Audioslave Setlist 04-24-05 Cleveland Agora Theater
The Bob Marley was turned low, and then off. Tim Commerford, Brad Wilk, and Tom Morello emerged from stage right. Commerford was business-like, going straight to his post at stage right. Wilk climbed atop the riser and sat behind the kit, giving a tentative kick to the bass drum. Morello engaged the crowd, smiling at the crowd reaction and raising one arm while gripping his Soul Power Fender Stratocaster with the other. The lights had not been dimmed very much. The applause was incessant. There was a pause. Where was Chris Cornell? Ah – the anticipation mounted. After perhaps five seconds, he strolled out in long-sleeved shirt and cargo pants, his arm raised in a salute to the audience, his piercing blue eyes scanning the crowd. He approached center stage, removing the wireless microphone from its stand. The band started to play. It was time to ‘set this fucker off.’
Throughout the show, I was struck by the effortless way in which Cornell could sing such vocally challenging songs and how nonchalant he appeared to be, several times singing with his one hand in the pocket of his cargo pants. Thom remarked after the concert that in his Soundgarden days, Chris had often been in his own world on stage. That was the case this night at least to a limited degree. One could see his mind was turned inward for much of the show.
The primary factor that limited the total impact of this intense show was the fact that Chris Cornell’s vocals were so very low in the mix that they were utterly drowned out many times by the powerful band behind him. Cornell seemed unaware of this; wearing earpieces in each ear that were likely vocal monitors, he was probably oblivious to the problem. However, the vocals that soared above the cacophony that often developed to his back were, it must be said, much better than the entire first Audioslave album. His voice retained all of the clarity and strength audible on Soundgarden albums that I’ve grown used to, unlike the vocals on Audioslave’s album, which apparently due to the production, made Cornell’s voice seem ragged and weak in many places.
“Your Time Has Come” (alternately referred to as “Your Time Will Come” in advertisements I’ve seen subsequently) was the first new song of the set, and was introduced as such by Chris. It is difficult to judge new songs when they’re played for the first time in a concert setting, so I will reserve judgment. I will say that although the new songs they played that night sounded different from those on the first album, they were not incongruous with the rest of their material; they seemed to fit in well. With any good band, different albums show forward progress and not stagnation, and Audioslave certainly seem to be moving ahead.
“Spoonman” was the first nod to the members’ previous work in other bands, and it received a tremendous ovation at its conclusion. All four men in the band had a turn in the spotlight during this number. Commerford proved himself more than competent on the bass solo and backing vocals. Wilk had a nice roll on the drums, and Morello showed his remarkable versatility with the solo on his sunburst Gibson Les Paul. The Soundgarden songs that Audioslave played were played in what seemed to be a cautious manner and perhaps with just a bit of hesitation. This may improve with more shows under their belts. Chris Cornell seemed like he was genuinely moved by the crowd’s reaction, looking out at specific members of the crowd and nodding his appreciation.
Tom Morello was by far the most animated of the four for the entire show, jumping on monitors and off again, striking poses, and inciting the crowd. At no point was this more visible than during the Rage Against the Machine songs. After playing the first single from Out of Exile, the band paused. Cornell announced that behind him stood the greatest rock band in the country, and then walked off the stage. The first strains of “Bulls on Parade” wafted out toward us, and the crowd went nuts. We in the front row were thrust forward toward the barricade. I remember thinking with disappointment that Cornell wasn’t going to attempt to sing the RATM songs, but I was enjoying the raw power of the instrumental version too much to care a great deal.
Then Cornell returned – walking back to the microphone as “Sleep Now in the Fire” began. This song provoked more movement from Cornell than most others; he displayed his rhythm by rocking back and forth from one leg to the other as Wilk played at a martial tempo, reciting these great lines –
“For it's the end of history
Throughout the show, I was struck by the effortless way in which Cornell could sing such vocally challenging songs and how nonchalant he appeared to be, several times singing with his one hand in the pocket of his cargo pants. Thom remarked after the concert that in his Soundgarden days, Chris had often been in his own world on stage. That was the case this night at least to a limited degree. One could see his mind was turned inward for much of the show.
The primary factor that limited the total impact of this intense show was the fact that Chris Cornell’s vocals were so very low in the mix that they were utterly drowned out many times by the powerful band behind him. Cornell seemed unaware of this; wearing earpieces in each ear that were likely vocal monitors, he was probably oblivious to the problem. However, the vocals that soared above the cacophony that often developed to his back were, it must be said, much better than the entire first Audioslave album. His voice retained all of the clarity and strength audible on Soundgarden albums that I’ve grown used to, unlike the vocals on Audioslave’s album, which apparently due to the production, made Cornell’s voice seem ragged and weak in many places.
“Your Time Has Come” (alternately referred to as “Your Time Will Come” in advertisements I’ve seen subsequently) was the first new song of the set, and was introduced as such by Chris. It is difficult to judge new songs when they’re played for the first time in a concert setting, so I will reserve judgment. I will say that although the new songs they played that night sounded different from those on the first album, they were not incongruous with the rest of their material; they seemed to fit in well. With any good band, different albums show forward progress and not stagnation, and Audioslave certainly seem to be moving ahead.
“Spoonman” was the first nod to the members’ previous work in other bands, and it received a tremendous ovation at its conclusion. All four men in the band had a turn in the spotlight during this number. Commerford proved himself more than competent on the bass solo and backing vocals. Wilk had a nice roll on the drums, and Morello showed his remarkable versatility with the solo on his sunburst Gibson Les Paul. The Soundgarden songs that Audioslave played were played in what seemed to be a cautious manner and perhaps with just a bit of hesitation. This may improve with more shows under their belts. Chris Cornell seemed like he was genuinely moved by the crowd’s reaction, looking out at specific members of the crowd and nodding his appreciation.
Tom Morello was by far the most animated of the four for the entire show, jumping on monitors and off again, striking poses, and inciting the crowd. At no point was this more visible than during the Rage Against the Machine songs. After playing the first single from Out of Exile, the band paused. Cornell announced that behind him stood the greatest rock band in the country, and then walked off the stage. The first strains of “Bulls on Parade” wafted out toward us, and the crowd went nuts. We in the front row were thrust forward toward the barricade. I remember thinking with disappointment that Cornell wasn’t going to attempt to sing the RATM songs, but I was enjoying the raw power of the instrumental version too much to care a great deal.
Then Cornell returned – walking back to the microphone as “Sleep Now in the Fire” began. This song provoked more movement from Cornell than most others; he displayed his rhythm by rocking back and forth from one leg to the other as Wilk played at a martial tempo, reciting these great lines –
“For it's the end of history
It's caged and frozen still
There is no other pill to take
So swallow the one
That made you ill
The Nina, The Pinta, The Santa Maria
The noose and the rapist
The fields’ overseer
The agents of orange
The priests of Hiroshima
The cost of my desire…Sleep now in the fire”
The audience was in frenzy. After a great “Outshined” and a solid “Shadow on the Sun,” the band walked off. Cornell returned alone, walking out with an acoustic guitar, and serenaded us with a subdued “Black Hole Sun.” This was the one point at which his vocals had a chance not to be ‘outshined,’ but alas – it was not to be. Some prick behind Matt decided that he could sing the song better than Chris and tried to prove it. This may come as a shock, but he was wrong.
The full band came out for one of my favorite Audioslave songs, “I am the Highway,” and this rendition did not disappoint. The throat-tapping effect to conclude “Show Me How To Live” would have made for a great short movie clip taken with a digital camera, but unfortunately those had been disallowed at the last minute.
“Killing in the Name Of” was the penultimate song, and there is little to say about it, other than it was incredible. The Rage boys tore up the stage, and Chris acquitted himself of any doubts anyone may have had, seeing this on the setlist in advance. Unquestionably this song brought the most forceful crowd participation, as only a song with the lyrics “Fuck you, I won't do what you tell me” can.
Audioslave closed with “Cochise,” but as with any supergroup composed of members from other famous bands, the highlights came in the Soundgarden and Rage songs, which is probably why they were not played on the band’s first tours. The lowlight? Well, that would have to be the sweaty moron’s armpit that rested on my shoulder for the majority of the last four songs of the show.
All in all, an incredible show and a band I would see again whenever possible. Our front-row position saved us from probable serious injury…and also made for a great experience. Chris Cornell, it can safely be said, is one of the greatest frontmen in rock, and his claim about his bandmates is truly not much of an exaggeration. Great concert.
The audience was in frenzy. After a great “Outshined” and a solid “Shadow on the Sun,” the band walked off. Cornell returned alone, walking out with an acoustic guitar, and serenaded us with a subdued “Black Hole Sun.” This was the one point at which his vocals had a chance not to be ‘outshined,’ but alas – it was not to be. Some prick behind Matt decided that he could sing the song better than Chris and tried to prove it. This may come as a shock, but he was wrong.
The full band came out for one of my favorite Audioslave songs, “I am the Highway,” and this rendition did not disappoint. The throat-tapping effect to conclude “Show Me How To Live” would have made for a great short movie clip taken with a digital camera, but unfortunately those had been disallowed at the last minute.
“Killing in the Name Of” was the penultimate song, and there is little to say about it, other than it was incredible. The Rage boys tore up the stage, and Chris acquitted himself of any doubts anyone may have had, seeing this on the setlist in advance. Unquestionably this song brought the most forceful crowd participation, as only a song with the lyrics “Fuck you, I won't do what you tell me” can.
Audioslave closed with “Cochise,” but as with any supergroup composed of members from other famous bands, the highlights came in the Soundgarden and Rage songs, which is probably why they were not played on the band’s first tours. The lowlight? Well, that would have to be the sweaty moron’s armpit that rested on my shoulder for the majority of the last four songs of the show.
All in all, an incredible show and a band I would see again whenever possible. Our front-row position saved us from probable serious injury…and also made for a great experience. Chris Cornell, it can safely be said, is one of the greatest frontmen in rock, and his claim about his bandmates is truly not much of an exaggeration. Great concert.
1 comment:
Thank you Wyatt. Very thorough. It also reminded me of the delightful "I love you Jimmy!" idiot from the Dayton concert who thought the best way to enjoy the concert was by screaming his love for Jimmy, jumping up and down, waving his arms, elbowing my skull, and rubbing his armpit on my shoulder.
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