Emily, Chicago

I have been checking your site for quite some time now and have enjoyed very much. I have been vicariously attending the concerts with every update you have entered.

Well I got to see the man himself Saturday in Chicago. It was a birthday present for my husband (yea right). We flew in from Kansas City Saturday morning and relaxed for the day. We then went to the Tweeter Center for the performance. A very nice facility. And the show...well the show ...was.. well as you know...more than phenomenal. It has been 20 years since I last saw Pete play live (1983 at Memorial Hall, Kansas City Kansas- 3,600 seat venue). He was sooo good. I don't think I cheered and danced so much, EVER!!!!

The Zorb was incredible. I've seen pictures of it but they can't compare to watching him bounce and roll around in it. A new twist I hadn't read about before. He chased David Rhodes around the stage until he finally kncocked him down!!!!

The skipping through the audience for Solsbury Hill was great, the fans loved it. I just wish he had come by my seat...I may have grabbed me a guitar player ...or two!!!! ;-)

I loved the concert. My husband had a great time too. He did complain abut the audience a couple of times. People kept getting up and climbing over to get their beer or go to the restroom. My thought..."Why bother coming if you're not here to watch the show" but I tried to ignore them . In fact I refused to stop dancing even when they were trying to get by to get their umpteenth glass of beer. I'm usually not that rude.

Anyway. Chicago was great. It rained for the first 20 minutes and Pete got wet but never missed a beat! I hope I don't have to, but if I have to, this concert will carry me for the next twenty years!!!!Can you imagine Pete at 73 singing "Shock the Monkey"???

Thanks for such a great web page!

Anthony Edwards, Dallas

I enjoyed reading your reviews.

Thank you!

I went to the Dallas show, which was amazing (my first ever PG show). But, I was in front of two rows of drunken idiots who all worked together and had gotten their tickets for free who got angry at the 7 of us in front of them standing (they even sat for Shock the Monkey Solsbury hill and left before IYE! etc.) On top of that they brought a beach ball to throw around when it got to us during digging in the dirt we popped it! Haha! Regardless, I got to shake Peter's hand in Houston, he noticed me when they arrived (most likely because I had on a black shirt that said "RAEL" in huge yellow letters. He said "Well you won't be hearing about any of Rael's adventures tonight I hope you won't be dissapointed." To which I replied "not as long as you get in the zorb that I've heard so much about." He laughed thanked me for coming and left.

Anthony Hansen, who clams he wouldn't act like Eggy if he met PG, but we don't believe him, wrote:

I would like to preface this review by saying that this is my first Peter Gabriel concert, as I am a relatively new fan. Now that that's out of the way...

The show began with Peter stepping out at exactly 7:30 to a standing ovation. As it turns out, he was just introducing the opening act, but it was exciting nonetheless. The act in question was Sevara Nazarkhan, and she was quite good. A few minutes after she had finished, the light dimmed once again. The band walked onstage to enthusiastic applause, then launched into a rendition of Red Rain. Peter himself was sorrounded by computers at the side of the stage and was easy to miss. After the song wrapped up, Peter did a general welcome in french before launching into a fantastic version of More Than This. So far, no theatrics. The next piece was Secret World. As was rumoured, this version rocked harder than its predecessors. It was great, but it would be overshadowed by what came next. Without any introduction, the band launched into a version of Games Without Frontiers. Behind them, a circular screen projected images of toy soldiers and mushroom clouds, while Peter and Melanie rode around stage on Segways, giving the odd salute. It all seemed especially ironic considering the current political climate, which was probably the point.. Next was Mercy Street, which began with the whole band (except Ged) stepping to the front of the stage and singing a capella. It was a genuinely moving moment. Then came Darkness. Once again, the band rocked as hard as was humanly possible, but in my mind it was the next piece that was really the musical highlight of the evening. The version of Digging In The Dirt is the the best I've ever heard (I've heard three). As expected, Gabriel donned the hat with GabeCam, treating us to a close-up view of his moustache. It's at this point that there's a gap in my memory. I'm not sure what came next, so I'm going to offer some of my memories out of sequence.

San Jacinto - Slower tempo. ended with a single spotlight on PG, making for a powerful moment.
Growing Up - Yup, the one with the hamster ball. David Rhodes gets crushed. More at 11.
Solsbury Hill - Everyone clapped their hands to beat, and for a moment all was right with the world. PG gets bonus points for actually walking into the audience, followed by the band, followed by the roadies(!)
Sledgehammer - I know this one followed Solsbury Hill, and its timing was appropriate. To be honest, I thought this would be the shpwstopping finale. I'm glad it wasn't. And, for the record, the lightbulb jacket was extra-way-crispy-cool.
Signal To Noise - This one came after Sledgehammer. Again, the band rocked hard, and it was one of my favourite moments of the whole show. The song ended with everyone leaving the stage except Ged, with all the spotlights focused on him.
The Tower That Ate People - I hadn't heard this song in a long time, so I can't compare it to the original. I enjoyed what I heard, though.
Don't Give Up - This is pretty much the same as the secret world live version, audience singalong and all. The main difference is, Melanie does a much better job than Paula Cole.

This is where my memory magically returns. In Your Eyes was also the same as the secret world live version, with Sevara returning to the stage for a duet and Tony Levin handling the bass vocals. After that, it looked like the show was over.

But wait, there's more!

For an encore, the band performed Come Talk To Me (phonebooth included) followed by...SHOCK THE MONKEY! WOOOOOOOO! Sorry, I like that song. PG was appropiately monkeylike, beating his chest at the "ape the ape" part (which made me laugh out loud). Seein the whole band jump at the line "Shock!" was one of the most exciting moments of the whole show. Then, Robert Lepage was thanked, the band bowed, and it looked like it was over.

But wait, there's still more!

PG introduced the second encore by saying: "This song is dedicated to people who have the courage to stand up for what they believe in, no matter what the cost to themselves. This song is for Stephen Biko."

The whole audience sang along to Biko, eventually taking over for Peter. The song, and the concert, ended the same way as Signal To Noise. And through it all, the audience was clamoring for more.

All in all, a night to remember!

PG CONCERT REPORT:
SHORELINE AMPHITHEATRE, JUNE 7, 2003

Well, he started on our side of the country this time, so I feel privileged to be able to give you a report on the first performance of the "stripped-down" American leg of the tour. As always, what a show!

There *were* some differences in the setlist, though it was largely the same (as we'd all pretty much guessed). So for those of you who
want to be surprised and who can restrain yourselves I'm going to give you my general impressions first, then add a bunch of white space
and put the setlist at the bottom.

First off, don't miss Sevara Nazarkhan and her band! Be early . . .the show was slated to start at 7:30 p.m., and Peter
walked out and introduced her at exactly 7:01. This won't be news for everyone over in Europe, but Sevara has a gorgeous, smooth-as-silk
voice and her band is tight and punchy, not to mention much more pop-oriented than I'd expected.

She played for about half an hour, then it took the crew another half hour or so to re-set the stage. They kept one of the round pieces of overhead scaffolding from the full-production show, using it as a lighting rig and for the follow-spots. The stage design was fairly sparse, but of course many different props were brought out . . .

I was up in the middle of the second tier, but luckily managed to snag a better seat down in the first row of the tier (Section 202). While not sold out, the place looked fairly full to me, including the upper lawn. It was a much more mixed crowd than last year . . the usual quotient of older folks, but a lot of younger ones, too, including many teens. I also saw quite a few families with young kids. The good news is that the audience seemed more familiar with the songs from "Up" this time around. The cheers were almost as loud for those as they were for the "classics."

This is the first time I've ever seen Peter *not* play in the round (there, I've just dated myself as a fan), and in an outdoor amphitheater to boot. I have to say I found the overall atmosphere a bit less magical, partly because I was farther away from the stage this time, but mostly because the venue didn't have the intimacy of an indoor arena and a round central stage. Walking down into the two arenas last December felt a bit like entering a womb - warm, cozy, and sheltered from the outside world, in a place where the air was full of expectancy and you knew something magic was about to be born. Tonight it was a different kind of crowd - out under the sky, and much more casual. Once the show began the audience response was great, but it was . . . a different experience for me.

This had more to do with me, however, than with the performance itself. The band was really "on" tonight. You could tell they (a) have been
playing together nonstop for months now, and (b) were rested and revived from their short post-Europe break. They were hot from the opening note. Peter's voice was "on" as well . . . he really brought it forth, full strength, on . . . ummm, Song #3. (No peeking yet!)
There were a few disappointing moments in a couple of songs when he opted for some lower notes rather than the usual higher ones, and I thought maybe it was out of necessity rather than choice. But it turned out he was very intelligently pacing himself. He went low, then high, then low, then high . . . and on the final encore he sang those high notes so passionately I was stunned. Shivers up the spine, gooseflesh on the arms.

Okay, I have to say it. The Zorb *is* back. As are some, but not all, of the props and visual images from the full-scale production. Along
with a few of brand new ones, and - just a little teaser - a couple of old "friends" from the Secret World tour.

So for those who want to know, here's the set list. Scroll down . . .

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Red Rain
More Than This
Secret World
Games Without Frontiers
Mercy Street
Darkness
Digging in the Dirt
Don't Give Up
The Tower That Ate People
Growing Up
Shock the Monkey
(band introduction, including Peter getting the
audience to sing "Happy Birthday" to Tony Levin, whose b'day was evidently a few days ago)
Solsbury Hill
Sledgehammer
Signal to Noise

(first encore):
In Your Eyes

(second encore)
Come Talk to Me
Father, Son

Remember a while back when I asked why people were raving so much about "Tower"? Okay, I'm a convert, now that I've seen it done live.
It *rocked*!!!!! The audience LOVED it, despite the fact that I'm sure very few people there tonight knew Ovo. (Peter didn't even bother mentioning Ovo by name- he just said the song was from "a children's project they'd worked on for the millennium.") Anyway, "Tower" was MUCH better live than on the album.

Oh, and Peter introduced Melanie as his daughter tonight. He said she'd requested he do this starting a few shows back.
But she got *many *enthusiastic cheers even before that intro. IMO, she has an okay voice. Quite pleasant, just not really polished yet. If she
sticks with it, I think she has a chance to be fairly-to-very good, but she still needs to gain some confidence and not be afraid of injecting some real emotion into her delivery. Just my opinion. Of course, I am biased . . . no one can compete with "Dad" in my book!

I don't want to say too much about what happens during the specific songs, because some of it is the same or similar, and
as for the rest, I don't want to spoil any more surprises. Other people can add more details as the tour progresses. Suffice it to say that
it was another brilliant performance by Peter and a band that must *all* feel like family by this time!

Oh, and for the record, it was a waxing half moon
tonight. ;-)

-laure

Leonel Lopez, Houston:

Hello to all,

Well, he finally came, he performed, he kicked Texan butt: the Peter Gabriel show left everyone in awe and jawdropping mode for quite some time, specially for those who did not know what was in store for them tonight. Peter is a true professional in every sense of the word, the evening started about 20 minutes late but that was fine since the show was not even cut short due to a thunderous and windy storm that hit
us but later with that story.

Peter politely walked to center stage to introduce Sevara Nazarkhan and her musicians. Her performance was very moody, mystical and hypnotic by all means, although maybe not one person in the audience was familiar with her music, everyone listened and gracefully applauded her through her 6 song set. Exotic instruments and excellent acoustics favored her performance and quite simply, many were so pleased with her new wave-ambiance-oriental style that during the intermission they rushed to the concession stands to buy her Real World CD. In all, it was an utmost pleasing and very well executed set and the fans showed their appreciation, it is truly rare treat to get this kind of music in our part of the world, thanks Sevara and Peter,of course.

After a dull intermission, but not before I was scanning all the stage setup as well as lights, the zorb hanging from above the round rig which I thought were the only elements left from the US. Fall/Europe tours, but there was plenty more. If you don't wish to read any spoilers, do not
continue and enjoy your show!...

OK, well it was 9:00 p.m. sharp when the house lights went dim and the roar of the crowd filled under the parabolic tent structure of the pavilion. As strobes and vari-lites started flashing from both sides and above the stage all 7 musicians walked on to their positions wearing black
(95F temperature ), the sound of the smoothing keyboards intro to Red Rain started the evening! Peter was standing to the left and David Rhodes to the far right.

More Than This followed which gave the chance to hear the amazing vocal range of Melanie Gabriel, Rachel Z and the boys. No props yet, but that was being saved for later, then came Secret World a tune that is very "world" music oriented and on this one it was Ged Lynch who showed his power on the red Premier Drum kit at center stage. For those fans in Europe might be lamenting that Games Without
Frontiers was not played over there, well, we did not get Barry Williams or Animal Nation but this one was the first surprise with a cute prop. Peter and Melanie exchanged choruses and sides of the stage while strolling in opposite directions each standing on a scooter bike pushing forwards and backwards on the handle as if they were hovering the stage floor. Unfortunately, the Houston crowd did not know the chorus words in French "jeux sans frontieres" when Peter requested a chant from them and as I tried to sing my lungs out  it was a fruitless effort!

For Mercy Street that came next, the band all sat across the edge of the stage playing their instruments in an acoustic intermezzo although some electric sounds did accompany this song. No boat was on the stage as on the European shows but the mood matched the same effect with excellent choruses as they had huddled to sing at the beginning of the song. And speaking of electric, but not sounds but a sudden storm passed as Darkness was being performed causing a major disruption in the computer and sound system. Thanks to the skill and immediate action by the crew, nothing was interrupted and the "orange people" as Peter called them while thanking them for such an amazing job well done, saved the day. The perils of outdoor concerts, right? Unfortunately, the two large screens on the sides had to be rolled down for security reasons however, the round one behind the stage allowed us to see what Peter was viewing through his head cam on Digging in the Dirt that followed. Of course, Digging is a song which showcases Tony's magnificent bass skills and lets him shine as he did through the evening.
Next it was Melanie's turn to take the spotlight as she sang the lead female vocal middle section on Don't Give up, she has quite good range and it shows Peter is coaching her well, maybe some day she will be to the top level she can surely reach. For those who compare her with
Paula Cole, well they both have their own style and most likely Melanie will develop hers soon as Paula did hers.

For The Tower that Ate People, the two light rigs to the sides were lowered at almost floor level creating a fantastic effect giving this song a
powerful presence, great vocals and guitar work by both David Rhodes and multinstrumentalist Richard Evans. By this time, the 6 white panels
behind the musicians were removed and left only a black backdrop which opened to the round screen for the projections. Growing Up was the highlight of the evening, I had high hopes for this one and it sure did not disappoint; the plastic transparent bubble that was slowly descended from the top of center stage covering Peter's body while he unhooked the sphere from its attachment. As thoroughly explained on the whole tour, Peter starts singing through his head mike while bouncing inside the bubble well known as the Zorb. The reflection of the colorful lights on its outer surface creates a stunning effect and although we did not get the round stage but still, the cross-stage direction it moved during the song made more than a crowd pleaser for those of us lucky to be there. What a show!

On Shock the Monkey, massive eruptions of dry ice or blowing fog came up during the "shock!!" choruses done by Peter and Tony at center stage. Sort of the same effect used for the song "Steam" that was not played. I dare to say that the metallic keyboard sound did not sound like it originally has but that relies mostly on the arrangements that vary from time to time. The round screen projected a naked eye that moved wildly.

Solsbury Hill was the only song that went wrong this evening; the guitar intro was a slightly ahead of Peter's keyboard part and left a void that did not allow him to jump into the "climbing up.." part on time creating confusion that was quickly and very professionally soothed away, everyone just smiled and kept on playing. There was no bicycle ride for Peter I'm afraid, but the colorful projections made up for the dynamics that were missing.

The main prop from Sledgehammer could not miss, but I might add that I always thought that the whole stage would be in total darkness allowing that the "Light Jacket" to shine much more creating an accented effect but this was not the case. Peter's arm gesture during the "I wanna be...sledgehammer!!" worked perfectly while wearing the jacket and made the crowd go deliriously crazy. Also that this tune is without a doubt the most popular of his 80s hits.

The closer was Signal to Noise; very emotional and moving since it contains the vocal material that creates a mesmerizing
effect on the audience and more so, for those of us familiar with UP, we knew the end was near...

For the encore, Peter brings back Sevara and her sitar player who along with the band sing the immensely emotional and heart pounding
In Your Eyes. The way Peter makes the audience wave their hands as in Muslim prayer, made me shiver through my spine, it was astounding and that we had all been part of a memorable musical event in south Texas!

The complete band made their curtain call bow backwards and forwards to the crowd as Peter's bands have been doing since the early 80s, Tony never took off his long black cloak during the whole show but that was not the reason he got the biggest ovation from the crowd during introductions but for his huge stage presence. Being the huge star he is now in his own right, I think this is the last tour he will do with Peter. I was quite pleased the way the crowd greeted Melanie with a large approval.

Talk to me / Father and Son ended the night around 11:05 PM with a quiet set leaving only Peter on keyboard and Tony on his pedestal bass. I had the memory of my father who coincidentally passed the same year of the secret world tour...during the whole song and felt that every note I 
had his smile and good spirits beside me. 

As we all headed home still thrilled to have witnessed a true event for years to come, lets hope that it won't be another decade. What a
show!.......

Kristine, Houston:

So I did not know if I should even submit this ... but what the heck, eh?

The Woodlands performance was the first time my boyfriend and I have ever seen Peter Gabriel live and if there is a God in heaven, it shall not be the last. We were fortunate enough (thanks to the fates) to secure 3rd row from the Full Moon Club presale (thanks very much) and when we found our seats, the realization struck me how close I would actually be to the stage. I will begin by saying that the show goes down in my personal history books as being one of the best shows I have ever seen, few glitches and all!

The weather teased the crowd with gusts of wind that meant only one thing with the swirling clouds ­ rain. I thought to myself, what a wonderful way to experience Peter Gabriel's music with nature chiming appropriately. I am sure that from the hill, it was a marvelous thing to hear the show's opener "Red Rain" whilst the promise of rain thundered above.

I agree with a previous review that the show began a bit stiffly. I think it was PG warming up to the crowd and the crowd warming up to seeing him live in Houston after so many years. "Secret World" WAS the song that finally energized the crowd. During the second song, the people behind us asked rather forcefully for us to sit down because they could not see. It was as if people felt too self-conscious to stand and enjoy his music. I acquiesced only because I did not want to be ejected from the concert. I had waited too long to see him live, too long to hear those songs that resonated with me through high school and college and nearly all of my adult life, too long to listen to someone behind me that did not feel the energy to stand for this man who was obviously trying to get the crowd going! We stood every chance we had because performers feed off the energy that the crowd gives them, like a symbiotic relationship. In my humble opinion, if a crowd is sitting while PG hops about, then the energy might have waned and he might have a small inner dialogue mentally crossing Houston from future tours. 

 One more small criticism of the crowd around me before I rhapsodize over the show's set list itself: it seemed as if they happened upon these great seats and it was only after many over-priced beers that they finally seemed to enjoy the music, and mostly only his really popular works. I realize that might make me sound like a PG elitist but his works do not simply include his top 40 hits and nothing else! I am a slightly rabid collector of his works, including buying a LD player simply because I scored a copy of "Secret World Live" on LD well, call me an elitist then but I was an elitist who STOOD and ENJOYED myself during the show. (Ahem, pardon the shouting.)

 The songs. I must write about a few of them that really stuck out in my mind and apologize for their order. 

 "Mercy Street" began beautifully with the band center stage harmonizing together in a half circle. After a few moments of singing together, the band positioned themselves and sat at the front of the stage, playing their instruments while seated. The cool wind was wonderful and if you have ever seen a summer show at the Pavilion, you will agree it was a blessed thing indeed.

"Sledgehammer" found PG in a suit jacket covered with functioning lights, similar to the one at the end of the song's video. Amusing band choreography and since nearly the entire crowd was familiar with this tune, definite energy from the audience.

 "Signal to Noise" and "Darkness" were two newer songs that I enjoyed hearing live. The powerful vocals from the late Nusrat Fateh Ali Khan interspersed with PG's live singing and forceful drumming by kilted Ged Lynch. As STN wound to a close, the band members begin to disappear one by one. Very powerful rendition of these songs.

 PG and his daughter Melanie performed "Don't Give Up". This is such a beautiful song and she accompanied him quietly but with an understated power. It almost provided a different interpretation when sang by a father It was a sweet rendition of Kate's vocals nevertheless. 

 "Games Without Frontiers" was another wonderful duet by PG and Melanie while they used a pair of Segways to move about the stage. It was like a mechanized ballet and rather amusing to watch them turn in time while singing although I wished the crowd would have accommodated the request to sing along during "Jeux sans frontiers."

 "Growing Up" found PG in the infamous Zorb like a hamster rolling around in one of those little mobile balls. A lot has been written about PG and the Zorb so I will leave well enough alone other than my desire to obtain a Zorb and bounce around some park somewhere

 "In Your Eyes." Okay so who wouldn't want to run away with Lloyd Dobler when he stood in the street holding that boombox over his head, heart laid bare for all to see? But 80's movie references aside, PG brought back the opening act to accompany him on this song and it was truly beautiful especially if you were with someone that you love.    

The song that closed the night was the emotive "Father, Son" from OVO. PG prefaced this song by talking about a trip he went on with his father and a yogi. This song struck such a chord with me because my father was diagnosed with cancer early this year. It has been difficult to see someone you regarded as a pillar of strength having difficulties doing everyday common tasks. And although the song explains the relationship between a grown-up and their much older father, it made me cry as I heard him sing about his father because some of the lyrics resonated with what I have been feeling since March.

 I know that I missed a few of the songs performed but I do not want this review to prattle on any longer than necessary I think I have already done that. The night will live in my memory as one of the better concerts I have seen. I am so lucky to have been able to see him perform live. PG's voice has held up wonderfully over the years and he still has energy enough to get a crowd on its feet, albeit slowly.  It was an intensely visceral experience that had me in shock that I had indeed seen PG live after so many years.  It might sound completely daft but after we reached home, I was on such an adrenaline high that trying to go to sleep was akin to trying to make kids sleep on Christmas Eve. I just wanted to share some of what I experienced with anyone who cared to read this far. I will countdown now to the next release and hope that I can get as good tickets again!

Thanks for reading ... I had to get it out to someone who might find it remotely interesting.

Just thought I'd give you a little report of the amazing PG show at the Tweeter Center last night in Massachusettes.
 
To say the least, the show was absolutely  jaw droppingly amazing, from Red Rain to Biko! Everyone was in top form and the sound was much better since it was outside. PG's voice was even stronger and clearer, and passionate as always. I really like the dazzling new set list which includes quite a few oldies. It was great to see Games Without Frontiers, Shock the Monkey, and oh yeah, Biko! First time I've seen PG play that one live. For Darkness, it sounded like PG's voice was distorted even more during the angry choruses because he sounded, well, unearthly. Dug the images of the house in the woods. Digging in the Dirt was awesome!!!!! Yes, the head cam is back and Gabriel's brought some new tools to go digging with. Gabriel knocked David Rhodes over, flat on his back with the Zorb ball. Oops! I hope that was planned. During introductions, Peter announced that Tony Levin's parents were in the front row celebrating their  64th wedding anniversary. When he introduced David Rhodes he said this man has played on almost every album I've released since I left a certain band. What band was that Peter? Joking of course! PG and the band ran up and down the aisles during the middle of  Solsbury Hill. I thought that was very cool! Signal to Noise left me with my jaw wide open. That was one of the most poweful songs of the night. In Your Eyes had a neat, new, lovely twist with Sevara.  Sevara and her band were fantastic too, and I was lucky enough to have Sevara autograph a copy of her cd for me. And as I said before, seeing Biko for the first time live was such an experience. Great way to end a great show!
 
At end of the concert, on the screen, there was notice saying that you could order the concert you just saw on CD from PG.com. Ah, it's great to be a PG fan! Cheers,

Julie Wright, Indianapolis:

Hi Mac Cat!
I thought I'd give a short report on the Indianapolis show last week. Peter
was in fine form and his voice was full and gorgeous. He held a high note
on Mercy Street until I thought I'd cry! Ged and Tony seemed particularly
inspired as well.

The set list was the same as you saw in Florida, except for one delightful
surprise....we got San Jacinto instead of Shock the Monkey. Peter explained
that since it was the last show in the United States, they were going to
perform a song this band had never done before. It was SO AWESOME! He
stood center stage at the end and held up a white light in his right hand on
the last HOLD THE LINE. Very Cool! It reminded me of a video I have of
his early Genesis years. At the end of Supper's Ready, he held a
fluorescent tube straight up in the air as he looked up at it. Very Cool as
well!

The encore was Come Talk to Me from the red phone box. Melanie singing with
him was very good and brought home the meaning of the song so well. Then
the Father Son closer was great as well, although the crowd reaction was not
great.

The Zorb ball created a funny incident. All was going smoothly as the ball
descended over Peter's upstretched arms to the opening chords of Growing UP.
But I noticed he could not bounce or move the thing as the song progressed.
Suddenly all music stopped and he said "Have you ever been driving down the
road and had a flat tire? Well that's just what happened! We could go on
without it, but I feel like bouncing tonight!" The orange men were summoned
to fix the flat and Peter quipped "if anyone gets home and discovers they
have balls this size, see a doctor immediately!" Once fixed, the ball was
fun, but not as entertaining as on the round stage. The front row people
got to push it around some, but the effect was not as good as Chicago.

The only disappointment I found was the crowd was small and not that
responsive. I didn't spend the money for the front seats, and the people
around me wouldn't get off their backsides! I stood and danced and sang all
the songs anyway and fortunately nobody asked me to sit down.

I am attaching an article from the Indianapolis Star (indystar.com) with a
good review of the show. It was truly amazing to see Peter in person again.
Let's hope for a tour with the next release.....of course I'll be sixty by
then!

Simon, Montreal show:

I went to the last show of the tour in Montreal. I
had already seen it in November, and thought that my
tickets were great until I found out it was not a
round stage anymore!! Well, after all, the tickets
were much better than I thought they was at first (at
first = when I was alarmed to find out the stage on my
left side and not right in front of me because of this
confusion!)

1) Does Peter always actually bump in David Rhodes
with the Zorb and David plays the rest of the song
laying on his back because he fell down? Wasn't like
this with the round stage anyways ;)

2) Peter made a big deal about the fact that this was
the last show of the tour it seems. He played 4
encores; In Your Eyes, Come Talk to Me (with the phone
booth! Yay!), Shock the Monkey and BIKO! Yes, not
only full moons make him do it, being at the last show
makes it too. It was the first time I saw him perform
that song, and it is just tells all about why it's so
nice to be at a Peter Gabriel show. Very powerful,
and turning the mic toward the crowd after saying "and
the eyes of the world are watching now" with the
people chanting the Biko anthem is sure something
wonderful. All the old song versions were way cool
(sometimes heavier like Shock the Monkey!) and I'm
quite happy to know that I'll get that show Officially
bootlegged ;)

3) Peter, after introducing his musicians, introduced
Robert Lepage, who was at the show for some reason and
climbed on stage. After all, he's a Quebecker like us
isn't he. ;)

4) I think I had more things to say, but I just can't
remember right now... Hahem... Anyways!

Have fun!