i was in the orchestra row m keeping an eye on the hooligans in section d
Pixies fans
Originally posted by kosmo vinyl:So we had them covered from both sides…..Excellant.
i was in the orchestra row m keeping an eye on the hooligans in section d
I was right in front of the whooper and didn't mind it. I was glad people were getting into it. What killed me was that these two dudes in row E directly in front of me looked they just wandered into the show. They spent the first four songs talking and checking out girls. Then they left a 1/4 the way through and never came back. Some dedicated fans could of used 5th row!
Originally posted by cdg:Probably got their tickets from E Bay.
I was right in front of the whooper and didn't mind it. I was glad people were getting into it. What killed me was that these two dudes in row E directly in front of me looked they just wandered into the show. They spent the first four songs talking and checking out girls. Then they left a 1/4 the way through and never came back. Some dedicated fans could of used 5th row!
The whooping flailing guy was goin' nuts during the entire Datsuns set as well.
Speaking of flailing, a group of people decided to hang out at the stairwell in front of our row, and blocked a view that would've been pefect line-of-sight otherwise. I was able to peer around them until one of the dudes started flailing and kept going through the whole show – he definitely seemed like an "look at me, I'm so cool" type. The evil side of me was tempted to go get an usher and get them moved back to their seats, because they clearly weren't supposed to be in that section, but I decided that would have been contrary to the spirit of the evening, and to the spirit of rock 'n' roll, and let it go.
Man, the heart of rock n roll is still beating.
Originally posted by econo:sure is
Man, the heart of rock n roll is still beating.
<img src="http://www.planbproductions.com/off/huey/huey3.jpg" alt=" - " />
Originally posted by Bombay Chutney:What is that guy's deal? I've seen him at numerous shows over the last two years and he always does the same thing. I was in the box seats and saw him come in. He was even doing his dance while being walked to his seat with the attendant. :eek:
Originally posted by Rob_Gee:I was exactly 3 rows behind him (Row K on the aisle). He would alternate between whooping, jumping around waving his arms in the air like he's in aerobics class, and sitting down for 10 minutes at a time. Then he'd jump up and start all over again. I see him at shows all the time. He's hard to miss.
Was he the one in the tank top waiving his hands every once in awhile. We enjoyed watching him also. He stuck out since noone within 8 seats were moving.
Is it dancing larry?
i'll be in box 15 tonite, row A. Can't wait!! :D
Also.. to those who waited for the band- what time did they end up coming outside?
Also.. to those who waited for the band- what time did they end up coming outside?
That's the second show I've seen with the whooping guy. I last spotted him at the Brian Wilson show. I could hear his yelps over the Datsuns set last night.
Seeing as I'll be in New York next week I figured I could try and see them again. Anyone have tickets for the 530 show on Dec 18th at Hammerstein? Or the midnight show that night?
wow that's one hell of a link……….
<small>[ 12-09-2004, 10:04 AM: Message edited by: econo ]</small>
<small>[ 12-09-2004, 10:04 AM: Message edited by: econo ]</small>
Originally posted by poorlulu:www.tinyurl.com
wow that's one hell of a link……….
Here was tonight's setlist:
Ed is Dead
Gouge Away
Cactus
Bone Machine
River Euphrates
Velouria
I Bleed
Mr. Grieves
Monkey
Caribou
#13 Baby
Dead
Hey
Debaser
Tame
Gigantic
In Heaven
Wave of Mutilation (UK Surf)
Here Comes Your Man
Nimrod's Son
Holiday Song
Vamos
Where Is My Mind
——————-
Isla De Encanta
Something Against You
Crackity Jones
Broken Face
Great set tonight, would have loved to hear Planet of Sound and Into the White one more time though. I got to the venue and a white van pulled up…Kim and Kelly Deal and Joey got out, which was pretty cool. I thought the sound was MUCH better tonight, TV on the Radio's set seemed awful short though. I had a great time, but Constitution Hall still wasn't the best venue…still, I feel I shouldn't complain. I had a good seat and I got to see a lot of friends. Great band, amazing tour, and easily one of the best times I've had at a concert in a long time. I hope everyone else enjoyed the shows as well!
Ed is Dead
Gouge Away
Cactus
Bone Machine
River Euphrates
Velouria
I Bleed
Mr. Grieves
Monkey
Caribou
#13 Baby
Dead
Hey
Debaser
Tame
Gigantic
In Heaven
Wave of Mutilation (UK Surf)
Here Comes Your Man
Nimrod's Son
Holiday Song
Vamos
Where Is My Mind
——————-
Isla De Encanta
Something Against You
Crackity Jones
Broken Face
Great set tonight, would have loved to hear Planet of Sound and Into the White one more time though. I got to the venue and a white van pulled up…Kim and Kelly Deal and Joey got out, which was pretty cool. I thought the sound was MUCH better tonight, TV on the Radio's set seemed awful short though. I had a great time, but Constitution Hall still wasn't the best venue…still, I feel I shouldn't complain. I had a good seat and I got to see a lot of friends. Great band, amazing tour, and easily one of the best times I've had at a concert in a long time. I hope everyone else enjoyed the shows as well!
TV On The Radio did seem a bit short. And to be quite honest, while I like the live show ("Poppy" was the highlight tonight for sure) I almost prefer the album…there's certain electronic elements and tricks that they aren't mimicking on stage, and I miss that.
Overall great show. Stage was setup in such a way that there weren't really any "obstructed" seats, which was good. Sound quality was nice, though while the band did seem to be having a good time, it's always a bit strange to me when bands don't interact with the crowd too much. Also thought Kim's comment "we played here last night!" was probably the dumbest thing I've ever heard people cheer for at a show.
No one's said anything about them yet, but frankly I wasn't impressed with the Bennies. And I feel absolutely awful for thinking of a certain South Park episode the whole time I was watching them.
Overall great show. Stage was setup in such a way that there weren't really any "obstructed" seats, which was good. Sound quality was nice, though while the band did seem to be having a good time, it's always a bit strange to me when bands don't interact with the crowd too much. Also thought Kim's comment "we played here last night!" was probably the dumbest thing I've ever heard people cheer for at a show.
No one's said anything about them yet, but frankly I wasn't impressed with the Bennies. And I feel absolutely awful for thinking of a certain South Park episode the whole time I was watching them.
Glad it was a little cooler last night. The heat Tuesday night greatly reminded me of how much I sweat when I saw them back at the Citadel Center.
pretty spot on review…
The Reunited Pixies, Still Defying Analysis
By Sean Daly
Washington Post Staff Writer
Thursday, December 9, 2004; Page C01
When they were at their cranky, calamitous best, the Pixies – the band that inspired Nirvana's Kurt Cobain to commence the grunge revolution – sounded broken, fractured, doomed. Born in Boston in 1986, splintered by '92, the ill-fated but influential quartet slammed out warring scraps of noise as if they knew their days were numbered: three guys and a girl doing their own thing – rock, punk, surf, shrieking – and then suddenly, if briefly, playing nice for a shimmering melody or a shout-along chorus. They were a mess, but a mess like no one had ever heard before, and the group was just the antidote for kids sick of the mindless thunder of hirsute '80s music.
All these years later, the Pixies, I'm pleased to report, still sound in dire need of a shrink.
At a hot, humid Constitution Hall on Tuesday, the recently reunited band, embarking on the most unlikely yet most buzzed-about world tour of the year, played the first of two sold-out shows. For 90 minutes, they were surly then sweet, chummy then distant, each of their 30-some songs playing out like a puzzle with pieces missing. The tour is called "The Pixies Sellout" – a cheeky admission that their indie ethic has given way to the cash-hungry ways that keep the Eddie Moneys of the world working the boards – but fat wallets and all, the Pixies can still make first-class mayhem.
On their four albums, particularly the one-two wallop of 1988's "Surfer Rosa" and 1989's "Doolittle," singer Black Francis, bassist Kim Deal, guitarist Joey Santiago and drummer David Lovering seemed to be bouncing off the studio walls – the aural equivalent of a hotel-room trashing – but actually, then as now, they vent their oddball assault standing still, save for a quick cigarette or a wipe of sweat.
No matter: Their fans have always done the moving for them, and Tuesday night a bustling blend of college students and aging hipsters danced in the aisles and unleashed myriad standing ovations.
The most intriguing aspect of the Pixies remains the curious relationship between dueling talents Francis and Deal, a push-me, pull-you battle for creative power that was a major reason for Francis's breaking up the band . . . via fax. (Ouch.) The pudgy bald frontman – who would later embark on a solo career as Frank Black (real name: Charles Thompson) – writes and sings almost all of the songs. Deal, who post-Pixies formed the popular '90s band the Breeders, is once again mainly relegated to thumping out ominous bass lines that would fit in just fine on a Judas Priest record. During stretches of the show, she played with her back to the boys.
That said, Tuesday night's best moments were when Francis, appropriately dressed all in black, and Deal, clad like a soccer mom in slacks and blue sweater, sang together, his madman howl accented by her little-girl-lost coo. The Pixies' biggest hit, the early-Beatlesque "Here Comes Your Man" – which might be about a hobo, but who the heck knows with the ever-cryptic Francis – prompted the night's loudest sing-along, especially when Deal chirped "So long, so long" and Francis countered with "You'll never wait so long!"
Kurt Cobain once said that his original goal was simply to write a good Pixies song, and that makes sense. From "Smells Like Teen Spirit" on down, the Nirvana songbook is rife with the Pixies' penchant for soft-then-loud arrangements, jarring tempo changes to keep the listener off balance. The Pixies took their trademark one step further Tuesday. Their set started with slow (well, slower) stuff – Deal opened with a sparse, creepy reading of David Lynch's "In Heaven (The Lady in the Radiator Song)"; Black followed with an acoustic-based cover of Neil Young's "Winterlong" – and grew increasingly ferocious once they started tackling their own material ("The Holiday Song," "Bone Machine," "No. 13 Baby"). By the time Francis, a balladeer in a punk's body, got to the apocalyptic countdown of "Monkey Gone to Heaven" – "If man is 5, then the devil is 6" – drummer Lovering was sleek with sweat.
Bald and also dressed in black, Santiago – who looks like about half of the large-and-in-charge Francis – is a master of the Duane Eddy switchblade riff, and his guitar cut through the scrum of such aggressive (or is it passive-aggressive?) songs as "Tame," "Subbacultcha" and "Crackity Jones." In a sublimely silly moment straight out of the Slash playbook, Santiago unveiled some guitar-hero trickery, playing via the effects pedal and making sure everyone went home with a complimentary gift of tinnitus.
In a nice attempt at fixing the past, however, it wasn't Santiago or Francis who took star turns during the encore. Instead, Deal, with all the chipper spunk of a grade-schooler, delivered her sole songwriting contribution to "Surfer Rosa" – the cleverly catchy interracial love song "Gigantic."
Let's hope Francis keeps his fax machine unplugged.
The Reunited Pixies, Still Defying Analysis
By Sean Daly
Washington Post Staff Writer
Thursday, December 9, 2004; Page C01
When they were at their cranky, calamitous best, the Pixies – the band that inspired Nirvana's Kurt Cobain to commence the grunge revolution – sounded broken, fractured, doomed. Born in Boston in 1986, splintered by '92, the ill-fated but influential quartet slammed out warring scraps of noise as if they knew their days were numbered: three guys and a girl doing their own thing – rock, punk, surf, shrieking – and then suddenly, if briefly, playing nice for a shimmering melody or a shout-along chorus. They were a mess, but a mess like no one had ever heard before, and the group was just the antidote for kids sick of the mindless thunder of hirsute '80s music.
All these years later, the Pixies, I'm pleased to report, still sound in dire need of a shrink.
At a hot, humid Constitution Hall on Tuesday, the recently reunited band, embarking on the most unlikely yet most buzzed-about world tour of the year, played the first of two sold-out shows. For 90 minutes, they were surly then sweet, chummy then distant, each of their 30-some songs playing out like a puzzle with pieces missing. The tour is called "The Pixies Sellout" – a cheeky admission that their indie ethic has given way to the cash-hungry ways that keep the Eddie Moneys of the world working the boards – but fat wallets and all, the Pixies can still make first-class mayhem.
On their four albums, particularly the one-two wallop of 1988's "Surfer Rosa" and 1989's "Doolittle," singer Black Francis, bassist Kim Deal, guitarist Joey Santiago and drummer David Lovering seemed to be bouncing off the studio walls – the aural equivalent of a hotel-room trashing – but actually, then as now, they vent their oddball assault standing still, save for a quick cigarette or a wipe of sweat.
No matter: Their fans have always done the moving for them, and Tuesday night a bustling blend of college students and aging hipsters danced in the aisles and unleashed myriad standing ovations.
The most intriguing aspect of the Pixies remains the curious relationship between dueling talents Francis and Deal, a push-me, pull-you battle for creative power that was a major reason for Francis's breaking up the band . . . via fax. (Ouch.) The pudgy bald frontman – who would later embark on a solo career as Frank Black (real name: Charles Thompson) – writes and sings almost all of the songs. Deal, who post-Pixies formed the popular '90s band the Breeders, is once again mainly relegated to thumping out ominous bass lines that would fit in just fine on a Judas Priest record. During stretches of the show, she played with her back to the boys.
That said, Tuesday night's best moments were when Francis, appropriately dressed all in black, and Deal, clad like a soccer mom in slacks and blue sweater, sang together, his madman howl accented by her little-girl-lost coo. The Pixies' biggest hit, the early-Beatlesque "Here Comes Your Man" – which might be about a hobo, but who the heck knows with the ever-cryptic Francis – prompted the night's loudest sing-along, especially when Deal chirped "So long, so long" and Francis countered with "You'll never wait so long!"
Kurt Cobain once said that his original goal was simply to write a good Pixies song, and that makes sense. From "Smells Like Teen Spirit" on down, the Nirvana songbook is rife with the Pixies' penchant for soft-then-loud arrangements, jarring tempo changes to keep the listener off balance. The Pixies took their trademark one step further Tuesday. Their set started with slow (well, slower) stuff – Deal opened with a sparse, creepy reading of David Lynch's "In Heaven (The Lady in the Radiator Song)"; Black followed with an acoustic-based cover of Neil Young's "Winterlong" – and grew increasingly ferocious once they started tackling their own material ("The Holiday Song," "Bone Machine," "No. 13 Baby"). By the time Francis, a balladeer in a punk's body, got to the apocalyptic countdown of "Monkey Gone to Heaven" – "If man is 5, then the devil is 6" – drummer Lovering was sleek with sweat.
Bald and also dressed in black, Santiago – who looks like about half of the large-and-in-charge Francis – is a master of the Duane Eddy switchblade riff, and his guitar cut through the scrum of such aggressive (or is it passive-aggressive?) songs as "Tame," "Subbacultcha" and "Crackity Jones." In a sublimely silly moment straight out of the Slash playbook, Santiago unveiled some guitar-hero trickery, playing via the effects pedal and making sure everyone went home with a complimentary gift of tinnitus.
In a nice attempt at fixing the past, however, it wasn't Santiago or Francis who took star turns during the encore. Instead, Deal, with all the chipper spunk of a grade-schooler, delivered her sole songwriting contribution to "Surfer Rosa" – the cleverly catchy interracial love song "Gigantic."
Let's hope Francis keeps his fax machine unplugged.
I was rather disapointed in the amount of repeats from the night before, but overal it was a great show!