Johnny Winter's Triumphant 1998: A Year of Live Album Release, Media Spotlight, and Unyielding Dedication

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Synopsis: The review reflects the experience of a dedicated Johnny Winter fan who attended his concert at Cain's Ballroom in Tulsa on 19 March 1998. As a long-time admirer of Winter's music, the author shares a heartfelt disappointment at the performance, noting that the once-fiery guitarist appeared to have lost the energy and precision that once defined his live shows. Despite attending over 10 Winter concerts in the past two decades, this was the first time the audience remained seated throughout, a telling sign of the evening's lackluster atmosphere. The fan hopes that this was an off night for Winter and looks forward to future performances that might recapture the artist's former brilliance.

I attended the Johnny Winter concert at Cain's Ballroom in Tulsa on Thursday night.

I've been trying to collect my thoughts about what to report since then. Let me preface my review by stating that I’ve been a hardcore Winter fan since I had my 8-track tape of the Black Album in my car back in 1969, during high school. I have faithfully purchased all of Johnny Winter's legitimate recordings and have attended no fewer than 10 Johnny Winter concerts in the last 20 years. The last time I saw him was in Fort Worth, Texas, at the Caravan of Dreams in 1993, and at that time, he still had the spark in his playing and live performance.

This last Thursday in Tulsa, however, the spark was gone. He was a shadow of the Johnny Winter that had ignited my passion in the past. I’m not one to keep track of setlists and small details of concerts, but I can report that this was the first Winter concert I’ve ever attended where the crowd remained seated through the entire event. And for a Tulsa crowd, especially one attending a Johnny Winter concert, that’s unusual. His guitar playing was slow; he missed notes and never took the audience to a higher plane.

I’m not quite sure how to fully express this disappointment. Perhaps it was just a bad night. I truly hope so. I debated whether to share this or not, but this is my honest response and that of my friends, who are also long-time Winter fans. I look forward to reading reviews of future performances.

Rex Thomas

Synopsis: Three reviews of Johnny Winter’s March 1998 concert at Stubb's in Austin reflect a mix of admiration and concern for the aging blues legend. While his blues knowledge and technical skill were still apparent, fans noted his frailty and struggles during the performance, including shaky hands, fluctuating tempos, and a diminished voice. Despite this, the Austin crowd warmly embraced him, showing great respect for his legacy. Concerns about his health, rumored substance abuse, and management decisions by Teddy Slatus were also raised.

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Synopsis: Debora, a devoted fan of Johnny Winter, recounts her emotional experience at his 22 March 1998 concert at the House of Blues in New Orleans. Despite her long-standing admiration for the legendary blues guitarist, she expresses deep concern for his health. Winter, appearing frail and disoriented, needed assistance to get on stage and struggled with lyrics and movement throughout the performance. Though his guitar playing remained exceptional, his physical state shocked the audience, leading many to fear it could be his last performance in New Orleans. Debora pleads for intervention, fearing Winter's declining health may cut his career short, mixing her admiration for his talent with the sadness of witnessing his visible decline.

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Synopsis: In this article, Greg recounts his experience attending a Johnny Winter concert at the Tennessee Theater in Knoxville on 24 March 1998. Despite arriving late and only catching the last four songs, he finds the performance a significant improvement over a lackluster show the previous April. While acknowledging that Johnny Winter's physical and musical abilities have declined with age, Greg notes flashes of the guitarist's former brilliance. He highlights better sound quality, stronger vocal performance, and an overall happier, more cohesive band dynamic compared to last year's show. However, Greg still observes Winter struggling with fretwork, likely due to physical limitations. He also expresses his preferences for past band members, especially Jeff Ganz , and critiques the current bassist's overpowering sound. Despite some reservations, Greg feels the performance exceeded his lowered expectations and was ultimately a more enjoyable experience than last year's concert.

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Synopsis: The review compares two Johnny Winter performances at the Majestic Theater, a year apart. In January 1997, Winter's performance was weak and full of struggles, but by March 1998, he showed significant improvement in strength, fluidity, and vocal power. His slide guitar playing stood out, though issues with timing and missed notes remained. The reviewer likens Winter’s comeback to an athlete recovering from injury, hopeful for more progress. However, concerns about his health and its impact on his performance left doubts about his ability to continue without further improvement.

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Synopsis: This reflective concert review recounts a 1998 performance by legendary blues guitarist Johnny Winter at New York's Bottom Line Club. Despite the excitement of dedicated fans, the night was filled with disappointment as Winter struggled to perform, appearing physically weak and frequently missing notes. The author, a longtime admirer of Winter, grapples with the painful realization that the guitarist's best days may be behind him. While acknowledging Winter’s immense past contributions to music, the review ultimately suggests it might be time for him to retire, preserving his legacy rather than risking further decline.

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Synopsis: Goldmine magazine interview from April 1998 features legendary blues guitarist Johnny Winter, who reflects on pivotal moments from his career and personal experiences. Conducted after several years of media silence, the interview covers his early days discovering the blues in Beaumont, Texas, and his inspirations, including Howlin’ Wolf, Robert Johnson, and Muddy Waters, with whom he later worked. Winter discusses his transition from small Texas clubs to major record labels, his groundbreaking role in bringing blues to white audiences, and his memories of iconic events like Woodstock and jamming with Muddy Waters and the Allman Brothers. He also touches on his evolving musical preferences, his feelings about certain albums, his family’s support, and plans for future touring. Throughout, Winter’s humility and passion for the blues shine through, offering fans a rare and insightful look into his life and career.

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Synopsis: The 9 articles reflect fans' emotional reactions to Johnny Winter's 1998 Fillmore performances, highlighting the contrast between his legendary past energy and his frail health at the time. While Johnny’s physical abilities had declined, his music still deeply moved fans. Many admired his skillful, deliberate playing, even though his speed and stamina had waned.

Fans expressed concern about his well-being, with some speculating about mismanagement and calling for help. Despite the sadness, Johnny's legacy and connection to his audience remained strong, though many felt this might be their last time seeing him perform.

Read all the fan reviews of this concert

Synopsis: In this letter, I reflect on my emotional experience attending Johnny Winter's concert in Ventura, California, on 3 May 1997. As a fan who has followed Johnny since 1973, I was deeply saddened to see him in such a frail state, struggling with physical limitations and appearing disconnected throughout his performance. While there were brief moments of joy—like when Johnny smiled and did a 360-degree spin—the overall evening left me worried. It felt as though someone was taking advantage of him, allowing a sickly legend to perform when he should be focusing on his health. I hope Johnny can take care of himself, and I’ll hold onto the memories of him at his best, not how I saw him that night.

If Johnny does, in fact, read fan mail, I hope he reads this one. I first saw Johnny in '73, and I've seen him five times since then. My car carries nothing but Johnny Winter CDs and SRV.

We just got home from seeing Johnny in Ventura, CA (5-3-97), and I became so sad about the evening that I had to write this. Johnny seemed so frail that even walking appeared to be a challenge for him. Ventura Theatre is a great indoor venue, and the temperature was perfect, so the cold wasn't a factor.

During the performance, Johnny never once looked down at his guitar. I think the lights might have bothered him. He did check his watch once, so he can definitely see. Sadly, the voice and energy were completely gone. He ended the set quickly—about an hour—and I think his fingers might have been hurting him. There were many blank looks during the performance, perhaps because we had just seen a guitar animal (Eric Sardinas). Wow.

Towards the end, Johnny actually did a slow 360-degree spin and had a big smile on his face, which was great to see.

The sad part is that someone seems to be telling him he's still "kicking ass," but what they're really doing is taking advantage of a sickly legend and making money from it. If Johnny needs money badly, we would be doing him a favor by purchasing his new CD. I feel he's given us the blues like no other, and it's time for him to start taking care of his health.

When I wake up in the morning, I will remember Johnny as I used to—not the way I saw him last night.

I saw Johnny Winter last night here in San Diego, CA, and I was devastated by the man's condition. He looked and moved like a zombie. He played the exact set from his recently released Live in N.Y.C. album. What a weak performance. I’ve seen nearly every appearance of his since the early-to-mid '70s.

The opening song, Freddie King's "Hideaway," was played as an extended version, with the same song structure and riffs repeated three times in a row! There was no fire in him; it was clearly hard work for him to play. As a guitarist heavily influenced by him, I am very familiar with his playing style and the scope of his work. This performance felt like a memorized routine, played by rote.

I’m beginning to wonder if he's being led around as a medicated puppet, making money for others off his great name. God help Johnny Winter.

- Ed Olmos

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This was my first Johnny Winter concert, and I was shocked by his poor physical condition. He looked thin and frail—strung out, even. There was an audible gasp from the audience of a few hundred as he began the show, struggling to adjust the mic stand and requiring assistance.

While his playing was certainly good, it somehow lacked the spark of his records. He played for about 85 minutes, standing in the same spot, swaying gently with his eyes closed. He used the Lazer and Gibson Firebird guitars mentioned in the Goldmine article.

The Eric Sardinas Band opened with a very energetic set, which was also recorded.

- Steve Covault

Synopsis: These three reviews capture Johnny Winter's late 90s performances, showing a man physically frail but still revered by fans. While some note his declining health and slower playing, there's an overwhelming respect for his legacy. Even at half-speed, Johnny's blues mastery outshines most guitarists. His voice and slide work still impress, and loyal fans cherish the chance to witness him live, despite imperfections. Johnny's spirit, talent, and connection with the audience remain undeniable, cementing his iconic status.

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"...The fact is, he does not look very healthy. His eyesight is failing, which doesn’t mean that should prevent him from performing if he chooses to. He does look frail. I’m surprised that he played for as long as he did. He even came back for two encores, playing two tunes in the latter.

There were times early on when he drifted from the tempo or lost rhythm with his bandmates, but the crowd of five hundred, myself included, was quite willing to overlook that. Ninety percent of the time, he was amazing—truly a master. Listening to him play is to understand where other blues guitarists get their inspiration. I don’t understand why the arena wasn’t more crowded. His performance was outstanding."

Written by John Swartz

Synopsis: Two concert reviews provide a detailed and heartfelt look at performances by Johnny Winter, Coco Montoya, and the Trevor Findlay Band at the Ottawa Citizen Bluesfest in 1998. While the supporting acts, particularly Montoya, delivered energetic and memorable sets, the focus is on Johnny Winter’s performance. A longtime fan, the reviewer notes that this show, unlike past experiences, left them underwhelmed due to Winter's physical frailty and weakened guitar playing. Despite flashes of brilliance, Winter struggled with timing and clarity throughout the set. The review highlights the performer’s declining health and musical precision, though it is balanced with deep admiration for Winter’s legacy and an understanding of the challenges he faces. The audience response was mixed, with newer fans still impressed by the blues legend's enduring talent.

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The Montreal International Jazz Festival will set a double program "A night in Texas" with Johnny Winter and Jimmie Vaughan. Each with his own band. This will be at the Metropolis, 59 Ste-Catherine Est, Montréal on July the fifth.

Synopsis: In this concert review, Peter recounts his experience attending a Johnny Winter show at Club Denim in Guelph, Ontario, on 7 July 1998. Surprised by the venue's size and packed crowd of 2,000, Peter highlights the excellent performance despite a few flaws. Paul James opened with a solid acoustic set, though it became repetitive after a few songs. Johnny Winter, greeted by thunderous applause, delivered a powerful set with great guitar tone, skilled leads, and smooth execution, though his tendency to repeat certain riffs made some songs drag. While his voice was slightly weaker and his movements a bit stiff, the audience still seemed to enjoy the show. Despite some minor issues, Peter felt it was a strong performance, especially compared to past shows.

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Synopsis: In this concert review, Steve Latimer reflects on his experience attending a Johnny Winter performance at Toronto's Phoenix Concert Theatre on 8 July 1998. A lifelong fan of Winter, Latimer had seen the legendary blues guitarist live several times before and was deeply impacted by his powerful and energetic playing in the past. However, in this performance, he noticed a decline in Winter's physical health and musical energy, attributing it to his near-blindness and age. While Winter's iconic slide guitar work still impressed, much of the performance felt lackluster compared to his earlier shows. Latimer expresses mixed feelings about the concert, acknowledging the privilege of seeing a legend perform but also lamenting the loss of the electrifying energy that had once made Winter his favorite live guitarist.

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Johnny Winter Added to 1998 Pittsburgh Blues Festival Saturday, 11 July 1998 Johnny Winter at Pittsburgh Blues Festival PITTSBURGH – Blues icon Johnny Winter has been added as the headliner for the 1998 Pittsburgh Blues Festival on Saturday, 11 July 1998. This marks Winter's first appearance in Pittsburgh in five years.

The Pittsburgh Blues Festival is an annual three-day event celebrating both national and local blues music. In addition to offering outstanding musical entertainment, the Festival serves as a major fundraising event for the Greater Pittsburgh Community Food Bank. Since its inception, the event has raised over $80,000 to help feed the hungry.

Diversity will be the theme of this year’s festival. Other headliners include Susan Tedeschi (Friday, 10 July), and the Brian Setzer Orchestra (Sunday, 12 July). Additional national recording artists scheduled to perform include Los Straitjackets, The Atomic Fireballs, The Five Blind Boys of Alabama, Big Dave & the Ultrasonics, and Jimmy Thackery & the Drivers. Several local blues bands will also perform.

Over a career spanning 30 years, Johnny Winter has developed a fiercely loyal fan base worldwide. His latest album, Live in NYC '97, was created as a tribute to his fans, who selected the songs for the live recording. Winter will now bring that renowned live show to the Pittsburgh Blues Festival.

“Adding Johnny Winter to this year’s festival is a real coup for us,” said Ron "Moondog" Esser, musical director for the event. “Whether you look at Grammy nominations or sold-out shows, he's had a fantastic career for more than 30 years. If you haven’t seen him play, you really need to come to the Amphitheatre for this one. Johnny Winter and Brian Setzer in one weekend... that’s quite a show!”

For additional information on the Pittsburgh Blues Festival, call 412/673-BLUE. For more information on the Greater Pittsburgh Community Food Bank, call 412/672-4949.

• - Friday: $10
- Saturday: $10
• - Sunday: $12

- Friday: 5:00 PM - Saturday: 2:00 PM - Sunday: 2:00 PM

• T-shirts and other merchandise will be sold.
• Re-admittance will be permitted.

Fun will be had!

Synopsis: This article from Guitar and Bass No. 53 (France) highlights Johnny Winter's extraordinary journey as a blues guitarist, overcoming personal struggles to develop a unique style. Known for his fluid playing, Winter's technique relied heavily on pentatonic scales, bending, slide guitar, and thumbpicking, often using open tunings like Open D and Open A. His preferred instruments included vintage Gibson Firebirds for slide guitar and National acoustic guitars for slide and fingerpicking. Winter's amplifier of choice was the Music Man, a model reminiscent of classic Fender amps, contributing to his signature blues sound.

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Synopsis: This Guitar Magazine article from July/August 1998, titled "Where Rock & Roll Meets the Blues: At the Crossroads with Johnny Winter", features an in-depth interview with blues-rock legend Johnny Winter. Written by Robert Santelli, it reflects on Winter's career, from his early days blending rock and blues to his mastery of the genre. The article touches on Winter’s musical influences, including Freddie King and Muddy Waters, his struggles with personal hardships, and his recent live album Live in NYC '97. It highlights Winter’s lasting impact on blues-rock and his role as a guiding figure for younger musicians.

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Synopsis: Two concert reviews reflect the experiences of long-time fans attending Johnny Winter's performance at the "Arts, Beats and Eats" festival in Pontiac, Michigan, on 4 September 1998. Both reviewers highlight their admiration for Winter, with one praising his guitar work on songs like "The Sun is Shining" and "Johnny Guitar." Despite concerns over his age and appearance, Johnny delivered a strong performance, with smooth playing and spirited vocals that captivated the crowd. His commanding presence on stage, coupled with moments of fan interaction and a solid setlist, left a lasting impression, showing that Johnny Winter still retained his blues mastery and guitar genius, even as he aged.

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Synopsis: In September 1998, legendary blues guitarist Johnny Winter performed at Chicago’s House of Blues. Though his setlist remained familiar, his performance demonstrated that, despite his years, Winter could still captivate a crowd. Arriving on stage with energy, he treated the audience to an engaging show, with his slide guitar work as the undeniable highlight. The packed venue showed unwavering support, offering a standing ovation from start to finish. While Johnny may not be at his peak, the crowd's enthusiasm confirmed his enduring status as a blues legend. Alongside the music, fans experienced memorable moments, from witnessing unique crowd interactions to purchasing exclusive merchandise.

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Thanks a million, Johnny! Regardless of whatever challenges you're facing, it took an incredible amount of courage to get up on stage and perform with the skill and perfection you possess. I commend you for giving us your very best over the years, and I wish you well so that you can continue playing for many more to come.

It saddens me to see all the criticism in this forum. The only issue with the concert was the venue. The volume was far too high for the poor acoustical environment, and all the distortion and feedback did no justice to the "Pale Master." To add to that, there were THREE opening acts, which were difficult to appreciate and only left time for Johnny to perform six songs.

I truly hope Johnny can play in La Crosse, and that it will be a better venue. Until then, stay well and keep rockin', Johnny.

Love you forever!

Synopsis: On 9 September 1998, Johnny Winter performed at the Shadow, a small, intimate venue in Omaha. Fan Slick Rick shares his front-row experience as Johnny played his *Live in NYC '97* album flawlessly, with standout moments like *The Sun is Shining*. The night kicked off with a solid set by the Tommy Castro Band, and after the show, Rick joined other fans by the tour bus, securing autographs and meeting a dedicated superfan. It was a memorable night of blues, showcasing Johnny Winter’s legendary guitar skills.

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Synopsis: On 9 November 1998, legendary blues guitarist Johnny Winter performed at The Vogue Night Club in Indianapolis. The evening opened with sets from The Silvertones and Howard & The White Boys, who delivered high-energy performances. Despite technical issues with his amp and a slower start, Johnny Winter gradually found his groove, captivating the audience with his slide guitar work and powerful renditions of blues classics. Though the show was shorter than expected, Winter’s seated slide guitar performance was the highlight of the night, leaving the crowd satisfied. The impressive light show added a psychedelic touch, enhancing the nostalgic and reverent atmosphere.

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Synopsis: At a 1998 Johnny Winter concert in Philadelphia, both Daniel Morrone and A.C.M. express sadness over the legendary guitarist's frail appearance and weakened performance. Once a fiery bluesman, Winter struggled with his vocals and playing, disappointing longtime fans. While Morrone found the opening act, *Killin' Floor*, impressive, both authors were left nostalgic for Winter's earlier years, hoping for his recovery and reflecting on his once-great legacy.

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