The Smashing Pumpkins 2000-01-24

January 24, 2000 – Utrecht, NL
Live performance by The Smashing Pumpkins
Europe 1999-2000 tour
Date	January 24, 2000
Venue	Muziekcentrum Vredenburg
Coordinates	52°5′32″N 5°6′48″E
Location	Utrecht, NL
Venue type	Concert hall
Capacity	1,600
Personnel	Billy Corgan, James Iha, Jimmy Chamberlin, Melissa Auf der Maur
Order of bands	The Smashing Pumpkins
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Full performance

Setlist[edit | edit source]

Encore one[edit | edit source]

"1979" (acoustic)
"The Tale of Dusty and Pistol Pete" (acoustic)

Encore two[edit | edit source]

Encore three[edit | edit source]

"X.Y.U." (with rant) [9:46]
"We Love You" [6:21]

Banter[edit | edit source]

Pale Scales
> The Everlasting Gaze
Heavy Metal Machine
Age of Innocence
> Blue Skies Bring Tears
> Glass and the Ghost Children
> I Am One
(BC midsong: Alright, alright, alright, alright, alright, alright. Everything’s gonna be alright. Heh heh. Tonight, tonight, tonight, we bring the revolution down, down, down to you, down. Alright, we’re gonna send a missile right back up, riiight back up. So let me peel away the broken heart, let me gut the feeble stomach, let us conquer your conquering flu, let us drop an atom bomb. (screams) That’s right. Sometimes when you don’t know what to say, sometimes when you don’t know what to do, sometimes when you’ve got nothin’ to lose, you just play guitar. (Billy solos) Of course, you can’t play guitar like you used to so it doesn’t really fucking matter, but...anyway! Haha! So let us walk inside your ears, let us come inside your mouth, let us ride up your leg, let us inside your mind. Tonight we bring a missile of truth, tonight we reach way back, way back, way back to 1991 to drag the missile of truth right here, right now. Let the message fall on deaf ears. Let the message burn. Ow! We are the machines. We speak the dream. We are the machines. We are the machines of gooooooood.)
Rock On
(BC during Iha solo: Theo Van Gogh on the lead guitar.)
> Zero
Iha: Yeah. Hello, hello. How is everybody? Good? I am sick, I ate a bad duck. I don’t know if you’ve ever had a bad duck, but uh...I’m uh, I’m trying though, very hard. Heh heh. Uh, we’re really glad to be here and uh, you guys are rockin’. Probably more rockin’ than we are. So I advise you all to start your own rock band. And then you will have the bad duck. Alright, uh, we are going to play another new song, I know you haven’t heard all these songs, but they’re all really rockin’ and uh...any second, we will rock again. Uh, maybe we won’t, hang on. Alright, it’s time to do some introductions, heh heh. On the drums, Mr. Jimmy Chamberlin. Yes, he is back and in fine form. In the shrouded tomb, Mr. Billy Corgan. You can wave but he doesn’t where he is. Uh, on the bass (pronounced like the fish) guitar, Miss Melissa Auf der Maur. And I am the bad duck.
Stand Inside Your Love
> To Sheila
BC: Thank you very much, I’m - I’m sorry I’m a little uh, rough of voice, but um...thank you anyway. There’s no smoking, as you can see, and uh.... I see my jokes do not translate into Dutch, so I’ll stop here, but thank you anyway, I know you understand that much, thank you, love you.
Ava Adore
(Jimmy begins drumroll)
BC: Ladies and gentlemen, ladies and gentlemen, even though I’m dying right before your very eyes, we’d still like to attempt this next feat. This next feat requires great skill. There’s only one drummer in the world who can play this song and he’s standing right behind me. Sitting, heh heh. Now a lot of you before - heh. If I die during this song, we loved you so much and uh, one last thing. Please do not try Cherub Rock at home.
Cherub Rock
I of the Mourning
[encore break]
Iha: Do you like the acoustic better than the drums, Jimmy? As most things...it’s a lot easier, there’s less to work with. It’s kind of a limited instrument, the guitar.
BC: I believe these are Swedish stools. They’re very uncomfortable.
1979 (acoustic, Jimmy plays guitar)
BC: Thank you very much, thank you. Um, we’d like to do a song for you now, um, from an album released in 1972. It was obscured, unfortunately, that year by the release of Queen II and um, Bowie’s first album. It just kind of blew us away, um, and it’s kind of an underappreciated album from the ‘70s. Um, this is from our Adore album, it’s called The Tale of Dusty and Pistol Pete.
The Tale of Dusty and Pistol Pete (acoustic)
BC: God bless you, thank you.
Iha: Thank you.
[encore break]
Tonight, Tonight (abandoned after Billy starts singing lyrics for chorus 2 instead of chorus 1)
BC: I fucked up. Stop, I fucked up.
Iha: [unintelligible]
BC: Heh heh, you know when you, you think “I hope I don’t forget the lyrics” and then you get nervous and then you forget the lyrics? That’s what happened, heh heh.
Sunday Bloody Sunday (tease - Iha plays first 6 notes)
BC: Well, should we just go to the next song or should we start it again? You want the next song? Ahhh, okay. (laughing) One more time.
Tonight, Tonight
Glass’ Theme
> Bullet with Butterfly Wings
BC: Thank you very much, thank you.
[encore break]
X.Y.U.
do you love me? heh
do you really care?
is she crazy?
did she make me lose my hair?

And i said
i wanna fill you up
i wanna break you
i wanna fuck you up
‘cause i’m your lover
and i’m your motherfuck
come to save you
‘cause you’re all mine

is she fucked up?
does anyone really care?
about her babies
about her love letters

and i said
i wanna fill you up
i wanna break you
i wanna lose you down
i’m your lover
i was your motherfuck
come to save you
‘cause you’re all mine!!

rat tat tat!
ow!

she threw the dust
she threw the death
she made me drink the poison
she swore to [unintelligible word]
she was the air
she was empty

i said
i’m gonna fill her up
i’m gonna break her
i’m gonna give her up
you are my baby
you’re my motherfuck
come to save me
‘cause you’re all mine!

rat tat tat!
bang bang!

(outro begins)

BC: This is what you here call a standard concert breakdown moment for multiple and orgasmic concert audience reaction effect. That’s right. Let me crawl inside your house tonight. Let me make everything alright, baby. Let me creepy crawl inside your window. What you got in these drawers? Oh, what’s this? It’s a journal. Oh. Hmm. Let's look at page 47. Oh, what’s that? It says here that you think I’m a motherfuckin’ creep and I’m no good and I’m a lousy lay and uh, my jokes aren’t funny and uh, oh yeah, by the way, my songs aren’t very good either. Fuck! This sucks! And then I read on. I read on. Wait. She’s not talkin’ about me, she’s talkin’ about a guy in another fuckin’ band. Oh, this is really a drag. Oh, fuck, let me turn to the next page of the journal. What’s this? It’s an erotic drawing and no, no, i don’t wanna see that. Next page. Whoa. It says here that in your eyes I have redeemed myself. That by attempting to attain purity, you see something in my eyes that makes you sparkle inside. And you no longer have these visions and dreams that haunt you and I’ve made it all go away. Aw, that’s beautiful. God, I feel better now. (Billy solos) Wow. Should I feel guilty for reading your journal when you’re not around? I don’t know. No. Now that I think about it, you’re a total fuckin’ bitch and I don’t care and I don’t feel guilty. ‘Cause I’m just that kinda guy. ... Come on over to my house, baby. We’ll listen to some obscure CDs and make the clouds part and go away. I’ll show you what it means to be a surgeon and a scholar. ‘Cause i’ve read my share of books. Look out! Hahahaha! Ohhhh, let us take you down, take you down, take you down. Haha! Alright. Right now, you’re probably wondering, did I pay all those guilders for this shit? What the fuck kind of concert is this that I came here for? Well, we got the Chicago blues, you see? That’s right, it’s deep, it’s way down in our crooked rusted soul and we must get it out. The blues. That’s right. See? That guy up there, he’s got the blues. But he’s dancin’. He’s dancin’. Alright, end this bad jam. Alright. (band stops and song ends) Thank you, that’s it. ... James? James? James, I know you’re throwing up. Heh heh heh. James, I know you’re throwing up but will you come back to the stage please? (Iha is literally using a telephone on the side of the stage) Come see all these beautiful people, James, they want to see you. (Iha noodles) He can’t s - he can’t speak right now because he just threw up all over his shoes. But what he’s telling me right now is that he wants to play on, he wants more. He believes that you people here have the cure to fix his sickness. Unfortunately, you cannot fix mine but you can fix his. Now let’s all concentrate our psychic healing powers and direct them at James.
We Love You
BC: What, you can’t afford a gate? ... Alright, right about now, right about now, right about now, we’re going to play you the song with no name. This is the song with no name. It has no words, it has no future and yes, you help us write the song. Yes, you help us write the song. Now there’s only one line in the song that I sing over and over and when you hear it, you have to sing it back. When you hear it, you must have to sing it back or else you would be ejected from the concert. These are the rules.

we’re gonna reach on up
we’re gonna reach on down
we’re gonna make you feel
that you’ve got nothing to go on for
‘cause we bring the black cloud
we bring the doom
but behind every black cloud is a silver lining
and a girl named june (screams)

we love you
we love you
we love you

that’s right we love you
we love you
we love you
that’s right we love each and every one of you
and we will love you after the concert as well
personally

i reach for the words that cannot describe
i ask forgiveness in the sky
i know no future, i know no rhyme
‘cause i’m getting old and i’ve lost my fucking mind
but i have to know
i want to know
i want to knoooow

the answers to all the questions
the answers to allll meanings
because in the symbols divine
you look behind
you may find
that i’ve lost my mind
i tell you that again and again because there’s no future for this song

we’re gonna get real high
we’re gonna have a good time
we’re gonna get real high
(screams)

we love you
we love you
we love you

we love you (about 20x in rapid succession)
(Iha is soloing furiously during the above)

BC: Oh, you’re feeling better. You wanna try and take us home? Wanna take us home, Wildfoot? ... I - I just want you to feel better. I want you to do whatever’s gonna make you feel better! (Iha waves and walks off stage) I wanna say this quick. Alright, just hold on a second, hold on a second. Hold on. (band stops playing) He’s quit. He obviously’s not feeling any better.

(Billy and Iha sort of do a instrumental call and response for a moment while Iha is still off stage. Band goes into sort of a blues version of the song while Iha slowly wanders back to the stage.)

we love you
we love you
we love you
we love you
we love you
we love you
we love you
we love you
we love you

(Iha is back on stage now)
BC: Thank you very much everybody. You rock. We love you very much. That really is the end of the concert. There’s no more fake endings, there’s no more songs, that’s the end of.... Here, I’m going to let this nice girl in the front row sing.
Girl: BILLY IS THE GREATEST!!! I LOVE HIM LIKE HELL!!!! SMASHING PUMPKINS FOREVER!!!! AAAAAAAAAAAAAAAAAAAAAAAA! RAAAAAAAAAARR. WOO HOO!!! JIMMY!! (howling like wolf repeatedly as band crescendos underneath) (band stops) That’s what I’m talkin’ about, Jimmy! [unintelligible]
BC: Goodnight.

Photos and memorabilia[edit | edit source]