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Friday, April 11, 2003
Bon Jovi can still rock the house
The band shows great energy and camaraderie in its Staples show.

By GEORGE A. PAUL
Special to the Register

Gazing at a near-capacity Staples Center crowd, Jon Bon Jovi marveled, "This is the first time we've played here. I like the place. My friends told me it sounds like (garbage), but it's good once you fill it up."

Packing large venues is still Bon Jovi's specialty. Years after hair metal's demise, the band shows few signs of slowing down. It continues to rock with a fervor and exuberance akin to the old days.

Back in the '80s, Bon Jovi was textbook "arena rock," with melodic anthems that begged to be chanted by thousands at top volume. The group's "Slippery When Wet" and "New Jersey" albums sold by the multi-platinum caseload.

After a fallow period in the late '90s, Bon Jovi came back in a big way with 2000's successful "Crush" disc and single "It's My Life." So far, "Bounce," the follow-up, hasn't measured up on a commercial (it barely reached gold status here) or artistic (cynics: Stop laughing) level. The Sept. 11-inspired tunes seem labored, while Richie Sambora's guitar work veers toward the lumbering side.

Taking a cue from the latest album's artwork, three large satellite dishes filled the stage and served as makeshift projection screens. Bon Jovi launched the two-hour 22-song set with a murky "Bounce."

Clad in black leather shirt and velvet pants, Jon Bon Jovi, 41, looked every bit the sex symbol. "This show will be the best aerobic workout you have all year," he said. Indeed. There was plenty of pogoing on and off stage.

A rich group harmony vocal started "You Give Love a Bad Name," the first of five selections from "Slippery When Wet." Propelled by Tico Torres' thunderous drums and a spirited sing-along, it was an adrenaline rush.

Sambora worked his guitar talk-box magic during "Livin' on a Prayer." Jon Bon Jovi did the first verse a capella, the fans continued and then the band joined in. Later, Sambora's talk-box effects were the centerpiece on "It's My Life," a big, stomping anthem that was one of the evening's standouts.

Another highlight was "Just Older," which found the singer and guitarist facing each other, laughing. The line about "breathing that California air" drew loud cheers.

All the camaraderie between Jon Bon Jovi and Sambora was a joy to watch. The same held true for animated keyboardist/backing vocalist David Bryan, whose synths on the band's first hit "Runaway" didn't sound too dated. Jon Bon Jovi quipped, "Like a fine wine, it gets better all the time."

On a more serious note, the epic, riveting "Right Side of Wrong" saw Jon Bon Jovi sing dramatically with his arms outstretched. And Sambora turned in a weepy Clapton-esque solo. Some female fans were literally in tears.

Before the less interesting new ballad "The Distance," Jon Bon Jovi dedicated it to the troops in Iraq. During the funky "Keep the Faith," he played a rock preacher, collapsed on the floor and pulled himself up slowly.

Come encore time, "Captain Crash & the Beauty Queen From Mars," a nostalgic ode to the glam-rock era, was an intriguing change of pace. Bon Jovi upped the sensuality quotient for "Bad Medicine" with scantily clad female images projected on screen. The singer playfully taunted the ladies, and Torres' drums packed a forceful wallop. Sambora even did a Chuck Berry-style duck walk. A cover of the Isley Brothers' "Shout" brought the high-energy concert to a still-more-frenzied finish.

The Goo Goo Dolls' 40-minute opening set started on shaky ground and recovered once singer-guitarist John Rezeznik warmed up without longtime bassist and comic foil Robby Takac (who was recently hospitalized) by his side. The band did several hits ("Iris," "Name," "Slide"). But what fared best were tracks from last year's underrated "Gutterflower" album - including the jaunty "Think About Me," "Here Is Gone" and the folksy, mandolin/accordion-laced "Sympathy."