New York City, NY - Lunt-Fontanne Theatre (May 7, 2019) post-show

Post your info and reviews related to this concert in the comments section below. Other links (photos, external reviews, etc.) related to this concert will also be compiled in this section as they are sent in.

Setlist:

First Of The Gang To Die / How Soon Is Now? / I Wish You Lonely / Speedway / Break Up The Family / Is It Really So Strange? / I'm Throwing My Arms Around Paris / That Joke Isn't Funny Anymore / World Peace Is None Of Your Business / If You Don't Like Me, Don't Look At Me / Munich Air Disaster 1958 / Back On The Chain Gang / Morning Starship / Trouble Loves Me / The Bullfighter Dies / Jack The Ripper / Seasick, Yet Still Docked / Everyday Is Like Sunday / What She Said // Suedehead

Setlist courtesy of @FROSTY


 
Last edited:

Famous when dead

Vulgarian
Moderator
morrissey-broadway-may-2019-billboard-1548.jpg


Broadway Brings the Best Out of Morrissey During Electric Residency


By Joe Lynch.

Excerpt:

"Anyone confused about what 'camp' refers to after witnessing the scattershot interpretation proffered by the Met Gala red carpet should be advised to head southward in Manhattan from the Metropolitan Museum of Art to Broadway – specifically, the Lunt-Fontanne Theatre, which is housing Morrissey's seven-night residency. From the opening video montage -- which features clips of everything from drag legend Divine to exquisitely excessive old Hollywood -- to the sublimely ridiculous images that grace the screen behind Moz as he performs (a particular standout is a doctored image of Morrissey lighting a cigarette for James Dean, gazing longingly at the dead sex symbol while he takes his first puff), true camp has found a temporary home."

https://www.billboard.com/articles/columns/rock/8510603/morrissey-broadway-residency


Regards,
FWD.
 

Peppermint

Well-Known Member
This is behind a paywall so I'm cutting and pasting. Glowing, yet intelligent review from the esteemed Neil McCormick (very well-respected music journo of long standing).

Key quote: 'this is a show that should be seen, a slice of rock theatre as life-enhancing, thought-provoking and emotionally powerful as any West End drama'.

Morrissey, Lunt-Fontanne Theatre, Broadway, review: a hair-raisingly magnificent outpouring of hurt and anger

TELEMMGLPICT000195981119_trans_NvBQzQNjv4Bqxqudurc5yeFP8agH1DpUvmF_3c6vfdOYMHzDMpqF8a4.jpeg

You want more? Morrissey rips off his shirt during the encore CREDIT: TAYLOR HILL/ GETTY IMAGES NORTH AMERICA
8 MAY 2019 • 1:22PM



Morrissey on Broadway: what image does that conjure up? The former Smiths star in stockings with a chorus line of sad tap dancers unfolding umbrellas? Or perhaps, in the style of Bruce Springsteen’s year-long theatrical stint, the dour Mancunian telling anecdotes about the woeful events that inspired the composition of Heaven Knows I’m Miserable Now whilst a guitarist strums doleful chords?

Either scenario might have been amusing but, in the end, Morrisseystormed the heartland of New York theatre by doing exactly what he has been doing for nearly forty years: crooning lyrically audacious, melodically gorgeous songs about the trials of being Stephen Morrissey while a tightly drilled band conjured up a wall of thrilling rock sound. The lighting was artful, the background visuals were stimulating, the sound was crisp, the audience excited and attentive, but right at the centre of everything was one man singing about his life in a set overflowing with emotion, humour, aggravation and provocation. It was hair-raisingly magnificent. Or, in the words of the man himself, “not bad for a week night”.

At 59, the controversial British icon is performing a seven-night stint at the 1,500-seater Lunt-Fontanne theatre, just off Times Square and directly opposite award winning musical sensation Hamilton. He could have reached more fans doing one night at Madison Square Garden, as he has in the past. So presumably Broadway itself matters to Morrissey, an obsessive fan of popular music.


His distinctive voice was in fantastic shape, a creamy baritone rising up to sweet falsetto, descending into gruff barks and extending into melismatic yodelling warbles. He delivered his material with a theatricality reminiscent of such pre-rock’n’roll troubadours as Anthony Newley and Charles Aznavour, turning up the collar of his jacket to evoke isolation during an utterly bereft Seasick, Yet Still Docked, or whipping his microphone cord as if in combat during a stinging The Bullfighter Dies.

It was an odd set, packed with album tracks and B-sides. Although Morrissey has a new album of cover versions out later this month, he previewed only one song from it (the lovely Morning Starship by Jobriath). The album is titled California Son, emphasising his allegiance to his adopted home. Morrissey’s controversial support for right-wing political causes (including For Britain and Tommy Robinson) has created a quandary amongst a British fan base who perhaps idealised him as a liberal champion of the oppressed.

TELEMMGLPICT000195985666_trans_NvBQzQNjv4BqOfbQuL7vt0ioTIEx8Tqi0FBufjlxTPBYmHBVWw0YPY4.jpeg

Morrissey performing his Broadway debut at the Lunt-Fontanne Theatre CREDIT: TAYLOR HILL/ GETTY IMAGES NORTH AMERICA
There were moves to boycott his tour last year, which was pre-emptively cancelled, and no UK dates have been announced for his latest venture. Yet, much of this American show seemed aimed at Britain. He poured a world of withering sarcasm, hurt and disdain into If You Don’t Like Me, Don’t Look At Me, a minor 2006 B-side to which he improvised the very British pay off: “Don’t get your knickers in a twist.”


“Do you get it?” he asked the New York audience, who loyally cheered whether they got it or not. The unfolding narrative was a depiction of Morrissey’s feelings of bewilderment, hurt and anger at his homeland turning against him. And he delivered it with such passion and pizzazz, that it didn’t matter to his US audience that the message was not intended for them.

The universal element of all his hit songs, from Smiths to solo career, is that each of us has a universe of feelings beneath our skin that the outside world can never see. This was a message driven home by a monumental version of Smiths classic How Soon Is Now?, with Morrissey wailing “I am human and I need to be loved… just like everybody else does!”

The audience responded to every song as if it were a classic, because, frankly, in that intimate venue, in that moment, every song sounded like it was. Morrissey has been pretty consistently great over the years, and right now, on the cusp of turning 60, he is performing like his life depends upon it. And even though he has said many ill-considered things – the UK press-enraging “I see no difference between eating animals and paedophilia” is a particularly memorable example – it strikes me as a tragedy that this extraordinary Englishman no longer feels welcome in his homeland. Because this is a show that should be seen, a slice of rock theatre as life-enhancing, thought-provoking and emotionally powerful as any West End drama.
 

Thewlis

Junior Member
This is behind a paywall so I'm cutting and pasting. Glowing, yet intelligent review from the esteemed Neil McCormick (very well-respected music journo of long standing).

Key quote: 'this is a show that should be seen, a slice of rock theatre as life-enhancing, thought-provoking and emotionally powerful as any West End drama'.

Morrissey, Lunt-Fontanne Theatre, Broadway, review: a hair-raisingly magnificent outpouring of hurt and anger

TELEMMGLPICT000195981119_trans_NvBQzQNjv4Bqxqudurc5yeFP8agH1DpUvmF_3c6vfdOYMHzDMpqF8a4.jpeg

You want more? Morrissey rips off his shirt during the encore CREDIT: TAYLOR HILL/ GETTY IMAGES NORTH AMERICA
8 MAY 2019 • 1:22PM



Morrissey on Broadway: what image does that conjure up? The former Smiths star in stockings with a chorus line of sad tap dancers unfolding umbrellas? Or perhaps, in the style of Bruce Springsteen’s year-long theatrical stint, the dour Mancunian telling anecdotes about the woeful events that inspired the composition of Heaven Knows I’m Miserable Now whilst a guitarist strums doleful chords?

Either scenario might have been amusing but, in the end, Morrisseystormed the heartland of New York theatre by doing exactly what he has been doing for nearly forty years: crooning lyrically audacious, melodically gorgeous songs about the trials of being Stephen Morrissey while a tightly drilled band conjured up a wall of thrilling rock sound. The lighting was artful, the background visuals were stimulating, the sound was crisp, the audience excited and attentive, but right at the centre of everything was one man singing about his life in a set overflowing with emotion, humour, aggravation and provocation. It was hair-raisingly magnificent. Or, in the words of the man himself, “not bad for a week night”.

At 59, the controversial British icon is performing a seven-night stint at the 1,500-seater Lunt-Fontanne theatre, just off Times Square and directly opposite award winning musical sensation Hamilton. He could have reached more fans doing one night at Madison Square Garden, as he has in the past. So presumably Broadway itself matters to Morrissey, an obsessive fan of popular music.


His distinctive voice was in fantastic shape, a creamy baritone rising up to sweet falsetto, descending into gruff barks and extending into melismatic yodelling warbles. He delivered his material with a theatricality reminiscent of such pre-rock’n’roll troubadours as Anthony Newley and Charles Aznavour, turning up the collar of his jacket to evoke isolation during an utterly bereft Seasick, Yet Still Docked, or whipping his microphone cord as if in combat during a stinging The Bullfighter Dies.

It was an odd set, packed with album tracks and B-sides. Although Morrissey has a new album of cover versions out later this month, he previewed only one song from it (the lovely Morning Starship by Jobriath). The album is titled California Son, emphasising his allegiance to his adopted home. Morrissey’s controversial support for right-wing political causes (including For Britain and Tommy Robinson) has created a quandary amongst a British fan base who perhaps idealised him as a liberal champion of the oppressed.

TELEMMGLPICT000195985666_trans_NvBQzQNjv4BqOfbQuL7vt0ioTIEx8Tqi0FBufjlxTPBYmHBVWw0YPY4.jpeg

Morrissey performing his Broadway debut at the Lunt-Fontanne Theatre CREDIT: TAYLOR HILL/ GETTY IMAGES NORTH AMERICA
There were moves to boycott his tour last year, which was pre-emptively cancelled, and no UK dates have been announced for his latest venture. Yet, much of this American show seemed aimed at Britain. He poured a world of withering sarcasm, hurt and disdain into If You Don’t Like Me, Don’t Look At Me, a minor 2006 B-side to which he improvised the very British pay off: “Don’t get your knickers in a twist.”


“Do you get it?” he asked the New York audience, who loyally cheered whether they got it or not. The unfolding narrative was a depiction of Morrissey’s feelings of bewilderment, hurt and anger at his homeland turning against him. And he delivered it with such passion and pizzazz, that it didn’t matter to his US audience that the message was not intended for them.

The universal element of all his hit songs, from Smiths to solo career, is that each of us has a universe of feelings beneath our skin that the outside world can never see. This was a message driven home by a monumental version of Smiths classic How Soon Is Now?, with Morrissey wailing “I am human and I need to be loved… just like everybody else does!”

The audience responded to every song as if it were a classic, because, frankly, in that intimate venue, in that moment, every song sounded like it was. Morrissey has been pretty consistently great over the years, and right now, on the cusp of turning 60, he is performing like his life depends upon it. And even though he has said many ill-considered things – the UK press-enraging “I see no difference between eating animals and paedophilia” is a particularly memorable example – it strikes me as a tragedy that this extraordinary Englishman no longer feels welcome in his homeland. Because this is a show that should be seen, a slice of rock theatre as life-enhancing, thought-provoking and emotionally powerful as any West End drama.
This deserves its own place on the main page, but no, let's talk about a Morrissey-badge instead. So low.
 

Peppermint

Well-Known Member
This deserves its own place on the main page, but no, let's talk about a Morrissey-badge instead. So low.
I posted it as a new thread but they just moved it here. It seems a little odd to me. Mods, is there some reason for this? Seems like it should be a story in its own right.
 

Peppermint

Well-Known Member
I posted it as a new thread but they just moved it here. It seems a little odd to me. Mods, is there some reason for this? Seems like it should be a story in its own right.
Mods? Anyone? 5* review in a UK newspaper, surely that's news?
 

davidt

Administrator
Staff member
Moderator
Subscriber
Actually, BookishBoy posted the link and Famous when dead posted the transcript earlier in this thread and it was added to the summary of this specific show as appropriate. Apart from the 5 stars, the review itself doesn't appear to be particularly remarkable.

I posted it as a new thread but they just moved it here. It seems a little odd to me. Mods, is there some reason for this? Seems like it should be a story in its own right.
 
A

Anonymous

Guest
This review really should be a main story. It's one of the best reviews of his career.
David T - you clearly want to highlight all the negativity, but surely this deserves equal billing?
 

Peppermint

Well-Known Member
Actually, BookishBoy posted the link and Famous when dead posted the transcript earlier in this thread and it was added to the summary of this specific show as appropriate. Apart from the 5 stars, the review itself doesn't appear to be particularly remarkable.
Oh! Not sure how I missed that. I didn't realise it had already been posted.
 
A

Anonymous

Guest
No worries..

Er, yes worries. You don't go to a gig to get punched. And it always seems to happen to nice people, for some reason.

You should have gotten a refund, at the very least. Or do venues suppose being punched is part of the Morrissey experience? cos he was in the Nosebleeds

It's like that fan, in a tribute band, who said he was attacked by a security guy. Wonder if he ever got compensation.

Unf***inbelievable.
 

docinwestchester

Well-Known Member
I just watched the Suedehead video again. Man, does Moz go all out here or what? His vocals, body language, facial expressions, use of props (eg, the gift in his pocket), dance with the microphone stand, everything is so over-the-top theatrical. But it an awesome way. I thought I preferred it at the start of the show, but it's a perfect encore. Finally, I noticed that he makes the sign of the cross as he leaves the stage. Is that his usual custom?
 

Similar2Sunday

Active Member
I just watched the Suedehead video again. Man, does Moz go all out here or what? His vocals, body language, facial expressions, use of props (eg, the gift in his pocket), dance with the microphone stand, everything is so over-the-top theatrical. But it an awesome way. I thought I preferred it at the start of the show, but it's a perfect encore. Finally, I noticed that he makes the sign of the cross as he leaves the stage. Is that his usual custom?

I think he's in a good mood. He's happy.

He's been known to take notes held out by fans during the "why send me silly notes?" part of Suedehead, which I think is really lovely.

I've never seen him make the sign of the cross except maybe in an older video of a show somewhere. They say it's hard to shake off a Catholic upbringing. Hence wearing rosaries and Incense Avignon.
 

docinwestchester

Well-Known Member
0:00 stage entrance
0:28 First Of The Gang To Die
4:35 How Soon Is Now?
10:30 I Wish You Lonely
13:46 Speedway
18:20 Break Up The Family
22:17 Is It Really So Strange?
25:36 I'm Throwing My Arms Around Paris
28:27 That Joke Isn't Funny Anymore
33:24 World Peace Is None Of Your Business
38:20 If You Don't Like Me, Don't Look At Me
42:20 Munich Air Disaster 1958
45:00 Back On The Chain Gang
49:25 Morning Starship
53:07 Trouble Loves Me
58:04The Bullfighter Dies
1:00:19 Jack The Ripper
1:04:38 Seasick, Yet Still Docked
1:09:59 Everyday Is Like Sunday
1:16:01 What She Said

Encore:
1:21:15 stage entrance
1:21:40 Suedehead
 

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