The Smashing Pumpkins are back. Saturday night at the Orpheum, the resurrection of one of alternative music's most important bands shined brighter than Billy Corgan's head. Timely classics pulled from an extensive catalog including this year's comeback, Zeitgeist, welcomed fans at the first of three sold-out performances.
On stage, Corgan looked more like Darth Vader with his helmet off than one of the '90s best frontmen. But it's the ugliness, in his voice and his jarring presence, that makes him powerful. He stands loud, raw and abrasive -- a possessed rock icon who in the past escaped taunts of awkwardness through a distorted guitar.
Corgan is known to be obsessively controlling. In the studio he plays everything but drums. That's why even without half the original members, (James Iha and D'arcy Wretzky won't be signing anytime soon) reuniting with drummer extraordinaire Jimmy Chamberlin is enough to credit current work to the Smashing Pumpkins, instead of Zwan or a solo album. On this tour, the second guitarist is subservient and the chick bass player is smoking hot. It's pretty brilliant. Instead of a head-banging metal rocker, a supermodel rides a bass that's bigger than she is.
Early in the set, "Bullet with Butterfly Wings" creeped and built into a huge chorus. "United States," Zeitgeist's nearly 10-minute, anti-heroic anthem, was satisfyingly filthy, even if it wasn't enough to incite revolution as the lyrics suggest. It cut to just Corgan, Chamberlin and a wash of reverb, with teases of the "Star Spangled Banner" on guitar. If Hendrix's version defined the freedom and power of the American spirit in 1969, Corgan's articulation exclaimed what it means to be an angry American in the modern age.
After a stoned lullaby, "Tonight Tonight" reaffirmed that no drummer in the world is more qualified to play in this band than Chamberlin. This summer's single, "Tarantula," a surprisingly catchy fuzz-filled stomp kept the energy up. Next came "Stand Inside Your Love." Corgan called out a girl in the crowd for not having a good enough time before playing the tender ballad. His desire for everyone to appreciate what he's doing -- to like him -- reveals insecurities masked with condescension and aggression.
"Zero" was huge, a haunting blast that left no room for overanalyzing. The Pumpkins had a big song when they needed it all night. A solo acoustic version of "1979" would have been better if more people knew the chorus's mumbled words.
The set ended with fury. "Superchrist," a staple on this tour, "Doomsday Clock," off the new album, and "Heavy Metal Machine" provided back-to-back-to-back unrelenting thrash. Machine gun drum rolls, guitars cranked to 11 and Corgan's screams riled up those there for the assault rock.
In the encore, two radio friendly smashes, "Ava Adore" and "Cherub Rock," restored sanity. At the end of the night the softer side of the multiple personality complex came out. These Grammy award winners - even cartooned on the Simpsons - have achieved their fame because of their versatility and an impressive pop-sensibility.
Opening act Explosions in the Sky warmed the crowd with dynamic, instrumental, post-rock meandering. They are a fuller version of the Benevento-Russo Duo; a step or two past Coldplay at their most contemplative. As expected, there were moments of forceful beauty as well as tiresome monotony.
Be the first to comment on this article!
Log in to be able to post comments.