Words and Photos by Reese Cann
Atlanta is spoiled. Guitar heroes are rare, but having Steve Morse one week and Peter Frampton the next is a sweet one-two punch. Frampton’s performance at Cobb Energy Centre this past Monday was remarkable. As he noted, January will mark 50 years since Frampton Comes Alive was released, the album that spent ten weeks at number one and cemented his place on radio and in music history.
Why he still matters is simple: time deepens appreciation. For many of a certain age, Frampton is a marker of a moment in life and culture. Seize the day, sure — but also seize the memories.
Frampton is touring in shorter bursts now rather than a single lengthy run. If you saw him a decade or more ago, do not worry — you will get what you want. And if you have not seen him, like I had not until now, soak it in. He gives everything he has. Sure, go ahead and research Inclusion Body Myositis (IBM) to learn about his challenges, but rest assured that live onstage, he’s inspirational. He plays and sings from a chair, certainly, the spirit of his performance is undiminished. He may not roam the stage like in earlier years, but what he brings — performance excellence and an indomitable spirit — speaks louder than motion.
The show opens with a photo collage of his glory years, a gesture that the audience doesn’t need but appreciates nonetheless. Early in the set Frampton acknowledged more directly the upcoming 50th year anniversary of Frampton Comes Alive, one of the best selling double-live albums of all time. But you can’t live in the past, and Frampton jumped into a new song to be released on a new album that he “made for me but I’ll let you hear it.” That was “Another Level” – classic rock from start to finish with a fiery solo – and it warranted a standing ovation. Frampton’s response? “It’s nice to see you reacting to a new song, because usually everyone goes for a beer.” Deserving, as well as a new tribute song to Tom Petty, “Buried Treasure,” which references a streaming channel that captures albums that Petty had showcased as influential.
The setlist is fixed, and audience interaction for some artists seems canned or minimal, but not for Frampton. He responds to shouts with warmth, and it’s obvious he is wholly present in the moment, and that carries the audience with him. Relatively confined to his chair, it’s evident that in his mind, he’s still wandering about the stage, giving everything he’s got. His joy is there to witness.
A tender moment, recognizing his appreciation of his band as well as what he misses while he’s away, showcased a photo of granddaughter Elle and his service dog that snuggle together, which is bittersweet. The cleverness is that it leads into “All I Wanna Be (Is By Your Side),” which featured an extended rocking and faintly jazzy solo. A striking cover was Soundgarden’s “Black Hole Sun,” a choice Frampton said he plays whenever possible, a really nice add that added a heavier and unexpected flavor to the set. And the juxtaposition of a fresh cup of hot tea being served just seals the experience.
Of course, the “big three” from his live album still land hard. Frampton does not gatekeep his hits to the end; instead he spreads them through the set and the energy stays high. Guitar solos — in these and every other song — never disappointed.
I have seen many classic rock shows recently, many very good. But rarely has an audience been so invested — clapping, singing, giving ovations at every turn — and rarely has an artist matched that engagement so fully. If you are debating whether to catch Frampton on tour, just buy the ticket. It is everything you hope for and more.
So says me.
