Article: Athens - Lycabettus Theater (July 16, 2012) post-show

[goinghome]

The sub-text here is as follows:

"Radiohead? My stars! They're still quite popular, which means Morrissey is CURRENT!"

P.

And the sub-text here?
"Fuck Morrissey?"

Wow! Talk about anti-Morrissey

[Uncleskinny]

And the sub-text here?
"Fuck Morrissey?"

Wow! Talk about anti-Morrissey

Err, you're putting words into my mouth there.

I am trying to interpret the reason for publishing the statement. Why would you say that? Out of all the gigs. Why would you say that? You are looking for reasons to be cheerful. I think you've completely misinterpreted my intentions there.

P.

[Anonymous]

Err, you're putting words into my mouth there.

I am trying to interpret the reason for publishing the statement. Why would you say that? Out of all the gigs. Why would you say that? You are looking for reasons to be cheerful. I think you've completely misinterpreted my intentions there.

P.

Why not to be cheerful? 9000 people are.

we'll let you know

[joe frady]

The only 'sub-text' I see here, bearing in mind that all sub-text and interpretation is in the eye of the beholder, is the same sub-text that's run throughout Morrissey's 'career' - that of popularity and competition. This statement is no different , in 'sub-text' or 'reason', from his voracious obsession with chart placings, his vocal criticism of poor record company promotion, whether that be for his Smiths singles on Rough Trade as far back as '85 or his EMI ones in the early '90s. No different from his proud vaunting of breaking the Beatles' Hollywood Bowl sell-out record in '92.

You can trace this sub-text back to the very start. His whole inferiority/superiority schtick and attendant expectation of ceaseless promotion and 'natural' success. His insanity re:chart placings is second to no-one in modern music. He's no less obsessively compelled by ticket sales, venue capacities and sell-out times. He still thinks this shit matters. Which one can see as pathetic. Or pleasingly touching. Again ~ eye of the beholder.

If this Greek statement is a surprise to you, then you clearly haven't been paying attention.

As for looking for reasons to be cheerful, I'd much rather that than...the opposite. (Especially if I were Greek.)
And after all this isn't a 'negative' site....right?

[MORRIZSEY]

Updated version from True To You HERE

[Anonymous]

I agree, that is why I am selling my two tickets for the Manchester show. I have seen Morrissey many times and I have seen him perform many of these songs many times. There re many great songs which do not see the light of day as he continues with roughly this set.

Trouble is, I can not even sell my tickets at under face value, two weeks before the show. One show in England and it is in Manchester at a venue that holds 20,000. I think there is no call for Morrissey at the moment, it has all become a bit stale, I hate to say, but he is largely to blame. New music is not very exciting and so there is not much competition, which makes Morrissey's failure to come up with anything new of an acceptable quality worrying. The band look like the are going through the motions and Morrissey looks like he has not got another record in him.

I will predict right now that Morrissey's next record will be his worst selling ever. I am sorry to say it, but the new songs are just not good enough and the dreadful ticket sales in the UK, especially when compared to previous tours, prove it.

Many of us hate to say it, but, we know its over.

[123xyz]

A friend of mine is a new fan and is going to see Morrissey with me in October. I told him what the setlist was and was was really excited.

This is how tours work for most musicians/bands. They play the same set of songs every night. There are exceptions but some bands don't change a single song or the order for an entire tour. Many bands stage a lot of visual stuff an choreograph a lot of things and even use the exact same banter every night.

At least with Morrissey you know there will be something different even if its just the things he says.

If you want to argue that he could have a better list of ~20 songs a night that is at least something that has some area for discussion.

For the most part I like the set list. I hope in October he is still playing Far Off Places, Black Cloud, Carol, Maladjusted, Still Ill and Speedway. The only song I feel strongly about seeing a change is To Give (The Reason I Live) and that is because he could be playing something he wrote that we all know and love.

I wouldn't be disappointed if he dropped Let Me Kiss You and I don't like the lyric omissions in Ouija Board, Ouija Board.

Just to follow on from your post - the U2 ZooTV tour , for example, involved very, very little in the way of changes to the set-list ( and that was a tour which traversed the globe for two years). The pre-programmed visuals/choreography/etc. point you made applied especially well to U2s tour. Now, don't get me wrong - I love a good goosestep as much as the next man but Bono marching precisely pseudo-erratically to the opening strains of "Zoo Station" for 150-odd concerts was a bit much.

I'd love to see some changes to the set list ( e.g. less "hits" ) but , like you I suppose, I don't feel overly disgruntled about the rate at which changes are made ...

[Anonymous]

5,300 capacity venue means that 5,300 people paid for their tickets. 3,700 extra people means that 3,700 people did NOT pay for their tickets. The tickets were sold out, they did not have a ticket and they nevertheless went inside. Did nobody ever tell you that "a venue is sold out" means that its capacity is full and any additional person raises security risks? Why do they think they tried to avoid conjestion at the doors? In order to instead have people pushed to death inside?

Ok, let me explain my point then!
1) Organizers were foul in selecting that venue with only 5,300 capacity
2) Sold-out occured a couple of hours before Moz went on-stage, therefore no time to anounce for people to avoid heading towards the venue
3) After selling out and since many people were packed in front of entrance, organisers decided to open the doors
4) I'm not saying that was the right thing to do, after all I was inside and couldnt observe what was happening
5) My point is that the reason for this potentially dangerous overcrowding was NOT that the Greek (or grecian!) audience wanted to avoid paying the ticket. People went there to buy one, after one point there was none available and the organisers dedided to open the doors...so, the people went in.

Anyway, blame it on the organizers!