First Visit To The Allianz Amphitheater At Riverfront

On the evening of Monday, September 1, 2025, my wife and I went with neighbors to the James Taylor concert at the Allianz Amphitheater At Riverfront. This new outdoor concert venue is on the banks of the James River.

A few days prior to the concert, our neighbors did a reconnaissance drive to check out parking options and the walking distance to the entrance.

Additionally, a day before the event, my wife received a courtesy email stating the concert was sold out. Arriving early was recommended.

The reconnaissance for the parking was smart. We parked in a lot within reasonable walking distance to the amphitheater. Additionally, the price for parking was acceptable.

It was a bit after six when we finished up at the parking lot and started our walk to the entrance. What we didn’t expect was the long, long line of people waiting to enter the amphitheater.

Richmond police officers did good work monitoring pedestrian and vehicle traffic at the intersection of Second and Byrd. That long, long line worked its way up a very steep hill along Byrd Street well past the Afton Chemical Corporation.

For a person with worn-out legs, challenges with their cardiovascular system, or wheelchair dependency getting up this hill was a challenge.

At some point the line started to move. The movement toward the entrance was slow, but steady. We cleared the security checkpoint, and the next challenge was finding a space on the lawn for us to sit.

We found a spot, but then we relocated. We relocated to the back of the lawn area. A fence runs the length of the lawn. We had two chairs reserved for seating. Our thinking was the fence would be like the back of a chair while sitting on blanket.

Again, the line to pickup our two chairs was long. We tolerated the wait time. Good news, the chairs were sturdy and comfortable.

When we relocated to the fence, the chair line was directly in front of us. Numerous people came to the chair line not realizing that a reservation had to be made to secure a chair. Just before the concert started, another problem surfaced. Apparently, the supply of chairs for people who had made a chair reservation was depleted.

As we settled into our spot, we learned that there are still some kindhearted souls in the world. A lady with two chairs stopped in front of our group. She offered us her chairs. Where her friends were seated on the lawn was too crowded for chairs, so she offered them to us.

Prior to the opening act, I spent thirty minutes exploring the amphitheater.

The stage is massive and it appears to be outfitted with all the latest bells and whistles for concert technology.

Seating options are varied with some unique locations, and the sight-lines seem good. This is despite at least three large light poles that can impact those sight-lines.

Large video monitors grace either sided of the stage. So, if your sight-lines are lousy, and the tall and lanky, James Taylor, looked tiny, the monitors capture all of the action on stage.

The space provided for food, beverage, and merchandise seemed to be adequate. This area was full of people, but despite some long lines people were able to move freely.

Can’t speak for the women, but there was no wait time for the mens’ restroom area. Urinals, sinks, and toilets were numerous.

No one from our group purchased any food or beverages. I’m not sure about food prices, but a variety of items were offered.

I had read about the grumbling over the pricing of alcoholic beverages, and I now understand the grumbling.

Interesting to me that pricing for all wine options was prominently posted. Wine pricing was expensive. A can of wine was $14.00. Wine by the bottle fell into three price ranges from $40.00 to one Cabernet Sauvignon topping out at $110.00.

As far as I could tell pricing for beer was not posted. It is my understanding that beers in 24 ounce cans cost from $16.50 to $23.00. I did see one beer sign advertising a Value Beer for $5.00.

(Photo Bill Pike)

When I inquired about the value beer was I shown a 12 ounce can of Busch Light. While I’m sure Busch Light has its fans, I don’t value it as a beer. Plus, a consumer can purchase a 30 can case of Busch Light in a local grocery store for $27.99. With that pricing, each can of beer in that case cost about 93 cents a can. Even for a value beer, that’s a significant mark up, but nothing like the mark up on the other beers.

The concert started on time with opening act Tiny Habits hitting the stage at 7:30. After their set, the roadies made some adjustments to the stage, and then we were treated to two solid hours of James Taylor and his very gifted band.

On September 15, 2024, my wife and I made our first trip to Wolf Trap National Park for the Performing Arts. We made this trip to see James Taylor.

Clearly, Wolf Trip has been presenting concerts much longer than the rookies at the Allianz Amphitheater. However, getting into Wolf Trap, working our way to the lawn, and picking up our reserved chairs was seamless.

Part of me wants to know if anyone involved with the development of the Allianz Amphitheater spent anytime picking the brains of the staff at Wolf Trap.

It is my hope that the management team will conduct a detailed review of this first season. That review should include receiving feedback from the people who attended the concerts, and all Allianz personnel.

The day after the concert, my wife did receive an email from Live Nation, a survey that opened with: “What did you(really) think of James Taylor? Share your review!”

That opening was followed with these question prompts:
How was the event? Best ever? Room for improvement? Leave feedback on your recent concert or event, so Ticketmaster, a division of Live Nation Entertainment, can help enhance your next live experience.

I wonder how many people responded to the request for feedback? Additionally, I wonder how diligently the survey comments are discussed and studied by Live Nation and Ticketmaster?

From my perspective, here are some questions that management needs to ponder:

When a concert is sold out, how might the long line and wait time for getting into the amphitheater be reduced?

If I reserve a chair, how does management ensure that the chair will be available for me?

For consumers of alcoholic beverages, the pricing must be clearly posted for all options, and the pricing of these beverages must be restructured to be more sensible.

How might the seating in the lawn area be more balanced between blankets and chairs? Should the lawn area have a designated section only for chairs?

Hopefully, management will listen and improvements will be ready to be implemented by next summer.

At the age of 77, James Taylor enjoyed performing in this new venue. He was complimentary of the facility, the setting, and the crowd. His compliments also hinted that he would like to return next summer for another performance.

I’m 72, I anticipate returning to the Allianz Amphitheater At Riverfront for another concert. However, if I opt to return, I certainly hope that the management team will collectively work to make improvements. Improvements that will make the concert experience better for all who attend a performance in this amphitheater.

Failure to listen to feedback and institute reasonable changes based upon that constructive criticism could potentially hurt the success of the amphitheater.

At the end of this first season, I know everyone will be looking at the profit numbers. I won’t deny the importance of that data. But did concert attendees have a good experience also drives that revenue, and that can’t be overlooked.

And thinking of people, there is one more important part of our concert experience that also can’t be disregarded—the Allianz personnel. From my interactions with them, I found these employees to be patient, polite, and knowledgeable. In our impatient world those traits are important, especially in a public setting—nice work.

Thanks Brian Wilson

I never met Brian Wilson, but during his lifetime I met his songs, his music.

My first record purchase was a Beach Boys’ single. It was the Christmas hit “The Little Saint Nick.” On the flip side was a stunning a cappella version of “The Lord’s Prayer.”

From that first listen to that record, I was hooked.

Brian’s songwriting had a way of hooking people.

He took us to sunny California to surf the Pacific’s waves. To get to those famous west coast beaches, Brian put us in cars too— little deuce coupes and woodies. No matter if we were in one of those fast cars or watching surfers, we were surrounded by pretty California girls.

Brian was a marketer for California. He sold California to America and the world.

The lyrics showcased the lingo of surfers, hot rodders, and surfer girls.

The singable melodies locked into our instant recall. Irresistible harmonies as golden as sunshine became a trademark. Layers of instruments sometimes played with chord changes that weren’t supposed to work on paper showed the brilliance of his songwriting capabilities.

In 1961, their recordings and concerts started a legacy that lasted longer than anyone in the group could have imagined. Brian’s two younger brothers, Dennis and Carl, their cousin, Mike Love, and Brian’s high school friend, Al Jardine, formed the group.

Early on, the Wilson’s father, Murry, was the band’s manager. Despite his imperfections, Murry positioned the band for their early success as he smoozed disc jockeys, concert promoters, and dealt with the record company.

From 1962 through 1966, the band could do no wrong. Their hit songs raced up the charts. Screaming fans filled concert halls. But in 1964 while on a concert tour, Brian had a nervous breakdown.

That breakdown like a shift in a tectonic plate in the San Andreas fault broke the Beach Boys’ early formula—write songs, record, tour. Brian stopped touring. This allowed him to put his energies into writing songs and production work.

Brian worked with the gifted Los Angeles studio musicians who with great affection were named the Wrecking Crew. A new formula was born. Brian wrote the songs. He recorded the backing tracks with the Wrecking Crew. When the Beach Boys came off the road, they went into the studio and added the vocals.

This freedom to write and record allowed Brian to hone his skills as a producer. The studio became a second home. He pushed the traditional boundaries for the musicians and for his favorite recording engineer, Chuck Britz. Brian once asked Mr. Britz if he could bring a horse into the studio. Mr. Britz said no.

Brian also pushed himself to write and create beyond the band’s surfers, surfer girls, and fast cars image. From this came the legendary album Pet Sounds. Brian was twenty-three at the time. Released in 1966, initially, Pet Sounds was not a commercial success. The album’s success came from how it changed the way musicians from around the world wrote and recorded their songs.

The Beatles were listening. Brian’s work and innovations nudged them into their landmark album Sgt. Pepper’s Lonely Hearts Club Band.

Brian continued to push. The stunning single “Good Vibrations” was released. The recording was another masterpiece. The back story of the song’s recording sessions shows Brian either as a mad genius or a master of the studio.

His next project Smile continued to push the envelope. With Smile, as beautiful as we now know it was, the album crushed the Beach Boys’ successful hit making formula like a monster rogue wave from the Pacific.

His bandmates, the record company needed hit records. Smile was aborted. Brian retreated.

From 1967 until 1975, Brian quietly worked behind the scenes with the Beach Boys. He contributed songs, produced in the studio with them, but his reclusiveness begin to spin Brian out of control.

By 1975, physically, Brian was a far cry from the high school athlete he had been. His appetite was out of control, constant smoking was destroying his beautiful singing voice, and his consumption of drugs was impacting his personal well being.

Brian’s first wife, Marilyn, sought an intervention. She brought in a controversial psycho-therapist, Dr. Eugene Landy. Despite the good and bad from Dr. Landy, no one can deny that his interventions saved Brian’s life twice.

Brian’s second wife, Melinda Ledbetter, was the spark for launching Brian’s career as a solo artist. Contributing to this redemption was another group of young Los Angeles based musicians, the Wondermints. This group with other gifted musicians formed what became known as Brian’s band.

This band was fearless. No matter the concert set lists they hit every note with their instrumental chops and vocal dexterity. For example, the entire complex Pet Sounds album was played in concerts note for note.

Dead in a studio vault for almost forty years, the Smile album was resurrected. It was re-recorded, released, and met with high critical acclaim. Again, the musical gifts of Brian’s band drove this redemption of Smile.

In 2012, the living members of the Beach Boys reunited for a fiftieth anniversary tour. Brian had lots of songs to contribute to a new studio album.

After this success, for Brian recordings and concert appearance continued. But then in a summer co-headling tour with Chicago in 2022, his demeanor on stage changed. Brian became less and less engaged with the audience. By the tour’s final date, it was clear Brian’s concert performances were over.

Part of me believes that Brian’s work with the gifted musicians in his band and those concert performances added to the quality of his life, and maybe even extended his life.
However, on January 30, 2024, we learned how much the quality of Brian’s life depended upon his wife, Melinda. Married for twenty-nine years, she had been his rock. Her passing was a devastating loss.

The impact of this loss came to reality in May of 2024. That’s when Brian’s family formally placed him in a conservatorship. Dementia was to be his end.

After all that he endured, I’m amazed that Brian made it to 82. He outlived his brothers, Dennis and Carl.

It always seemed to me that his heart was music, that music was his rescuer, his redemption, a lifeline.

And in its own unique way, I believe Brian’s music was a rescuer, a redeemer, a lifeline for people who needed something to hang on to when life challenges us.

I will miss Brian Wilson.

Despite all of life’s ups and downs that Brian endured, I’m thankful for my first record purchase. That purchase started a lifelong journey with Brian and the Beach Boys.

I have thought about citing a favorite song to close out this piece. But, I can’t. There are too many.

Just as Brian was relentless in his songwriting and studio production, I encourage you to be relentless in discovering the music Brian made beyond the hit songs. Your ears, heart, and soul will not regret this pursuit.

So, I leave you with these words from Brian’s youngest brother, Carl. These comments came from the Beach Boys boxed set Made In California.

Carl Wilson: “I asked Brian one time, I guess we were just having a long conversation talking about life and some of the stuff we had gone through, and I said: “Why do you think we succeeded in such a big way?” He said: “I think the music celebrated the joy of life in a real simple way, a real direct experience of joyfulness.”

I think Brian was right.

His music brought a joy into the world.

A joyfulness that will live forever.

Brian Wilson in his home recording studio, circa 1971. (Photo Bob Jenkins)

Author’s note: On the afternoon of Wednesday, June 11, my dear college friend, Steve Hodge, who is also an accomplished musician, and long time fan of the Beach Boys, let me know that Brian Wilson had passed. In all of our road trips to see the Beach Boys in concert, I can only remember one show when Brian performed with the group. That was in the spring of 1979 at the Greensboro Coliseum. Additionally, my childhood friend, Joe Vanderford, another follower of Brian and the Beach Boys, has kept me in the loop with references to articles and podcasts related to Brian’s passing. Today, Friday, June 20 is Brian’s birthday. He would have turned 83. His website: https://www.brianwilson.com/ has posted a nice tribute to Brian.

Easter with Warren Zevon and Jesus

Warren Zevon was a gifted songwriter, singer, and musician.

You might recall two of his songs “Excitable Boy” and “Werewolves of London.” Each garnered attention, and yes, “Werewolves of London” has become a Halloween standard.

Through his songs, Mr. Zevon was a storyteller. His characters were from all walks of life. His lyrics captured all human emotions. At times, his words were not for the faint of heart.

I chuckle when I hear these lines from “Excitable Boy”:
“Well, he went down to dinner in his Sunday best. Excitable boy, they all said. And he rubbed the pot roast all over his chest. Excitable boy, they all said. Well, he’s just an excitable boy.”

And I chuckle more with “Werewolves of London”:
“He’s the hairy-handed gent who ran amuck in Kent.
Lately, he’s been overheard in Mayfair. You better stay away from him, he’ll rip your lungs out Jim. But hey, I’d like to meet his tailor.”

But the chuckling stops with “Carmelita”:

“ I hear Mariachi static on my radio. And the tubes they glow in the dark. And I’m there with her in Ensenada, and I’m here in Echo Park. Carmelita hold me tighter. I think I’m sinking down. And I’m all strung out on heroin, on the outskirts of town.”

Singer Linda Ronstadt respected Mr. Zevon’s song “Hasten Down The Wind” so much that she recorded it and used the song as the title to one of her albums.

The song will pinch your heart and moisten your eyes:
“She tells him she thinks she needs to be free. He tells her he doesn’t understand. She takes his hand. She tells him nothing’s working out the way they planned. She’s so many women, he can’t find the one who was his friend. So he’s hanging on to half her heart. He can’t have the restless part. So he tells her to hasten down the wind.”

Even in 1978, America had challenges with lawyers, guns, and money. This song of the same title notes how risk and luck don’t always complement each other:
“I was gambling in Havana. I took a little risk. Send lawyers, guns and money, Dad, get me out of this. I’m the innocent bystander. Somehow, I got stuck, between the rock and the hard place, and I’m down on my luck.”

At times, maybe in each of us, we have a desire to be left alone, isolated from the world. In “Splendid Isolation” Mr. Zevon wrote:
“I want to live alone in the desert. I want to be like Georgia O’Keefe. I want to live on the Upper East Side, and never go down in the street. Splendid Isolation, I don’t need no one.”

Clearly, those characters envisioned in Mr. Zevon’s lyrics are thousands of miles and years away from the people Jesus encountered during his life.

Yet, I sense there might be some similarities.

How might the Demoniac compare to the “Excitable Boy” or the “Werewolves of London”?

Does the son in “Lawyers, Guns, and Money” have any connection to the Prodigal Son? Each son is looking to be saved and ultimately forgiven by their fathers.

What does the Leper have in common with the man addicted to heroin in “Carmelita”? Each is impacted by the circumstances of their health. Each needs an intervention. In their situations, both men are seen as outcasts.

In “Hasten Down The Wind” might that have been a conversation between Mary and Joseph as they tried to sort out the complications of God’s unexpected intrusion? Or, maybe this matches with the woman at the well, whose relationships with men haven’t been successful.

And for “Splendid Isolation” how many times in Jesus’ ministry did he truly need time to be alone? Did he reach his limit with the masses of followers and individuals who needed just a touch of his clothing to change the circumstances of their lives? In those moments, perhaps Jesus felt like embracing Mr. Zevon’s words: “I don’t need no one.”

By now, you must be thinking poor Bill. He has really gone off the deep end this time— comparing Warren Zevon’s characters to the people that Jesus encountered during his lifetime.

Well, maybe I have.

But, the bottom line is that both Jesus and Mr. Zevon were remarkable storytellers. More importantly, these characters, these people, no matter when or where they lived provide us an opportunity to learn from their challenges in life.

And to tell you the truth, at the age of 71, I’m not sure I’m any closer to truly understanding the challenges in the Easter story.

Maybe that’s because the world has become more complicated.

Or has the redundancy of the Easter story diminished my curiosity?

Could it be that I’m a shallow Christian, reluctant to dig deeper to break the predictability of Easter?

Maybe, I’m part of Romans 5 verse 6: “You see, at just the right time, when we were still powerless, Christ died for the ungodly.”

Yes, Jesus knows my old sack of bones. He has a file on my ungodly ways.

And, despite my “ungodly” confession, I still hold on to the hope that Easter offers. For me, that hope is tied to love.

On September 7, 2003, Warren Zevon lost his battle with inoperable lung cancer. Diagnosed in 2002, Mr. Zevon spent those miserable declining months recording his final album.

The last song on the album is titled “Keep Me In Your Heart.” Simply, this is Mr. Zevon’s way of saying goodbye to his family and friends.

Always insightful with his lyrics, here is the opening of the song:
“Shadows are falling and I’m running out of breath, keep me in your heart for awhile.
If I leave you it doesn’t mean I love you any less, keep me in your heart for awhile.
When you get up in the morning and you see that crazy sun, keep me in your heart for awhile.
There’s a train leaving nightly called when all is said and done, keep me in your heart for awhile.”

Despite the ups and downs that Mr. Zevon experienced in living his life, I think in the end his song “Keep Me In Your Heart” was his way of acknowledging the importance and value of love.

With Easter, isn’t that what our take away should be?

Isn’t that what Jesus needs from us?

That we keep him in our hearts.

That we share his love with the people we encounter everyday.

Isn’t that what Jesus did when he encountered people?

No matter their status or circumstances, he loved, he kept them in his heart.

“When all is said and done,” is that too much to ask of my heart?

Easter 2024, the cross starting to fill with flowers. (Photo Bill Pike at Trinity UMC)