The Hit Men: Theatre Coppell, Texas

If it has been a while since you went to a rock concert on a Saturday night, you’re not alone. Maybe that’s because the last time you ventured out, you were jammed in next to the guy with the loudest voice in the arena yelling “Free Bird!” all night. But trust me, all that has changed. Now, it is possible to hear iconic, classic rock tunes played by a sensational ensemble of musical talent while sitting comfortably in a sophisticated theater, where every seat has a perfect view of the stage, and packets of soft ear plugs are handed out with the program as you arrive.

Such was the sold-out experience at Theatre Coppell at the Coppell Arts Center, in Coppell, Texas on Saturday, June 24, where The Hit Men supergroup showcased their individual musical brilliance along with their admiration for the legendary groups and artists they’ve worked with throughout their careers. I’m talking about Foreigner, Journey, Hall and Oats, Tommy James, Grand Funk Railroad, Cheap Trick, Billy Joel, The Who, and too many more to mention.

In March 2015, I reviewed an earlier incarnation of The Hit Men after a show at Popejoy Hall in Albuquerque, New Mexico. Then, the band’s founder, music maestro Lee Shapiro, was performing with another group of impressive lads. Eight years on, the players and songs have changed, but The Hit Men of 2023 that Shapiro has assembled also know how to infuse every beat of rock’s magical essence with an undeniable energy.

Frontman Steve Murphy drives the rhythm all night; not only with his remarkable drumming prowess but also with his voice. At some point during the opening song, “Feels Like The First Time,” I started wondering if he was trying to sound like Lou Gramm (he did) or if that was his true pitch. Then, it wasn’t that Murphy sounded exactly like McCartney for “Jet” but there was something so familiar about his cadence that I felt fooled. By the time he hit the pre-chorus in “Open Arms,” I was convinced he actually was Steve Perry. And this is how his vocal talent went throughout the night. I ended up deciding his voice is so interchangeable that he really has his own style after all. But back to his drums. How hard is it to play the drums while singing like that? He did pop out front to say hello a tad bit breathless.

Tony Tino subbed on the bass for band regular Greg Smith, and what a treat. I could have easily kept my attention on him all night because he has a “way” that’s groove itself. Thanks to Tino’s experience performing in Billy Joel and Twyla Tharp’s show “Movin’ Out,” the crowd got to hear a punchy version of “Big Shot” as though we were on Broadway. Naturally, all eyes were turned to him for Tommy James’ bass-forward “Draggin’ The Line” and during an arousing big drums-bass performance with Murphy on “Who Are You.” Tino was a FAB addition to the night’s lineup, and if you like bass players like I do, add him to your list. He wasn’t shy about stepping up for harmonies, either.

I can’t think of a better way to describe stringman Mark Newman other than a machine. And I apply that description with a heap of respect. Come on now, he once opened for The Doobie Brothers. Beyond rock, Newman is a blues player in his own right, with a pronounced thick-walled slide style he showcased on a few tunes. After performing with Jim McCarty of The Yardbirds, I’m pretty sure he knows how to knock out a transition-perfect rendition of “For Your Love,” and he didn’t disappoint. His switching was also impressive during the Derek and the Dominos version of “Layla”—he looked like a juggler popping a pick in his mouth while digging the slide out of his pocket. Fast, efficient, precise, solid, strong, dedicated, undeterred… yep, sounds like a machine to me.

Adding levity to the show is keyboard wiz Mike DiMeo, who does some tricky things with his Nord Electro 5 and Korg Kronos stack. We see you back there, Mike! He’s probably been running just as fast as he can since 1967. DiMeo proves he’s not slowing down any time soon while singing “I Think We’re Alone Now” by Tommy James and The Shondells, who he ran with as their organist for years.

Speaking of hauling ass—all the way up to Coppell at the last minute from Houston—Tom Hall breezed into the show to fill in for Tommy Williams on the keyboard and guitar. “Lee emailed me the set list Friday and here I am,” he said after the gig, “and a bunch of my family and friends drove up, too.” Did he know all these songs by heart already, I’m wondering? No problem. He blended in seamlessly everywhere, playing “Levon” and “Tiny Dancer” on the Casio as if it was Elton’s Yamaha Grand. Hall was stellar on guitar tune after tune, and zoomed through the lead with a sort of banjo flare on “I Want You To Want Me.”

Hall’s desire to “answer the call of duty” exemplifies the core mission of day-in, day-out, tried-and-true musicians like these dedicated professionals. How much they love playing is not even a question. What I appreciate the most is their commitment to preserving the authenticity of the classic rock sound, and their willingness to share their impressive lifetime experiences with us so humbly. For a classy night out with a rocking soundtrack, see when The Hit Men are going to be performing near you and follow them on Facebook. Saturday night’s set list of 22 songs is below.

On assignment for Parker-Mills Press.