930 Forums
=> GENERAL DISCUSSION => Topic started by: eatitwithmatt on May 02, 2005, 04:33:00 pm
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Anyone else as stoked as I am?? :) :D :D
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I'm still looking for a ticket for a co-worker who really needs one for his son....he's about to go through some rough stuff medically, so if you have or know of a ticket....PM me.
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i'm pumped ... what are the thoughts on the new album? i've read some solid reviews ... any setlists from this tour?
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the new album is pretty good. seems like he's mellowed out a bit. i haven't seen any setlists so far but i hope he plays emaline.
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Originally posted by HoyaSaxa03:
i'm pumped ... what are the thoughts on the new album? i've read some solid reviews ... any setlists from this tour?
Youre a Ben Folds fan? Would not have thought....
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Originally posted by beedubyah:
Originally posted by HoyaSaxa03:
i'm pumped ... what are the thoughts on the new album? i've read some solid reviews ... any setlists from this tour?
Youre a Ben Folds fan? Would not have thought.... [/b]
sure, i love his stuff ... you and your crew coming out?
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im really looking forward to it. i hear he's amazing live and really involves the audience. it sounds like it will be a very memorable show. i cant wait
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The Onion A.V. Club Interview
Ben Folds
By Nathan Rabin
When the Ben Folds Five single "Underground" hit radio airwaves in the mid-'90s, its attitude was pure Gen-X slacker irony, but its flashy sound hearkened back to the old-fashioned songcraft and big melodies of '70s piano men like Todd Rundgren and Joe Jackson. Ben Folds Five's self-titled Caroline debut sold well enough to get the iconoclastic trio signed to Sony, where its major-label debut Whatever And Ever Amen scored a fluke blockbuster hit with "Brick," a dry, spare, but affecting narrative about taking a girlfriend to an abortion clinic. The album won a big cult following, but the messier, less immediate 1999 follow-up The Unauthorized Biography Of Reinhold Messner failed to match its success, and the group eventually broke up.
By that point, Folds had already released the side-project album Fear Of Pop: Volume 1, and in 2001, he released Rockin' The Suburbs, a typically assured set filled with wry, literate story-songs and infectious melodies. Folds recently unveiled Suburbs' official follow-up, Songs For Silverman, but the singer-songwriter hasn't just been taking it easy between albums. In addition to touring regularly, he released a well-received series of solo EPs through the Internet, recorded an EP with Ben Kweller and Ben Lee as The Bens, and produced and co-wrote much of Has Been, an singular, strangely melancholy William Shatner album that ended up on plenty of critics' Top 10 lists last year. The Onion A.V. Club recently spoke with Folds about his image, seeing kangaroos, and the surprising reason "Brick" became a hit.
The Onion: How're you doing?
Ben Folds: I'm trying to sound perky. It's four in the morning for me still. I just got in from Australia. So if I'm manic, that's why.
O: You might try ingesting several Red Bulls as rapidly as possible.
BF: The problem is, that would make me fucking crazy, because I get, like, way too much energy for about 20 minutes, and then I die. Then I get way too much energy again. It's weird. Right now I'm on the too-much-energy thing. I was trying to harness that energy. I live in Australia for about two, three months a year right now, because most of the time, I'm working. All my good shit's there, our house, my stuff. Even though I live in America more, I feel like when I go to Adelaide, that's when I get to go home.
O: How did all your good shit end up in Australia?
BF: I got married to an Australian. The thing is, she likes America better and I like being in Australia. So there you go.
O: What do you like about Australia, and what does she like about America?
BF: I just feel at home there. I get off the plane, the air feels right. I know the neighborhood. It's all geared to me walking down the street and accomplishing anything I need to. I can do everything by foot there, and I know everybody, and it's just comfortable.
O: Do you get recognized a lot there?
BF: Yeah, but it's different. Like, I was walking around L.A. for a couple of hours and having people shout out their car windows and stuff like that. The occasional person will stop me, or whatever. It's more of a celebrity thing. In Adelaide, they all know I live there. People who normally wouldn't have heard my music are familiar with it because I live in Adelaide. So they just nod. Everyone I pass, "How you doing?" "How you doing?" I go into somewhere that I've never been before, to do my laundry or whatever the hell, and casually, while they're doing their thing, they go, "So, has your tour just started?" It's like that. You just kind of know everybody. It's nice. I get my little place in the café that way. It's a nice way to live.
O: Do you get to interact with koalas and kangaroos?
BF: I've never seen a koala! I've seen lots of kangaroos now, but I've never seen a koala.
O: Is seeing kangaroos exciting?
BF: Hell yeah! I was trying to photograph one with a 4x5 field camera. You know much about those? It's slow work. It takes a lot of technique just to set it up and focus it. You have to go underneath a dark cloth cape and all that shit. There was this big red kangaroo on the top of this rock. It was about 25 feet from me. So I started to set up. He stood there for the longest time. And just as I soon as I got a camera set up, he hopped away. He was a big motherfucker. We had a moment. He decidedâ??he must have been downwind or something. He was like, "Okay, this is a person. I need to get out of here." So he split. They're pretty amazing animals. They'll fucking kick the shit out of you, too. You can't get too close to them.
O: In a recent interview, you said that doing promotion for your new album is very different than for your first solo album. How so?
BF: My first solo album almost inevitably had to come fromâ??a point of view arises with the press. The press is like any business. It's a group of really intelligent individuals that ends up being one slathering, one-eyed, drooling monster. It's like a story is decided upon in its sleep. And no one's aware of the meeting or anything. It's just, all of the sudden there's this story. The story behind my solo album was, "Thirtysomething-year-old dude in one-hit-wonder, cult-following band makes an overproduced album and will disappear soon." [Laughs.] So the line of questioning and the reviews and everything put me on the defensive. What do you really say to that? It's like, "So, how long before you cash it all in? Because you basically are washed-up." That's the subtext. It was pretty tough. It would always be accompanied by, "Well, that's what they say, but between me and you, you know I stick up for you."
This time it's not really like that. This time, it's more like, "Oh. That fucker's still making records? It's not that bad, really. Hmm." [Laughs.] Which is much better. I don't really have a story. I don't cook up something to be presented. If I'm asked about my record, I don't really go over the top with my own glowing review about how fucking great my record is. I'm aware that I'm very fringe, and it's nice that way. The last press wasâ??I just had to be on the defensive the whole time. It's like being in the position ofâ??in half of the industry's mind, you're kind of a cult-following, independent rocker. And on the other hand, you're a sellout. But neither one of them are right. I don't get that much radio. I don't sell that many records, and my music's extremely accessible. So it puts me in a weird position as far as the press goes. There's no story. I don't know. I'm not that damn good-looking. So there you go.
O: But you have a real following, a solid fan base.
BF: Oh, it's one of the heartiest fan bases, reliable, built like a truck kind of thing. They're pretty solid. They're unshakeable. I play two, three, four, five thousand in every town with very little promotion. They know all the words to the songs. The people that open up for me get lots of airplay and great reviews. And they're lucky to get the opening slot. [Laughs.] It's just a weird little world. It's cool. I really like my position. It's a great position. But, yeah, if you come up with a story, let me know. I'll start spouting something. I haven't cracked the code. I don't really know.
O: When you first came out nationally, you certainly did have a story and a gimmickâ??you were the zany guy who plays piano. Did you regret that image?
BF: No. I didn't regret that. We were a good business. I wrote songs, and they were complicated, and I knew that, so I knew that we had to sum ourselves up in a sentence. "The piano band that rocks. By the way, they're nerds." That's basically it. I can't put it in one sentence these days. It's because I can't do it with a straight face anymore. I can't sit around like my own marketing guy and come up with something. It's a bit frustrating, because I wish I could. [Laughs.] I wish I could make myself do it, but they lined up about 200 asses for me to kiss, maybe more, 250, for Rockin' The Suburbs. I got through the first 50 and started choking. I couldn't do it anymore. After that point, I seem to have just retreated to making music and doing the best I can for promotion. I seem to have hit some equilibrium, and it's good. I don't really have to explain that part as much anymore. But, yeah, what would it be? "The piano band that rocked." That was it. Now, it's "The guy that's been making records for a while and writes good songs and talks about himself for six hours a day on the phone."
O: In the mid-'90s, guitar-based alternative rock was the preeminent form of music; your piano-based power-poppy stuff was swimming in the face of that. Do you feel like you're still an anomaly, or has the pop world moved closer to you?
BF: No. I'm definitely an anomaly, but I'm making things. They're selling, say, martinis, and I'm kind of making vintage Riesling. People aren't going to sit there very often, not your average public, and your average music-business monster is not going to take the time to notice the overtones and the undertones inside the flavor. They'd rather just have the martini. But I continue to just build these things, and I know that there's a lot in it that goes by people. Because I write very simply, but inside the simplicity, there's a lot of subtlety. That's what I'm proud of. But how do you say that? It's something I've always wanted to achieve in my music, and I'm starting to. But I'm not going to be able to tell anyone, explain that to anybody very easily.
It's likeâ??I love photography, and I liken my new album to a collection of Wynn Bullock prints. With Ansel Adams, everyone's going to go, "Wow! Ansel Adams! Big, big landscapes! Huge! Amazing! Yeah, Ansel Adams!" Wynn Bullock... "Yeah... uh... not... no." Because he just built very subtle, simple prints that are lasting. Over the course of time, they are proven to really hang in there. They're understated. And I made my name being overstated, smashing pianos. Now I'm making more understated music sometimes. You listen to it the first time, and maybe you're compelled to listen to it again at some point, but it's not going to do the trick on the first listen. I think that's another reason we don't have a story.
O: Your music often seems to be about the past, and to carry a real sense of regret. Why is that such a resonant and persistent theme for you?
BF: I think it's how you read it. I write, as they've told me in the movie business, coming-of-age songs. I do that because that's just the way I see things. I'm not a very regretful person. In fact, I'm probably more regret-free than anybody I know, but I take time to sit on the cliff just a second and go, "Wow! Look where the fuck I went!" A song I had on the last recordâ??when people listen to it, sometimes maybe they misunderstood it as "It sucks to grow up." I was talking about "It sucks to be born," or "It sucks to be pissing your bed when you're 80 years old." I don't bum about aging and moving on. The past and the present are all there when I'm writing. Even if it's just implied. Usually, if it sounds as if I'm bummed about something, if you just really read it, you might see sometimes how it's built to not really be like that. At the end of the thing, I want all my songs to be positive, because I'm not a depressive person. But you can't be happy without being sad, and vice versa. So the presence of both sides makes for more of the way real life is.
O: It seems like that's kind of consistent on the William Shatner album as well.
BF: You know, that's all him. That's all his words. I think that's what drew me to it. I've read a lot of portrait photographers who say that a good portrait is one of someone where they are wearing, somehow, in their expression, where they've been and where they're going. I think when someone really goes to tell you something about what they're thinking, they're going to wear that experience with them. That's what you have to share. On the Shatner record, he's basically telling us that when he was a kid, he thought something was going to happen. He was waiting, and now he's 75 years old and he's still waiting. It doesn't get any better, kids. That's pretty good information. It's like he's way up there at the top of a cliff and he's yelling down. We're like, "Did you find it!?" He's like, "Uh, no!" [Laughs.] It doesn't exist, keep going. So when I say something about aging, it's always about any age. It's never about one particular age. People are so scared of talking about age because there's only one age for a rocker, and that's a young man. Because people are marketed to at their disposable-income age, which has been deemed to be the cool age, from 18 to 25.
O: That's when you can be on The Real World.
BF: Exactly. That's when you can be on anything. That's the age that is marketed to. And the funny thing is, everyone else goes, "Aww man, that was amazing! I wish I was still... I'm still young! No really, I'm still young!" Because their age bracket gets no respect, because of the way we market things. So anyone that's outside that age group had better not talk about age, because they'll draw attention to the fact that it's not cool to be any other age. I personally feel fine. I don't care. Age should be an issue for me only for something I can't do, like, I'm out of breath or something trying to play piano.
O: You've described Has Been's theme as William Shatner saying, "I'm 75 and I can't get my shit together." Would you say you have your shit together at your age?
BF: Nobody does. It's all about balance. And that's fine. I'm much better off than I have been sometimes, and I expect like anybody, I'll slide and go into something else. That's another thing. I don't write songs from the positionâ??I hope I don't write songs from the position of Tony Robbins. I'm not saying, "Hey kids, I've got it together and you'll see, here's how it goes." I write from a position of being slightly confused or vulnerable, because that's the way I see things. I want to be more or less honest. Unfortunately, marketing works so well that I can feel as the times change that it takes more for someone to let it dawn on them that they want to hear the marketed 18- to 25-year-old thing. That hasn't always been the case. If you listen to, say, music in the '70s, it's okay for Cat Stevens, total fucking hippie, to write a song for his kid. Who gives a shit? That's fine. He smokes pot, writes a song for his kid. He goes out and he's a rock star. He's on the radio. It's all good. You don't do that now. I did it, but I don't know many people that do. You don't go out and write a song about your kid. I actually applaud Eminem for doing the same. He has that "hush little baby" song ["Hummingbird"] on the radio. I thought that was really touching. I thought it was amazing that he would let himself be that un-rock-star-like. It's very cool.
O: In the '90s, it seemed like being vulnerable and openly emotional was more taboo. That was part of the whole Gen-X thing.
BF: I always slip that between the cracks in my records. It'd be like, "Gimme back my black T-shirt, you bitch," and then the next song was just about as earnest as you can get. Whether it's "Evaporated" or "Brick" or "Selfless, Cold And Composed," those aren't smart-ass songs. Those are very earnest songs, but they're couched between other things, because that's the way the times were, I guess.
O: Do you feel like you don't get enough credit for either of those things?
BF: I might not get credit in the mainstream thing that I'm talking about, but I get plenty of credit. I really do. I feel very validated and loved and all that bullshit. I feel totally fine. It's just when I have to operate in the world that me and you are now, where we're promoting an album, basically. Then it gets tough. But I didn't expect when I was 12 years old that I would write songs and millions of people would hear them and like them. That's freakish.
O: Is that what you had hoped for?
BF: Oh yeah. I probably didn't think about it like that, but anyone would hope for that and it would be good. But I didn't expect it. To me, then, that's enough credit. There's always more credit to get. I mean, if you're Elvis Presley, you're probably slightly bummed that people in tribes in Africa have never heard of your music. There's always someone out there. There's always one more.
O: You can always be doing better.
BF: You can always be doing better, and there's no one who's immune from it. I hope to God that I never allow myself to be bitter because I don't feel like the reviews are good enough, or I don't feel like I get credit. But that takes work, because I have to live in the middle of it too. Someone can go "So-and-so's album is just getting great reviews, and yours is kind of not." And then I go, "Wait a minute! My record's better than that motherfucker's, and they're going to know in 25 years!" I can start to get mad about it, but then I go, "Man. I have a good job. Shut up."
O: "Brick" was quite the anomaly for a hit. Why do you think such an unconventional, downbeat song became such a success?
BF: It was just damn good, lucky timing. It probably comes down to that we entered the scene as such an anomaly. We made ourselves that way. We played punk-rock clubs instead of doing what everyone wanted us to do, which was to play lounges and places with pianos. I came up through those ranks, so our introduction to the music business was all about CMJ and NME. It was very like, "Here's the next thing." Everyone knew we were going to have a hit. No one knew which song it was going to be. It was almost random. It happened to be that at the same time, alternative radio wanted a power ballad.
O: Ben Folds Five is full of really catchy great songs that you can imagine being huge hits on radio. " Brick" isn't really like that. It seems a lot more subtle and subdued.
BF: It couldn't afford to be flashy. It wasn't because I just wrote the song that was about an experience I had. It was a very honest song. A flashy version of that wouldn't have flown. It was a well-cast song to be on KROQ at the time. It was generational. It fit the times. It wasn't going to be like "Wind Beneath My Wings." That wouldn't have worked.
O: Do you think working with William Shatner influenced this new album?
BF: It did, because it was such a not-lonely experience having all these people come through. The presence of this greatness popping through the studio was just really nice. I was making my record at the same time by myself, and it was more lonesome. Then I was like, "Oh man. This is what I have to do. I've got to do this not all by myself."
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Whoever has the balls to compare Folds with such a genius as Joe Jackson should have said balls ripped off by a pissed off pitbull terrier.
And it's hardly going to be a "memorable night" now is it? An evening of pleasant entertainment maybe, but come on.....'memorable night'???It's ben fucking folds for crying out loud....
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i'll be there on sunday...never seen ben live, but i've heard he's one hell of a performer. can't wait.
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Interestingly, I just saw Joe Jackson and Todd Rundgren do a 'co-headlining' show at The Warner Theater. Nary a peep about that show on this forum. Jackson is so great....I was interested to hear Rundgren as I'm not that familiar. Eh.
As for Jackson, he didn't play nearly enough and it was a sedate setting, but I'll take whatever I can get from him...
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Two of my favorites, but this one was way too expensive for me. I was worried about short sets, and you never know what you're going to get with Todd.
Now if Utopia would reunite, I'd be all over it.
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I got a box seat ticket gratis; I don't even know how much the show cost. Your worry over short sets was on point. And half of Rundgren I did not enjoy at all....he was much better on piano than on guitar, and sometimes his voice was -- piercing may be a good description.
I don't know much Utopia, though they had one song I loved so much -- but I cannot remember the title or the song (it was a really, really early video with Todd walking over a post-apocalyptic land....).
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i've seen ben folds (five) an absurd number of times, and he/they were pretty great each one. i'm not going to this one, because the main reason i went like 7 times is because he/they were one of the few acts that hit pittsburgh every time. don't like the new one all that much. some decent tunes, though
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Originally posted by Bombay Chutney:
Two of my favorites, but this one was way too expensive for me. I was worried about short sets, and you never know what you're going to get with Todd.
Now if Utopia would reunite, I'd be all over it.
Maybe these will help,all sound really good,some audio clips on the site from the shows: http://www.cafepress.com/f451 (http://www.cafepress.com/f451)
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ben is AMAZING live.
one of the best live performers out there.
and yes, the shows are very audience-oriented.
he usually splits up the audience to sing the horn parts in Army, and the harmonies in Not The Same...because...it's just him and a piano.
fun as fuck.
i will be there on sunday.
about 234098234 hours early, waiting in line outside, too :)
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actually on this tour he has a bassist and a drummer who i know sing verses live on his cover of dr dre's "bitches aint shit." i hope that the audience interaction stuff still happens though, but the band will probably do some background vocals as well.
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i'm djing this show for which i'm a tad excited about. was once a huge Ben Folds Five fan but lost interest when he went solo. expect loads of power pop, etc... now where did i put my Betallica CD...
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Ben folds is gonna play somewhere around 20-22 songs tomorrow night. I am so excited for this show. I also heard he sticks around afterwards and hangs out at the smaller venues, so maybe he will chit chat with us tomorrow :)
Set list from another show on this tour from BF boardie!
1. In Between Days
2. Gone
3. Theres Always Someone Cooler Than You
4. Jesusland
5. Bastard
6. Still Fighting It
7. All You Can Eat
8. You To Thank
9. Landed
10. Bitches Aint Shit
11. Zak and Sara
12. Kalamazoo
13. Emaline
14. Brick
15. Army
16. Gracie
17. Trusted
18. Rockin The Suburbs
19. Philosophy
Encore 1
20. Late
21. Not The Same
Encore 2
22. One Angry Dwarf and 200 Solemn Faces
That's right 2 Encores!!!
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YES!!!!!!!!!!!
oh my god.
hokay. i am SO excited. i just popped in his new album.
and i am most definately sticking around after the show.
in fact; we are baking him cookies. and possibly corn muffins for corn mo :)
i'm glad he got to some old stuff, too!
all i know is that he needs to play underground.
let's start an underground rally.
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May 8, 2005
Arty, Twangy and Carey
By BEN FOLDS
The New York Times
Since dissolving his ironically named trio Ben Folds Five in 2000, Ben Folds has continued to ply his brand of piano-driven pop on his own. In April, Mr. Folds released his second solo album, "Songs for Silverman" (Epic), and he performs tonight at the 9:30 Club in Washington and on Tuesday at Town Hall in New York. Speaking recently with Joel Topcik, Mr. Folds discussed what he's been listening to and why.
Mariah Carey
She's got the most amazing voice. Although the production on her new album, "The Emancipation of Mimi" (Island), may turn some off, I find the sheer talent involved reason enough to listen. I love classic soul ballads like "Mine Again" and "Fly Like a Bird." I also like that she's using her voice on this album more like a male singer might, like Prince. She could show off and belt, but she's evolving and doesn't seem to need to prove herself every bar, so you get the interpretation of an amazing singer.
Ben Lee
Ben Lee's "Awake Is the New Sleep" (New West) is a great record - even if I didn't know him or hadn't played with him, I'd still pick this one. It's a very enlightened record with an almost spiritual message. It's not "All You Need Is Love," but if there was a message, that would be it. It's about letting your guard down and being yourself. The song "Gamble Everything for Love" says it all. It's got a country, 70's, Neil Diamond sound - think "Solitary Man" - but with a reggae thing going on beneath it. His voice and his style are one of a kind; you know immediately when you hear Ben Lee that it's Ben Lee. I guess that's why he annoys people, especially back in Australia, where he's a household name. But he's an individual; that's enough to annoy some people.
M. Ward
Matt Ward, the Portland, Ore., singer and guitarist who records as M. Ward, isn't as transparent as most songwriters I'm drawn to; I'm not sure who he is when I listen to his music. But I like the world he's creating. His new album, "Transistor Radio" (Merge), pulls you into this romantic, impressionistic world of someone who likes old AM radio. "One Life Away" sounds like it was recorded on a broadcast recording console that was state of the art in 1945. The album opens up into a very wide sound with his voice coming from all around you rather than straight up the middle. It tells you he wants you to be inside his head.
Greenskeepers
I don't know anything about this band. I just heard this song "Lotion" on Triple J, the free-form radio station in Australia. It ties into the movie "Silence of the Lambs" with the line: "It puts the lotion in the basket or else it gets the hose again." I've never seen the movie; I described the song to a friend of mine who'd seen it, and he immediately knew the line. But the song is great abstract storytelling - they're painting a really interesting, creepy story in the song. It sounds like art students all picked up instruments one day and decided to start a band. ("Lotion" appears on the band's new album, "Pleetch," on OM Records.)
Lemon Jelly
Ambient or electronica - or whatever the current terminology is for electronic music - isn't the kind of music I normally listen to. But the guys in the U.K. duo Lemon Jelly are really good. On "64-95" (Impotent Fury), their latest album, out in January, it's not clear where the musicianship comes in and where computers come in. It's not purely sample and loop stuff, either. I'm a fan of developed melodies and motifs and good composition, and I don't hear a lot of electronic music that's developed in a compositionally sound way; a lot of it just gets tedious. But these songs are very well crafted.
LCD Soundsystem
I love that song "Daft Punk Is Playing at My House" by LCD Soundsystem, the producer James Murphy's dance music project. It's loads of fun. It's the first song on the current self-titled album, on Capitol. It has a little Talking Heads thing to it, also a little funk. I'm hearing a guy with his thumb on the bass in a really irresponsible way; it's not like Parliament-Funkadelic - he's just playing too hard. The lead vocal is just cocky and fun. It's the best kind of party.
Clem Snide
Eef Barzelay, the singer and guitarist for Clem Snide, is a friend of mine: I've been listing to his music for a while. His last record, "Soft Spot," was fairly mellow; "End of Love" (Spin Art), which came out in February, has a bit more of a twang to it, which I think is natural for him. He's always had that little bit of a country thing. Really, his old music and his new music sound the same to me - it's all about the words for me. There's a sadness inside his humor. A lot of people will just play a minor chord and tell you they're sad; the sadness in Eef's songs is emotionally complicated and not obvious, which makes it more real to me.
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what's the word on corn mo? worth getting there early?
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i really enjoyed the concert. corn mo was actually really entertaining. his rants inbetween songs had me cracking up. he put on a surprisingly good show. ben folds was amazing. he really involved the audience and was an overall incredible performer. the setlist was really good as well.
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wooo hooooo i have the setttt liiiiiiiiiist.
uh huh.
uh huh.
corn mo = my life. i love, love that man.
yes, i was one of the girls that threw the flowers on stage ;-)
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we got there a little late and i just heard corn mo's last song, a metal version of hava nagila, which was pretty funny, i guess ... sounded a lot like tenacious d
ben folds put on a really good show ... i haven't been following his solo career so closely, so i didnt know a lot of the songs, which felt kinda weird to me ... but they all sounded familiar enough ... he's just a great songwriter ... i would have loved to have heard 'eddie walker' and some of the older stuff, but i know he's moved on from that for the most part ... fun show overall ...
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according to someone on the benfolds.com message board, ben was supposed to come back for a second encore and play one angry dwarf but 930 put up the lights and started to play music. how could this happen, a second encore would have been amazing.
melanor_rigby: Incidentally, I've word from another message board that Ben was s'posed to come out for a second encore (that was to be OAD) but that the venue put the lights on and the music up so people left.
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well i wasn't there because i had to leave due to early start on monday, but this seems a bit far fetched as it's not hard to turn back off the lights and music quickly. and i'm guessin ben has his own soundman
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ok guys, watching them live has been my dream for years, now there is the chance, but i don t know how i can get the tickets, i mean i don t mind calling sick tomorrow and get in line 7am, but i am already sick i can t wait all nite, do u think i would have no chance if i go in the morning? or is there anyone who would give me a big favor and get me one?
just one...
please email me
cellmafish@yahoo.com
or u know what call me:)
202 4132310
selma
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do you seriously want to post your phone number here?
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Originally posted by cellmafish:
ok guys, watching them live has been my dream for years, now there is the chance, but i don t know how i can get the tickets, i mean i don t mind calling sick tomorrow and get in line 7am, but i am already sick i can t wait all nite, do u think i would have no chance if i go in the morning? or is there anyone who would give me a big favor and get me one?
just one...
please email me
cellmafish@yahoo.com
or u know what call me:)
202 4132310
selma
what goes on sale tomorrow that has any relevance to the Ben Folds thread?