FEATURES

Shin Lim

continues amazing Las Vegas audiences

By the time Shin Lim first hit the stage of America’s Got Talent in 2018, judges Simon Cowell, Heidi Klum, Mel B and Howie Mandel had seen many magicians over the years (including winner Mat Franco), and were learning to truly judge magic acts with a critical eye. But none of them were prepared for what Lim brought to the table—literally. As stunned host Tyra Banks looked on, Lim proceeded to put on a magic clinic at a small, felt-lined table, making cards (and entire decks) go through various states of matter, turning blank, clear, and even encased in a solid brick. The stunned looks on everyone’s faces made it clear: Lim was on his way to superstardom.

Not only did he handily win season 13, he remains the only champion to win twice (on America’s Got Talent: The Champions). No one who saw him on TV (or voted for him) was in the least bit surprised when his Las Vegas residency at The Mirage was announced in 2019. And no one who’s seen his Las Vegas show leaves disappointed.

What makes Lim so accessible to audiences is his humility; he’s not afraid to share the stage with another amazing talent, in this case fellow AGT competitor Colin Cloud, a mentalist who’s also an adept comedian, engaging the audience in between Lim’s feats of wonder. In a way, Cloud is the perfect foil to Lim: What better way to enjoy mind-blowing magic than with comic interludes? The pacing is perfect throughout, with Lim’s elegant illusions (often scored to romantic music like Sting’s “Shape of My Heart”) punctuated by Cloud having a bit of fun with the audience.

The pandemic shutdown of 2020 gave Lim plenty of time to work on new material. One of the most noteworthy involves a young audience volunteer (children just have the most amazing reactions during a Lim performance!), some playing cards and one card picked by said volunteer. Even if you’ve seen the “Is this your card?” trick before, prepare to be blown away by Lim’s version.

Kids figure prominently in this show. Cloud has a great bit in which he has various young volunteers shout out random words, which figure prominently later in the bit. Yes, we all know kids can say the darnedest things, but when you hear them live—and see Cloud’s unscripted reactions—it’s almost worth the price of admission alone.

By now, most Lim fans are aware of his “greatest hits,” the illusions that won him AGT and the Champions edition. And yes, Lim does perform those, although in a slightly different way than you might expect. Without giving anything away, let’s just say you want to be watching the man himself as well as the cards he so skillfully manipulates. Because in Lim’s world, nothing is as it seems.

By KEN MILLER

The Mirage

800.963.9634

Jason Isbell draws on rich experiences

By Matt Kelemen

It’s been a decade since Jason Isbell’s heart has been on the run, keeping his hand on a gun while not trusting anyone. That’s how, in the first few lines of his signature song, “Cover Me Up,” he depicted his life before embracing sobriety and the promise of a successful solo career. Leaving drinking and carousing behind made a successful marriage possible, enabling the stability that gave Isbell the impetus to stay self-aware and remain immersed in the creative zone for sustained lengths of time, unobstructed by excess. Today, he is widely regarded as an accomplished singer-songwriter rather than a casualty, and he’ll perform at Virgin Hotels Las Vegas on March 6.

Isbell’s Alabama-bred humility might prevent him from seeing himself as part of a legacy that includes Leonard Cohen, Townes Van Zandt and Neil Young, although he’d likely agree he’s spiritually akin to the ensemble sounds of The Band, Tom Petty’s Heartbreakers and The Black Crowes. “Cover Me Up,” a chordal descendant of The Beatles’ “Norwegian Wood” and just as evocative, is as close to perfection as a composition can be, and Isbell’s 2015 album

Virgin Hotels Las Vegas

axs.com Southeastern is a critically acclaimed masterpiece of Americana’s country and rock realms.

Southeastern might never have happened had Isbell continued down the self-destructive path that got him ejected from Drive-By Truckers. Born into a musical extended family, Isbell grew up playing stringed instruments and discovered blues progenitor Robert Johnson at an early age. “This was the ’80s in Alabama, so it wasn’t like the music was popular anymore,” Isbell told producer Rick Rubin in a May 2020 interview on podcast Broken Record.

Garth Brooks was an early influence both musically and as a performer, as well as whoever was on the radio circa 1991-’92. “I loved Prince and Crowded House, and ’Til Tuesday. All these really great pop songs,” he told Rubin. “So, there was this strange combination of that, and then the arena rock and Southern rock that my dad was listening to. Dad was into ZZ Top and Skynyrd, and all these big rock bands.”

Isbell became a devotee of guitar playing, developing an expressive slide technique often heard on recordings. He came to prominence after he joined

Drive-By Truckers in 2001 as the

Athens, Ga.-based band rode a wave of acclaim and popularity. The pleasures of the road became a preoccupation, and it would be several years before his relationship with singer/fiddle player Amanda Shires set the stage for a clear-thinking Isbell to emerge and his songwriting ability to thrive.

He’s now a four-time Grammy winner, earning two with his band The 400 Unit for 2018 album The Nashville Sound and song “If We Were Vampires.” Current career-spanning live sets include Drive-By Truckers favorites as well as material from 2020 album The Reunion and 2021’s Georgia Blue, a collection of covers originated by Peach State artists. The 400 Unit reinvigorate songs by Drivin’ ‘N’ Cryin, Cat Power and R.E.M. while closing concerts with a Neil Young song ingrained into his soul as a boy, witnessing his father’s band perform “Like a Hurricane.”

NONSENSE REIGNS SUPREME during a performance of Piff the Magic Dragon. There’s no rhyme or reason to any of the proceedings; the point is to just have fun and laugh as much as possible. Whether it’s a bit of shrubbery producing strange fruit, a fortune cookie that reveals all the intimate details of an audience member’s marriage, or a volunteer producing a card from an unexpected part of their body, this is a show to make you just shrug your shoulders and get lost in the rambling, ridiculous and riotous world it creates.

Piff himself is actually an accomplished magician, garnering the respect of such heavyweights as Penn Jillette (who appears, hilariously, in a fake movie preview that introduces the show). But he never draws your attention to it; rather, he’s content to keep you continually off-balance microphone (often in large groups!). Those called onstage truly get their 15 minutes of fame—for better or worse.

The silly antics that pepper this production are almost too numerous to list, including: A bit of fun with an audience member’s Apple Watch, involving five socks, a fired-up Jade Simone and the appearance of Mr. Piffles, Piff’s cuter-than-anything dog; A gumball machine off to the side, for which audience volunteers are gifted quarters to receive Piff-themed merchandise (but not always!); An audience member’s $100 bill, which goes through a series of torture tests throughout the show. Of course it will eventually reappear, but you won’t be able to guess when (or where); The transformation of an audience volunteer into “Jimmy,” a poor orphaned boy who

By Ken Miller

Piff the Magic Dragon conjures a silly world of illusion

with his mix of audience participation and non sequiturs, most of them courtesy of his “squire,” who operates one of the cameras (when he’s not bringing Piff dispatches from the audience and prancing around), and Jade Simone, Piff’s real-life wife, who’s constantly in motion—and occasionally very expressive!

The process of finding volunteers is a big part of the show’s entertainment value—Piff grabs a large flashlight and points it into the audience, often singling out individuals whom he continues to harass throughout the show (all in good fun, of course!). He goes out into the audience by way of an extended stage, at the end of which he’s positioned a microphone. Once potential volunteers are identified, they come over and speak into the helps Piff in producing cards seemingly at random (and from, uh, random places).

In perhaps the show’s most delightful bit, Piff becomes a magical therapist, helping a couple “fix” their relationship, complete with literal olive branches (with rubber gloves on the ends), the aforementioned piece of shrubbery, Mr. Piffles and some music by Enya. It’s hard to imagine anyone watching this unfold and keep a straight face. Even Piff occasionally lets loose with a laugh over how outrageous this all is.

But Piff can’t let the show end without demonstrating some serious magic skills. He may call himself “The Loser of America’s Got Talent,” but as a Strip performer, Piff is a winner in every department.

Nate Bryan

By Matt Kelemen

Johnny Dutch

TV reality series finalists hit Vegas stage with MAGIC MIKE LIVE

Neither the winner or runner-up of HBO Max reality series Finding Magic Mike was named Mike, but Johnny Dutch and Nate Bryan found the magic within themselves to finish first and second, respectively. Although their reasons for competing to obtain a four-month gig as dancers with Magic Mike Live at Sahara Las Vegas were personal and specific, they both found themselves immersed in hero’s journeys in which the experiences superseded expectations and led to unexpected self-discoveries.

Dutch and Bryan were not professional dancers prior to the series and weren’t even the most

prominently featured competitors in the premiere, which whittled 25 contestants down to 10. Former Olympic track-team aspirant Dutch did provide the episode’s dramatic high point when he became momentarily overwhelmed by emotion during an interview.

“Anything I did, I can say I was proud of, and I tried my best,” says Dutch. “I really enjoyed my experience. The auditioning process was grueling just because there were so many guys and you had to retain all this choreo(graphy) within so many hours, and then you had to do it in front of the creative team. It was overwhelming at times, but overall, it was very positive.”

Bryan, who debuted in the Sahara Las Vegas show along with Dutch on Jan. 27, found performing live more comfortable than living the unscripted reality life. “On the TV show, I guess it was a little more nerve-wracking because there were cameras taping for millions of people across America,” says the former minor league baseball player. “I’ve gotten messages from Chile, Mexico, Brazil, Colombia. It’s crazy to think there was such a big outreach, but in the live show, it’s a different beast. I’m not there for competition. It’s my actual work.”

Still, Bryan’s nervousness during his professional debut wasn’t far removed from the first leg-shaking time he stood in a minor league batter’s box. “I was like, ‘I don’t even know if I could swing the bat right now.’ So much adrenaline. It was kind of the same thing with this.” He says he found his groove on his fourth night of performing. Bryan currently continues to get butterflies in his stomach when he hears the audience screaming as he prepares to go onstage, but he’s also in a new relationship with someone he could have only met through Finding Magic Mike. For Dutch, the nerve-wracking part was explaining Finding Magic Mike to his family. He says he relates to one of the main characters in Magic Mike the movie, who came from a conservative background.

“They’ve come to be very supportive of the whole process,” says Dutch, who found it difficult to find direction after retiring from track and field. “Being an athlete, I’m very competitive. That was the first thing on my mind: ‘This is a competition, and I have to win it, right?’ … Once I was there, I found it very welcoming and very positive. It was just a great space to be myself and try something new, to not be so scared and shy … to really be myself and not be apologetic about it.”

Sahara Las Vegas ticketmaster.com

By Brock Radke

Preacher Lawson pumps up audiences for ‘America’s Got Talent Las Vegas Live’

Preacher Lawson is a naturally charismatic force onstage, likely the top reason he was selected as the comedic host of the new America’s Got Talent Las Vegas Live variety production show that is captivating audiences at Luxor. A finalist on the TV competition show’s 12th season, Lawson placed fifth when he returned to The Champions version of the program, and now his top priority is connecting audience members to this high-powered live version of the AGT experience. He’s more than up to the task.

How much of a performance adjustment are you making to go from doing standup to hosting America’s Got Talent Las Vegas Live at Luxor?

It’s definitely been an adjustment, but it’s not a difficult one. I’m used to flying out on weekends and being exhausted, then doing four or five or six shows, doing an hour of comedy. Here, I’m not doing anywhere near that

Luxor amount of total time, and I’m 702.262.4400 not as wild. I think I have a little different composure. But the (producers) have been really open to letting me do what I want to do.

AGT is a familiar experience, but as host, you’re setting the tone for the audience and guiding them through how this is different from what they’ve seen on TV.

Oh yeah, I have this moment with the audience, so they know this is not just the TV show, and they feel engaged and recognize it’s live. And there’s lots of interaction. I do always have to pick on somebody a little bit or say something, so they know it’s going to be a special night.

How have these last few months in Las Vegas impacted or influenced your comedy and your performance style?

It’s definitely inspired me and made me want to be more open when I’m onstage. A lot of people say this is the greatest show they’ve ever seen in their lives. It can make people laugh, cry, your heart is going to drop or stop for a second, there’s every emotion in this show, and so much excitement. It’s definitely made me want to upgrade what I’m doing when I go back (on the road) and made me want to be more loose onstage.

Have you been able to squeeze in some stand-up dates during this opening run of the show?

I’ll definitely go back on the road (this spring) but I’m also on the road now. Whenever I can squeeze it in, every Monday and Tuesday I’m gone. And I feel like I’ve gotta get out there again (because) I have to drop this new material.

Is your new comedy material taking any different directions?

I definitely always want to explore new styles, but it’s still my style. I’ll be doing this for 13 years in March, and I feel like I’ve honed it, grown and evolved. If you watched my first time on AGT and then my special from three years ago, I’m just different, a little more calm. When I first got on AGT, I was yelling, all over the place, and then I went on the road to headline for the first time in my life and every weekend, I’d lose my voice. So, I had to figure that out, that I don’t need to expend the same amount of energy, that I can save myself. I feel evolved as a comedian, but I’m still me, and I definitely want to keep testing the waters.

The Linq 702.777.2782

By Ken Miller

Photograph by

Christopher DeVargas

Linq magician Mat Franco spans the generations

Illusionist Mat Franco is the perfect balance of young enough and old enough: Old enough that his “training” as a magician involved not YouTube or TikTok videos, but actual videotapes of legendary magicians of the ’90s, folks like David Copperfield, Penn & Teller and Lance Burton, whom Franco would watch over and over, rewinding and playing everything back in slow motion. (If you don’t know what a videotape is, ask your grandfather.) Young enough that he’s taken advantage of social media, using the pandemic downtime to post videos on Instagram showing his talents as an illusionist to full effect. Old enough that in his hit show at The Linq to pay tribute to groundbreaking magicians of generations past, including a version of Bill Malone’s classic “Sam the Bellhop” card trick, which Franco has customized in his own, unique version. Young enough that he appeals to all ages, including the kids who flock to his performances with their parents. One of his show’s most memorable moments is to when he has a youngster join him onstage for the grand finale involving numerous decks of cards, a card cannon, and a red button. (If you find it hard not to press a big red button, imagine how hard it is to resist for a 10-year-old!) Old enough to have mastered one of the hardest sleightof-hand tricks to pull off: Making cards appear as if from thin air, and not just one or two cards, but entire decks. Franco is careful to thank the magician he originally saw perform this trick, along with a great story of how he and his grandmother came up with an imaginative way of pulling it off. Young enough to know that, as accomplished as he has become in his six years at The Linq Hotel, he’s just getting started. The pandemic shutdown gave him time to reassess his show, and he ended up adding several new illusions to the proceedings, one featuring a poker table, four volunteers and a whole lot of cards, another featuring a helium-filled balloon and a contraption that seems to “drain” its ability to float.

Perhaps the aspect of Franco’s show that ties it together so perfectly for fans young and old is his playfulness—Franco can be an absolute scamp at times, messing with audience members who remain oblivious because of Franco’s mastery of misdirection. Kids laugh with glee at these antics, while parents silently say, “Thank god that’s not me up there!” By far, the most engaging bits are those that involve the audience, and Franco knows this; he takes great care to take note of everything revealed during a show (ages, anniversaries, birthdays, cities volunteers are from, etc.). Why? Because he uses it all at the end of the show in a signature illusion that gives his show its name: Magic Reinvented Nightly.

WITH SPECIAL GUEST COLIN CLOUD