Diana Ross Is Still 'The Boss,' Commands The Hollywood Bowl

Diana Ross

By Darlene Donloe 

At 81, Diana Ross has defied time.

The still-stunning Motown legend, who recently performed a two-night grandstand (July 25-26) at the Hollywood Bowl, brought the appreciative crowd to its feet on several occasions with her charismatic stage presence, impressive vocals, signature wardrobe changes, and classic long, flowing mane. 

Ross's performance was a testament to her enduring legacy as a beloved Motown veteran who emerged as the lead of one of the label’s hottest acts, The Supremes.

The Supremes

While documentary-style videos of her career played on a massive screen behind her, an 11-piece band and four backup singers, all dressed in white, took the stage. 

Ross donned a stunning black and white bejeweled floor-length gown, looking like a queen who was the belle of the ball.

The iconic star kicked off the show with her fan-favorite ‘I’m Coming Out,’ followed by ‘More Today Than Yesterday.’

Ross then “went back to Motown” with her Supremes hits ‘Baby Love’ and ‘Can’t Hurry Love,’ ‘Come See About Me,’ and ‘Stop in the Name of Love.'

She was accompanied on stage by seven dancers from the Debbie Allen Dance Ensemble.

She then went on to perform ‘Touch Me in the Morning,’ one of her newest songs, ‘Chain Reaction,’ and ‘Voice of the Heart.’ 

In 1972, Ross was nominated for an Oscar for her portrayal of Billie Holiday in the film “Lady Sings the Blues.”  She sang, ‘Don’t Explain’ from the movie for her fans before launching into ‘Love Hangover,’ plus ‘Home’ and ‘Ease On Down The Road’ from the film, ‘The Wiz.’

That’s when Ross made one of her classic wardrobe changes – this time coming back in a dazzling red dress. 

She kicked off the second set with ‘The Boss’ and ‘Endless Love.’ She invited her actress daughter Tracee Ellis Ross (‘Girlfriends’ and ‘Black-ish’) to see 'Endless Love' with her, but Tracee Ellis Ross admitted to being too shy to sing with her mother on stage.

Diana Ross and her daughter, Tracee Ellis Ross

“I go back to being five years old,” she said.  Tracee Ellis Ross warbled a couple of notes before shyly exiting the stage.

Ross continued with some of her beloved hits, including ‘Reach Out and Touch’ and ‘Upside Down.’

She also, surprisingly, sang the gospel song, ‘Amazing Grace.’ 

At one point in the show, Ross brought out her five children and grandchildren, including Evan Ross, Tracee Ellis Ross, Chudney Ross, Rhonda Ross Kendrick, and Ross Naess.

During the COVID-19 pandemic, Ross revealed that she recorded her latest album, ‘Thank You’, in her garage. 

Her daughter with Berry Gordy, Rhonda, came out to sing the song she wrote for her mother, ‘Count On Me’, with Ross, who said fans could find it on Spotify. 

Ross then did another quick change – this time emerging in a shimmering gold gown. 

For her third set, she kicked it off with the song, ‘Why Do Fools Fall in Love,’ ‘The Best Years of My Life,’ ‘Mahogany,’ and ‘Ain’t No Mountain High Enough,’ and the Gloria Gaynor hit, ‘I Will Survive.’ 

Ross then left the stage again, this time returning in a sparkling white gown for the finale.

Despite her age, Ross's voice remained strong and captivating, showcasing her impressive vocal range. 

With her signature style and poise, Ross commanded the stage, engaging the audience with her charisma and energy. 

The Hollywood Bowl provided a magical backdrop for Ross's performance. 

Celebrities in the audience included Motown founder Berry Gordy, Motown manager Shelley Berger, Motown songwriter and producer William Mickey Stevenson, actor Colman Domingo, and legendary singer Freda Payne. 

Diana Ross's performance at the Hollywood Bowl didn't disappoint. It was a celebration of music, love, and legacy, solidifying her status as a music legend.

 

 

Calloway Is In Good Shape With "6 Pack"

LOS ANGELES, Calif. (17 JULY 2025): When R&B/pop duo Calloway rocketed up the Billboard charts 35 years ago with their hit, “I Wanna Be Rich,” Reggie and Vincent Calloway defined rich as being wealthy with “love, peace, and happiness.” This Friday (July 18), they’ll release a new Spiral Galaxy Entertainment single, “6 Pack,” that goes deeper than their now-classic record. The Calloway brothers wrote and produced the latest health and wellness song that champions six categories of fitness.

 

With a funky and futuristic electronic synthesized track representative of Calloway’s best work, whether that be from their duo era in the nineties or their seminal work on the iconic hits they created as members of Midnight Star in the eighties, “6 Pack” is anchored by an anthemic chorus animated by Vincent Calloway’s trademark electronic robotic vocals that call for getting one’s six pack back: mental fitness, physical fitness, social fitness, emotional fitness, financial fitness, and spiritual fitness. 

 

“We made a statement about how being rich can be defined on ‘I Wanna Be Rich.’ ‘6 Pack’ takes it to the next level when it comes to defining the different types of fitness. Obviously, there’s your core and your abs as part of being physically fit. But the six layers of fitness that we are singing about on ‘6 Pack” are mental, physical, social, emotional, financial, and spiritual fitness,” explained Reggie Calloway, a GRAMMY® nominee who also serves as Director of Music Royalty Funding for Sound Royalties.

 

On August 7, Calloway will release a video for “6 Pack” directed by Ash Gupta. Not only does Calloway hope that “6 Pack” will become this summer’s workout jam, but they also hope the song sparks transformation.

 

“To be fit, you’ve got to look at yourself and put in the work and do what you need to do to be fit. That’s your nutrition and what you eat, how you rest, the way you look at your life, and even the way you look at and how you treat yourself,” said Vincent Calloway, who was also a fitness coach for boxing champions Paulie Malignaggi and Steve Forbes.

 

“Being mentally fit is about how you cope with problems. Physical fitness encompasses more than just health and wellness. It gets down to basics, such as how you breathe and your flexibility. Social fitness is about your relationships. Emotional fitness touches on your mindset. It’s about giving yourself grace and knowing that you can make it on your own. Financial fitness and wellbeing is about saving money, being financially stable, and avoiding the anxiety that comes from financial stress. Being spiritually fit reflects the inner journey, searching inside yourself. It’s the awareness that you’re not alone. It’s using meditation to go inside,” said Reggie Calloway.

 

Earlier in their careers, the Calloway brothers helped pioneer a music genre known as techno-funk. Together they consistently crafted chart-topping records – with Midnight Star (“Freak-A-Zoid,” “No Parking on the Dance Floor,” “Wet My Whistle,” and “Operator”), as Calloway (“Sir Lancelot,” “You’re My Everything,” “All The Way,” and “Let’s Get Smooth”), and for artists such as Levert ("Casanova”), Teddy Pendergrass ("Joy"), Gladys Knight ("Love Overboard”), Natalie Cole (“Jump Start”), Klymaxx (“Meeting in The Ladies Room”), and The Deele (“Body Talk”). Their projects achieved chart and sales successes while being added to and proliferating radio playlists that continue to this day. The Calloways are more modest about the goals for “6 Pack.”

 

“It’s not about airplay at this point for us. We’ve done that already. At this point in our music careers, it’s about having an impact. We’ve been saying this for a while now. Calloway is about creating a movement, thus ‘6 Pack’ is a vital component to what we are doing now. If we reach just one person and change a life with our message on the new single, then it’s meaningful. If it becomes bigger and we help inspire change for many more people, even better,” said Reggie Calloway. 

 

Last December, Calloway released a 35^th anniversary version of “I Wanna Be Rich” that they produced with GRAMMY® nominated producer Darius “Phonix” Barnes (J. Cole, The Game, Trey Songz, Eminem, 50 Cent). In March, they issued “Freak-A-Zoid (Reboot).” Their single, “Politics,” is nominated for Best Social Commentary Song for the Greater Sacramento Urban Music Awards, taking place in September. Calloway plans to release more reimagined and re-recorded songs from their catalog, along with new original songs.

 

To get “6 Pack,” click https://ffm.to/6pack-calloway. 

 

For more information, visit https://callowayofficial.com. 

Actors Talk About Bringing Life To 'Berta, Berta'

By Darlene Donloe

 

Kacie Rogers and DeJuan Christopher, two powerful actors in the entertainment game today, are set to star in Angelica Chéri’s poignant love story, ‘Berta, Berta,’ opening at the Echo Theater Company in Atwater Village July 19 through August 25.

Andi Chapman directs the West Coast premiere of ‘Berta, Berta,’ described as a unique love story.

Set in 1920s Mississippi, Leroy (Christopher) has committed an unforgivable crime and is ready to accept his punishment: incarceration at notorious Parchman Farm. He has just one final wish before he’s caught – a chance to make amends with his long-lost love, Berta (Rogers).

Kacie Rogers and DeJuan Christopher in 'Berta, Berta'
Photo by Makela Yepez Photography

Their reunion swells from a quarrelsome conjuring of the past to an impassioned plot to escape their impending fate. The play is inspired by the prison chain gang song “Berta, Berta.”

The song was incorporated by August Wilson in his play, The Piano Lesson. Chéri first came across it while watching a production and found herself haunted by it.

 

“What’s so striking about ‘Berta, Berta’ is that people from all over have sung this for decades and have no idea who the man is who originated this song or who the woman is who is the subject of this song,”  Chéri explained in an interview. “Every man who sang this song had his own Berta. He had the same longing, disenfranchisement, and captivity. Where did this song come from? I had to write an origin story.”

 

The buoyant and spirited song adds to the play’s musical and emotive landscape.

Parchman Farm remains an infamous prison in Mississippi that the Innocence Project calls “a prison modeled after a slave plantation.”

 

Parchman was “the site of some of the most remarkable music in American history… Singing through the turmoil was not just common but routine at Parchman, whether inmates were musicians or not.”

"'Berta, Berta' is a beautifully written, simple love story set against the backdrop of Jim Crow,” said Chapman. “It’s poetry – a book coming to life. Love can pierce through anything.”

 

Bringing the story to life are Rogers and Christopher, who were eager to tackle the dialogue.

Kacie Rogers

I recently caught up with Kacie Rogers (KR) and DeJuan Christopher (DC), both of whom have warm and vibrant personalities, to talk about their upcoming performances in ‘Berta, Berta.’

 

DD: The song 'Berta, Berta' is intoxicating. How does the music tie in with the show?

 

KR: The show is the story that inspires ‘Berta, Berta’. The love story of history, and the context of why those words are those words. It’s a beautiful, chilling, haunting thing. Angelica has done a wonderful job.

 

DC: We know it is an infamous song. These men were out there with picks working from sunup to sundown. He got through by singing about his woman, Berta. Poetic literature, that’s what Angelica put on that page. 

 

DD: Why should people see this show?

 

KR: I don’t like to be prescriptive about what they can take away. So much you can mine from it—a reflection of how you’re spending your time on earth. There are so many deep, resonant things in the play.

 

DC: I think folks should see a part of themselves they don't normally see. It’s so unapologetic. It’s about being an adult in the world. You’re born looking like your parents, you die looking like your decisions. It’s an oasis and an internal look at who we are and who we can become, and how love can play in that.

DeJuan Christopher

DD: Did you learn something about yourself while developing the character and rehearsing?

 

DC: Yes, I’ve learned through the show about time. I’m more connected to grandparents and great-grandparents. I was fortunate to know some of my great-grandparents. I’m essentially playing my great-grandfather’s father in this play. If this is what life was like for them, then – wow.  Sometimes I’m moved to tears.

 

KR: Berta will be teaching me until closing night. The major takeaway is that hope is always worth it. It’s boundless. We see Berta fighting against these seemingly hopeless situations. I’m inspired by that, especially now. The news is so bad. We’re in a terrible place.

 

DD: Why did you want to be part of this show?  What criteria does a show need for you to be interested?

 

KR: We got to do a staged reading in 2021. I had to do this. If I read it and I know her, I have to do it. I hear her voice. I know how she walks. Then I want to do it. This one was very loud. We don't get to see Black couples loving each other and being beautifully layered.

 

DC: If it ain’t on the page, it ain’t on the stage. If I don't have goosebumps, I put it down. As a Black man, it’s important to see a Black man loving a Black woman. We were in bondage together and got out together. It's a badge of honor to do this work. I do my best every day. I want to show up and be the best of myself. I want to honor all the ancestors.

 

DD: How do you both go about developing your characters?

 

KR: It depends. My process changes for every role I’m doing. I read it a lot before we got started. Andi provided us with music. I’m taking notes from what the playwright has given me on the page. You have a decent amount of table work. We really got into conversations. Then we took the baton, DeJuan and I, and created a shared history.

DC: Similar for me. I read the script to see if I have those goosebumps. Then I reread it and write down how I feel. I read it a third time to identify the repetitive elements positively. Does he smile? How does he sit? How is he dressed? Then I became an investigative reporter. What is my objective? Who am I? Why do I have to get that objective? Then I built the skeleton of the character.

 

DD: Can you describe the emotional highs and challenges of performing in this play?

 

KR: Emotionally volatile in an incredible way. We’re challenged in this play. It challenges us to be human.

 

DC: It’s an emotional rollercoaster. Angelica - She writes it as a layered cake. It’s not easy, but it’s rewarding. It’s our job as artists to tell the truth about life.  It’s a duty. This is set in the 20s. We are giving voice to the voiceless.

 

DD:  Talk about working with Angelica and your director, Andi Chapman.

 

KR: Angelica and Andi are the best. This is my second show with Andi. I love working with her. She and I work similarly. It's a safe place for me to explore. Her vision is clear, but it’s malleable. I can play. It’s collaborative. She’ll tell you if you’re going in the wrong direction. Angelica is so smart and kind and generous. I’m honored to feel trusted by her. She’s been an encouraging resource for us. She provides clarity. I’m inspired.

 

DC: Everything Kacie said. Angelica is so kind. She’s a giving person. She is transparent. She allows us to be free. Andi is one of the most gifted, well-rounded people you will ever meet. She knows the craft. She’s an actress, director, and professor, and I’m a historian. To know her pedigree – she came under Lloyd Richards, the first Black theater director on Broadway. It’s an honor. We’re in good hands.

 

DD: How do you prepare to go on stage on opening night?

 

KR: I don’t treat my pre-show any differently than any other night.  I pray before every performance. He (Christopher) and I breathe together.

 

DC: I do what I do every day. I go to the gym, eat something nutritious and healthy. Then I meditate, and then it’s time to get ready!

DD: What did you expect from showbiz, and what did you get?

 

KR: I still expect to be a superstar. I’ve been acting since I was a kid. I have worked fairly consistently. I would like not to have a day job. The thing that surprised me, though, was that I thought I would be an actor. It has allowed me to be a writer. I am a producer. I have a theater company. It forced me to expand myself. Another gift I have is creating opportunities for other people.

 

DC: I also expected to be a superstar. It’s the truth, though. I left school, and the professor said, ‘What are you going to do? I said, ‘I’m going to LA to be a superstar. Back at the ranch….. I expected to be in the South of France. I’m glad it didn't turn out that way for me. To be able to audition and be told ‘no’ a thousand times before I get that ‘yes’. It prepares me. I also have family. Plus, meeting someone like Kacie.

  

The creative team for ‘Berta, Berta’ includes scenic designer Amanda Knehans, lighting designer Andrew Schmedake, sound designer Jeff Gardner, and costume designer Wendell C. Carmichael.

 

The production stage manager is Bianca Rickheim. Chris Fields, Kelly Beech, Marie Bland, and Joy DeMichelle produce for the Echo Theater Company.

 

‘Berta, Berta,’ Echo Theater Company in Atwater Village Theatre, 3269 Casitas Ave., Los Angeles, 8 p.m., Fridays, Saturdays, and Mondays, with Sunday matinees at 4 p.m., $38.

(free parking in the Atwater Xing lot one block south of the theater)

 

Lisa Reneé Pitts Is Making ‘A Beautiful Noise’

 Lisa Reneé Pitts

By Darlene Donloe

Opening night of ‘The Neil Diamond Musical: A Beautiful Noise!’ is just hours away, and Lisa Reneé Pitts, an award-winning actress, is excited and ready to command the stage.

A seasoned, veteran actress, Pitts said, “Opening nights are always exciting.”

‘The Neil Diamond Musical: A Beautiful Noise!’, currently playing at the Pantages Theatre in Hollywood, is inspired by the real-life therapeutic sessions that prompted Neil Diamond to reflect on his legacy.

Pitts, originally from Brooklyn, NY, plays the doctor in the show, which has been called “a stirring celebration of a life in music” by The New York Times. It features classics such as “Sweet Caroline,” “Cracklin’ Rosie,” “I Am... I Said,” and “America.”

Pitts, who calls herself an underground fan of Diamond’s music, has some impressive Broadway and regional theatrical credits.

Her Broadway credits include Sweat (Cynthia understudy). She has also appeared in Off-Broadway productions, including The Old Settler (Lou Bessie) opposite Leslie Uggams, and Waiting for Lefty (Florrie), directed by Joanne Woodward.

Regional credits are Twilight: Los Angeles 1992, Mark Taper Forum (Charlene, She/Her); The Father, Pasadena Playhouse (Woman) opposite Alfred Molina; Tiny Beautiful Things, Portland Center Stage (Writer #2); Doubt, Portland Center Stage (Mrs. Muller); Tintypes, Syracuse Stage (Susannah); A Raisin in the Sun, Virginia Stage Company (Ruth); and Intimate Apparel, San Diego Repertory Theater (Esther).

The talented thespian has appeared on television and also appeared in the film Straight Outta Compton, playing Dr. Dre’s mother, Verna Griffin.

A multi-hyphenate, Pitts, who earned a BFA from Rutgers University, is also a motivational speaker, mentor, ministry leader, teacher, and an award-winning audiobook narrator and producer.

She has narrated well over 200+ titles spanning all genres from YA to Sci-Fi, romance to social justice.

Pitts recently signed on to do ‘The Neil Diamond Musical: A Beautiful Noise!’ for another year.

Lisa Reneé Pitts

I recently caught up with Pitts (LRP) to talk about her current role as the doctor in the show.

DD: Tell me about your roles as a motivational speaker, mentor, ministry leader, teacher, and narrator. You have narrated over 200 titles spanning various genres. 

LRP: Most of my motivation and ministry come through my church. I serve as a ministry leader for the drama ministry, where we put on shows that represent the Lord. Additionally, I teach by visiting schools, offering workshops and seminars, and judging their dramatic competitions. 

DD: You also narrate audiobooks.

LRP: Yes, I’ve been an audiobook narrator for 15 years. I narrate a wide range of genres, from romance to sci-fi and bios, and everything in between. I love it. I do all the characters. I'm passionate about the arts. 

DD: When did you start to love the arts? 

LRP: From a young child. I would go in front of the bathroom mirror and create monologues. My dad would say, ‘Joan, she’s in the mirror talking to herself again.’  I loved to read. I had a vivid imagination. I would read books and develop my character. It’s a passion I was born with. My parents encouraged me. 

DD: For Diamond fans, A Beautiful Noise is more than a musical: it's a time capsule of hits, heartbreak, and healing. Is that how you would describe it?

LRP: It’s exactly that. For fans, they will get the big music, all the songs, the orchestra, and the liveliness of his concerts. It’s a beautiful two-character play within the musical. Through the sessions, we take a look back on his life. You get the best of both worlds. Neil Diamond was one of the writers for this show. His openness, humanity, and vulnerability in telling his story are wonderful.

DD: Were you a Neil Diamond fan before this show?

LRP: I couldn’t say I was a fan. I did know some of the songs, such as ‘Caroline’ and ‘You Don't Bring Me Flowers’. I had no idea about the artists he wrote for or the songs he wrote. Maybe I was an underground fan.

DD: Has anything changed?

LRP: I had an encouraging family, but hearing about his journey, the ups and downs, and the people in the business and his family, I’m even more encouraged. His process and how he wrote these songs that were inside him are truly inspiring. His music, his process, and how he shared his story with us - I’m a fan now.

DD: Talk about your character, the doctor.

LRP: I’m known as the doctor. I'm his therapist. My character is based on his real therapy sessions. The person I play has since passed away, but I met her daughter. The doctor is helping Diamond, who is going through some things at a time in his life. His wife and children tell him he’s unbearable and hard to live with. I open up a small window, because there's some pain there.

DD: Have you gone to a doctor?

LRP: Not a doctor. I have a great relationship with my parents, and I talk to them. However, I am an advocate for therapy.

DD: How did you prepare for your role as Neil Diamond’s therapist, and what research did you conduct to get into character?

LRP: I did some research based on the technique. It’s motivational therapy, where the patient answers their own questions. I studied the Meisner Technique (truthful, spontaneous acting through exercises). In my acting work, it’s about talking and listening. Listening is the hardest thing to do because you think you should be doing something.  Representation is everything. We don't usually get to see a Black woman doctor who is giving guidance.

DD: Did you learn something about yourself while rehearsing?

LRP: I did. I feel so blessed. I want to keep an open heart, like the doctor I play. I want to do more listening than talking, like the doctor. I’m right where I’m supposed to be. I’m grateful.

DD: What are your criteria for doing a show? Also, could you talk about the character?

LRP: I’m looking for a connection. I don’t know Neil Diamond. It’s been a while since I’ve done a musical. I’m on tour. I’ve never done anything like this before. My agent said, ‘Just read it.’ My character doesn’t sing; everyone else sings and dances. I’m the storyteller.

DD: How do you approach your character’s interactions with Neil Diamond, and what do you think is the most important aspect of your role?

LRP: Patience. He’s coming with a lot of baggage. A lot. It’s about listening to him and drawing it out of him. I don’t have a lot of lines. I’m engaged with what’s going on around me.  The show also has some comedy in it.

DD: What is it like performing in a musical with such iconic songs, and do you have a favorite song to perform or watch the cast perform?

LRP: It’s amazing. We're 10 months into our first year, and I've just signed on for a second year. I’m not tired of my character; I see things differently. The music, the tour - it goes deeper and deeper. It’s in our bodies now. My favorite song – I can’t tell you. I couldn’t choose.

DD:  In how many cities have you performed the show so far?

LRP: We are in a new city from week to week. There have been 31 cities so far.

DD: Do the various cities respond differently to the show?

LRP: The Boomer generation is always there. They are predominantly Caucasian, often wearing sequins. We can’t even finish ‘Sweet Caroline.’ We have people who have seen it four or five times in four or five cities.

DD: Do you like touring?

LRP: I have made my peace with touring. They take very good care of us. Our day off is Monday, but we travel that day. There are layovers, delayed flights, and hotels without kitchens. You have to learn to be flexible on tour. I love our castmates and crew. Our job is to tell the story.

DD: Other than your current show, what is your favorite musical, and why?

LRP: I’m not big on musicals. I would go back to ‘The Wiz’ and ‘Dreamgirls’ because it was about representation.

DD:  What did you expect from showbiz, and what did you get?

LRP: I expected an open door because I had done the work. From elementary to high school, I took classes. When I started in New York 20 years ago, the opportunities just weren’t there. My professors said, ‘Lisa, you got it.’ I thought I would walk into it more easily. What they like in New York, they don’t necessarily like in L.A. It was a struggle, but it made me stronger. I told myself to keep going. Here I am now.

*   *   *

‘The Neil Diamond Musical: A Beautiful Noise!’ is currently making its L.A. premiere through July 27, at the Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles, 323 468-1700. It will head to its premiere July 29 – August 10, 2025, at the Segerstrom Center for the Arts, 600 Town Center Dr., Costa Mesa, 714 556-2787.

 

 

 

 

 

 

 

 

 

Earth, Wind, & Fire Lights Up The Hollywood Bowl With Three-day Fireworks Spectacuar

 

Earth, Wind, & Fire

By Darlene Donloe

Earth, Wind & Fire (EWF) still got it!

The legendary R&B and funk band, which headlined the Hollywood Bowl for a three-day July 4 Fireworks Spectacular (July 2-4), lit up the venue with funk classic after funk classic, accompanied by breathtaking pyrotechnics high above the Hollywood Hills.

The holiday weekend started in true patriotic fashion with Thomas Wilkins leading the LA Philharmonic through several patriotic songs. The orchestra honored various branches of the military by playing the music associated with each branch.

Then, it was time for EWF, led by founding members Philip Bailey, Verdine White, and Ralph Johnson, to make it do what it do.

The band is so tight. The music sounds just like you’re listening to the record. EWF is genuinely one of the best bands – EVER!

It’s always a pleasure to watch Verdine White, the brother of the late co-founder of the group, Maurice White, who passed away on February 4, 2016. He always appears to be having the time of his life. Despite some medical limitations, Verdine was still magical on the bass. Raymond McKinley replaced him for some of the performance.

Bailey’s falsetto is impressive and legendary. An instrument on its own, that excellent vocal range and signature sound were on display throughout the night to the delight of the crowd. 

At 73, Bailey’s voice is still emotive. It is still as clear, pristine, and expressive as it was when the group first charted in 1969.

The group, which now includes Philip Bailey Jr., entertained the packed house with their timeless hits opening with Shining Star, then moving on to Sing A Song, Let’s Groove, Got To Get You Into My Life, Rock That!, Serpentine Fire, Devotion, After the Love Has Gone, I’ll Write A Song For You, Reasons, That’s The Way of the World, Fantasy, Boogie Wonderland, and ending their set with a triumphant finish - the ever popular, September.

Backed by the Los Angeles Philharmonic under Thomas Wilkins, the nine-time Grammy Award winners elevated the evening, fusing full-scale orchestration with their timeless hits.

The group, which has infused some younger blood into the band, still manages to display high energy during their set.

Founding members of EWF - Ralph Johnson, Philip Bailey, and Verdine White

Formed in Chicago, Illinois, in 1969, EWF’s music, which appeals to a broader cross-section of listeners, spans multiple genres, including jazz, funk, soul, R&B, pop, Afro-pop, and Latin.  The group, which was inducted into the Rock and Roll Hall of Fame, is among the best-selling bands of all time.  The Hollywood Bowl, with its stunning natural beauty and fantastic acoustics, is the ideal setting for an EWF performance.

The near-flawless weather, the addition of the LA Philharmonic Orchestra, and the fireworks display with a Hollywood Hills backdrop made for a perfect night for a concert.

Earth, Wind & Fire, (July 2-4) Hollywood Bowl, Los Angeles.

On the DONLOE SCALE: D (don’t bother), O (oh, no), N (needs work), L (likeable), O (oh, yeah), and E (excellent), Earth Wind, & Fire at the Hollywood Bowl July 2-4 Fireworks Spectacular gets an E (excellent).