A Rare Performance by Tom Waits
A Review of the Knoxville, TN Stop of the 'Glitter & Doom' Tour
Legendary singer-songwriter, actor, poet, and all-around performer Tom Waits is currently traveling the US for his "Glitter and Doom" tour. The tour has only 13 stops, and according to a staged video press release by Waits himself, follows the pattern of the constellation Eradmus.
Tom Waits Visits Knoxville
Waits didn't just perform in Knoxville, but did a bit of shopping as well. Representatives of several retail establishments in downtown Knoxville reported that Waits stopped by before the show. Outside the auditorium prior to the show, attendees of the show milled about the entrance, finishing off any food and beverages, as none were allowed inside. Tom Waits' fans are about as diverse as his music, ranging from punk rockers to middle-aged "adult alternative" types.
Although the tickets stated 8:00 pm as the start time, the show didn't get underway until nine. There were no opening acts. Launching the show with Lucinda from his recent box set compilation "Orphans: Brawlers, Bawlers & Bastards," Waits veered his way through several standards, some newer songs and a few lesser-known tracks.
Waits Delivers a Unique Performance
Performing center stage, Waits was illuminated by a spotlight, which he employed at one point in the show by putting on a derby hat covered with reflective material and spinning in circles, producing an effect akin to a disco ball. Behind him was a contraption comprised of bullhorns and megaphones pointed in all directions, the perfect stage setup for the aura of Waits and his music.
He was surrounded by several talented musicians including his son Casey on drums. Additional backing instruments included sax, clarinet, piano/organ, banjo, upright bass and guitar. Waits also picked up a guitar for a couple of songs, employed a foot-operated bell, and even brought out a megaphone for one song, barking through it like a mad carnie.
For most of the set list, he remained center stage, crooning and growling his way through several of his more high-energy songs, often stomping his foot to the beat, causing clouds of dust to rise up from the dais. About halfway through the set, he retired to a piano to perform a set of piano-driven "bawlers" including Johnsburg, Illinois and Hang Down Your Head.
Tom Waits Does Things His Own Way
While seated, he conceded to cries from the audience to tell a story. The "stories" were more like rambling musings including one on buzzards that had obviously been on his mind for some time, as well as stories of his experience working the graveyard shift and the origin of the term. The audience became boisterous at times, with members declaring their affection and yelling out song requests. Most of the requests were ignored. After several individuals exuded requests for I Don't Want to Grow Up from "Bone Machine," he simply responded "Neither do I. And I don't plan on it either."
Returning to the stage, he broke into the spoken-word What's he Building in There from "Mule Variations," Illuminated by only a single bare light bulb hanging precariously over his head that flickered out intermittently, adding to the eerie atmosphere.
After performing Rain Dogs, Waits and his band left the stage, returning after a bout of thunderous applause for a three-set encore that included a moving rendition of Come on up to the House from "Mule Variations" and the closer Innocent When You Dream from "Frank's Wild Years." The lights remained off for a good five minutes after the last song, leaving the crowd hopeful for a second encore which, alas, was not to happen.
All in all, Waits and his band delivered a passionate, emotive and often amusing performance. For being nearly 60 years old, Waits performed with an impressive amount of energy. The hefty ticket price ($75+), although a bit gratuitous, was worth it in the end. Being a legend, after all, has its perks.
