I can't really say anything about Ron Sexsmith's performance. He wasn't bad, but I was a bit distracted by that point, so I didn't really pay attention. When he went off stage, my friend and I took our place a few rows back and began the long wait. I gradually became aware of a conversation taking place just to my right about new recording dates and Suzanne Vega's baby and realized Mr. Sexsmith was standing shoulder to shoulder with me. He was complaining about the fact people talked through his set and was still particularly put out that you guys in Boston actually talked *over* his set. As someone who has put in time in front of large, bored crowds, I can sympathize with his desire for classroom discipline. However, I am not in the habit of holding classes in clubs with liquor and other distractions. He bumped into me and we said hello, but as the only question I could think to ask him ("umm, will you be improving your set before we see you again in 3 weeks at the Elvis Costello show?") seemed a bit harsh for someone who seemed to be so nice a person, I left it at that. He does have a lovely lilt to his speaking voice, I will say. From where in Canada does he hail, does anyone know? He remained at my right for the show, watching it intently and clearly enjoying himself. I must say, he has a great job.
OK, the show itself. I remember reading the liner notes to RD and first time?" Well, my companion for the evening knew of the Finns and their various projects, but had not heard lots of songs. So I got to watch the experience of an initiate. I was a bit apprehensive, but she turned to me early on with a big smile after "There Goes God" and said, referring the the Catholic renwal of baptismal promises rite, "Finally a song about the glamour of evil." After the show she told me that although the music was clearly wonderful, the best part of the show was the rapport between the brothers. She had never seen anything like it. This has been covered and experienced by many of us, and she was impressed by it as well.
I don't have the complete set list, and it did not vary too much from the previous shows. There were no Englebert or Tom Jones songs performed. Someone shouted out for "Shark Attack" early and Neil began to play it, but Tim who had just sat down at the piano said "No, I don't want to play that. I want to play what is next on the list." The requester yelled out an unpleasant suggestion of how Tim could occupy his time, which caught Neil by surprise. The show's highlights, at least for me, were a great "Dirty Creature" "Niwhai" "Eyes of the World" "I Got You" and an impassioned rendition of "The Devil You Know".
At this point, I'd like to welcome everyone who has recently jumped on the Tim bandwagon. Here, let's move over make room for you all. He was entertaining in DC as well. I am of two minds about the headset mic. On one hand, he can certainly keep up a steady stream of banter and singing while roaming around the stage. On the other hand, it is rather disconcerting to hear him talking to you and to be watching him walk around. He seemed to be so relaxed that I'm headed out myself this afternoon for a drum set.
I could go on about Tim, but I did hear a rumor that Neil was on this tour as well, and as most of my Finn experiences have involved Tim, I was anxious to see what Neil was up to. Well, he was as great as I had remembered. He did seem to have a problem singing LDOJ, a song I am not fond of anyway and which (IMHO) is poorly placed in the encore. However, his singing on "The Devil You Know" was great, inspired, wonderful. I was smiling. But that's not why he is now my hero. When the ukekele came out, he took pity on us after we had had our hopes dashed so cruely earlier and began "Shark Attack." You have not lived until you have heard this song played in this way with Tim singing the silly, brilliant lyrics in his silly, brilliant way. And we have Neil to thank for it.
The Finn offspring also figured large, dancing in the balcony and trying to bean dad with paper airplanes. One made it down to the piano where Neil was sitting and when asked to read it by the crowd, it turned out to be a listing of DC school-related phone numbers. After about 3 of them, Neil asked us "had enough?" to which everyone resoundingly answered "yes" (hmmm, what was that about Finn fans showing up to see them read the phone book?). Neil said "oh, wait, there is something written down here at the bottom. Dickhead." Tim informed us that the boys were big Beavis and Butthead fans and that before they had taken the stage "last night" (which in Timspeak invariably seems to mean either that day or six months earlier--he has a very unique conception of the passage of time) one of boys had made the pronnouncement "Finn Brothers suck," which Tim himself found delightful and repeated a few times during the evening. So be sure to yell it out yourselves at the upcoming shows.
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I wished the guys would have done more TA stuff. They played for 2 hrs nonstop (well, breaks for humor).Some of the best stuff:
Finally putting faces on the music I've enjoyed for eight years.
Neil "hurting" Tim by playing "cat scratch fever" on the Ukelele.
Hearing the crowd sing with all their hearts, that was the best.
Uncle Tim saying "Fuck You" in front of his nephew...heh heh heh.
RE: Ron Sexsmith... well, Ron, you need to be a little more animated bud. He barely introduced himself. And he kept saying "thanks for listening"... talk about low self-esteem.
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I've got the actual set list from the show in my hot little hand if anyone's interested; but as I wouldn't be surprised to know that the guy who grabbed the other list was a listie, I won't waste bandwidth here.
For the sake iof adding to the discussion, I should say that I really liked the Split Enz songs performed live--this is from the point of view of a CH fan a bit younger than the Enz, who initially had a hard time warming up to the synthesized SE sound. But the more I listen the more I realize these are really great songs. This was made clear to me when I decided to get "Anniversary," which I like a million times better than the SE greatest hits I've got, simply because of the instrumental production values. That "Message to My Girl"--incredible! Is this a generational thing, you think, or simply a needed adjustment on the part of my ear, or what?
Of course, hearing "Shark Attack" on the ukelele is enough to win anyone over.
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