Richard Marx is no stranger to Atlanta.
In recent years she has played Chastain with The Little River Band, enjoyed breakfast snacks and a trip to Peachtree City for a performance with the Atlanta Pops Orchestra, and in December, The Symphony Hall in Atlanta filled with his sometimes traveling companion, Rick Springfield.
But even if you've seen Marx many times and know the Chipotle joke and self-titled 'N Sync story, it was still a unique opportunity to hear his million hits in the comfort of City Winery.
And those stories are still funny.
On Wednesday night, Marx's visit introduced him to a soloist, with only a few acoustic guitars, a large children's piano, and a liquid cooler.
Given the depth of his material and the story that touched him, what did he need?
After opening the trio of songwriters, including a crowd of "Endless Summer Nights" and "Satisfied" Summer, Marx, 55, explained that he had taken a rare few days before – a cold for himself.
"My voice is not 100 percent," he said, "but I think we can all agree that my hair looks amazing."
Marx's sarcastic, self-centered sense of slipping through the room slammed "Keep coming back" and the still-exhausted "Danger." between and despite the acceptance of the illness, Marx sounded strong throughout the show. He kept long and strong notes in the film "Keep Going Back" in "Now and Forever" and appropriately blushed on the bridge called "Danger".
His voice kept the abrasive to its extreme in the opaque melody of 2011's "When You Loved Me," which he performed with his three grown sons singing and playing a pre-recorded video and covers of covers ("What Can't You Do for Love," Easy "), he shared after sliding behind the piano.
While Marx was mainly reviewing songs he wrote with himself or with other artists during the piano, Grammy winning "My Father in the Dance" with Luther Vandroz for "This I Promise You" for "N Sync" – he also collaborated performed with Sara Barales. elegant piano ballad "Not in Love".
Casual fans may not understand the breadth of Marx's songwriting. Keith Urban, Ringo Starr, Jennifer Nettles, Chicago, Daughtry, Toni Braxton – really it's an endless list worth Googling. He performed a small play of his first number with Keith Urban's "Long Hot Summer Summer" on his guitar (and his very funny song "How Can I Miss You If You Don't Leave"). ) before reminding fans of the first hit of its No. 1 hit pseudo-mullet of 1988, Stop the Nights.
Marx's catalog would fill a very large set of boxes and would require a very, very long concert. Don't forget about "Angelia", "Nothing Means" and "Right Here Waiting".
But how remarkable is his past work — indelible hooks, softening melodies, and fluttering choruses — what is most striking about Marx is that he has not yet done so.
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