Paul Simon at Starlight Theatre, Kansas City MO (2026-06-16)

Tour Dates

Paul Simon at Starlight Theatre- Kansas City, MO (2026-06-16)

Graceland, ‘Grace-land’, and a Quiet Celebration that kept getting louder as the show went on–

With a picture perfect evening outdoors, the legendary Paul Simon made a Kansas City stop at Starlight Theatre on his A Quiet Celebration Tour, celebrating his most recent release, 2023’s Seven Psalms (an album also befitting the name ‘Grace-land’), and over six decades of music for an evening of intimate grace, reflection, and understated jubilation.

There was a fear we might never see Simon perform live again, after a sudden and serious hearing loss in his left ear and having to undergo back surgery, but with a successful recovery, strategic placement of monitors and speakers, and help from Starkey Hearing and the Stanford Initiative to Cure Hearing Loss, he’s thankfully able to perform acoustically and has returned to the road.

In a light lavender suit and blue t-shirt, Simon emerged from backstage to extended applause, to greet the audience, comment on the perfect weather and fabled acoustics of the venue. He explained that the show would be separated into two parts, beginning with the performance of his Grammy-nominated recent album, which was meant to be experienced as a 33-minute continuous piece of music.

The large, experienced and high-caliber band: wife Edie Brickell (vocals), Mark Stewart (guitar), Bakithi Kumalo (bass), Andy Snitzer (saxophone), Jamey Haddad (percussion), Mick Rossi (piano, keys), Gyan Riley (guitar), Matt Chamberlin (drums), Nancy Stagnitta (flute), Caleb Burhans (viola) and Eugene Friesen (Cello) joined as the first song, “The Lord” began the evening, with titles shown on the electronic backdrop as the album progressed.

Simon has always lyrically dabbled in religious references and a relationship with God; but it’s in these later years, that his mediation on faith, mortality, and ultimately, self-realized acceptance, have been more prevalent themes of his verses.

The album itself is a bit of a ‘grow-er’ that shines more brightly with each listen (and more so after hearing it live) and has been compared to the last albums of Cohen and Bowie in that regard.

Starting delicately, the music became somewhat livelier as the song cycle moved forward, especially enhanced by the harmonic vocals of his wife on the final two songs, “The Sacred Harp” and “Wait” and the patience and required rapt attention, was rewarded with a musical denouement played with flourish.

While there now might be a slight warble to his speaking voice, once Simon began singing, almost everything smoothed out like a warm blanket and with that familiar tone and cadence, so very distinctly Simon. Everything might now be acoustic, but the musicianship remains top shelf and with Simon fully present, the long fingernails on his right hand evident-not uncommon to guitar players (especially in folk) that strum without using a pick.

After an intermission, the band re-emerged for a second and much longer set, all dressed down with Simon now in jeans, a casual jacket, and cap.” I’ve reason to believe, we all we be received in Graceland” the opening number rang out- the title track to his fabled 1986 album of the same name, which took home two Grammys, for Album and Record of the Year.

Some of the older songs were slightly re-interpreted in the acoustic format, but there was no denying still knowing how to sing-along on classics like “Slip Slidin’ Away” and “Homeward Bound.” Simon, like most elder statesmen of music, has earned the right to play what he wants, and so, the selection of a deeper cut like 1983’s “Train in the Distance” not only exposes a potentially good song to the fans that might only know the hits, but the inclusion and placement usually makes perfect sense to the artist, and is performed with that purpose.

Other lesser-known tracks like “St. Judy’s Comet” and “Something So Right” added to the overall interest of a well-planned setlist of not just hits- when you’ve been around as successfully long as Simon, you can leave at least an album’s worth of hits not played.

He mentioned seeing a subtitled photo in a book and immediately thinking “Rene and Georgette Magritte With Their Dog After the War” would make a great song title, and bassist Kumalo was spotlighted and celebrated during “Under African Skies” (with Brickell’s vocal help) and was introduced as the last remaining member of the original Graceland Tour band.

When it came to “Rewrite”, Simon couldn’t remember which album it came from (2011’s So Beautiful or So What) but was quick to say, “I know you’ll forgive me… so thank you, St. Louis!” which drew big laughs. Short comments between songs like these, made the show seem more intimate and felt more like you were witnessing a backyard concert or studio session, versus a full-fledged staged spectacle.

It was a ‘return’ to Graceland for the main set’s ending, “Diamonds on the Soles of Her Shoes,” then an encore beginning with the Simon and Garfunkel hit, “Me and Julio Down by the Schoolyard” complete with a cameo whistle solo by Brickell. Another S&G classic, “The Boxer” brought the evening to a crescendo, with Simon staying on stage to loud applause and a standing ovation, to end things solo and acoustic in (like the tour name states) a quiet celebration with a stark musical rendering of “The Sound of Silence.”

Without bombast, outlandish stage gestures, or overly inflated versions of songs, Paul Simon’s A Quiet Celebration Tour succeeds with its honesty and rightful focus on what’s most important- the songs themselves. Simon’s engaged grace and continued musical curiosity and wonder, while accepting his own mortality, his contemplative place in the world and the legacy he’ll be leaving, made anyone in attendance feel like they saw a musical legend paint another late-career masterpiece.

Photography Note: Pictures and video were not allowed from local media or by any concert attendees. 

We are awaiting a set of venue-provided photos for use and will update the post, once provided.