From Addicted to Noise...
...but over on the next stage Perry Farrell & Porno For Pyros were due to start any minute. The stage was decorated in some kind of South Pacific motif, palm trees all over the place, but with Christmas lights hanging across the front. Things started off a little slower than most of the crowd expected with Stephen Perkins taking up the bongos for a "calypso" feel. Mike Watt was on bass and backing vocals, looking like he was in the band to stay. Farrell's voice was soaked in echo and
pretty low in the mix, so it was hard to figure what song was what, especially since they performed a number of cuts from the upcoming release, God's Good Urge. Those hoping for a sound harking back to Jane's Addiction were disappointed, but the new stuff sounded pretty good and probably be better heard in a club than a stadium.
This is a review from March 1996 Rip It Up magazine.
Porno For Pyros certainly benefit from the most gorgeous atmosphere of the day-partially due to the
draped cobwebs of lights and plants adorning their stage, partially due to the fire dancers in the closed
off back half of the field, who provide the perfect visuals for Porno's vibe. Perry Farrell takes the stage
with arms stretched wide, holding a bottle of wine up to the faithful down the front. The crowd is huge,
second only in size to Rage Against The Machine's, and the smarties groove in what little space there is
left in front of Stage 2. The new and extended band line up now includes bass master Mike Watt (who's
making out with a bass so long-necked it might as well be a sign saying: 'Yes, I am the bass man), and
an acoustic guitarist who looks a lot like Perry did when he was in Jane's, as well as Stephen Perkins
and Peter DiStefano. We're treated to a set of oldies, debuting newies, and even some Jane's Addiction
numbers. The new songs have an organic, jammy feel, which makes me think of orange beaches and
crimson sunsets, pretty drinks and yummy people. When Perry asks: "Do you feel a little different?," it's
easy to answer: "Yes," for this sure does send me-and everybody else, by the looks of things (save the
you-wanna-go-but-you-don't-wanna-travel gang of young'uns behind us, who have hung around especially
to see "Porno For Pirates").
When technology fails Perry's all essential first lyric on 'Mountain Song', the amping crowd don't mind
filling the tiny hole. 'Pets' could be the theme for the day, cause I've sure seen some 'teenagers, fucked
up in the head' and 'adults (who) are even more fucked up.' Right now they're all joining that devilish high
priest of perception in a spirited singalong. 'Meija' explodes in stellar fashion, and Perry retitles 'Black
Girlfriend' to be "For All the Beautiful People in This Beautiful Land, Which is Our Land' (yeah, I know it
would play havoc with the grammar of the lyrics if you actually applied it to them, but the gesture fair
warmed the soggy cockles of my heart). Perry's affections for the crowd are returned rapturously, and
Peter brings out flowers to thank the crowd one more time at set's end. I went home and replayed as
much of the set as I could on the stereo, but it will take the new album, Good God's Urge, to complete
the experience. Here's hoping it's not too far from release.
[thanks to Gaby for sending this]
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