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Shelter

2017 Tour Trail - memories, pics, songs played

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On July 24, 2017 at 6:01 PM, Shelter said:

^ true that. too bad most people will not likely ever know. and the less tpath live shows becomes about the music, the less people will know the magnitude of the genius wasted.

Shelter, I can't believe you're still going on about the set list. Jeez, give it a rest. 

 
Don't you know that before every show Tom gets his mojo going? He asks the crowd to make a lot of noise! Not the song, ha ha, why play that it was never a hit, no, I meant, just a lot of whoopin' and hollering. It's important because they're going to drop the needle on records across their entire career! Not just the solo albums, that would be silly. Tom said it himself, they can bust out anything on this tour and they just might...! Seriously, you never know...
 
Oh and they're taking requests, too. Not from the audience, ha ha ha, no don't be stupid. Tom's taking requests from himself. Oh, not requests, plural, just a request to play Walls. But c'mon...that counts! He requests it every show. 
 
As for your hope of them playing You and I Will Meet Again, don't you know that there are only three songs that count from that album, Learning to Fly, Into the Great Wide Open and Learning To Fly acoustic sing along version?
 
The crowds love the concerts, all the reports from official sites and magazines have noted how Tom and the fellas won't back down and conclude the evening with American Girl. Heck, maybe they'll even play the same show three nights in a row in Los Angeles! It can't get more rockin' than that. And Tom wears a suit.
 
Don't you know they play an entire 18 to 19 songs...in the same night! No, there's nothing one could reasonably be disappointed about, Shelter.
 
Remember, Tom works hard to please the audience, it takes a lot to play the same chords in the same songs in the same order every night and to keep printing up the same set list for every show except for changing the location and date.  Remember, no one's coming to a TPATH show for...shudder...the unexpected. Not with all those groovy lights and backdrops to look at.
 
Remember, you don't know how it feels to be Tom, having to maintain a tight grip on talented musicians while conducting Steve; don't want Benmont to get any funny ideas about mixing things up, that could throw off a lighting cue and then what would happen? 
 
Good thing we'll never have to find out...! 
 
Remember, when it comes to the live show, it's not about Something Good Coming but more about Good Enough. Why strive for something more? 
 
I'm sure you now see the error of your ways...
 
 
 

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Right. Silly me. Put like that, it DOES seem like a risky and ugly business to put real talent to real use and inspiration, in times like ours. You're absolutely right. Let's all stay shallow and bleak, content with the key words being duly worshipped anyway.. ugly business. Thanks for straighten me out. My apologies.

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On 7/27/2017 at 7:19 PM, martin03345 said:

Place holds 20k plus, it doesn't have anything to do with size

Klipsch in Noblesville/Indy holds like 25K and it was full to the max.
I read on a FB review of Klipsh/TP Concert that people were so packed up in the lawn that guys were just peeing where ever because they couldn't push their way out (or didn't want to, ugh) to find a portapotty.

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I skimmed this article, not sure what to make of it. This part at the ending stood out to me, which I disagree with, TPATH's music was never this to me:

http://www.newyorker.com/culture/culture-desk/tom-petty-proud-pain

Tom Petty’s music, so adept at bringing pleasure to so many people across so many years, had become a cultural signifier for the national moment in a way I felt quite sure he never imagined or intended. The powerful, angry songs had made Petty an accidental bard of white resentment. There, in Baltimore, he was making American Grievance Rock.

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Grievance or not, by whom and for what, tonight another leg of this tour will be kicked off (what?!) and here's hoping it will be an exciting and fun one and that we'll see lots of activity in the TPATH community in the upcoming weeks!   

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On 8/10/2017 at 11:54 PM, MaryJanes2ndLastDance said:

I skimmed this article, not sure what to make of it. This part at the ending stood out to me, which I disagree with, TPATH's music was never this to me:

http://www.newyorker.com/culture/culture-desk/tom-petty-proud-pain

Tom Petty’s music, so adept at bringing pleasure to so many people across so many years, had become a cultural signifier for the national moment in a way I felt quite sure he never imagined or intended. The powerful, angry songs had made Petty an accidental bard of white resentment. There, in Baltimore, he was making American Grievance Rock.

I have a hard time agreeing with this statement too, but I don't totally disagree with it.
Funny, it reminds me of how so many people saw Bob Dylan's early music as a sort of "voice of the people," as protest songs, etc...
Yet, he totally denied most of it and refused to play at sort of rally/protests.

I think there are a lot of TP songs that can be interpreted as frustration with the socio-political climate. 
And I don't just mean the obvious Last DJ stuff. From the early stuff to the current stuff.
Possibly anything from "Anything that's Rock and Roll"... to "Forgotten Man," "Shadow People," and "Burnt Out Town."
I recall an interview about Hypnotic Eye where Tom commented on how it seemed his songs were lyrically leaning to something darker and more cynical, but he reassured that notion by saying that the current time in his life was more relaxed and hopeful.
I think, in most of his lyrics, there's a balanced amount of hope and cynicism, positive energy and frustration.
Do I think that the more cynical songs are "American Grievance Rock"? No.
Do I think the writer of this article was reaching for something unique? Yeah, probably.

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On 8/10/2017 at 11:54 PM, MaryJanes2ndLastDance said:

I skimmed this article, not sure what to make of it. This part at the ending stood out to me, which I disagree with, TPATH's music was never this to me:

http://www.newyorker.com/culture/culture-desk/tom-petty-proud-pain

Tom Petty’s music, so adept at bringing pleasure to so many people across so many years, had become a cultural signifier for the national moment in a way I felt quite sure he never imagined or intended. The powerful, angry songs had made Petty an accidental bard of white resentment. There, in Baltimore, he was making American Grievance Rock.

I have a hard time agreeing with this statement too, but I don't totally disagree with it.
Funny, it reminds me of how so many people saw Bob Dylan's early music as a sort of "voice of the people," as protest songs, etc...
Yet, he totally denied most of it and refused to play at sort of rally/protests.

I think there are a lot of TP songs that can be interpreted as frustration with the socio-political climate. 
And I don't just mean the obvious Last DJ stuff. From the early stuff to the current stuff.
Possibly anything from "Anything that's Rock and Roll"... to "Forgotten Man," "Shadow People," and "Burnt Out Town."
I recall an interview about Hypnotic Eye where Tom commented on how it seemed his songs were lyrically leaning to something darker and more cynical, but he reassured that notion by saying that the current time in his life was more relaxed and hopeful.
I think, in most of his lyrics, there's a balanced amount of hope and cynicism, positive energy and frustration.
Do I think that the more cynical songs are "American Grievance Rock"? No.
Do I think the writer of this article was reaching for something unique? Yeah, probably.

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3 hours ago, Liberty said:

I have a hard time agreeing with this statement too, but I don't totally disagree with it.
Funny, it reminds me of how so many people saw Bob Dylan's early music as a sort of "voice of the people," as protest songs, etc...
Yet, he totally denied most of it and refused to play at sort of rally/protests.

I think there are a lot of TP songs that can be interpreted as frustration with the socio-political climate. 
And I don't just mean the obvious Last DJ stuff. From the early stuff to the current stuff.
Possibly anything from "Anything that's Rock and Roll"... to "Forgotten Man," "Shadow People," and "Burnt Out Town."
I recall an interview about Hypnotic Eye where Tom commented on how it seemed his songs were lyrically leaning to something darker and more cynical, but he reassured that notion by saying that the current time in his life was more relaxed and hopeful.
I think, in most of his lyrics, there's a balanced amount of hope and cynicism, positive energy and frustration.
Do I think that the more cynical songs are "American Grievance Rock"? No.
Do I think the writer of this article was reaching for something unique? Yeah, probably.

Interesting points. Make a lot of sense, right. Thanks for sharing!

As for that article.. it may just be me, but it seems to imply a paradox of sorts. Here are the underlying observations - from Baltimore, of all places! - of what can be read as a white, supposedly resentful, maybe bitter, perhaps Trump supporting crowd, all digging TP for his unique voice (both as a lyricist and an actual voice), identyfying with his songs, thinking he tells their story, longing back to better days. Yet, while lots of statements and catchy and clever one liners can be found in TP songs, the lot of them are of a mostly general, perhaps philosophical reflextions type, aphorisms if you like. Lyrical tidbits and atmospheres that many people, for many different reasons can relate to and appreciate for their insight, beauty or pure entertainment value. ("If you don't run, you rust." "Most things I worry about, never happen anyway".) On a strictly ethnic, religious, economic, environmental - or generally political - level, I'd say that most things found inside the life work of TP writing, would/should be rather counter instinctive messages to a following like the one so sneakily hinted at in the article. He may agree some things were better in the past, but what things and for what reasons are other things worse today? Well, that is another matter.

See, TP may be conservative, on a practical, nostalgia hued level - those were the days when people heard rock music on the radio, bought records and could actually sit down and focus enough to listen to it. And so on. He may be on about morals too, yeah, the brighter and darker sides in all of us. However. It's obvious that the message of Shadow People is deeper and more complex, when he sings of someone that "carries a gun" for his country, it's not exactly pure undisguised praise. It's not the right type of pride being voiced here, am I right? It's not a song of returning to the wild west ethos of the past. ("What are we fighting for?") Or a song sponsored by the NRA. Rather, this may be a song supposed to say something more general about fear, fear in individuals and fear in our society, and that an augmented isolation, greed, racism, alienation, moral relativism, sectarianism, violence and ultimately just more fear in society will not lead to a good future. This may be politcs, by all means, but not exactly the type of politics the white resentful shadow people out there in front of the stage (as mentioned in the article), would necessarily like it to be. As for Burned Out Town - too bad he didn't play that one in Baltimore! That is arguebly less complex and more straight messaged - saying a lot of things that would sting rather than arouse any believer in a country run by Trump logic and Trump economics. It may be the case that TP has got his very own case of "Born In The USA" here, where people just hear what they want to hear and make asses of themselves in the process. Ok, some songs or lines can be literally taken to mean anything or stand for all kinds of worldviews and politcal agendas (case in point - I Won't Back Down, a song so lyrically universal that it's pointless, and brilliant), but in most cases there is an underlying moral current and direction that just can't be hijacked any old way. At least that's how I see it. 

So, basically, what I'm saying here, and what I find to be the paradox of the article - to the extent that it's on to something, in the first place (which is probably without a doubt) - is the deep irony of how all these "ordinary" people, supposedly grooving to the message of TP songs, are really not the "forgotten men" they identify with. Rather they are the "forgetting men", forgetting to listen, forgetting to think and, if we are lucky, forgetting to act.

Meanwhile, somewhere in Baltimore, out in the cold, holding their hands out, over a fire in a can - to paint a somwhat pathetically symbolic and pun-reaking picture - there are the non TP fan, but let's quickly forget who that may be and why, shall we. Besides, how could someone like that even afford the ticket? The article writer must surely be delusional to forget to take that into consideration. Let's just pity the Petty audience pity itself, shall we. A pitiful sentence, that. And a pitiful task. 

Seriously. To end this essay. TP may not, by a long shot, be as outspoken "protester" as was Bob Dylan in 1963, but he may also not be all that fitting as an idol for people and forces that I think that New Yorker article hits at, innocent and steeped in nostalgia as they are, deliberatly or not. I am not sure, actually, whether the article is meant to be praise, reflection or if it rather falls bluntly into a category that may be called "guilt by association".. I'm not sure, but I think it may be a bit rich and a bit off the mark.

Now, how that for spending time, energy (and words!) on the TP community? Morally or politcally, you may find me dubious. But you can't say I don't try. :) 

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Ok, Greek! Tonight's the night.. first night, that is.. So, come on and give us some passion and excitement, please! Breathe some life back into this thread, bring some buzz, please.. tour is almost over!

In short: All Farmers in atten-dance! - please report back!

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This is embarrassing. Rest of the article at the link:

http://www.seattletimes.com/entertainment/music/tom-petty-brings-mojo-to-safeco-field/

 

 

Tom Petty and the Heartbreakers were a long way from their hometown of Gainesville, Florida Saturday, but their Safeco Field concert felt like a home game. “I feel a little mojo,” Petty said as the show began, referencing both the Mariners, and one of his album titles.

Plenty of hits followed, though one “error” with sound briefly drew the kind of boos you’d hear at a Yankees game. Still, if you were scoring the night, you’d say it was a win. At 66, with 80 million albums sold, Petty has seen plenty of those.

A sound snafu a couple of songs later was unfortunate, but more so because Petty didn’t realize it for so long, giving the indication he wasn’t as cued into his audience, which eventually had to chant “we can’t hear you.” After a break, he came back but didn’t deviate from his standard setlist. It was a missed opportunity to not dish up something special for the crowd’s patience.

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I checked on setlist.fm and it happened during Crawling Back To You. I listened to the snippet at the beginning of the clip, trying to figure it out,  thought it was from King or Wildflowers.

Anyway, they should've played that song again for the crowd to hear. That's a real shame, especially as this it most likely their last big tour. Someone in their crew at the soundboard should've let them know sooner!

I figure the people you can hear were a-drinkin'.

cheers

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Not sure which part you thought was embarassing, Mary Jane. The author was I guess trying to make a bunch of baseball analogies because that's what happens at Safeco Field 99% of the time.  He's a pretty accomplished writer normally, but this was maybe a little clumsy.

Losing the sound for an entire song should be embarassing for the band. Usually they are spot on with the sound, but not this time.  Then Tom could have made it up to us, but chose not to.  This concert (and entire tour, really) rates at the bottom slot of all-time Tom Petty concerts/tours for me.  

Even the Red Rocks show where they did the impromptu boogie thing during yet another problem on stage.  That was not as cool as everyone seems to have made it out to be.  It was a desperate attempt by Ben to just do something instead of dead silence.  Problem was Mike had a mandolin in his hands and how do you boogie with a mandolin?  And Tom was busy trying to sort out whatever was broken at that moment.

2 shows in a row for me on this tour where they had to stop the show and leave the stage.  Must be some kind of record.

I'm not saying the show sucked, because it's not possible for the Heartbreakers to suck. When they're going good, nobody can touch them. I just didn't feel the magic this time around.

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2 hours ago, TomFest said:

This concert (and entire tour, really) rates at the bottom slot of all-time Tom Petty concerts/tours for me.  

 I didn't realize you were there! If you have more details to share, about any of the songs, please do.

2 hours ago, TomFest said:

Not sure which part you thought was embarassing,

 That the crowd started chanting "We can't hear you," and that the band didn't replay Crawling Back To You. I understand if the band didn't realize, that makes sense but the soundboard should've known, or maybe even Tom should've begun to notice the crowd's mood changing. But I guess the worst part is not making it up. They are only playing 19 songs. That ain't much and to lose one due to a technical problem is a mess.

2 hours ago, TomFest said:

Even the Red Rocks show where they did the impromptu boogie thing during yet another problem on stage.  That was not as cool as everyone seems to have made it out to be.  It was a desperate attempt by Ben to just do something instead of dead silence.

 Wow! You were at both shows? Well...I think everyone was excited about Benmont's Boogie because it was something different, regardless of it not being perfect, heck, that was some of the appeal, a true spontaneous moment. So while it might not have seen as great to you in the moment, I think that's why it has that reputation. 

Sounds like you were at two of the more interesting shows, perhaps, aside from the very first night of the tour, the best show of the tour at  Red Rocks. Swingin' is an all right song, just kinda middle of the pack for me, but that version sounded good and raw.

Were you annoyed at the Mojo speech? I hope he doesn't do it again tonight at the Greek.

Anyway, if you've more to share, go for it!

cheers

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I don't see that embarassment. Sound failure? These things happen. 

However, that clip may be one of the most telling and fascinating pieces of photage I've seen of this band in years. Quite frankly, this has to be the defining moment of this whole tour. Sorry to say. Marvelous! It's business as usual, and the guy filming this, is a genius. 

It's not that the sound goes out. It's not that the band don't realize this. If they don't, they don't. And it's not that they don't seem to care much when they realize it. No. It's the whole sensation, deeply thrilling and horrific as it is, of what I've sensed all this tour, of them being in an isolated bubble, in machine mode, doing their thing, by the script, oblivious of the surrounding, heart and minds elsewhere. Clueless, as it were. It's the empty shell it exposes and how eerie the whole big silent mass comes off on camera is absolutely fascinating. It's what it says, of how detatched and dead it all is. It's not embarssing for them as people,  mind you. No human being could ever prevail in such a sterile context, so preprogrammed, stuffed up and void of soul. (Well, they choosed to do it like this, but other than that, I don't think they are to blame for not hearing the no-sound, so to speak, nor for not "making it up" to anyone afterwords. It's not so much what they do or don't, as why they do or don't, that fascinates me so much.) 

Like I said, these things happen. So what? But on a scale like this one was, a band on this level, and for a whole song... it really does lay bare the nature of the beast for all to see. It's more of a striking revelation, than an embarassment, though. The deep symbolism of that "stray spotlight" too... These guys are no longer in the moment, they are in a staged play, among the stars, they could easily have been just a movie or a traveling hologram that someone hit the mute button on. They, like that spot, are projections, they are somewhere else, and this little film is what prooves it, so beautifully. They, like the spot, are blind to all the faces and people showing signs of not hearing a thing. How surreal that must have been. 

In effect, what really IS embarassing at this point, is how machine like they have allowed their show to become. In an actual living and dynamic show. where music and musicians were center of attention, and things were organically alive during the night, where they were all in the moment, something like this would not likely have happened for many seconds in the first place, and if it did, it wouldn't have meant anything at all. It would've become one of these things making a show special in a good way. This year it seems, in way of irony, that what makes the show special is anything that makes it possible for the audience to suspect it may not, after all, be just a prerecorded copy of all the other shows. Anything that makes it feel real and human at this point, is a much welcome change. Even if this way of achieving that, is decidedly bitter sweet, since it takes something out rather than change something or add something. Again - it's not that the sound goes that's embarassing, it's what it reveals about human backdrop, or lack thereof.

What is, perhaps, the most embarassing of all, in my view, is that whole "mojo" routine mentioned, and others like it, and what that all stand for... It's a beautiful little lie, a charming excuse for how void of mojo the whole experience really is, how it has got nothing to do with the kind, what so ever. That even the slightest sense of mojo, would scare TP and his inverstors half to death. 

What he should say: "Oh baby, I feel the matrix tonight..."

 

 

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On August 23, 2017 at 1:49 AM, bonddm said:

Setlist from Tom Petty Nation (Brien Norton).

Thanks for sharing, that's a fun website.

Those are some hardcore fans, one guy saw them eight times.  I don't understand how someone could sit through the same Mojo speech, set list and everything eight times and not be bored. Knowing the band intros come in the same place, etc.  To each their own. 

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7 hours ago, Shelter said:

I don't see that embarassment. Sound failure? These things happen. 

 It's embarrassing someone in his crew (or the band themselves) didn't catch it sooner, it seemed like they played quite a bit of the song. It's not an amateur or beginner band, it's a multimillion dollar operation. 

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