Where do you look for something to kick you out of a 110 degree funk? How about the Orpheum Theatre in Phoenix, where Tom Waits launched his Glitter and Doom Tour.
Yes, the seldom touring ‘love or hate him’ artist transported his trademark whiskey soaked growl to the desert to kick off only his third tour of the decade. And by his polished performance, one can only ask – why so few and far between Tom?
Tom Waits is indeed one of those artists, whose enigma runs parallel to his creative aura. And Waits’ stage presence – consisting of porkpie hat, vintage suit, board-stomps and colorful megaphones, did little to distract from his almost literary persona. Although witty, odd and weighty, Waits missed some lyric queues, restartng some songs from the middle and his interaction with the crowd seemed a little forced at times. But are you going to complain? Come on – give the 58 year-old guy a break for being maybe a tad grouchy in the sweltering heat.
Although he opened both nights with “Lucinda,” the setlists from each Phoenix show boasted of diversity, ranging from *"Christmas Card From a Hooker in Minneapolis" and “Rain Dogs” on the opening night to “Misery is the River of the World” and “Metropolitan Glide” on the second. Piano, a longtime stalwart in Waits’ recordings, was only heard in three songs, as Waits lent his presence as standing front-man with guitar and mic, creating his infamous “mouth rhythms.”
Opening with the obscure pre-mentioned “Lucinda” from 2006’s Orphans, Waits came off as more a rocker than the smoky lounge lizard personified in his earlier recorded work. With mid-tempo beats and guitar accompanying him, Waits acted out his revered lyrics , with the microphone the only thing holding him from a face-plant.
Guitarist Omar Torrez led a flamenco intro on “Falling Down,” before Waits chatted about how his next song is called "Misery" and was one of his cheeriest songs. “Misery’s the River of the World,” provided the first chance for audience participation as Waits encourage everybody to sing “Everybody row” as the title was mixed up numerous ways.
Waits played homage to his 2004’s Real Gone with four songs in a row – “Sins of the Father,” “Trampled Rose,” “Metropolitan Glide” and “Dead and Lovely” – that pleased many of the younger fans in attendance. But not before Waits revisited the past with the clap-along “Cemetary Polka.”
“Dirt in the Ground” from Bone Machine, which was never played live before, graced his die-hard fans’ ears, followed by “Hoist That Rag,” which featured Tom’s son Sullivan joining his other son Casey on percussion. Other highlights included “Lost in the Harbour,” featuring Waits on a tiny organ and “16 Shells From a Thirty-Ought Six,” which witnessed the gravelly one stomping like a neutered dog over the stage.
Following the “November” and “Eyeball Kid” encore, Waits said goodnight and tipped his hat. Although most attendees for both nights said the opening show topped the second night, nobody was close to complaining here. Highly theatrical and undeniably natural, Tom Waits is still and always will be an American original.
Setlist 6/18 – Phoenix
Lucinda
Down In The Hole
Fallin’ Down
All The World Is Green
Misery’s The River Of The World
Day After Tomorrow
Sins Of The Father
Trampled Rose
Metropolitan Glide
Dead & Lovely
Cemetery Polka
Dirt In The Ground
Hoist That Rag
A Little Rain [TW on piano]
Innocent When You Dream [TW on piano]
Lost In The Harbour [TW on piano]16 Shells
Jesus Gonna Be Here
E:
November
Eyeball Kid
Photos by Jeremy Carr
