Post by NathanC on Jul 26, 2005 15:04:02 GMT 7
Billy Corgan at St James
26.07.05
Reviewed by Russell Baillie
Billy Corgan might have led one of the biggest bands of the 90s in the Smashing Pumpkins. But on his long-awaited solo return it looked and sounded as if he was leading one of the smaller forgotten bands of the 80s.
Though it wasn't meant to look quite this spartan. Apparently his high-concept video-screen lightshow had gone to Korea by mistake and so behind him and his three backing musicians - two keyboardists and and a stand-up drummer - we didn't get the full spaceship effect.
But there was still plenty that felt alien about the show - largely an emotionally aloof affair for much of its hour-plus performance.
Corgan performed virtually all the tracks off his solo album The Future Embrace, an 80s-flavoured retro-futuristic collection, filled out with a couple of covers, including a tongue-in-cheek electro-bast of AC/DC's It's A Long Way to the Top late in the piece and the album's tortured take on the Bee Gees' To Love Somebody.
While an intriguing album, it made for a less-than-riveting live setlist. It did produce some purely sonic thrills, especially when Corgan hunched his tall frame over his guitar and fired off another of his raygun solos. Or on those Future Embrace songs which welded a decent throb underneath the hazy gloomy tunes.
But much of Corgan's electronically sequenced music still felt rendered rather than performed and often delivered in a mix that made you wonder which frequencies you were missing.
Its vintage voltage couldn't top the night's other energy - that underlying friction between fans wanting older Pumpkins material and Corgan's initially sarcastic response to their expectations.
Early on he announced: "This is the part of the show where we everybody gets to shout stupid shit", inviting a heckle free-for-all. Corgan dragged it on for an indulgent period and it came across as disdainful treatment of his still-faithful following.
He did make up for it at the end, however, shaking hands with virtually everybody in the front rows, taking the time to explain this phase he's going through, his hopes for a Pumpkins reformation and some articulate thoughts on a rockbiz which pegs stars like him to their pasts.
Yes, Corgan getting reacquainted with his local fanclub made for a strange but touching sideshow. Just a pity the main musical event wasn't as compelling.
26.07.05
Reviewed by Russell Baillie
Billy Corgan might have led one of the biggest bands of the 90s in the Smashing Pumpkins. But on his long-awaited solo return it looked and sounded as if he was leading one of the smaller forgotten bands of the 80s.
Though it wasn't meant to look quite this spartan. Apparently his high-concept video-screen lightshow had gone to Korea by mistake and so behind him and his three backing musicians - two keyboardists and and a stand-up drummer - we didn't get the full spaceship effect.
But there was still plenty that felt alien about the show - largely an emotionally aloof affair for much of its hour-plus performance.
Corgan performed virtually all the tracks off his solo album The Future Embrace, an 80s-flavoured retro-futuristic collection, filled out with a couple of covers, including a tongue-in-cheek electro-bast of AC/DC's It's A Long Way to the Top late in the piece and the album's tortured take on the Bee Gees' To Love Somebody.
While an intriguing album, it made for a less-than-riveting live setlist. It did produce some purely sonic thrills, especially when Corgan hunched his tall frame over his guitar and fired off another of his raygun solos. Or on those Future Embrace songs which welded a decent throb underneath the hazy gloomy tunes.
But much of Corgan's electronically sequenced music still felt rendered rather than performed and often delivered in a mix that made you wonder which frequencies you were missing.
Its vintage voltage couldn't top the night's other energy - that underlying friction between fans wanting older Pumpkins material and Corgan's initially sarcastic response to their expectations.
Early on he announced: "This is the part of the show where we everybody gets to shout stupid shit", inviting a heckle free-for-all. Corgan dragged it on for an indulgent period and it came across as disdainful treatment of his still-faithful following.
He did make up for it at the end, however, shaking hands with virtually everybody in the front rows, taking the time to explain this phase he's going through, his hopes for a Pumpkins reformation and some articulate thoughts on a rockbiz which pegs stars like him to their pasts.
Yes, Corgan getting reacquainted with his local fanclub made for a strange but touching sideshow. Just a pity the main musical event wasn't as compelling.
