Month: October 2025

Jay Leno brings laughs to Hard Rock Bristol

October 25, 2025November 15, 2025 Zach Cooley No Comments

Visiting the beautiful Hard Rock Hotel and Casino to see legendary comedian Jay Leno live in concert on Saturday, October 24, with my dear friend Jeremy Miller, was a rare treat. The 2,000-seat Hard Rock Live venue was filled to capacity to witness the former Tonight Show host make his first-ever appearance in Bristol, Virginia. At 75 years old, Leno took the stage promptly at 8:15 p.m. and delivered a 90-minute set straight through—no breaks, no tangents, just pure, classic stand-up. “It’s hard being a comedian today,” he admitted early in the show. “You say the wrong thing, and you get this cancel culture admonition.” That may have been Leno’s way of explaining the absence of political jabs that once defined his Tonight Show monologues during his 22-year run on NBC. He did, however, sprinkle in a few well-aimed jokes at the expense of current and former presidents Donald Trump and Joe Biden. “Trump said first she was Black, then she was Indian,” Leno recalled Trump’s comments about Kamala Harris. “He’s done the same thing—first he was white, then he was orange.” Leno also noted that a prestigious university recently analyzed one of Trump’s speeches and determined that Trump spoke at a fifth-grade level. “After hearing this,” he quipped, “Trump called the researcher a doo-doo head.” “Biden claimed the press was only there to dig up dirt on him,” he said. “Anyone qualified to dig up dirt on Joe Biden should be classified as an archaeologist.” From there, Leno shifted toward more personal and nostalgic material, and the evening truly came alive. The highlight of his set centered on his immigrant parents—his mother, a Scottish refugee, and his father, an Italian prizefighter. He recalled one memorable Thanksgiving dinner when his mother prepared a feast complete with both turkey and lasagna. Exhausted, she handed her husband an electric carving knife and asked him to carve the turkey. Two clicks later, the knife wouldn’t start. “The knife is dead!” his father shouted. “Do I have to do everything around here?” “If you think a cooked turkey can’t fly, I’m here to tell you—it can,” Leno grinned as he described what happened next. “We heard it hit three of the four walls, and nobody even looked up from their meal.” He also shared how his mother’s unintentional movie reviews became comedy gold on The Tonight Show. After sending her to see Scarface, he called for her opinion. “During that scene where they’re cutting him up in the bathtub,” she told him, “why do they have to use such bad language?” “There she was, enjoying this decapitation scene,” Leno laughed. “And she was offended by the foul language!” Another favorite memory involved introducing Sting to his father backstage at The Tonight Show. “My parents were never impressed by celebrities,” he said. “They didn’t know anyone past Alan Ladd.” “Stingman?” his father said, mishearing. “Nice to meet you, Stingman.” Leno also recounted taking his mother to dinner at the famous Chasen’s restaurant in Beverly Hills—a spot she recognized from her favorite show, Dallas. When she spotted actress Connie Stevens, one of her longtime idols, Leno arranged for Stevens to stop by their table. His mother lit up. “Connie Stevens!” she exclaimed. “Whatever happened to you?” Leno later reflected on aging and marriage with his trademark self-deprecating wit. “Thirty years ago, I wrecked my motorcycle on a Friday and was back at work Monday,” he compared his current aches and pains to his younger days. “Last Thursday, I yawned and turned my head at the same time—and I’m just now able to move my neck again.” He spoke lovingly of his wife of 45 years, Mavis, without mentioning her recent health challenges. Instead, he focused on their shared quirks. “My wife makes me turn off any show where an animal might be harmed,” he said. “The other night she was watching a show where a woman stabbed her husband 68 times—and she was so into it she started mimicking the stab wounds!” “Men can flirt until about 52,” Leno joked about his newfound invisibility. “After that, if you compliment a woman, you’re creepy. But after a while, women just stop noticing you altogether. At my age now, women are changing clothes right in front of me!” “A woman pulled up beside me, rolled down her window, and asked for my number,” he told of a recent encounter while driving. “I smiled and said, ‘Thanks, but I’ve been happily married for 45 years.’ She said, ‘No, you don’t understand—I’m a private nurse. Here’s my number in case you ever need my services.’” In summary, Jay Leno remains as sharp and charismatic as ever. His 90-minute set flowed effortlessly from start to finish, without audience interaction or topical pandering. It was simply vintage Leno—timeless, quick-witted, and observationally brilliant. It was an honor to see a living legend in person, someone I grew up watching every night behind the Tonight Show desk. Here’s hoping I’ll have the same opportunity to see Jimmy Fallon in the years to come.

Strictly Observing

“Wicked” provides daddy/daughter date of the season

October 20, 2025 Zach Cooley No Comments

Taking my daughter to see Wicked at the Belk Theater of the Blumenthal Performing Arts Center in Charlotte, North Carolina on October 19th was easily one of the highlights of my year. This stunning adaptation of L. Frank Baum’s timeless Wizard of Oz novels — and the legendary 1939 film — proves that there’s still new magic to be found in the merry old land of Oz. This national touring production of Wicked is, without question, the most extraordinary piece of live theater I have ever witnessed. I say this after more than 20 years of reviewing local, regional, and national touring performances in the realm of musical theater. Once you factor in the breathtaking special effects (Chic Silber), the unbelievable talent of the cast, the impeccable vocals and acting, and the kaleidoscopic lighting design (Kenneth Posner), it’s impossible not to be awed. Every element — from the intricate costumes (Susan Hilferty) to the elaborate set pieces (Eugene Lee) to the enormous dragon that hovered menacingly above the stage — worked together to create one of the most immersive and vibrant productions imaginable. My mother has seen Wicked multiple times — twice on tour and once on Broadway — and she has always spoken of its magic. My daughter Bella first introduced me to the film version one quiet afternoon when I had nothing else to do, and to my surprise, I absolutely fell in love with it. My wife Emily and I even attempted to read Gregory Maguire’s novel but couldn’t make it through — the book is far denser and darker than its musical counterpart. The turning point came last year when Bella performed “For Good” at her fifth-grade graduation and cried while singing it. She told me she had to see the show live someday. I began searching months in advance and discovered that Wicked would be coming to Charlotte. I bought tickets for her birthday in the spring, and we’d been eagerly counting down the days ever since. We attended the performance with our dear friend Jeremy Miller, who has long been my go-to companion for concerts and live shows — and my dependable chauffeur as well. Together, the three of us enjoyed this incredible production for just $41 apiece. As an 11-year-old immersed in today’s pop scene, Bella may have felt a little envy toward the 17,500 fans across the street watching Billie Eilish that same night, but I assured her that we got the better deal: a two-and-a-half-hour masterpiece for less than one-third the price of a 90-minute concert. From our balcony seats, we had an exceptional view — one that allowed us to peek into the orchestra pit, where the musicians were tuning their instruments, many of them doubling on more than one throughout the evening. We could also see the stagehands climbing ladders to manage the dazzling lighting cues and the mechanics behind the Wizard’s imposing head and Glinda’s famous bubble. After the show, we had the privilege of meeting several members of the cast, including Zoe Jensen (Glinda), who told us that the bubble used in this touring production was the very same one Kristin Chenoweth rode in during the Tony Awards. It was surreal to stand beside these extraordinary performers, especially since Wicked includes characters who use wheelchairs — a detail that holds deep personal meaning for me. In an unexpected moment of serendipity, I met and was photographed with Jada Temple, who portrayed wheelchair-bound Nessarose, and Nicolas Garza, the actor who played her devoted boyfriend, Boq. We also met the leading man, Fiyero (Ethan Kirchbaum), whose chemistry with Elphaba (Jessie Davidson), brought a spark of humanity and tragedy to the show’s emotional center. Davidson gave a soul-stirring performance that earned spontaneous applause the moment she stepped onstage. Her rendition of “Defying Gravity” was nothing short of breathtaking, and the roar of the audience when she hit that final note was enough to shake the rafters. Every performer in the ensemble was outstanding — from Dr. Dillamond (Drew McVety)’s heartfelt portrayal to the commanding presence of the Wizard (Blake Hammond) and the conniving Madame Morrible (Eileen T’Kaye). What makes Wicked so powerful, beyond its spectacle, is its story. It pays loving tribute to Baum’s original Oz world while offering a thoughtful, modern reflection on society’s treatment of those who are “different.” Beneath its dazzling surface lies a commentary on inclusion, identity, and perception. In a world that claims to celebrate diversity, Wicked reminds us how easily acceptance can become patronizing and how often power hides behind the mask of goodness. I’ve often been skeptical of adaptations that try to rewrite the boundaries of good and evil, but Wicked handles this balance masterfully. No one is purely wicked, and no one is purely good — each character is flawed, human, and relatable. That imperfection is what makes them real, and what gives color to the world they inhabit. As a piece of modern theater, Wicked is an extraordinary achievement — a dazzling commentary on identity and power wrapped in unforgettable songs (Stephen Schwartz), choreography (James Lynn Abbott), and design. It’s no wonder the Broadway production remains a global sensation and the upcoming two-part film adaptation — featuring the Oscar-nominated talents of Cynthia Erivo and Ariana Grande — is already among the most anticipated releases of the decade. For anyone who doesn’t know, Part Two hits theaters next month. Bella and I left the Belk Theater feeling like we had been given a glimpse of something timeless. To see it performed live, with such emotion and artistry, was an experience beyond words. Every number received thunderous applause, each one fully deserving of its ovation. It was a daddy/daughter experience I’ll never forget and will treasure for the rest of my life.

Strictly Observing

Face Value rocks Marion

October 11, 2025October 12, 2025 Zach Cooley No Comments

I never dreamed a Phil Collins and Genesis tribute band would come within 25 miles of my hometown. But on October 10th, Face Value: A Tribute to Phil Collins and Genesis, a relatively new group formed out of Nashville, took the stage at the beautiful Lincoln Theatre in Marion for an electrifying two-hour performance. My only disappointment was the absence of the group’s much-celebrated horn section, an element essential to Phil Collins’s signature sound. After the show, I met with the band’s lead singer and drummer, Joey Simonton, a Charleston, West Virginia native, who explained their absence. “I wanted to bring the horns,” Simonton said. “It just didn’t make sense financially for this market.” It was a practical decision based on ticket sales; attendance that night numbered only around seventy. Yet, what the audience lacked in size, it made up for in passion. My wife Emily, daughter Bella, and I, lifelong fans of Collins and Genesis, were among them, cheering with the same enthusiasm as if the Lincoln were packed to the rafters. Simonton and his phenomenal band brought a 25-song setlist that balanced the horn-driven hits of Collins’s solo career with Genesis favorites that rarely get radio play. The show opened with a powerful rendition of “Something Happened on the Way to Heaven,” which immediately set the tone. To my delight, Simonton gave me a personal shout-out at the start, which made the evening all the more special. That killer opener was followed by “I Missed Again,” one of my favorite tracks from Collins’s debut album, the band’s namesake. Next came “No Reply at All,” one of the few Genesis tracks to feature horns, and then my all-time favorite Genesis anthem, “Turn It On Again.” The crowd responded enthusiastically as the band launched into “Paperlate,” another horn-laced Genesis rarity, before shifting gears into “Land of Confusion.” “This is a heartwarming tale about nuclear destruction,” Simonton quipped at the song’s introduction, acknowledging the Grammy-winning music video featuring the satirical puppets from the British TV series Spitting Image. “The video for this song was huge on MTV when I was growing up, back when MTV actually played great music videos for six years or so.” The band followed with “Who Said I Would,” a deep cut from No Jacket Required, then slowed things down for the haunting “Another Day in Paradise.” Before performing it, Simonton spoke passionately about his missionary work in the Philippines. He and his wife, who is from there, volunteer through Closer to the Heart Ministries, providing food, school supplies, and other essentials to children in need. “We hope to get the band over there next year to do some missionary work for the kids,” he said. “This song reminds us how blessed we are to live in the United States and how grateful we should be for everything the Creator does for us.” From there, the set picked up again with “Misunderstanding” from Genesis’s Duke album, followed by “Easy Lover”. Bassist Sean Harrison, a longtime friend of Simonton, joined him for the energetic duet, capturing the chemistry of Collins and Philip Bailey perfectly. Guitarist Dante Bonasera impressed throughout the night, delivering blistering solos reminiscent of Daryl Stuermer’s style. The youngest member, Justus Mitchell, just 24 years old, amazed the crowd with his command of the keyboards. I couldn’t believe someone his age even knew Phil Collins, let alone played his songs so beautifully. Behind the kit, Jon Ross, drummer and musical director, anchored the group with power and precision. Like Collins, he’s a left-handed drummer and even plays on a similar kit, giving the performance an authentic sound. Simonton, too, proved himself a worthy alter ego to Collins both as a vocalist and percussionist. He joined Ross for the legendary dual drum solo during “In the Air Tonight,” which closed the first half of the show in breathtaking fashion. But before that, the band tore through the Genesis hit “That’s All,” featuring incredible synchronized drumming. Before launching into the song, Simonton turned to me again from the stage and asked about the campaign led by Arizona fan Traci Baker, who has been petitioning to get Collins inducted into the Rock and Roll Hall of Fame as a solo artist. “Phil Collins is one of the most powerful drummers, singers, songwriters, and producers in the history of rock and roll,” Simonton declared. “We need all of you to go online and support the ‘Get Phil Voted In’ campaign.” The second act opened with “Hang in Long Enough,” another of my personal favorites, and the band returned with renewed energy. “Invisible Touch” and “Against All Odds” kept the crowd moving, followed by “Take Me Home,” “I Cannot Believe It’s True,” and “I Wish It Would Rain Down.” Each performance showcased the band’s remarkable musicianship and attention to detail. The Genesis hit “Throwing It All Away” led seamlessly into the band’s first chart success, “Follow You, Follow Me,” featuring a beautiful guitar and keyboard pairing from Mitchell and Bonasera. Next came “Don’t Lose My Number” and the rarely performed “Two Hearts,” during which Simonton and Ross once again doubled up on drums. Their extended drum duet that followed was nothing short of spectacular, a blistering display of rhythm and precision that stood as the evening’s highlight. Simonton stayed on drums for the Genesis deep cut “Just a Job to Do,” another standout moment, before the band brought the show to a roaring close with “Abacab” and “Sussudio.” During the final song, Simonton left the stage to personally greet every member of the audience, a touching gesture that summed up the warmth and authenticity of the night. My sincere thanks go to Bob Watkins for our front-row seats to this unforgettable show. It was a much-needed evening out and a night I’ll always treasure. Face Value: A Tribute to Phil Collins and Genesis is a must-see for any fan of rock performance at its finest.

Strictly Observing, Zach's At It Again