So, after entering the Cone of Silence for 3 weeks in order to keep myself as surprised and open-minded as possible about the first 2 dates of the Pumpkins return to the “city by the lake,” the Chicago Theatre shows have rolled by, and here I sit, ready to review.

Only, I’m left entirely flummoxed by the whole ordeal.  I could quibble about the song selection, or the performance itself, or Billy’s supposed “rant” Tuesday night, but really, is that remotely any different than any other show in the scheme of things? There’s nothing that was unique about Chicago, and really, that’s probably the main story itself. Chicago shows always used to have an extra jolt of electricity in the air, even if the performance itself was nothing special.  Once upon a time the delivery of the “city by the lake” line would be drowned out by the roar of the crowd, but Tuesday was more of a reserved detachment, more of a “what have you done for me lately?” Tuesday’s crowd was especially lackluster, which may have had a lot to do with Billy’s comments by the end of the night. Felt more like a morgue than a rock show a lot of the time. Wednesday’s energy was better, but there was still something lacking, with the only thing making it uniquely Second City the Cubs/Sox discussion midshow.

There’s always been a little bit of a sense of joint experience, common mindset in shows past, but any goodwill Corgan and co. had engendered coming up through the Windy City has passed. It’s not the fault of the band, or the crowd, but too much time has elapsed, and the sense of ownership and the shared pathos has faded into nostalgia. We may both be from the same city, but we’re no longer from the same place.

(more…)

Friend of HU carapatricia has posted a number of YouTube videos of the recent Chicago shows. Included is this one, a bit of Chicago sports themed banter leading into Disarm from the “White Crosses” show at the Chicago Theatre.

Billy first predicts a victory in the Super Bowl for the Bears in 2012 thanks to Mike Ditka returning to the field. But not one to disappoint the assembled fans with strictly positive thoughts, Billy went on to blame his beloved Cubs disappointing post-season performance on Eddie Vedder’s bitterly ironically titled Cubs anthem “All the Way”, which debuted in September before the Cubs’ season collapsed.

If, if, if the Cubs did have a chance this last year that just passed, fucking Eddie Vedder killed that shit dead. Last I checked, Eddie ain’t living here. Eddie ain’t living here to write a song about my fucking team.

Personally, I blame Vedder’s turning “Wrigley” into three syllables to fit the song’s meter.

Never one to let an opportunity to display his hubris pass him by, Billy also boasted he could write a better Cubs-themed song than the longstanding “Go Cubs Go”, which was penned by the late Chicago folk artist Steve Goodman during the equally disappointing 1984 Cubs season. HU anxiously awaits Billy’s Cubs song and we also eagerly await Billy’s thoughts on the Bulls’ chances in the upcoming NBA season during the shows at the Auditorium Theater. Vinny Del Negro: hero or zero?

In wrapping up his review of the Smashing Pumpkins’ “White Crosses” show at Chicago Theatre for the Sun-Times News Group’s PioneerLocal.com, Tony Solano writes about the two-night stand something very similar to what I say whenever I try to express how I feel about the band generally:

Overall, each individual show was solid but not life-changing. Yet the experience of both shows combined was beyond awesome and very special. The music was great…the band rocked, they slowed it down, they were angry, they were sensitive. There was drama, angst, laughs and a lot of weird tension because we never really knew what direction Corgan was going to go in next. And of course, it provided plenty to talk about. The only other time I’ve had so much to write about from a concert is when I’ve gone to music festivals. For as much controversy as there was surrounding these two shows, I could not have asked for a better or more unique experience.

Appearing on YouTube today is some very dark fan-shot video from a Q&A session with Smashing Pumpkins frontman Billy Corgan prior to the group’s recent “White Crosses” concert in Boston. (Linking to fan-conducted and -filmed interviews isn’t our #1 choice for most ethical blogging behavior, but sometimes newsworthiness trumps.) If you’re wondering what’s up with the band’s attitude on this tour, here Corgan — speaking while seated next to drummer Jimmy Chamberlin — spells it out:

fan: …integrity as you like strive forward and you know, the need to be creative, how do you, what do draw upon to keep the faith in your own musical output? Your songwriting, your endeavors, how do you keep faith in it, you know, before you get an audience feedback or before you can stamp it out…

Billy Corgan: I would say at this point our faith in our audience has never been lower. We are literally…

fan: I mean your music, not your audience…

BC: No, you have to understand, we’re still making music for people to listen to.

fan: Right.

BC: When we were younger we very much looked to the audience to give us a sense of who we were and what we wanted to do, and then we kind of worked with it and against it. And I think now we’ve become extremely insular. We’re really not listening to anybody anymore. Because, it’s not like we look around and see a tremendous amount of good music and we feel left out of something. We feel like we’re sort of on our own little island, standing for the things that we grew up with: you know, good playing, good singing, good songs. And we feel like somehow that’s working against us in the general culture, which is kind of…to us it’s mind-boggling. That’s like saying, that’s like saying a Major League hitter is better, he’s better if he hits .200 than .300. But that’s the world we live in. It’s a .200-hitting world. You write one weak fucking song that everybody likes, you’re better than a band that’s an excellent band that has a legacy and a history.

fan: So at the end of the day what do you tell yourself to keep going, that you are making good music?

BC: That history shows that cultures have a hard time appreciating certain artists in certain times because they don’t fit the cultural perspective. And you can see it in painting, you can see it in film. We all go to the Best Buy and there’s a film, it’s like, it was totally overlooked and nobody thought it was good at the time and now it’s become like a classic. Well, we think of ourselves as a classic band, and it doesn’t matter if we keep getting overlooked — at some point somebody is going to turn around and realize we’ve just done more better than other people, and we’ll be, we’re willing to be measured on that. But we cannot ride with the culture of this time because this is absolutely the shittiest culture I’ve ever lived in.

[fans laugh, there is a shout of “Amen!” and another of “I agree.”]

BC: The amount of mediocrity is frightening. I lived through disco, I’m old enough to remember disco. [fans laugh] This is worse than disco. This is worse than disco, and that’s nobody’s fault. We’re all sort of in the same boat. So, when you ask a question like that, I mean, you’re looking at the inspiration. We just turn to each other. If he thinks it’s good, and I think it’s good, it really doesn’t matter what anyone thinks. And we’ve reached that point with each other, where we’re secure in our belief in what we do that if, I mean, you know, bad review, bad fan, bad…you know, whatever — it doesn’t matter anymore. I mean, it doesn’t feel good, but it doesn’t really change anything.

(Thanks to HU blogger Andrew for transcribing this!)

At the very end of last night’s first “Black Sunshine” hometown show, the Smashing Pumpkins singer said this:

This doesn’t speak to everyone, but many of you — we don’t know what the fuck you want from us… Last I checked we were an “alternative” band. “Alternative” means different than what everyone else is doing, including those reunion bands that go out and just play the old songs. So, for those of you we disappointed, we’re sorry; we hope you give us another chance. For those of you that love us, we will report to torture [ed. of course] you for twenty more years, at least. God bless.

(Video taken by HU reader Cara!)

From an email sent out by the soundboard-recording distributors:

LiveSmashingPumpkins.com purchase of the 11/16/08 Connecticut show. We regret to inform you that due to technical difficulties, we will not be able to release this show. We welcome you to choose any other show on the tour as a replacement. We apologize for the inconvenience.

While other Chicago music writers (including friend and rival Greg Kot at the Chicago Tribune) have weighed in this morning with first-night reviews ranging from negative to worshipful, Jim DeRogatis has clearly been the most interested of the bunch in the return of the Smashing Pumpkins — and with a followup blog post this morning, he’s the most interesting as well.

The veteran analyst dives in where others have feared or failed to tread, putting out perhaps the most plausible explanation of this tour that anyone (fan or critic) has yet offered. His entire post is a must-read, but here is the center of it:

[M]y guess is that night one links up with night two (”White Crosses”) to form a two-part story arc tracing, I dunno, his band’s journey from hard-rocking, optimistic early days (it all began with “Everybody Clap Your Hands,” remember, and “Siva” came early on, too) through painful darkness and turbulent destruction (”Superchrist”/”United States”) to his beloved band being reduced to a mere automated facsimile of a superstar rock group (”Heavy Metal Machine”). As a result, the musicians turn bitter and angry and decide to punish their fans with the most extreme noise and tweeness they can deliver (”Set the Controls,” followed by the kazoos).

Then things move toward the white light again (”White Crosses”) and the artistes find their spiritual center and Pumpkins Mach II prevail at the end of night two. Or something like that.

Why, if almost everyone has hated this tortured routine on earlier tour stops, does Corgan persist with it? The man has never been anything less than 100-percent committed (and some say that he should BE committed) to his grand conceptual conceits, even when no one understands or likes them.

The full podcast panel comes back renewed and revived to talk about the 20th anniversary tour. Next week as promised we will discuss the If All Goes Wrong DVD.

Listen to the whole show (1:11:57)

(download)(iTunes)

This week’s topics:

Panelists
-Chris, Jason, Jill, and Andrew

Tour Roundup
-Jason saw Black Sunshine and White Crosses in Washington, DC. Does he agree with Jill’s assessment that Black Sunshine was the better show? Does Jill still agree with Jill’s assessment that Black Sunshine was the better show? (7:09)

-Jill journeyed to the Mohegan Sun in Uncasville to see a lot of hits and even more jamming. We talk a lot about encores. (15:49)

In-Depth Discussion:
-Unlike the August tour, the press has been less than kind to the Pumpkins this time around. We delve into why, I express my opinion on I Am One Part II, and we devolve into a formless, 60-minute digression in the middle. (39:37)

This Week in Pumpkins Zwan History
-Zwan makes their debut in Pomona, California. (3:53)

Song of the Week
-Everything is Beautiful, November 18th, 2008

At the end of this podcast, Jason puts himself in the mind of his audience and wonders aloud: “Did I pay for this shit?” He is, of course, mocking you, but that will be very much the consensus opinion of the few hundred bitter, heartbroken fans who will stop their mp3 players as if on a death march. Really, how else are people supposed to feel about a one hour and eleven minute show that mostly emphasizes new topics, generally avoids old classics, and includes at least 40 minutes of formless meandering tangents and artless, self-indulgent discussions?

Within the hour, the Smashing Pumpkins will appear on stage at the Chicago Theatre for their homecoming show in the City of Big Shoulders. Marking the beginning of their sold out four-night run, tonight’s show should prove interesting; there are already rumors flying of potential “special guests” and plenty of hype.

HU reader Cara graciously offered to liveblog tonight, so we should be receiving regular updates from her. Stay tuned for her reactions!

6:26pm CST - Cara texts: “Having our own preshow dinner at Elephant and Castle on Wabash and Lake Street, just one block from the theater. Place is packed and they are playing the Pumpkins’ Greatest Hits disc start to finish!! Pumpkins energy is palpable!” Funny, HU blogger Pins was also there earlier for happy hour. He should be wrapping up his thoughts about tonight’s show later this week.

7:00pm CST - It looks like the SPMM Flickr page is being regularly updated, complete with the shot of the marquee below. Ahh, I miss you, city by the lake. At least when it’s not winter.

8:53pm CST - We’re nearly an hour into the show and the first update I’ve received is from Pins. “”New York? Didn’t get the first half of the set. Boston? Not so much. You guys are focused; that’s good. Now he’s talking to a girl in the balcony. Literally.” I am assuming that the first part of this text refers to some ongoing confrontational banter Billy is having with the crowd.

8:59pm CST - Pins responded again, stating that the banter’s weird becaue the crowd is kind of dead. Billy’s going on again: “Oh, good quote. ‘Now that we live in a democracy, you can say what you want.’ BTW, when did it become August again?” I think the latter statement is a testament to Pins’ unwavering decision to ignore all coverage of the shows thus far. He’s catching on quickly.

9:08pm CST - HU friend Davin sends a rogue text Jason’s way: “LOL. Billy tried to get a rise…tried to instigate…but nothing but love from Chicago. Now playing: Today.” Looks like the comments have started.

9:30pm CST - Wow, the texts are picking up, this time from Mr. SPMM himself, Paul. “New Heavy Metal Machine breakdown. More like the original song,” he reports. You know, Zach and I both commented about this at the Mohegan Sun show - they seem to be mixing it up a lot.

10:01pm CST - Now this takes the cake. Pins continues his series of texts, presumably about Billy’s ah.. stageside manner. He paraphrases the banter: “When I go home tonight and masturbate to Sarah Palin, bent over that amp right there, I will think of you. [points to crowd]” Oh, lord. Time to back up the HU servers and prepare for the Blogosphere Armageddon, you betcha.

10:05pm CST - My mobile is blowing up. Paul: “This is insane.” And Pins again: “Billy chant by the crowd after he gives the mic to a guy in the crowd.” Say what?! They’re chanting for him? And some dude has the microphone? I feel like I’m hearing a bizarrely retold modern version of Macbeth. Or something.

10:57pm CST - Well, after nearly an hour with no updates, I’m going to assume the show is over and people are on their way home or out for post-show drinks. I know this isn’t a satisfying end to a liveblog, but consider it a nod to that song. You know, HOTS, the set-ending crowd-pleaser.

Blogspot user Johnna Danielle Moretti, on Sunday night’s gig:

My favorite part of the evening was when Glenn screamed out to Rob and I, “I have been over rocked! My face? Melted.” Billy and his subsequent Pumpkins were putting on an amazing, rocking and powerful show.

Blogspot user Johnna Danielle Moretti, on Sunday night’s gig:

It was torture. My ears bled. My eyes burned from the bright lights. My mind reeled from all the sounds. The boos started echoing over the loud “music” and it was apparent that everyone else shared my same sentiment; this sucked!

UPDATE: While the photo above was taken by HU’s own Pins, the Smashing Pumpkins Media Militia is promising photo updates from the Chicago Theatre throughout the day on its Flickr account.

The wise Alex Crisafulli, in the process of weighing in on a recent “White Crosses” show:

Early on, while still in slow-down mode, the band played “Sunkissed” from the Zeitgeist add-on American Gothic and a new song called “99 Floors” which might be the best Smashing Pumpkins song I have heard in quite some time.

I personally have not been feeling “99 Floors” so much, but there is now more than one person whose opinions I respect saying that it’s a new favorite of theirs. Also, importantly, Billy Corgan seems to like it.

I don’t think consensus is possible (or desirable) on such subjective matters, but still I am curious to hear others’ feelings: How much do you like “99 Floors” relative to other new or old material? Of what does it remind you? (Do you still care?)

Returning my rental car to Wall Street in lower Manhattan this morning was a beast.  But it was worth it, for it transported us to Uncasville, Connecticut for last night’s latest stop on the Smashing Pumpkins 20th anniversary tour.

Contrary to the recent audience-heckling-the-band incidents in DC and NYC, the audience at Indian reservation-and-casino Mohegan Sun was polite and respectful - I might even say they were borderline enjoying themselves (shocking!), at least around where I sat.

The setlist should appease those looking for singles, with the seven-song run from Landslide through Bodies inspiring deafening applause in the arena.  Bullet with Butterfly Wings, however, was strangely absent.

Oh, don’t you worry - there was plenty of jamming too.  I joked yesterday morning, wondering if it was an “I Am One, pt II” or a HOTS kind of day:  we got both.  They brought on the wall of noise with Superchrist and United States.  Billy Corgan tried to incite the audience with seething ‘jokes’ during Heavy Metal Machine, but I was too blissed out from Gossamer to do anything but laugh.

Sure, there were folks leaving during the encore, but the band played for a marathon 3+ hours last night.  In my opinion, they were tighter than ever — even more impressive than mere days ago at the United Palace.

Those in Chicago this week, you’re definitely in for a treat!

Joe Doh, a non-dork, publishes his thoughts directly to the Internet:

 

Billy Corgan is on my flight. Smashing Pumpkins ring any bells?

This message was sent using the Picture and Video Messaging service from Verizon Wireless!  [ed. not this message…]

Jonathan Perry reports on last night’s “Black Sunshine” concert for the Boston Globe:

You go to a Smashing Pumpkins show to bask in bitterness and confusion. It’s a place where sadness and self-loathing is plentiful, and loud. Where fragile daydreams give way - as you expect and want them to - to endless nightmares of the soul, fed through a fearsome electric machine of steel, wires, and amplifiers. It’s a bleak purgatory where, despite all your rage, you’re still just a rat in a cage.

What you don’t expect is for the purest distillation of this frustration to come after you’ve experienced 2 1/2 carefully cultivated hours of dark melodrama writ large. And the house lights come up without an encore. And then, bizarrely, an unknown guy (a comedian, perhaps?) dressed in a Los Angeles Dodgers cap, wearing mock Manny Ramirez dreadlocks and clutching a broom, comes onstage to blast Boston. He ridicules Pumpkins’ lead singer-guitarist Billy Corgan for his baldness and “whiny nasal voice” while he’s at it, before being shooed away by Corgan, the good guy in a white tiered skirt.

Given his previous In-A-Gadda-Da-Vida-Being-Manny performance on Halloween in Columbus, is it safe to assume the gentleman in question was Pumpkins tour manager Doug Goodman?

Tired of all the drama? Billy Corgan took (offered?) a breather from it at tonight’s “White Crosses” concert in the District of Columbia, communicating almost entirely via singing and musical instruments. His first and final words to the crowd came midway through the set-closing “Age of Innocence”, and momentous remarks on the nature of the relationship between performer and audience they were…I believe they went something like this:

Ladies and gentlemen, ladies and gentlemen, ladies and gentlemen. We ask only that you put your hands together one last time.

I had terrific seats this evening, and I must say — my concertgoing experiences in the last year suggest to me that seat quality determines probably 50-80% of my feelings (as perhaps partially contrasted with my loftily considered opinions) about a concert. And indeed, I couldn’t see anyone who looked to be having a bad time, and the only disrupting yells from the crowd I could hear were ones of encouragement or joy. So, sure, I’ll say that tonight’s Smashing Pumpkins concert was a blast, and anyone who says differently probably sat in the back. ;)