To flip someone off in Ireland and the UK, you make the V-sign and hold it out palm inwards. Usually, the index and middle finger are closer together than, say, in the gesture you would make ordering two gyros at the falafel truck.
This version of the bird ("the two-fingered salute" as they call it) was designed and put into order by Parliament specifically and for no other reason than to enable Shane MacGowan to flip you off every time he takes a drag from his cigarette on stage. It's a fact. Look it up. And while you're at it, pogue mahone.
The Pogues played their first-ever KC gig last night at the Midland, and everything was in order. The boys were musically tight, Shane was figuratively tight, the mood in the not-quite-full auditorium was festive -- perhaps too festive if you happened to be in the mosh pit down front -- and the best Irish band in existence (sorry, Bono) delivered the perfect set of silliness, sentimentality and rhythms to smash a beer tray over your head to.
Before a few weeks ago, I, like many, associated the Pogues as much with MacGowan's reputation as a drunken, dentally challenged bounder-bard as with classic songs like "Fairytale of New York" and "The Sunnyside of the Street."
Pretty much from the moment last night's concert was announced until the moment MacGowan ambled on stage, two stagehands lighting the way with flashlights, there had been no end to commentary on whether or not Shane's reputed habits would get the better of him. In fact, on the elevator in the parking garage across the street, we ran into a friend who claimed to have attended a Chicago Pogues gig in the past at which MacGowan was MIA.
To end the suspense for you, MacGowan was fine. He was a bit wobbly, but the dude was in it to win it. Yeah, he needed the aforementioned help, and he wiped out totally on one occasion as he made his way off stage during one of his several breaks. His "Thank you"s were hopelessly slurred, as was his attempt, toward the end, to say, "You've been a fucking great crowd, whoever you are."
But when it came time to sing, his raspy, grinding voice sprang into working order like a vintage distillery, giving sweet, rusty beauty to ballads ("Brown Eyes," "Dirty Old Town," "Rainy Night" and many others) and brawls ("Streams of Whiskey," "Bottle of Smoke," "Sickbed" and many others) alike.
Secondly, there are other dudes in the Pogues, and they're a delight to watch doin' their thing. There's petit, princely Philip Chevron on guitar (I interviewed him, look); knees-bent-running-about-advancing accordionist James Fearnley; shrieking, arachnoid Spider Stacy on tin whistle; stately and dapper banjoist Jem Finer; drummer Andrew Ranken (who sang lead on "Star of the County Down"), bassist Darryl Hunt and mandolin and bouzouki(?) player Terry Woods. Shouts of I love you, Spider! were frequently heard from where I was standing, right down by the barrier near the stage left side.
Speaking of where I was standing: A mosh pit raged within reaching distance of me pretty much all night. Didn't think you could mosh to a slowburner like "Pair of Brown Eyes"? Think again, said the meatheads, shirtless wonders, crazed squares and tattooed bohunks in the audience. That was one diverse mosh pit. Black guys, mohawked punks, pale white guys in horn-rimmed glasses -- everyone was Irish down in the shit. And if someone splashed a drink onto the stage, did the band mind? Is that all you've got? retorted the Pogues, silently.
By the end of the night, after nearly two hours of transcendence that began with the Pogues entering to the strains of the Clash's "Straight to Hell," the band closed its second encore with "Fiesta," which in Poguese, means grand finale.
When the song ended, Fearnley was on his back in front of the monitors, Shane had splashed thalf a chilled bottle of white wine down the front of his shirt, and Spider had demolished a baking pan with his head. MacGowan was last to leave the stage, at first muttering in Spanish, then croakily crooning "Goin' to Kansas City."
Someone tell these guys they're in their 50s. No, wait. Don't.
Pogues set list
Streams of Whiskey
If I Should Fall From Grace With God
The Broad Majestic Shannon
Young Ned Of The Hill
Boys From The County Hell
A Pair of Brown Eyes
Tuesday Morning
Kitty
Sunnyside of the Street
Repeal of the Licensing Laws
Body of an American
Old Main Drag
Thousands
Dirty Old Town
Irish Rover
Bottle of Smoke
Sickbed of Cuchuclainn
first encore
Star of the County Down
Rainy Night in Soho
Sally Maclennane
second encore
Paddy on the Railway
Fiesta
The rock 'n soul covers band Detroit Cobras opened the show. They are led by Rachel Nagy. I like her.
Pogues-Script: MacGowan's "Goin' to Kansas City" wasn't the only Cowtown nod. Before leading the band in "Thousands Are Sailing," Chevron sang a few bars of "Everything's Up to Date in Kansas City" from Oklahoma!
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Thank you for the review, but I humbly disagree completely with your assessment. I am a big fan of the Pogues, from years back, and I was excited that they were coming to KC.
I saw them twice years ago; in Oslo on their Peace and Love tour and again in Los Angeles on their Hell's Ditch tour (Joe Strummer was on vocals at that show, as Shane was unable to perform - a treat for me, but kind of sad too). I know what they are capable of. On Sunday the "band" was in great form - I was surprised that after all these years they could still generate so much energy.
But Shane just was an embarrassment. I get that his being wasted is part of the deal - I've followed these guys for years; I know what's up. But he was barely able to shuffle himself over to the mic, and when he went to the drum kit, grabbed a stick, and began beating at a cymbal, he wasn't even CLOSE to time. Unable to walk, unable to perform 3 songs in a row, hardly able to stand in front of a mic, he was the poster child for a washed up has-been. I'm sure a lot of fans saw what they wanted to see in this show, and I can understand that. But I've seen them before and know what could have been, and the sad display Sunday night wasn't even close. The band still has it, but Shane's days are through. I left because I don't want to remember them that way.
Sitting up in the balcony we had a great view and enjoyed the show. But I have to say it was almost the worst sound mix I have ever experienced. Not sure I would go back to the Midland again because I understand the sound issue is not a one time thing.
What was very cool about this show is how intimate it was. I was right down there, almost in the mosh pit (I was a shover-back-in'er) and very close to the stage.
Audio was a bit muddled, but it wasn't too loud, rather enjoyable...
Glad I got to see them finally!
Couldn't agree more with your assessment of things! We were walking by the stage door on our way to a pre-show pint as the band was doing soundcheck...Streams of Whiskey, to be exact...and I could tell just from the little bit we heard that the boys were in fine form.
I have to admit, at my advanced age of 37 years, I decided that discretion was the better part of valor and stayed away from the lowest level and mosh pit area. 15, 20 years ago I'd have been in the midst of it, but nowadays I have to be able to count on walking the next morning! We were on the second standing tier above the pit level, which put us right about stage-height, and it was great.
One of the greatest shows I have ever been too, and hey I think that guy we threatend learned his lesson Nick ;)....And I was the guy who kept on shouting "WE LOVE YOU SPIDER!!!!" And the funny is he responded: "Oh, Shut Up"
Thank you for translating Shane's ramblings at the end. I was close enough for him to spit on me, but couldn't understand a word of what he was saying.
great show, loved the article..
Yeah, man, you put the fear into that guy! After you upbraided him, he vanished and was replaced first by a bouncy little lass then, I think, a Molloy brother.
I've noticed different PA configurations at the Midland for different shows. Usually, though, what you gain by being up close you lose in sound quality.
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