” and a Milwaukee-themed version of “Cleveland Rocks”; their cover of “Sweet Jane” from The Velvet Underground; and of course, the renowned singles that made Mott the Hoople glam rock royalty: “Honaloochie Boogie” (my favorite), “Roll Away the Stone”, “All the Way from Memphis” and “All the Young Dudes” .
Prior to the recall, Hunter, 79, said kicking off their first and final U.S. tour in Milwaukee was a conscious choice due to the quality of the fans, the gratitude and the welcome the city had received. been for him as a solo artist and as an artist. the frontman of Mott the Hoople in recent years. The Monday night crowd at the Miller High Life Theater was all that, and then almost half a century of joy and fandom flooded the house.
Think about your favorite song, long outside of constant radio playback, coming to the car stereo. Imagine this car filled with all your friends. Now imagine that you all know every word and all of you sing together. Now you get a glimpse of what the crowd delivered to Mott the Hoople on Monday night as a way to say, âWelcome. We remember the concerts on Saturday. We went down to these Saturday concerts. Because you did. You did it.”