the zombies tour review

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The Zombies Mesmerize Young and Old Fans Alike at California Show

Founding members Rod Argent (c) and Colin Blunstone (2nd from r) still lead the Zombies

When the Zombies touched down for their concert at the Belly Up Tavern in Solana Beach, Calif., on October 7, 2023, it was hard to tell who was more exhilarated: the band or the crowd.

Throughout the 90-minute show, singer Colin Blunstone seemed genuinely happy to be there. During the chorus of “Time of the Season,” perhaps the British Invasion band’s best-known song, his facial expression was rapturous as he lifted his hands and reached into the crowd like a preacher while the stage lights enveloped his head like a halo. Keyboardist Rod Argent, right up front, made frequent eye contact, and shared smiles, with the throngs of fans who pressed up against the stage with the fervor of religious zealots. And the rest of the band played to the crowd rather than for them, resulting in tumultuous rounds of applause, screams and cheers after every song.

The Zombies carved a niche for themselves during their initial mid-’60s run by mixing Beatle-esque pop with psychedelia. The group was formed in 1961 by Blunstone and Argent—born 10 days apart in June 1945—and scored its first hit three years later with “She’s Not There,” followed soon thereafter by “Tell Her No.” The band was quickly elevated to the front lines of the so-called British Invasion, reportedly becoming the first British band after the Beatles to top the U.S. pop charts. But fame was short-lived, and by 1968 it was all over. The group’s swan song LP, Odessey and Oracle , remains an unheralded psychedelic masterpiece, similar to Love’s Forever Changes .

Watch the band perform “She’s Not There” at an earlier stop on the tour

After the band’s dissolution, Blunstone pursued a solo career and Argent formed his own short-lived band, Argent, which had a massive hit in 1972 with “Hold Your Head Up.”

But in 2004, after a handful of one-offs in the 1990s, the Zombies regrouped for good, and they’ve been touring and recording ever since.

Related: Our interview with Rod Argent and Colin Blunstone

The Belly Up Tavern show opened with “Moving On,” a groovy blues rocker from the band’s 2015 album, Still Got That Hunger . Most so-called “legacy” bands have either stopped recording or continue to pump out albums of questionable quality. The Zombies are one of the few 1960s bands that continue to produce great new material, and the crowd’s reaction to the group’s newer songs was every bit as positive as it was to their classic hits.

Next came a pair of songs from 1965, “I Want You Back Again,” a single that went nowhere and is best remembered for its cover by Tom Petty and the Heartbreakers, and the obscure B-side “I Love You,” a cover of which became a modest hit in 1968 by People!, a one-hit wonder from San Jose, Calif.

Colin Blunstone, lead singer of the Zombies, at this 2023 concert (Photo by Thomas K. Arnold, used with permission)

The Zombies played a total of four songs from their latest LP, including the title track, “Different Game,” a Procol Harum-like tune that the band recorded in Argent’s home studio, a converted barn, and the beautiful ballad “You Could Be My Love,” featuring just Blunstone’s vocals backed by Argent on piano.

Both songs drew thunderous applause from the audience, which consisted of a surprisingly large number of young people. Up front, pressed against the stage, a purple-haired woman in her 50s swayed to the music right next to a 24-year-old with two lip rings and a large tattoo that swirled around her entire left arm. A health-tech executive in his late 50s with short red hair stood mesmerized right next to a young long-haired man who sang along with virtually every song.

Watch the Zombies perform songs from Odessey and Oracle elsewhere on the 2023 tour

The Zombies were in exceptionally fine form as they performed one of their two earliest hits, “Tell Her No,” with the young girl in the front dancing trance-like as though at a rave.

Watch the Zombies perform “Tell Her No” at the same venue in 2016

The evening’s high point: four deliciously psychedelic songs, in succession, from Odessey and Oracle : “Care of Cell 44,” “A Rose for Emily,” “This Will Be Our Year” and “Time of the Season,” three of which were written by Argent (“This Will Be Our Year” was written by Chris White, who during the group’s initial heyday was its bassist and, along with Argent, one of its two primary songwriters).

Rod Argent, Zombies keyboardist and co-founder, in 2023 (Photo by Thomas K. Arnold, used with permission)

The band followed this iconic quartet of songs with the rollicking “Merry-Go-Round,” off its latest LP, and an extended version of “Hold Your Head Up,” with maniacal organ work by Argent, before closing with “She’s Not There,” one of the most infectious songs to come out of the ’60s Brit years.

Called back for the obligatory encores, the Zombies finished the night with “The Way I Feel Inside,” written by Argent during the band’s first big tour in 1964, and “Say You Don’t Mind,” a U.K. hit for Blunstone in 1972 that was performed as a tribute to Denny Laine, the veteran British rocker currently beset with health problems .

The show was so well received that much of the audience lingered near the stage even as the house lights came on. The 24-year-old girl was among the last to leave. Tickets to see the Zombies are available here .

Watch  the Zombies perform “Time of the Season” at the 2023 Solano Beach concert

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1 Comment so far

Somehow, whenever the Zombies made it to Phoenix (not enough times, in my opinion) I missed them. So, I have to settle for seeing the band for a couple minutes during the vapid “Bunny Lake Is Missing”.

Just Out of Reach. Although I did get to see Argent in 1972. I think they opened for the Guess Who.

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Concert Review and Photos: The Zombies rock the Narrows Center

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The Zombies, one of the original British Invasion bands, dropped by the Narrows Center Sunday, May 1 for a high-energy show on the last night of their “Life is a Merry-Go-Round” US tour.

The concert was full of musical highlights, sprinkled with stories going back to their days spent recording at Abbey Road Studios in London. The well-rehearsed band was strong throughout the set, led by founding members vocalist Colin Blunstone and keyboardist Rod Argent, with Steve Rodford on drums, session player Tom Toomey on guitar, and Søren Koch on bass.

The early part of the show featured a few songs which we’ll just call mixed-up covers. They rocked on Tom Petty’s cover of their original “I Want You Back Again,” which included a dazzling keyboard solo from Argent. Blunstone showed off his expressive vocal range on the garage rocker “I Love You,” a one-hit-wonder made famous by the 60’s band People, but written by original Zombie Chris White.

They also played several memorable tunes from their critically acclaimed 1968 masterpiece, Odyssey and Oracle , an album often compared to The Beach Boy’s Pet Sounds and The Beatles Sgt. Pepper’s Lonely Hearts Club Band . Those included really nice versions of “Care of Cell 44,” “A Rose for Emily,” and an epic take on the #1 hit “Time of the Season.”

Later in the show, Rod Argent’s rock and roll anthem “Hold Your Head Up,” featured an impressive organ solo, with the crowd singing along to every word. Certainly a show highlight! The band closed with a robust version of their first #1 hit “She’s Not There,” and a sweet-tempered duet, “The Way I Feel Inside,” with just Blunstone and Argent on stage. A solid finish to a great evening of music!

The Zombies project an authentic vibe through their words and music. The fact that they connect so well with audiences sixty years after coming together in St. Albans, UK is part of the reason why they’ve undergone a career resurgence in recent years. The other part, their songs are timeless. No doubt, having the two founding members leading the band is a major factor in their late-career success, unlike other “legacy” bands that have replaced original members. To say they sound as fresh as they did 50-plus years ago may be cliché, but in the case of The Zombies, it’s 100% accurate.

Opener Jesse Lynn Madera charmed those assembled with her soulful melodies along with her respect for the headliners. Playing solo behind the keyboards, Madera revealed some vocal range on “Revel”  and rocked a little harder on the country-twinged “Holy Water.” The Nashville-based singer-songwriter is an artist to watch; hope to see her back in these parts soon.

Check out some concert pics below from WUN photographer Rick Farrell.

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The Zombies Life Is a Merry-Go-Round Tour spins into Clearwater, Florida

Live review.

By Chyrisse Tabone, Rock At Night Tampa

Live Review: The Zombies with Bruce Sudano – Bilheimer Capitol Theatre, April 5, 2022

OK, right off the bat, I am biased. I love The Zombies.  The Odessey and Oracle is one of my favorite albums. The music is symbolic of my “Wonder Years” childhood in Metro Detroit which included singing along to the AM radio in the Buick Riviera. Pure joy.

Rock At Night last saw The Zombies in February 2019 before their long overdue induction into the Rock & Roll Hall of Fame. We intended to see them in 2020 but the dreaded COVID pandemic put the kibosh on that.  Again, the year 2021 proved to be a wash since the tour was again postponed till 2022. Finally, the band kicked off the Life Is A Merry-Go-Round Tour in Orlando on April 1 st .

Entering the Bilheimer Capitol Theatre in Clearwater, Florida on April 5 th , we were greeted by a sign that noted photography, including cell phones, was prohibited.  Even Baby Boomers have fallen into the habit of cell phone raising during an evening’s performance by viewing the concert through a glass screen rather than absorbing a live performance.  Walking into the venue I noticed many patrons wearing The Zombies t-shirts and even an “Induct Tommy James Into the Rock & Roll Hall of Fame” t-shirt on a woman.

The evening began with singer/songwriter Bruce Sudano on stage with an acoustic guitar, accompanied by a fellow musician on an electric guitar. Rock At Night reviewed his recent release Ode to a Nightingale so I somewhat familiar with him. What I did not know is his very rich history in the music industry, his very thoughtful and sincere demeanor, and the depth and authenticity of his music. Honestly, I was blown away.

Sudano played snippets of his catalog of music, working his way from the past to the present, as if creating a musical autobiography. He played “Ball of Fire” which he co-wrote with Tommy James and the very familiar “Tighter, Tighter” when he was a member of the Brooklyn band Alive ‘N Kickin.

He segued into a heartwarming story of meeting a “girl who had just come from Germany” whom he began a collaboration with while in the band Brooklyn Dreams. Saying “this was originally written on acoustic” he began singing “Bad Girls” which he co-wrote with his collaborator and wife of 32 years, Donna Summer.  An audible gasp was heard in the audience. He explained after she passed in 2012 he wondered, “Can I love again? Should I love again?” before singing a song about unexpectedly finding love again.

More nostalgia ensued with songs like “Back in the Neighborhood” and “Coney Island”, which eventually melded into “Hang on Sloopy” and “Twist and Shout”, which had the audience clapping and singing along. He ended with a self-described “road song” which had the audience chuckling at the line, “There’s a girl at the bar half my age.”

After a short intermission, The Zombies came out on stage performing “Moving On” and “I Want You Back Again”.  Between songs, original members Rod Argent and Colin Blunstone told anecdotes and backstories to songs, which added to the intimacy of the evening. Describing a B-side song written by Chris White that was “made famous by the people” and had “three simple words” the band broke into “I Love You”.

Blunstone explained the band had not performed in two years but continued writing music and will be releasing a new album soon.  He says, “We’re going to perform songs we have never performed live and it’s from the new album.” Explaining the recorded versions are fleshed out with strings, the band performed “Different Game” and the pretty piano-driven ballad “You Could Be My Love.”

There was a lot of chair dancing going on across the aisle when “Tell Her No” was performed. While Argent had a minor technical problem with his ear monitor, Blunstone filled the gap saying, “We’ve been making records for 60 years. We’ve also played with others like Rod played with The Who and Andrew Lloyd Webber.  I played jingles and was flown to America to film a commercial.”

Blunstone relayed an amusing story of flying across the pond to sing the line “A time for the season of Noxema.” However, the advertising company urged him to pronounce the word ‘Noxema’ with an American accent. For him, it was a “pay day” and ironic they would fly a Brit across the pond to “sing in an American accent.”

Blunstone continued with quips saying, “When we recorded Odessey and Oracle , Alan Parsons was the Assistant Engineer at Abbey Road Studios.” He became good friends with Parsons and recorded a song on his album Eye in the Sky . He then broke into an ethereal version of “Old and Wise”. Honestly, the 2 ½ year rest was good for him because his voice was as exquisite and velvety as it was decades earlier. Actually, all evening I was in awe of his voice and the tightness of the band, as if the hiatus never happened. Steve Rodford was perfect on drums and Tom Toomey added to the harmonies, especially in “You Really Got a Hold On Me.” Søren Koch has big shoes to fill after the passing of Jim Rodford, but he definitely held down the bass.

Argent explained how he and Chris White were frustrated with the recordings they were doing in the sixties. He recalled how management in those days cut lucrative deals in favor of themselves. The Zombies were “ripped off to the tune of 2M GBP—even with all the #1 records in the states and headlining tours. The band basically broke even.”

Argent says, “We wanted to produce something the way we wanted it to sound. We were broken up by the time ‘Time of the Season’ was released and it was a DJ in Idaho who was responsible for creating a ground swell.”  The band performed five beloved songs from The Odessey and Oracle , beginning with “Care of Cell 44” and continuing with “This Will Be Our Year”, “A Rose for Emily”, “I Want Her and She Wants Me”, and finally “Time of the Season.” After this classic medley and Argent’s riveting solo on the organ, which included a bit of Bach’s “Jesu, Joy of Man’s Desiring”, the crowd rose to their feet and applauded.

The room was rocking with “Merry Go Round” and a new tune “Run Away for All My Life” before full dancing in the aisle pandemonium and fist raising to “Hold Your Head Up”.  Argent reminded the audience to sing “Hold your head up, woman ” and not “Whoa!” as most people believed the lyrics to be. This anthemic song totally embodies female empowerment.

Ending the evening with “She’s Not There” and the sweet croon “The Way I Feel Inside” capped off a perfect evening—and well worth the wait. Apparently a younger generation has discovered them thanks to Schitt’s Creek’s using “This Will Be Our Year” in its finale. When I told a 26-year-old Rock At Night correspondent I was going to see The Zombies, she squealed, “Ohhh. ‘Time of the Season’!”

If you have never seen The Zombies, do yourself a favor. See them. And, take the kids or grandkids.

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University of California, Riverside

Concert Review: The Zombies at the Fonda

by Wolfgang Mowrey, KUCR DJ

Hollywood is unquestionably the loneliest neighborhood in a city comprised of lonely neighborhoods – several dozen cramped blocks of tourist traps, manicured apartment complexes, and fast food chains, all packed with hopefuls and those who’ve lost hope alike. Pandemic notwithstanding, the arteries of Hollywood and Sunset are bustling, as one would expect on a Saturday night. A pack of teenagers giddily exit Amoeba Records holding hands, goldenrod bags in tow. Families on vacation take pictures next to a giant-sized Elvis movie poster, boldly emblazoned atop a tiny apartment until the next blockbuster takes its place. A young man, wiry, unshowered and unshaven, plays the theme from “The Godfather” on a trumpet outside the Pantages Theater as hoards of strangers pass by. 

I’ve been summoned here tonight to crawl into the Henry Fonda theater and write about the latest tour stop from beloved UK rockers The Zombies. Amid the burst of mid-60s British Invasion acts, none may have emulated the West Coast pop sound as eloquently, and enmeshed it with a distinct British-ness. A classic album, a handful of hit singles, and a trove of rarities and post-breakup trail that led to more unexpected success has endeared the Zombies with something more than the typical Boomer guitar worship, big riffs and all. Soft-psych whisperers who layered harmonies and brewed them with melancholy, the Zombies became an archetypal rock nerd band, known for their flashes with fame but beloved by legions of weird kids and bespectacled older men who hunt down 45s. 

After traveling to find nearby parking, I resort to slogging down to Santa Monica Boulevard, and make the 20 minute trek back to the surface on foot. Outside the box office, a middle-aged man in a baseball cap is asking passersby if they have a spare ticket, as his last-minute purchase has been deemed a fake. Having had no luck myself in wrangling any acquaintance to tag along as a plus one tonight, I offer it to the stranger. Elated, he video calls his mom and introduces me to a kind bed-ridden octogenarian all the way in Montreal. “How old are you?” she asks. “27”. “You look 15.” 

There is an unmistakable generational divide in the theater tonight – clusters of young women excitedly jump up and down while belting out the chorus to each tune from opening act Rooney, while someone who looks like their dad limps around with the same grating expression you would imagine they have at the DMV. I find Rooney’s music to be pleasant and unobtrusive. If one was staying at a hotel, it would make sense to have Rooney playing in the background, massaging guests’ brains with playful pick-me-ups. There are shades of Lin-Manuel Miranda, The Killers, and late-era, Mayor Pete-backing Panic! At the Disco throughout their setlist. This is not a good thing. You can almost pinpoint a direct correlation from their most saccharine moments to the outpouring of “stomp clap” acts that dominated the early part of the 2010s. 

Rooney are best known for the single “When Did Your Heart Go Missing?”, a bubbly power-pop belter which has a memorable needle drop in the 2000s classic TV series “Gossip Girl”. Frontman Robert Schwartzman, he of the Coppola Schwartzmans, was once part of the family business, appearing in cousin Sofia Coppola’s “The Virgin Suicides” and most notably, “The Princess Diaries” as the love interest for Anne Hathaway. Like the Zombies, Rooney are a melange of nostalgic loose ends of their decade – guitar rock revival, coming-of-age romance –

and their fans have come to tap into the well of Y2K nostalgia. Like the crowd for the Zombies, the most dedicated of Rooney’s fans are devotees, and are familiar with the entire catalog. Contrary to any male music fan arrogance, perhaps my own included, they are as legitimate Rock fans as anyone, and are clearly having more fun than the couple standing on the far side of stage right, decked out in the kind of outfit last spotted on a Guitar Hero avatar. 

The Zombies take the stage with their touring band, and break into an hour and a half of covers, hits, and fan favorites. At one point, keyboardist Rod Argent tells a story about Tom Petty covering an early forgotten B-Side, “I Want You Back Again”, solidifying their lineage as patron saints of the “Nuggets” crowd. Among the walls of the Fonda, decked out with scenes from Bosch’s “Garden of Earthly Delights”, the whimsical vignettes from their 1968 opus “Odessey and Oracle”, the making of which Argent and vocalist Colin Blunstone delightfully recall, feel at home. Certainly, someone’s night was made by hearing Argent share his recollection of going into Abbey Road studios to record “Oracle” and discovering that The Beatles had left their equipment there, leading Argent to record with John Lennon’s mellotron, one of the first of its kind. 

The Zombies’ biggest hit, “Time of The Season”, makes spiritualism feel as seductive as it might have 55 years prior. Hearing Argent’s keyboard riffs and Blunstone’s “ahs” while standing 20 feet apart, you understand why that became a chart juggernaut – like many great songs, it is a call to arms, but without the heart-beating urgency, instead oozing a laissez-faire cool. There is no rush to “Time of the Season”, because the season is for loving, and thus, it is always the time of the season. 

Closing out the setlist is “Hold Your Head Up”, a song written in 1972 for Argent’s band after the Zombies dissolved, the aptly named Argent. After disclosing another “Behind The Music” gem with the audience, that the chorus is in fact “Hold your head up, woman” and not “hold your head up, woah”. “There’s a lot of tough times right for women”, Argent says, eliciting scattered cheers but sadly comatose indifference from many. After running through the main verses, the band breaks into a fiery and inspired solo section, and then you truly understand what set the Zombies apart from so many imitators. The influence of Jazz is peppered throughout many of their tunes, be it the punching Soul of keyboard maestro Jimmy Smith or modal groove of Joe Zawinul. The steamy bounce of “She’s Not There” has traces of Southern Soul as well as much of the Bossa Nova that was filtering into Western pop. From “Odessey and Oracle” and beyond, the Zombies have been constantly curious, and such curiosity has indebted them to legions of musicians and obsessives. 

Exiting the Fonda, I bump into the guy from earlier. He profusely thanks me again, and tells me how much he loved the show. Outside, groups take pictures posing next to the marquee and street vendors prepare hot dogs, and I grab one for the long walk back to my car. Walking down El Centro, past successive blocks of permit-only parking and a slinking line to get into a nightclub that circumvents several tents, the grease of bacon and bell pepper lingers on my

tongue alongside the familiar neighborhood loneliness I think of the dedication it takes to not only make something as expansive and challenging as “Oddesey and Oracle”, but to continue performing it, to continue going out on the road sharing your past with strangers, night after night. Many artists struggle to capture whatever lightning in a bottle they once had, and falter to understand how to connect with listeners who discover them much later. The Zombies do not seem to have this problem, because they are as curious writers as their audience are curious listeners, totally locked in a mutual search for togetherness. I think that’s pretty special, and it makes Hollywood feel a little less alien tonight.

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The Zombies are a psychedelic rock band from St Albans, UK who since their formation in 1961 have had more splits and reincarnations than most.

The original line up: Colin Blunstone (lead vocals), Rod Argent (organ), Paul Atkinson (guitar), Chris White (bass) and Hugh Grundy (drums) met at school and started playing locally at Rugby clubs in their hometown. Early in their career the band were invited to play in a battle of the bands competition hosted by London Evening News which they went onto win, eventually scoring a record deal with Decca Records. Here they released their first chart success with “She’s Not There” in 1964 which peaked in the charts at number 12. Later that year it was released in the US and achieved similar success proving popular on many radio stations.

Following in the footsteps of the British invasion, the band embarked on their first US trip as they promoted the new single release by playing up to seven performances a day. It was their injection of jazz and Blunstone’s distinctive raspy vocals which made them stand out in the current trend of British rock music which was lapped up across the pond. In 1965 The Zombies made their debut US television appearance on the show Hullabaloo performing the hit single “She’s Not There” in front of an audience of screaming teenage girls, hysteria had definitely set in.

With the US market embracing the band, they released their next single “Tell Her No” which peaked in the US charts at number six but failed to reach the top 40 in their homeland. In 1965 The Zombies released their debut album “Begin Here” which contained a mixture of original and classic R&B covers.

In 1967 the band signed to CBS Records with whom they recorded the follow up album “Odessey and Oracle” released the following year. With the album being recorded on a tight budget and time frame, tensions were high in the band during the recording process as disagreements arose regarding creative differences. So much so that the band called it quits before the album was even released. The album only received a US release and despite no longer being a functioning band, the single “Time of the Season” went to number three on the Billboard charts in 1969.

Following the split of The Zombies, Rob Argent pursued his own project called Argent in 1968 with Chris White joining him as principal songwriter. While Colin Blunstone embarked on a solo career, Paul Atkinson and Hugh Grundy stepped out of the spotlight working behind the scenes with Columbia Records.

In 1990 the band briefly reformed with Blunstone, Grundy and White to record the 1991 album “New World” alongside Argent and Atkinson and featured several guests on guitar. In 1997 The Zombies released their ultimate greatest hits compilation “Zombie Heaven” featuring a staggering 120 tracks which included some previously unreleased material. To promote its release, the band joined Blunstone at his solo performance at London’s Jazz Café to perform their hit singles “She’s Not Here” and “Time of the Season”.

In honour of the 40th anniversary of the album “Odessey and Oracle” the surviving members Blunstone and Argent accompanied by Keith Airey and Jim and Steve Rodford, the band performed three nights at London’s Shepherd’s Bush Empire in 2008 which was recorded and released as a live DVD.

The band continue to tour the US, Canada and Europe annually and in their prolific career have influenced the likes of Super Furry Animals, Badly Drawn Boys and Arctic Monkeys.

Live reviews

The Zombies perhaps deliver one of the most sophisticated performances out there today, playing each tune in their setlist with a delicate yet captivating delivery.

Lead vocalist, Colin Blunstone, proves himself to be a true gentleman with his well-kept appearance wearing a suit on stage and politely complimenting the great qualities of his band members. Blunstone’s voice also carries a gentle, serene quality that is hauntingly beautiful and adds a great depth to each song. This can clearly be depicted in the song “A Rose for Emily”, which might leave a tear in the audience’s eye after hearing Blunstone’s angelic voice. However the most defining aspect of the Zombies’ sound might be Rod Argent’s keyboard playing. Argent uses the keyboards and organ to create various sounds, which helped define the Zombies unique blend of styles ranging from psychedelic, jazz, and baroque pop. The organ solo in “Time of the Season” might be one of the most pristinely presented organ solos in musical history.

The audience at the Zombies’ concert had a great time dancing to hits such as “Tell Her No” and She’s Not There”, and the crowd nearly went into a full fledged freak-out when “Time of the Season” was performed. The other members in the band also accommodated Rod Argent at the show by performing songs from his other band, Argent, which included a performance of the song “Hold Your Head Up” with the audience enthusiastically singing the chorus word for word. The setlist also consisted of quite a few songs off the critically revered album, Odessey and Oracle, which Rolling Stone magazine has included on its list of 500 Greatest Albums of All Time, and Rod Argent was sure to inform the audience how David Grohl from the Foo Fighters stated that it was his favorite album of all time. The Zombies are seasoned professionals that know how to entertain a crowd and play their music with great precision and enthusiasm. Everyone in the band always seemed to be having a good time when on stage and always acted courteously and graciously towards the audience, who accepted their warm personality and delightful music with great enthusiasm.

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The Zombies concert last evening at the Danforth Music Hall was truly outstanding. Divided into two sets, Set 1 was the current Zombies touring band featuring Colin Blunstone, Rod Argent, Jim Rodford, Steve Rodford, and Tom Toomey. They played the gamut - with cuts from their very first album to the latest release, Still Got That Hunger. They even finished off the set with a Colin and Rod acoustic number - The Way I Feel Inside.

Set 2, of course, was the classic Odessey and Oracle album, in its entirety. This set saw original band members Chris White and Hugh Grundy take the stage. They were supplemented with Darian Sahanaja from the Brian Wilson Band along with Vivienne Boucherat, Chris' wife. Steve and Jim participated in the second half as well.

All in all, it was a tremendous evening. The Toronto audience - a complete sell out - gave the band a number of extended standing ovations! I am sure this was extremely gratifying for the band and will hopefully mean more Toronto shows in the future.

The outstanding setlist is as follows:

I Want You Back Again

Edge of the Rainbow

Tell Her No

You've Really Got a Hold on Me / Bring It On Home to Me

Road Runner

Just Out of Reach

Chasing the Past

Hold Your Head Up

She's Not There

The Way I Feel Inside (Acoustic)

Set 2 Odessey and Oracle

Care of Cell 44

A Rose for Emily

Maybe After He's Gone

Beechwood Park

Brief Candles

Hung Up on a Dream

I Want Her She Wants Me

This Will Be Our Year

Butcher's Tale (Western Front 1914)

Friends of Mine

Time of the Season

My husband and I just saw The Zombies at The Golden Nugget in Las Vegas, where we live. I have been a lifelong fan since the 60's. When the radio plays: Tell Her No, Time Of The Season, or She's Not There, I turn it way up. We are huge Argent fans and when they played Hold Your Head Up, it was so special to us! Colin Blunstone on vocals is always amazing. The harmonies with him, Rod Argent and the rest of the band were spot on...fantastic! Tom Toomey was smokin on guitar, would have liked to have heard more solos from him. Jim Rodford on bass and his son Steve on drums were solid and punchy and really drove the band. Besides their hits, the new stuff slso sounded great! We appreciate talented musicians because my husband is an accomplished pro-keyboardist who toured with Chick Corea, does sound design, producing, studio and live gigs. He led the band Aurora Borealis (jazz, rock, fusion) in L.A. in the 70's. As for myself, I was the original bassist/lead singer for the female band VIXEN from 1970 - 1983.

After so many years of admiration for The Zombies, it was a true pleasure to have seen them live. Keep rockin guys!!!

Gayle & Mitch DeMatoff

The artful craft and lyrical and harmonic beauty of a record like Odessey & Oracle has never brought the phrase "consummate professional" to mind with me, but after the opening set by the Zombies circa 2015 I was impressed by Colin Blunstone's performance in every detail...and that phrase seemed apropos... The haunting tone which has mesmerized me since I first laid ears on "Time of the Season" as a wee lad - "20 Monster Hits" indeed! - was note perfect in the opening verse of the opening masterpiece single "I Love You" and shifted 2 gears up for the first turnaround "..and I don't know WHAT TO DO!!!". It truly blew me away!! He was never late, early, sharp or flat...unless he meant to be, and he didn't...the very picture of a sweet soul singer in control... and then there's Rod Argent...let's just say the Cap'n runs a tight ship all the while gettin' carried away...by the time band within a band "Argent's" greatest hit "Hold Your Head Up" led to set closer (and very first RECORDING by the band!!!!) "She's Not There" there was no doubt the audience was in for a treat... There were 2 more Zombies to come!!! (to be continued)

Wow. Age isn't holding these energetic icons back.

We saw them here in State College, PA about four years ago and we grabbed our tickets early to see them again last night - just great!!

The concert was SOLD OUT, State Theater was jam packed and the enthusiastic crowd LOVES The Zombies. The standing ovations were out of this world and the three encores were truly appreciated.

The new bass player is a fantastic player - and a terrific harmonist as well. But he really needs to turn down his bass volume, and Steve needs to come down a bit on the drums (or at least the cymbals) as Colin was getting blasted out so he just wasn't heard well enough. That was bugging me through the whole concert.

Also, I think the rhythm section needs to stop fooling around so much with each other and be more professional on stage like Rod, Colin and Tom.

Outside of those criticisms, great stuff! What a night!

I wish them all health, happiness and continued interest and endurance. We love you Zombies - always have!

The Zombies were amazing-as soon as they walked on the stage the fans were up and out of their seats- The first song "I Love You " had us all singing along-Rod talked a little about the band's history and some of it was funny and precious #ColinBlunstone's vocals were fabulous-love the band's harmonies -The Zombies always have fresh new songs on their set list-"Colin sang "Going Out Of My Head" blow me out of my seat and their new album #Stillgotthathunger" is bloody brilliant

Hope the song "New York" becomes a New York tradition..#RodArgent knows the plus of the city we love!!!

The Zombies are a party band that doesn't quite!!! And they love their fans 8-D

http://youtu.be/Vn7lWvVyUfQ

Went to the concert in Denver 9/2019. Loved that they started with Tell Her No to set up great anticipation for a great concert night. Only one original member (keyboards) started and finished the show. The lead singer was average, nothing special. Except for She's Not There (4th song) and Time of The Season (ending song), the music was mediocre. The original drummer and basest joined the group after She's Not There.

Overall, concert was okay but loved their 3 big hits.

The Zombies were terrific last night in Massapequa NY!!! Not only did they play the old standards but also songs from a more recent album from about 2 years ago sounded really great and they are working on a new record as well. I learned a little about them, two of the guys formed the group Argent and they played some of their songs too as well as a song Colin did with The Alan Parsons project. It was a great night, nice cool breeze along with some cool music!

This show was INCREDIBLE! Intimate venue, great acoustics.

I have to say Colin and Rod still sound amazing and Rod may be one of the best keyboard players I've ever seen.

They did a great job giving you a short story behind the songs and music and they did an amazing job in wanting to hit every note as they did back in the 60's.

The show was done right and anyone who goes to see it won't be disappointed.

The weather was unexpectedly much colder than I expected, but my heart was warm with having a lifelong dream fulfilled. So happy to see the Zombies perform for the very first time. It was unforgettable. Thanks to the band for continuing their dream and for continuing to please their audiences. I'm grateful they're still alive and thriving, and I pray that continues for many years to come.

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Photos & Live Review: The Zombies @ Variety Playhouse 4/3/24

Review by Janet Miller

The Zombies appeared at the Variety Playhouse in Atlanta, Georgia on April 3, 2024. Wendy Colonna opened the show, with her final performance on the tour.  Performing solo, Ms. Colonna entertained the crowd with hits from her several albums. Hearing Ms. Colonna play her hit song “Hurricane” live, was truly a treat.

Formed in 1961, The Zombies broke up in 1967 just prior to the release of their most successful album, Odyssey and Oracle, and reunited again in 2004. After several unsuccessful attempts, The Zombies were finally inducted into the Rock and Roll Hall of Fame in 2019. The induction ceremony occurred exactly 50 years from the release of one of their biggest hits, “Time of the Season”.

Led by keyboard player Rod Argent, and lead singer Colin Blunstone, The Zombies also featured drummer Steve Redford, guitarist Tom Toomey, and bassist Saren Koch. Spanning more than 60 years, The Zombies released yet another album in 2023 titled “Different Games” and featured the title track as well as Merry Go Round and Dropped, Reeling and Stupid from that album.

Bringing a mixture of old and new to the show, The Zombies are a classic example of timeless perfection. Having seen The Zombies previously on several occasions, The Zombies again set the stage for rock and roll at its finest. The Zombies brought the crowd to their feet throughout the show, with the climax being Argent’s “Hold your Head Up” followed by The Zombies “She’s Not There”. The show ended with Rod Argent and Colin Blunstone remaining on stage performing the duet “The Way I Feel Inside”.

The Zombies are a timeless classic.  Is amazing how pure they sound after more than 60 years and their songs are recognizable to people of all ages and diversities.  If you want to see a rock and roll show that sounds exactly like what you have heard all these years, The Zombies are the show you will not want to miss.

The Zombies Set List was as follows:

• It’s Alright with Me
• I Want You Back Again
• Sticks and Stones
• Different Games
• You Could Be My Love
• Tell Her No
• You’ve Really Got Ahold on Me
• Dropped, Reeling and Stupid
• Care of Cell 44
• A Rose for Emily
• This Will Be Our Year
• Time of the Season
• Merry Go Round
• Hold Your Head Up
• She’s Not There
• The Way I Feel Inside

28 Responses

I love these photos! Beautiful photography!

Nice pics Chuck!!!

A well written review, and Chuck Holloway’s photos are, as always, an amazing record of the event. He has a real talent for capturing not only the moment but the feeling of the show. Always happy when he’s behind the shutter.

Great review , the photographer captured the essence of each member.

Looks like the concert was awesome. The photos capture the artists doing what they love!

Awesome pictures by Chuck but that’s no surprise: he always catches “the moment” in his pics!

Great article, great pictures!! Chuck catches those faces really well!! Hope they come to CA!

The photos are amazing! The contrast in colors and felt emotion is a great presentation of the variety of their music and passion of their talent. Looking through the pics, I found myself smiling or frowning if their expression was a bit distressed, as I started to fill this out, I thought about their music and realized I just had attended a two-minute concert without a ticket, and had the exact feelings artists hope their audiences feel!

Amazing pictures thank you so much

Wonderful pictures thank you so much

I could not attend this show but am thankful for this review & the excellent photography of Chuck Holloway!

Way to go Chuck! You always have the most professional photos ever captured! These are just awesome and keep up the good work👍🏼

Exceptional photos, and a very well worded review too. Must of been a great show to attend, timeless classics.

What a lovely review of a wonderful classic band!

Great pictures Chuck!

Great show and great pics as usual by Chuck Holloway. 👍

Great photos – it’s not easy to capture portraits under changing theater lights, and the composition is eye catching. Well done, Chuck Holloway!

Cool pictures! Your pictures capture the live action and moments. I can’t wait until the Zombies come to California.

I envy you for being there. Your review and pictures make me wish even more. I live vicariously through you!

I envy you for being there. Your review and pictures make me wish even more.

Great photos. Chuck is fantastic at capturing the best moments!!

Great pictures !

Looks like it was a great night ! Your photography really brings it to life. Keep up the great work Chuck !

Great pics as always! Chuck always captures the best photos and they really capture the artists at their best!

Great review. Between that and the fantastic photos, I feel like I was there. Thank you!

Chuck’s photographs are remarkable and sometimes I think he should be given the “how does he do it” award, if there was one. I was in the audience of a show he was photographing a few years ago and he was in constant motion. Fantastic work!!

I AM A 40 YEAR ASPIRING BASS PLAYER AND THESE ARE GREAT PHOTOS. EACH ONE OF THEM LOOK LIKE I AM STANDING THERE LIVE DURING THE EVENT, SO CLEAN, CHRISP, AND CLEAR SHOTS. MR. HOLLOWAY REALY CAPTURED THE SUBJECTS ESSENSE IF YOU WILL. I WOULD BE HONORED TO BE PHOTOED BY HIM AND I DO HAVE 2 FRAMED SHOTS FROM HIM IN MY HOME. BRAVO SIR, WELL PLAYED.

Awesome photos !

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The Zombies UK Tour 2023 – Review

Apr 7, 2023 | Review Beat

Back from their recent US tour, it’s the perfect time of the season to see the Zombies…

REVIEW by Ian Woolley

The Zombies 2023

If the recent sell-out Tivoli Theatre opening night of their postponed 2020 tour is anything to go by, Zombies fans around the UK are in for a treat.

Starting in Wimborne, Dorset the 22-date ‘Life Is A Merry-Go-Round’ Tour is selling well.

The musicians on this new tour are Steve Rodford (drums) renowned session guitarist Tom Toomey, and the newest member, bassist Søren Koch, who joined the band following the untimely passing of their beloved bassist Jim Rodford in early 2018.

In their 2023 lineup, there are no weak links but then with Argent and Blunstone in their ranks, they complement each other perfectly.

Rogers & Butler

Support on this tour is the US combo of Rogers & Butler. The unique melodic songwriting talents of Edward Rogers   (lead vocals) and Steve Butler (lead vocals, guitar) warmed the audience up in the first half of the show.

Songs from their 2021 album “Poets & Sinners” included my personal favourite “Olde Store Fronts” with comparisons to Kinks’ Ray Davies.

With their new single “Brighter Day”, it’s clear that in Edward Rogers, they possess a talented songwriter that understands life’s trials and everyday problems of their home in New York City.

As Rod announces after the crowd’s warm applause has died down, “We may be a little jet-lagged after getting back from the States”.

The crowd needn’t have worried as from the opening chords of “Movin On”, it was evident the man hadn’t lost any of his keyboard skills. Curly-haired Blunstone, dressed in black smiles as he begins to belt out their first number.

The Zombies set included 15 songs, old and new with the odd thrown-in cover for good measure (You Really Got A Hold On Me” and “Bring It On Home”).

From their new album, four songs were chosen “Different Game”, “You Could Be My Love”, “Dropped Reeling And Stupid” (their recent single) and “Merry Go Round” which will be their new single.

All were well received by the appreciative crowd through their 1968 masterpiece “Odessey & Oracle”, post-Zombies solo favourites, and their latest offering “Still Got That Hunger”.

Rock and Roll Hall of Fame inductee Rod Argent, founding member of The Zombies, performs onstage during the ‘Something Great from ’68 Tour’ at The Greek Theatre on September 12, 2019 in Los Angeles, California.

Rod Argent’s slick keyboard skills complement every song and stand-out moments were the instrumental breaks in “Hold Your Head Up”, “Time Of The Season” and the last number “She’s Not There”.

Rod Argent paid tribute to fellow Zombies songwriter and former bass guitarist Chris White* who was in the audience and dedicated “I Love You” to him.

Blunstone’s sublime and sometimes angelic voice is still remarkable for his 77 years and moves around the stage effortlessly.

Zombies 2023 UK tour

If the reaction of the Wimborne audience was anything to go by, the Zombies’ love shows no sign of dimming.

A standing ovation from the sell-out crowd certainly got what they came for. As one fan told me “Colin Blunstone still can belt out a good tune can’t he?”

Yes, he can…and he does it with a smile!

The Zombies UK 22 date LIFE IS A MERRY-GO-ROUND TOUR finishes on 6th May 2023 in Milton Keynes.

For tickets go to www.thezombiesmusic.com/live

*We’ll be exclusively talking with former Zombies bassist Chris White about his career and the new documentary from director Robert Schwartzman, Hung Up on a Dream o n the band’s 60 years of pop history coming later this year.

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THE ZOMBIES Concert Review (Fremont Theater)

Posted in Concert Reviews

“The Infectious Sound Of The Zombies” Written by Jason Reed September 15, 2018

On Thursday the legendary Zombies took the stage at the Fremont Theater in San Luis Obispo, California, bringing a fresh take on their extensive canon of memorable tunes from their nearly five decades as a band.

With long time members Rod Argent and Colin Blundstone at the helm, the five piece band displayed the freshness, lyrical sharpness, and infectiousness that The Zombies are known for. With Blundstone providing the majority of vocals, Argent also demonstrated his vocal chops on many of the band’s most memorable songs while also demonstrating his dexterous keyboard and organ playing abilities. The fact that Rod was originally the group’s lead singer (and had conceded this role to Blundstone early in the band’s career as Argent’s keyboard skills became a critical factor in defining the iconic sound of the band) was apparent throughout the night.

Highlights of the evening included  their classic lovelorn track “I Love You” (that received a standing ovation from the audience) as well as their performance of multiple songs off of their classic Odessey and Oracle album (regarded by music critics as one of the greatest rock albums of all time). Colin referenced Paul Weller’s professed love of this watershed album as his favorite album of all time and mentioned the Modfather’s apparent penchant for purchasing the album as a gift for individuals who don’t have it in their record collection. Colin then jokingly stated that he’d give the crowd Mr. Weller’s address so they, too, can request a copy! Another surprise of the night was the band’s performance of the feel good prog anthem “Hold Your Head Up” from the band Argent’s 1973 album In Deep .

If there is one word that accurately sums up the feelings of this reviewer it is “gratitude.” Gratitude to be able to see such a legendary band perform live. Gratitude to hear such a diverse selection of hits performed live. Gratitude that Rod and Colin are each still making music together at the spry age of 73 (and hopefully continue to do so for many years to come).

If you consider yourself a music fan you owe it to yourself to see this band perform live. The Zombies have inspired countless bands through the decades. Nominated in 2017 for the Rock N’ Roll Hall of Fame, it is inevitable that The Zombies will ultimately be immortalized in the canon of the greatest rock bands of all time. You, too, can be infected by this contagious and communicable musical phenomenon that defies inoculation.

For the latest tour information be sure to check out www.thezombiesmusic.com .

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Concert review: the zombies.

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Earlier this year, Pete Townshend pissed and moaned through a Rolling Stone interview, complaining that he had no desire to go on tour for the Who’s 50th anniversary. Townshend said he was doing it as a favor to Roger Daltrey and the coterie of people who would be making money off the tour. In the next issue, readers sounded off on the petulant rock star, claiming they would never spend good money to see such a malcontent play.

The Zombies, who played Portland’s Revolution Hall last week, proved to be on the opposite end of the appreciation spectrum. Playing old hits, songs from new album, Still Got That Hunger, with the band’s latest incarnation and their 1968 hallmark Odessey and Oracle in its entirety featuring the four surviving members of the band who recorded it, the men of the Zombies appeared entirely earnest and utterly grateful to be performing for us.

Featuring two sets, the Zombies spent the first hour mixing up old hits such as “Tell Her No” and “She’s Not There” with covers (“Can’t Nobody Love You”) and new songs from Still Got That Hunger. Original Zombies Rod Argent (keyboards and vocals) and Colin Blunstone (lead vocals) were especially chatty, taking time between songs to regale the audience about Zombies history and the stories behind the band’s crowd-funded new record, including a copyright encounter with Paul McCartney (he gave them a thumbs up to incorporate a lyric from “Yesterday” in a new song). Filling out the lineup in the first set was guitarist Tom Toomey, bassist Jim Rodford (who once played with the Kinks) and his son Steve Rodford on the drums. The band sounded great, especially on songs like “You’ve Really Got a Hold on Me” as Blunstone’s voice has certainly held up over the years.

However, it is undeniable that the second set was the star attraction and after a lengthy intermission, Argent and Blunstone returned, along with the touring band, but this time with Odessey and Oracle -era bassist and drummer Chris Wright and Hugh Grundy, respectively, in tow. Argent claimed that we would hear every note recorded on the record and the band would play it straight through with no pauses to talk. And with that, “Care of Cell 44” began and lifelong fans of the album had their dreams answered.

This was a show that did not disappoint. Any fears of the musicians aging poorly were instantly allayed as Argent exuberantly played his keys and Blunstone’s voice remained unscathed with time, hitting the high notes on “A Rose for Emily” and “Brief Candles.” The backing musicians matched Blunstone’s vocals in spot-on harmony, creating an eerie effect in the right places and brightening the melody in songs such as “Beechwood Park.”

Even though the show belonged to Argent and Blunstone, White did get his moment on “Butcher’s Tale (Western Front 1914).” Accompanied only by Argent on a World War I-era harmonium, White sang lead vocals. Even though he could no longer hit the same high notes as he could on the recorded version, it was still a touching moment, one vital to the history of pop music. Imagine seeing the Stones with Bill Wyman back in the fold and you get the idea.

The crowd responded most to the final song of the set, “Time of the Season,” perhaps the band’s biggest hit this side of the pond. Though the Zombies and “Season” couldn’t incite the venerable crowd to its feet, people whistled and sang along. It would have been a fitting closer to the show, but the band capped things off with a reprise of “She’s Not There.” The Zombies broke up just before the release of Odessey and Oracle, never truly getting the chance to revel in its greatness. 48 and a half years later really isn’t too late.

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The Zombies at The Nancy and David Bilheimer Capitol Theatre, Clearwater, FL, USA

• It's Alright With Me
• I Want You Back Again
• Sticks and Stones
• Different Game
• You Could Be My Love
• Tell Her No
• You've Really Got a Hold on Me / Bring It On Home to Me
• Dropped Reeling & Stupid
• Care of Cell 44
• This Will Be Our Year
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The zombies at norwegian pearl - stardust theater, miami, fl, usa, the zombies at variety playhouse, atlanta, ga, usa.

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• She's Not There ( 427 )
• Time of the Season ( 389 )
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• Hold Your Head Up ( 350 )
• This Will Be Our Year ( 347 )

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10,000 Maniacs 9sundays American Idol Ensemble Argent Rod Argent The Avett Brothers Bassnectar Jeff Beam Richard T. Bear The Beautiful South Beck Belle and Sebastian Benevento/Russo Duo Billy Iuso The Black Lillies Colin Blunstone Colin Blunstone & Rod Argent Jon Bon Jovi The Breakfast Jon Brion British Invasion Tribute The British Invasion Years The Buckinghams Caliban Elvis Costello & The Imposters Counting Crows The Daily Flash The Benjy Davis Project Sammy Davis Jr. Zella Day Decades Tanya Donelly Dwayne Gretzky Egg Babies Orchestra Ana Egge The English Channel Estradasphere Evan + Zane The Everywhen Jason Falkner The Figgs Neil Finn Fountains of Wayne Garage a Trois Sidney Gish Go Ahead Golden Earring Jay Gonzalez CeeLo Green Gringo Jingo

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Argent Burt Bacharach Russ Ballard The Band The Beatles Acker Bilk Colin Blunstone Colin Blunstone & Rod Argent Solomon Burke Ray Charles Ann Cole with the Suburbans Bo Diddley Los Hermanos Domínguez George Gershwin Tim Hardin Denny Laine Little Anthony & the Imperials The Alan Parsons Project Lloyd Price Jimmy Ruffin The Shadows Titus Turner

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The Zombies Cancel Remaining U.S. Tour Dates Following Band Member’s Hospitalization

by Matt Friedlander October 27, 2023, 4:20 pm

The Zombies have announced that they have decided to cancel the remaining dates on their current North American tour after an unidentified member of the British Invasion group was hospitalized on Tuesday.

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A message on The Zombies’ Facebook page explained, “Although [the band member has] been released from the hospital and is recovering, we must prioritize his health over the tour. Out of respect for our bandmate’s privacy, we are not disclosing further details.”

[RELATED: The Zombies Reveal 2023 North American Tour]

The Rock & Roll Hall of Famers had already canceled shows that were set to take place on October 24 in Alexandria, Virginia, and on October 26 in Beverly, Massachusetts, and now the other two dates left on the trek have also been shelved—scheduled for October 27 in New York City and October 29 in Glenside, Pennsylvania.

The band added in the cancellation message, “Despite facing some significant challenges on this tour, these have been some of the most enjoyable shows of our career together, and we’re forever grateful to our fans.”

The Zombies launched the tour, which kicked off on October 1 in a suburb of Vancouver, Canada, to promote their 2023 studio album, Different Game .

Meanwhile, The Zombies recently announced the inaugural Begin Here Festival —scheduled to take place November 10-12 in their hometown of St Albans, U.K.—will be moving ahead as planned, according to the band’s management.

Among the various activities and events scheduled as part of the festival are a museum exhibit; Q&A sessions with the band’s original members; a screening of the new Zombies documentary, Hung Up on a Dream ; a photo op with singer Colin Blunstone; a record signing; a book signing; an interview and performance with founding Zombies bassist Chris White; a drum workshop with original Zombies drummer Hugh Grundy and the group’s current drummer, Steve Rodford; and more.

Prior to the Begin Here Festival, Hung Up on a Dream will get its U.K. premiere on November 4 in London as part of the Doc’n Roll Festival . The screening will also feature a Q&A with the band’s members.

Hung Up on a Dream had its world premiere in March at the 2023 South by Southwest Festival in Austin, Texas, and several other screenings of the film have been held this year in the U.S.

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The Zombies - Different Game Tour

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2019 Rock & Roll Hall of Fame Inductees The Zombies are back with their long-awaited new album, Different Game (2023 - Cooking Vinyl Records). Different Game is the follow-up to the iconic British psychedelic pop legends’ 2015 Billboard -charting album, Still Got That Hunger.

The Zombies originally infiltrated the airwaves with sophisticated melodies, breathy vocals, choral back-up harmonies and jazzy keyboard riffs of their 1960’s hit singles “She’s Not There” and “Tell Her No”. Ironically, the original lineup disbanded just prior to achieving their greatest success – the worldwide chart-topping single “Time of the Season,” from their swan-song album Odessey and Oracle, ranked in the Top 100 of Rolling Stone’s ‘500 Greatest Albums of All Time.’ To this day, generations of new bands have cited The Zombies’ work as pop touchstones, and the band continues to be embraced by new generations of fans.

Following the break-up of the original band, Blunstone went on to develop an acclaimed solo career, while Argent rocked arenas in the 1970’s with his eponymous band ARGENT, but the legend of The Zombies continued to take on a life of its own. By the start of the new Millennium, Blunstone and Argent were inspired to resurrect The Zombies, which has led to several critically-acclaimed new albums and 2 decades of worldwide concert performances.

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‘the wiz’ broadway review: we’re off to see the cheap national tour.

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My apologies to Evilene, the wicked witch in “The Wiz,” who famously demands in song that her henchmen bring her “no bad news.”

Two hours and 30 minutes, with one intermission. At the Marquis Theatre, 210 W. 46th Street.

Because I must unfortunately report that the new revival of that musical, which opened Wednesday night at the Marquis Theatre, is not the dazzler that fans have waited so long for. Quite the contrary.

And that’s bad news, indeed.

Despite the cozy feeling of being reunited with beloved material 40 years after it was last on Broadway, director Schele Williams’ production is deflatingly flimsy and lackluster. Clumsily staged, it’s a Wiz-sper of what it should be.

Still, the Emerald City offers occasional shimmers of hope.

The all-black riff on L. Frank Baum’s “The Wizard of Oz,” which was made into a 1978 movie starring Michael Jackson and Diana Ross, is chockablock with infectious tunes, such as “Ease On Down The Road” and “Home,” and is sometimes rescued here by the voices of its talented cast.

Then — I’ll get you my pretty! — we spot the villain that’s lurking behind them: ugly CGI backdrops that look like Windows XP screensavers. Surely, the creative team can do better than that. 

If they only had more than practicality on the brain! This “Wiz” arrives in New York via a months-long national tour. It’s obviously been built to easily fit into a wide array of venues around the country. 

But Hannah Beachler’s sets are so cheap and unremarkable, and Daniel Brodie’s artificial-intelligence-style projections so prominent, that the overwhelming vibe is that we and the tour are actually still stuck in Kansas. We’re certainly not on Broadway.

Such cut corners are hard to stomach in a tale of a lush, magical land over a rainbow, especially when another take on “Oz” — “Wicked” — remains a visual wow, 20 years later and only four blocks away.

Yes, “The Wiz” should ease on down the road — but with boundless creativity and awe.

For the two of you who don’t know, it’s the old story of Dorothy (Nichelle Lewis), a Kansas farmgirl who’s whisked by a tornado to the Land of Oz, with a new — or, rather, 49-year-old — twist.

In the 1970s, composer Charlie Smalls brought Motown-style music — the sort you don’t just hear, but feel from head to toe — to Munchkinland.

En route to get help from the Wizard (Wayne Brady), Dorothy meets the Scarecrow (Avery Wilson), Tinman (Phillip Johnson Richardson) and Lion (Kyle Ramar Freeman), who all have unique struggles of their own. 

Their songs are fabulous. The quartet doesn’t follow the Yellow Brick Road, they “Ease On Down” it. The Tinman’s “If I Only Had A Heart” becomes “Slide Some Oil To Me.” And “Somewhere Over The Rainbow” gets an altogether differently poignant counterpart in “Home.”

Richardson, as that poor rusty bucket of bolts, does best with writer Amber Ruffin’s newly added, funny jokes. And his number is the most energizing of the three supportive Ozians, likable though the others are. 

They’re tormented by the powerful Evilene, sung with vigor by Melody A. Betts, who gets this “Wiz”’s closest thing to a showstopper in “Don’t Nobody Bring Me No Bad News.”

Brady, cameo-style, plays the Wizard with a Center Square personality. And Deborah Cox croons a lovely, maternal rendition of “Believe in Yourself” as Glinda.

Then, in a wildly rushed ending that gives zero closure, Lewis nicely sings “Home.”

It’s too bad that elsewhere in the musical, her Dorothy tends to let the wackier, flashier roles take over, whenever she’s not belting downstage center. This staging’s biggest flaw, actually, is forgetting that the show is more than just a bopping playlist — it’s the story of a scared girl who’s lost and discovering what matters most in her life.

But a lot has fallen to the wayside here. Not much is distinctive about this “Wiz” besides a memorable start of Act 2, during an extended dance called “Emerald City.”

It’s a modern nightclub sequence that’s a lively breath of fresh air. Finally, the show has been given a contemporary context beyond 3D images ripped from our scariest nightmares.

Before and after that, though, Jaquel Knight’s choreography is underwhelming and lacks theatricality and crispness. It doesn’t fill the stage, so much as clutter it.

For example, Ozian guards flank the four friends during “Ease On Down The Road,” marching and awkwardly moving their staffs not quite in unison. Their cumbersome decoration makes the spirited trip down the road bumpier than need be.

Like so much of this hit-and-miss production.

“The Wiz” ideally should have audiences proclaiming, “There’s no place like Broadway!” at the end.

Alas, back on W. 46th St. at 10:30 p.m., I headed to the train thinking, “There’s no place like home.”

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‘The Wiz’ Review: In a New Broadway Revival, Dorothy and Friends Get Lost in a Hypercolor Whirligig

By Naveen Kumar

Naveen Kumar

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A flight of imagination born of the trippy 1970s, “ The Wiz ” can shoulder a lot of interpretation. Sidney Lumet’s shadowy film, starring Diana Ross and Michael Jackson, sets the Black spin on L. Frank Baum’s children’s story “The Wonderful Wizard of Oz” in a blighted, nearly bombed-out New York City. High schools and community theaters have surely long made do with their prop closets, as the musical by William F. Brown (book) and Charlie Smalls (music and lyrics) is a vibes-based vehicle for a familiar plot and foolproof hits like “Home” and “You Can’t Win.”

Directed by Schele Williams , the production begins promisingly with an intimate exchange between Dorothy (newcomer Nichelle Lewis) and Aunt Em (Melody A. Betts), comforting her city-girl niece who’s being bullied at her Kansas school. Rendered in grayscale as an homage to the Judy Garland film, the scene invites tender emotional engagement with the reluctant, soon-to-be heroine. 

But that opportunity for connection swiftly gets swept away in the one-way twister to Oz, where a hypercolor surge of stimulation competes for audience attention. Excess is the defining trait of a fantastical realm otherwise lacking a unified look: storybook scenery (by “Black Panther” designer Hannah Beachler) contrasts with uncanny projections (by Daniel Brodie) that resemble Roku City crossed with Middle Earth; costumes (by Sheren Davis) burst with embellishments in yellow, orange, turquoise and pink. The already itinerant plot feels all the more disjointed when each scene appears to take place in a different CGI-augmented world. 

Part of the problem may be technical; it is often difficult to hear Smalls’ lyrics over the orchestra’s wall of sound except when the actors are belting over it. That includes Deborah Cox, whose instrument is unmistakable but overpowered in her first appearance as Glinda. Lewis, who has an appealing, delicate voice and a modest presence, comes to feel like a background player in her own adventure (perhaps ditching Toto from the script doesn’t help). Among the principals, Richardson is a standout with his liquid, riffy take on “What Would I Do if I Could Feel” and joint-swiveling way with JaQuel Knight’s invigorating choreography.

Hip-hop moves provide the production’s most electrifying moments, particularly in “The Emerald City” sequence, which also includes soulful steps in the spirit of the ‘70s source material. As the title character, figured here as a suave charmer, Wayne Brady also demonstrates an impressive, hip-popping dexterity.

Revisions to the book, by comedian Amber Ruffin , elaborate the backstories of Dorothy’s friends, though trying to make more sense of the head-scratching plot is probably futile. Sustained attempts at updated humor are intermittently successful; they ask for a degree of knowing side-eye from a production that is unwaveringly earnest and cheerful. Even the arrival of the Poppies, a transparent metaphor for vice, is oddly staged on a set of cubby shelves that appear lifted from a school classroom.

Without the dark, threatening corners, this Oz comes across more like a playground than a coming-of-age purgatory (the last wicked witch standing, Betts’ Evillene, registers as mildly menacing and is defeated with a small splash). Why does this Dorothy want to go home and what has she learned? If she was looking for somewhere to belong, she seems to have found just the place. But maybe her senses could use a break.

Marquis Theater; 1,612 seats; top non-premium $199.50. Opened April 17, 2024; reviewed April 13. Running time: 2 HOURS 30 MIN.

• Production: A presentation by Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Kandi Burruss & Todd Tucker, Elizabeth Armstrong, James L. Nederlander, HudsonMann, Cody Lassen / Matthew D'Arrigo, Independent Presenters Network, Amanda Dubois / The Seed Group, Dori Berinstein, The Jaquel Knight Foundation, Spencer Ross / Stephanie Cowan, Terry Schnuck / Gabrielle Palitz, Pippa Lambert / Alissa Norby, Gina Vernaci, Common, DECO Entertainment, MC Lyte, Patty Baker, Marlene & Gary Cohen, Concord Theatricals, Creative Partners Productions, The Fabulous Invalid, Fakston Productions, Brian & Nick Ginsberg, Gabrielle Glore, Grove Entertainment, Haffner-Wright Theatricals, House Woods Productions, Interscope & Immersive Records, John Gore Organization, Yasuhiro Kawana, Willette and Manny Klausner, MMC Productions, Lamar Richardson, Runyonland Productions, Erica Lynn Schwartz, The Shubert Organization (Robert E. Wankel: Chairman and CEO; Elliot Greene: Chief Operating Officer; Charles Flateman: Executive Vice President), Lu-Shawn Thompson, Lana Williams-Woods, The Araca Group, Blakeman-Robinson Entm't / Ricardo Marques, Robert Tichio / Score 3 Partners, Best Yet Entertainment / Branden Grimmett, Dkim Caldwell / Mickalene Thomas, DMQR Productions / Jason Turchin, Epic Theatricals / Jeffrey Grove, Joel Glassman / Westin Hicks, Jamrock Productions / Sonya Houston Productions, Sally Johnston / Ann Scott, Judith Manocherian / Theatre Nerd Productions, Alan Seales / Gonzalez-Leiba Jr. and Ambassador Theatre Group of a musical in two acts with book by William F. Brown, music and lyrics by Charlie Smalls, based on "The Wonderful Wizard of Oz" by L. Frank Baum, with additional material by Amber Ruffin, featuring songs by Luther Vandross and Timothy Graphenreed. 
• Crew: Directed by Schele Williams; Choreographed by JaQuel Knight; Scenic Design by Hannah Beachler; Costume Design by Sharen Davis; Lighting Design by Ryan J. O'Gara; Sound Design by Jon Weston; Video Design by Daniel Brodie; Projection Design by Daniel Brodie; Hair and Wig Design by Charles LaPointe; Make-Up Design by Kirk Cambridge-Del Pesche; Music orchestrated by Joseph Joubert; Music arranged by Joseph Joubert and Allen René Louis; Production Stage Manager: Ralph Stan Lee; Stage Manager: Heather Hogan.
• Cast: Wayne Brady, Nichelle Lewis, Melody A. Betts, Deborah Cox, Kyle Ramar Freeman, Phillip Johnson Richardson, Avery Wilson, Maya Bowles, Shayla Alayre Caldwell, Jay Copeland, Allyson Kaye Daniel, Judith Franklin, Collin Heyward, Amber Jackson, Olivia "Melo. J" Jackson, Christina Jones, Polanco Jones, Jr., Kolby Kindle, Kareem Marsh, Anthony Murphy, Cristina Raé, Avilon Trust Tate, Keenan D. Washington, Lauryn Adams, Michael Samarie George, Mariah Lyttle, Dustin Praylow, Matthew Sims Jr. and Timothy Wilson.

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