Brutal Heat Halts Echo & the Bunnymen Concert in St. Louis Saturday
By Jaime Lees
Mon, Jul 24, 2017
St. Louis’ brutal weekend heat was so bad, it took down a rockstar.
At the Hollywood Casino Amphitheatre on Saturday night, the lead singer of Echo & the Bunnymen (and the subject of our music feature this week) was overcome by the heat and had to leave the stage.
Ian McCulloch gave it his best shot. Wearing his signature jacket despite the day’s record-setting 108-degree temperature, he pushed through at first — and even took sustenance from an oxygen mask. But finally the heat cut things short.
The day had been brutally, dangerously hot. Still, the Violent Femmes went on as scheduled, with the Bunnymen following closely behind after the sun went down.
Despite every bit of their human instincts telling them to avoid the outdoors, a shocking percentage of the audience still managed to show up for the outdoor concert, with the seated area appearing to be about half full. And though the crowd loved the Violent Femmes’ set, it’s likely that most of the audience was there primarily to see Echo & the Bunnymen — the band hasn’t played St. Louis in twenty years. (Their last gig here was a slot at Pointfest 1997 on another stupid-hot day at the same venue.)
The venue did everything it could to make sure that it didn’t have mass casualties on its hands. The amphitheatre was well-staffed, cooling stations were easy to find, misting fans were circulating and, most importantly, administration smartly waved the usual policy that limits guests to bringing in just one bottle of water. From the front gate to the stage barricades, every staff member we encountered was kind and helpful. (Not much could be done to improve the restrooms, however, which are always and forever people-baking cinderblock kilns.)
The Violent Femmes started right on time and seemed to tolerate the heat fairly well. At that point in the night it was overwhelmingly hot down in the closely packed front bowl of the audience. About halfway through their set my friend and I decamped for the slightly breezier air that was available near the outer edges available away from the crowd.
We returned to our seats in time for the Bunnymen. Their set started normally enough, with the entire amphitheatre going dark and then the stage glowing in their traditional style: plenty of smoke machines and dramatically backlit like the film version of an alien abduction.
The band took the stage, and all seemed well — stellar, even — until it suddenly wasn’t. McCulloch’s voice was strong and beautiful for the first half of their set but then it became clear that he was slipping. He abruptly stopped singing and said he had to exit for five minutes “to breathe,” but he came back sooner than that and resumed his duties.
Try as he might, McCulloch kept fading. His breathing between songs had become labored and shaky. A worried stagehand who had previously been busy throwing bottles of water out to the audience followed his movements closely after that, placing an IV bag of fluid just behind him on the drum riser.
The band had to pause two more times (once with McCulloch just stepping to the back corner of the stage to get aid from an oxygen mask) but try as he might, he couldn’t quite swing it under these awful conditions. We felt like we were about to witness a truly scary incident if McCulloch pushed himself any harder. It was time to stop.
A few attendees didn’t feel the same way, taking their complaints to Twitter to say that they were let down, wanted a refund, etc. But I think that if McCulloch hadn’t needed to leave the stage, nobody would’ve even known that the band’s set was shortened. They still managed to play for just about an hour and skipped over lesser-known songs on their planned setlist in favor of the radio hits that most of the audience had come to witness. And in the end, they only cut four songs total.
Many of the complaints I saw said that McCulloch should’ve removed his jacket and that would’ve helped him with tolerating the heat. Meh. Maybe. But I think it was his full-body singing style that did him in. That kind of dazzling vocal ability must require a shitload of breathing tricks and the humid air was thick and miserable to simply exist in, much less sing. Add to that the heat from the stage lights and it’s a miracle that the dude didn’t collapse immediately.
There were ambulances leaving from the back area of the venue as the show ended, but if one of those was for McCulloch, he did a good job of bouncing back, because he played Chicago last night as scheduled.
As I described the after-concert scene to a friend the next day: “The very reasonable Midwesterners filing past us after the show were all saying that McCulloch should’ve taken off his jacket if he was hot, but that would be like Gene Simmons performing in flip-flops. Completely unacceptable.”
This show seemed to indicate that the legendary Ian McCulloch would rather drop dead than dim his personal style. And I, for one, have nothing but respect for that. Shine on, Mac. See you next time. (Hopefully indoors.)
link: Riverfront Times
Echo & the Bunnymen’s Ian McCulloch Is an International Treasure
By Jaime Lees
Ian McCulloch does not disappoint. Known for being highly quotable and wickedly mouthy, the lead singer and songwriter of Echo & the Bunnymen is as humorous as he is brilliant. He’s a natural charmer and, strangely, harder to find than Jimmy Hoffa. But after weeks of running into dead ends while trying to track him down, the man known as “Mac” is on the other end of the line, full of hilarious insight.
Far from the moody, brooding demeanor that you might expect from someone who rarely removes his heavily tinted sunglasses, McCulloch is delightfully warm and buoyant. His conversation is sprinkled with dead-accurate vocal impressions of David Bowie (his long-time hero), Iggy Pop, Gary Oldman and Lemmy Kilmister. (Mac says with reverence: “I can’t do Lou [Reed]. I just don’t have the spite.”)
McCulloch has every reason to be upbeat. Echo & the Bunnymen is well into a second stretch in the spotlight. Formed in 1978, the group released five albums before McCulloch walked away in the late 1980s. McCulloch and legendary original Bunnyman guitarist Will Sergeant joined up again for a short-lived side band called Electrafixion in 1994 before finally reclaiming the Bunnymen name in 1997. Since then the group has released another six albums, with a new one due out next year. The band also signed to major label BMG in June and is co-headlining a summer tour — coming to Hollywood Casino Amphitheatre on July 22 — with the Violent Femmes.
While many of the other bands that found success during the era of ’80s new-wave were dorky or avuncular, the Bunnymen were perceived as sultry sex shamans who had come to steal your girlfriend away for a mystical magic carpet ride. The Bunnymen expanded on the sounds that were expected for their genre, and released pointy post-punk songs including “The Cutter” and “Rescue,” but also sweeping, cinematic masterpieces like “The Killing Moon” and “Ocean Rain.” Their sheer grandness was unrivaled in magnitude.
McCulloch agrees with that assessment. In fact, he is known for asserting that his band is the greatest in the world and cheekily insisting that the Bunnymen did everything first and did everything best. His old habit of constant self-aggrandizing in the press has been famously adopted by Liam Gallagher of Oasis, a similarity that hasn’t gone unnoticed by McCulloch himself. He laughs at the comparison.
“I like Liam. I think he’s good. He always has been good. I like his thing. Someone showed me his tweets, and to have that front, I think it’s fantastic,” McCulloch says. “But on stage he’s never smiled. I used to do that, too. You come on stage and no one understands why you have a bit of an attitude. And maybe I didn’t understand. It’s just easier, probably, than being nice. He’s funny, you know, but maybe Liam could also say that [funny stuff] on stage. As a joke.” (One can readily imagine the twinkle in McCulloch’s eye as he delivers this expertly restrained condescension.)
But McCulloch will always have more than a couple of things to hang over Gallagher’s head. First of all, he had already perfected the outerwear-as-fashion-statement thing before young Gallagher even grew into his unibrow. But most importantly: that voice.
McCulloch’s expressive, shockingly clear singing voice is his greatest asset. Over the years, his lush purr has deepened, giving him the ability to sing with a velvety, panty-dropping richness.
“I don’t hear a lot of voices that stop you in your tracks, like mine,” McCulloch rightfully brags. “And it’s gonna get better. I’m still holding it together. But I find it hard to listen to the old stuff ’cause it’s like, that’s not me there. Now when I sing I just want to sound as real as possible.
“Sometimes when you’re younger, you kind of use your voice as a disguise — when you’re an eighteen-year-old trying to sound deep and poetic,” he continues. “Most of the songs that I can’t do, it’s because of that. That’s not to take away from all of the people — there are fans who like songs that I like the least.”
Though audiences might hold tightly to older songs, McCulloch’s newer music is easily among his best — more modern tracks such as “Nothing Lasts Forever,” “Rust” and “History Chimes” are well on their way to becoming future classics.
For as much as he boasts about his skills, though, McCulloch still ducks compliments. When presented with a list of his accomplishments, he quickly attempts to dilute their importance by interrupting with, “And I’m good at table tennis! But only one game and it depends on how many serves. I play meself and I’m still ahead.”
And when the long interview is coming to a close, McCulloch stays true to his off-stage hobby: cracking up anyone who will listen.
“Any doubts about content, make it up,” he says. “I don’t mind, as long as you don’t misquote you.”
link: Riverfront Times
Pazz & Jop 2009
37th Annual Village Voice Critics’ Poll
“Pazz & Jop is an annual poll of musical releases compiled by American newspaper The Village Voice. The poll is tabulated from the submitted year-end top ten lists of hundreds of music critics. Pazz & Jop was introduced by The Village Voice in 1974 as an album-only poll, but was expanded to include votes for singles in 1979.”