On Some Meetings and Close Encounters with Musicians II

Note: This is the second piece in our series “On Some Meetings and Close Encounters with Musicians.” You can find the first installment here.

The encounters described here span more than thirty years and several cities — from a first arena concert in Pullman, Washington in 1991 to small club shows in Cambridge, Osaka, and Kyoto in the decades that followed. As with many memories of live music, the exact setlists and dates sometimes blur, but the rooms themselves — the sound, the atmosphere, the strange and fleeting meetings between artists and audiences — remain vivid. These sketches attempt to capture a few of those moments as they were experienced at the time.

Epigraph

No fears alone at night she’s sailing through the crowd

In her ears the phones are tight and the music’s playing loud

— Dire Straits, “Skateaway”

Live music produces strange meetings. Sometimes you meet the musicians themselves. More often you meet a moment — a room, a sound, a feeling that sticks with you for decades while entire years of ordinary life quietly disappear.

Here are a few such encounters.


I. Initiation

My first real concert was the On Every Street tour in 1991.

The band was Dire Straits, the venue was Pullman, Washington, and the company was the usual Spokane crew: Seth, Innes, Kelly.

I was the biggest fan in the car by far. The others liked the band well enough but I was the one who had studied the records, who knew the guitar parts, who was ready for the moment when the lights dropped and the first notes hit the arena.

They played everything: Money for Nothing, Walk of Life, Sultans of Swing. It was a great show, though at the time I had no real way to judge such things. It was simply enormous — lights, volume, spectacle. I bought the black and blue tour shirt and wore it for five years.

At the time I thought concerts were supposed to be like that: huge, polished, and far away.

I would later learn otherwise.


II. Revelation

Several years later, during the Hamilton years, I saw Red House Painters at the Middle East in Cambridge.

I went with Ian.

The room was small, maybe a few hundred people at most. Nothing about it resembled the arena in Pullman. And then, near the end of the set, Mark Kozelek began playing “Little Drummer Boy.”

It lasted nine minutes.

You could hear a pin drop in the room.

No spectacle. No lights. Just absolute concentration from everyone present. When the final notes faded the silence lingered for a moment before the applause came.

Afterward Ian and I drove back toward New York through the cold night with the windows cracked open, heaters flying out into the darkness, and Hell’s Ditch blasting through the car stereo to keep us awake.

That was the night I realized concerts could be something else entirely.


III. Chaos

Not every show produces reverence.

I once saw The Fall with Ian as well. The band’s leader, Mark E. Smith, seemed to be operating in his traditional mode of total hostility.

The set was short — twenty-eight minutes by my estimate. Ian later checked the official record and insisted it was forty-three. Either way it felt brief and volatile. Smith barked into the microphone, glared at the band, and treated the entire enterprise with the air of someone barely tolerating the existence of the audience.

Which, to be fair, was exactly what many people had come to see.


IV. Theatre

The strangest performance I ever witnessed may have been Cat Power at Club Quattro in Osaka.

The evening began badly. An opening act — a woman in what appeared to be a fairy costume — sat at the piano and played for what felt like an eternity. Forty-five minutes at least. Perhaps longer. By the end of it the audience was openly confused.

Then Cat Power appeared.

Or rather she refused to appear in the conventional sense. Instead of remaining on the stage she wandered through the venue with a handheld microphone, singing while walking among the crowd, occasionally placing an arm around a patron or leaning against the bar.

At one point she came right up to where I was standing near the back rail and sang a line or two before drifting off again into the room.

The entire show felt less like a concert than a piece of improvised theatre.


V. Ritual

A few years later I saw Damo Suzuki at Club Metro in Kyoto.

Damo had once fronted the legendary German band CAN, but this night bore no resemblance to those recordings. Nothing recognizable from the catalog appeared.

Instead he stood a few feet away from the audience with long black-and-grey hair flowing, bellowing and chanting over a constantly shifting improvisational band.

It was less a performance than a ritual.

Damo passed away not long ago. I’m grateful I saw him when I did.


VI. Canada Night

Not all memorable shows are mystical.

Sometimes they’re simply loud.

One such evening occurred at Club Quattro in Osaka when Broken Social Scene and Death From Above 1979 came through town.

The Canadian ambassador was present and delivered a brief speech before the set explaining that Death From Above 1979 represented a fine example of Canadian enterprise because they were “only two men making so much noise.”

The room was packed with Canadian expats and the atmosphere was celebratory chaos.

The ambassador was probably correct.


VII. Breakdown

Not every concert goes well.

I once saw Bonnie ‘Prince’ Billy at the small Kyoto venue Taku Taku. Something had clearly gone wrong with the lineup. The guitarist appeared to be brand new and could barely navigate the chords.

Will Oldham tried to push through but quickly grew frustrated and began openly calling the guitarist out from the stage.

It was uncomfortable for everyone involved.

The show never recovered.


VIII. Redemption

Fortunately the story has a better ending.

Some years later I saw Bonnie “Prince” Billy again, this time at the beautiful Kyoto venue Urbanguild.

Everything worked.

Low benches and tables filled the room, Heartland beer bottles glowed green under the lights, and the band played a relaxed, confident set drawn mostly from the Bonnie “Prince” Billy catalog with a few Palace songs mixed in.

Opening the evening was an instrumental group called Bitchin Bajas whose sound reminded me faintly of early Phosphorescent if Phosphorescent had chosen to make instrumental records.

After the show I found myself talking with three members of the band while they drank beer and ate fries.

They were humble, friendly, and slightly surprised that anyone in Kyoto knew who they were. We talked for a while about touring and the constant challenge of trying to make a living as working musicians.

Eventually the conversation drifted off and the room began to empty.

The music was over. The musicians were just people again, finishing their drinks and preparing to move on to the next city.

And that, in the end, may be the most interesting encounter of all

Dedication

For live music fans everywhere.

My true people.


Note: If you enjoyed this essay, you may also enjoy the essay below on the four time I met Yo La Tengo. Happy reading!

The Night of Fucking Adam

Note: This piece is part of an informal series of essays and stories about nights out in Japan that begin innocently enough and gradually drift into something closer to accidental anthropology. The settings vary—Kyoto bars, Osaka clubs, late-night taxis, shotengai corridors—but the structure is often the same: a few friends meet for drinks, the evening unfolds without much planning, and somewhere along the way the ordinary rules of social behavior begin to loosen.

The events described here took place during a long evening wandering through Osaka, eventually ending in the nightclub district of Shinsaibashi. Like many such nights, it contained a mixture of small cultural misunderstandings, unexpected friendships, minor chaos, and the strange solidarity that sometimes develops among strangers in bars after midnight.

The character known here as “Adam” was a young British traveler we met that evening and never saw again. The nickname “Fucking Adam” reflects the affectionate exasperation with which the phrase was used throughout the night rather than any serious judgment about the person himself. Anyone who has spent time traveling, drinking in unfamiliar cities, or navigating the unpredictable social ecosystems of late-night nightlife will likely recognize the type.

The intention of the piece is not to document a perfectly accurate timeline of events—after fifteen or so drinks spread across many hours, accuracy becomes a flexible concept—but rather to capture the texture of a particular kind of night: the slow drift from casual afternoon drinks into the surreal territory that sometimes appears around two or three in the morning when strangers collide and small incidents escalate into memorable stories.

In that sense, Adam becomes less an individual than a type. Every city has them. Every traveler eventually meets one. Occasionally, if the night runs long enough, we become one ourselves.

Epigraph:

“A ruinous eyesore, oh what is a mind for?
Just a knife in a lake, just an arrow in space.”
—The Swans

We met around four in the afternoon near Osaka Station, the three of us: Philip, Mackenzie, and me. The plan, such as it was, was simple—have a few drinks and see where the night took us. Osaka is good for that. The city doesn’t require much in the way of planning. If you just start walking and follow the lights, something eventually happens.

Our first stop was a subterranean craft beer joint somewhere beneath the station complex. One of those places down a set of anonymous stairs where the ceiling is low, the taps are numerous, and everyone looks faintly conspiratorial, like they’ve all agreed to drink underground together.

We had a couple rounds there and then drifted through the shotengai behind the Hilton. Early evening shoppers were moving through with that unhurried Osaka pace. Nothing felt like the beginning of a legendary night. It just felt like a pleasant afternoon.

From there we crossed over to a classic American hamburger joint opposite the station. Vinyl booths, neon beer signs, and a bartender who had tattoos running down both forearms like vines. American rock played softly in the background. It felt like a movie set version of America dropped into central Osaka.

We ate burgers, drank more beer, and talked about absolutely nothing of consequence.

At some point Philip announced that what he really wanted that night was to go to a middle-aged club. To be clear, Philip was not shy about his intentions. He was, as he put it, “looking for MILFs.”

So we took a taxi down to Shinsaibashi.

The middle-aged club, unfortunately, was closed. It was only about eight and apparently the MILF scene doesn’t really get going until later.

So we did what you do in that situation: we wandered.

For the next four and a half hours we drifted around Shinsaibashi, moving from bar to bar in that loose, happy way nights sometimes unfold. By midnight we had covered a lot of territory. Between the three of us we had consumed something like fifteen drinks over thirteen hours. And yet only Philip seemed even remotely affected by them.

Around 1:30 we arrived at Sam and Dave’s, a legendary dive of a nightclub tucked into the chaos of Shinsaibashi. The security guy at the door looked us over and shrugged.

“Maybe dead now,” he said. “But gets good later.”

Inside it was a haze of smoke and terrible techno beats pounding from the speakers. The crowd was an odd mixture of people who were extremely drunk and people who appeared to be completely sober and studying the situation with curiosity. It was cooking by one-thirty.

Somewhere along the way we met a jovial twenty-year-old British guy named Adam.

Adam and Mackenzie bonded almost immediately. They were trading insults in that cheerful British way—“you tosser,” “you old wanker,” that sort of thing—and it seemed harmless enough.

Meanwhile a group of Filipino girls had arrived, one of whom—Beverly—was extremely drunk and getting progressively more chaotic. Her friends were trying, without much success, to keep things under control.

At this moment Philip stepped in.

Philip has a well-developed instinct for white-knighting in situations where white-knighting is absolutely not required. He began talking to Beverly, which quickly escalated into something resembling a full-scale courtship right there on the dance floor.

Meanwhile Mackenzie and Adam had begun dancing.

The problem was that they gradually migrated off the dance floor and onto a small raised stage that contained a drum kit and various musical equipment.

Within seconds drums were tipping over. Tables were sliding. A cymbal crashed onto the floor.

Security arrived immediately.

They pushed Mackenzie aside and dragged Adam feet-first off the stage and into what appeared to be a small holding room behind the bar where, judging by the noises coming out of it, Adam was receiving a fairly vigorous beating.

Things deteriorated quickly after that.

Philip decided to treat everyone to Irish car bombs. Unfortunately the bartender had no idea how to make one, so Philip instructed him. The Guinness component somehow disappeared from the process and we ended up with small glasses of Baileys and Jameson.

Adam drank one.

At this point Adam completely lost his mind. He began loudly explaining how terrible the UK was, how he wanted to die, how the American guy earlier had stolen the chesty nurse he loved, and a variety of other philosophical positions.

Security eventually threw us out with minimal ceremony.

Outside the situation became even stranger.

Philip was pouring champagne into Beverly’s mouth near the elevator while her increasingly frantic friends asked me if he was a good person. Mackenzie was trying to figure out where Adam was staying so he could get him into a taxi.

Adam responded by pushing Mackenzie into a decorative pond.

Then he began throwing a water bottle at him like he was Bob Gibson pitching in the World Series.

At this point it was around five in the morning.

Philip abruptly announced he was leaving to meet some Brazilians. Adam remained in the pond shouting curses about our mothers. Mackenzie climbed out, soaking wet.

We left.

Mackenzie took a taxi back to his hotel by the river. I caught the first train home from Shinsaibashi as the sun was coming up, completely exhausted.

And that was the night of Fucking Adam.

We never saw him again.

Dedication:

For Fucking Adams everywhere.
Long may you burn.

Note: if you like this essay, you may also like the essay below. It covers a similar slice of nightlife, this time in Kyoto.