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1 Real Love
2 I Just Wanted to See You So Bad
3 Tears of Joy
4 Something About What Happens When We Talk [with a guitarless Lu, though she was handed one initially]
5 People Talkin’ [slight false start]
6 Jailhouse Tears [dedicated to the Bottle Rockets, who were opening for Lu when the events portrayed in the song went down]
7 Pineola
8 Well Well Well [Lu reveals she wrote this one in the early 90’s]
9 Can’t Let Go
10 I Lost It
11 Out of Touch
12 Drunken Angel [by request: a chick in Nashville with words from this song tattooed about her body is referenced]
13 Little Rock Star
14 Real Live Bleeding Fingers & Broken Guitar STrings
15 Changed the Locks
16 Honeybee
17 Joy
___________________________________________________________________
18 Happy Woman Blues (!)
19 Hard Time Killing floor Blues
20 For What’s it’s Worth [followed by voter admonition-speak]
21 It’s a Long Way to the Top. . . .I was privileged to stand beside the legendary “Beatle Bob” for this show, a figure known to St. Louisans and to roots festival-goers of all stripes. It’s insane how front and center I got at 8:05, though one could have strolled up five minutes after Buick 6 ended and still hugged the rail easily. The boys were in fine form by the way, and this was the merch table debut of their disc, on “Gravel Road Records.” Twelve groovy instrumental grooves + a rollicking alternate take of “Well Well Well” which owes more to psychedelia than to rockabilly. And don’t neglect the cover art, featuring a photo of a gagged, goggle-eyed gun moll. Unlike Nashville, the center mike was live in St. Louis when guitar tech Wolfie introduced the “instrumental stylings of Buick 6.” Doug has renamed the Zep tune “Hairy Baby.” Three hours of jam-packed entertainment, great evening.
Yes, the setlist is accurate–though the first seventeen songs were one continuous set, followed by the three-song encore. I too enjoyed seeing Tom and Sarah, one of the Davids, and Paul again. Here are a few tidbits: There was a cough/restart during “Tears of Joy,” Lu later saying she gets nervous in Nashville (“the third coast”), a la NYC and LA. I don’t believe TN Tracy would mind a bit if I pointed out he was the lone dancer during “Jailhouse Tears,” contributing to Lu eventually inviting everyone up on our feet between “Essence” and “Bleeding Fingers.” She voiced a “suggestion” to the venue at that point that a standing area be created in future, apparently oblivious to all the seating/standing questions some of us had. I talked to a woman who had seen Ryan Adams at this venue, no chairs on floor. Apparently the whole event last night morphed into GA seating, balcony and floor. Anyway, the Lonesome Strangers got a shout-out prior to “Can’t Let Go,” and while Randy Weeks was not present, Lorne (sp.?) was (last name I’ve forgotten, Ball maybe). “Lonely Girls” was a request, and “I Just Wanted to. . .” was not on the original setlist, even as an alternate. “Side of the Road” and “Rarity” were on it, got bumped for time. And Lu made it official, endorsing Obama just prior to “Righteously.” She said she hadn’t earlier on tour because she “didn’t want to cause a riot.” Lu in ’08 buttons were available free at merch booth. And Nick is back as guitar tech temporarily, Gil having been summoned to South Korea for Yo La Tango’s tour.
Leaving Palin aside for the moment, I can add to the confusion on the sit/stand issue (though I believe “Inside Job” is completely accurate in his brief comment). After seeing Ticketmaster listing the category of “general admission seated” today, I called the TPAC venue (nearest thing to a War Mem. Aud. box office). I was told I could still stand up front with the GA ticket I bought weeks ago, though seats would remain there on the center floor right up to the stage. The person said a “domino” effect might ensue if people chose to stand up, and she implied no security would stop it. Then I asked what was to keep a person who bought a reserve seat weeks ago to forsake that and head down front, thus competing with GA ticket-holders. I got no assurance any usher would prevent that. She volunteered that about 700 spaces are listed as “GA,” roughly 400 of those sold at this point. She also said that the only reserved seats all along were in balcony, which contradicts Ticketmaster. Theoretically I could have bought a ticket today for any of three tiers: GA seated, reserved 1st floor seated, second floor reserved seated. The chart looks as if anybody with a main floor reserved, number seat would be off to the side, but again, since all three price ranges are the same, a person with a reserved seat could make a legitimate claim to just getting there early and filling up a center front row seat. Best case scenario is good ushers who prevent this + mellow security who allow eventual standing when show starts, but that’s not an easy combo to find. I’m not predicting chaos, but I am a bit wary. This happened in Lincoln, Nebraska a few years back, and the backpack I had put on my seat at intermission was gone gone gone when I returned five minutes later. This led to some frantic shouting between me and Roccoco staff, near expulsion from the theatre for me. So I guess, Paul and others, get there early. Will-call personnel will be there at 6:30 apparently, doors at 7:30. That’s a pretty tight zone until the first Buick 6 instrumental. But let’s put a good face on it. No Boston brawls are likely. We’ll see.
Thanks, Tim. I kept getting distracted by the shimmering weight loss ads to right of copy as I worked my way through this mediocre review. Still, a partial setlist could be fathomed, “Bone of Contention” a nice surprise (maybe that was done solo again?). The name Pete Doherty was new to me vis-a-vis “Little Rock Star.” Every little angle on this great tour helps. Nashville, anyone?
Thanks for the setlist: good to see “. . . Hate Machines” back in the mix, plus all those great ones from WWT. Who’s predicting “Atonement” for the show in middle TN Friday?
Disco Stu: This is the stuff of which sick [Thurs] days are made. . . . But I guess it would be odd to fulfill the business trip then call in the following weekday. Botulism outbreak in Ohio maybe? The effects just beginning to be felt prior to your Wed. boarding time, subsiding during the evening, then flaring up again about 11:01, post-venue “curfew?” Naah, probably wouldn’t work. Speaking of Madison, it’s general admission but with chairs at the Orpheum? I’m a bit confused about that.
@Lefty wrote:
Inside Job is Lu’s manager and fiance.
I call those twin roles definitive Lefty, will get a man to a venue well in advance of six hours. Sorry for this fan and others: the Hyatt, ouch. Hopefully you will get to go next winter or spring.
Yes, my European friend Philthy, I’m going to Nashville, but I think I’ll proceed anonymously. Anyone notice the “peace and love” sign-off from the ejected Forum poster/brawler? Well, it does sound like the other guy got much of what he deserved, and I can see myself sorely tempted to haul off in such a situation. Still. . . So “Can’t Let Go” made the Boston setlist? Still trying to cobble it together myself.
Maybe an Anaheim–er–LA Angels’ fan still in town and distraught over the recent playoff result? Man, I haven’t heard of such brawls at the feet of Lucinda since that ugly behind-the-lily-pad confrontation at the Atlanta Botanical Gardens last July: but let’s not start that webstream flowing again. Surely Tim preserved a noble silence through the whole thing, wherever in the house he was. And the “play the old stuff” crowd was boycotting the joint, anyway, no? Still, I’m curious. The setlist is getting there. . . .
Did I miss a setlist or some context for this stream of Boston one-liners? I mean, I’m glad folks are excited (about music AND fashion) and that Maine’s own Ray LaMontagne joined Lu on “Fruits” (he’s recorded it, as has Ruthie Foster), but how did things go, all in all? Tim???????
Thanks, Tim, for a solid report. It would seem as if tunes from West were deliberately put back in, at least for this show (despite the usual lone one of late, “Come On,” not being done). “Side of the Road” might have been a response to one of the streams in this Forum, but “Rarity” sneaking its way in is my main envy for those of you who made Albany. Looking forward to your Beantown account. . .
Well done, Paul, and i’ll check the other thread in a bit. Here are a few additional tidbits for folks: Lucinda framed “People Talkin'” as relevant to the political season. On “Jailhouse Tears,” she commented that “Doug will play the dog.” Before “Out of Touch,” Jessie Malin got a crosstown shout-out for his concurrent set at Bowery Electric. Before “Honeybee’ (written for him), Lu’s man got a shout-out for his impending round number birthday; the inititals IJ/TO should suffice here. Before “For What It’s Worth,” Lu commented that “even Democrats can wear red, white, and blue” (reference to her guitar strap). Toward the end of the ACDC cover, certain band members got butt pats, and Lu finished the number on the drumsticks. All in all, Letterman safely behind her, Lucinda gave a relaxed yet stirring set, I’d say.
Well, in light of Wachovia going bellyup and getting absorbed by Citi Bank, maybe those folks in Charlotte will be in less affluent threads next time around. Too bad things were so sedate. And too bad no North Charleston setlist. I couldn’t even open those pics someone posted. Let’s hope a certain seventh row couple in Raleigh tonight will remedy things with some hootin’ and hollerin’, then some postin’.
It’s nice to see in this cyber age that good old newsprint trumpts googling and links sometimes. I’ll just type the blurb in; it’s written by Chris Barrett, who I think is a freelancer rather than a Metro Pulse editor or staff writer.
“How best to prepare for a new Lucinda Williams recording? Little Honey, album number 10 for Williams, is scheduled to arrive on OCt. 14. Williams writes songs and makes music from which it’s difficult to keep your distance. Her stories, elegies, rants, come-ons, break-up, serenades, and fictional musical memoirs are not universal. Still, similar to the way Raymond CArver could conjure the next-door neighbor’s family with four words about a withered azalea, Williams drops just enough hints and details to make you think maybe, seriously, that guy behind you in line at the Auto Zone this morning might have been the loser ex she’s singing about. It’s rarely easy listening, because you become invested in the lives and deaths of the people she sings about. And the people she sings about don’t get the kinds of lives that are typically set to music. They get real lives and everything that comes with them.
“Back when people were shorter and lived near the water, Lucinda Williams spoke to me by phone in order to help me with a Metro Pulse concert posting very similar to this one. The recording of the moment was called Sweet Old World. She laughed and gave me a lot of shit because my first question was, ‘Are you OK’? She said, ‘They’re just songs. You don’t think people asked Flannery O’Connor that allthe time, do you? “Are you OK?”
“Maybe they should have, but that’s beside the point. The five fine albums between Sweet Old World and Little Honey chronicle the substantial progress of an artist and a person. Persistent threads of personal loss and hopelessness have given way to hope and humor, of all things. Ten years ago, on Car Wheels on a Gravel Road, Williams sang about ‘JUnebug versus hurricane.’ If she pulls that one out this week at the Bijou, there is much to suggest that these days Williams identifies a lot less with the junebug.”
by Chris Barrett, Metro Pulse Sept. 25, 2008
OK. Carolinas, where are you? It’s a big week for you; let’s hear.
@Pit Bull wrote:
For the record: In June 2002 Lucinda played an aborted show at the Hard Rock Hotel in Las Vegas. She wasn’t feeling well (her voice was shot) and after about three and-a-half songs Lu said, “You can all have your money back!” and she walked off the stage. A stunned and bummed crowd slowly filtered out of The Joint to get our unwanted refunds.
But I give Lucinda high marks for not going on with the show. Her voice clearly wasn’t working for her and she didn’t want to put out anything less than her best. She did the right thing. On the flip side of this: I also remember a 2006 show in Oakland where she opened for an ill George Jones. Her set was great. But poor George Jones was really, really sick and never should have tried to do the show. But he did and it was awful. About a third of the crowd left before he even finished. My point is this: Sometimes the show must go on. And sometimes the show needs to be cancelled.
As a tragic side note, about a week after Lucinda’s gig at the HRH, The Who had to cancel their concert at The Joint when John Entwistle OD’d in his HRH suite.
Wish I had known you there in ’02, Pit Bull, because there was a lot of commiseration going on among a small circle of fans at Hard Rock after her walk-off. I dutifully trekked over to Park City, UT next day, 90% sure that one would get cancelled too, which it did. She then played Telluride in front of Ralph Stanley (I didn’t attend), and by the time the tour got to First Ave. Minneapolis a few days later, all was well, her voice in fine fettle, full sets played. And yes, Lucinda acknowledged Entwhistle’s passing from the stage that tour, in Milwaukee I think. I just wish we could have given her more energy to go on in Vegas, but she probably made the right decision to walk off.
Still envying you guys that recent Santa Cruz show. . .
