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Welcome back to the behind scenes tale of the Stockholm Syndrome. In our second installment we find points of interest from the shows--moments that are important to our story, and these will be included. But for the most part, the tale I need to tell occurred off the stage. You can read all about the shows anywhere and you can search out CDs with the ole internet, but how many times does the writer get on the bus after the show? How often does the reporter find himself embedded, and not dodging gunfire? What I need to tell you is the stuff I learned about the men behind the Stockholm Syndrome, but isn't that what a band is anyway, the meshing of the men who make the sound? So instead of dissecting the second half of the Stockholm Syndrome's European Tour, which was of course their first tour ever, I will be looking at the music as a whole, and digging into the other 20 hours of the day, the time spent off stage. With that in mind, I certainly wouldn't want to skip the Amsterdam show... who could skip Amsterdam?
When we last spoke the band was laying down the gospel in Frankfurt and we were off to the Netherlands early the next morning, long before the booze had time to wear off. Blazing into Amsterdam, spirits were high--there's definitely something about that city that evokes a certain energy. And it's more than just the ganja and out right legality of everything, Amsterdam has a vibe unlike anywhere in the world, and we were all eager to have a show there.
Joseph, Schools & McFadden
05.11.04 : Melkweg : Amsterdam, NL |
After a quick gear load into the Melkweg my partner and I took a detour out to the Bulldog (hash bar) to load up for the evening's festivities. With our pockets full, smoke in our eyes, and confusion setting in the band took the stage. As was the case throughout the entire tour, every night there were moments that exceeded the previous evening. In Amsterdam it was Jerry Joseph and Danny Dziuk's "Oil" that was the first to really hit on all cylinders. Taking on an epic, almost "Cortez The Killer"-style attack, bassist Dave Schools trolled the depths of his four string while guitarist Eric McFadden showed why he's one of the best guitarist the masses don't know. With guitars crunching and Jerry letting his soul sit on the shelf, "Oil" was damn impressive.
After the show there was both a sense of urgency and a sense of relief. On the one hand, we had just reached our first "break" in almost two weeks. The long, exhausting days of rehearsals began the first week of May leading to the first show on May 7 in Berlin. From there it was a string of five shows in a row, a different city, different set of problems and of course a different reason to celebrate. Regardless of how happy or satisfied the band may have been at this point, they had earned the right to relax for a moment. This was the first time that we didn't have a show the next day. In light of this, there was definitely a desire to stay in Amsterdam, but with consideration to the collective weakness we all seem to share; it was back on the bus and back into Germany.
Kayceman & McFadden :: Tour Bus |
That night on the bus was insanely entertaining. Still reeling from our pockets-full of fun we rolled through the night full of laughs and even some discussion. But as fun as the bus can be there are times when it's a nightmare. Late at night, when you put your head on the pillow there's a certain exposure that happens. In the moments before sleep I often find myself deep inside my mind... and sometimes it's not the prettiest place. Something I had never considered about life on a tour bus is the actual sleeping part. I'm not much of a sleeper anyway, and when I tried to lie in the coffin of my bunk going 70 mph through the Netherlands I began to crawl inside my skin. No air, no room, the sounds of the road--it all felt so unnatural. I tried to roll over and found my elbow pushed against one wall and my knee sticking to the ceiling (which was McFadden's floor). I began to feel short of breath with a racing heart... so this is claustrophobia. I sprung from the cage and took shelter in the back of the bus, just sitting on the leather couch wondering how the hell Schools is able to sleep under these circumstances. I'm a pretty big guy and that fuckin' bunk was like a vice on my head; Schools is a BIG guy, much bigger than myself, and so is John Byrne the manager... I was baffled how they were able to breathe in those coffins. For the remainder of the tour I was afraid of my bunk.
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Stockholm Syndrome
05.13.04 : Fabrik : Hamburg, GER |
Fabrik in Hamburg was a dirty ass rock club. Big and spacious, all wood, run by women with tattoos, and damn near perfect for the Stockholm Syndrome. As the guys continued to work out the nuances of actually becoming a band, they had an interesting conversation backstage about "American Fork." Schools (who as I've said is the "musical director") wanted to skip "American Fork" until they had time to tighten it up, but McFadden was dying to play it. In fact, I had been hanging out with Eric long before sound check at the club and he told me how he was really looking forward to getting back into "American Fork." So as Jerry and Dave were putting the setlist together and I heard Schools say "no" to "American Fork," I started to pay a little closer attention. I'm not sure how it all panned out--when I sense I'm not wanted for a "band discussion" I try to make myself scarce before being asked--but I do know they played "American Fork." My guess was that Dave has a grasp on what it takes to give a band wings. You have to compromise, sacrifice, not always get your way. These are the deep-seeded issues of the Stockholm Syndrome. It's all alpha males, all top dogs. This is what drives the most interesting parts of this band dynamic: Can they find common ground? Can Jerry step down and let Eric step up? Can they all live in peace on and off stage? So in giving up some control and playing "American Fork," Dave is realizing the importance of letting everyone have a voice. Sure, it's just one song, but it's really just an example of how to make a band healthy, and again the question burns as to weather this will be the prevailing attitude of the entire band.
Wally Ingram & Reed Shippy :: Tour Bus
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On the ride from Hamburg to Dresden, Germany I fell into a fun little conversation with drummer extraordinaire Wally Ingram. We had the good fortune of DAT recordings from the tour at our disposal, and while most of the band didn't seem to care too much, Wally was eager to get a listen. With those big DJ style headphones covering his head, Wally's eyes grew and his expressions changed as he tuned in. As we continued to take part in heavy libations and plenty of mind-lifting enjoyment Wally commented that the band really is a "jam band." I found this to be incredibly funny because I had this discussion with Jerry and Dave on several occasions, and they were certainly dead pressed to make sure they're not called a jam band. In essence, they're both right. It really depends on where you come from. Dave (Widespread Panic) and Jerry are planted in the jam world. Their rent is paid by people who are predominately into jam music (rock jam for sure, but still, improvisational rock/jam). Wally on the other hand lives in a slightly different paradigm. So when Dave hears the word "jam" he hears it a bit differently than Wally. It's not such a "four" letter word to Wally. Jerry is more of a rock n' roll singer/songwriter guy than a jam guy, and Dave is simply writing chapters of bass history. But when Wally is listening to a 12-minute "Counter Clock World" or 15-minutes of improvisational guitar mashing in "Ray of Heaven" it's clear that the band jams. In the end, I think a slightly inebriated McFadden put it best: "Call it whatever you want, I don't give a shit."
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Ask me if I'm lying; hell yeah I'm lying
I'm a liar baby, that's what liars do
Back on the preemptive; back on the offensive
You're either with me or against me, better choose
If I could I'd burn the whole world down
And there'll be dancing when I'm done
Watch them kneel before my crown
Look at me; love me baby, I'm Empire One. |
--Empire One
Stockholm Syndrome |
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Stockholm Syndrome
05.14.04 : Starclub : Dresden, GER |
The small town of Dresden and the Starclub was another strong night. After the best catering of the tour (we're talking meat kabobs, fish, veggie dishes, potatoes, rice, salad, and heaps more) the band took the stage to a small but receptive audience. The "Purple Hearts" into a heavily dubbed out and Wally featured, "Sack Full of Hearts" was impressive but the "Ray of Heaven" to close Set I was remarkable. There were moments in "Ray" where Schools was hunting on the bass. It was as if he was stalking big game in the woods. He was lurking in the shadows and coming up on your trail, looming overhead, and eventually, inevitably, slaughtering the beast.
A few songs into the second set I heard the familiar sounds of one of Jerry Joseph's most powerful songs, "Road to Damascus." The night before Jerry and I were talking, and he asked if there was anything I would like to hear, anything I thought would work well. "Road to Damascus" was the first thing that came to mind, and when they busted it out in Dresden I was glad Jerry agreed. Featuring a complete Guitarmegeddon, this song could be huge for Eric and Jerry to show what they are made of. It was only the first time they ever played the song, yet the harmonies were on and the guitars were blending. Perhaps the most overlooked part of the equation is Danny, and on "Road To Damascus" he was finding some much needed keyboard space while Schools was driving the entire ship.
Jerry Joseph and His Fans |
After the show Jerry came out and signed autographs at the merch table as always. We talked about the show, and while he seemed unsure of the performance, he was excited that Danny slid in a bit more. "Danny is the key," he explained. "He keeps it un-American." With Jerry doubting the execution of the show (which I felt was rather impressive) I decided to ask Dave what he thought. "It's really starting to catch fire now" was his response, and after the outstanding bass playing I heard that evening, he helped put my mind to ease as we began the long trek to glorious Switzerland.
Prior to getting on the plane and heading over to Europe with these freaks I spoke to Jerry on numerous occasions. Every time we talked about the tour and the venues we'd be hitting, Jerry (and later Wally) would always comment on the Muehle Hunziken outside of Bern, Switzerland. "We all have a connection to this club in Switzerland Muehle Hunziken, it's like the fuckin' coolest club in Europe. The promoter guy is a really interesting artist and he designed the place himself. It's kind of like the House of Blues if it wasn't a chain. He made the art that's in it. I've played there a number of times and I'm really looking forward to that." As the tour bus pulled into this remote location, (which was both a residence and a music venue) it was clear why Jerry was so excited to play here.
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| 05.15.04 : Muehle Hunziken : Rubigen, SWI |
First of all, it's fuckin' Lord of the Rings all around you. Before even stepping foot into this psychedelic paradise one becomes overwhelmed by the snow-capped Alps, cascading clear creek, lush green fields, and sprawling blue sky. And the art... oh the art. The entire property, both inside and out, is one gigantic art trip. Old American kitsch stuff like life-sized plaster models of Jim Belushi from Blues Brothers, Bart Simpson taking a piss, strange vaguely familiar creatures crawling out of trash cans, and ten-foot ice cream sundae's hanging from the balcony. It was only 4:30 in the afternoon, the band hadn't even sound checked, and I was already suffering from sensory overload. By the time the band hit the stage the lysergic was settling in and it wasn't long until things began to come unglued.
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Stockholm Syndrome
05.15.04 : Muehle Hunziken : Rubigen, SWI |
After easing in with some acoustic numbers ("Tight," "White Dirt"), the Set I closer "Couldn't Get It Right" was borderline monumental. This was the most enthusiastic crowd the band had played for and the energy built from band to crowd and bounced off the room's copious eye candy. During "Couldn't Get It Right" Danny showed the wide open potential for where this band is headed. Amongst some choice notes he was able to slip these funky key lines under the rhythm guitar, and in turn, this was as good as the band had sounded.
Stockholm Syndrome : 05.15.04
Muehle Hunziken : Rubigen, SWI |
Feeding off the notion that they are slowly becoming a band, the second set found the Syndrome gelling, laughing, and throwing the fuck down. "The Jacob Ladder" opener was a sign of things to come, as they blew "American Fork" wide open. When Jerry led the band into the emotional "Postcards" (first time played) it was impossible to not think of the departed Michael Houser, and by the time they took off on "North" the wood-grained walls were breathing. Here I am slinging T-shirts and hallucinating wildly in the most wonderful venue I've ever stepped foot in. Juggling Swiss Franks and strange dialect, sweating, dancing, and a bit confused, at times all I could do was laugh at myself. Some days you might as well forget, some days you struggle to forget, but some days are worthy of memory. This was one of those evenings where every detail is worth stuffing into that limited space of memory. Things really began to fall into place at the Muehle Hunziken, for the band, the crew, the fans and perhaps most of all for myself.
McFadden & Joseph :: Tour Bus |
Wired to the gills, we loaded out and hit the road. The ride to Barcelona was some crazy shit, like 18 hours. Due to my previous battle with my bunk I wasn't to eager to crawl back in, and truth be told, I wasn't much in the mood for sleep. The vibe was high on the bus; everyone was feeling good, basking in the glow of a job well done. That bottle of Johnny Walker Black didn't stand a chance and before long madness and laughter had covered us all. Sitting at the front of the bus McFadden was playing the role of the Clown as he always does. (Eric McFadden has a strange, dark connection with clowns, and throughout the entire trip it was "clown this" and "clown that," "Spanish Clowns," "Eric McClowny," a new fusion style of clown lounge music ingeniously dubbed "Clownge," etc.) Eric was freaking us all out, mind you in the best way possible, and Jerry was full of light, talkative and open. Wally was Wally--totally devoid of any prima donna qualities, constantly a source of entertainment, and just a very easy guy to get along with. Meanwhile Danny was getting liquored up and keeping me in stitches with slightly broken English and anecdotes galore. And then there was Schools. I had certainly enjoyed Dave's presence and conversation previously, but this was one of the first times I felt we really connected and were just talking, like friends do. It was late and the only people awake as we barreled through France into Spain were Schools, stage hand (and close friend) Reed Shippy, and myself. The sun was starting to creep up over the horizon and Schools put on The Melvins. Riding through the French countryside high as hell with one of your best friends and one of your musical heroes can be a bit surreal. As we continued to shuffle through CDs, The Clash struck a particular chord, as did our conversation about politics. "Widespread Panic won't allow for any type of political discussion," he said. "That's why I have to do stuff like this. Artists have had it easy since the '60s, and in a way we have a responsibility."
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Raise the flag that will get you into heaven/A medical monkey on a cocaine tit/The bodies at the throne where your master sits/Got to take a look at your credit line/We raise our hands with our American forks/Our greedy little hands with our American forks. |
--American Fork
Stockholm Syndrome |
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Kayceman Driving The Bus by R. Shippy |
Things got a little fuzzy towards the end of this marathon bus ride to Barcelona. I remember the sunrise, and the way the water (no idea what water, a small lake, or reservoir) was reflecting the fire in the sky. I recall drinking enough to drown a horse and I guess I fell asleep... in my bunk at that. The next thing I really remember was McFadden pulling back the little curtain of my sleeping coffin and impressing upon me the fact that if I would get up, a bed would be waiting for me. I pulled my haggard ass out of the bus and stumbled up to my absolutely pimpin' room. I ordered some room service and crashed like the dead.
I awoke a few hours later and was certainly pleased to be in the midst of a rare day off. Mind you, "day off" means two different things for the band and for the crew. For the band it means very much what it sounds like, a day off; no responsibilities or demands. For the crew there's never really a "day off." So I did the little things that were needed, nothing really very exciting, just details and loose ends. You wouldn't believe the amount of work that goes into making a tour (especially a tour like this in Europe) happen. For example, I was responsible for Dave Schools' ten pound Toblerone chocolate bar that he received as a gift in Germany. It was actually quite comical. Every day Dave would ask, "Dude, you got my chocolate bar? Is it out of the sun?" Never once did he mention his custom built Modulus bass guitar, he seemed far more concerned with the Toblerone, and it became the punch line of many a joke. As the day began to creep toward night my phone rang, and I was pleased to find Eric on the other side, instead of another loose end to tie up. For a few days now McFadden had been telling me how he can't wait to get to Barcelona. He is beyond familiar with the city, has very close friends who live there, and is even considering the prospect of moving there. All of this was running through my mind as I hung up the phone and went to meet Eric in the lobby.
McFadden :: 05.16.04
Barcelona, SPA |
Our evening began around four o'clock as we walked into Las Ramblas, the hip, center part of town. Walking down the cobblestone streets, we stopped for a few beers and eventually made our way to an apartment where some close friends of Eric's were living. Being in a foreign city with locals makes all the difference in the world. While each city we'd been in had been great in its own way, there was something about Barcelona. The Mediterranean, the people, the warm weather, and being taken in by locals made it my favorite stop on the tour.
We ate and drank, laughed and drank some more. Eventually we ended up at a bar where folks can basically wait their turn and play music. They have guitars, drums, and some regular cats that play a lot, or at least that's what I gathered. One thing led to another and before long Eric was playing guitar, Wally was on drums, and shit was getting a little crazy. These guys blew the doors off whomever was dickin' around before them and there seemed to be hash everywhere. As the evening progressed, more indulgence led to that really nice bed I had flirted with earlier in the day.
A nice sized crowd had filled in the Bikini and the band was relaxed and in good spirits, Barcelona seemed therapeutic for one and all. Due to some time constraints the band played one long set, but seemed to make up for it by smoking each song and drilling each section. The opening "Counter Clock World" came off well but it was the power and intensity of "Empire One" that set the evening ablaze. The meat of the set came in the dubbed-out "Sack Full Of Hearts." Wally Ingram's mind bending drum work, full of echoes and delays, had me wondering how the hell he does it. If I hadn't helped set up his kit I would have bet the few dollars I had he was using some electronic devices, and even after almost an entire tour I was finding myself in awe of Mr. Ingram. As "Sack Full Of Hearts" (which is about young warriors, about eight or nine years old, in Africa who literally eat slices of human hearts as they embark on tribal war) bled into "Bouncing Very Well," the band took "Cosmo Sex School" out for the first time. While it was a bit rough around the edges, it had enough fire to get the fists in the air and the asses on the floor.
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| Danny Dziuk & Dave Schools :: 05.17.04 :: Bikini :: Barcelona, SPA |
The triple encore found another very appropriate debut, The Clash's "Spanish Bombs," which segued into "Couldn't Get It Right" and "Princess Cruise." It was certainly a nice treat to watch the development of "Spanish Bombs." We had recently been rocking some Clash on the bus and the entire band was really digging this classic track. Jerry turned to Dave and started to talk about working this one up for the show in Barcelona. McFadden and Wally were just as excited, and before you could remember which album that song was on, Jerry and Eric had their acoustic guitars in hand and were working out "Spanish Bombs" for the Spanish faithful.
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| Stockholm Syndrome :: 05.17.04 :: Bikini :: Barcelona, SPA |
The remainder of our time in Barcelona was full of debauchery, eating, drinking, and hash balls galore. We raised hell at a local dance club and plenty of laughter later I found myself in Eric's room well past sunrise. We tipped back and just kicked down for hours, sharing stories of our sordid pasts, sharing whiskey and philosophizing. Before long it was back to Germany.
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| Stockholm Syndrome :: 05.17.04 :: Bikini :: Barcelona, SPA |
Seeing as how Offenberg was close to 15 hours away the crew jumped on the bus and the band spent another night in Barcelona, taking a private jet the following day. Myself and a few others took the gear through the night and met up with the band around two in the afternoon at the airstrip. Lacking sleep and in need of a shower, I wasn't sure how the evening would go down. But like every other time you start to doubt your place or what will come, it all worked out like a charm.
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I trust you were just using gallows humor/when you kept riffin; on the height of the Freemont Bridge/This house will be the same tomorrow morning/But a world without you baby holds no charm for me at all/Should've seen it coming/Looks like it's here. |
--White Dirt
Stockholm Syndrome |
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Perhaps Jerry was suffering from sleep deprivation as well--his intensity was burning orange and his nerves were frayed. Like an agitated athlete who needs to contain and focus his energy on the task at hand, Jerry was able to take his fury and transform it into an evening of gritty, gut-wrenching rock 'n' roll.
Jerry Joseph :: 05.19.04
Reithalle :: Offenberg, GER |
The second set started a bit rough as McFadden's guitar pedal shit the bed, a situation that took longer than expected to rectify. But once the kinks were ironed out things got hairy. Towards the end of the set-opening "Couldn't Get It Right" I witnessed something I have never seen in all my years of watching Dave Schools. There were two younger kids (about 15 or 16) sitting on the lip of the stage, looking back and talking, almost oblivious to the show that was unfolding. I was watching Dave and it was clear he was getting more and more annoyed by this. As Dave began to launch into a heavy bass excursion he inched towards the kids, yelling "GET UP!" The look on Dave's face scared the piss out of me. His hair was falling in his mug, sweat was dripping off his chin, and his eyes were full of anger. As he kept dumping heavy bass lines and stomping to the front of the stage he finally got the kids' attention as he continued to scream "GET UP! GET UP!!" He came within three feet of the kids' faces and clearly scared the shit out of them as they slid off the stage and scurried out of the venue with their tails between their legs. Seeing that side of Schools--the side that snarls during Panic--was a nice jump in intensity, and seemed to set the stage for a monstrous, insanely heavy set.
Stockholm Syndrome :: 05.19.04
Reithalle :: Offenberg, GER |
Everything they played in the second set was hot, but it was "Road to Damascus" that sent things into the stratosphere. Somewhere around the six or seven-minute mark shit started to bust at the seams. Destroying everything in their path for what turned out to be about a 25-minute, wide-open freak out, this was what I had been longing for. Jerry slipped into that hard-to-find mindset where he's king of the world, tapping into the depths of his soul and mining his genius, it was clear that we were in Jerry Land. There was so much that happened in this half hour: Jerry did his "Let's talk about sex" rap, Schools and Danny traded spaced out licks and McFadden tore the skin off anything that was exposed. Danny went into a "Riders On The Storm" jam for the slightest moment, and before long Wally was working an insane John Bonham-esque drum solo. Jerry closed the set with his arms stretched wide like Christ on The Cross and his eyes looking deep over the crowd. As he slid into the back end of "Road to Damascus" the entire crowd could feel his glory:
Yeah, we're fine most of the time/Doin' OK/Hey, we're fine/Most of the time/Doin' OK/I've been looking in the mirror all night/Trying to get a hold of my heart/Trying to get a hold of my self/Light a new fire/Make a new start/Get it to the church on time/Get it to the church on time.
This was perhaps our first glimpse at a band capable of truly huge moments.
After such a remarkably long set, who knew what to expect from the encore? They could have put their instruments down and walked away without a word and still left the crowd satisfied. But when Jerry and Dave came out alone, it was clear we were in for it.
Dave Schools :: 05.19.04
Reithalle :: Offenberg, GER |
With only his acoustic in hand and Schools by his side, Jerry plucked the familiar first notes of "Climb To Safety." I was both shocked and elated to hear this Joseph/Panic staple. Schools had made it clear that no Panic was to be played on this tour, and while this isn't exactly a Widespread Panic song, it was certainly a surprise. The crowd went nuts as the duo worked the song over with alternative lyrics and totally different tempo changes. The return of the band for "Spanish Bombs" was only icing on the cake, it was "Road To Damascus" and "Climb To Safety" that left the mark, one that would prove to be a high point of the entire tour.
With a day off and a long drive ahead we set off for Paris around four in the morning. After the mammoth show the band had just dropped, celebration was in the air. We dug into the road and hit the whiskey heavily. Hours slipped by as we listened to music and laughed our way past sunrise. The next clear picture was our posh hotel in Paris.
Sunrise over the French Countryside :: Tour Bus |
The first day in France found band members going their own ways and doing their own things. Regardless of how much you enjoy someone's company, when you spend every waking hour crammed on stage and in a bus with them, a little time apart is healthy. That evening Jerry, Danny and I went out for a late dinner. Just as Eric had the inside scoop on Barcelona, Jerry was dialed into Paris, and he offered to take us out to one of his favorite restaurants in the world.
We swung by the Eiffel Tower and got on the Metro headed for the gay/Hassidic area of town. Not that the area is populated by gay Hassid's, but rather the restaurant we were going to was on the border of the Hassidic and gay sections. By the time we actually arrived at the down-home, local-style restaurant it was getting pretty damn late and we were one of the last tables in the joint. As we dined on escargot, wine, muscle salad, and various main dishes it was obvious why Jerry makes a point of hitting the restaurant every time he's in Paris. After dinner Jerry took us on a little tour of the city as we stopped off for beers in different sections of town. At one of these little watering holes we were able to sit at the outermost table and watch the people walk by as Danny told us about his youth. He explained how his father was a cold man, somewhat hard to deal with. Danny went on to say that his father had very little respect for the music he made. Not until Danny was recognized on national television receiving major awards for his song writing (the equivalent would be the Grammy's), did his father even take notice of his insane talent. He told us how it was much the same for his younger brother (who is in Danny's German band). No wonder Danny left home at an early age and took up the Beat lifestyle that Kerouac made famous.
Eiffel Tower |
After several beers and a little liquor Jerry took us by the little apartment with no heat that Woody Harrelson let him use for an extended period of time. He led us down by the river and over to Notre Dame. We stood in the centermost point of Paris and stared up at the architecture that helps make Paris one of the world's most fabled cities. As we spoke of the band I turned to Jerry and let him in on something I had been contemplating. I told him that while I love his Jackmormons, and think his solo work is the shit, this band, the Stockholm Syndrome, very well may be his last real chance. You don't get too many shots at "making it" in the music world. (And when I say make it I simply mean in terms of being financially secure and able to survive off your work in the future.) Jerry was on the brink of stardom with Little Women back in the early '90s, and he's done alright for himself with the Jackmormons, but he will never be surrounded by more talented, motivated, and professional musicians again in his life. The Stockholm Syndrome is more or less Jerry's band. He wrote most of the words and a great deal of the music. He and Dave put the band together and Jerry clearly fronts the crew on stage. This is his last chance at glory. Not an easy spot for someone who has incredible stress and is bound tightly to his emotions. So when I asked him what he thought about all this he simply said, "I don't like to think about it. I just can't think about it." And that was more or less the end of it. Sometimes when you say nothing you explain more than words ever could.
The ringing phone once again served as my alarm clock. It was a show day and that meant there were fires to put out. We were having all kinds of issues with the upcoming gig in London, not to mention logistical problems with gear, rental cars, and a promoter who wanted us done at 11:00 p.m. because the club turned into a disco at midnight. As is always the case, we made it happen, and although the club wasn't the most accommodating and our contacts not that sweet, the show was solid.
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| Stockholm Syndrome :: 05.21.04 :: La Scene Bastille :: Paris, FRA |
The band kicked Paris off with a few acoustic numbers, most notably "Tight," "White Dirt," and "I Know There's A Darkness." Towards the middle of "I Know There's A Darkness" Danny showed why he's such a vital organ to this beast. Perhaps it's a bit easier for Danny to unload when Jerry's on his acoustic or maybe he just likes the song, but when he laid down the rhythmic funk he elicited huge smiles from band and fans alike. The second set took the momentum of the first and pushed it up a notch. Hearing Jerry Joseph's "Easter" (which was written in France many years ago) for the first time was certainly nice, and the "North" > "Nicaragua" > "North" was finally up to snuff. I had enjoyed all the previous attempts (especially the one in Switzerland), but on this evening it finally clicked on all cylinders. Jerry won't go into rap mode unless he is feeling it, and he was clearly on fire during the "Nicaragua" rap.
McFadden :: 05.22.04
La Scene Bastille :: Paris, FRA |
The second gig in Paris featured a smoking second set. It started with just Jerry on acoustic and Dave on his four-string rock 'n' roll bass (which he used almost exclusively the whole tour), slamming through "Chrome Koran" before bringing out the rest of the band. "One In My Hand" was particularly good this evening, showcasing an Allman Brothers-esque jam. "Shining Path" into "Road to Damascus" was heavy and warmly received. During "Shining Path," McFadden took the bait Jerry laid in front of him and proceeded to chew the hell out of everything he could find. He played so hard I thought he might break his guitar. The duo of McFadden and Joseph was working as well as we had seen, and this no doubt helped Jerry feel right at home as he dove into "RTD." Taking it way outside with both his axe and his voice, Jerry opened up a "Dumb Dumb Bullets" rap in the middle of the song before stepping out in front of the crowd, leaving his mic behind him. Standing on the edge of the stage, Jerry led the crowd into the "Doin' OK" back section of "Road to Damascus," and in prime Jerry fashion he had the intimate crowd doing call/response and singing the words. He and the band left the stage so that eventually the crowd was still singing in unison, and the set was over.
En route to Flea Market :: 05.23.04
The Metro :: Paris, FRA |
The London gig was not shaping up too well. It was two days before the show and we still hadn't received our work permit from the promoter. In the end we had to cancel the show, vowing to never work with that promoter or club again. With no London show we found ourselves with a few extra days in Paris. We hit some tourist spots, the Musee d'Orsay, and were escorted by our local journalist friend Spider to a massive flea market. Walking around with the band and doing some shopping led to yet another very nice meal.
After dinner I ended up having a few more drinks with McFadden, Danny, and Spider. One thing led to another and before long we were up in Eric's room with a few guitars and few bottles. From about 1:00 to 3:00 a.m. Eric and Danny put on a mini-concert for Spider, Eric's friend Tiffany, and myself. Both on acoustics and loose as hell, they played some of their own songs, "Bucket's Of Rain," some Tom Waits, some more Dylan, and a few songs I didn't even know. Sitting around laughing, talking, and listening to these two get down was one of the coolest things I witnessed the entire time. To just kick back and hang out like you do with your boys is one thing, but when your boys are world-class musicians, all of sudden a good time is a great time.
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Post Meal Jam in McFadden's Room :: 05.24.04 :: Paris, FRA
(Left to Right: Spider, Tiffany, Danny, Eric) |
My introduction to Paris ended with a day on my own, checking out the Bastille and enjoying one of the best meals I've ever had. On our last night in France we all went to Maison Blanche, one of the nicest restaurants in the city/world.
It was so nice I ended up borrowing a pair of shoes from Wally (he travels with several). Although I knew the place would be off the charts, I was still not prepared. We ate like kings. We had it all; bottles of wine, appetizers, salads, steak, fish, dessert, aperitifs, you name it. This was clearly the way to wrap up our European Tour. We had pulled it off. Sure there were glitches and rough spots. And of course there are things that we should have done different, but we did it. The tour was a success and the band was able to find their legs. We ran around Europe and had fuckin' blast doing it. Sure beats rehearsing in Atlanta for a month. The machine was greased and it was time to test the product. It was time to head home, back the States. It was time to find out what fans who know these musicians and have insanely high expectations thought of the band. It was time to put it on the line.
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Come take my hand darling; we could get married
We could have babies and live in a shack by the sea
Fresh cut flowers and octopus cocktails
Just close your eyes, it's easy to see. |
--Bouncing Very Well
Stockholm Syndrome |
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| Boarding the Private Jet :: 05.25.04 :: Paris, FRA |
I had never been on a private jet before, so please excuse my mouth open amazement in regards to how insane an experience it was. We are talking some next-level shit here. No check-in, no waiting in line, no security bullshit. A little shuttle (or limo) takes you onto the runway and you just walk right onto the plane. And what a plane! Apparently a G5 is the shit, and that's what we used. It didn't take long to get comfy in my leather lazy boy, and I sure didn't mind the endless supply of drinks and very high quality food. We enjoyed seafood salad, lobster claws, Beef Wellington, cheesecake, and more. And I thought Jet Blue with their little TV was a good time.
Joseph and Schools on Jet :: 05.25.04 |
During our flight I ended up sitting down with Schools and getting deep into some conversation. There were things I wanted to ask but hadn't felt comfortable enough to express until this point. Eventually we began to talk about Mikey (Michael Houser, Widespread Panic's departed lead guitarist). I mentioned how both the 4.28.02 Oak Mountain and 6.22.02 Bonnaroo shows (the last two times I ever saw Mikey) were incredibly moving and to this day two of the greatest musical/spiritual experiences I have had. When I mentioned Bonnaroo Dave looked right in my eyes. He seemed to agree with me on some level. He told me that he rarely, if ever, gets overwhelmed on stage. But when Dottie Peoples and the Peoples Choice Choir took the stage for the set closer at Bonnaroo he was floored. He said he was looking out over the crowd and the first 15 rows were "levitating." Being in those first few rows I can attest to the same feeling from the other side. Mikey was clearly showing signs of his illness, yet was absolutely at the top of his game musically. Dottie was "testifying" and as far as I could tell, opening the path for Mikey to walk warmly into whatever is next. The crowd was feeling it and to this day--even right now!--I get goose bumps thinking about it. To know that Dave Schools felt the same thing made me feel more at home than my bed. We continued talking about Mikey and Widespread Panic in general. Y'all will just have to wait for all the details, but one thing was clear: Panic will be back, and they won't be resting on their laurels. I told Dave that I thought a book should be written about Widespread Panic, and that he should really let me do it. He told me, "I wouldn't want you to have to re-write chapters. The story isn't over yet." He said he wasn't even sure what he meant by it but that, "There was still something major to happen for the band." Amen.
Landing in New Jersey and walking from the plane to the limo was a nice way to slide back into home base. And I'll tell you, while traveling is always amazing; coming home always feels good too. Sure I wasn't home yet, but like it or not, America is home, and it felt good to be around friends and family.
McFadden and his new Axe
05.26.04 :: New York City |
We ended up getting to New York a day early due to the London show getting bagged, and it was a good thing too because Eric needed a new guitar. The Les Paul he was using in Europe was our friend/promoter Ulf's, and upon leaving Europe Eric had to relinquish the guitar. A few hours after arrival Eric and I went up towards midtown to check out some guitars. We hit Manny's and a few others stores, but didn't find The One.
We set out the next day and regardless of whether it spoke to Eric or not, a new guitar had to be bought for the gig the following day. We were walking by a store and Eric stopped dead in his tracks. There was a 1977 custom Les Paul casting a spell on our devilish clown friend. Not wanting to rush into things, we went in and Eric played several guitars and various models. But in the end we walked out with the Les Paul that was sitting in the window. The guy behind the counter said that it had just come in and he knew it wasn't going to be around long. The guitar had clearly been loved, played and cared for incredibly well. And it was now in the hands of a true master.
McFadden at Sirius Radio Show
05.27.04 :: New York City |
May 27 began with a Sirius Radio show and the first notes for the band on American soil. Mixing a few interview questions into a small set including "Tight," "Empire One," "White Dirt," and "The Jacob Ladder," the radio show went well. The band was clearly excited and a bit nervous to be in the States, and it wasn't long until their first live show ever in America.
While we were still setting up at The Knitting Factory Mike Gordon of Phish fame came in to talk bass (I guess) with Dave Schools. It was certainly a nice sight to see two of my favorite bass players of all time shooting the shit. The differences between Europe and the States were instantly noticeable in many ways, but perhaps most obvious was the respect, anticipation, and scene this group of musicians are capable of stirring up back at the homeland. Sure there were people interested in these guys across the pond, but there were no mobs of people, no famous musicians and actors coming to say hi, no "scene." Well, the circus was in town and there was definitely a scene.
Jerry Joseph and Dave Schools |
The band's U.S. debut was a strong one. The Knit was packed. I'm talking wall-to-wall slammed with sweaty screaming fans, industry types, and tons of friendly faces. From the first notes of "Tight" it was obvious the band was determined to show America what they're capable of, and it was clear what a difference a day makes. For starters the band had finally welcomed some of the Widespread Panic crew to help out, including sound man Chris Rabold. Schools had been eagerly anticipating the arrival of Chris, and his familiarity with Dave and loud-ass rock in general was clearly going to help the sound. Perhaps even more important than even having the right guy behind the mixing board is having the right crowd. This was the first time the band had played in front of a real crowd. This was the first time there were people who knew the words. This was the first time there were fists pumping and sweat dripping. This was the first time shit really got crazy. And that was only the set-closing "Shining Path" into "Bouncing Very Well."
During set break I could tell the band was leaving a good impression. I heard people grasping for words to describe McFadden, and I heard more than one person comment on how nice it was to see Jerry and Dave in this setting. People were throwing all kinds of superlatives around, and the second set would dwarf the first, leaving the crowd with a serious case of the Syndrome.
Jerry Joseph and Dave Schools |
Blasting out of the gates was "The Jacob Ladder" and a nasty "Light Is Like Water" > "Gloryland" > "Light Is Like Water." I had almost forgotten what it was like to have an entire club sing with you. In Europe it was only the people on the tour bus who knew the words. The set-ending "American Fork" and "Road to Damascus" was enough to sell any skeptic in The Knit. It was impossible to deny--the first show was clearly a huge success. It seemed that our theory about the crowd being the only missing ingredient held true. I had discussed this with each band member at one time or another, and clearly remember getting into it with Wally and Eric. And we all seemed to think that it was at least possible (I was pretty damn sure) that once you put this rock show in front of an eager, intelligent, sweaty, engrossed crowd things would blow up. It's almost impossible to push things to the next level if you don't have the audience fueling the band, and when the band finally received that missing ingredient they reached the next level.
Waking McFadden up the next day was a nightmare. Another part of being home is all the friends, and sleep was just not an option. While we each went our own way we all celebrated well into the following day. And when I went to Eric's door at 8:00 a.m. he was not pleased. But it's part of the job and we had a show that night in South Carolina. I helped him with his bags and like Mick Jagger and the Stones we rolled out of The Tribeca Grand right into three stretch limos. We cruised out to the air strip and boarded the private jet. 50 minutes later we landed in the Dirty South.
Jerry Joseph and Eric McFadden |
If America was the homecoming party, the South was the family get together. Dave Schools is a celebrity down south, and Jerry... They either love him or they hate him. Come to think of it that goes for everyone who knows Jerry, but it's amplified in the South.
Both shows at The Music Farm in Charleston were hot! Noticeably better than the New York show, the band continued to get better each time out. Considering how young this band is and how busy its members are it should come as no surprise that there were a few repeats over the two night stand, but this particular genre of fans has come to expect quite a bit from their music. Regardless of a few doubles the shows came off incredibly well. The first night was great but the "Ray Of Heaven" > "Drives Me Crazy" > "Ray Of Heaven" and "North" throw down put night two a notch above. And when Schools mounted the amp during the "Princess Cruise" encore it was clear that we had once again set a new benchmark.
There is nothing like southern hospitality. And my good friends down there made damn sure to be hospitable to Wally, Eric, and I well into the next day. With a pair of white hot shows behind us, it was fun to kick back, stay up late, and shoot the shit with Wally, Eric, and a few friends. Truth be told, I had to slip out a wee bit early as I was driving half the band to North Carolina in the morning, and I really didn't feel like ending up on some VH1 special where I wrap the Cadillac around a tree and kill us all.
Jerry Joseph |
North Carolina was the scene of our final show and by the time we got to the venue the crowd was hopping at Hammerjax. They packed the fans in and the band took it over the top once again. The most impressive musical moment of the entire tour (at least in contention with the Offenberg meltdown) came during "Couldn't Get It Right." The song opened up and turned into a 20-minute funk bomb. It truly exemplified how far the band had come. It had everything: Jerry and Eric trading guitar licks, a HUGE Schools bass solo, Wally dropping jaws and Danny going bonkers on the keys. It was truly astonishing as I thought back to those first shows only a few weeks earlier. They were pulling the levers and slowing down the tempo. The sound was dialed and they toyed with volume control, exercising their dexterity, and the crowd was eating it up. It was so damn good it brought a wee little tear to my eye... I guess you could say I was proud of them.
McFadden & Dziuk :: Backstage in N.C. :: 05.30.04 |
There was another moment at this monstrous tour closer that seemed to exemplify the birth of the Stockholm Syndrome. At the very end of the show Jerry said a few words, and things turned slightly political. Schools came to the edge of the stage and began putting his finger to his temple and saying, "Think! Think! Think!" The message was clear; this is an election year and you can't just buy the hype, you have to "think." Just as the band's songs generally have a political undercurrent, so did Dave's message. While he doesn't want to come right out and tell you what he thinks, Schools wants you to think. And just as the Stockholm Syndrome doesn't want to shove its political views up your ass, they want you to give it some thought.
One month, six countries, and 17 shows later the Stockholm Syndrome's tour had come to an end. In my last moments with the band I found myself sitting next to Schools, sharing Chinese food in our fearless leader's suite. I broke into my fortune cookie and laughed out loud as I read my fortune: "YOU WILL TRAVEL FAR AND WIDE, BOTH FOR PLEASURE AND BUSINESS." As visions of the past month unraveled in my head Schools (who was in perhaps the best mood I've ever seen) smiled and said, "That's the ending to your story right there."
Read Part I of this epic tale: STOCKHOLM SYNDROME :: A BAND IS BORN
All Words & Images by: The Kayceman
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