Pixies: Live - Cabaret Metro Chicago ‘89
Monday Live Album
We are nearing the end of the vibrant 80s, a decade that has left an indelible mark on our collective memory, characterised by the unmistakable presence of neon colours, big hair and bold shoulder pads that defined fashion trends of the time. During this transformative period, Optimus Prime was a highly popular toy, making its way to the top of every kid's Christmas wish list, while we were introduced to the world of music through the problematic compact disc format. Nintendo brought countless hours of entertainment as Mario and Luigi became household names. The advent of the music video clip, coupled with the meteoric rise of MTV, took the entertainment world by storm, profoundly transforming how audiences engaged with music and visual storytelling. One notable example of this monumental shift was Dire Straits' hit song “Money for Nothing,” which famously proclaimed, "I want my MTV." Our research indicates that this iconic line from the song was actually sang by Sting—well, you do learn something new every day.
The Star Wars franchise grew in galactic proportions with The Empire Strikes Back and Return of the Jedi. We all wanted to be in the Breakfast Club or have a day off with Ferris Bueller, probably not so much be in Platoon but maybe Blue Velvet, depending on mood (nah definitely). On the small screen, the Simpsons and Seinfeld first aired and as they say, the rest is history.
It's 1989, the year of the fall of the Berlin Wall, and Mick Hucknall is surrounded by a heap of chairs in Simply Red’s music video for "If You Don't Know Me By Now." Tom Petty refuses to back down, Milli Vanilli blames it all on the rain, the Fine Young Cannibals’ snare sound resonates in "She Drives Me Crazy", and Cher wishes she could turn back time. Meanwhile, over in Seattle a few local bands are about to shine, while Boston punk/surf rock band the Pixies have released Surfer Rosa, shortly after treating us to Doolittle.
We are at the Cabaret Metro, Chicago, with a capacity of only 1,100. The hall was built in 1927 as a community centre. Enter Joe Shanahan, who opened the Smart Bar within the centre, with House DJs and producers Frankie Knuckles and Joe Smooth regulars over the years. It wasn’t until 1982, when Shanahan booked REM for the venue’s first live music gig, that things began to change swiftly. From then on in, it has played host to many an act, entertaining punters with Sonic Youth, Depeche Mode, Fat Boy Slim, They Might Be Giants, and others; and it should also be known that the Smashing Pumpkins, original lineup, played their first show at the Cabaret, and Bob Dylan did two shows to celebrate the hall’s 15th anniversary as a live music venue.
Ok, here they come….
With no introduction, the Pixies head straight into “Bone Machine”. It’s an almost frenetic start to the gig as the band blisters through to “Caribou”. The guitars are loud and jangling, drums and bass are thumping, and Frank Black’s vocals appear to be projecting impending doom, but are definitely softened by Kim Deal’s very Breeder-esque vocals.
Remember, this is a relatively tiny venue, and it is loud, with the crowd jeering and screaming throughout, even more so when the raucous “Crackity Jones” kicks in. With the distinctive driving bassline of “Debaser”, one of the Pixies' most iconic songs, the guitars blend together producing a wall of sound, then soften. The transitions are seamless, leading us into “Gigantic”—it's big, big love!
With a click of the drum sticks, the band head straight into “Gouge Away”. It has the Pixies’ trademark of almost haunting guitars, and yet again that rhythm section is solid as Black sings about Samson—“Chained to the pillars, a three-day party I break the walls and kill us all with holy fingers”.
Black’s somewhat love song “Hey” is beautifully sung in that unique style only he can master, especially evident in the second verse where he passionately sings, ‘"Uh", said the man to the lady’. This is a song that, despite its charm, may often get overlooked and forgotten by many listeners. The sound quality is quite impressive for a live recording; perhaps it’s the specific venue, the band, or the perfect blend of elements, and kudos are due to the sound engineer for their excellent work. As we cruise through “Holiday Song” and “I Bleed,” drummer David Lovering truly showcases his skill and talent, particularly shining on the toms, adding richness to the overall sound.
The Pixies burst into “Isla De Encanta”, focusing on the struggles of life in Puerto Rico and the poverty Black encountered while spending time there. As the gig continues to blister on with 2-3 minute-tracks I will mention the sound again—yes, this recording has been remastered.
From the very first sounds of the chords of “Monkey’s Gone To Heaven”, the crowd cheer in appreciation. Who remembers always seeing the CD Doolittle, cracked and scratched, at some afterparty or found under the front passenger seat of a mate’s car, and trying to play it? Next, the band slows things down with the tragic story of businessmen driving into the ocean in “Wave Of Mutilation”.
Then, with an acoustic guitar, the song everyone wants to hear, the crowd are all in—and yes, this is the Pixies and a sound that does give you goosebumps, and I’ll defy anyone who says different. It’s melancholy, it’s haunting, it sends chills down your back as you question your very sanity. The song lifts up, and your feet are on the air and your head is on the ground, and you ask yourself, where is my mind? It’s Chicago, 1989, at the Cabaret Metro!
Take time out and listen to the album here.