Live in the Stadthalle
Smashing Pumpkins: The vampire is still biting
Around 9000 fans already had to gather their strength for the rest of the week on Monday evening, as Interpol and the Smashing Pumpkins played their retro program and didn't want to leave the stage. The nostalgia party showed that the Pumpkins are still very much in the game when they want to be.
The tried and tested old saying about the barking dogs that don't bite is very much in place with the Smashing Pumpkins. Frontman Billy Corgan, who is not one of the easiest in his guild per se, announced before the "The World Is A Vampire" tour, which is currently touring Europe, that he doesn't care about the expectations and hit requests of the fans, but will simply reel off the program that satisfies him. The wild sabre-rattling was only to become a fan in the wind, because in the end the old grumpy man only opted for a few classics that made the once self-proclaimed "best band in the world" shine, especially in the 90s. They quickly became infamous in the wider grunge scene.
Return of the ex-members
The Smashing Pumpkins signed a major record deal after the first baby steps with the band, which not only cost them street credibility in the alternative US scene, but also earned them many a scolding from their competitors. The Pumpkins from Chicago defied the prophets of doom with exuberant self-confidence and did the only right thing: they released one cult album after another. The Pumpkins anno 2024 are a bit like they used to be. After a temporary break-up and many quarrels, guitarist James Iha and drummer Jimmy Chamberlin have long been back on board, and guitarist Kiki Wong, who only joined the band this year, is not only a feast for the eyes on stage, but also shines on the battle axe: for example on the fading solo of "Empires".
The stage design dispenses with video walls, but relies on massive light cones, which are used far too rarely in the set. Front man Billy Corgan wraps himself and his decent belly in a floor-length black coat and, together with his noble pallor, inevitably brings to mind the unforgotten Max Schreck as Nosferatu. The fact that songwriting buddy and guitarist Iha appears all in white can certainly be seen as a planned program of contrasts. Kiki Wong shines with youthfulness, backing singer Katie Cole with the all-important female timbre, which even gives a song like "Springtime" its main coloration. The audience, wallowing in nostalgia, marveled at their favourite Corgan, sang along loudly to tracks such as "The Everlasting Gaze" or the famous ballad "Today" and helped out with lyrics early on in the set. The U2 cover "Zoo Station", which the band rehearsed especially for this tour and which is already in its third position with a drum solo, seems rather strange.
Please dilute
Corgan stages himself as the great Zampano for the time being and lets the audience celebrate him, although the great days are long gone and the band has always carried its own legacy. The songs on the overblown concept album "Atum: A Rock Opera In Three Acts", which was released over two years, should have been Corgan's opus magnum, but turned out to be disappointing synthy, weird pop gimmicks. Songs like "Springtimes" or "Beguilded" could have been left out and thus diluted the somewhat artificially bloated two-hour set. But of course Corgan doesn't play a pure hit revue and in view of the rare Austrian appearances, that's fine. The big numbers outshine everything anyway. "1979", "Jellybelly", the quirky "Mayonaise" or the knock-down bouncers "Cherub Rock" and "Zero" hit the bull's eye.
The absolute king number is of course the timeless "Bullet With Butterfly Wings", which the band performs with surprising motivation despite its inflationary use. This time, the eccentric frontman leaves his innate grumpiness at home and seems to be enjoying the summery Vienna. Iha is usually allowed to make the interlude announcements, parleying about the Viennese's understanding of art and stammering a few words into the microphone in German to win the hearts of the fans. The most welcome surprise came in the final third. Corgan announces that he is going to go way back in the band's history and actually gets stuck on the 1991 debut "Gish". The punchy, progressive version of the unexpected song "Rhinoceros" is one of the highlights of the evening. The Pumpkins leave big gimmicks, sprawling acoustic interludes or visual effects behind, but the fickle collective has been seen much more anemic - even in this country. Two or three numbers less would have done the trick.
Black and calm
New Yorkers Interpol are allowed to show off their art for an hour in the opening act. Almost exactly one year after their appearance at "Lido Sounds" in Linz, there was a welcome da capo, but not much has changed in terms of stage demeanor. The adapted trio (regular drummer Sam Fogarino is still out of action due to the consequences of his spinal surgery) is neatly dressed in black, frontman and Berliner-by-choice Paul Banks still looks cool in sunglasses and is reluctant to move a few centimetres from the spot. After 20 years, Interpol are still something of a blueprint for the legendary 2000s indie, in which Banks and co. played a leading role. Songs like "Narc" or "My Desire" feature signature sound elements - here, too, they pay homage to the fans' unsurpassable nostalgia.
Interpol have never been the great live prima donnas, the magic of their performances is based on the catchy songwriting that produced classics such as "The Rover", "Obstacle 1" and "The New". While Banks attracts attention with his slicked-back hair and good voice, partner Daniel Kessler is the real worker. When he plays his distinctive indie licks through the slightly air-conditioned Stadthalle, prismatic light effects shoot over him and turn the top-styled team captain into a real rock star for short periods of the evening. The idea of playing a tour like this with "one and a half" headliners proves to be spot on, also because of the sometimes overlapping crowds of fans. Both acts may have long since passed their career peak, but the hype of the 90s and 2000s still emits a lively rattle. Finally and at long last: The World Is A Vampire.
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