The Machine, Westbury Music Fair, October 31, 2010

I was treated to the music of Pink Floyd from Spider-Man, Nurse-Man, Karate-Man and Monster-Man for three or so hours. Not much really to say other than that they continue to provide me with reasons to see them every year for their spot-on renditions of Floyd classics and obscure gems. "Wot's...Uh The Deal" was a surprise inclusion as was "Careful With That Axe, Eugene" to open the show. I also think it was ballsy to exclude songs like "Comfortably Numb," "One Of These Days," etc. But that's how great Floyd's music is -- you actually don't need to hear everything in order for it to be a great show. I wanted to hear "Comfortably Numb," but I'm not all that upset I didn't hear it. All in all, great show again. Thanks guys.

Setlist:

Careful With That Axe, Eugene
In The Flesh
The Thin Ice
Another Brick In The Wall, Part 1
The Happiest Days Of Our Lives
Another Brick In The Wall, Part 2
Speak To Me/Breathe
Time
Shine On You Crazy Diamond
Signs Of Life
Learning To Fly

Sheep
Welcome To The Machine
Wot's...Uh, The Deal
Keep Talking
Money
Set The Controls For The Heart Of The Sun
Wish You Were Here
Any Colour You Like
Brain Damage
Eclipse

Encore:
Waiting For The Worms
Stop!
The Trial
Outside The Wall

Muse - Nassau Coliseum - October 23, 2010

While I haven't followed these guys from the beginning, I did have the benefit of enjoying them before they received massive exposure from playing award shows, Twilight soundtracks and as the opening act for such notable contemporary blowhards like U2, I was nonetheless disappointed by their concert, a mostly lifeless and mechanical rendering of their songs, and many popular singles at that. I suppose this is what comes at the price of filling up giant arenas and having legions of newly-minted mindless head-bobbers who want anthems and ballads and sing-alongs, elaborate stage wizardry and lights (which were cool, no complaints) and a general feel-good time. I was less than pleased at the unquestionably short 90 minute length of the show, the lack of an encore (unless two minutes before "Exogenesis" counts as an encore), and the enormous technical mistake, hereafter referred to as THE WTF MOMENT. Midway through Bellamy's warbling erratic wah wah sequence of the solo in "New Born," the sound suddenly got sucked out of the Coliseum. With a moment reflecting the sheer incredulity of his audience, Bellamy threw his hands up as if to say, ARE YOU FUCKING KIDDING ME?, and the band promptly left the stage for a few minutes. To their credit, in rather humorous fashion, the band began again right smack at the heart of the solo, a testament perhaps more to their pristine routine than anything else. What else? Bellamy, an absolutely phenomenal vocalist, composer, pianist and guitarist was pretty much absent from the keys, only playing two songs if I recall, a marked departure from what made this band so unique.

So was anything good? Yes, "Knights" was amazing. Maybe the band was happy they were ending the show, I don't know, but it was energetic and provided a glimpse of why this band used to be so dynamic. Ditto for "Stockholm Syndrome," "Hysteria," "Problematique," "Eurasia," and a few others. The interlude "jams" were also interesting, if not for the fact that I had heard them "spontaneously" played before as well, in addition to some brief minute covers of "House of the Rising Sun," "Star Spangled Banner," some Zeppelin, etc. All in all, a very disappointing show by a band I fear has become hideously enslaved by the fickle whims of a commercial consuming public, despite the fact that I still love most of their music. It's a shame such amazing talent gets wasted for people who have no true appreciation for what they are hearing and are more concerned with waving their hands, taking obnoxious pictures and video with their iPhones and feeling bedazzled by visual displays, which, ultimately, hide the fact that the band is bored and should never be allowed to play "Undisclosed Desires" ever. C

Here's what I thought was the setlist:

Uprising
Map of the Problematique
New Born
Super Massive Black Hole
Resistance
Hysteria
Guiding Light
United States of Eurasia
Feeling Good
Undisclosed Desires
Time Is Running Out
Starlight
Plug In Baby
Exogenesis: Symphony Part 1 (Overture)
Stockholm Syndrome
Knights of Cydonia

Roger Waters - The Wall Live - Nassau Coliseum - October 12, 2010

What could I possibly write that could somehow add to what I've already said a few days ago? Um ... I had better seats? I liked seeing it twice? Pigs are really underrated? A-

Roger Waters - The Wall Live - Madison Square Garden - October 6, 2010

Monstrous inflatable marionettes, a flying pig with party slogans, a flock of children singing something about education and wearing shirts bearing the message "Fear builds walls," the crash and din of music interspersed with babies and bombs and erratic television crackles, and a wall, so imperceptibly constructed steadily over the course of the album's tense first half that I here and now must raucously applaud whomever created the set design and those in the stage crew who seamlessly metastasized such a wonderful visual spectacle for me -- and everyone else, too. Yet the "bricks" in the wall were not just to physically isolate the band from the rest of the audience, but also to function as an enormous video screen (enormous being too understated, really) to showcase the various themes surrounding the album: animations of scenes from the film, photos of deceased military members from all wars, visuals of planes dropping bombs shaped as crucifixes, crescents and stars (which has garnered some controversy; Google it), as well as Shell and Mercedes logos and some good old-fashioned dollar signs. For those expecting Mr. Waters to sing like he was thirty years younger, he does, actually, on the screen from some footage of "Mother" from the 1980 tour; the current version sings along with him. Basically, go see this if you can. I am. Again. In five days. Try to not buy seats on the extreme left or right sides of whatever venue, and comfort yourself to the fact that, while this is not Pink Floyd, it's the closest thing you're going to get to see them ever again anyway. A- (the minus is for lack of Gilmour, the standard for anything involving Floyd).

Kaki King - The Bowery Ballroom - April 16, 2010

Rumors of this guitar virtuoso's musical death have been greatly exaggerrated. No, she doesn't do that "tapping" thing on her new album and it wasn't prominent in the show, either, because she was too busy rocking the fucking out. Is this what everyone wants to hear and see? A musician stuck in the confines of her audience's desires, which is probably the equivalent of eating camembert cheese with boysenberries. Let her do what she wants.

That said, great show. It was a nice mix of rockers ("Falling Day," "Death Head," and a variety of acoustic instrumentals, those that got her attention in the first place and some new ones. I never tire of "Pink Noise." "Bone Chaos" was pretty searing as usual; it's one of those manic displays of guitar awesomeness that makes you stop whatever you're doing. Which reminds me of something: she doesn't have a bass player. The guy posing as one was toting (I had to google this) and electronic EVI synth; it's basically like an electronic trumpet that you can play pretty much everything on, including bass. The guy was pretty impressive. Her drummer, too, reminded me of Stewart Copeland for his loose and varied style.

For her encore, Kaki brought out the lap-steel and started looping several guitar parts for "Gay Sons" with an added bass and drum backbeat until it became a kind of dance tune. She then jumped into the audience and started dancing. It was pretty awesome. Then she let everyone know her and the band would be drinking beers at the merchandise table. Cue Bowery staff, who, in the spirit of every good aftermath to rock and roll shows, cough cough, told us to make our way to the door and get the fuck out. Gotta love the way things are now. On a side note to that, NYC music venues are sucking ass. Last time I was at the Bowery years ago, it was fucking righteous. It's turned into a clean, sterile vapid place. I believe the word they use in housing development is "gentrification." The same feel can be applied here.

Setlist:

Falling Day
Bone Chaos In The Castle
Life Being What It Is
Pull Me Out Alive
Death Head
Betrayer
Unknown song/solo
Playing With Pink Noise
Sunnyside
All The Landslides Birds Have Seen Since The Beginning Of The World
Doing The Wrong Thing
Everything Has An End, Even Sadness
Spit It Back In My Mouth
Jessica
You Don't Have To Be Afraid

Encore:

Hallucinations From My Poisonous German Streets
Gays Sons Of Lesbian Mothers

The Machine, B.B. King's, October 30, 2009

Ok, I saw The Machine again. I just really love Floyd, don't I? It wasn't enough that I've reviewed all their albums here already, but a tribute band twice in a month surely certifies my addiction. So what was different the second time? The venue (bad food, lots of alcohol), the set of songs they played, and a saxophonist for "Crazy Diamond," "Money" and "Us And Them." Fucking tasty. Show started at nine on the dot and went until half past midnight with one brief fifteen minute break in the middle. What does that mean? Lots of songs -- even Syd Barrett's "Dark Globe." Oh, and "The Trial"? Spot on. See for yourself.

Setlist:
Speak To Me/Breathe
Time
Coming Back To Life
Shine On You Crazy Diamond
Welcome To The Machine
Keep Talking
One Of The Days
Sheep

Dark Globe
Money
Us And Them
Let There Be More Light
Have A Cigar
Echoes
Final Cut
Happiest Days Of Our Lives
Another Brick In The Wall, Part 2
Wish You Were Here
Comfortably Numb

Encore:

Waiting For The Worms
Stop!
The Trial
Outside The Wall

A-

Them Crooked Vultures - Roseland Ballroom - October 15, 2009

For a band with no album, singles and with only a rumored release date of November 23rd, you would think that seeing these guys would be as exciting as seeing an opening band you've never heard of. But this is no ordinary band. As I mentioned a few weeks ago, Them Crooked Vultures is a supergroup consisting of Josh Homme (Queens Of The Stone Age, Kyuss) on guitars and vocals, John Paul Jones on bass and keyboards, and Dave Grohl (Nirvana, Foo Fighters). To say that the show was awesome would be a gross understatement and I actually took the day off today because I am still reeling from the absolute fucking magnificence from last night. Dave Grohl, from where I was standing (which was right in front of JPJ) looked like Neo from the Matrix -- which is to say that he was playing so fast he looked like a blur the whole night. Josh Homme was churning out riff after solo after riff after solo -- and JPJ -- my god man -- he used numerous basses, plunked at them on some songs, picked at them on others, played slide on a special inclined model -- yes he played slide! -- played his portable key-tar, synths, and a beautiful piano outro. Oh, and the mandolin. It was awesome, purely fucking awesome. Mark my words, this is going to be one of the best rock albums to come out in a very long time. While they are technically a supergroup, they don't play like they're out to impress you with their outsized egos (re: Bono, Chris Martin, et al). They're goal was to play some rocking music, have a good time and seem very humbled by any and all applause. Aside from the weird "Interludes With Ludes" and the strangely melodic "Highway One," I can't single out any particularly strong tracks because they were all incredibly meaty boozy sludgy riff-a-fucking-delic rocking monsters. Lies! Ok, "Scumbag Blues" is tops for me. And "Gunman." And the fifteen minute holy shit jam to end the show. I would see them again in a nanosecond. I am starved for more. I pity those who haven't heard them yet. I am going to sleep now. If you love music -- not the media of music, the image of music, the corporate pandering that is currently dominant in music -- you will love this band, I assure you will love this band.

Setlist:

Elephants
Dead End Friends
Scumbag Blues
Gunman
Highway One
New Fang
Caligulove
Bandoliers
Mind Eraser
Daffodils
Interlude With Ludes
Reptiles
No One Loves Me And Neither Do I
Warsaw

The Machine, Westbury Music Fair, October 2, 2009

The Machine is a Pink Floyd tribute band I almost didn't see on Friday night. Blame it on a blown fuse and difficulties with finding electricians, but thankfully the show started -- even if almost two hours late. That said, the band promised no breaks and sampled mostly on the safe side of Floyd's immense catalogue. I was hoping they'd play whole albums like Animals and The Wall as they did at B.B. King's last month, but as someone there told me, drink a few beers, close your eyes and you won't know you're not listening to the real Pink Floyd. So that's what I did and I'm happy. My only problem was their choice to cater more to the average Floyd Fan by playing more of the well-known songs (i.e. from The Wall) and by feeling the need to sample from many of Floyd's albums (which meant mediocre or poor songs from The Division Bell and Momentary made the cut). I was fairly disappointed when they played "Echoes" -- yes, the "Echoes" -- and ended the song at about 17-18 minutes right before Gilmour's famous guitar line builds up. Good god, why? They played "Fat Old Sun" and that solo was awesome, Jeff. I'm trying to play it on my guitar today without much success. These guys are from New York and play here often, but I know they travel around, so if you get the chance to see them, it's worth it. The guitarist/vocalist does a pretty close Waters imitation and a passable Gilmour.

Setlist:

Shine On You Crazy Diamond
Welcome To The Machine
Coming Back To Life
Speak To Me/Breathe
Time
Sorrow
Fat Old Sun
Is There Anybody Out There?
Nobody Home
One Of These Days
Pigs On The Wing
Pigs (Three Different Ones)
Echoes
Hey You
Wish You Were Here

Encore:
Run Like Hell
Comfortably Numb

B+

Warchild, Morgan Memorial Park, August 30, 2009

Today is Tuesday, and on this particular Tuesday you get a twofer. Whether you would have gotten lesser or equal value if I had just written one longer review is beyond my mental pay-grade. For some background, Warchild is a Jethro Tull tribute band from New York who replicates the sound and look of the original Jethro Tull circa 1970 or thereabouts; the lead singer/flautist dressed and looked somewhat similar to Ian Anderson, but his eerily similar voice, his excellent flute playing and his spot-on impressions of Anderson's physical stage mannerisms are what really sealed the deal. The rest of the band was equally note-for-note in regards to Tull's catalog, and overall, despite the wind problems completely fucking some of the sound, I was pretty impressed. The two hour set, in no apparent order, pardon my memory, consisted of: "Aqualung," "Teacher," "Locomotive Breath," "Cross-Eyed Mary," "Thick As A Brick," "Living In The Past," "Bourée," "Sweet Dream," "Skating Away On The Thin Ice Of A New Day," "Bungle In The Jungle," "Too Old To Rock 'N' Roll, Too Young To Die," "Nothing Is Easy," "Minstrel In The Gallery," "War Child," and a whole bevy of other tunes, some of which even I didn't recognize. And yes, they did "Thick As A Brick," but no, it was only a partial. Fucking righteous enough for me. B-

Brasil Guitar Duo - Cinema Arts Centre - July 3, 2009

Everyone knows, perhaps, of my love of Kaki King, the way she and her instrument seem to be perfectly coalesced into one extraordinary musical state of being. Well, the Brasil Guitar Duo, João Luiz and Douglas Lora, is like Kaki King on crack. What I heard Friday night was an intensely focused, beautifully executed performance of several classical pieces. Like anything truly excellent, of course, their popularity isn't exactly teeming at the sides. The audience consisted of approximately a hundred at best (all of them well over 50, minus me and my wife; the youth were probably out watching Transformers, a movie I have yet to see and never will, more because it looks like it sucks rather than because it probably does.) Our duo performed like electrons hopping levels; Mr. Luiz seemed keenly stolid for the most part, weaving incredible streams of clustered notes along the entire guitar, whilst his other half, Mr. Lora, seemed so exasperated in his facial contortions that you wondered whether the music was actually using him as a conduit and he was really playing at all. Lora would look at Luiz as if for approval; Luiz would turn a soft interlude into a rock riff, smile at everyone with extremely self-satisfied humor and then return to his stoicism. It was simultaneously bizarre, wonderful and aurally awesome, and a visual treat to boot, to see two virtuosos playing, well, anything. If I were them, I would take out some insurance on those thumbnails. This isn't even my genre, really, and I was quite impressed. B+

Setlist:

Gavotte & Variations - Jean Phillipe Rameau
Four Preludes and Fugues, Op. 199 - Mario Castelnuevo-Tedesco
Waltz, Prelude - Douglas Lora Las Casas
Vasu Brasileira, Cordao De Saideira, Zanzibar - Edu Lobo
Don Quixote, Sete Anais - Egberto Gismonti
Bom Partido - Paulo Bellinati

Encore:
Some cool samba song

Underworld - All Points West Music Festival, Liberty State Park - August 8, 2008

August 8, 2008? Yeah, I know. Ok, here's the explanation, really. A few days ago, I bought a $1500 20oz Pepsi. This particular Pepsi, unlike the stock market, jumped from its initial price of $2 when I accidentally spilled it all over my laptop, thus destroying it (immediate shutdown, internal fans blowing, frothy brown liquid seeping out the USB ports.) So what does a mad hatter do? He dismantles the thing to salvage anything of importance, remounts the hard drive to another computer and saves the data for future use on his now current and brand spank-me-daddy new laptop. Why I am telling you this? Because, well, restoring your data engenders this habit of perusing random files, and therefore, my tortured readers, I found this review, which I didn't post during my Radiohead lovefest way back when. Truth be told, Underworld deserves some lovin' anyway, even if what I'm about to post below is very short. Oh, and I promise some new content soon; I'm being a procrastinating self-aggregating information junkie. Pffft.

Playing right before Radiohead kind of sucks. When almost an entire festival shows up right before the main attraction, you've potentially got a very impatient audience. Underworld didn't seem to care, blitzing everyone with an hour-long barrage of carefully selected intensity. Each song, to its sometimes detriment, was about nine or ten minutes apiece. I say detriment because this stuff, while very good, is still heady and extremely hard to listen to back to back to back. Repetition only goes so far sometimes without much variation. That said, there were several moments of excellence, namely the inflatable white columns amidst the ferocious "Two Months Off," singer Karl Hyde's frantic hand-held camera histrionics to the madness of "Cowgirl" and my favorite boom boom beat in "Jumbo." Oh, "Shudder/King Of Snake" was fucking wicked, too. Very good song selection from their catalog, perhaps not sequenced quite right and definitely could have benefitted from the evening dark rather than daylight. B-

Here's most of the setlist:

Glam Bucket
Cowgirl
Pearl's Girl
Jumbo
Two Months Off
Born Slippy .NUXX
Shudder/King Of Snake
Moaner

Radiohead - All Points West Music Festival, Liberty State Park - August 8, 2008

After watching the end of Michael Franti & Spearhead, wracking my brain for solace from New Pornographers (and the brief rain), experiencing a mixed sort of repetitive soullessness from Underworld (which was good and bad), and hearing some Columbia U professor ramble on about how I should save Tibet for twenty minutes (which is not the venue for such a thing, in my humblest of humbles), the Only Band That Matters finally came on. Bogsmack and biffle to ye who would dispute otherwise.

The sound was absolutely flawless -- which is to say, no need for earplugs. I generally wear them to protect my ears, but I am also inherently opposed to them because they muffle the finer points of some music. Thank you, Radiohead, for taking care of that for me. Clear sky. Perfect weather. Glorious, pristine fucking sound. Statue of Liberty to the east. Manhattan to the north. And 25 songs! I feel selfish for still wanting more afterwards, but what would you do, Mssr. Montserrat?

I'm not going to labor through the playlist and insult your reading abilities, but I will say a few things. The completely electric version of "Jigsaw" was ridiculous; "Reckoner" sounds immensely better live than the studio version (which is nothing short of amazing, for those in the know); hearing "The Gloaming" live is pure fucking bonkers and sent tingling little impeticles straight through my fortified wazzle; "Paranoid Android" still resonates incredibly well, even after a decade of wear and tear; "You And Whose Army?" was poignant, painful and inspiring all at the same time. Thom's voice was simply tip-top; Jonny was an animal (especially on "Just") and it was great to finally see just how Phil plays that irregularly unsettling beat on "Videotape." And even know I know it's not, sometimes, even for a night, everything was in its right place. A+

And by the gods if I can go again tonight I will I will I will.

Setlist:

15 Step
There There
Morning Bell (Kid A version)
All I Need
Lucky
Nude
Weird Fishes/Arpeggi
The Gloaming
Optimistic
Videotape
Reckoner
Jigsaw Falling Into Place
You And Whose Army
Idioteque
Climbing Up The Walls
Bodysnatchers
How To Disappear Completely

Encore I:
House Of Cards
Pyramid Song
Paranoid Android
Dollars & Cents
Street Spirit

Encore II:
Cymbal Rush (from Eraser)
Just
Everything In Its Right Place

Kaki King - 9:30 Club - April 12th, 2008

To those obnoxious people who came fashionably late, decided to stand right in front of me on the side balcony and obviously couldn't give a whit for Kaki King, go fuck yourself; I was inordinately happy to find a better spot right in front of you shortly afterwards so I could see Kaki's wicked fucking fingers go to work. Perhaps you are why DC is the worst fucking city in the world. Otherwise, this is very simple: Kaki was not the main feature; therefore, she was sandwiched between some forgettably loud band and the featured act Nada Surf, who apparently came out with a hit song at some point many years ago. Whatever. She was fucking brilliant. In a kind of interesting way, short of a few people who recognized and cheered her when she came out, she struck most methinks as a roadie tuning the real Kaki's guitar, or some reluctant house announcer.

Then, "Bone Chaos In The Castle." I don't think anyone expected to see, let alone hear, what this modern day guitar god was unleashing upon us. I mean, she didn't ease us into anything; she decided to explode in our faces. Eventually, her bandmates came out and joined in and so the show began. Her description of "2 O'Clock" as 'deceptively mellow' was interesting considering, just like on the album, she played an easy ballad and then her fingers jettisoned back and forth along the fretboard in nuclear combustion. Usually between songs, she said a few words, casually remarking that she hadn't had a break for forty days and that she'd experienced all the highs and lows she'd ever had in her life -- 'like fucking Biblical shit.' It was great. Especially the last song, which Kaki told us was a cover of The Bubonix, a German metal band. A German metal band! Seeing her and her band shred and scream bordered on almost stupefying insanity. All in all, a B+. Everything was great except for the fact that it lasted only an hour.

Unlike previous shows, I was too dumbstruck by what I was seeing and hearing to jot anything down, so my memory is a bit fuzzy on the setlist.

Setlist:
Bone Chaos In the Castle
Life Being What It Is
Pull Me Out Alive
So Much For So Little
Saving Days In A Frozen Head
Yellowcake
Montreal
2 O'Clock
Fashion Tattoo (Bubonix cover)

The Mars Volta - Terminal 5 - January 14, 2008

Let me be very clear. This show consisted of two parts -- the one I hated, and the one I loved. After Cedric and his permed buffon and Omar the cracked-out Hendrix made to the stage with roaring approval, everyone suddenly went deaf. That's because for songs 1-7 of the setlist, the sound check technician thought we were at Wembley Stadium. Much like an atom bomb incinerates everything within blast radius, the Mars Volta destroyed our ears with an adverse Phil Spector wall of sound. Besides the staccato drumming, all I heard was noise and an occasional "exoskeletal" or "humans as ornaments." The saxophonist was blowing, Cedric was wailing, Omar was riffing away -- but I nor the entire tepid audience could hear a thing -- for 90 fucking minutes. I honestly wished for the concert to end.

Then, brothers, it came. "Cygnus...Vismund Cygnus." Oh, bliss, bliss, and heaven. Gorgeousness and gorgeousity made flesh. Gravity all nonsense now. "Cygnus" morphed into an extended jam with Cedric climbing the side balcony and spastically plucking the safety wires. "Drunkship Of Lanterns" was simply frenetic. A new tune, off their soon-to-be-released Bedlam In Goliath, "Aberinkula" was positively sick. And then, to end it all, the sickest Volta song you'll ever hear, they played "Day Of The Baphomets." Cedric says he awoke in NYC to the sound of jackhammers and thought it appropriate to end the show in similar fashion. Nice, nice indeed. Too bad the concert just got started right as it ended. C

Setlist:
Roulette Dares (The Haunt Of)
Viscera Eyes
Wax Simulacra
Goliath
Conjugal Burns
Tetragrammaton
Agadez
Cygnus...Vismund Cygnus
Metatron
Drunkship Of Lanterns
Ilyena
Meccamputechture
Aberinkula
Day Of The Baphomets

Machine Head - Nokia Theatre Times Square - September 22, 2007

Although disappointing because of its length (one hour), Machine Head played a gloriously brutal set. Keeping it taut and tense, with a few interludes where Robb made some nasty comments concerning Disney's attempts to censor the band on their tour, a few choice words for some sniveling critic who reveled in Dimebag's death, and a few shout-outs to the world's greatest fans, New Yorkers, the band did not disappoint otherwise. Pulling most of their material from their most recent (and best) record, The Blackening, Machine Head opened with the near-eleven minute "Clenching The Fists Of Dissent," replete with acoustics, ten thousand and one holy riffs and a whole lot of pissed off. Nothing could really equate, though, with the furious "Aesthetics Of Hate" (after the article of the same name by the aforementioned critic) -- definitely the song of the night. "Halo" featured some ridiculous guitar chops and solos that were incredible as well, but a Machine "Fucking" Head show ultimately wouldn't have been great if it hadn't ended with "Davidian," where freedom rings with a shotgun blast. A-

Setlist:
Clenching The Fists Of Dissent
Imperium
Aesthetics Of Hate
Old
Halo
Take My Scars
Descend The Shades Of Night
Davidian

The Police - Giants Stadium - August 5, 2007

What's to say? Greatest. Show. Ever. For being apart for 22 years, this show didn't exactly have rust; it was just absolutely impeccable. At approximately 1 hour, 45 minutes, it was a bit short generally, but it was such a taut, tight set devoid of small talk that I will forgive them. Oh, and for the record, many may not consider Andy Summers the greatest guitarist ever, but he is without a smidgen of a doubt the greatest 64-year old guitarist in the world. He was shredding without conscience, plugging beautiful riffs and solos in every place he could fit them. Whereas the Andy of studio fame was known more for his splendid musical textures than he was for his individual showmanship and dynamism, the current Andy now indulges in both halves -- and I won't complain, especially when he jumped around stage like he was twenty again. Apparently, Andy was so much out of sorts during the concert that Sting felt it necessary to peek over his shoulders several times as if to say "Are you done showing off yet?" Words, though, really can't describe how amazing it all really was. In the event that I can't procure tickets for their MSG show on Halloween, I will ultimately have to savor this forever. Thanks guys, for getting back together, even if only for this once. A+

Setlist:

Message In A Bottle
Synchronicity II
Walking On The Moon
Voices Inside My Head
When The World Is Running Down, You Make The Best Of What's Still Around
Don't Stand So Close To Me
Driven To Tears
Truth Hits Everybody
The Bed's Too Big Without You
Every Little Thing She Does Is Magic
Wrapped Around Your Finger
De Do Do Do, De Da Da Da
Invisible Sun
Walking In Your Footsteps
Can't Stand Losing You/Reggatta De Blanc Medley
Roxanne

Encore I:
King Of Pain
So Lonely
Every Breath You Take

Encore II:
Next To You