Lost in Seattle

Bauhaus played the Paramount in Seattle last night. As I explained in my previous post about the show, my post-adolescent identity was largely formed under the influence of Bauhaus and their derivatives. As a fan, I am very happy to have finally seen them, especially since I never thought I’d have the chance. Objectively speaking, the show was a bit of a let down. I can’t say there was anything wrong with it (apart from some early sound issues), but I can’t say I was blown away either.

The aging goth pioneers largely pleased the audience, which was comprised of both neo-goth/Hot Topic kids and older goths (such as myself). Starting promptly at 8:00, the quartet blew through a number of their most familiar tunes, plus a couple lesser-known songs, and bid adieu a little more than an hour later. After two encores, the total running time (excluding interludes) was something like 90 minutes. I’m not sure what I was expecting, but it felt short.

The songs were largely identical to album versions, and mostly off disk 1 of the “1979-1983” compilation. There were no embellishments, medleys, surprises, or anything to ruin the ostensible point of the show — to indulge the faithful’s sense of nostalgia. For a band whose live performances are the things of legends, I expected some interpretations or extended versions, I guess.

Earlier this year, Bauhaus performed at the Coachella music festival in southern California. The show was reportedly an event of a lifetime, with lead singer Peter Murphy kicking things off by descending upside-down from the rafters and performing the band’s biggest song — the 8-minute-plus goth anthem “Bela Lugosi’s Dead” — while suspended by his feet.

Alas, there were none of those theatrics or surprises at the Seattle show. Billed simply as “An Evening with Bauhaus,” the concert was a more subdued affair. Bassist David J. rarely left his station and registered no emotion (which is his trademark look) while guitarist Daniel Ash was more kinetic on the other side of the stage. The biggest disappointment for me was Murphy, who was so low-key he seemed almost bored. I guess I have to give him credit — he has a successful solo career and it must be hard to play the same old songs with your old band mates after 25 years. Still, I’ve seen him before and enjoyed his sense of melodrama and performance, which was mostly absent last night.

I was pleased by the inclusion of one of my personal favorites on the song list — “Rosegarden Funeral of Sores,” from the reissue of “In the Flat Field.” Likewise, during the first encore, Murphy ceded lead vocal duties to Ash, who belted out “Slice of Life,” another favorite of mine from the “Burning from the Inside” album. I was disappointed, however, that they failedt o close the show with “Spirit,” which very appropriately ends with a chorus of “We love our audience.” The live album, “Gotham,” from 1999 ends with it, and Murphy even ended one of his solo shows with it back in, I think, 1995. It’s one of my favorites and an obvious choice to close a show. I have to wonder: do they not love their audience anymore?

My strongest impressions of the evening, however, were from the crowd, which was significantly more friendly and laid back than any crowd for any show I saw back in Detroit in the early 90’s. I was up front, about 2 rows from the stage (there were no seats, so this was two rows of standing people). Before the show, strangers struck up conversations with others, chatting about previous shows. Out-of-towners soliticed advice on motels and restaurants from Seattleites. It was an unexpectedly congenial atmosphere especially considering that half of those in attendence had painful-looking spikes stuck through parts of their faces.

The topper of the evening for me came about 3 songs into the concert when a very short (under 5 feet) goth woman wiggled her way through the crowd, asking permission to stand closer as she went. Normally, in my experience, (a) fans who had the forethought to stake out prime viewing locations had no sympathy for anyone, regardless of a physical impairment; and (b) fans who wanted to get closer just fought their way through with elbows and knees. Here, however, the crowd almost enthusiastically parted and allowed her easy passage to the front. It is true that she wasn’t capable of blocking anyone’s view, but such reasonableness and friendliness just didn’t exist when I was in my concert-going hey-day.

The play list, to the best of my recollection, follows. I made no attempt to put the songs in order, but I think I’m right about the encores.

Dark Entries
Double Dare
In The Flat Field
Terror Couple Kill Colonel
Swing The Heartache
Hollow Hills
In Fear Of Fear
God In An Alcove
Kick In The Eye
She’s In Parties
Rosegarden Funeral Of Sores
Stigmata Martyr
Hair Of The Dog
Passion Of Lovers
Silent Hedges

ENCORE 1

Slice Of Life
Telegram Sam

ENCORE 2

Bela Lugosi’s Dead

Bad camera phone pics (click for full size):

Daniel Ash

David J.

Perter Murphy (Entrance)

Peter Murphy (in spotlight)