Leeds: Town & Country Club: April 9th, 2000

leedstownandcountrySet Listing

01. I Remember that
02. Bonny
03. The sound of crying
04. Machine gun Ibiza
05. Andromeda heights
06. We let the stars go
07. Life’s a miracle
08. If you don’t love me
09. Jordan the comeback
10. Faron Young
11. Couldn’t bear the special
12. Dragons
13. Appetite
14. Life of surprises
15. Electric Guitars
16. Cars & girls
17. Cruel
18. I Am a troubled man
19. Carnival
20. Moving the river
21. Hey Manhattan ( false start )
22. Hey Manhattan
23. Lions in my own garden
24. Swans
25. One of the broken
26. When love breaks down
27. Goodbye Lucille
28. Cowboy Dreams
29. Wichita Lineman
30. Looking for Atlantis
31. Where the heart is.
32. Prisoner of the past

Various recordings of this concert exist:

  1. Great audience recording, issued as a double CD Bootleg “Town & Country”
  2. Audience minidisc, good excellent quality, few clicks and bumps, from the “usual suspect” taper who recorded most of the tour. Prisoner of the Past is slightly truncated as the 74 minutes of the minidisc ran out.
  3. Another audience minidisc, good to reasonable quality, intros edited out on copy I have heard

“…and in Leeds 2000, it was the only song we heard played twice at the show — to raucous, pint-addled applause (I should know, as I was on my second pint of brown when some woman, arrived late, shouted, ‘Oh, did I miss ”Bonny”?’ Paddy, grinning underneath his crazy mountain man beard, broke into a rockin’ reprise and brought down the house).” accozzaglia, blog.

“Well, I was able to attend the Newcastle and Leeds performances over the last weekend, and the two shows were about as different as I could have expected. It was all in the reciprocal energy of the audiences who participated in each venue. Newcastle City Hall was extraordinarily reserved, and much of that had a lot to do with the nature of the venue, which was really more a classic theatre space (e.g, no standing). Leeds Town & Country Club, though, offered standing room ground accomodation, in addition to balcony seating (admittedly, it would have been much less fun to be way up there that night).

“The informality of the latter paid off, really. Interaction between the audience and the shag monster … errm, Paddy … was nothing short of fantastic. Early-on, a rapport was built between him and the audience, which I confess to playing a big part in that (the extrovert that I am). Apparently, he accused me of emotional blackmail when I mentioned how I came all the way from Minneapolis to watch the performance. Originally, I had requested him to play “I’m A Plumber”. He explained that he chord progression for that unfinished work evolved into the chord progression for “Jesse James Bolero”. Needless to say, this caused the crowd to be pretty awestruck. He wondered how I knew so much about these obscurities … I blamed it on my friends [saying this as I think of Bedford, John and Dave].

“Remarkably, I was able to get Paddy to play the legendary Glen Campbell song ‘Wichita Lineman’, which I had known was one of his old favourites. Hearing him play it (the first time I’d ever heard him do so) was nothing short of magical, and I’m going to have to personally thank him for that.”

juli goins-maclean, zorrophonic mailing list 

leeds2 leeds1

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