Subject: North American Tour and Xmas Shows, Dec. 1996

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Subj: Seattle/Portland Concerts (Long, Part 3 and Final) Date: 96-11-19 17:45:51 EST From: djhamma@aloha.net (David J. Hammar) Volume Three: Portland (Friday, November 15th, 1996) The Roseland Theater, from the outside, is not what you would normally refer to as "impressive". My info sheet said it was originally a church, but from appearances, I think "rescue mission" would be more precise. Surrounded on four sides by bars, adult bookstores, drug treatment centers and a Burger King, it looks - well, closed - boards cover every window, and the absence of posters for any of the concerts supposedly scheduled for the venue don't exactly boost my confidence. I check again around 6:00 PM - this time things are more reassuring. The panhandlers are still in place on the corner, but the band has arrived and are inside making preliminary sound checks. Suzanne still hasn't shown, but was expected momentarily, according to the male fan pacing near the back gate. He carries a single rose in a glass vase, and is a bit hard to miss, actually, wearing a belt made from old stage passes over a pair of two-toned bell-bottomed jeans which change to white at the knees. Kind of gives me the feeling I'm talking to a Clydesdale, though he does most of the talking, and doesn't seem entirely earthbound. He's apparently a professional concert poster distributor, and the flower is for Suzanne. He eventually hands it to a member of the crew, who takes it inside. The layout of the club makes it difficult to hear much on the outside, but one can still make out strains of "Rock in this Pocket" and "Stockings" once the soundchecks begin. Suzanne finishes around 7:05, and Jason Falkner starts his rehearsals about 15 minutes later. I move around to the front of the building, where some brave souls are already waiting in line for the General Admission show. At the front of the line, a college-aged girl proudly wears a paper Burger King crown. I can't help wondering if she's there to join in on "The Queen and the Soldier"... I'm 14th in line. Ahead of me are three "all ages" - two girls and a guy - one of the girls, with gorgeous brunette hair down to the middle of her back, is instructing her friends on the finer points of the "Cat's Cradle." She does not have good students, and by 7:25 the group has moved on to "What's in your pockets?" She has a rubber band and some trash. Her friend wins with an ink pen and string... 7:41 - There are now 30 people in line. A group of 25 high school kids walk past on the opposite side of the street. All are wearing nametags, and seem to be on some sort of orientation tour of the inner city. The doors open at 8:00, and the line, which now stretches around the building, starts to filter in. I'm relieved to discover that the club is much nicer on the inside than its exterior suggested. We head upstairs - the stage is on the second floor - towards the prized positions next to the stage. It quickly becomes obvious that the long wait wasn't really necessary - the vast majority of the General Admittees head for the seating upstairs (where drinks can be sold), or for the chairs lining the lower perimeter. Since the downstairs isn't filling quickly, I take a few minutes to say hello to Jason Falkner, and purchase a Calendar and a Key Ring before returning to the Stage Area, where I find the Cat's Cradle girl - who's name turns out to be Brandy - has taken up residence with her two friends. The trio are impressed by my calendar, and soon return with their own prizes. A tip that a few copies of Suzanne's N9OOD posters are available at the ticket taker's sends Brandy and I downstairs on a quest, for which we are rewarded with the last two copies. The rubber band in Brandy's pocket comes in quite handy at this point... The floor fills slowly, but by 9:00, when Jason Falkner takes the stage, it's fairly crowded. He runs through the same numbers he did in Seattle, but his set is stronger and faster-paced this time, possibly aided by the presence of his girlfriend and another acquaintance cheering in front of the stage. Jason plays for a little over 40 minutes, and is very well-received. The fact that this really *is* an "all-ages" show is driven home as a father and his two daughters arrive at the stagefront. One girl is ten, and the other, whose name is Maya, is only six and a half. Maya loves "Nine Objects" and Brandy and her friends thoughtfully make room and help her up on the ledge fronting the stage. So at 10:15, when Suzanne and the band take the stage, they're greeted by this adorable girl at center stage, who immediately draws smiles from Mitchell and Mike Visceglia. The band plays the same set as they did at the Seattle show, though the positions of "Queen and the Soldier" and "Gypsy" were swapped. The audience, however, was *much* more energetic, probably due to the more intimate setting, which allowed for better artist-audience exchanges. As a result, though, she spent less time storytelling than she had the previous evening, with a couple notable exceptions. The first followed "Casual Match" to which she had danced during the instrumental breaks: "I had a baby girl two years ago. (Cheers) So I don't do much dancing around the house anymore. It used to be the sort of thing that I would do all the time...('What's her name?') Her name is Ruby. She's a very strict little girl, she gives me rules around the house - no singing, no dancing, no sharing. No singing (Draws a unanimous 'Aww...' from the audience) - unless it's the CD. I don't know how we got onto this subject. I think it's because now I come out here and sort of hop and wiggle around. It's my way of dancing..." Another fascinating narrative was given following "Headshots", in response to an audience members seemingly self-evident question of "Who's Marlene?": "There is an actress, called Marlene Dietrich, who I used to have a little bit of an infatuation on. The very first time I ever saw Marlene Dietrich on television was a long time ago, and I turned on the TV set, and it was one of these old sets that take a while to warm up, so you get the sound before you get the picture. So I turned on the set and I hear this voice saying 'You have led many men to death with your body."' Oh wow! What's this? And I thought, What would I say if someone were to say that to me? I suppose these things occur to you... What could someone possibly say in return? I think if it were me I would probably apologize. 'Oh, terribly sorry!' So then in the next minute, of course, Marlene Dietrich's face bursts on the screen. Is she embarrassed? Is she apologetic? -- No. She says, 'Give me a kiss!' Oh, yes! Which is the only correct answer. So there you go!" Following "Neighborhood Girls" (which Suzanne confesses she'd sung two frets low) an emotional young woman near me shouts, "You're beautiful, Suzanne!" (she wasn't bad herself!), which draws a graceful bow. Suzanne finally spots Maya, and inquires about her age. We also discover her favorite song is "Birthday", so when the song is introduced a short time later, it's "For Maya, in the front row here." The pairing of "Woman on the Tier" and "Blood Makes Noise" served to energize the audience -- by the end most of the floor was dancing, and it became clear why Suzanne prefers this type of venue. The seats at the Roseland are laid out in a sort of horseshoe around the dance floor, four-deep on both the floor and the balcony overhead. While half the audience was dancing, the other half sat motionless, observing. To Suzanne, I imagined, they must seem like observers at a trial. (Or perhaps with the spotlights in her eyes, an interrogation.) Apparently she appreciates the extra energy in the club - following "In Liverpool", she thanks them: "Good audience! Why don't you all come to San Francisco on Sunday? What? Oh, plane tickets. We're going on the bus. (The audience enthusiastically offers to ride along. Several members, though suggest alternate means of transportation.) Yes, let's do that, let's discuss travel arrangements. Let's spend twenty minutes and discuss these things..." (laughs, as "Luka" begins) The audience blows "Tom's Diner" though missing the "Duh's", so Suzanne starts over again. This time they get it right. And the Portland crowd receives an extra reward - following "Gypsy" (during which, at the suggestion of an audience member, she presents Maya with one of her guitar picks) Suzanne brings the band back and they play "99.9" (Incidentally, in Europe, does she perform this as "37.72"?) to close things on a powerful note. The show had been great, even more exciting than Seattle. Brandy's evaluation? -- "That *Rocked*!" The audience is filtering out. I decide to join them, having taken up enough of Suzanne's time the previous evening. A crew member comes out to give Maya and her family an invitation backstage, and scurries off to get the needed pass. Brandy and her friends remain, hoping to speak with Suzanne and get their CD's and calendars autographed. I hope they made it. -- Dave H. http://www.aloha.net/~djhamma From: coopl@ava.bcc.orst.edu (Len Coop) Re: Portland Show, 11/15/96 Date: 96-11-23 17:34:40 EST Suzanne Vega & Band Nov. 15, 1996 Portland OR Roseland Theatre Just wanted to check -in on how the show went for myself. I have been wanting to see Suzanne since her first or second album - but I live 90 miles from Portland so it's not easy to catch her. Anyway the show exceeded all expectations and I am definately in love with her "pop" sound - even though I tend to listen to more gritty Guthrie/Dylan/Townes Van Zandt folk (became a Dylan fan around 1971 when I was 14, is where I am coming from). I was surprised that the Portland crowd was older, folkier, than I have seen at the Roseland, where Suzanne reported she has played about 4 times now. I went early to save good seats but soon abandoned them to work up to a close, comfortable, better sounding spot (the Roseland is a big box that rattles you might say - next time make it the Civic Auditorium PLEASE). To me the music and Suzanne and the band's presence were magical - the power of the tight, innovative, spontaneous, live sound was intoxicating, sensual, and uplifting - just the reason I go to a lot of concerts, and this was the best I have seen this year in that regard. I did not write down the set list - I think the entire 9 Objects CD was performed (which I was happy about since it is my favorite). Also most of 99.9, and then many of my other favorites - I remember Luka, Small Blue Thing, and Tom's Diner. There was a nice balance between solo acoustic and full band numbers, quite a bit of jamming and solos (which I always enjoy), and the show was a nice 2 hours long, including a second encore. The crowd was enthusiatic and well behaved, and everyone seemed to have a great time. Other than the acoustics in that place, it is a real nice venue. In less than a month, I have been to Portland and seen 3 legends that I wanted to see for many years: Ian Tyson (awesome), Ferron (ditto), and now Suzanne & band (the best!). I noticed a piece of paper on the soundboard, perhaps the set list, titled "No Cheap Thills Tour" - as I bought 3 tickets for the show (I treated a couple of friends), it wasn't cheap, but the thrill was definately worth it. -- Leonard Coop coopl@bcc.orst.edu Subj: set list: 11/21 Santa Ana, CA - Galaxy Theater Date: 96-11-22 03:34:42 EST From: psychdoc@netcom.com (beej) Just a quick list for now... comments later... feel free to ask questions... Stockings Rock In This Pocket Caramel Thin Man Casual Match Small Blue Thing Marlene On The Wall (solo) Headshots No Cheap Thrill Fat Man & Dancing Girl Neighborhood Girls (solo) Gypsy (solo) World Before Columbus Room Off The Street Woman On The Tier Blood Makes Noise In Liverpool Luka Birthday (encore) Tom's Diner (a cappella, with audience :-) Men In A War (second encore) The Queen & The Soldier (solo) 99.9 F ********* psychdoc@netcom.com ********** b.j. mora ********* Do you know where friendship ends and passion does begin? When the gin and tonic makes the room begin to spin. (oh yeah) - Suzanne Vega Subj: SV in LA and SA Date: 96-11-24 02:51:01 EST From: wchapman@mizar.usc.edu (Wendy Chapman) Hi all, While I have a second, I'll just say that SV's shows in LA and Santa Ana were great. Wed. in LA started an hour late because they were taping the show for--what they said would be a 1 hr. special to air on PBS starting sometime in early 97. Suzanne told lots of stories and I think the place really rocked. Th. in Santa Ana was very rainy and an hour in traffic for me to get to Orange County from LA. Suzanne told fewer stories and was, I think, a little mellower--or maybe I was. I was pretty tired from the high energy from the night before and I was tired. At Wed. show, we stood right at the stage for 4 hours (well, we sat down half way through Jason Falkner--can't say I'm a fan) but felt no pain standing through Suzanne's set. At Th. show, I sat kind of in the back as I was late but had a good view. Falkner didn't open for her (I can't say I was sad) another acoustic cover band opened for her--I liked them much better--I thought one of the singers was cute (and it was a guy--can you believe it?) But of course Suzanne is much cuter--so when she came out I forgot all about him. Anyway, though I was quite tired by the end of the week--it was well worth chasing SV around Southern California. I hope the rest of the tour goes well and the stuff on the MSNBC site is great (don't have cable so I didn't see the interview--damn--anyone tape it?) Wendy! Subj: The (second to the) last show of the U.S. tour! Date: 96-11-27 04:13:13 EST From: wchase@silcom.com (Will Keightley) Howdy, Undertowers! I took a break on Friday from a rather hectic work day, (I manage a video store in the heart of a college ghetto in Santa Barbara, and Independence Day had just hit our shelves) by wandering down the block to Espresso Roma for a tall, hot coffee. I sprawled the Santa Barbara Independent out on a table and perused it while the air combed steam from my cup, looking at the concert listings. I checked the Ventura Concert Theater schedule. I had purchased a ticket for the Suzanne Vega show about a month and a half ago, and I knew it was coming up sometime soon. Hmm...there it was. Suzy Vega: the 22nd. What was today? With a start, I realized that it was the 22nd! It was that night! I couldn't believe how close I had come to actually forgetting to go to the concert! Still in shock, I drove to the theater, downed two gin and tonics and, as the room began to spin, Jason Falkner took the stage. I thought he was downright terrific. I loved the Grays album, and his new solo album has some great stuff on it as well. It was strange, seeing him without the benefit of a backup band, for his music is so layered on disc, but he pulled it off. He was so good that his odd decision to play the harmonium for "The Very Best Years" seemed like a stroke of genius. He kept making apologies for his voice. He was very sick, he told us, and he'd been drinking so much Robitussin that we all looked like Blue Meanies from where he stood. Funny, ingenuous guy. Suzanne's show was good. The two standouts for me were "Small Blue Thing" and "In Liverpool" with it's extended, overwhelming finale. It felt like the "Starship Trooper" of the Suzanne Vega repertoire (maybe a YES reference is out of place on this mailing list?) I'm not sure what I think about her current tour setup. This tour seemed very much like the last one--very stripped down. Very simple. That's a good thing. Though there was something about the Days of Open Hand tour that blew me away. Never had I heard a live sound so pure and crystalline as when she launched into her rendition of "Pilgrimage" on that tour. She had a woman singing backup as well, and even an elaborate stage backdrop (which I realize contributed nothing to their sound, but it looked nice). I felt that, though Friday's concert was first rate, with several highpoints that will stay with me for years, it didn't quite match the sublimity of that first show. The Ventura Concert Theater is a dinner theater, and that may have been part of the problem for me. For an extra fifteen to twenty dollars, you can make dinner reservations and sit right down in front of the stage, where, at any normal show, the pit, or general admission area would be. They bring you one of three depressing entrees, (all three of them made of and tasting like resilient cardboard) bring you your two-drink minimum and then clear your place while the headlining act takes the stage (or maybe it's just that they bring you your food for free and you have to pay them twenty dollars to take it away). So what you have, when the lights dim, is the best area of the theater filled with engorged, depressed people with no room to get up and move around. They had the good sense to leave the dinner tables in storage for the WEEZER concert two weeks before, but I suppose they thought the typical Suzy crowd couldn't be bothered to get on its feet during the course of her show. I'm a pretty empathetic concert-goer. I get antsy when the crowd digs in and refuses to budge. Suzanne made a remark about the diversity of her audience on this past tour: half of the audience wanted to dance around while the other half wanted them to sit down...so they could continue reading. I took the anecdote to mean, "Put your books down! Live a little!" Ah well...I enjoyed it all anyway. A lame mistake cost us a second encore at the show's end. The crowd, roared its approval after the last chords of "Men in a War" rippled into stillness (what they lacked in bodily participation, they made up in vocal stridence, I'll give them that). We were ready to hear "The Queen and the Soldier." But someone started bringing up the house lights and music. They caught their mistake and dropped them both immediately, but it was too late. Like a choir of doused candles, the crowd began stumbling smokily for the exits. The applause paled. I sat and waited and hoped and prayed but nothing happened. At last, the lights and music gave in and chased the last of us hopefuls out into the night. A fine show, and Suzanne looks quite fetching in black. William (I have much to say on the topic of Suzanne Vega and film, but that'll have to wait for now) Subj: San Diego show and small question. Date: 96-11-25 00:53:52 EST From: pasha@ucsd.edu (pasha sadri) Hi All, I saw suzanne vega's show last night. It was absolutely great. I was standing outside the club, waiting by the door to get inside when I noticed two figures walking towards the enterance from the paring lot. It took me a second to believe my eyes. It was her! She passed _right_ before the speechless me. The show itself was even better. We even had 2 encores. A very attractive part of Suzanne Vega's personality is her down-to- earthness and her strong bond with the surrounding reality. Does anyone think this perhaps damages her image as a recording artist? I hope she doesn't feel that way. One last thing, most of the san diego audience didn't dance. I for one did and was relieved to read that she enjoyed to see people dance to her music. Pasha Subj: Soggy, soggy Tampa Date: 96-12-08 13:27:03 EST From: HUVF20B@prodigy.com (MR PATRICK F DURNING JR) Hi - This is my official de-lurk post, so be gentle... I went to the Christmas show at Ybor (Eee-bor) Square last night, and it was,well, memorable. The original plan was to have the show outside, but with Florida's unpredictable weather, it didn't happen. About an hour or so before the show, an absolute deluge completely soaked the stage, the equipment, and everything else. The show ended up happening inside a little bar called the Oak Barrel Tavern - kind of a shopping mall tavern, with no stage, and two stage lights for the entertainment - a hideous green light, and a magentalight that actually shone on the audience. I knew things were going to be interesting when I went into the men's room, and found two sound guys holding the PA amplifier under the hot air hand drier, feverishly trying to get all of the water out of the amp. The show started with an acoustic duo called Bleeding Hearts; they did a good job. Next was the Marshall Crenshaw band, who also did a good job, considering the circumstances. Suzanne and Mike Visceglia came on about 9:30, and they were warmly received by about 300 of us, packed in like sardines - there were people sitting on the floor right in front of her. It was very cozy, and would have been nice if not for the noise from the bar and the howling drunks in the back of the place. Here's the set list: Marlene On The Wall Small Blue Thing Rock In This Pocket Stockings (Mike V did a GREAT job on bass for this one!) Caramel (Mike V played guitar, SV sang) Neighborhood Girl Honeymoon Suite When Heroes Go Down World Before Columbus (Great job by both on this one) No Cheap Thrill (some audience participation here) Gypsy (she did the first verse twice & laughed when she realized it) Luka Tom's Diner (The audience did great on the Do-Do-Do's. Even the drunks in the back got quiet when they heard this one) Encore: The Queen And The Soldier Suzanne looked a little tired, like she was getting a cold, and was trying to get used to the time change as well - she had flown in from Texas, I believe. Despite her discomfort, she was very friendly and told a couple of stories (including the shopping mall story - it was VERY appropriate!) Overall, they did a super job, given the circumstances. It's neat to see a pair of professionals do their job very well, despite the conditions. I was hoping to meet Bob King, but didn't. It was hard to move around in that place. Thanks, Suzanne for being a good sport, and doing a great show. I hope you can visit again, this time in a better setting! An appreciative fan, pat Subj: Re: Soggy, soggy Tampa Date: 96-12-08 15:45:45 EST From: fternika@luna.cas.usf.edu (Farha Ternikar (MLA)) Hey ..I was at the Tampa show too..it was incredible to say the least..I followed her upstairs after the encore..adn got her autograph!!! It was so bizarre to talk to her..and I was sitting on the floor in the very front..I can't imagine a better concert experience!! Farha Subj: Re: Soggy, soggy Tampa Date: 96-12-09 22:06:03 EST From: Bruce_Miyashita@mckinsey.com (Bruce Miyashita) Hi Pat: Great job on the review. When I hear about a concert like that, it really gives me a sense about Suzanne's, attitude, work ethic, and perseverance. It's at a gig like that one, as you said, that you quickly see the amateurs separated from the pros. What more can a performer give of themselves? What more can the fans ask for and not become greedy? That kind of show is worth ten Shea Stadiums (well, maybe three :-)). Regards, Bruce. Subj: St. Louis concert (12/19) notes Date: 96-12-21 02:51:35 EST From: rjk1@cs.wustl.edu (Bob Kollmeyer) Hi all. Well, it's more than 24 hours now and the wonderful 45 minutes last night are still fresh in my mind. By my count, this is it for the year, and the band got a head start on their break; it was all acoustic - just SuzyV and guitar. (Perhaps sometime, after a couple more albums, around say, 2005 she'll stop by St. Louis again ;) and I'll get a chance to hear the band - not that I would have traded the solo show for anything.) Set List: Marlene on the Wall Gypsy Caramel When Heroes Go Down No Cheap Thrill World Before Columbus Stockings ("You don't have any questions about that song or anything do you? Well, my husband had a few.") Small Blue Thing Neighborhood Girls Luka Tom's Diner It was a benefit concert - Toys for Tots again, and the entire night was acoustic - New World Spirits/Leah Andreone/Duncan Sheik/Suzanne Vega. The show sold out (1000 tickets) in 8 minutes. Most of the crowd (75% or better) seemed to be there primarily for SV. The lesson: stay away for 9 years and you get some anxious people. It was all general admission, so I showed up about an hour before doors and thankfully Mississippi Nights was allowing people into the little (15-person capacity) area in front of the box office so the first 15 of us didn't have to brave the single digit temps and sub zero riverfront winds. The rest of the poor folks... brrrr. A great show that ended too early ;). I really, really liked the acoustic No Cheap Thrill. Yeah, the crowd blew Tom's Diner. The do-do-do-do's were okay, but the crowd prematurely erupted into end-of-song applause not once, not twice, but three times. I'm not sure if it was due to lack of attention or the crowd feeling the effects of drinking for the previous 4 hours. Couldn't quite tell if she was amused or troubled. What else... Her uncle and cousin were in attendance, up from a small town about 2 hours south of here. Small Blue Thing was a request from a sizeable, vocal contingent up front. An apparent Chicago Cub fan inexplicably lobbed his hat up on stage during Marlene and she held it hostage, hanging on the guitar mic until after Caramel. No encore. It being an all ages show, I think they had to make sure the place was cleared out by 11:30. At least I hope that's why. It wasn't an exceptionally lively crowd, but I don't think we were that bad. good night, bob