2013-06-12 - Majestic Theatre, Detroit
Peter and JD duo show. recording
Setlist
Banter
- I'm gonna clone myself and then send myself hate mail about how this should be called "Color in Our Cheeks". This is a song about how everybody belongs where they feel like they oughtta belong. [inaudible] (Color in Your Cheeks)
- This is a ballad about [inaudible audience] - that's a good question. I wish I had the answer [?]. So you may - let's be honest, you will find yourself in a situation where it is difficult [?] to leave the house. Not because anybody's blocking the door or anything, that's a different situation and there's different songs for those situations. But you might find a time when - you will find a time when leaving hte house is difficult. You try, and it's like, you say it's difficult but it's not difficult in the sense of lifting something that's too heavy to lift. It's difficult in the sense of you can't figure out the problem, like it's math. So you go out to the porch maybe, or if you don't have a porch you go out to the street, but it seems frightening, so you go back into the house, and time passes, and your friends stop calling, and you don't wanna call them either, because it kind of suits you fine. And you reach a point where you think, I'm not going to live like this forever. But I'll live like this for now. And it's kind of like making a pact with the Devil, that you will hang out with him for awhile, and then when your friendship has reached the end of its usefulness to each party, you will shake hands and part ways. You're not supposed to shake hands with the Devil, but I'll tell you what to do when he's standing in front of you holding out a warm and welcoming hand. (In Memory of Satan)
- The scene that we came up from, Peter and I, the Shrimper scene, it was like, this is the thing. The Shrimper scene, was, like a lot of small town scenes, had its own sort of weird codes of how you behaved at shows and stuff, sometimes bands would come through and not get it, and we'd think oh, pity for you, 'cause our scene rules. If I could get some light, I wanna see the people I'm talking about. [lighting] So these guys here were doing this dance, which made me so happy, I don't even know how to tell you. They were doing this [dances, audience cheers]. And it took me back to Munchie's, the little restaurant that our scene commandeered. Munchie's had a stage and people could play guitar there, and somebody went, let's have shows at Munchie's, let's ask the dude who works there if we could have shows. And we could, and so, we'd go, and Mad 7 would come through, and Mad 7 was getting pretty popular, major label contract and shit, but it didn't matter who you were, if you came through we'd be standing there and go [dances?]. And - so I really appreciate the fuck out of you guys. Last time I played this song at a solo show in Boone, North Carolina, I totally blanked on the lyrics and it was embarrassing. We'll see what happens. It's not like I've practiced it since, because I'm an asshole. (Old College Try)
- This is a song about creating autonomous personal states in high school. (Broom People)
- This song is in the same key, though. This is a song about patience, which is said to be a virtue, but when it's forced upon you it doesn't feel particularly virtuous. It just feels, well, if they're [inaudble] this virtue, trying to wait for human dignity, that's great. I'll be all virtuous over here, try to avoid, y'know, the flak, and the blowback, and the gunfire, until I can get the fuck out of this house. This is a song about needing to get the fuck out of someplace, and sticking around until you can find the exit. (Up the Wolves)
- This is the last song on the setlist, so if you've been holding back on singing, you can let it all out. There may come a time when you need this song, out there on the sidewalk from the attorney's office. He's like, supposedly on your side, but you start to do the math on how you have to pay him every time you show up, and you - that guy's not my friend. Talks like my friend. Addresses me by my first name. Costs $500 just to step inside his house. Some friend. You say to yourself...1-2-3, 1-2-3. (No Children)
- Thank you very much. Peter hasn't played this song before so this is sort of an experiment. Peter, a number of people keep yelling for it, or one guy quite insistently, I really don't know. I'm fond of this song. (You Were Cool)
- Earlier in the evening, there was a movement afoot in the audience to clap. And I wanna tell you that, on this track, the main percussion is clapping that was me and Peter and John Vanderslice, and I feel like there were four of us, standing in front of the same microphone going [clap clap clap clap]. So, the thing is, I'm gonna warn you right now, 'cause I remember tracking it, it's exhausting, and you have to focus more on the clapping than the song for it to work, try to hold that four, try to nail it to the floor. And you will get tired, somewhere around the middle of the first chorus, and go, oh, I can drop out. You can't drop out. You have to drop in and stay in, and as you do it, if you're not a drummer, you go, man, drummers are badass creatures, they can do this all fuckin' night, that's insane. That's what happened, that's one of the main things, now we can share our memories of clapping later on. Anyway, I'll play the first progression through, and I'll give you all a hair whip, with my magnificent, magnificent hair, when it's time to start clapping. [audience immediately ignores directions and starts clapping] (This Year)