All photos by Casey Hanson / for the Tulsa World
Hall & Oates returned again Wednesday night to a sold-out audience at The Joint inside the Hard Rock Hotel & Casino Tulsa.
Blue-eyed soul brothers Darryl Hall and John Oates brought with them a nostalgic night of sax-infused pop and soul that included their biggest hits, from “Maneater” and “Rich Girl” to “Private Eyes.”
Hall ran his fingers through his ginger lion’s mane. Decked out in leather and distressed dark denim, cohort Oates was in all black.
“All right!,” Hall yelled. “It’s good to be back here! … It's just really great to be back in Tulsa and to be back in this room,” he said again, arms spread wide like a hug to his fans.
The Philly duo’s set was lifted from another era into modern day with Hall's slightly-honeyed, slightly gruff trademark vocals.
They broke into a wah-tinged version of "Family Man," bottom heavy and sultry with brassy barks from the sax, six-piece backing band and a three-guitar march, rounded out with percussion, drums, bass and keyboards.
Oates took over mic duties for "How Does it Feel," and young women stood and pressed to the stage. In addition to the Joint's state-of-the art sound technology, vintage amps were hooked up to the microphones, too, for a warmer, richer, intimate guitar sound that enveloped the band and fans.
They went back to their earliest days with "When the Morning Comes" that showcased their blues and soul roots with unencumbered pop purity as Hall bounced between near-falsetto and sing-song.
The lyrical thrust of Hall & Oates music was designed for nostalgia. It’s made for memories. First dances, first glances, falling in love, loss. A Hall & Oates set is more than a time capsule. Their set is the essence of honestly-hewn, emotive pop: it’s full of new-American standards.
Three young women held up a banner proclaiming their undying love for the band. Others swayed and danced in heels, drinks in hand.
Before the chatty Philly native played "She's Gone," he admitted that it's one of his favorites. The auditorium rose in a chorus with Hall and Oates.
The classic "Sara Smile" ended in a standing ovation.
Hall switched to keyboards as screams swelled and hands clapped staccato in time and he moved into an extended funk-soul rendition of "No Can Do." Stage lights went red and yellow. Hall stopped singing as the crowd took over on the chorus.
The concert set built in intensity and crowd involvement with every song and through two encores.
But I gush. … It’s the simple fact that 2,500 people shared intimate moments and memories with performers who are in the business of performing music. Not playing, not selling, not preening, and not reciting. Performing.
Setlist: Maneater
Family Man
Out of Touch
Say it Isn’t So
How Does it Feel to be Back
Las Vegas Turnaround
She’s Gone
Sara Smile
I Can't Go for That (No Can Do)
Rich Girl
You Make My Dreams
Kiss on my List
Private Eyes
