| James Iha's first solo show |
| March 31, 1998, 11:00 pm |
Source: Daily Herald Iha's solo act awkward, but songs are a smash; [Fox Valley,Lake Edition] Mark Guarino Daily Herald Music Critic. Daily Herald. Arlington Heights, Ill.: Apr 1, 1998. pg. 15 Abstract (Document Summary) At first glance, James Iha's first solo show late Monday night had the ominous markings of his day job band, Smashing Pumpkins. Stoic, glum and draped in black, Iha and his band didn't have much to say outside the songs, which gently rambled instead of rocked, reaching pretty peaks instead of explosive heights. The obligatory nod to infinite sadness was the only Pumpkin-like admission in a night that felt more like a love-in than a bombastic rock show. Near midnight at the Top Note, a tiny, rarely used rehearsal and recording loft above the Metro in Chicago, Iha played to about 100 ticket holders who politely sat around the tie-dye draped stage and whose eyes could easily meet Iha's own, something a member of an arena rock band rarely experiences anymore. Full Text (405 words) Copyright Paddock Publications Apr 1, 1998 At first glance, James Iha's first solo show late Monday night had the ominous markings of his day job band, Smashing Pumpkins. Stoic, glum and draped in black, Iha and his band didn't have much to say outside the songs, which gently rambled instead of rocked, reaching pretty peaks instead of explosive heights. "You'll have to excuse my ballads - I write many and they're all sad," he admitted. The obligatory nod to infinite sadness was the only Pumpkin-like admission in a night that felt more like a love-in than a bombastic rock show. Near midnight at the Top Note, a tiny, rarely used rehearsal and recording loft above the Metro in Chicago, Iha played to about 100 ticket holders who politely sat around the tie-dye draped stage and whose eyes could easily meet Iha's own, something a member of an arena rock band rarely experiences anymore. The difference was noticeable. "I haven't been in an intimate setting like this for a while," he said almost apologetically. It showed. Iha was noticeably awkward, uncomfortable and shy, but luckily his songs were not. In fact, the close-knit setting and warm, spring night were perfect bookends for showcasing songs from Iha's album of idyllic romance, "Let It Come Down" (Virgin). Warm and lush, songs such as the dreamy "No One's Gonna Hurt You" and the Byrds-like "Beauty" flourished in the full band setting. The band - drummer Matt Walker, bassist Solomon Snyder, keyboardist John Ginty and guitarist Neal Casal - all underplayed the quiet tone of Iha's songs. The full band commitment was welcome and recalled the mellow '70s sound of the Eagles or the Allman Brothers, whose "Melissa" was revisited with Casal taking his sweet time for a relaxed and tuneful solo. The only detraction from the 60-minute show was Iha, who visibly struggled as a band leader, perhaps the result of playing too many football stadiums as a sideman, where those in the audience are more stick figures than live human beings. While side projects like this allow fans to hear a different side of the band they love, perhaps it also will encourage musicians to return to the clubs - where song writing is not only appreciated, it blooms. With songs that breathe as well as these, how could it not? Indeed, Iha's song, "Sound of Love," set the night's tone early on as he sang "the sound of love is oceans far away." Credit: Mark Guarino |