Reviews: Def Leppard, Miguel, Matt And Kim & More

This week, for your reading enjoyment, we have compiled critical reviews of live performances from Def Leppard in London; Miguel in Miami Beach, Fla.; Matt And Kim in Denver; Hot Tuna in Roanoke, Va.; Buckethead in Syracuse, N.Y.

Joe Elliott of Def Leppard
James P. Hendershot
– Joe Elliott of Def Leppard
Joe Elliot of Def Leppard gives a solid performance at Royal Farms Arena in Baltimore April 14.

Def Leppard @ Royal Albert Hall in London, England, March 25 – “Def Leppard have a way with a winning pop hook but what sets them apart from their cohorts is their warmth and charm; Elliott, in particular, looking, as do most blond-mopped rock singers in middle age, like your wayward Auntie Flo, whips proceedings along with witty asides and frequent forays into the auditorium.” – Martin Townsend / Express

Miguel @

Matt and Kim @ Ogden Theatre in Denver, Colo., March 29 – “From start to finish the show never really let up. That’s probably because Matt and Kim clearly love to perform. If one thing is for sure, it’s that on stage Kim is the happiest-looking soul you’ll ever see behind a set of drums.” – Tyler Harvey / 303 Magazine

Hot Tuna @ Jefferson Center in Roanoke, Va., March 27 – “This was the acoustic version of an act that last hit Jefferson Center in February 2011. Then, it was an electrified blues ensemble featuring guests Charlie Musselwhite, Jim Lauderdale and G.E. Smith, along with Tuna sidemen Barry Mitterhoff (mandolin) and Skoota Warner (drums).” – Tad Dickens / The Roanoke Times

Buckethead @ The Westcott Theater in Syracuse, N.Y., April 4 – “The first thing that must be said about Buckethead is that he is an incredible musician. The multitude of voices he manages to create with only his one instrument is astounding. Following a map that only seems to exist in his head, he’ll switch from pendulous, high speed wailing to toady, atmospheric low tones to anything in between. He was usually backed by a simple drum track that served only to fill out the sound. He would often turn it off, letting the sounds of his guitar stretch out through the theater alone.” – Kevin Fitzpatrick / The Post-Standard