The Christmas my parents got divorced my dad bought me Jane’s
Addiction’s “Nothing’s Shocking” (much to the amusement of the kid that sold it
to my 300 pound bib overall-sporting father). I remember laying in the dark on
the living room carpet listening to “Up the Beach” and “Ocean Size” and “Ted…Just
Admit It.” It was weird and fascinating. In a way, it changed my path. I bet
many of the concertgoers at Wednesday’s Jane’s Addiction show at Ovens Auditorium
have similar stories.
And while I’ll never recapture the magic and romanticism of
seeing Jane’s live for the first time during the “Ritual de lo Habitual” tour,
I never expected them to be so good 21 years (to the month) later. Aided by
stylized production, which included Perry Farrell’s wife Etty Lau as one of two
scantily clad S&M dancers, Jane’s put on an incredible show that was far
beyond the performance it gave a few years ago opening for Nine Inch Nails at
Verizon Wireless Amphitheatre (although that one did boast original bassist
Eric Avery, which was a treat).
Wednesday’s show was more like one of Farrell’s twisted (his
word) fantasies come to life. Whereas in 2009 Farrell seemed to show his age more,
he, ever buff guitarist Dave Navarro, drummer Stephen Perkins and bassist Chris
Chaney all appeared fresh from the gym. Farrell in particular reveled in the
spotlight grinning that wide Cheshire cat smile and repeatedly calling us “South
Carolina” (which did garner some boos) until the very end of the show.
Britain’s the Duke Spirit opened the show with its sultry,
bluesy modern rock. Singer Leila Moss is a show unto herself. In skintight
leggings, a lacy poncho-style blouse, and braids framing her petite face she
looked like a cross between a “Game of Thrones” character and CBGBs era Deborah
Harry. Like Harry she’s got a sexy, capable and unique voice that purrs over
the gnarling guitars as she shakes her tambourine, or at one point, played a killer
harmonica solo. The Duke Spirit has opened for Black Rebel Motorcycle Club, Ted
Leo, and Incubus in Charlotte. I long to see it receive a greater reception
stateside.
The audience stepped into Jane’s Addiction’s crazy, colorful
world as the band took the stage with “Underground,” which opens its newest
album “The Great Escape Artist.” The dancers swung above the band with
parachute-like skirts that draped almost to the stage while a man dressed as an
evil bird “flew” and pawed suspended on one side of the stage. The crowd
erupted as Jane’s kicked into “Mountain Song” with Navarro turning in one of
many spot-on guitar solos. The dancers
left the stage giving way to retro footage that busily played on backdrops
centered around the nude twin statues that serve as the tour mascots on
t-shirts and posters.
“Just Because,” “Been Caught Stealing,” and “Ain’t No Right”
followed. Then the two Asian girls returned wearing bondage gear and negligees and nestled on a rocking wooden seat
that reminded me of a porch glider for a
sort of disturbing showstopper - “Ted…Just Admit It.” They “unwrapped” each
other using their binding as a prop while vintage pinup and bondage footage
rolled on the screens to illustrate the lyrics (“sex is violent”). Although
some of the footage featured women on women violence, it annoyed me that all
the violence was perpetuated against women.
Written 25 years ago lyrics like “the news is just another
show” are even more relevant today.
As if to disprove the “nothing’s shocking” refrain
of “Ted,” the hauntingly catchy “Twisted Tales” was accompanied by a babydoll
bashing performance art piece and clips from a 1988 documentary about doll
abusing teen punks or, as the film is titled, “Sadobabies: Runaways in San
Francisco.”
One fan climbed on stage during the stage front acoustic jam
of “Classic Girl” and “Jane Says” (with Perkins playing steel drums on the
latter). Farrell invited the fan to stay, but Navarro, who was incredibly
patient, eventually had her escorted off the stage after she insisted on whispering
in his ear while he was trying to play.
It was refreshing to see Navarro, so adept on guitar, focus
on drumming alongside Perkins and Chaney during a tribal rendition of “Chip
Away.”
The set really hit its stride with the instrumental “Up the
Beach” leading into the atmospheric, reverb drenched “Irresistible Force” and “Ocean
Size," which closed the set. The cast regrouped for an encore of the marathon “Three
Days” and the powerfully spastic “Stop!” As the music dropped out at the latter’s
climax the entire crowd seemed to join in with Farrell. The band appeared truly
thankful and humble sticking around to shake hands and sign a few autographs
after those last lingering notes disappeared. Farrell even handed a set list to
one adoring fan - something you rarely see the actual artist do.
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