The Smashing Pumpkins 2000-01-31
| January 31, 2000 – Lawrence, KS, US | |
|---|---|
| Live performance by The Smashing Pumpkins | |
| Resume the Pose tour | |
| Date | January 31, 2000 |
| Venue | Granada Theatre |
| Coordinates | 38°57′53″N 95°14′8″W |
| Location | Lawrence, KS, US |
| Venue type | Club |
| Capacity | 650 |
| Personnel | Billy Corgan, James Iha, Jimmy Chamberlin, Melissa Auf der Maur |
| Order of bands | The Smashing Pumpkins |
First date of the Resume the Pose tour. Earlier that day, the band signed autographs at Kief's Records, also in Lawrence, Kansas.
Setlist[edit | edit source]
- "Rock On" [David Essex] [6:03]
- "Zero"
- "Glass and the Ghost Children" (abandoned)
- "I of the Mourning"
- "Glass and the Ghost Children" [11:00]
- "Age of Innocence"
- "I Am One" (with rant) [7:46]
- "Ava Adore"
- "Blue Skies Bring Tears" [4:58]
- "Pale Scales"
- "The Everlasting Gaze"
- "Heavy Metal Machine" [5:50]
- "To Sheila"
- "Cherub Rock"
Encore one[edit | edit source]
Encore two[edit | edit source]
- "Paranoid" [Black Sabbath] (tease)
- "Glass' Theme"
- "Bullet with Butterfly Wings"
Encore three[edit | edit source]
- "X.Y.U." (with rant) [9:46]
- (jam)
- "Jumpin' Jack Flash" [The Rolling Stones] (tease)
- "We Love You" [5:27]
Banter[edit | edit source]
Rock On
Zero
Glass and the Ghost Children (abandoned after 12 seconds when Billy says...)
BC: Jimmy! You’re playing the wrong song.
Glass and the Ghost Children (tease - Jimmy plays the opening fill again)
BC: Jimmy Chamberlin on the drums.
I of the Mourning
Glass and the Ghost Children
BC: Good evening. Thank you very much...thank you very much. I’d like to thank all of you for going out of your way to be able to make it to the show tonight, appreciate it very much. We now understand why you have good football teams in Kansas: because you’re all out of your fucking minds to stand out in the cold. But we do not love you any less for being insane. Because obviously that would reflect on how we feel about ourselves. So we’d like to play you another new song from our forthcoming, major label, take-over-the-world-one-more-time album. This is called Age of Innocence.
Age of Innocence
I Am One
(BC midsong: Ladies and gentlemen, ladies and gentlemen, ladies and gentlemen, please allow us the opportunity, please allow us the opportunity to reach waaaaaay back to a simpler time. A time before revolutions, a time for commercialization, a time for people telling us what we’re about, a looong time ago, waaaay baaack. So, we gotta reach way back, way back. To be precise, 1989, 1989, way back. Gotta reach way back to bring this shit right to the present because right here, right now, right here, right now, right here, right about now, right about now, (laughing) right about now.... Right here, tonight, we are going to start our own revolution, right here. But our revolution doesn’t have any guns, our revolution doesn’t have any bullets, our revolution doesn’t have any soldiers. Our revolution has no bounds, no territories, no class wars, no social wars, no economic stratus. Our revolution is the bomb. But it’s not a bomb. (brief guitar solo) To cross ethers of time, we disgrace the ego mind. We’ll drag your heart right outta your fuckin’ heart –- now that doesn’t make any sense. We’ll drag the heart right outta your heart, that makes sense. So let us crawl inside your ears, let us run around inside your mouth, let us whip out your tongue and cast it aside, let us just penetrate you, let us just penetrate you, right here, right about now. So you ask yourself, you ask yourself, “Okay, I’m in for the revolution, where do I sign up? But what’s the revolution about, what’s the point?” Well, the point, there is no point, the point is there is no point. “What kinda revolution is that?” you may ask. Well, I’m not really sure, I don’t have all the answers. I’m just some dumb guy from the suburbs. And the beat goes on. (singing) We are the machines...)
Ava Adore
BC: Melissa doesn’t know this next song, so uh.... Ladies and gentlemen, on the bass, Melissa Auf der Maur. (crowd cheers) See, she doesn’t even acknowledge your love.
Blue Skies Bring Tears
Pale Scales
> The Everlasting Gaze
> Heavy Metal Machine
To Sheila
BC: So thank you very much. (Jimmy begins Cherub Rock drum roll) Ladies and gentlemen...ladies and gentlemen, for our last song of the evening...we’d like to play an extremely dangerous song. We ask you now, please do not try this at home, you will hurt yourself. This is Cherub Rock.
Cherub Rock
BC: Thank you.
[encore break]
Iha: Thanks a lot. How are you guys doing, is it a lot warmer out there now? I’d like to give a formal introduction: back on the drums, Mr. Jimmy Chamberlin. On bass guitar (pronounced like the fish), Miss Melissa Auf der Maur. On vocals and guitar, Billy Corgan. And uh...I can’t think of a funny joke right now, I’m [unintelligible name].
BC: Izzy Stradlin.
Iha: Thank you, thank you.
1979 (acoustic, Jimmy plays guitar)
BC: Thank you. ... Thank you very much. How’s everybody? You alright? (Billy plays a quick melody) Can you hear this guitar or no? Are you sure?
Disarm (acoustic)
Iha: Thanks.
BC: God bless you, thank you, goodnight, thank you.
[encore break]
Paranoid (tease - main riff 4x)
Glass’ Theme
> Bullet with Butterfly Wings
BC: (Satanic voice) Goodnight.
[encore break]
BC: Thank you.
Iha: Thank you very much. What if you have the cancer? How are you people, Kansas? Are you still rocking or are you...or do you wanna go outside into the cold, cold blast? That was a, uh, it’s a large boo for Mother Nature I just heard. And I don’t think you really need to appreciate [unintelligible word]. Nevertheless, we will still rock on this next song, one last rock jam for you. (high pitched screaming) Are you ready, you motherfuckers?! (Billy starts doodling with the X.Y.U. riff and Jimmy accompanies soon thereafter) I can’t hear you! Alright! Oh yeah!! (slurring drunk guy voice) Yeah, come on, ooh! I got the world fuckin’ blue, yeah, you motherfuck! (normal voice) Alright, one last jam. (preacher voice) Yeah, the devil lives in me. The devil lives in my shoebox that I got at home. A [2 unintelligible words]. A suede shoe I once got from my grandmother. Where’s that shoe now, Grandmother?! It’s being worn by the motherfucking devil, that’s where! Oh!! Where that shoe walks, a large sole on that shoe hoping to catch more souls, [2 unintelligible words] sad! (what sounds like Iha stomping, Billy and Jimmy stop) (normal voice) I’m sorry, I’m sorry, okay, we’ll get on the rocking.
X.Y.U.
she didn’t wanna know
she gave it all away
she fucked it all up
‘cause she was crazy
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 save you
‘cause you’re all mine - yeah!
and do you love me?
and do you really care?
or am i just lazy?
to see the silence of the world
you were a good girl
i thought i knew you
but i know your mother
she’s just a whore like you
‘cause i’m here now
come to fuck you up
come to save you
come to love you down
‘cause i’m your savior
and i'm your motherfuck
come to break you
‘cause you’re all mine!!! ow!
a rat tat tat – look out!
[unintelligible verse]
do you wanna come over to my house?
do you wanna see what i got in my closet?
but in my house, you must obey my rules
there’s no other way in my house....my house
again, again, again
across the halls and the ages i followed you
i took your love one million times
you know there’s no other way
you know there’s nothing else to do
i’m the one for you in my house
hell
ow!
ow!
look at them creepy crawl, creepy crawl, creepy crawl, creepy crawl, creepy crawl, creepy crawl
we laid out the glass
we crawl across the [unintelligible word]
yeah
you may be curious, you may not
what the rules in my house are
ach!
(instrumental break)
BC: Sorry about that...beat off. The fact that we come from Chicago means that we have a propensity to overdo the blues part. (song ends) That’s the end of the concert, thank you very much for coming to the concert.
Iha: Oh, alas.
BC: For coming to the concert, thank you very much for coming to the concert.
(blues doodling by Billy leads into a jam)
jam
BC: Wait wait wait wait! (band stops) What do we think we are, one of these uh...one of those, one of those bands with dreadlocks that raps over their music, do we think that’s what we are? We’re not...James, we’re not up with what the kids are into anymore, we’re too old, we’re past our prime and uh, these new bands, they’re–-they got a thing going on, they’re communicating to the youth in a radical, angry way and we’re sorry, we just can’t do it, we can’t fake it anymore, James, I can’t perpetrate your lie.
Iha: Yeah, down with the grunge songs. I only know grunge songs, that’s how dated I am, don’t want anything new.
BC: There’s that whole marriage of hip hop and metal and it -– we’re, it’s beyond us, we’re, we’re misfit. We were off doing that wimpy acoustic electronic album, we missed the whole thing, we missed the boat. Woodstock, you know, we weren’t there to light the fires, we missed it!
Iha: That’s kinda sad. Furious I am. And I’m sorry you’re actually here to witness our demise. Goodnight. (goes back to doodling for a few seconds)
BC: There was that window, heh! It was small.
Iha: I didn’t -– I didn’t think you were gonna [2-3 unintelligible words as he trails off] go there. Well, a couple more. Uh, you guys ready to boogie? Well, I guess, if you just wanna move your hips a little bit, that’s the boogie. Billy, are you ready to boogie? He’s over the boogie. Um...what do you guys wanna hear, uh...? (crowd yelling) Say that again? (crowd yelling) Oh, uh, I know that one.
Jumpin’ Jack Flash (tease)
Iha: (scream singing and playing guitar) I was born in a cross-fire hurricane. I get down in the howling rain. Yeah! But it’s all right, Jumpin’ Jack Flash, it’s a gas to you, but it’s all...! (stops playing guitar)
BC: Okay, wait, if you think about it, that’s equally as fucked up because once again, we’re ripping off the past. I thought we’d grown out of that. Once again, we’ve hit another dead end.
Iha: Alright, in order to leave the stage, we must come up with one last jam, which we dedicate to you. I’m gonna go then, I’m getting on a plane. I’m going to Morocco! I love you people.
BC: Hey, I got this one riff. It just might be the riff that changes everything.
Iha: Well, I’ll think about it, just play it.
We Love You
(Billy plays the riff once)
Iha: Yeah, yeah, that’s good. (riff again) Can you play it again? (riff again) Can you put a beat to it? (riff again) Wow!! (whole band kicks in for instrumental, then Billy and Iha’s guitars drop out)
BC: I think I feel it now. Look, here comes another crowd surfer, we must be doing something right!
we’re gonna reach the sky
we’re gonna get so high
we’re gonna go real far
you’re gonna wonder who i was
now you know
the secret’s out
we love you more
than we love ourselves
yeah!
we love you
we love you
we love you
yeah, we love you
we love you
we love you
BC: Hey, look, it’s one of the guys from Korn. He’s in that Gap ad.
with silver twin engines of hope i reach across the threshold
i pull through your stomach and look out the other side
i know i’m wrapped up in wire and twine and metal and chrome dome and i’ve lost my soul in rock and roll but i’ll give it all back to you
we’re gonna get so high
we’re gonna reach the sky
(screaming) we’re gonna go so far
[unintelligible screaming line]
we love you
we love you
we love you
(long scream)
BC: Alright. We’re going to reach one more time, I don’t think you’re quite grasping the message of this song, this song with no name. When I sing “We love you,” you sing “We love you.” When I sing “We love you,” you sing “We love you.” It’s a new millennium and yes, we are going to participate in audience participation.
we love you
we love you
we love you
we love you
we love you
we love you
we love you
we love you
(screamed) we love you
we love you
we love you
we love you
we love you we love you love you love you love you love you love you love you love you love you we love you we love you
we love you
we love you
we love you
we love you
(long scream)