Pictures by Camilo Filho
Nancy
Finally, I've realized... I'm old.
Instead of fawning all over Steve at this show, as I'd always expected I would, I gazed at all 4 lads equally all night, feeling very--gulp--maternal!
If I were Peter Koppes' mother, I would go to every one of his shows and stand right in front of him. He needs encouragement. He looks so sullen onstage, and is master of the sidelong glance. He glances a lot to his left (seemingly at me, yeah, sure!) Instead, I, my opera pal Ira and my partner Seancer-in-crime, Karen Grandage, stood over in front of Marty, with some nice Seancers from down south--NC and TN? KY? I forget. Howdy, folks.
To see the Church so close, onstage, inspires awe...couldn't believe I was really, finally there! No mistaking this for a Santana concert, with the drummers, guitarists, all constantly turning and looking at each other, playing off each other, etc. Peter, Steve, Marty, each seemed in his own secret dreamworld most of the time. Their M.O., I guess.
Not so the opening act--Symposium. They looked about 14 years oldand I'd lose a lot of weight if I joined their band. Wasn't it amazing how many flying leaps they could take simultaneously, without getting all those wires crossed?
Steve looks like St. Nick--fine reddish hair, very smooth facial skin, apple-red cheeks, deep smile lines around his eyes, and he smiled the whole time, gazing out to the distance, or with eyes cast demurely down. He wore the black velour shirt, white jeans and new black pointy-toe boots. Why the urge to hurl myself at him didn't sweep over me, I don't know. Always assumed I'd feel it. Perhaps the sight of the young blonde standing backstage disuaded me from such an immature impulse.
Marty, wearing black so faded it looks charcoal grey, and very scuffed chunky-toed brown boots, appeared literally to have just rolled off a couch after an all-nighter. He did not look as if he wanted to be on that stage. Warmed up later, though. His face has a bruised look around the eyes--that Steve Winwood face. Nice teeth. He played tremendously, and lunged in my direction a few times. Yes, I got my hands on the black guitar at the end! You can see where the frets are worn down from his fingers on the red Rickenbacker he was playing.
Peter wore a black, stretched-out sweatshirt and white jeans. He looks like a god--rather reminiscent of Michaelangelo's David, for some reason--until he moves. Awkward. He plays masterfully--but very unobtrusively, the antithesis of Marty's stage presence. But I shouldn't make Marty sound like a whirling dervish--it's more his fingers doing the whirling. Incredible. But every time he was spotlighted, (a lot!), I felt I had to look over at Peter. I kept mouthing, "Go, Peter, go!" like a soccer mom. He did indeed practically throw his guitar down toward the end of the last song of the set and walk offstage, as if to say, "I'm off!" in a pout.
Tim Powles had a sporty t-shirt on, and he looks like a cross between Franco Nero and Jean Reno! Ooooh! His playing DEMANDS your attention! Wow! Forces you to look. Found myself watching him a lot. He looks as if the drums are hitting him, rather than vice versa, because he flinches so much as he plays. Maybe he's just blinking sweat from his eyes [Brian: Nope, Tim always does that :) ]. He was the surprise thrill of the night. I loved watching him.
I thought the crowd extremely restrained, even for DC. Very tame. Steve only said "Thank you" after every song, but no one really said aught to the band. I cringed when two young girls behind me called out softly, "Unguarded Moment!" No one heard. Whew.
It was "cute" when Marty and Peter met at every refrain of one song (was it "Almost With You?"--heck, I forget) in the middle of the stage to play as perhaps they might have in older times...and when Tim peered through his cymbals, mouthing kisses at Marty... but biggest thrill was the sound of shimmering, blood-curdling opening bars of "Hotel Womb."
Thanks to the very wonderful Seancer Karen Grandage from U.Va, we made it to this show in one piece, although we were constantly stuck in traffic all the way in, then, in our excitement, we ran a red light and got pulled over by police and ticketed $75. Embarrassing... but one must suffer for art.
I feel sorry for the 5'1" person who wrote--I thought I had it bad at 5'2 3/4"! How I managed to get a front-row spot I'll never know. And yes--I was next to a now 'de rigueur' bored girlfriend.
Regrets--I didn't meet Karl Reinsch or Phillip Ross. I didn't meet the band (like, was I expecting to?-NOT!). Speeding ticket.
BUT...WORTH IT ALL!
N. LaMotta
Although every show was the same set, at each show different songs spoke to me in different ways on different nights. It was a pure delight to hear Day of the Dead live, never expected that one. And Two Places At Once has become one of my favourites now that I've heard it live... Of course Tantalized was uytterly amazing, as was An Interlude and Destination.
My opinion of the shows...
BEST GATHERING OF SEANCERS: Philly... had a great time meeting so many really cool people. Anytime any of you want to come to a Philly show, you're more than welcome.
BEST SOUND AND OVERALL PERFORMANCE: New York. The sound quality was amazing (imho) and I thought the bands playing was so 'on'... every transition was crisp and amazing, all the solos were unbelievable... just a really great show. I didn't care for the venue though, too much like a cave and there was that damn pole right infront of Steve...
BEST CROWD, VENUE & PERFORMANCE ENERGY: DC. I love the 9:30 Club - big open space, just perfect for the Church's sound. The crowd was absolutely rabid for the boys and screamed their hearts out for them - an energy the band definately responded to... I actually saw Steve smile and laugh in more than one spot of the show. Marty of course was ebulient, and even Peter seemed to be having a lot more fun than he usually does. Really great vibe for the whole evening. Was lucky enough to catch part of the sound check where we heard snatches of Chaos, The Disillusionist, and the Beatles' "Carry That Weight".
I definitely have to say that Tim Powles is amazing! Far better than Richard ever was. He has the precision to play with a loop (Day of the Dead) with stability and grace, plus the ability to do some amazing lock-groove stuff - the way he worked off Marty's helicopter rhythm in Tantalized was brilliant, and his intuition on the longer jams of You Took is truly inspired. I hope that he's getting the recognition he deserves on this tour.
Marty -- I was prepared to resist. I wasn't going to be yet ANOTHER female to sucuumb to his charms. But alas, I was but weak flesh and putty before him, as hundreds before. His infectious smile, out-of this world guitar playing (up and down the neck) and general energy level kept me smiling the entire show. What youthful and infectious exuberance - plus sheer talent.
Peter seemed more relaxed than what it sounds like he was at other shows - he and Marty came together across the stage to banter with one another several different times. I couldn't hear his guitar as well from my spot - but was somewhat disappointed not to hear more of the soaring guitar dueling that I know he is capable of. Twice, he seemed somewhat put out - once something happened to his guitar or amp connection (anyone know what that was?) and he stalked off the stage and then again at the end of the evening - I guess he had had enough.
All in all - seeing them live has given me a whole new dimension when listening to the music.
1- Some idiot behind me yelling, "you suck! this is a rock n' roll show! reptile!" Fortunately, this didn't last very long.
2- It seemed that half the audience believed that Marty played every solo for every song. No matter who was playing the solo, it seemed that everyone was cheering on Marty. Don't get me wrong, MWP plays like no else. So does Peter Koppes. Nobody bends and wails like that guy. The DC show was so ridiculous that Marty ended up pointing over to Peter while the crowd is cheering on Marty for PK's solo.
So it was back to NYC the next day. Friday night at Tramps. Wow! Amazing show. Myfavorite of the tour yet. The first night in Solana Beach was great because it was my first ever, and the first of the US tour. But Friday night, in New York, was magical. The band was having a great time and playing like mad. And the crowd responded likewise. People were very enamoured of Peter, and were yelling out his name consistently throughout the night. After the first set, the band came back onstage with the exception of Marty, who I found standing between the stage and the crowd, in front of Peter, yelling "Peter! Peter!" Great moment. Peter seemed kinda confused, or more likely embarassed, and yelled out "Marty" and shook his hand. Strange but true. It was a late show and I got very little sleep before lumbering out of bed and hitting a bus for my trip to DC.
I got to Polly's at about 6pm. Found a few Seancers and hung out there for a while. Then a few of us headed over to the gig, and I found the 9:30 to be a great venue. The opening band totally sucked, big time. One of the guitarists proceeded to smash his guitar at the end of their set. They really blew. DC matched NYC in terms of crowd adorement, no doubt. This was my last show, possibly ever, and I was pumped. They band were in seriously good spirits, greatly abetted by the roaring adulation of the crowd. Marty was very animated, more so than at any of the other shows. The sound was excellent and Steve couldn't wipe that smile off his face. Even Marty & Peter were sharing jokes from time to time behind Steve.
Have I conveyed how good a time I had? It's been wonderful enjoying these shows and meeting Seancers along the way. Let's hope it's not the last time.
Marc
Philly, 10/8/98- Met Seancers Joe, Drew, Jack, Chilli et al at the Balcony Bar before the show. We were able to hear the soundcheck which consisted of "Two Places", "Louisiana" and "Destination". Yes it was me who opened the doors to try to get a view and got reprimanded by the bouncers. Don't these guys understand? The show was fabulous, planted right at the front of Marty and also involved in the "Drumming"(keep that day job Chrispy!). The set list was the same as reported. Tim disappeared after "UTMW", I presume to go to the 'loo. The band was stunned to find him missing and Steve commented about "we're losing them faster and faster nowadays" , obvious Spinal Tap references. Marty filled in the time by playing the opening riff of Mott the Hoople's "All the Young Dudes". The finale was absolutely mind-blowing, with Marty wrapping the neck of the Rick with the cord and just spinning and whacking away. WOW!
D.C. 10/10/98- Met Seancer's Chrispy, Andrea, Phil, Eric,Joe, Mark(Go Cowboys, ha ha) and more at Polly's for reviews of the NY show and a few pints. The sound at the 9:30 was incredible, much clearer, louder than Philly. You could actually hear Steve. Standouts for me were "Grind" and Pete shredding the strings on BOTH guitars during "Reptile". To the guys up front, did you like catching the guitar? then give it back when Ward asks for it! Don't spoil the experience for others!
Found out the shows were taped for a future internet broadcast on a site called "Studio M", which already houses about 30 photos taken from Philly [Brian: I can't find them though :( ].
Thanks for the friendship that everyone extended and until next time...
Aloha,
Morgan Arbogast
Cheers
mike montroy
reston, virginia usa
Since I was on Marty's side of the stage, I didn't get to see much of Peter but whenever I looked over his way he seemed to be enjoying himself, though not as effusively as Marty. Peter seemed to enjoy the older songs the best, particularly Almost With You. And on Reptile he even mimicked Marty a bit during the outro, before some kind of guitar problem prompted him to throw down not one, but both of his guitars and stalk offstage.
Steve was smiling all night, but was pretty quiet. Other than saying thanks after every other song, and a couple comments that we were a very nice crowd and we were too kind, there wasn't much banter. I couldn't see Tim at all except walking on and off stage, cause someone's head was in my way. The sound and the band's energy seemed to lack a bit for the first few songs, but then they got cooking, and Hotel Womb, which has been a fave of mine since I saw them play it in 90, was incredible, Marty's chaotic solo in the middle definitely one of the highlights. He practically laid the guitar on top of the head of a kid in front of me in the audience playing it.
Which, btw, i disagree with the person who thought the crowd was older, i thought it was a pretty good mix of young and old which was encouraging. In fact, the aforementioned kid at the front of the stage was about 10 and was there with his parents. The crowd was as large as any i've seen at the 930 club. Other song highlights: Almost With You, Tantalized, You Took were great. You Took and Interlude aren't faves of mine on record, but they were really solid live, guess they've been playing them so long that they just have those ones locked in. On Two Places at Once, Marty had some problems with his acoustic during the first verse and chorus, so he came out and sang the first chorus "lead singer" style, sans guitar til the tech brought it out to him for the second verse. Strange but interesting moment. Marty had quite a few guitars with him, including a really strange looking Rick i've never seen before for Day of the Dead.
Having read previous reviews, I was waiting for Marty to throw out his guitar to the crowd, but alas he threw it about 20 feet to my left. All in all it was a great show, but you all knew that. I just hope i don't have to wait another 8 years to see them again.
Tim
Though I own all of their albums, I know no other fans of the band, so my association with their phenomenon is entirely through their recordings, and not filtered through others which is an odd way of saying it was a very personal type of experience for me, actually witnessing them live like that. Like visiting Disneyworld or Hollywood for the first time, sadly some of their mystique was lost instantly, just for the breathing the same air the band did. I had never ventured into the 9:30 club either for that matter--all kinds of firsts, come to think of it-- and frankly I was a little disturbed it seemed so...small. Naturally, what better way to enjoy a band whose music you really enjoy than in a venue as intimate as this one, heck I was only three rows from the stage and could have read the taped down set lists had I cared to. (I would appreciate it though, if one of the folks who took one with them after the show would post it out so others of us can recall the sequence they played. Thanks). Part of me couldn't help but think that they deserved a larger venue, but they seemed more intent on the music than grumbling about the humble circumstances so who am I to fret it?
Yes, as you keep reading, the band was phenomenal. The playing was tight, the sound very satisfying, though the microphones were not always as loud as they should have been, and the crowd was into it. The drumming was enthusiastic and aggressive, really driving the music into a gear I was totally unprepared for considering the more languid/liquid feel of their recent recordings. Steve Kilbey, who told us we were " a fine audience" did indeed seem lost in a trance during many songs especially the instrumental interludes. Peter Koppes, whom I have loads of respect for musically, struck me as inscrutable. Sometimes it seemed as if he really didn't want to be there, almost pouting during extended jams. Hope was rejuvenated though when he offered a smile from time to time in response to audience participation or a particularly satisfying vibe. Only Kilbey actually had any direct vocal communication with the crowd, though Willson-Piper would from time to time beam broadly,gesture or posture for the crowd, several times actually re-directing the audience's entranced gaze over to Stage Left where Mr. Koppes was quietly toiling industriously, I imagine in order to spread the wealth of attention he was receiving. Exasperated with his guitar strings, two of which broke it seems, Koppes threw his guitar down once, during "Reptile" I believe and stormed off stage, pure childishness if you ask me. A smiling Willson-Piper led a cry of "Peter, Peter" to attempt to coax him back. He was enjoying himself at least and the enthusiasm coiled inside his frame quickly became apparent as the concert progressed, perhaps aided and abetted by the drop in the beer level in the cups on top of the amps behind him at the right side of the stage.
Yes, playing the role of guitar god, Marty Willson-Piper's performance was absolutely stunning. I was simply transfixed by his playing; during "Tantilised" and "You Took" his hand moving furiously across the guitar I could only think that that indeed was a passion that one could never conjure in the studio (yes, I am afraid that I was quite disappointed by the live-in studio bonus disc from "Hologram of Baal", "Bastard Universe", which though I appreciate the gesture, seems very flat and uninspired.) Not so with this live performance however--I was completely unprepared for the sustained energy and intensity of his playing in particular. Judging from their recordings, especially from "Hologram of Baal" and "Magician Among the Spirits" ,which, so sue me I happen to enjoy more than most- strikes me as the perfect blend of The Byrds and early Pink Floyd if you were to have asked me-- have a very liquid and deliberate feel to them, very soft and yes, languid. Beautiful in their subtlety and nuance. Not the work of a band that launches into incendiary fireworks on their tours however, or at least one might think.
The final encore, "You Took", was a picnic of crescendos, loops, feedback and reverb that both Koppes and Willson-Piper generously fed with a series of guitars, pedals, switches and knobs in private laboratories of sound on either side of the stage. Enthralling to watch, really.
Why I should be so concerned with Peter Koppes' frame of mind is beyond me, but although most of the evening he seemed distracted, unhappy, non-plussed at best, it was during this construction of the bed (not a wall, definitely not a wall) of sound that he actually seemed most at ease--and it was nice to see. Kilbey had stepped back, towards the drum kit, strumming with his eyes lightly closed soaking the ambience of Mssrs. Koppes' and Willson-Piper's guitar-drenched atmospheres and the moment was transplendent--if that indeed is a word. One presumptuous word of advice for the live album. During "You Took", Koppes walked off stage first. Moments later Willson-Piper followed. Neither had bothered unplugging anything before making their exits, so both guitars and pedals continued to wail and throb even without a soul on stage. It was up to their technician to walk on stage and, one by one, turn off the various sound-making devices, each in turn allowing more air and space for the next until only four, three, then two loops and waves coursed through the crowd. Then one. And with the simple pull of one final plug that last ringing note was extinguished, echoing in our ears and then finally silence. An incredibly powerful final sequence. It BELONGS just like that on the live album... and please, please, please, let there be a live album. Please.
The 9:30 Club is a really nice venue. It has a nice, wide-open floor, two layers of balconies, food and drink bars, and a few back rooms where you can go and sit down.
The opening act was, well, good at what they do. In their defense, they were pretty tight and decent players (except, maybe for the singer, who didn't make a bit of effort to curb his very strong accent, or be clear, when he sung). From a totally objective standpoint, they didn't suck. However, they were probably THE BIGGEST mismatch for The Church that any of us could think of. With songs like "Why Do I Hate You", "Why Don't You Love Me", and "I Don't Love You" - which they played, in that order, with a few songs between - my friends and I couldn't help but laugh at their stage-jumping, flailing, running about, and instrument destruction (the one guitarist, at the end, was hitting himself on the head with his guitar - I kid you not). But, I digress...
The crowd was very responsive, and received them well, I thought. There was much, much noise (at least, they/we were much louder than in Philly). Highlights/notes of interest: Steve smiled! More than once, I believe. He seemed to really warm up to the crowd. He chuckled a bit over the beginning of one of the lines in "You Took". He gave us a few "Merci"s and "You're very kind". Marty really worked the crowd, as usual, and lent the crowd his guitar in the last encore once again. He and Peter played off each other a bit, and I did see Peter smile a number of times. That is, except for his run of bad luck with his equipment. At the end of the last song from the first encore, I saw him drop his Strat to get the Telecaster, and on the first strum, I saw a string break. He dropped the guitar, waved to the audience, and walked off - Marty gestured towards him in a "let's hear it for Peter" manner. Also, during the final encore, when Marty was doing his thing, he accidentally pulled the jack out of his guitar, and it seemed like he was about to give up when he stood up and gave another "let's hear it for Peter". He plugged back in and kept going, though.
This next bit is a set-up, not a brag. I was fortunate enough to be able to purchase Marty's 12-string Rickenbacker when he was selling guitars not too long ago (there's another story in that altogether, but I won't get into it right now). Well, at the prompting of my friends, I brought it along (left it in the trunk during the show) in the hopes that I might be able to get it signed. After they were done for the evening, I mentioned this to Chrispy, who suggested that I ask Ward (a very nice equipment guy working for them - I recognized him from the Philly show) about getting it signed. I asked him as he was packing up the equipment on the stage, and he told me to come back in about 30 minutes. Well, as soon as I got out the door, they wouldn't let me back in. This, I thought, was bad. Well, I ran to my car, grabbed the guitar, and waited by the entrance to the back alley (security wouldn't let us get any closer to the back entrance). I saw Ward packing up the van, and as soon as he finished and closed up the van, I pointed to the guitar and yelled out "Ward, can I get this signed?" He told me to hold on, and went back inside. Well, a few minutes later, he motioned me back in. I GOT INSIDE!!
He led me upstairs to where the room they were in. I walked in, and to my right were Marty and Peter sitting on one couch, and along the far wall were Tim and Steve on another. I was dumbfounded. There were so many questions I would've liked to ask, but couldn't really think of one of them. I was so shocked just to be there. I guess I should be proud enough that I wasn't trembling or stumbling over every word. I first approached Marty (he was the closest to me, anyway) and introduced myself as the guy who bought his guitar. I took it out of the case and attempted to jog his memory further by mentioning that he called me before he sent it, but that I wasn't home. He remembered. He noticed that I had it restrung (he often strings his 12-strings differently than the norm), and I mentioned that I had to since I got the bridge re-set. He said "Oh, you got it fixed?" and turned it around and strummed it a bit (my guitar has been blessed! {grin}). As he turned it about to go about signing it, he started to sing something (I couldn't tell what), when Peter said he should sing When You Were Mine. Marty gave a chuckle and a "Yeah". He signed the guitar, HoB, and Spirit Level. "Oh, Spirit Level! I see you've had a bit of a problem getting it in and out of the jewel case." Did Scott say "It's a great album, I really like it"? Did he say "I've figured out how to play many songs on here"? No. He said "Yeah". Anyway, we talked for a bit about the guitar - he said that the neck was to round for him. I also asked about the set list.
Looking back, I all but ignored Peter. I got a chance to speak with him a bit outside of the Philly show, but I would doubt that he'd remember me. I went over to Tim and Steve's couch next. Tim was closest to me, and I got his autograph on an album or two, blurted out some sort of praise, and moved on when he gave me no reaction. I went over to Steve, and he signed some more stuff for me (I got him to sign a few after the Philly show). He was talking to someone else, and kept holding out his hand for more things to sign. I said thank you very much and showed him that he signed some things for me already. I asked him about one part of the show where he looked down, smiled, and kinda kicked at something/someone in front of him. He said that someone was trying to grab his setlist. He and Tim didn't seem overjoyed, despite the warm audience. They didn't seem hostile, just not excited about life. I felt kind of awkward, and, my mind blank, and not wanting to overstay my welcome, I ventured toward my guitar.
Another fan started to talk to Steve (and Tim, kinda, but more toward Steve). She, with or without prodding I forget, started to give her opinion about how they need to move around more. Well, Steve started to have some fun with her on this. He was asking her things like "What do you play" - her "nothing, but..." "Are *you* in a band?" - her "no, but...". Steve then gives an insightful "Ah. SO you're not in a band, and you don't play anything. Maybe you should just stand up there and move around while we play." Or something. I tried to break in with some comic relief, and gave them my idea that they should have a full chorus line of sequined dancers and doo-wop girls, but Steve just looked at me, and that was that. I shook his and Tim's hands and then Peter came over into the corner to close up his suitcase. I shook his hand and mentioned that I really liked his solo albums, and he says "Ah, the internet?" I said "Yup." He said something to the affect of everything seems to be heading in that direction - I agreed. I shook Marty's hand, he thanked me for buying the guitar, and I thanked him for selling it to me.
Oh, and on an encouraging note, while I was talking to Marty, I said something like "It's not going to be another decade before you play over here again, is it?" He asked one of the people working there about how many tickets they sold there and at some other venues and said that if they keep selling that many tickets, then it justifies them making the trip. I think I emoted joy at that. Yes!
Sorry I rambled on for so long. I hope you enjoyed it.
-Scott-
Eric
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