Tsp2000-01-31B

The Smashing Pumpkins
Date	2000-01-31
Venue	Granada Theatre
Location	Lawrence, KS, US
Venue Type	Club
Capacity	~650
Lineup	Corgan, Iha, Chamberlin, Auf der Maur
Order of Bands	The Smashing Pumpkins
Surfaced Recordings
AUD #1
Source	AUD
Format	ANA
Equipment	built-in > HS-JS175W
Length	118m
Complete?	Yes
Lowest Circulating Generation	ANA-M > CDR
Live Music Archive	16-bit download
Notes	Dual mono. ANA-? > CDR transfer also circulates.
Unsurfaced Recordings
-

Setlist

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Set:

• Rock On [Essex]
• Zero
• Glass and the Ghost Children (false start)
• I of the Mourning
• Glass and the Ghost Children [10:58]
• Age of Innocence
• I Am One (with rant)
• Ava Adore
• Blue Skies Bring Tears
• Pale Scales
• The Everlasting Gaze
• Heavy Metal Machine
• To Sheila
• Cherub Rock

Encore One:

• 1979
• Disarm

Encore Two:

• Paranoid [Black Sabbath] (tease)
• Glass' Theme
• Bullet with Butterfly Wings

Encore Three:

• X.Y.U. (with rant)
  • (jam)
• Jumpin' Jack Flash [The Rolling Stones] (tease)
• We Love You

Notes

• 1979 and Disarm performed acoustic

Banter

Rock On
Zero
Glass and the Ghost Children (abandoned - Jimmy reads setlist wrong)
BC: Jimmy! (Jimmy stops playing) You’re playing the wrong song. 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 for sitting out there. 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
Ava Adore
BC: Melissa doesn’t know this next song so uh.... Ladies and gentlemen, on the bass, Melissa Auf der Maur. See, she doesn’t even acknowledge your love.
Blue Skies Bring Tears
Pale Scales
> The Everlasting Gaze
> Heavy Metal Machine
To Sheila
BC: Thank you very much.
Cherub Rock
(BC over extended drum intro: 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.)
BC: Thank you!
[encore break]
Iha: Thanks, thanks. How are you guys doing? Is it [unintelligible] out there now? I’d like to give a formal introduction: back on the drums, Mr. Jimmy Chamberlin. On the bass (pronounced like the fish) guitar, Miss Melissa Auf der Maur. On vocals and guitar, Billy Corgan. And uh...uh, I can’t think of a funny joke right now. I’m not [unintelligible].
BC: Izzy Stradlin.
Iha: Thank you.
1979 (acoustic, Jimmy plays guitar)
BC: Thank you. ... Thank you very much. How’s everybody? You alright? 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 - Billy or Iha plays riff a few times)
Glass’ Theme
> Bullet with Butterfly Wings
BC: Goodnight.
[encore break]
BC: Thank you.
Iha: Thank you very much. [unintelligible] is canceled. How are you people? [unintelligible]. Are you still rocking or are you...or do you want to go outside into the cold, cold [unintelligible]? That was a large boo for mother nature I just heard and I don’t think mother nature appreciates this. Nevertheless, we will still rock on this next song [unintelligible]. Are you ready, you motherfuckers? I can’t hear you! Alright! Oh yeah! Yeah, come on, unh! I got the motherfuckin’ [unintelligible], yeah you motherfuck. Alright. One last jam. Yeah, the devil lives with me. The devil lives in my shoebox that I got at home. A size nine. A suede shoe I once got from my grandmother! We’re friends, see you in hell, grandmother! [unintelligible] motherfuckin’ devil, that’s [unintelligible]. Oh! Where that shoe walks! A large sole on that shoe, hoping to catch [unintelligible], ain’t that sad?! I’m sorry, I’m sorry, okay, we will get off rocking.
X.Y.U.
(BC towards end: Sorry about that. Iha. The fact that we come from Chicago means we have a propensity to overdo the blues part. That’s the end of the concert.)
BC: Thank you very much for coming to the concert.
Iha: Oh. Very nice.
BC: For coming to the concert. Thank you very much for coming to the concert.
metal jam
BC: Wait wait wait wait. What do we think we are, one of these, uh, one of those bands with dreadlocks that raps over their music? Do we think that’s what we are? Give it up, James. We’re not up with what the kids are into anymore, we’re too old, we’re past our prime, no doubt. These new bands, 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: I only know - I only know grunge songs. I only know grunge songs, that’s how dated I am. I don’t know anything new.
BC: There’s that whole marriage of hip hop and metal and it’s beyond us, we’re misfits. We were up doing that - 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 [unintelligible]. And uh, I’m sorry you’re actually here to witness our demise.
BC: Goodnight. ... [unintelligible] window, heh, kinda small.
Iha: I didn’t think you were gonna [unintelligible]. Well, hahaha. Uh, you guys ready to boogie? Uh, I guess if you just wanna move your hips a little bit, bust a boogie. Billy, are you ready to boogie? He’s over the boogie. Uh...what do you guys wanna hear? ... Say that again? Oh, um, I know that one.
Jumpin’ Jack Flash (tease - Iha plays and sings a bit)
BC: I think - 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 help with one last jam, which we dedicate to you. I’m gonna go then - I’m getting on a plane. I’m goin’ 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 - I’ll think about it, just play it.
We Love You
(Iha: (all 4 sentences are in between Billy playing the riff once at beginning of song) Yeah, yeah, that’s good. Can you play it again? Can you put a beat to it? (screams))
BC: I think I feel it now. Look, here comes another crowdsurfer, 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

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
we’re gonna go so far
[unintelligible]

we love you
we love you
we love you
(screams)

BC: Alright. We’re gonna reach one more time. I don’t think you’re quite grasping the message of the 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
(screams)
we love you
we love you
we love you
we love you (15x in rapid succession)

we love you
we love you
we love you
we love you
(screams)