N.Y. Sun: Wapshott: Billy Joel Pulls the Curtain at Shea

I have a brochure for THE BEAUTIFUL “BATSUI” DANCING GIRLS (ok...they were down on the Young Rascals/Temptations bill) in the “MOST EXPLOSIVE ROCK N’ ROLL SHOW OF THE YEAR!!” at the Concerts at the Shea. That...is massively Keener13er than this.

The Beatles decision to withdraw from live performances and concentrate instead on studio recording drastically altered not only their own output, but that of their most talented peers. Meanwhile, others learned to work in stadiums, blazing the lucrative trail the Beatles has been too reluctant to follow. Five years after the Beatles left Shea Stadium, the infinitely less talented Grand Funk Railroad sold the stadium out faster than the Fab Four had. Soon to follow were Jethro Tull in 1976, the Who in 1982, Simon and Garfunkel in 1983, the Police in 1983, the Rolling Stones in 1989, Elton John & Eric Clapton in 1992, and Bruce Springsteen in 2003.

The fans have always shown up, but the rise of stadium rock undeniably hastened some of the most dislikable aspects of the music business. Delivered on a massive scale, at enormous volume, surrounded by elaborate light systems and big screens to distract from the humdrum playing, stadium concerts gave birth to rock ‘n’ roll as a cynical trial on the senses and a detriment to the music being played. Perhaps that is why, when the Beatles dissolved their partnership in 1970, all four went back to performing in front of small audiences.

For Mr. Joel, the “Last Play at Shea” concerts can be a vindication of his decision to follow the Beatles into the business, and evidence that it is possible to sing studio songs to a vast stadium of people and still be heard.