8 April 2002 -- As Bruce makes his way across the US, many fan reports have come into the project. While often the setlists and shows are very similar, a few of Bruce's fans have noted certain unique happenings or information at different venues. Part V of 'On My Beat' will feature reports with these differences in mind, starting with the 7 March, Detroit, Michigan show and ending up in Portland, Oregon on 21 March,2002.
The Detroit report comes to us from David A. Komjathy, and gives us an insight into Bruce's equipment and musical stylings.
Thursday 7 March 2002
Detroit, Michigan, Second City Show -
Equipment: 2 identical Jerry Jones acoustic 6 strings (1 in std tuning, 1 in drop F#), and an acoustic 12 string in std tuning. The two six strings are the ones he’s been touring with the last few years. A couple of effects (chorus, delay) and two monitors. That’s it.
[For a setlist of this show with links to all the songs go here.]
First Set
A Dream Like Mine: Unbelieveably lush and beautiful, with a long, delay-ridden intro that left you wondering what it was until the first verse. This rich, room filling style set the tone for the rest of the night.
Lovers In A Dangerous Time: Using a chorus pedal that made it sound almost identical to the Columbia Radio Hour version minus Rob Wasserman. Also really pretty.
Anything, Anytime, Anywhere: Introduced as one of the two new tracks from his new compilation; a very luminous rendition with the vocal hanging high above the guitar.
The Trouble With Normal: A sterling example of a song that in its native studio state I find unlistenable but when stripped down to an acoustic guitar and voice is set free to make the statement Bruce meant it to. A gorgeous, Oriental guitar part glided along with him.
When You Give It Away: BC was having fun with this reggae-inflected acoustic version. A lot of audience singalong.
All The Ways I Want You: I had actually never heard this piece before, but had heard of it numerous times. Very pretty, Bruce awash in indigo blue light as he sang it. The Tom Waits song that Tom Waits never wrote.
Tibetan Side Of Town: A guitar part that only Bruce Cockburn could write and execute. How does he sing and do that at the same time. Very well received.
Tokyo: A solid acoustic version.
Pacing The Cage: Bruce talked a bit about people covering his material, how he wished it would happen more, and how, although an unusual choice for Jimmy Buffet, he pulled it off. The audience responded a lot to this last song in the first set.
Photo courtesy of Sandy. |
The Chicago and Madison show reports come to us by way of Doug Stacey. Setlists with links to all the songs, are here: Chicago and Madison.
8 March 2002
Chicago, Illinois, Vic Theater -
A couple of the speaking highlights (he seemed pretty chatty, often
saying things back to the crowd and mumbling things off mic).
After he
played the second song, "Lovers In A Dangerous Time", he stepped up to the
mic and said "you know what I was thinking about while I played that
song?". My first thought, after "no" was "how good is this"??
He went on to tell a rather lengthy story about a benefit he was invited to play in
Kosovo by Vanessa Redgrave. He said he was scheduled to play a set but
as the night wore on it kept getting cut down and cut down as time ran
short until finally, Lovers was the only song he played. The reason the
show was running late was because of Vanessa Redgrave. She apparently
spoke at length between each artist. He said you couldn't blame her at
first because she did organize the show for the refugees who were coming
back to their homeland but that it just became comical after awhile. She
stayed on the stage the whole night. She'd introduce someone then retire
to her throne up on the stage and just sit there. He said a friend of
his, Leslie, was in the audience and said that a Kosovoan (that can't be
right!) next to them said (and here Bruce used an eastern European
accent you'd have to hear for yourself) "I'm beginning to think this
show is not for Albanians, this show is for Vanessa Redgrave!" Then he
said, "anyway, that's what I was thinking about as I played that song".
Not often you get that kind of insight into what's going on in his head
on stage. He's obviously able to pound out that beautiful music without
having to concentrate at all!
Photos courtesy of Murray Harrison.
Taken at the 10 March, St Paul, MN. show.
More photos can be viewed on
Marie Westhaver's site.
9 March 2002
Madison, Wisconsin, Barrymore Theater -
Bruce sold out the lovely old Barrymore Theater in Madison Saturday
night, a venue that holds just under 1000 people. Another great show in
my not-so-unbiased opinion. The crowd in Madison was much better behaved
when compared to Chicago the night before. I can't remember which song
(Tokyo I think) but on one Bruce slowly faded out by playing softer and
softer and the crowed didn't make a peep until he finished it with a
whisper and in Chicago he would have been drowned out as soon as he
started the fade.
One interesting commentary. Someone yelled "nice strap" and Bruce
responded almost immediately with "you're into straps are ya?". Which
received a big laugh. He went on to comment something like this: "that
reminds me a long time ago when I was in a band, in 1968, we played all
sorts of music. Psychedelic music, band music, whatever. I liked the
psychedelic music because I could play the guitar. I used to drop down
on my knees and play and even play with my teeth until one time a piece
of my tooth flew out into the audience. That was the last time playing
with my teeth! But I used to fantasize about getting a girl to join the
band and when I was down on my knees playing she would whip me. We never
found a girl though, at least not one we wanted in the band."
Photos courtesy of Murray Harrison.
Taken at the 10 March, St Paul show.
More photos can be viewed on
Marie Westhaver's site.
Doug Stacey
The next several shows are documented on our Set Lists page. The next report comes to us from Gary Roshke.
19 March 2002
San Francisco, CA, The Fillmore -
The complete setlist is here.
The Fillmore was an absolutely perfect venue for Bruce. Tables were brought in to fill up the floor and the chandeliers which hung overhead and velvety curtains all around, lent a perfect, intimate night club feel to the venue.
Everything sounded magical, delivered with intensity and complete passion. Bruce appeared to be totally relaxed (owing perhaps to a good workout on his bike that afternoon around the formidable hills of San Francisco), in playful spirits and entirely warmed up from the moment he hit the stage.
I have seen Bruce many times in the last 14 years, by himself and with the various bands he has toured with. The show a couple of evenings ago at the Fillmore ranks among the very best.
Photos courtesy of Murray Harrison. Taken at the 10 March, St Paul show. More photos can be viewed on Marie Westhaver's site. |
We have 2 reports from the Portland shows. One from Travis Adams, a guitarist, who gives us a unique "guitar" review and the second from Lisa Morrison.
21 March 2002
Portland, OR, The Aladdin Theatre -
The complete setlist is here.
As a guitarist, I am going to try to give a "guitar" review and try and help
any of you trying to play some of Bruce's songs. I have played many of his
songs from the Ottawa books, but I still think the live notes may be helpful
to some of you. I didn't pick out tunings, but I did right down capo
positions and kept the songs in order, so if you know the tuning for Lovers
then you know the tuning for A Dream Like Mine etc. So here is the set list
with my guitar notes:
First set - All 9 songs were performed on 1 guitar.
A Dream Like Mine - No capo
Lovers In A Dangerous Time - Same tuning, no capo
Anything, Anytime, Anywhere - Same tuning, no capo
Trouble With Normal - Same tuning, no capo
When You Give It Away - Same tuning, no capo
Tibetan Side Of Town - Same tuning, no capo
Then Bruce tuned the low E string back up from D to E.
Tokyo - No capo
Waiting For A Miracle - Same tuning, no capo
Open - A brand new song. I didn't get the words, but Bruce said "This
is so new that you are on the second Humans to hear it."
Break/Intermission
Rumours Of Glory - Same guitar as the first set, likely retuned, capo 2
My Beat - played on a 12 string with a capo on the first fret. I don't
know if Bruce has this guitar tuned down half a step to relieve neck tension
and is therefore using the capo to bring the guitar back up to tune or not.
Put It In Your Heart - Same 12 string, same tuning and capo
Let The Bad Air Out - Same 12 string, same tuning
Call It Democracy - Drop D Tuning, no capo
Justice - Drop D Tuning, no capo
Wondering Where The Lions Are - Drop D, capo 2. Bruce uses his
thumb to finger the base notes with his left hand unlike the transcription
from the Ottawa books.
Last Night Of The World - Capo 3
World Of Wonders - Capo on either 6 or 5, Tuning didn't change from
Last Night Of The World.
Encore 1
Pacing The Cage - Capo 4
Peggy's Kitchen Wall - No capo and people in Portland should never ever
ever clap. I felt so bad for Bruce. I swear they were still listening to
Lions and clapping. It was truly sad.
All The Ways I Want You - Capo 2, standard tuning I think.
Encore 2
Down to the Delta - No capo, not sure on the tuning.
So that is my guitar report.
I also wrote down some other interesting tidbits that happened. Someone
requested Feast of Fools and someone else shouted out "No!". Bruce liked that, and commented that that may have been the first time that had ever happened. It reminded him of a story about riding his bike through Toronto.
Bruce pointed out that he has lived in Toronto for more than 20 years, so
he is a pretty recognizable figure. He recalled riding through the "art"
district of Toronto where all the clubs are one sunny afternoon and he
suddenly heard this man scream out from the side of the road "I hate your
music!". Bruce thought that was great, because he didn't have to turn all
shy like when someone comes up to him and tells him how much they love his
music.
Bruce commented that he spent a good part of the day biking around Portland,
and that he was happy to be on the other side of the river. He was happy to
learn there is a whole other part of Portland. I guess we all take this for
granted, but Bruce had apparently never been on the east side of the
Willamette river.
Travis Adams
Portland - part 2, by Lisa Morrison
The Aladdin Theater in southeast Portland is a great place to see Bruce
solo/acoustic. It's a small theater, perfect for a musician and his
instrument (and adoring fans).
Wind gusts of up to (I am guessing) 45 mph (seemed like 60) buffeted the
area throughout the day and into the evening. But those harsh winds did not
stop Bruce fans from forming a ring around the theater as they waited
patiently to get good seats to the sold-out, general admission show.
The show began promptly after an announcement that Bruce would be back in
Portland on July 5 for a zoo concert with Shawn Colvin. Tickets go on sale
May 10. This is an awesome venue -- he played there a couple of years ago.
And the show is after July 4 -- the official last day of the rainy season
here in the Rose City -- so it should be perfect weather for picnicking and
playing.
Bruce told a number of stories to accompany his songs, and just sort of
talked back and forth with the audience a lot. He chatted about taking his
bike earlier in the day around the eastside of the city (in that wind!), and
how he enjoyed the chance to see this part of town. He usually plays venues
across the Willamette River (downtown).
Here's the best part: Bruce played a song he described as only having been
played "once before in front of humans." It was a very nice, rolling sort of
tune that reminded me of riding a bike or a horse on a rolling plain. I
think the name of the tune was "Open" and I caught of few of the lyrics:
I never live in (with?) balance
Photos courtesy of Murray Harrison.
Taken at the 10 March, St Paul show.
More photos can be viewed on
Marie Westhaver's site.
I always wake up nervous
Like I'm (??) sideways
I hold my breath forever
I never live with balance
I've always liked the notion
I feel that endless hunger
For energy and motion
I gotta give a lot of props to someone for ending a show with an
instrumental. But Bruce has got the cojones and the talent to pull it off. I
sat in amazement listening as he finger-picked through Down To The Delta. It
still baffles me how one man can make one instrument sound like that.
All in all, I would say this Bruce was spot-on last night. He is a man who
continues to stretch and grow his creativity and his talent, and it shined
in this solo performance.
Lisa Morrison
~Bobbi Wisby