Nick Cave and the Bad Seeds
Date: October 2, 2008 Definitely Something Going On In a different world, it would be enough for Nick Cave to be satisfied with being the best songwriter of his time, content simply to tour on the strength of his songs. In reality, he takes the stage with the ferocity of a young man with something to prove, gesticulating wildly to an adoring and frenzied crowd, putting every ounce of energy into his performance. With the incomparable Bad Seeds behind him, a Nick Cave concert is one for the ages; and this overdue stop in Montreal fulfilled every anticipation. As amazing as the night was, it began on a very poor note, as local act Tam sabotaged her own opening slot with her on-stage commentary. With doors opening at 6:30, the Metropolis was already quite populated by the time that she and her band came out with a set of noisy, unremarkable songs. She got a few heads bobbing in a crowd that was respectful, as I've come to expect in this city. Apparently, this was not enough for her, as she began complaining about the lack of crowd energy after every song, despite her own rigid stage presence. The turning point came when she whined that opening for Cave should be the pinnacle but instead she was "bored." From then on, the hostility between performer and audience only grew, culminating with Tam seeming to forget the words during a horrible set-closing cover of "Anarchy in the U.K.," dousing the front of the club (yes, including me) with beer, and trying in vain to start booing the crowd before it could boo her. I'm sure that it was all meant to be defiantly punk; but instead it came across as childish and petulant. The fans were clearly not deflated by enduring the tiring opening, though, as the anticipation for the headliner was palpable throughout the changeover time, with the crowd exploding when the band made its entrance, with Cave being the last to arrive. "Hold On to Yourself" was a perfect opener, with its musical blend of shuffle and restraint making the band feel like a coiled spring, primed to explode. The long build-up of the song also gave ample time to take in the players on stage. Thomas Wydler and Jim Sclavunos anchored the band behind two drum kits; and it was interesting to see them employ different techniques throughout the night. Martyn P. Casey and Conway Savage were next closest to the back, with Casey low-key on bass, and Savage visibly having fun on various instruments. Mick Harvey, Cave's musical partner since his school days, was to my left, switching between guitar and keyboards. On the opposite edge of the stage, rounding out the Bad Seeds, was Warren Ellis, looking like a wild man with his unkempt beard and hair, and killing it on violin, electric mandolin, or anything else that he put his hands on. As for Cave, his positioning depended on whether he was utilizing guitar, which I had never seen him play before, or solely singing. In either case, he patrolled the stage with purpose. When "Dig, Lazarus, Dig!!!" marked the release of that first-song tension, Cave managed to swing over and playfully kick at Ellis, while still playing his guitar. When fully untethered, though, he was in his classic manic preacher mode, pushing himself to the very front of the stage, upper body swinging over the crowd below, arms flailing, pointed fingers jabbing out to punctuate his words, eyes locking in on individuals as if singing directly to them. In a word, intense. That intensity was reflected in the setlist. Over a span of more than twenty years, The Bad Seeds have released fourteen albums, continually expanding their range, without resting on past exploits. On this night, that rich catalogue was mined for gems like the menacing "Tupelo"; "The Weeping Song," which was a force, even without the departed seed Blixa Bargeld; and the signature "Red Right Hand." It is a testament to the vitality of the new album that "Midnight Man" stood well alongside that trio. Cave quickly switched gears, sitting at the keyboard for the wry "God Is in the House" and the tender "Love Letter," his only such foray of the night. Cave improvised a few lines during the night, calling out to "Little Mr. Camera" during the names portion of "Dig, Lazarus, Dig!!!" and laughing during the end of "God Is in the House." He was also amusing with his stage banter, introducing "Moonland" as "a song about thinking you're the one and finding out you're not" and then describing its follow-up as "a song about thinking you're the one and finding out you're getting the chair," leading to "The Mercy Seat." After "Deanna" had everyone at the front of the crowd screaming along at the top of their lungs and "Hard On For Love" kept things delightfully unhinged, the set wrapped up with a mesmerizing rendition of "Papa Won't Leave You, Henry." After that explosive finish, the encore kicked off with a breather in the form of "Jesus of the Moon" before escalating to "Get Ready for Love" and the vulgar blues of "Stagger Lee." The last number had the feel of a triumphant finish from top to bottom, so it was no surprise when the house music came on and roadies began clearing equipment. However, as was the case when I last saw the Bad Seeds in Montreal six years ago, the rabid fans refused to disperse, clapping and chanting until the band reversed course and returned for an off-the-cuff second encore. It's very rare to see a true, unscripted encore; and it was perfect to have it happen on this stellar night. After Cave called out its chords, the band seemed to have a blast with "Wanted Man," before moving on to "We Call Upon the Author." The latter was the song from the new release that I most wanted to hear; and the significant transformation that the band applied to its breakdown sections made it surpass even its fantastic album form. Nick Cave and the Bad Seeds remain my favourite band; and this long-awaited concert only increased my adoration for the group, as they absolutely killed from the opening notes through the unexpected treat of a finish. Nick Cave and the Bad Seeds setlist Main Set
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