adam_777

I agree the third night was fantastic. That encore was something else and a fitting end to the three night stand at the Commodore.

Honestly Girl, don't let these experiences deter you. For instance, if I hadn't been recording, I would have had a perfectly enjoyable experience. And even though I was recording on night one I had a fantastic experience too and wasn't busted. Everyone always screams bloody murder when something goes wrong, but for 98% of the audience I am sure they had no issues what so ever and just a fantastic time. Seeing a Matthew Good show at the Commodore is awesome and Matt even said on his final night of all the Vancouver venues the Commodore is essentially the cream of the crop.

you guys are a riot haha. I love the venue and still love the shows. My experience isn't dampening that for me. Seeing this show three nights in a row there was absolutely awesome.

I must say I am impressed how many took the time to read through that, I kind of prattled on, but its something I've often thought about and as Gursky pointed out, its not like the 1970's where only one person at the show is recording something. Probably 50% if not more of the crowd will take some form of photo, video or audio recording, so I fail to see why to this day there is still such an issue. I do plan to continue to record shows for you guys because I know the appreciation is there. This experience hasn't deterred me any, it just makes me question why this perception exists and I wanted to get some feedback from others. As for the security guard, I wasn't intimidated, if I had been at the show alone I might have even pushed to see just what this private back room conversation was apparently going to entail, but when you're at the show with someone else, its best just to zip the lip so they don't have their night ruined over it. As Jess pointed out this was the same security guard who asked us to move along during the soundcheck. The funny part about that was that we had been standing over there after the group photo and the band actually approached us to chat. The band started into a fun rendition of Highway to Hell and we were asked to move along, but as Jess pointed out most of the VIP's were still there at merch, so we ended up just being moved back there to stand in line for another three minutes, so I don't see the harm in just watching them jam for a couple more minutes. I understand these guys have a job to do and I feel for them honestly they have to deal with a lot of idiots. I just don't see how in a crowd where people are starting fights and so forth that a guy enjoying the show with a couple mini mics out to make a recording is deemed an issue. The point that irked me wasn't that I was busted, it was that clearly there is this prevailing belief that someone taping a show is someone with no respect for the band, where in my experience with myself and other tapers it is quite the opposite. For those wondering I did still tape about half the show...and because I taped the VIP I do have a recording of Advertising on Police Cars.

Disclaimer: This post is going to be pretty long winded, but it's a discussion I think some may find interesting. I want to point out first that I do not feel entitled as a fan to these kinds of recordings. You won't hear any argument that I have "a right" to create or distribute these bootlegs. I am not complaining about the situation, but merely trying to express my confusion on the matter and hopefully hear others input and points of view on the topic at hand. Last night at the Commodore, I was making an audio recording of the show. Having previously recorded a few shows on the tour all was going well until I was approached by a security guard who instructed me that "Matt wouldn't appreciate me making an audio or video recording" He then said I needed to "Prove to him that the recording device was not turned on." I'm no liar, so I told him it was turned on, but told him I would turn it off at which point I did. For a moment I thought he was going to throw me out, but instead he opted for a threat. After reiterating that Matt would not appreciate me recording the show he stated that I needed to show more respect than that. I was told firmly if I was caught with it on again I would be dragged into the back room to have a "chat." I'm honestly not sure what that meant (I pictured getting the Peter Grant treatment in the back). I'm sure it was just an intimidation tactic as he probably didn't have the time to continuously monitor me for the remainder of the show. I turned off my recording and proceeded to watch as people all around me stood there with phones out recording the rest of the concert. So I couldn't help but wonder, why is there this policy that completely forbids audio recording of a show by a dedicated fan, when every Tom, Dick and Harry with a cellphone is going to essentially capture the whole thing, in atrocious and downright offensive quality and post it all over youtube anyways? So I wanted to make some comparisons and contrasts between a bootlegger (in the world of fan made live audio recordings many do not like this term because it is usually attached with the selling of such material, which I am staunchly against, but as it is a common term for what many others call tapers, I will use it during this discussion) and a phone recorder. 1. Quality. Bootleggers are typically very precious with their recordings. They take great precautions to ensure that they are outfitted with reasonably good equipment and located in the best possible locations in the venue to acquire the truest representation of the bands actual sound. Professionals are mixing this to be an optimal blend of volume and separation and it is a complete disservice to them to not attempt to accurately reflect that in an audio recording. Many phone recordings are absolutely brutal. For one they often don't capture an entire performance cutting in and out whenever the operator decided to press record. Most phones have built in mics with an extremely low tolerance for loud sounds, meaning the mics peak and the audio is distorted into a crunchy wall of sound that is sometimes rendered unlistenable and quite frankly makes it seems as if the band itself has a horrendous sound at live shows in many cases. Which brings me to my next point. 2. Distribution. While bootleg recordings are often shared in limited circles among absolute diehard fans (lets face it, there isn't a single fan out there who owns zero albums, but has bootlegs. That's like someone jumping off the high dive before they learn to swim, one is a prerequisite for the other. A fan gets into a band, buys albums and then through a continued building of fanaticism seeks out websites online where they suddenly are exposed to live recordings, I seriously doubt you could find a single example of someone with a collection of bootlegs that they had before they bought a single album) phone recordings are frequently distributed via youtube to an audience of literally billions. So in many cases these poor quality examples are out there toting that this is what the live experience of this band is like. I seriously doubt any of the shows I have taped have been heard by more than a few dozen people where as recordings from Matt's shows posted on youtube could generate hundreds perhaps thousands of views. While youtube videos will most likely be listened to by a mix of hardcore and casual fans, it is almost a certainty that only the hardcore fans will ever hear any bootleg recording of a show. 3. Demeanour. People making bootleg recordings are about the least bothersome person in a crowd. I take great pride in what I do (I dont consider it to be an art, it is not, I am not creating something artistic myself, I am merely documenting the artistic accomplishments of another and preserving them for future fans and enthusiasts) when I record I try and stand still, I don't chatter or sing through songs (although I do involuntarily continue to mouth the words, and will sing if prompted by the band, like in the third verse of Load Me Up). I don't drink at shows and I guarantee you you will never see a bootlegger in a fight at a concert, or throwing stuff at the stage or causing any kind of ruckus. The whole point is to remain inconspicuous. In addition my recording gear is built to be hidden and outside of a couple microphones about the size of a guitar pick clipped to my clothes the rest remains hidden so it isn't even blocking anyone's view. In contrast, phones are so distracting it is hard to focus on the concert. All throughout the crowd people with phones are sticking their hands in the air to block the view and holding their phone with their annoying pale glow into the air for minutes at a time, or they consistently whack you while trying to record something from behind you every time they raise their phone for a pic, a selfie or a brief :39 snippet of video. So why then with all these clearly positive differences is one form of recording so accepted across the board to not even be of the least concern and other is considered so awful that I was threatened with a proverbial talk in the principals office? It comes from a stigma that has long existed that bootlegging is a vile, evil practice that rips off artists, steals food from their families table and ruins the bands reputation. But do those things actually happen? Is there any proof that me making a recording of a show is damaging to the artist in any way? Perhaps there is an angle I am just not looking at and if so I would greatly appreciate being informed about it because I simply do not see this grotesque over the top dark side others seem to associate with this practice. Here is how I see it. While it is true that some bands have a large enough fan base that some people recording actually do sell their recordings, I am completely against this practice. I would never sell my recordings, would be greatly pissed off to discover someone else had sold one and also believe that there is such a minute portion of the fan base even interested in them that such an opportunity to sell them would not even exist because they can be found for free so easily and I'd wager most people interested in getting a copy would already be members of forums and centers of free distribution such as this one. I make not a dime from doing this, and I never will. In fact, I lose money. Copious amounts of money. My recording rig alone has cost me close to $500. As things break or wear out or just get replaced by better equipment it will continue to drain my bank account. Recording shows has not improved my situation in life financially at all, it's dampened it. There is the argument that making these recordings costs the artist money. Either because people will hear the bootleg and not buy official releases or they will hear it and think they no longer need to attend the show. I find this claim absolutely absurd. First I don't know anyone who has ever said "I own a copy of Apparitions on a live bootleg, so I think I'm good, I don't need to buy Underdogs." Bootlegs are not, nor ever will be a substitute for studio releases. As hard as I try to get a good quality recording, I will never be able to compete with a studio engineer and their very impressive equipment and invaluable experience. Bootlegs are at best a compliment to the studio recordings. When some bands put out live recordings of every show (The Who, Pearl Jam, Metallica and Red Hot Chili Peppers come to mind) bootleging completely ceases because the band is making a better quality version of the recording available for a price. I am so happy going to those bands shows because I know I don't have to take my recording gear, that awesome quality stuff will be recorded and that I can and will purchase it after the show. Frankly hauling in my gear and risking being threatened by security guards is not enjoyable and I'd gladly pay for officially recorded live recordings and leave the deck at home. I realize in Matt's case this isn't realistic, he simply doesn't have the budget to record and release every single live show, nor is there a large enough demand for it to make it financially viable, honestly maybe a dozen or so people would purchase each show and there is just no way that would be worth the efforts, as much as I would love to see it happen. As for the second part of that argument, that people don't attend shows because they have a bootleg, I just don't know where this myth comes from. Most of the fans who even want that kind of recording are going to be such diehards there is no way they forego going to a show because they have some audio recording of it. Nothing and I mean nothing compares to being there. Even professionally filmed concert dvds pale in comparison to actually being at the show. Most here on the forums have even thanked me for my recordings and told me they are holding off on listening to them until after their own shows they are attending so as not to spoil the set. One person even told me they bought tickets to a second show after hearing it because they were so excited with how good the band sounded and how interesting some of the renditions of songs were. Many of the few fans who have listened are located in the United States and one in Spain. They are not attending shows, not because they have my recording, but because geographically it is unrealistic to assume they could. They love the music so much however that they still want to experience it any way they can. As for the argument that bootleggers don't really respect or support the band, an accusation levied at me by security last night I staunchly disbelieve that as well. I know three tapers on the forums. One is attending two shows, one is attending three shows and I am attending 11 shows. In addition to those 11 shows, I am so fanatical about Matt's music and so excited to introduce others to it that I actually purchase tickets for friends to come and experience it. In total I have bought 20 tickets for this tour. I have also purchased three VIP tickets. Ticket prices seem to be averaging around $45 and VIPS $100 so I have spent over $1000 dollars solely on tickets alone to support one of my all time favourite artists. Add in some T-shirts bought and my travel costs this tour is actually costing me over $2000 dollars to attend these shows and I'm glad to spend it because I truly love the music of Matthew Good. I own everything released on vinyl and cd that were available for sale and a whack of promo albums and cd singles that were not. Hell just yesterday I bought a third copy of Last of the Ghetto Astronauts on cd because the barcode on the back is in a different location (Darktown vs EMI). Well I don't believe that spending that money entitles me to make recordings of shows I do believe it squashes the notion that I "disrespect" the artist. I literally couldn't possibly support Matt and his art more than I do and I'd imagine there'd only be a handful out there who could say they've supported him to a greater degree than I have in the years I've followed him. Last nights show was my 33rd time seeing him live in 8 years. One thing that has always bothered me about bootlegging is the continued grey area it exists in. Mixed messages are sent all around the place about it. The RIAA sues people bootlegging shows, until something gets bootlegged that they can make money off, then they purchase it from the taper for large sums. That's quite conflicting isn't it? Literally I can cite dozens of times this has happened. Led Zeppelin is one of the worlds most bootlegged bands, 299 of their 500+ shows have some sort of recording made from them. The band was definitively anti bootleg, to the point of their security physically assaulting bootleggers. Peter Grant their manager was reported to have thrown one bootlegger down a flight of stairs. A famous case occurred right here in Vancouver in 1971 when Zeppelins security smashed a machine believing it to be an audio recording device, only to find out it was a venue sanctioned project to measure noise pollution levels in the Pacific Coliseum. Recently Led Zeppelin released several reissues of their catalog. On them were additional discs with outtakes and live performances. On the Led Zeppelin I album a live show from Paris was offered. The show was originally broadcast on the radio and the tapes had long since been lost. Someone made a bootleg recording from the radio and all these years later the band offered to buy it and sold it as part of that set. Same with several tracks on the new BBC release. So a band who once assaulted people for making illicit recordings, is now buying them and packaging them with official releases. There's quite a duality at play there, is it any wonder people are confused. In fact here are Jimmy Page's own comments from a recent trial to do with bootlegging. "The legitimate part is where fans trade music, but once you start packaging it up and you do not know what you are getting, you are breaking the rules legally and morally.." So even by Jimmy's own admission he is completely fine with fans recording and trading this stuff, just not the selling of such items. Throughout history bootlegs have had an impact on several different things. The Rollings Stones release "Get Yer Ya Ya's Out" A phenomenal live album of the 1969 tour in response to the live recording bootleg being sold as "Liv'r Than You'll Ever Be" The Stones wanted to capitalize on the obvious market for a live recording and beat the bootleggers. So perhaps the best ever Stones live album was released as a response to a bootleg, without the bootleg who knows, maybe we never get to hear that album. Taking a step outside the music world. In Baseball there is a moment know as "The Shot Heard Round The World." It refers to a famous walk off game winning home run hit by the New York Giants Bobby Thompson off the Brooklyn Dodgers Ralph Branca in October 1951. The moment might be the most famous moment in sports history, certainly it is in the top five. And yet although only 30,000 some odd fans were at the game, the moment is vastly perceived in the public conscious because of a particular recording made of a radio call from Giants broadcaster Russ Hodges broadcasting for WMCA radio in New York. However this recording is not remembered because WMCA shared it, in fact they didn't even record it. It would be lost to history if it wasn't for a young man named Lawrence Goldberg who asked his mom to make an illegal recording of the ninth inning while he was at work. If Lawrence had paused for a second and thought "wait, I don't have the expressed written consent from Major League Baseball, I shouldn't record this." Then that tremendous moment of euphoria, that has come to define the excitement of the game of baseball, that is used on every playoff baseball broadcast promo to this day would have been simply lost. That recording is so popular that it helped spark interest for lifelong autograph signings by both Thompson and Branca and has even featured prominently in a Billy Crystal movie (Parental Guidance) where that recording is actually a plot point where Crystal decides to become an announcer in the movie solely because he heard that recording. In fact, go on youtube and you'll find kids, born 50 years after that pivotal radio call reciting it word for word like it's the Gettysburg Address. None of that exists without a bootleg recording. Even in the past Matt has asked to be sent bootlegs, briefly had a small section of his official site where people talked about bootlegs and when Vancouver was streamed prior to it's release, the feed in addition to Vancouver featured outtakes and a live bootleg recording. Even the VIP specifically states you are welcome to bring in audio and video recording devices. To me the making and sharing of such material is the truest definition that as a musician you are truly loved. Some people go to shows to dance, some to sing, some just to get drunk. Fans that care to listen to bootleg recordings are usually some of the best most dedicated fans a band could have. I am so grateful for those who recorded shows before me. For instance I genuinely feel I am better off having heard the third verse in Suburbia, that totally different version of Strange Days from 2002 and the slowed down version of X-rated. Even hearing some of Matt's in show comments are things I'm glad I've heard because it makes me feel as though I better understand his thoughts and position as an artist. It gives me a different appreciation to see things from the other side, but many of these would be unheard by most of us without the bootlegs. In conclusion, I feel creating these recordings is one of the only altruistic things I do. I actually believe I am doing something good for people when I do it. It is a hassle to accomplish. I carry in equipment, that I have to maintain and buy batteries for. I spend time editing and posting them. I even have to sweat through shows because I wear a jacket and a toque to try and conceal my setup. But I do it because I appreciate so much the shows I have heard that others have shared. I have been thanked profusely for doing it as well. In 2011 I saw Matt perform the song Hornets twice live. I love that song and I kicked myself repeatedly for not recording those shows. Not because I need to relive it, I have the memory, but for those who will never get to hear that song, I feel I've let them down. I feel the fanbase is definitively worse off by not getting to hear that awesome unreleased song. In an ideal world I would love to be given permission to record, hell I'd even pay for the right to do it, but I suspect that kind of thing won't happen, so I'll continue to have to play the outlaw role and be threatened and accused of disrespecting the artist simply because I love them so much I want to share that magic with others who feel the same. After the show last night despite the security guards comments that I was disrespecting the band, four things happened that made me feel quite the opposite. Peter Fuseo specifically singled me out while Matt thanked the audience and smiled and nodded. Blake Manning walked over and tossed a drumstick right too me. Two long time diehard fans, who Matt knows on a first name basis and has singled out in the crowd during shows in the past walked up to introduce themselves and ask with great enthusiasm where they could find my recordings and a lady who had been standing at the other end of the venue and I'd never met before, walked over and specifically said "I'm so glad you got that drumstick, you deserved it, you knew the words to every song, even the brand new one." Despite the security guards assertion it was nice to know some people saw it a different way. If my recordings genuinely are seen as something disrespectful to anyone I would genuinely be interested in hearing about your opinions because as it stands I legitimately fail to see the harm in what I am doing.

In my opinion this was the best show of the six so far on the tour. Everything seemed to click and the band was awesome. Matt seemed genuinely appreciative towards both the crowd and the venue. All three shows were fantastic at the Commodore, but this one stood just a little above the rest. Advertising on Police Cars made it's debut as well which is always a bonus. Decades continues to impress me and I can't wait to hear the rest of that album whenever it may come out. Unfortunately I won't be at the Kelowna show tomorrow night, but I'll be back following the band starting in Red Deer.

Hey Matt, I'll admit I was one of the guys who had hoped to hear the original rendition of Suburbia. That song meant a great deal to me and it takes me to a certain place. With that being said I would not endeavour to complain about how you are playing it now. Art evolves, it's what it does. I appreciated your comment in Nanaimo the other night about not being itunes and holding the conch. I think thats about as important a statement on artistic direction as I can come up with. As the artist you should forever hold that conch in regards to your own music. I'm glad you've fought to maintain possession of it. Like you pointed out songs have always been approached from varying perspectives live. Suburbia is a perfect example, hell in the MGB days it had an extra verse! (two actually that were interchanged) My favourite band is Led Zeppelin, they sure didn't play their albums note for note, Dazed and Confused stretch to nearly 45 minutes by 1975. So I can definitely appreciate a different take on something familiar. I hold your music in such high regard that a change is scary, because if you consider something at or near perfection, pessimistic nature makes you assume a change is for the worse. I think comments are made reactionary. Most people online here or social media haven't seen the show yet, they should at least give you and the band the chance to make the statement in person at a show before judging on it. Thats just my opinion. I've seen the first five shows on this tour and really enjoyed them. I realized when I bought tickets to 11 shows the setlist was going to have minimal changes, that new versions of songs might be played. I accepted that and optimistically looked forward to how this would all play out live. Tonight at the soundcheck you played Advertising on Police Cars, which I love and I was excited because I haven't heard it on the tour yet, and I thanked you for it. But if you had played Apparitions instead, or anything else it would have been alright by me. I hope alot of the complaints you're coming across aren't putting a damper on how much people actually are appreciating this tour, I've heard nothing but good things from the people who have seen the show so far. Also, sorry to hear about your wife, that is I imagine a sobering ordeal and I am glad to hear things have gone at least as good as they could under the circumstances.

Anton. There is seating at tables around the venue and with great sightlines too. Just gotta get there at 8 when doors open because they are popular and fill fast. I feel your pain being sick at a show sucks. But the band sounds amazing on this tour I think you'll regret missing it

Tony is right crowd was definitely more rowdy than the night before. In addition to what he mentioned there were two full on fights near me where security had to come drag idiots out. Despite all that I do adore the Commodore as a venue there is such an energy to the MG shows there. I was originally against the revisions being played live, but ive been enjoying them more with each show. Setlist have continued to rotate either the single spark version or the decades version. Wondering if police cars might make an appearance tonight. Vip on Thursday: Load Me Up Apparitions Running For Home I have a recording ill be posting when I post the show from that night. Oh and Tony I agree with the beanie being based off BC lions obviously the colour scheme but the layout of the MG and the cats head are the same as the Lions logo

Yup love the venue but the floor is a damn mess by nights end. What it took them three days to do at Woodstock the crowd at the Commodore can do in three hours.

I'm thinking Decades will be a single from that album. It definitely has that radio friendly quality. I'm very much digging the song.

The show in Nanaimo was excellent tonight. Same setlist as the opener in Victoria. The crowd was again pretty reserved, basically standing for the encore only. There were also some pretty blatant requests all night long for Symbolistic White Walls which Matt addressed and said that song obviously isn't on Beautiful Midnight and the band doesn't know it. Then he made a pretty hilarious reference to the fact that as a musician basically the setlist is not democratized, he still holds the conch. It might just have been where I was sitting, but man was the sound and mix ever good tonight. Everything was in a beautiful balance and it really took the show to another level. I was in front of Stu so I got the chance to watch him closely and he does so many interesting guitar bits that I think get sorely overlooked. During the chorus of A Boy and His Machine Gun he does this little lick that is both hypnotic and rocking which fits the tone of that song so well. Matt's voice sounded solid again tonight too, I get absolute chills listening to him sing the chorus to Going All The Way Also he actually sang Let's Get in On full on in the crowd, sitting in a seat in the second row which was empty before getting up and standing there to sing the rest. He said he did he cause he wanted to see the light show from the crowd perspective. Pretty awesome wrap to his mini tour of Vancouver Island. Now off to Vancouver and the Commodore Ballroom. Won't be too many people sitting there, unless they fancy sitting in two inches of spilled beer and empty cups.

Here is the wording on the VIP PDF that was emailed The use of personal camera / recording devices will be permitted in the pre-show VIP event, with no flash. Please note that there will not be individual photo opportunities with Matthew outside of the VIP Package group photo *Just realized Born to Kill isn't actually on the list. Every other BM track is though

I assume the NF members are in the minority. It seems like at most shows there is only 1-5 members of NF, where as the Vancouver shows last year probably had 30 people there for the VIP. With going to as many shows as I am I'm assuming I'll hear all of these, Advertising is the only song on the list I haven't heard. Tough to say how people will vote, I guess it depends on the fans going, Matt might wind up playing Time Bomb at every VIP haha. I think I'm voting Running for Home, what the hell. I love the song, and even though I'll hear it 11 times on this trek, why not try and make it 12 or 13. For people attending just one show though I could see the rationale behind voting Police Cars, Decades or A Single Spark as it seems like those will be the ones rotated, I can't see Born Losers and Apparitions not getting played at every show. The VIP specifically states you can bring in audio recordings so I'm guessing we can get some decent recordings in their Gursky, the room will be quiet and we don't have to go stealth.

Yes, these were posted by Gursky in the Lounge before X-Mas. I'm helping seed at the moment, hope on, they're fantastic dvd's that utilize Gursky's awesome audience recordings to provide a real enjoyable viewing experience. Alternatively they are on youtube as well.

Got my email for my vote on the soundcheck song. Basically they offer you the list of songs typically being played at the show. All of Beautiful Midnight plus Born Losers, Apparitions, Decades, Single Explosion and Advertising on Police Cars. Weapon is the only song he's played so far not being offered.

Campbell River mini review: The show obviously had the same main set. The encore was: Apparitions A Single Explosion Born Losers Weapon Thanks to Matt for the insight on the sound. It was night and day tonight. The sound in the Tidemark theater is excellent and everything was coming through as such. Matt's vocals were much clearer and with the sound being less muddy Going All The Way made a huge impression. It's hard to believe that song has gotten so little attention live until now. Matt's just nailed the vocal delivery. Matt's vocals were on point all night and songs like Suburbia that were hard to discern in Victoria packed a great punch in Campbell River. Matt seemed in a pretty good mood at the show and it came across in the performance. As expected Victoria had some opening show jitters, and Campbell River was a more solid performance with less of the opening night hiccups. On a side note about the venue. It is quite a nice theater for a town the size of Campbell River, but the staff there are intense. I was trying to smuggle in a video camera and tripod to get some footage for you guys around the world who won't get to see the tour, but got busted at the door. Which I understand, it's contraband I'm not supposed to be trying to bring that stuff in. But the security was actually running through the crowd all night insisting people stop taking photos with their phones. I've honestly never seen that at a show. Every time some one took out their phone security swarmed. Anyways really enjoyed the show tonight and I'm really digging this band. Again I must reiterate just how much these four can accomplish on stage. The sound is so full and yet has a nice separation. Their ability to tackle songs with layered guitars and not sound thin is very impressive. By the way, Matt you nailed that final chorus to Running For Home tonight, nicely done! 2 shows down, 9 to go.

I wanted to add that although I was adamant they needed a piano, I am now convinced that they are fine without it. Strange Days sounds absolutely amazing full band like this. Running for Home was different, but still good. I think Matt forgot the lyrics in the final chorus though, he seemed to stumble on them a bit, although he covered it nicely, it's possible he meant to finish it the way he did, but it didn't seem as smooth or as confidently delivered if he had meant to do. Matt said he wished they put the version of Going All The Way on the EP, but I thought the version of Running For Home was so totally different in its approach that it definitely should have been on the EP. For those asking the new song was definitely not Bad Guys Win. Possible names could be "Way it Goes" or "Sign of Something" both of which are repeated twice in the chorus. One thing that could be interesting is that about half of the new album was just recorded with this band, so they all know them already, meaning they could potentially cycle through all of those half dozen or so new songs on different nights.

Yes, vocals were completely drown on floor too. They improved as the show went up but up until about 2/3rd's of the way through beautiful midnight there were parts where they were completely indiscernible. I noticed it most on Let's Get it on and Suburbia though. I too enjoyed the show quite a bit despite the acoustics. Stu is a sensational guitar player. I won't spoil anything here for anyone, but if you don't have a ticket, go get one. You're not going to regret it.

Agreed I really cant imagine it being Dave, I dont see the two of them reconciling, but if they did certainly he'd be playing the guitar and not bass. It's just somebody new, I'm excited to see what he can bring to the table Also yes the piano could just be there, it does look as though it is behind the lighting rig and I'm assuming keyboards would be used as opposed to an upright, still I'm holding out hope for some live keys instead of just a prerecorded tape.

Picture on Matt's insta shows a bass player rehearsing in Victoria any I'd him? Also looks like a piano on stage

Received VIP instructions today for the Vancouver shows. There is no mention in them of the song vote for the soundcheck I am assuming this will come shortly

Songs are always cut off. But the Avalanche songs are and still were played to some degree, During the WLRRR tour songs like Avalanche, Weapon, Catastrophe, Bright End of Nowhere and 21st Century living were still played. Yes by the time the Hospital Music electric tour it had been reduced to Weapon and the occasional Avalanche, but that was five full years later. Also Avalanche songs continue to be played at the majority of the shows to this day Usually just Weapon, but Rabbits was played at many shows between 2011 and 2013. Avalanche deep cuts were relegated to the sidelines because WLRRR is the only Matt album to ever follow another in the next year. Usually you have a two year gap. My point with Arrows is, by the time the tour came for the album following it zero songs from it were played at any point. Avalanche was still seeing 2-3 songs played from it for years afterwards.

I think the Arrows stuff got pushed aside quicker than material from other albums from Matt's solo career. Typically he does a tour where he plays the majority of not all of the album, then on the next tour he focuses more on the new album but still retains 1-3 songs from the album before in the sets. On the Hospital Music full band tour Put out Your Lights and Blue Skies were played frequently. On the Vancouver tour Blue Skies, It's Been Awhile and Alert were still played occasionally, and about half a dozen Hospital Music songs were filtered in and out, with some being mainstays. On the Lights Tour Alert and it's been awhile are still played sometimes, Hospital Music is represented by Born Losers at every show and the occasional Champions and Vancouver is reduced to Last Parade and Boy Who Could Explode at half the shows while Silent Army and Great Whales are played a few times On Arrows Tour Alert is now the only thing being played from WLRRR, A handful of Hospital Music songs are played, Born Losers is played every night and Champions is played as a rarity. Last Parade is now the only thing from Vancouver being played. Shallows Low and Non Populus are played at the majority of shows. Chaotic Tour (this tour also had the VIP songs, so a few rarities that wouldn't have probably been played, did get played) From WLRRR Empty Road, Alert and Blue Skies are played from Hospital Music Born Losers, A single Explosion, Metal Airplanes and True Love. From Vancouver nothing is played. From Lights only How It Goes is played and only at the VIPs. From Arrows nothing is played. So as you can see, Arrows is the only album to have none of it's tracks played on the following tour. And it stands out even more because the VIP shows gave additional opportunities for them to be played that weren't there on previous tours. Matt did tend to play alot of Chaotic Neutral songs in one show. For instance the tour opener in Victoria had 10 of Chaotic's 11 songs played. So naturally with a set like that and you throw in the songs that get played at basically every show like Born Losers, Apparitions, Load me Up and Weapon and you have your 14 song set which is average for a MG show. So I think the lack of Arrows songs could have less to do with Matt's feelings towards that album, and more to do with his feelings towards Chaotic Neutral. He gave a major precedence to Chaotic songs while Vancouver, Lights and Arrows were all not played at all.

I just cant see that happening big finale and its a tape. Maybe one of the other members could play piano for just that song