![]() Next came the one-two punch of the band’s most popular radio hits. The song resurrected memories of teenaged obsession and angst, with tailor-made mixtape lyrics like “This is for when you feel happy, and this is for when you feel sad, and this is for when you feel nothing.” Ash’s 12-string arpeggios rang through the subdued “An American Dream.” Haskins played emotive orchestral strings on his synthesizer before shifting to a wall-shaking drumbeat. J lead the Riviera audience choir through the romantic opening movement of “Haunted When the Minutes Drag.” Ash played sparkling 12-string acoustic guitar figures while J supported with rubbery fretless bass lines. ![]() Following his vocal, Ash played a squalling noise-rock solo on guitar. “Judgement Day” juxtaposed watery rhythm guitar and fuzzed-out psychedelia. Read our Cover Story with Love and Rockets Haskins’ rolling tom-toms thundered through “The Dog-end of a Day Gone By” as guitarist Daniel Ash and bassist David J joined voices in unison for a relaxed melody. ![]() Naturally, all three players kept their sunglasses on for the duration of the set.Īsh and J both played basses for the opening song “I Feel Speed.” Haskins hammered a clanging krautrock pulse to drive his bandmates’ twisted 12-bar blues during “No Big Deal.” J shouted, “All aboard!” as Ash switched to guitar for a grinding riff while hurtling through “Kundalini Express.” The crowd sang along eagerly, filling the room with a giddy “woo woo” train whistle call. Drummer Kevin Haskins dressed for work on his lofty riser in a plain black work shirt and black pants. Bassist David J was bedecked in a three-piece red velvet suit and golden boots. They were no less adventurous and thrilling.ĭaniel Ash was dressed for his role as a guitar hero, appearing with spiked hair, a black suit jacket with white polka dots, strappy black pants, and boots. Goth undertones and overtones throughout the set were only natural since the players helped define the form, but Love and Rockets generally proved to be more upbeat, celebratory, accessible, and inclusive than their broody, spooky, and gloomy former personae. The set list touched on everything from 1985 debut Seventh Dream of Teenage Heaven to 1998’s Lift, with the exception of the band’s experimental electronic album Hot Trip to Heaven. The band’s first visit to Chicago since appearing at Lollapalooza in 2008 has been timed to celebrate the reissue campaign of Love and Rockets’ catalog. Attendees got in on the act, with many dressing to the nines for a vibrant evening of psychedelic pop, glam, and occasionally gothic alt-rock. Some may have regretted having to choose between Love and Rockets or dark rockers the Sisters of Mercy performing across town at the Salt Shed, but locals snatched tickets and packed Tuesday night’s performance at the Riv. Such fans were thrilled when the trio announced a monthlong tour in the wake of last month’s Cruel World festival in California. Chances are, though, a large percentage of those Bauhaus devotees were also fond of Murphy’s three bandmembers who comprise Love and Rockets. Photos by Curt Baran.įew would have begrudged the reason, but many festival ticketholders were crestfallen when singer Peter Murphy stepped away for rehabilitation treatment and pulled the plug on Bauhaus’ summer tour soon before last year’s scheduled date at Douglass Park.
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