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Thanks to Paul and West Words for these detailed reports. I must say, if Lucinda keeps saying “October,” “October” night after night from the stage, folks are going to expect that release month–and I’m not sure that’s as done a deal as is implied. I mean, I hope it’s so. Four tour debuts in Sacramento it would seem (Jackson, Jailhouse Tears, Can’t Let Go, West): nice. I’ve heard many a word applied to Doug Pettibone, but “countrified” is a first–though I see what you mean by contrast with Val and Elvis, West Words! And what’s this, Paul hobknobbing with Chrissie Hynde and the gang on a budget airline flight? It’s good to know CH rides a carrier with no distinction between first class and coach, and I’m betting Paul bestowed his extra free drink coupons on the Fairground Boys and made a little conversation. Yes, those 60-minute sets as opposed to 75-minute ones are more appropriate, though I loved several of the songs we got from the Ventura opener.
Yes, Paul–the amenities of the Budget Super Thrift Lodge of eastside Portland do not quite measure up to those of your Marriott brand properties; I’m embellishing among the great unwashed at the downtown public library now, prior to my flight home. Don Williams wrote “Oh Lonesome Me,” and last night’s version was certainly far afield (yet great) from the original
. Thanks for those who posted links to Neil and to the version on Ward’s record.Sera Cahoone had played a set at the No Depression Festival the day before, most of which I heard. I bought her newest CD there, though it proved five bucks cheaper at Roseland! She’s on the Subpop label, has opened for Son Volt and others, and I join Paul in singing her praises. Unlike in Seattle, she did not close this set with “Rocky Top,” serious balm for this native humble Tennessee boy.
“Greenville,” “Blue,” and “Still I Long for Your Kiss” were tour debuts.
It was great to hear “Copenhagen” and “Born to Be Loved” a second time. “Copenhagen” fades out slowly and gorgeously with the instrumentals, after the final “You..have disappeared” chorus. I love the long instrumental break in the middle of “Born.”
“Metal Firecracker” is the flat-out walk-the-dog song of this tour I think: man oh man. And I heard that Val didn’t even rehearse it prior to tour!
Maybe I’m just more jaded (or simply crabby after a week on the road), but choosing to stand toward the back was frustrating in terms of some fellow “fan” behavior. Someone felt compelled to yell out “Happy Birthday” to our Aquarian frontwoman at least three times–one of which was while she was respectfully talking about what would have been Duane Jarvis’ birthday. Perhaps it was the same loudmouth who boomed “Turn it up” after “Born to be Loved”–well, Lu proceeded to turn it down, as it were: an aching version of “Blue,” most appreciated by the majority of fans. “Come On” apparently not being enough for them, a gaggle of women to my right shouted “Righteous” [sic] repeatedly toward the end of the set: Perhaps they all missed the unit on adverbs in English grammar class some decades back. Then, when she finally played it (suffix and all), they had departed the premises. But these incidents aside, it was a splendid house. Alert to Oregon green bicyclists and vegans: Ted Nugent is booked into the Roseland tonight, so come on out 🙂 🙂
I was able to take a gander at the printed setlist, and “Minneapolis” was the alternative to “Side of the Road” as the solo encore opener. Man, I would have died for that one.
So who’s carrying the ball in Sacramento and beyond? The wind aside, I envy you. Great run.
@tonyg wrote:
Was Out Of Touch really played twice?
Naah–I’m just getting redundant in my dotage, Tony. It was seventh, not ninth–total of ten.
@tntracy wrote:
Stoger, my friend, while I thank you for taking the time & energy for posting the setlist so quickly (and with so much nice detail), I do suspect you were perhaps very tired when doing so. I.e., in #4, I think you mean “Talk” instead of “Touch”. Maybe still “bees” on the brain? 😉
Sounds like a great show – I wish I could have been there myself (well, technically, I could have…
)Tom
P.S. “Sharp Cutting Wings”?!?! 😮
FORGIVE THE SLIP, MY FRIEND, BUT WHAT ARE A FEW LETTERS AMONG LUHEADS: HEY, I’M AN OMNI–VERBAL/TACTILE KIND OF GUY, WHAT CAN I SAY?
Tears of Joy
Happy Woman Blues
I Lost It
Buttercup
Drunken Angel
Changed the Locks
Out of Touch
Righteously
Out of Touch
Honeybee
Joy“Hard stop” indeed, TnT: lights up, power cut–there were still words to go, confirmed later–though there were a lot of words period, might not have made it anyway since the song was started in the 10:25-10:26 area. I forgot to comment on this, the seventh of the 12 newbies: great parallelism and emphatic delivery, “We were blessed” being the key phrase. Let’s just say said blessings came, for purposes of this song, not from the upper crust elements of society, but elsewhere. And yes, it’s one syllable.
Good work, Paul. Again, allow me a few embellishments.
Lu’s walk-on line was “I already am looking forward to having some wonderful wine after the show.”
“Copenhagen” is for her late manager Frank Callari, “whose bark was worse than his bite.” It is full of winter imagery (actually set in the fall); she apologized afterwards for missing a line in the chorus, but who knew?
“Kiss Like YOur KIss” got a popular shout-out prior, as LU mentioned the True Blood series. David plays upright bass on it. It cycles through the seasons in its lyrics.
“metal Firecracker” had an elaborate intro about a “road romance” and so on; Lucinda stops just short of uttering the name Rolly Sallee on stage.
“Drunken Angel” was followed by “I never tire of playing that song.”
“Buttercup” was said to be another “chapter” in Lu’s ongoing series of “short stories” about getting another “bad boy out of my system.” She stops just short of uttering the name Matthew Greeson on stage. I think this is fast becoming a lucinda signature song.
“out of Touch” was followed by a look at Val, who was then said to have “kicked ass, Bubba.”
“Seeing Black” had a bit of a mix-up by way of intro but came good.
“Honeybee” was followed by praise of the Heartless Bastards, who work in a similar vein; frontwoman Erika was praised as “a little firecracker.”
Lu thanked us for “letting me dissect things” by listening to the new ones. Bad form was shown my one person who shouted out the name “Doug Pettibone” just as she was introducing Val. AS Paul points out, the sound was far superior to Ventura–except of course when it went off precisely at the bottom of the hour. Keen did a professional job of it opening, with a couple of novelty songs in there and some dancing figures up top among his frat boy/sorority sis fan base. Tight Texas band. It’s late, so all for now.
Great work, Tony. Nice meeting you, by the way. Here are a few embellishments to the excellent posts above.
“I Just Wanted…” had a few dropped lyrics, but it came out of the gate as a strong walk-on.
Great to see Lu don her glasses after song two and say “sooner or later” she would have to.
“Ventura” was done “in honor of the occasion,” but I missed the pedal steel on it.
“Born to be Loved” is a slow burn of a gem, with lots of antonyms in lyrics for “loved.” She doesn’t play guitar on it.
“Buttercup” was uptempo, another song about a user; she doesn’t play on it–my fave of the new four
Before “Drunken Angel,” Lu launched a paean to Facebook and thanked fans for requests on it.
“Seeing Black” has other colors in it too, tribute to Vic Chesnutt.
“Convince Me” is rather honkytonk, she doesn’t play on it–“Special guest” was announced for it but never materialized.
Doug was great, but “Side of” had 2 false starts and a profanity-ridden diatribe from Lu to the new monitors guy on stage.
The “guitar throwdown” between Val and Doug was great, full of smiles on the stage.
Chrissie-75 minutes-said Lucinda was “one of my musical heroes.” JP Jones (no Led Zep) was in tow, patrick ? a nice third. They stayed seated, and C occasionally played only tambourine or harmonica, causing her to say “I know now how Stevie Nicks feels” and “I may as well be serving tables out there.” But truly she played lots of guitar and took lead vocals maybe 40%. Yes, the dinner tables were “out there,” but Paul, Tony, I and others skirted them nicely. Good to see WEbmasta in attendance, to chat with Doug and Doug’s son after (Tim, they’re looking good). No Susannah at merch, no merch even until halfway thru evening. The journalistic heart of the weekly independent paper on this show: Chrissie and Lu “even share a hairstyle.” Oh well. Till Saratoga…
Didn’t go, but this might bode well for the No Depression festival (in less than a week!) near Seattle; Escovedo is slotted in for late afternoon, Lu for early-mid evening. But as these are 45-60 minute sets, we may not be so fortunate to get the pairing.
@Tim wrote:
vinylfan, I saw Tift a month ago in Massachusetts. You are lucky indeed, she was fantastic. A great mix of new and old songs. Her band was tight, with the great Eric Heyward on guitar & pedal steel. Ray LaMontagne was sitting next to me in the audience.
How’d you like that Zeke Hutchins ukelele number, Tim, with Eric H on whistling percussion? It certainly livened the encore at Tift’s Tennessee shows. . . .
Thanks to all for your efforts and advice: I am now a proud holder of a Ventura ticket. Paul, see you in The Pit (VIP ticket by any other name). Tom, the prices were exactly as you say above; the facility fee disappeared completely eventually, a couple of days after the mailing fees, and the convenience fee got reduced. Others, we’ll see about a drink beforehand.
Think I’ll get a little something sweet down off the shelf and ponder my rewarded patience. . .
@TOverby wrote:
This show WILL now be happening and the info that I have now is that the ticket fees will be reduced, my understanding is that they will now be $7.55 on the $39.50 tickets and $9.75 on the $54.50 tickets -also there will now be a will call option free of charge.
Not quite Tom–but it’s getting there. I did a “dummy” (thanks for the wording, Paul) purchase moments ago, and truly the standard mail/will call costs are now zero, for either. The $4.40 “order processing fee” is still there on both types of tickets, and the total facilities/convenience fees are $13.05 and $13.75 respectively. Thus, a GA ticket total is now $56.95, a VIP one $72.65. That’s about ten bucks above what you tally above–but let me for one say that it’s astounding that Ticketmaster/bastard actually did respond and eliminate one set of fees here. I never expected that. So I truly hope the new thread line “VENTURA IS ON” remains valid!
Did we decide “VIP” in this case means guaranteed seating just behind a small dance area? Paul or others, just what would one be purchasing here?
Perhaps folks should “hold off” a bit longer??????????
Now I’m feeling a bit guilty I’m the guy who crunched the numbers and started this whole thing. But like others, I respect your decision, Tom. Any glimmer of hope for those “unlikely events” to crystallize and the show go on?
@TOverby wrote:
I am completely f***ing incensed that this has happened and I have reached out to Lucinda’s agent who was equally upset. This is going to be addressed-and addressed seriously. I will post any updates as I get them, but I have to be honest here and say hold off on buying tickets until I get a response from the venue. I can’t believe I am actually saying that but this just outrageous and it just can’t continue to go down this way.
Thanks, Tom O: I’ll “hold off” for now, but you know I’m down with attending the show, in a plastic chair or otherwise. And yes, Tom T: crowd surfing is always a sore temptation, though not so much out-and-out pants-abandonment.
Yes, Paul, I looked at the VIP option too, but the online process had the same fees in proportion. Only in LA I guess, where one can drive anywhere, could you pull this off; I wouldn’t have a clue where to locate a physical Ticketmaster office in my neck of the woods–and might strangle an employee if I did show up. By the way, did you get an explanation of what “VIP” means for this show? As far as seating, it’s the same GA scramble, isn’t it?
