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PostPosted: Wed May 10, 2017 8:27 am 
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Just because I haven't started a thread in a very long time, and I went, and so did Dr Dark because we aren't mythological creatures after all.

Very good show, very enthusiastic audience. I was just comparing Polly's vocals on TBML tonight with past performances, and it's amazing that she can still do it as amazingly as ever. As good as 22 years ago when I first saw her.

Videos to follow I'm sure, but I didn't see the massive swarm of cell phones waving around that I've seen in the past. Kind of nice really. :)

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PostPosted: Wed May 10, 2017 11:45 am 
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PostPosted: Wed May 10, 2017 3:17 pm 
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Excellent show. 50 Foot Queenie and TBYML were of course the highlights. I was hoping for To Talk To You and something from ITD, but they did that setlist the previous show in Portland.

John Parish was missing, Alain filled in for him. During the band introduction Polly said John "had to go home". See Tyler King's video for TBYML above.

Snagged a 7" single at the merch table, so they're still available.

http://www.mercurynews.com/2017/05/10/review-pj-harvey-plays-sax-covers-dylan-and-wows-san-francisco/

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PostPosted: Wed May 10, 2017 10:50 pm 
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DrDark wrote:
... John Parish was missing, Alain filled in for him. <...>

Who played the snare drum on "Orange Monkey" then? As I gathered from the "Chain of Keys" clip, Alain wasn't playing it (I guess "Medicinals" was played without front double drumming, too). And the red drum on "A Line in the Sand"?

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PostPosted: Wed May 10, 2017 11:02 pm 
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Kuk91 wrote:
Who played the snare drum on "Orange Monkey" then? As I gathered from the "Chain of Keys" clip, Alain wasn't playing it (I guess "Medicinals" was played without front double drumming, too). And the red drum on "A Line in the Sand"?


According to setlist.fm "The Orange Monkey" was not performed.


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PostPosted: Wed May 10, 2017 11:58 pm 
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^ The Italian sax player did some drumming (or keyboards?) I think.

I'm pretty sure setlist.fm is correct:

1. Chain of Keys
2. The Ministry of Defence
3. The Community of Hope
4. A Line in the Sand
5. Let England Shake
6. The Words That Maketh Murder
7. The Glorious Land
8. Medicinals
9. When Under Ether
10. Dollar, Dollar
11. The Devil
12. The Wheel
13. The Ministry of Social Affairs
14. 50ft Queenie
15. Down by the Water
16. To Bring You My Love
17. River Anacostia
---
18. Highway 61 Revisited
19. The Last Living Rose

I'll see I can decipher my notes and corroborate that, but it appears to be correct from what I remember.

Edit: I need to add kudos to the sound engineering. I've been to many muddy, boomy sounding gigs, but for as complicated a setup as I've ever seen (10 players!), everything sounded great, including Polly's voice. The mixing was perfect. The venue was remodeled recently, that probably helped also.

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PostPosted: Thu May 11, 2017 5:23 am 
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http://www.sfweekly.com/music/allshookdown/live-review-pj-harvey-at-the-masonic/

LOL! Well from my seat, balcony section 5, row 2, I thought the sound was terrific. It must've been less so from the reviewer's position (who also seemed a bit naive about Polly's lack "communication" with the audience). At the Polly shows I've gone to, people are simply too spellbound to do much dancing and apart from the anomalous (solo) White Chalk era, she's never really felt the need for much stage banter.

As for the "unsettling, imperialist orgy of a stained glass window in the lobby", I think that was also indicative of some naivete since the building was after all a really big Masonic auditorium designed in the late 50's. I think you'd have to view a lot of history through a very narrow lens to consider it imperialistic: https://www.flickr.com/photos/wallyg/3933478757 Perhaps it was the uneasiness with the Masonic imagery that started things on a downward trajectory for the reviewer. Now donning flame proof clothing...

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PostPosted: Fri May 12, 2017 12:59 am 
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http://www.sfexaminer.com/pj-harvey-brings-new-global-vision-masonic/

(warning, turn the sound down due to video ads playing)


PJ Harvey delivered a rousing show Tuesday night at the Masonic, drawing heavily on her latest two albums, which mine the somber state of our current global politics.

These albums, “Let England Shake” (2011), and last year’s “The Hope Six Demolition Project,” investigate the dark mix of history, violence, poverty and state power on a global scale. The songs are beautiful, arresting and uncomfortable, at turns. Played live Tuesday, they took on great urgency and ferocity, shedding some of the inertness that mutes their power on the recordings.

Harvey in recent years has traveled to the troubled lands of Kosovo, Afghanistan and inner-city Washington D.C. to inform her songwriting. The result is a sort of a sonic journalism of hope and despair on a global scale, and a departure from her earlier work, which tended to be more mystical and spiritual, offering connections to other worlds, ethereal realities.

On Tuesday, she offered a few morsels to fans eager to hear her hits from the mid-1990s, when she emerged as one of the leading artists of the alternative rock-punk scene. When she played “50ft Queenie,” “Down by the Water” and “To Bring You My Love,” the sold-out crowd at the Masonic exploded, grateful for the rawer, more emotional songs they knew by heart from years of overplaying them.

On this tour, and on the new albums, Harvey trades her guitar for a saxophone. On Tuesday, she was backed by an excellent eight-member band, most notably celebrated jazz and rock saxophonist Terry Edwards. Her longtime collaborator John Parish was absent, having to leave the tour to return to England. The weight of the brass instruments gives the music a deep propulsion, grounded and driving.

To close her set, Harvey sung “River Anacostia” from her latest album, a mournful homage to the polluted river that flows into Washington D.C. She weaves the tales of the toxic river around the chorus from the traditional African-American spiritual “Wade in the Water,” a biblical hymn about escape and deliverance. In the song, Harvey asks repeatedly, “What will become of us?”

It’s a fair question. Rock stars get older and evolve, along with — or away from — their fans. This is not a new predicament.

Harvey’s move towards the world, to wade into its sorrow and use her art to pull apart the nastiness and thorniness of our modern world can be dazzling and laudable, even at the expense of her music remaining earthbound.

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PostPosted: Fri May 12, 2017 1:05 am 
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"At the Polly shows I've gone to, people are simply too spellbound to do much dancing and apart from the anomalous (solo) White Chalk era, she's never really felt the need for much stage banter".

Correct, she occasionally has a chat to the audience or a particular person. But she isn't the talkative type on stage. Except the solo WE tour when she felt I can't keep quiet while on my own. With her personality, it would be difficult enough to perform live, let alone have an ad lib discussion.

It looks like she is not a huge fan, which is fine, can give a different perspective. The show in Brisbane was similar, there was not going to be a mosh pit like she had in the ROM era. The times has changed.


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PostPosted: Fri May 12, 2017 2:41 pm 
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http://www.thegardenforum.org/viewtopic.php?p=26379#p26379

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PostPosted: Tue May 16, 2017 5:41 am 
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http://www.gettyimages.com/photos/pj-harvey?excludenudity=false&family=editorial&events=700046886&page=1&phrase=%22pj%20harvey%22&sort=best

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PostPosted: Wed May 17, 2017 4:51 pm 
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Looks like they got the entire gig (in HD):

Spoiler! :







































Now if someone would edit these into one video and sync the dime flacs up to them and put an authored DVD up on dime, THAT would be excellent. :shades:

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