August 1976 marked a pivotal moment in Elton John’s career as he prepared for a record-setting residency at Madison Square Garden. Just days before kicking off a seven-night stand, he made a statement to New York Times writer Henry Edwards about dialing down the theatricality of his performances. “The last time I played New York, I made an entrance perched on the shoulders of Mr. Universe,” he remarked. “My sense of the ridiculousness had gone about as far as it could go. That’s why I’ve decided not to look like Mae West on this tour. Still, the show will be humorous, have its tongue in its cheek, and be in thoroughly bad taste.”
When the residency commenced on August 10, Elton pivoted from his previous bombastic persona. He emerged not on Mr. Universe’s shoulders nor dressed as Mae West, but rather in a striking Statue of Liberty costume complete with a silver sequined cape. However, he later transitioned to a “more restrained outfit,” per the New York Daily News, which featured a gold-sequined jacket adorned with a Carmen Miranda portrait and a sequined banana necklace.
This transformation from his past performances couldn’t be more apparent. Just six years earlier, he played a bare stage at the 500-seat Troubadour, accompanied only by drummer Nigel Olsson and bassist Dee Murray. In that relatively short time, Elton catalyzed an extraordinary string of hits, rivaling even the Beatles’ achievements in music history.
This rising star culminated in a lavish lifestyle, including a customized private jet named the Starship and high-profile friendships with icons like Elizabeth Taylor and John Lennon. The seven-night stint at MSG broke the six-night record previously set by the Rolling Stones in 1975—though it remains unverified if Elton intentionally booked one extra night just to outdo them.
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It’s challenging to identify a definitive peak for Elton-mania, but August 1976 stands out, coinciding with “Don’t Go Breaking My Heart” holding the Number One spot throughout the month, which aligned with the MSG residency.
In a July 1976 article, New York Daily News writer Michael Pousner illustrated the frenzy surrounding Elton during this period as he sought an interview. Initially told by a publicist, “Sorry, maybe he’ll talk to you when he releases his next album,” he was encouraged to interview another artist, Cliff Richard. Pousner, uninterested, found himself backstage at the Spectrum in Philadelphia, close to the Jackson Five, where he overheard an agent asking if Michael Jackson could join Elton onstage. “Sorry lad,” Elton replied, offering a curt dismissal that spoke volumes about his newfound stature.
This whirlwind fame also attracted criticism. Many rock critics, particularly those enamored with underground movements like David Bowie and punk bands, struggled to appreciate Elton’s chart-topping hits, such as “Don’t Go Breaking My Heart,” “Grow Some Funk of Your Own,” and “Island Girl.” On August 8, Elton remarked, “I’m the person rock critics tend to hate the most. And I quite revel in it. You see, there is currently a trend among rock critics: only if you are genuinely bad, will they love you.”
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While critics often praised the innovative music of the time, Elton’s then-latest album, Rock of the Westies, didn’t hit the mark artistically, especially in light of his previous work. Rolling Stone’s Stephen Holden stated, “But beside the fact that Elton John is a great live entertainer, his records, while commercially essential to his career strategy, have come to seem more and more artistically inconsequential.”
Despite potential for great performances, many songs from Rock of the Westies disappeared from Elton’s setlist almost immediately after the MSG shows. By that time, only “Island Girl” and “Grow Some Funk of Your Own” remained, both of which have since faded from his live repertoire as well.
Instead, Elton favored playing beloved hits during the MSG run, including “Bennie and the Jets,” “Rocket Man,” and “Goodbye Yellow Brick Road.” He also delved into deeper cuts rarely revisited today, such as “Hercules,” “Empty Sky,” and “We All Fall in Love Sometimes/Curtains,” along with a duet featuring Kiki Dee for “Don’t Go Breaking My Heart.”
Despite the dreamlike setlist for many fans, not all were convinced. John Rockwell of the New York Times wrote, “Listening to this music provides a sudden insight into what it must be like for parents confronted by their children’s dubious musical taste.” He noted that Elton’s music lacked authenticity, describing it as “too facile” and “wallpaper music of the most banal sort.”
Months later, when Elton came out as bisexual in Rolling Stone, he took issue with Rockwell’s review. “I doubt if John Rockwell was even at the concert,” he asserted. “It was the most piss elegant review I’ve ever seen.”
The backlash from criticisms didn’t detract from Elton John’s popularity, but the timing coincided with a series of less impactful, cocaine-fueled albums. The MSG residency not only marked the end of his 1976 world tour but also a significant transition in his life as he parted ways with his touring band and spent a prolonged break from performing, not returning until 1979.
By the time Elton graced MSG, Billy Joel had just released Turnstiles, which had flopped, peaking at No. 122. Very few anticipated that Elton’s monumental residency would redefine concert standards in the years to follow.
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Decades later, notable tensions remain between Elton and Billy Joel following a public dispute in 2011, while Billy takes a hiatus from touring to address health issues. Elton, meanwhile, has faced significant vision loss due to an eye infection but has continued to perform on occasion, wrapping up his extensive Farewell Yellow Brick Road tour in 2023. Upcoming tours include two nights at Mexico City’s Estadio Banorte and a performance at Rock in Rio. However, fans should not expect to hear “Island Girl” or any other songs from Rock of the Westies; a reunion with Kiki Dee for “I’ve Got the Music in Me” seems far more likely.
