Concert Review: Nine Inch Nails (11/5/13)

Tuesday (November 5, 2013) saw the return of pioneering industrial rock band Nine Inch Nails to Texas for their 2013 Tension Tour in support of the new album, Hesitation Marks.

Nine Inch Nails during the 2013 Tension Tour. Photo credit to Rob Sheridan (image from nin.com)

The show took place in San Antonio at the AT&T Center to a very packed audience. Down in the pit before the fun began, everyone chattered on about the songs they loved most and hoped to see and there was a good mix of NIN veterans seeing the band yet again and newcomers at their first show, all eager and excited.

Tension 2013 comes as the first big tour for Nine Inch Nails since 2009's Wave Goodbye Tour, which at the time was dubbed by founder, creative writer/producer, and frontman Trent Reznor as the end of Nine Inch Nails, at least from a touring perspective (full details of the band's history and an overview of Hesitation Marks can be found here).

The night began with opening act Explosions in the Sky, a post-rock band from Austin, Texas, formed in 1999 that have played previously with Nine Inch Nails. The group delivered a strong set of instrumental "mini symphonies" packed with power and emotion, proving that vocals aren't a requirement for great music. The crowd seemed a little hesitant at first to get into the group's music, but after the first couple songs, everyone was engaged and bopping their heads along. Albeit a bit different of a choice for an opening act, Explosions in the Sky delivered the kind of performance you hope for from an opener and far exceeded expectations by pushing the envelope.

After Explosions in the Sky, Nine Inch Nails hit the stage with current live line-up featuring Trent Reznor (vocals, guitar, keyboard), Robin Finck (guitar and some keyboards), Alessandro Cortini (keyboards), Ilan Rubin (drums), Josh Eustis (keyboards, I believe), Pino Palladino (bass guitar), Lisa Fischer (backing vocals), and Sharlotte Gibson (backing vocals).

Trent Reznor. Photo taken by me.

The night began with the third single off of Hesitation Marks, "Copy Of A," which immediately drew the crowd in very close. Afterwards, the group launched into several older songs, mostly from 1989's Pretty Hate Machine and 1994's The Downward Spiral, which were met with a very raw energy from the crowd and loud singing along. The set also featured a healthy amount of the new album and mixed in several other big Nine Inch Nails hits from recent albums, including "The Hand That Feeds" (from 2005's With Teeth) and "Survivalism" (from 2007's Year Zero).

Perhaps the major highlight of the night for fans came during the encore with the live debut of "All the Love in the World" (also from With Teeth), which was met again with a fervent crowd. The instrumental ending note of Hesitation Marks, "Black Noise," was much drawn out and done extremely well in its array of layers and noises. The night ended with the classic track from The Downward Spiral, "Hurt."

Trent Reznor again, at the end during "Hurt." Photo taken by me.

Overall, Reznor still puts on a show with high intensity and flawless vocal performance. The members of his band, most of which are long time touring musicians for NIN, also deliver a strong performance full of raw energy and passion. Having Lisa Fischer and Sharlotte Gibson on backing vocals provided an immensely pleasurable and almost surreal experience that made the show that much greater. And, as is typical of any NIN show, the lighting displays used throughout the show added that extra element of greatness. This was a great show and a shame for anyone to have missed.

The Tension 2013 Tour is wrapping up its North America stint by the middle of November, but if you're near a city where they're playing and tickets are available, you should most definitely go. Don't miss this opportunity to see an engaging and exciting performance. Nine Inch Nails stop in El Paso, Texas, on Monday (November 11, 2013) to play the Don Haskins Center.

Complete Setlist:

I wasn't lucky enough to get a setlist, but here's a picture of the one that was on stage. The songs listed below were the ones actually played.

Copy Of A
Sanctified
Terrible Lie
March of the Pigs
Piggy
All Time Low
Disappointed
Came Back Haunted
Find My Way
Into the Void
The Frail
The Wretched
Echoplex
In Two
Survivalism
Running
A Warm Place
Somewhat Damaged
Wish
The Hand That Feeds
Head Like a Hole

ENCORE

All the Love in the World
Even Deeper
While I'm Still Here
Black Noise
Hurt


Ratings:

Explosions in the Sky: 4 out of 5

Nine Inch Nails: 5 out of 5

More Information: Official Site of Explosions in the Sky Official Site of Nine Inch Nails


Author's Note: Nine Inch Nails on their last tour was actually the first show I had ever been to. I was blown away by the show but my only regret was that if this were to be the end of NIN, I had seen them from way up in the nosebleed section. It was then that I determined I would get tickets early to shows and arrive as early as I could for great spots. When NIN announced this tour, I quickly got my GA ticket through the nin.com pre-sale, and made the drive down from Austin to San Antonio. It was worth every penny and then some. The emotional rush I felt as NIN closed with "Hurt" was beautiful and a moment that shows just how much music can touch a person's life (though that song is fairly dark). Support your favorite bands - go see them, buy their merch, and buy the music.

Concert Review: AFI (10/18/13)

Last night (October 18, 2013), hardcore gone alternative rock outfit AFI was in Austin playing at The Mohawk to a completely sold out crowd. About half way through their US tour and on the heels of their newest studio album, Burials, being released on October 22nd, the group were in high spirits and looking and sounding better than ever.

AFI. Left to right: Hunter Burgan (bass guitar), Jade Puget (guitar), Adam Carson (drums), and Davey Havok (vocals). Promo photo

The night began with Coming (Los Angeles, CA, formed 2012) as the first opening act. Sounding a bit like The Birthday Party with a little more of a hardcore and funk edge to their songs, Coming got the crowd engaged from the beginning putting on a nice and energetic show. While perhaps only a couple people in the audience had heard of them before, Coming were able to get some heads bopping and get fans set for what would be a packed night of excitement.

Coming. Left to right: Dustin (guitar and vocals), Billy (bass guitar), and AJ (drums). Photo from their website.

Things continued with Touche Amore (Los Angeles, CA, formed 2007) taking the stage. As the first song began, immediately the crowd pulled in very tight, with a good half of the audience singing loudly to each song. Plenty of crowd surfers and stage divers set the tone for the show. If there were doubts about whether this was a punk/hardcore show, they were quickly answered then. The group surveyed songs throughout their career and kept the audience immensely engaged throughout. For those who had never heard of Touche Amore before, many came out new fans of this hardcore group.

Touche Amore. Left to right: Elliot Babin (drums), Clayton Stevens (guitar), Jeremy Bolm (vocals), Tyler Kirby (bass guitar), and Nick Steinhardt (guitar). Image from MetalInjection.

However, the night was to be won by AFI. Entering the stage in total darkness, Adam Carson went to his drum set, followed by Jade Puget carrying in a specially designed Gibson Les Paul Studio with the new Burials artwork on it, followed by Hunter Burgan carrying a black bass guitar (possibly a Fender?), and lastly with frontman Davey Havok donning his new signature jacket which prominently features on upside down cross made of pyramid studs on the back.

The group opened with "The Leaving Song, Pt. II" from 2003's Sing the Sorrow, immediately lighting the crowd on fire. Unlike more recent shows from AFI, Havok seemed to welcome the audience interaction, himself jumping into the audience during their opening number. The set went on to include the first song revealed from the forthcoming album Burials, "I Hope You Suffer," (which we reviewed previously here and you can watch a live performance of below) which was met with loud singing from the entire audience and a certain pride from the band at seeing their fans singing along to a song that has not been out for very long.

As the night continued on, fans did not relent on singing along even as AFI pulled out songs from their older material that haven't been played more recently, including "Ever and a Day" from 200's The Art of Drowning and "Over Exposure" from 1998's A Fire Inside EP. Peculiarly, the set only featured one song from their previous album, 2009's Crash Love, "Beautiful Thieves." (Video of this one from the show is featured below.) The night was rounded out with a three song encore that included their tribute cover of The Cure's "Just Like Heaven" followed by "Dancing Through Sunday" and "Silver and Cold," both from Sing the Sorrow.

Overall, the performances from all three groups were great, though AFI being the main attraction certainly did not disappoint and even stole the show in the end. There were some slight sound issues for all three groups, but with how loud the audience sang the entire time, that didn't change the intimate feel the show had. AFI's tour with Touche Amore continues, stopping in Tempe, Arizona, at the Marquee Theater on Sunday. Check them out on the remaining tour and catch their new album, Burials, due out on October 22nd. Also, be on the lookout as Adam Carson and Hunter Burgan hinted after the show to us that a bigger tour is in the works to bring them back on the road supporting Burials in early 2014.


Ratings:

Coming: 4 out of 5

Touche Amore: 4 out of 5

AFI: 5 out of 5

More Information: Official Site of Coming Official Site of Touche Amore Official Site of AFI

Concert Review: Peter Hook and the Light (9/17/13)

Tuesday (September 17, 2013) night marked the sighting of a legend here in Austin - Peter Hook of both Joy Division and New Order fame. Hook played at The Belmont with his current band, dubbed The Light, with an ambitious goal - to play the first two New Order albums in their entirety.

Peter Hook and the Light. On the left is Jack Bates (bass guitar), center is Peter Hook (vocals, bass guitar, and melodica), and on the right is Paul Kehoe (drums). Photo taken by me.

The night began with a rather mood setting light rain before opening act Slaves of Venus took to the stage. Hook had mentioned earlier in the day via his Twitter account that there would be a special treat for anyone who showed up early for the opening act. Arriving to the venue an hour and a half before doors opened, I sat and speculated with others as to what it could mean. My guess was that Hook might do a song with this mysterious Slaves of Venus group (I could hear them doing Joy Division's "Atrocity Exhibition" during the sound check, so I was hoping he may guest with them on that song). How little did we know.

The rain set in for a few minutes, the skies very dark and brooding. If I didn't know any better, it felt as if Ian Curtis (singer of Joy Division until his death in 1980) was looking down on the show about to happen, setting the mood, and wishing us well. Slaves of Venus took to the stage shortly after the rain subsided. The surprise? Slaves of Venus was really just a name Hook created for him and The Light. The bigger surprise? This first act would feature an all-Joy Division set. Immediately the drums set in to the beat of "Atrocity Exhibition," met by fans cheering loudly and singing along to the song with Hook. An interesting change that was quickly seen was Hook taking charge on vocals and leaving the majority of the bass guitar work to his son, Jack Bates. Perhaps the high point of this rare treat was when Hook belted out Joy Division's infamous numbers: "3, 5, 0, 1, 2, 5!" The group rolled into "Warsaw" to a frenzied crowd, most of which joined in screaming out "3, 1, G!" with Hook as the song progressed (I posted the video I took below. Sorry, I missed the very beginning). The set was rounded out with one of my favorite Joy Division songs, "Heart and Soul," and ended with "In a Lonely Place."

After a short break, Peter Hook and the Light returned to the stage, beginning by playing through the entire first New Order album, Movement. While New Order in time deviated from Joy Division by bringing in more synthesizers and a somewhat lighter mood, Hook brought more of the punk feel that was characteristic of Joy Division and several of the bands that helped influence Joy Division, leading to an immensely energetic show and an eager audience. Each song left the listener anticipating the next, wanting more, constantly feeling "pumped up." After finishing the whole of Movement, the group took a break for a couple minutes before returning to play the second New Order album in full, Power, Corruption, and Lies. My personal high point here was listening to everyone in the crowd sing along loudly to "Age of Consent." It was truly a magical moment.

Having already played for somewhere on the order of two hours, Peter Hook and the Light returned to the stage once again amid loud chanting and roars of excitement for an encore. They launched into "Hurt" and "Everything's Gone Green." At one point, Hook asked the audience if it was time to go home yet. We yelled back a resounding "No!" His reply? "Fuck me. I had a feeling you would all say that!" After grinning to the crowd, he led the group into "Temptation." The night rounded out with one of New Order's most well-known songs, "Blue Monday" (I've posted below the video I took of them playing this).

In the end, Peter Hook is one of those legends of his genre where you know he could be uppity and full of himself, and no one would say anything except "Well, he's freaking Peter Hook. Come on, the guy essentially created post punk." Instead, Hook got very close to the audience while playing, waved to people on the upper balcony, threw his sweaty shirt out to the audience, gave a young girl a towel he wiped his face with, and chatted to people every now and then between songs. The backing band sounded amazing and as you may expect, Jack Bates learned very well from his father, bringing that immensely unique sound Hook has (listen for it in any of New Order's material...his bass guitar work is what really sets those songs apart and distinguishes them...it's also that work that allows you to instantly recognize a New Order song even if you don't actually know it). My only gripe about this show? The setup on the small stage made it where the person on keyboards was hidden behind some amps the entire time. He sounded awesome, but sadly, no one could see the fellow.

Peter Hook (left) and guitarist David Potts (right). Photo taken by me.

While The Light's US Tour has wrapped up, Hook has hinted at plans to return in the future and eventually play through all the New Order material. Should he ever come to a town near you, you should not miss out on seeing this legend in action. This was a mighty fine treat and easily one of the best shows I have ever been to (and I'd like to think I've been to quite a few good ones over the years).


Rating:

5 out of 5 (if I could, I'd be obscene and rate it even higher)

More Information: Official Site of New Order Official Site of Peter Hook

Concert Review: Cold Cave (9/15/13)

Sunday (September 15, 2013) marked the return of the experimental synthpop and darkwave project of Wesley Eisold, Cold Cave, to Austin, Texas. Cold Cave has visited the Live Music Capital of the World previously, but as Eisold pointed out during their hour long set, this was their first time playing a headlining show in the city.

Wesley Eisold of Cold Cave. Image from the Brooklyn Vegan website.

The show took place at one of Austin's established Red River District music venues, Red 7, to a near sold-out crowd. Douglas J. McCarthy of Nitzer Ebb fame served as the night's opener, playing selections from his first solo album Kill Your Friends (released in late 2012). Accompanied by Cyrus Rex on synthesizers and programming, McCarthy's solo work deviates from the post-industrial and EBM sound that Nitzer Ebb helped pioneer in the early 1980s, taking on a more synthpop and electronic feel that results in songs any dance club could play and get people to dance to. The crowd bopped around to the music as McCarthy sang each note with clear precision and danced manically on stage to tunes like "Evil Love" and "Move On." While McCarthy is a well respected musician for his work in Nitzer Ebb, his solo work does leave a little more to be desired, with programmed beats that sound similar across his songs and most songs featuring the same few lines of lyrics repeated throughout. As an opening act, McCarthy got the job done and kept the audience engaged.

Douglas McCarthy. Image from his artist page on Last.fm.

Cold Cave took to the stage just shortly after 11:00pm. Over the years of different touring cycles, Cold Cave has endured several renditions, from full bands performing, to just Eisold (who is the sole consistent and contributing member to the project) and a person on keyboards. The night's lineup featured just Eisold on vocals and current girlfriend Amy Lee (not to be confused with the Amy Lee of Evanescence fame) on synthesizers.

The set began with catchy beats and interesting visuals on the screen behind Eisold and Lee, instantly lighting the crowd on fire. The second song of the night, "Confetti," was met with much dancing and singing along (a video someone took of the song is posted below). Roughly halfway through their third song, "God Made the World," the show took an interesting turn when technical issues popped up, causing the music to cutout and bringing the show to an abrupt halt. After a few minutes of Eisold, Lee, and a worker at Red 7 trying to resolve the issues (with Eisold trying to crack some light jokes into the mic for the crowd), the duo decided to give up on the visual aspect of their performance as that seemed to be the only way they could get the music to play again.

After the minor mishap, the show continued on with a strong performance from Eisold. Lee contributed backing vocals on several songs in addition to working the synthesizer that helped tie the songs together quite nicely. The crowd danced along and shouted out the lyrics as Cold Cave played several of their newer songs, including from 2011's Cherish the Light Years "Confetti," "Burning Sage," and "Icons of Summer." At one point, Eisold asked the crowd what they'd like to hear. Amid shouts for "Confetti" (which Eisold told the crowd had already been played and smiled lightly at everyone for perhaps missing that amid the technical issues earlier in the night) and "The Great Pan is Dead," Eisold selected a request for "Underworld USA" which ignited the crowd more so than they had been before (a video of "Underworld USA" and "Icons of Summer" that someone took at the show is posted below). After about an hour long set and a small encore, Cold Cave left the stage for the night.

On the whole, the show was great through and through. McCarthy gets the job done as an opening act, but there are moments when it feels like he's trying too hard to simply be himself. He's Douglas McCarthy - he doesn't need to prove anything to anyone. True to form, he was spot on vocally and kept the crowd engaged, even if some of his dancing was more interpretive than anything else. And while technical issues forced Cold Cave to drop their visual effects, both Eisold and Lee do a sound job engaging the audience and performing with a raw emotion that left the audience simply wanting more. The visuals would have been a nice compliment (before they cut out on "God Made the World," the visuals would dim and brighten in rhythm with the synthesizer), their lack certainly didn't make the show less worthwhile.

Cold Cave wrap up their North America tour with Douglas McCarthy Friday night in Los Angeles at The Echoplex and are set to play two dates in Russia in November. Check out their recent 7" releases for "Oceans With No End," "God Made the World," and "Black Boots." A new album, tentatively titled Sunflower, is slated for release sometime next year.


Ratings:

Douglas McCarthy - 3 out of 5
Cold Cave - 4.5 out of 5

More Information: Official Site of Douglas McCarthy Official Site of Cold Cave

Concert Review: Adam Ant 7/26/13

Today's Concert Review is of Adam Ant (and The Good, The Mad, and The Lovely Posse) when he played The Belmont here in Austin on 7/26/13.

Adam Ant. Image from Brooklyn Vegan

I've been an Adam Ant fan for a few years now and was fortunate enough to see him on tour the last time around (I forget when exactly, but sometime late 2012) when he played at Emo's East. I was really impressed by that show and loved how he played most of the hit songs everyone loves but also threw in some rarer goodies and some tracks from the new album. I was also impressed with his band and the fact he used TWO drum sets.

Upon arriving at The Belmont, I ran into a friend (who I met the last time I was at The Belmont in April seeing Peter Murphy for the fifth time). We got some decent spots towards the front, left side of the stage and chatted for a bit until the openers came on.

Prima Donna were the openers for the night. Prima Donna are a band out of Los Angeles that formed in 2003. Unlike traditional rock bands of today, the group prominently features keyboards and saxophone on most of their songs in addition to the more traditional guitars, bass guitars, and drums. The group clearly draws influence from the likes of David Bowie, Marc Bolan, and to a certain extent, even Mr. Adam Ant himself.

Prima Donna. Also featuring the amazing death hawk of a person in front of me. Picture taken by me

They played a modest set including a few songs off their 2012 album Bless This Mess (notably, "Sociopath" and a tribute to Adam Ant, "Maxine"). Throughout the set, the group maintained an incredibly high level of energy with singer Kevin Preston constantly darting from one side of the stage to the next, leaning over the crowd and getting in people's faces, and dropping to his knees only to fly back up. Overall, the group sounded great and did a nice job of getting us pumped up for Adam Ant.

Adam Ant began as the singer of post-punk act Adam and the Ants before going solo in 1982. Over the years, Adam Ant has spurned several hit singles from his albums (both as Adam and the Ants and solo), remaining a constant force to be reckoned with. While focusing on music from a young age, things haven't always been perfect for Adam Ant. At the age of 21, the singer was diagnosed with bipolar disorder and has had many problems over the years handling the effects of medications used to treat the illness. While not perfect, he appears to have things under control nowadays and has always been courteous to his audience (in my experience).

A younger Adam Ant from the "Stand and Deliver" music video. Picture from jango.com

Once it was time for Adam Ant to perform, the lights completely cut out and a screen at the back of the stage was lit up with "Adam Ant and the Good, the Mad, and the Lovely Posse" and the new logo for the Blue Black Hussar himself. Tchaikovsky's "1812 Overture" blared over the speakers and we began to clap in rhythm to that music. The band members began to take to the stage to our loud cheers. Then we roared to life as Adam Ant took to the stage, wearing his traditional pirate-esque regalia and an attitude that said "It's time to go crazy." The group started into a song off the new album (2013's Adam Ant is the Blue Black Hussar Marrying the Gunner's Daughter), "Marrying the Gunner's Daughter."

As before, Adam Ant maintained an immense energy throughout the entire set (even in the Texas heat!). Taking pictures of him was difficult as he darted from one side of the stage to the next without ever seeming to pause. The band sounded marvelous just like the previous time I had seen them, matching energies with Adam Ant.

The band roared through many classic Ant favorites, including "Beat My Guest," "Goody Two Shoes," "Stand and Deliver," and my personal favorite (though I don't care for the live version as much because it desperately...haha, pun...needs that trumpet part) "Desperate But Not Serious." The group came back out for a three song encore amid our shouts for more Antmusic (which I've linked a video of below, from the first time I saw him here in Austin over at Emo's East).

Ultimately, this was another fine performance from the Blue Black Hussar. He continues to sound flawless after all the years and his stage energy is certainly a force to be reckoned with. While it would have been nice to get a handshake or two, he still talked to the audience every now and then and was kind enough to give a couple fans the bandanna he was wearing on his pants for a time and one of his pirate gloves, a nice gesture on his part that won't be quickly forgot. The set was a wonderful mix of classic Adam Ant songs with only a few off the newest album. Overall, the crowd was very into the show and singing along at the top of their lungs and screaming adoration for Adam Ant. He is most assuredly not a performer to be missed, so be sure to check him out when the tour comes near you!

Best shot I could get of the set list on stage. They didn't have many to hand out and stage crew were too busy to quickly hold down the corner for me to get a better picture.

Ratings:

Prima Donna: 5 out of 5

Adam Ant: 5 out of 5

More Information: Official Site of Prima Donna Official Site of Adam Ant

Concert Review: The Psychedelic Furs 7/18/13

After I believe three previous efforts to see these guys, I finally bring you a Concert Review for The Psychedelic Furs! The show took place 7/18/13 at Antone's here in Austin, Texas.

The Psychedelic Furs. Left to right: Mars Williams (clarinet and saxophone), Richard Butler (vocals), and Tim Butler (bass guitar). Photo taken by me.

I've tried for the last four years, I believe, to see the Psychedelic Furs. I've bought tickets about three or four times, but inevitably I'd end up having an exam get scheduled or a major presentation or project the day after the show, ultimately thwarting my chance to see these guys live. Last night, the stars finally seemed to align just right and I was able to go to the sold out show here in Austin!

This was my first time at Antone's, either the old venue which is now Infest or the new one. The venue was smaller than I expected (I figured Antone's would upgrade in size much like their neighbor, Emo's, did compared to their original downtown location), but I much prefer smaller intimate shows, so this wasn't a problem. I got to the venue a little before doors officially opened, but they were letting people in early, so I went in and managed to get near well to front and center.

The Technicolors were the sole openers for the night. I think I've heard of them before, but didn't know their music or much of anything about them. The Technicolors are a five piece indie rock group hailing from Phoenix, Arizona, that formed a few years ago. They are currently signed to Tallest Man Records and have released only one album so far entitled Listener.

The Technicolors. Photo taken by me.

Their set consisted of seven songs including a brilliant cover of a song I know I've heard before but don't know the name of and cannot find to save my life (I know, very descriptive, but it wasn't on their set list, so I have no idea what it is).

On the whole, The Technicolors played with great enthusiasm, energy, and smiles all around. The person on electric piano was head banging the entire time and possibly the most energetic of the group (which is saying a lot as everyone was killing it, to be honest). The sound seemed a bit off like certain parts weren't balanced right (I had a hard time hearing the guitar parts their singer would play). I'll be listening to these guys on Spotify as I think they're a band I could get into over time.

Setlist for The Technicolors

After The Technicolors finished, it was time for the Furs! The Psychedelic Furs were one of the many post-punk/New Wave bands to emerge from the shambles of the punk scene in 1977 in England. The group is led by brothers Richard Butler (vocals) and Tim Butler (bass guitar). The current line up also includes Paul Garisto (drums), Mars Williams (clarinet and saxophone), Rich Good (guitar), and Amanda Kramer (keyboards). The band has released seven albums, the last being in 1991 before going on hiatus for a few years. Currently, the Furs tour rather extensively, performing many of their famous hit songs and even some lesser known favorites.

As we waited with eager anticipation, the crowd started to get closer. A woman next to me asked if we could possibly make some room for her in the front. Apparently she is from New York but had been flying around the country following the Furs on this tour. That is what I call fan star level 500. Impressive!

The Psychedelic Furs took the stage to loud cries from the crowd and started into "Highwire Days." The band sounded great and once Richard Butler (singer) took to the stage with the rest of the band, the audience just went absolutely crazy. Everyone looked great and sounded amazing and this was just the opening.

Tim Butler. Photo taken by me.

The set continued on with many favorites including "Heartbeat," "Ghost in You," "Love My Way," "Mr. Jones," and "Heaven." Throughout the set, the band maintained incredible energy and immaculate sound. Richard's vocals were absolutely spot on. The group returned to the stage for an encore of "Pretty in Pink" and "Sleep Comes Down."

It's hard to pick my favorite aspect of the show. After all these years, Richard and Tim still have it. Richard often reminded me of a young guy fronting a band, not believing that there were people in the audience that loved his music and thought he was great. He always appeared so happy to be singing to us, jumping around constantly, smiling a big toothy grin from ear to ear, and thanking us after nearly every song. I just felt so happy to support that kind of attitude. Tim was great, wearing his typical "stunna" shades, as I like to call them. He also constantly got close to people in the crowd, staring us down in the eye and singing the lyrics to us (a combination of awesome, intimidating, and perhaps just a dash of creepy to boot...I uploaded the video I took of "Heaven" so you can see for yourselves just what I mean).

Mars Williams may have been the most impressive, to me. This guy sounded amazing and was running all over the stage, blasting away on clarinet and saxophone, at times playing both at the same time! If I could, I'd give him a hug and tell him how sensational he was. Paul and Amanda were also great, but obviously constrained to one place given the instruments they play, but no less important as the songs would not be the same without them. Rich did a fantastic job on guitar and I swear I've seen him before with another band, but I cannot place it. All around great performances from everyone!

This was certainly not a show to miss and I feel sorry for those who didn't get the chance to enjoy this sold out show. It was a long time waiting, but the wait was most certainly worth it. 36 years later and the Furs most definitely still have it. Do not pass up an opportunity to see these guys if you can!

I bought the last copy of Talk Talk Talk on LP and signed by the band. Also shown is my ticket stub and the set list Richard walked all over :-)

Ratings:

The Technicolors - 4.5 out of 5 (wish the sound issues were resolved)

The Psychedelic Furs - 5 out of 5

More Information: Official Site of The Technicolors Official Site of The Psychedelic Furs


Extra videos I took:

"Pretty in Pink"

"Sleep Comes Down"

Concert Review: The Damned 5/30/13

On May 30th, I had the delight of finally seeing The Damned perform in Austin as part of the Chaos in Tejas punk festival at 11E5. Let me just say, it was well worth the wait!

The Damned! The Damned! Photo credit to Brooklyn Vegan.

Back in 2011, The Damned were set to play Fun Fun Fun Fest. It was going to be my first time going to Fun Fun Fun Fest and I was super excited. I'd finally get to see The Damned! There were several other bands I was excited to see, but The Damned! They basically only play festivals these days and even then they're a bit choose-y about which festivals to play. THE DAMNED!!!

So, I had my three day passes for a long time and was excited. Then, about a month or so before Fun Fun Fun Fest, guess who else decides they want to play a show in Austin? And who decided to put that same show the same night as The Damned!? That's right - Peter Murphy. Okay, I guess he technically didn't have a say in the matter, but point being, I could either see The Damned for the first time or Peter Murphy for the fourth time. I wavered back and forth for a day before conceding that my ass needed to see Peter Murphy yet again. This is a decision I do not regret and would have made a million times over again (this is another story for another time, but the show came right after I lost a family member to cancer and I ended up crying during a couple of the songs...and Peter Murphy...with bronchitis, no less...was ever delightful and kind the entire night, sounding great even with the terrible illness...much respect).

I know, I know, this review is about The Damned. But, this is a photo of Peter Murphy at the very concert I just talked about, so deal with it. Such a therapeutic night and one that won't be forgot anytime soon. Photo credit to Rebecca Chulew.

But, I thought I had blown perhaps my one and only chance to ever see The Damned. So, you can imagine my absolute delight when I started seeing the band announcements for this year's Chaos in Tejas festival and The Damned made that list. THE DAMNED!!!

The Damned formed in London in 1976 when punk rock was in full swing and post-punk wouldn't be realized for another couple years. The band's formation is rather magical, in a sense. The Damned were started by Rat Scabies and Brian James (both having been in other punk rock acts which later spurned other bands such as Generation X and The Clash). Together they invited Dave Vanian and Sid Vicious to audition for vocals. As the story would have it, only Dave Vanian showed up, becoming singer for The Damned.

The Damned were met with early success, opening for acts like the Sex Pistols. Their first single "New Rose" was often viewed positively despite the somewhat gloomy lyrics. The Damned went into territories not explored yet by British punk bands, such as being the first to release a single, then to be the first to release an album, and even being the first to tour the US. It was their first tour in the US that is often cited as being the inspiration to the emergence of hardcore music as The Damned favored faster tempos than most of their contemporary punk bands did.

Tragically for The Damned, their sophomore album was a flop. It is thought the flop was generally due to a lack of interest from the producer of the album (Pink Floyd's Nick mason) and the subsequent quitting from the band of Rat Scabies. Following a tour to support 1977's Music for Pleasure, the band broke up.

Captain Sensible! You just have to love the guy. I think the camera viewpoint on this shot was right above my head, haha. Photo credit to the Austin Chronicle.

After a brief stint exploring other interests, The Damned would reform again (though not with the original lineup) in 1979 and begin working under the name of The Damned (they had technically reconvened in 1978, but used a different name to avoid possible trademark issues with the original name). The reformation of the group also saw a shift in Vanian's vocals to more of a crooning style and the music oscillate between fast tempos, as they were previously, and now slower tunes with dominating keyboards. 1979 also saw the release of the third album from The Damned, Machine Gun Etiquette, which is perhaps one of the most favorite albums for fans.

By 1985, the band had undergone major changes once more. Captain Sensible, who had been with the band essentially from the beginning, had left temporarily. Dave Vanian began dressing more formally and adopting a persona reminiscent of a vampire. The Damned had also signed to a major record label, MCA, to release their album Phantasmagoria, perhaps heralded as the most gothic album the group had produced, and cementing The Damned as a staple of the goth music diet (whether they liked it or not).

1988 saw the return of Captain Sensible, but only in time for the band to call it quits again. A handful of singles were released by the band over the years, but the band did not officially come back together (with yet another major lineup change, Vanian and Scabies being the only returning members) in 1993. However, it was around this time that two important covers of songs from The Damned were recorded and released - Guns N' Roses cover of "New Rose" and The Offspring's cover of "Smash It Up." Both covers were highly praised and well distributed, bringing new audiences to The Damned and leading to a new interest in the band.

1995 saw another album released which led to the temporary dissolution of the band once more (Vanian and Sensible felt Scabies had released 1995's Not of This Earth without proper authorization, resulting in a legal battle). By the next year, Sensible teamed up with Vanian on yet another rendition of The Damned, now bringing Patricia Morrison (you know, former bassist and backing vocalist of the Sisters of Mercy) into the lineup.

Dave Vanian!!! And sporting a Vincent Price look. Very nice, good sir! Photo credit, obviously, to AP.

In 2000, the lineup had gone on to include Monty Oxy Moron on keyboards and Pinch on drums. Patricia Morrison eventually retired from performing, married Dave Vanian, and became the band's manager. Stu West would take over on bass. The band have continued to release new albums and singles since, mixing in the occasional touring and keeping to a consistent lineup.

Now that we're all caught up on some of the major events in the band's history, time for the concert review itself!

Before The Damned took the stage, everyone was crowding in as close as they could. Fans were yelling out "Love Song!" hoping that it would be played. The Damned take the stage and burst into "Love Song," setting the crowd on fire immediately. The band were in good spirits (I was standing in front of Captain Sensible and he would often smile and make faces at us). All of us in the audience were simply going crazy. And this was just a preview of what was to come.

The set included many other great favorites such as my personal favorite "I Just Can't be Happy Today," "New Rose," "Neat Neat Neat," and "Eloise." The band sounded wonderful and carried a strong energy throughout the entire set. Captain Sensible carried out most of the stage antics by making faces at people and sticking his tongue out at others. A few technical issues with Monty Oxy Moron's keyboards led to some banter among the band where (if I remember correctly) Dave Vanian suggested they play a song that didn't need Monty Oxy Moron (everyone laughed and waited patiently for the issues to be resolved). The one thing that struck me as a little odd was that for being the one consistent member over the years and frontman, Dave Vanian didn't actually say much to the crowd. Most of the talking was done by Captain Sensible.

Dave Vanian and Captain Sensible. I'd post my photos, but they did not come out well at all. Photo credit to the Austin Chronicle

The group returned for their first encore and performed several more great songs. At one point, we were given a choice between one song and "Smash It Up." Those of us in the front were crying for them to play both (yes, we're greedy). They ended up playing the other song, which was great, but left us a little sad because, well...who doesn't love "Smash It Up?" And in a great flourish of trickery, The Damned immediately launched into "Smash It Up" anyways after that other song. The crowd went absolutely crazy, screaming at the top of our lungs. It was beautiful.

A final encore wrapped up the night. The band were very thankful for all of us coming and said things like "You know, we aren't the Sex Pistols. True punk began with The Ramones! And we're better than all of them." They were all really great and as they departed the stage for the final time, Captain Sensible threw his hat to the crowd.

I was not lucky enough to get a setlist (which I really wanted), but  this person was kind enough to let me snap a photo of the complete setlist that she got.

All in all, this show was great. I personally am not built for punk shows anymore (there's something to be said about being surrounded by sweaty, smelly bodies...not really my preference). But, it was a grand experience. After all these years, The Damned still sound marvelous and can still put on a great show. While I forfeited my chance to see them a couple years ago (and as I said, I'd still make that same decision every time), I am so glad to have finally seen them. If you haven't seen The Damned, you are missing out.


Rating: 5 out of 5 (the crowd was a bit rough for my taste, but The Damned were just amazing, plain and simple)

More Information: Official Site of The Damned

Concert Review: The Casualties 5/30/13

On May 30th, I saw The Casualties in Austin as part of the Chaos in Tejas punk festival at 11E5. Admittedly, I was at this show really to see The Damned, but I figured seeing The Casualties would be neat as I had tried to get into them earlier in my life while I was still more into punk music.

The Casualties in 2007. Left to right: Jake Kolatis, Jorge Herrera, Marc Eggers, and Rick Lopez

The Casualties formed in 1990 in New York City in an effort to return punk music to what it was more or less originally (perhaps what some see as the second wave of punk rock that was characterized by faster and more aggressive music, i.e., the hardcore and oi! scenes). They drew heavy influences at the time from great hardcore bands like Charged GBH and The Exploited.

The lineup has remained fairly constant over the years with early founders having left, well...early, and others coming and going in the 90s. The current lineup has been together since the early to mid 90s (okay, Rick Lopez joined up in 1998, but semantics and details and so forth) and consists of Jorge Herrera on vocals, Rick Lopez on bass guitar and backing vocals, Jake Kolatis on guitar and vocals, and Marc Eggers on drums.

Allow me to admit that my like of punk music has both waned and become a bit selective over the years. Even back about eight years ago when I was first getting into punk, I had a hard time getting into this band. And sadly, this performance did little to change my mind on the matter. Now, mind you, this isn't to say they were bad. I'll get to the review in a bit. But, as the post-punk gothy type I am, the chances of me suddenly becoming a fan of this band were already low. It just isn't my type of music anymore.

A photo I took of Jake Kolatis, Jorge Herrera, and Marc Eggers

Why did I never get into The Casualties? I don't know. I like other bands of the genre (The Exploited, Charged GBH, Discharge, FEAR, and Rancid, to name a few). Certainly The Casualties sound similar. I think in part, I just didn't care so much for Jorge's style of vocals. Not saying they're bad, just not for me. But, enough on all this. To the review!

The Casualties took to the stage and started with "My Blood, My Life." Immediately the crowd began to get rowdy, crowd surfing and stage diving. There was a lot of energy to the show, but I was quickly reminded, while standing near a stack of speakers, why I don't care too much for Herrera's vocals (the screams cut through the music a bit harshly at times and feel like knife blades in your eardrums when you get too close to speakers).

Their set continued with several other fast paced songs, many having lyrics related to politics and varying social injustices. Somewhere around the point when they played "Underground Army," Herrera threw a Casualties Army scarf into the crowd and things seemed to pick up even more than before. Fans were going crazy and singing at the top of their lungs.

Jake Kolatis

Afterwards, Herrera encouraged some fans to have a cock fight, basically, where a girl would get on a guy's shoulders and the two would bash into other groups in a mosh pit with the winner getting free beer. At first, audience members were hesitant to participate (I know, punks hesitant to bash into each other? I swear I'm not making this part up), but after a bit some did participate. I kept worrying someone would fall off and bash their head open on the concrete (fortunately, this did not happen).

The Casualties ended with "We Are All We Have" which was met with much energy from the crowd. As they left the stage, fans demanded more, but sadly with other bands left to come, no encore would be had. Some fans retreated to find water, others rushed in closer for the next band and the hope of getting good spots for The Damned.

The setlist from the night. I think this came from over where  Rick lopez was most of the night, but I wasn't paying attention

All in all, The Casualties have done a great job attracting fans over the years. Their show was full of energy (and dare I say that perhaps Kolatis upstaged Herrera a bit?) and meaning that can at times be lost or turned into a mockery in punk shows. They still aren't my favorite band and I doubt I will find myself listening to them more, but they still retain the same feel punk bands from the 90s came with. All in all, not a bad show at all and I'm glad to have seen it, even with all the crowd surfing and stage diving that I loathe.

Sound Off! Were you at this show? What did you think? Did you become a fan of The Casualties after this? Were you already a fan? What were your favorite moments? Share your thoughts in the comments section!


Rating: 4 out of 5 (good energy, good antics, overall good sound, but not really my cup of tea anymore)

More Information: Official MySpace of The Casualties

Concert Review: Peter Murphy 4/23/13, 4/24/13, and 4/26/13

NOTICE: This is the more professional version of this concert review. I find several reviewers today annoy me as they 1) don't do their research and 2) make reviews when they have no idea what they're talking about (an example: someone reviewed Bauhaus's Go Away White and said it wasn't very good, but admitted to not listening to it fully...it's one thing to think the album isn't that good after you tried to listen to it a handful of times in full...it's another to discard it and not even listen to it fully once!). Anyways, comments would be appreciated on a stylistic level for this review. I know it still has a bit more personal anecdotes than is typical of a review (I tried to parse them out, but I also like telling a bit of a story when I do these things and perhaps show you a little of why certain things leave their impressions on me). I plan in the near future to start up a separate site with a friend dedicated to concert and music reviews on a more professional level, so this is some of the ground work. Many thanks and enjoy!


Allow me to begin by saying this is most likely an incredibly biased review. I have listened to Bauhaus since I was about 16 or 17 (mind you, I'm currently 24, so this may not hold as much stock to those of you who listened since the beginning in 1978). I've listened to Peter Murphy's solo work since I was 20 (in blissful ignorance I existed until that age knowing Bauhaus was gone but not realizing the man had a prolific solo career). While I love love LOVE Bauhaus, I actually love Peter Murphy's solo work much more (I feel like I just committed some act of blasphemy, but this is the truth). So, it should come as no surprise that this review will be incredibly positive. I've also sat on this review for some time, editing and revising it several times over. Some of the details I have forgotten while others were edited out to make this a bit more professional, but it's time for the Internet to behold this marvel. Your fair warning has been issued.

The Mr. Moonlight Tour started April 22, 2013 in San Antonio, Texas. The idea is simple - let's give the fans an all-Bauhaus set to commemorate 35 years of the band's existence. And let's give them a mix of the hits they love and some of the slightly more obscure songs they may never have heard in the past.

Peter Murphy during the Miracula session he did during Halloween 2012. Photo credit to Christy Borgman (fantastic shot, by the way!)

For a fan such as myself who never did see Bauhaus as the "original four" (Peter Murphy, Daniel Ash, David J, and Kevin Haskins), this is as good as it gets. A full Bauhaus set. No "I'll Fall With Your Knife." No "I Spit Roses." And certainly no "Cuts You Up." Just Peter Murphy, Mark Gemini Thwaite, Emilio China, and Nick Lucero playing some delicious "Dark Entries," "Kick in the Eye," and "Boys."

But, I've seen some negative commentary over the fact that this tour isn't exactly a Bauhaus tour. The only Bauhaus member is Peter Murphy himself doing vocals, some guitar, and melodica. The other three people on that stage are not Daniel Ash, David J, or Kevin Haskins. Peter Murphy even recently confirmed that he didn't ask the others if they wanted to do a reunion tour to mark 35 years of Bauhaus (http://clatl.com/cribnotes/archives/2013/05/02/peter-murphy-on-what-makes-bauhaus-music-so-transcendent). And for whatever reason, there are those who think this is some sort of grand sin against humanity or something. So, let me at least do a little justice to the three and tell you what I can about them (which, sadly and admittedly, is not much).

Emilio China takes on the role of David J, playing fretless bass and at some points the electric violin. I admittedly do not know much about Emilio. He has been with Peter Murphy since the official tour supporting Ninth (I believe Jeff Schartoff did the actual recording of these parts on Ninth). I don't know what other acts he has performed with in the past, but he is clearly very talented. Granted the violin parts are limited in Bauhaus's material, but the last time I saw Peter Murphy performing solo material (November 2011), Emilio was part of that tour and played electric violin more as Peter Murphy at times likes to incorporate more instruments in his songs. Let me say, as a violinist myself (not necessarily a great one, but I know how to play fairly well), I like this guy's style. He sounds great and brings out emotion while he plays. Kudos from my point of view, for what they may be worth. He also plays fretless bass for the Bauhaus material. Fretless bass is much more difficult to play than the standard electric bass. Also, Bauhaus has a mix of simple bass parts where you play the same note the entire song and songs with complicated rhythms and schemes for the notes. He has a bit of a laid back presence on stage helping Peter Murphy keep that dominating spirit, but this guy has talent. I really wish I knew more of his background, though.

Finding pictures of Emilio is also a bit tough. He's in the front with Peter Murphy in the background

Nick Lucero has been drumming for Peter Murphy for a long time. According to his personal website, he has played with a few other bands (sadly, I do not recognize any of them). I don't even know how long he's been with Peter Murphy (I know he's been with him since at least 2009 because he's played every show I've seen). Nick is also really good at what he does, maintaining high energy throughout the show and playing his parts well. Some Bauhaus songs have what seems to me a complicated rhythm, often times with syncopation, and he plays these without any trouble. As with Emilio, I wish I knew a bit more about Nick's background. But, trust me, he's a great guy (though a bit shy each time I've said hello to him after a show and complemented his playing) and also definitely belongs up on that stage.

Nick Lucero

The third "unknown" is guitarist Mark Gemini Thwaite. Mark, like Nick, has been with Peter Murphy for a very long time. From what I can tell, Mark first started playing with Peter Murphy in 2005 to support the somewhat ill-fated album Unshattered (another story for another time). He then took a break and worked on a number of other projects before rejoining Peter Murphy in 2010 for a UK tour and has stayed more or less since then (I think he's had a few one off projects since then, but that working with Peter Murphy is the main priority currently). I'm not sure how accurate all this is as I could have sworn I saw him in June 2009 on the Secret Covers Tour, but his personal page isn't loading for me and I always take Wikipedia with a grain of salt.

Peter Murphy on the left and Mark Gemini Thwaite on the right. Also, as a random aside, kudos to whoever took this photo!

From what I can tell, Mark seems to get the most crap from interviewers and reviewers. I don't get it. Not to knock Emilio or Nick, but Mark has the far superior credentials in terms of the acts he's played with. Where do we even begin? Peter Murphy. The Mission. Combichrist. Al Jourgensen. Revolting Cocks. Gary Numan. Need I say more? And people question if the guy belongs on the same stage as Peter Murphy? Dare I say maybe the question should be asked in the other direction? (I'm kidding on that part, but you get where I'm coming from)

Taking the role of Daniel Ash is also a daunting one, I have to imagine. Daniel Ash was known for making the guitar sound anything but like a guitar. Ever heard "Hollow Hills?" The predominant sounds in that song are not done on a synthesizer. Bauhaus never used synthesizers. They aren't dubbed tracks. Bauhaus never used backing tracks either. Those sounds are made on guitar (from the Gotham DVD performance, it appears Daniel Ash uses a violin bow against the strings...I'm not sure what exactly Mark used to make the same sound, but it worked damn well). So, trust, haters of the world, this man has the talent, the credentials, and the presence to be on the stage with Peter Murphy playing Bauhaus songs.

Still saying nay? Well, there'll be no pleasing you at all, in this case. You will either continue to be upset over the fact that this is Peter Murphy with his solo band playing loads of Bauhaus songs, or you'll come to realize that for better or worse, the singer is what makes the band anyways (another story for another time, but do ask yourself who has been the most consistent over the years since Bauhaus and you'll understand the point I'm trying to make here), and that this is a truly special thing you will witness. Without further ado, the actual review for each concert date I attended:

Austin, Texas - The Belmont - 4/23/13

This was the first time I had even heard of The Belmont (mind you, Austin has MANY music venues, and from what I understand, The Belmont had re-opened more recently after closing for a bit, possibly due to restructuring and remodeling). It certainly isn't the first "odd" venue I've seen Peter Murphy at (going to the middle of nowhere to a venue that was once a movie theater might take the cake on this one...again, another story for another time).

The Belmont itself is a nice venue. Good location, two areas you can watch the show from, and a very low stage. It is an outdoor venue and we had the most unseasonal cold weather this night (as in 50s...when it should be like 80s). The opening act, My Jerusalem, were okay. Not really my kind of music, so I wasn't too into them. They had good energy and seemed to like being up there. After hearing them on three nights mostly in a row, however, I'd be fine never hearing them again. Just not my cup of tea. Good on them for being an Austin based band and touring with Peter Murphy for a couple weeks. I won't go into them more as this review isn't aimed at them, but they deserve a mention at the very least.

Peter Murphy took to the stage and started with "King Volcano" leading straight into "Kingdom's Coming." It was a great mesh and a great way to open, though I recall I spent those opening songs shivering more than being able to sing (not their fault, of course...and rather impressive they all played so well given that cold). The set continued with great favorites like "Double Dare" and "In the Flat Field" before jumping into slightly more obscure ones like "Boys." The playing of "Bela Lugosi's Dead" was sensational all of its own. I've heard the medley Peter Murphy normally does combining "Bela Lugosi's Dead" with his solo song "A Strange Kind of Love." The medley is gorgeous and allowed me to get through what I consider an often overplayed and overhyped song. Yes, you heard me correct. I used to feel "Bela Lugosi's Dead" was an overhyped and overplayed song. Good, yes, but there's so much more to Bauhaus than just that.

Seeing it live, however, I have found a new awe for this masterpiece. I used to wonder what went into making all the sounds in that song. Now I know. Four people on their respective instruments. There are no backing tapes, no recordings, no extra people, no synthesizers, none of that. Just a bass guitar, guitar, drums, vocals, and some effects pedals. In that performance, the four were able to recapitulate the same dark essence the song has on recording. And there's nothing like the harrowing vocals as Peter Murphy belts out "Oh Bela! Bela's undead!" That's my personal favorite part of the song and on that night I recall having chills during that part (and not just because it was kind of cold).

On the whole, the set was amazing. It wasn't everything I would have wanted, but I'm certainly not complaining (to get all I wanted, they'd essentially have to be on stage for several hours and play everything). Peter Murphy did a fantastic job interacting with the audience as he usually does, letting people touch him, kissing some people, pushing others (lightly) on the head, etc. By and large, the audience were great, as they tend to be at Peter Murphy shows. Most are older than me, but there's always a good energy to the crowd and a good mix of people singing to all the songs and others just dancing to each tune. Honestly, the only thing that would have improved this night was either warmer weather or being indoors. But, the band were perfect and after all these years, Peter Murphy still sounds great and pulls off these songs like some grand master.


Dallas, Texas - The Granada Theater - 4/24/13

The next night I drove a good three and a half hours to Dallas to see Mr. Murphy once again. As I said, this is perhaps a once in a lifetime thing that I was going to take full advantage of. And I told you I was incredibly biased.

As we entered the Granada, there was a list where you could put your email and receive photos from the show. I didn't know what this was and thought maybe it'd be like previews and you can buy them or something, so I signed up. To say the least, this was an awesome thing as a few days later I received an email with some amazing, professional photos of the show, and I intend to contact the photographer and order some prints if they do that. So, major kudos to Bill Ellison! (Sorry, I had to mention this part because it was so unique and cool to me)

Peter Murphy and Mark Gemini Thwaite

The Granada Theater was also once a movie theater. The sound was handled very nicely here, but the stage comes up to your chin, making it a little tough to see and interact with the performers on stage. But all in all, this is probably one of my more favorite venues I've been to.

On this night, there were two openers, which resulted in a shorter set from Peter Murphy (which while it was about 1.5 hours the night before, it still felt very short to me). Without going into much detail, the first opener was Vulgar Fashion. I personally did not care for them, but some people in the audience seemed to like them. The second opener was My Jerusalem again, which I've already shared my thoughts on them. Good, but not my cup of tea.

One of Peter Murphy's trademark poses - "Oooooooh....Bellllllllllaaaaaaaaaa!!!!!!"

So, we finally get to Peter Murphy performing. As with the night before in Austin, it was an amazing show. Great set and his playing "Endless Summer of the Damned" from Go Away White set me towards listening to that album more and finding it to not be as bad as I used to find it (I even felt moved to re-review it: http://rogoth.blogspot.com/2013/05/music-re-review-bauhaus-go-away-white.html). The set did get cut in places, so gems like "She's in Parties" and "A Spy in the Cab" were not played. I know some of the other audience members were really hoping to hear these, so I felt a little sorry that they didn't get them. But, they had VIP tickets and I did not. So, it's somewhat fair? My one complaint about this show is simply that the stage was too damn high. At times I felt disconnected from the show since I was on a very different plane. I felt more like a distant observer, or perhaps someone sitting at home watching the show on DVD. It was like what I do with the Gotham DVD, where I sit in my all black and pretend that I was in that audience, that I had been much older back then, knew of this great music then, and so forth (I was like 9 or 10 when the Resurrection Tour happened). My guess is Peter felt this way at times too since he got on his knees at one point to tell us the story behind the writing of "Boys" before playing it.

Aside from the stage height, this was an amazing show. I know Peter Murphy tried his best to work with us, but it is tough when you're towering a mile above the audience. For this, I felt the Austin show was better. But, the set, while shorter than the night before, was still excellent. And the performance of "Endless Summer of the Damned" has truly helped alter my view on the last Bauhaus album. Was it worth the long drive, both ways, to see this tour again? I certainly think it was.

Houston, Texas - Numbers - 4/26/13

The final show of the three and another road trip, but with friends this time! For this show, we had the VIP meet and greet tickets. I would finally meet this man after so many shows (I've seen Peter Murphy in concert seven times and only met him the one time with these VIP tickets). So, for the occasion, I bought a nice bouquet of roses to at least show my appreciation for his talents and music, even if I couldn't verbally express what it all meant to me (in part due to the nerves of finally getting to meet him and in part because I honestly cannot put into words why his music is so important to me). I also brought my "Bela Lugosi's Dead" 12" single (just the black repress in the thick sleeve) and my Mask LP to have signed.

This is from the Dallas show, but I didn't really take any pics in Houston

As far as a concert venue, I'm not a fan of Numbers. I had seen Peter Murphy here once before (the pre-Ninth tour). Their stage has these steps that lead up to it and most get covered over when they extend the stage out, except for one. So, most of the time, people stand on that one step, making them much taller than the rest of us. Thus, front row and you see, any other row and you struggle. We got to the venue a bit late and Numbers did not uphold the policy of letting VIP ticket holders in first as they claimed they would, so we didn't get front row, unfortunately. I got as close to front and center as I could and luckily got a spot where the people weren't overly tall in front of me.

As with the other shows, the set was amazing (it was longer and similar to the set in Austin). Peter was gorgeous. Everyone sounded great. There were several sound issues and half the time it was hard to hear Peter's lower registry notes and hard to hear when he just talked to us (not his fault, and you could tell he was getting a little frustrated at some points when the sound techs couldn't fix the issues).

At one point, Peter was getting tired of people taking pictures and videos. He basically said, "Stop looking at my through your phones and cameras. I'm here right now. Look at me directly. Interact with me. Touch me." This gives you an idea of the audience. The venue was pretty packed, and there were certainly fans who were really into the show, singing along, dancing, interacting, etc. But there were plenty that wanted to record the show and take pictures. I understand wanting to capture the memories as I, too, will take pictures and video. But, usually I only take pictures during the first couple of songs and only take video of a couple songs. To each their own, I suppose, but I'd much rather have traded places with the guy in front of me who viewed the entire show through the lens of his camera.

Following the show, we went to get in line for the meet and greet. I had no idea what I'd say to the man. I had been thinking for weeks on what to say without sounding like a fangirl or an idiot. We finally get in there and Peter is signing mini posters for everyone. Not having a normal name, he asks me to spell mine and asks where it's from. I tell him it's Arabic and that I'm half Palestinian. He looks up at me and asks if I'm Christian or Muslim. I tell him Muslim, which is true, though I admit to not being a close follower at the moment.

Everyone gets funny, joking around Peter. I got serious face Peter. Upon telling him I'm Muslim, he extends the formal greeting Muslims give one another, "Salaam alaikum." I of course reply traditionally with "Walaikum salaam." He tells me to send prayers to our brothers and sisters in Syria, Gaza, etc. Of course, I reply. He then tells me about how excited he is to have a couple tour dates set in Israel now for the Mr. Moonlight Tour because he feels there's more to those shows perhaps than these. It's an opportunity to spread peace and love to the youth there and in some sense show them that we can all be friends instead of enemies and that our beliefs are the same and beautiful. Then our time together was done. I gave him the roses, he smiled, and then I had to walk on.

One of my friends was telling the kid in the white shirt that he was really great and she saw him with his family when they opened for the Psychedelic Furs in Austin a few months ago. Peter turned to the kid and was like "Wait, you've played with the Psychedelic Furs!? I have GOT to figure out how to do that!" And then scheming face commenced.

The meet and greet was a neat opportunity, but didn't go quite as I expected based on previous meet and greets. You didn't get to hug the man or take a picture with him as others had done previously. And while talking to him even for those couple of minutes was great, it certainly didn't feel like enough.


All in all, this was a sensational set of concerts to attend. Of the three dates, I think Austin was my favorite, though the Dallas and Houston were very good. The VIP thing was cool, but perhaps not quite worth the money. It was a truly unique experience to see a full Bauhaus set like this. And sure, it was only Peter Murphy from the original Bauhaus, but I don't care. He is the face, voice, and driving force behind that band. Nick, Emilio, and Mark have every right to be on that stage playing those songs and they did a mighty damn fine job at it! And I eagerly await the next solo album, Lion, which is looking for an early 2014 release. You may all sit there imagining me throwing my wallet, cash, coins, and credit cards at my computer screen, screaming , "Take my money!!!!" The image is rather accurate, I would say. Thank you, Peter, for a series of great nights. Keep doing your thing and we'll keep following.


Austin show rating: 5 out of 5

Dallas show rating: 5 out of 5 (the stage was so high, but the professional pictures make up for it)

Houston show rating: 4 out of 5 (great show, but I just don't like Numbers as a concert venue)

More info: Official Site of Peter Murphy, Official site of Mark Gemini Thwaite, Official site of Emilio China, Official site of Nick Lucero

Photos/Videos: Unless otherwise credited/stated, I took these photos on my phone (hence the grainy quality). Please give credit if you wish to use them since I'm too silly to put watermarks on them. All videos were taken by other people and can be found via YouTube.