![]() Singer John McCrea chatted with the crowd between nearly every number, espousing his views on religion, American society and the gradual disappearance of three-four time. They were visible only as vague silhouettes, but had long established their identity.Ĭake’s one-hour set preceding the Pumpkins couldn’t have been more different. The band exited shortly before midnight against a wall of lights pointing into the audience. The band was lit as a whole and the emphasis was placed on the music. The visual arrangement kept anyone from receiving the spotlight. Two large metal fans were perched atop metal towers in the back at either side of the stage. The only effects were banks of lights set up above and behind the band, constantly strobing and changing. ![]() The stage set-up was basic, but impressive. The band was amazingly tight and precise, slithering across the changing dynamics and textures and following Corgan’s every move. Twenty-year-old Mike Byrne was a monster on the drums, having no trouble replicating the complex rolls and fills that are so much a part of the Pumpkin’s sound. Corgan and founding drummer Jimmy Chamberlain reconvened for “Zeitgeist,” recruiting supporting musicians for the subsequent tour, before Chamberlain left again last year.Ĭorgan may be the only founding member left in the band, but the new cast proved more than capable. “Tarantula,” from 2007’s forgotten “Zeitgeist,” emerged seamlessly from “Cherub Rock” just as “Drown” gave way to “As Rome Burns.” “Song for a Son” had a progressive feel and guitar lick similar to “Stairway to Heaven.” It was one of several of the night’s numbers to feature Corgan and Jeff Schroeder harmonizing on twin guitar solos.īefore breaking up at the dawn of the millennium, the Smashing Pumpkins were one of the most successful bands to come from the grunge era. Newer material dovetailed nicely with the familiar. “Eye” was given a trippy intro full of shimmering guitars and big, echoing drums. ![]() The new version of “Adore” rode Nicole Fiorentino’s bass, and discarded the drum programming for a full band sound. ![]() The only exceptions were new arrangements of “Adore”-era material. Most of the songs sounded pretty much like they were recorded. The 80-minute setlist ignored “Gish” but drew from every other album in the band’s catalog and a couple soundtrack contributions. ![]()
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