TOUR DATES & SETLISTS
---24 February 1988 --

1980s Index

GENERAL INFORMATION

DATE: 24 February 1988
VENUE/SHOW: Luther Burbank Center
LOCATION: Santa Rosa, California, USA.
SHOW COMMENTS:
This is the solo tour.

Ticket stub from this date.
Poster from this show.
SETLIST


  • Creation Dream
  • How I Spent My Fall Vacation
  • Mama Just Wants To Barrelhouse All Night Long
  • All The Diamonds
  • Lovers In A Dangerous Time
  • Tokyo
  • Dust And Diesel
  • Sahara Gold
  • After The Rain
  • Don't Feel Your Touch
  • Tibetan Side Of Town
  • Berlin Tonight
  • Call It Democracy
  • Santiago Dawn
  • Nicaragua
  • If I Had A Rocket Launcher
  • Stolen Land
  • Gospel Of Bondage
  • Lord Of The Starfields
  • To Raise The Morning Star

    Encore 1:
  • Waiting For The Moon
  • Down Here Tonight

    Encore 2:
  • Peggy's Kitchen Wall
  • Waiting For A Miracle



    COMMENTS/FURTHER INFORMATION

    The poster scan was submitted to the project by Rob Caldwell.
    Setlist and ticket stub scan submitted to the project by Bobbi Wisby, who further reported that: This show was during the solo tour and the energy of these shows was incredible. Bruce spoke long and often, after playing Call It Democracy, he started talking about the Chilean government policies:

    BC: "There's no place that the kinds of policies that that song talks about are more evident than Chile. Where there's a government that not only, as you know, does atrocious things to its citizens but also is, perhaps not also, but part and parcel of the same package, the selling of the countries resources, as fast as possible, for the benefit of the few. Considerable benefit of the few. I mean, you can watch the bottom feeders in action there for sure.
    Audience: "They're right here too!"
    BC: "Oh, I know, sometimes they start here."

    BC: "I was down in Chile at the fall of 1983, following the period, where for the first time, since the Pinochet dictatorship came into being, Chilean people were stating to resist en masse. The way that started to attract attention all over the world and eventually has resulted in pressure even from Washington to get the Pinochet regime to create the appearance of a liberalization and that that liberalization has sort of gone from being, ya know, sort of old time eastern despotism to something like Mussolini's Italy before the war. It's not entirely open although it's more open that it was in '83.

    But back then things were really starting to cook. The army was getting nervous and one of the things they were getting the most nervous about were the people who were living in the shanty towns that surround the city of Santiago. About 900 thousand of those people living in very primitve conditions, who are not at all ignorant of what they're missing cause all they had to do to see what they're missing is go downtown Santiago where they can, if they can scratch some money together, they can get a ride on a nice, clean, efficient subway. Or they can go and watch people sitting in a cafe sipping exotic drinks and, not as exotic as I had in Nepal, but exotic to them, ya know, imported beer, Canadian beer, for that matter, is really exotic when you're in South America, let me tell ya.

    Those squatter communities known as publiciones are the source of a lot of the ferment, a lot of the action against the regime, but knowing that, the military responds by sending in troops from time to time to kick people around just to let them know they're watching and try to keep them from organizing themselves too coherently, cohesively. This really had the opposite effect, the people have discovered that they don't have to put up with it and they can even fight back.

    And around about '83 they started winning some of those encounters with the military. This song is kind of a disstillation of some of those encounters, the stories that I heard from people."
    Then he breaks into Santiago Dawn.





    ARCHIVE RECORDING

    KNOWN RECORDING: Yes
    SOURCE: audience
    QUALITY: good
    COMMENTS:


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    1980s Index


    This page is part of The Cockburn Project, a unique website that exists to document the work of Canadian singer-songwriter and musician Bruce Cockburn. The Project archives self-commentary by Cockburn on his songs and music, and supplements this core part of the website with news, tour dates, and other current information.