MANILOW: The Last Long Island Concert presale codes

Barry Manilow is a Brooklyn-born pop craftsman whose piano-led ballads and bright show tunes shaped radio in the 70s and 80s.

Pop craft and a long goodbye

This Long Island stop is framed as a likely final visit, so the tone leans reflective and celebratory. Expect a set that moves between piano spotlights and full-band sparkle, with staples like Mandy, Copacabana (At the Copa), Can't Smile Without You, and I Write the Songs. He often threads a medley or two to keep momentum while saving breath for big choruses. The crowd skews multi-generational, from longtime "Fanilows" to younger pop fans who know the hooks from parents and playlists. Dress leans neat and festive, with a few vintage satin jackets and glittery nods to the Copa story.

Notes for deep fans

Trivia fans will note he once wrote classic ad jingles, and Could It Be Magic grew from a Chopin prelude. Production usually blends tight band hits with warm strings and brass to lift the choruses without drowning the vocal. Fair note: the songs and production touches mentioned here are educated guesses based on recent shows and could differ on the night.

The Fanilow scene, from sequins to songbooks

The scene reads like a friendly reunion, with parents, adult kids, and longtime friends settling in early and catching up over memories of first shows.

Polished but warm

You will spot clean button-downs, soft blazers, and a few glittery jackets that nod to the Copa without turning it into costume. Vintage tour tees and satin bombers share space with newer merch that favors tasteful fonts and gold accents. People hold onto printed programs and lyric sheets, treating them like souvenirs rather than throwaways.

Shared rituals

A full-room sing on Can't Smile Without You is common, with on-screen words or simple hand motions guiding the chorus. Between songs the house often erupts in a short "Barry" chant for Barry Manilow that fades as the band counts in the next tune. Post-show chatter leans toward favorite arrangements and which encore hit landed hardest, not volume or pyrotechnics. It feels like a space where pop craft is the star and kindness is the default setting.

How Barry Manilow's band builds the big chorus

The vocal sits warm and centered, with Barry Manilow shaping lines with clear diction and small pauses that let hooks breathe.

Piano first, then the lift

Songs often start with piano and light percussion before the rhythm section thickens the groove and the horns or strings color the chorus. Tempos stay steady so the lyric lands, but the band will punch up endings with quick modulations that raise the room. Expect live rearrangements where Mandy opens bare and slow, then adds backing voices for a last-verse swell. Copacabana (At the Copa) leans into Latin percussion and bright brass hits that make the story feel theatrical.

Little tricks that land

A frequent trick is dropping some keys a notch to suit the night, which keeps the tone rich and the choruses easy to sing. The music director cues short vamps between songs so transitions feel musical, not mechanical. On ballads like Can't Smile Without You, the drummer uses brushes or light sticks to keep pulse without crowding the melody. You may also hear a brief classical nod before Could It Be Magic, a wink to its early inspiration.

Kindred artists for Barry Manilow fans

If you love Barry Manilow, Billy Joel sits nearby with piano-driven hooks and New York storytelling that land in big rooms.

Piano pop and arena polish

Rod Stewart overlaps on showman charm and a catalog that flips between string-sweet ballads and brisk rock shuffles. Lionel Richie brings the same mix of graceful slow dances and upbeat closers that send crowds out humming. Fans who like full horn sections and tight charts will find Chicago a comfortable fit.

Story songs and sing-alongs

Like Barry Manilow, Joel and Richie lean on clean melodies, clear choruses, and friendly banter that keeps the night moving. Stewart and Chicago both favor arrangements that let solos breathe without losing the core beat. All four acts value songs you can sing by the second verse and a band sound that feels polished but human.