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Nicholas Hirshon, JOU 1020 Due: April 12, 2005

Devoid of Passion, The Eagles (Sort of) Say Farewell

Almost every hardcore Eagles fan in attendance at Nassau Coliseum two Sundays ago 
probably enjoyed the Long Island stop on the band’s enigmatic “Farewell I Tour,” as 
evidenced by consistently thunderous applause and repeated requests for curtain calls. 
More impartial and perceptive observers, however, witnessed an ultimately disappointing 
concert in which Glenn Frey, Don Henley, Timothy Schmit and Joe Walsh perfunctorily 
performed their best hits without any passion. Mundanity is bound to set in after a group 
sings the same 25 songs for about three decades, but considering that most seats were 
priced at either $88 or $175 each, the Eagles could have at least attempted to veil what 
appears to have been their main agenda; supplementing their CD royalty checks by going 

on tour.
Inducted into the Rock & Roll Hall of Fame in 1998, the Eagles rightfully earned 

their rock star status a long time ago. They sold more albums in the 1970’s than any other 
recording artist, and Their Greatest Hits 1971-1975 remains the best-selling album of all 
time. Respecting these impressive accomplishments, the near-sellout crowd began to 
cheer as soon as they noticed the band quietly walk onto the darkened stage before they 
opened with “The Long Run.” But halfway through their second song, “New Kid in 
Town,” the Eagles already appeared to be simply going through the motions, and when 
they began their fifth one, “I Can’t Tell You Why,” previously patient audience members 
became anxious to hear the band’s earlier and more popular classics. Just as restlessness 
settled in, however, the Eagles re-energized the crowd with their 1975 hits “One of These 
Nights” and “Lyin’ Eyes,” probably the two most inspired and therefore best 
performances of the night. For the first time all night, they seemed to be genuinely 
enjoying themselves. Henley powered through “The Boys of Summer” with newfound 
enthusiasm, and the band’s presentation of “In the City” was perfectly complemented by 
images of the Empire State Building and Times Square running across the JumboTron. 
The Eagles again lapsed into detachment during “Already Gone,” their last song before 
the 15-minute intermission, but by that time most " ’ ’ ’ > > ■ concourse in

The Eagles returned from the break on a^ ormed the 1973
hit “Tequila Sunrise,” sweetly mesmerizinfthe audience and
simultaneously preparing them for “Love Will Keep Us Alive,” during which the 
Coliseum crowd collectively and abruptly cut off their conversations so they could better 
listen. But complaints could be heard only minutes later when the band introduced “Hole 
in the World,” which they began performing on this tour. The Eagles started to write the 
song after one of their recording sessions was cancelled due to the terrorist attacks on 
Sept. 11, 2001, and they finally finished it about a year later. Some younger fans were 
visibly frustrated with the song’s slow pag&-^^d-impatiently...^^ed for it to end, but they 
got even more irritated when others^a^p^ntly touched byfthe^^ficsrs^ed to stand and 
clap along to its memorable hook, ^^sides of the generation g^^wefe pleased with the 

inspirational message and uplifting riiythnwH-^tTakaltte-thcd^ but from thfen on the 
Eagles lost their fire and the concert wen^ompletely downhill.

order to avoid fast-forming restroom lines.



What followed was a
Belong to the City” and “Si&nset Grill,” that got progressively worse as fans eagerly 

^ waited^ “Hotel California. When Schmit was asked to introduce himself, for example, 

he sheepishly said that the band was having a good time and that they were ready for the 
next song. For Walsh’s comical rendition of “Life’s Been Good,” he tried to use an 
idiotic gimmick to compensate for the concert’s overall mediocrity. Donning a yellow 
hardhat with a hole in the front, Walsh jokingly claimed that it contained a “helmet cam,” 
and that whoever he looked at would have their face projected on the arena’s video 
screens. The pitiful scheme, which drew only scattered laughter, was totally unnecessary. 
By the time the band finally cranked out “Heartache Tonight” and “Life in the Fast 
Lane,” the Eagles appeared too tired to he truly effective and delivered half-hearted 
efforts. Then they prolonged the introduction to “Hotel California,” which was 
presumably done for drama but in reality turned out to be plain annoying. It was so 
unsuccessfol that many opted to leave early to circumvent the traffic instead of staying to 

hear the Eagles perform their signature song.
As soon as the hand left the stage after “Hotel California,” many in the audience 

started to stretch ^d put on their coats, not caring that the Eagles would probably return 
for an ulti^'^erving encore. A minute or so later, they came back and sang “Rocky 

Mountain Way,” “All She Wants To Do is Danc^” “Take It Easy” and “Desperado” to 
the delight of only their truest fans. The few oti*OTS who stayed behind sat waiting and 
hoping that the Eagles would suddenly morph og/ck into the harmonious group they had

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