seven venues

“THE NAME IS Stewart. Singing is the game,” Rod Stewart proclaimed from his mammoth, imported circular stage at Norfolk’s Scope arena. More specifically, rockin’ is the game, as Stewart returned to his roots.
    Outside, there was the usual gridlock traffic jam as drivers found parking garage entrances difficult to enter. (Why do big Scope events clear out so rapidly afterward but provide enormous traffic trouble in the entry stage?) Inside, according to the hall’s doorman, there were “close to 10,000” – a mini Stewart-town all its own.
    The news is Stewart is not yet ready to become Tony Bennett – not full time anyway. Stewart’s recent superhit “standards” albums have attracted a new audience and proved his raspy, wailing cries for lost love are entirely adaptable to the great saloon songs and romantic ballads of the past. Called “The Great American Songbook,” and released between 2002 and 2005, the four albums reflected unforgettable compositions from the 1930s and ’40s.
    But those who thought this tour would reflect the “new,” reflective Stewart were incorrect. No Gershwin, Irving Berlin or Cole Porter. Another evening, perhaps. This, as he put it, “is for your low-down selves.”
    Stewart, accompanied by a take-no-prisoners rock band, has chosen to reflect his newest album “Still the Same … Great Rock Classics of Our Time” (released in October). It’s his first rock album in eight years and, in response, his onstage appearance suggests no let-up in his ability to move. At 62, he might have a bit of a pot tummy, but he wears it well, not just admitting but proclaiming his mature status in rock. “Time is on our side” is, for him, a convincing anthem.
    He sticks his tush out and shakes it – still cocky and flamboyant. He’s still the self-proclaimed ladies’ man – a new pa in the past year and the man who once dated Britt Ekland. (If you missed her heyday – pity). He remains a rock singer-interpreter not quite like anyone else. He’s reverted more from folkrock into standard rock, but, accompanied by a band with quite amazing technical showmanship, he, according to the woman behind me, “still has it.”
    Creedence Clearwater Revival’s “Have You Ever Seen the Rain,” the lead single from the album, serves as a showpiece. More exuberant and soul-searching is his version of “It’s a Heartache,” which was made famous by Bonnie Tyler. (He said his mum berated him for not recording it in the first place, but, “I can sing it now.”) Not far behind in the list of favorites from the evening would be “Fooled Around and Fell in Love,” Elvin Bishop’s 1976 hit.
    A slip-up (go figure) seemed to occur when the band launched into and then abruptly stopped the 1978 hit “Da Ya Think I’m Sexy.” The intro began and then, zap – cut. (Maybe he just didn’t feel sexy enough on this particular occasion?) The woman behind me, who was eager to help me take notes, said, “No matter. He’s still sexy. Write it down.” She was a 1974 Virginia Beach high school grad. Many of his fans, though, were younger. In front of me were three teen misses who kept waving a sign reading “I’d Like to Meet You.” He acknowledged them but came into the audience only to sign a girl’s tattoo.
    Not all his choices were covers, but, a bit troubling, is the fact that his own hits sound much like the others. This could be written off as “making them his own.” In any case, he sold them, and he sold them big. There were musically exciting run-throughs of “Infatuation” and “(I Know) I’m Losing You” (a Temptations’ tune he made his own in 1971.) In the second half, he took off in a manner that suggests maybe he had a shot of that “vit-a-min E” he sings about in “Hot Legs.”
    His band included a longlegged, female, blond saxophonist and a banjo soloist. A tartan-toned curtain highlighted one of the largest, most elaborate rock-show stages to be imported. (It took 11 trucks to move it all in.). The bare-midriffed “Rockettes” did what was suspected to be a Janis Joplin cover while he changed off stage, into a red coat. Home movies (honoring his Dad) and a tribute to his beloved Celtics soccer team added personal touches and visual diversion.
    Mormon Tabernacle Choir, move over. A choir of almost 10,000 Hampton Roads singers who joined Stewart in tune and on cue were quite impressive. All they needed for a cue was for the house lights to come on. The audience knew the lyrics and the beat and could easily go on the tour.
    Of course adding his everremembered “Maggie May” as a near-finale was a safe bet. He’s still the preening, swaggering persona of badboy rock. He still has that raspy kind of soul-soar that remains all his own. Downtown Norfolk is just now getting calmed down.