Author: Aleš Podbrežnik
Photos: Aleš Podbrežnik
Location: Vaz / St. Poelten / Austria
Concert date: 21.08.2009
Attendance: 70
The second day of FreQuency pretty much carried on the vibe of day one. The difference between the two lineups was that the Green Stage got a proper pop-rock flavor on day two, while the “Race Stage” kept its alternative rock edge totally undiluted.
RACE STAGE
| THE (INTERNATIONAL) NOISE CONSPIRACY: 13.55-14.35 |
This time the action kicked off on both stages at exactly five to two in the afternoon, with The International Noise Conspiracy taking over the Race Stage. This Swedish band is an interesting cross between some retro seventies influences, which point above all to the legacy of American psychedelic blues rockers (if I may dare to name-drop The Doors), and garage-grimy, aggressive punk spring. It’s not just the sound and the style but also the guys’ stage presence, the hippie getup they wear, and even the design of the logo itself that suggest inspiration drawn from the ancient rock archives. “The Cross Of My Calling” is the band’s latest studio release, and from it we got Assassination of Myself, the punchy Hiroshima Mon Amour (which the Swedes used to open their set, boldly and aggressively) and later Boredom Of Safety. This quality band knows full well that nothing comes without hard work, so they really thought of everything. A polished performance, excellent sound, a lived-in, energy-charged show led by their charismatic frontman, singer Dennis Lyxzén. The singer has a piercing, at times grating and impatient vocal approach that fits the band’s sound perfectly. Judging by the birth years baked into the members’ ID numbers, which land in the first half of the seventies, that fact alone is a pretty direct answer to why old-school rock craft is so heavily woven into their vocabulary.
| TOMTE: 14.50-15.35 |
A band named after a figure from Nordic mythology, counted among the representatives of the Hamburg indie rock school. They play soft rock with organic sounds, gently pushed-forward guitars and pretty melodies. Sure, there’s some flirting with punk, but to the ear it sounds totally innocent and, given the band’s dreamy stage presence, even welcome. “Heureka” is their latest album, which of course got a bit of promotion. If you remember Tocotronic at FreQuency two years ago, Tomte gave you a very good energetic approximation. This is yet another hugely popular name, famous of course in the mass circles of German-speaking countries, so the extreme racket the Austrian youth kicked up below the stage during the show was no surprise at all. For a layperson seeing them on stage for the first time, this is a rather boring and uninteresting band, mostly because of the extreme stiffness and lack of originality.
| JELLO BIAFRA & THE GUANTANAMO SCHOOL OF MEDICINE: 15.50-16.35 |
Dead Kennedys’ legendary singer Jello Biafra has finally pulled himself together and built and founded a brand-new band. It features some pompous names, like Billy Gould (Faith No More), who was replaced on tour by bassist Andrew Weiss (who played with Henry Rollins, Ween and Butthole Surfrers), incidentally the brother of drummer Jon Weiss (Sharkbite, Horsey). Gould couldn’t join the band because of pressing commitments with the reunited Faith No More. The band also has guitarists Ralph Spight (Victims Family, Hellworms, Freak Accindent) and Spight’s Freak Accident colleague Kimo Ball (formerly also in Carneyball Johnson, Mol Triffid, Griddle).
Jello, who has already recorded a debut with the band, “Audicity Of Hype”, due out this October, has turned into a notorious preacher about the deliberately instilled intimidation of the masses by conspirators who hold the reins of power in the USA. This time the fear is called “Iraqo-phobia”, and Jello devotes most of the verses in the new songs to exposing the plot of a handful of rulers who, by controlling chaos (fear of everything coming from the Middle East), easily manipulate the American sheep.
Jello has kept the spark with which he put his mark on the rock map back as Dead Kennedys’ frontman. By the sound of it, his new band is a continuation of the Dead Kennedys punk rock legacy, with a whiff of Detroit proto-punk in there. The sound is armed to the teeth with deliberately ragged guitar noise. Biafra’s huge charisma as a one-of-a-kind stage figure, combined with tremendous stage activity (the guy doesn’t skimp on his energy reserves, and the whole stage is quickly too small for him), is a guarantee of irresistible interest from every listener. If nothing else, he wins the audience over with cynical banter between songs. Still, the area in front of the stage was nowhere near as packed as it had been for Tomte. The generation gap did its job here. Jello, with his trademark lisp, didn’t let that bother him, and the band entertained the crowd with sharp-edged, arrogant stage daring on brand-new songs like Electronic Plantation, New Feudalism, Clean As A Thistle, Three Strikes, The Terror Of Tiny Town. The old farts know how, what and why. The first highlight of the festival’s second day. Definitely! Worth catching in club-sized, more intimate venues!
| JARVIS COCKER: 17.30-18.15 |
No less interesting a personality than Jello Biafra, Jarvis Cocker is the founder and frontman of the former British indie rockers Pulp, who played one of the most prominent roles in popularizing Britpop in the nineties. This year Jarvis Cocker released his second studio album, “Further Complications”, which critics see as another step up in Jarvis’s maturing as an artist. He built the setlist entirely from his two solo studio albums, so there were no Pulp surprises for us. Walking on stage, he already allowed himself a bit of extravagance by pointing his palms at the crowd. He’d drawn eyes on them in ballpoint pen. With gestures and banter he tried to cast a spell that would carry everyone off to Jarvis Island. Jarvis had plenty of interesting things to say, too, but it’s a question how much of it got through to the instant Austrian teenagers, who were all impatiently waiting for Farin Urlaub Racing Team, proper German stars, to come on. Cocker is so thin you can see right through him. He wears typical indie attire inherited from the seventies “mod” movement. On stage he comes off at times downright psyched-out and unbridled, which is a welcome extra spice in the indie rock experience of his own self-penned sermons. All in all, alongside Jello Biafra’s set and the unforgettable Radiohead later on, Jarvis Cocker counts as one of the non-German highlights on the Race Stage.
| FARIN URLAUB RACING TEAM: 18.30-19.40 |
Farin Urlaub is the guitarist of the German fun ska punkers Die Artzte. Interestingly, Die Artzte are practically regulars at Nova Rock or FreQuency. Last year they played Nova Rock, the year before FreQuency. Farin Urlaub Racing Team played FreQuency in 2005 and again this year. Unbelievable. Predictable, but apparently demanded and necessary given the Austrian audience’s attachment to German-speaking acts. Practically the entire FreQuency gathered in one single spot that day. In front of the Race Stage it was boiling. You couldn’t breathe, never mind walk normally from one end of the big paved area in front of the stage to the other. Before the show the band signed autographs. You should have seen the 100-meter line of impatient fans wilting in the hot early-afternoon sun. Incredible euphoria over a band I’d never heard of in my life. The whole thing was a celebration, an indescribable ceremony, with 50,000 fanatics below the stage fanatically joining in with the band. Pretty average pop punk, nicely shaped contours that lodge in your ear on the first listen, and a far cry from the kind of chaos Die Artzte can sow on stage. German philosophy when it comes to the indescribable fascination with homegrown bands is something I’ll apparently never get. Farin Urlaub Racing Team promoted their new album “Die Wahrheit übers Lügen” with Unscharf, Niemals and Krieg, and wove older songs into the setlist, including I.F.D.G., OK, Zehn, Sonne and Unter Wasser. The feeling when listening to the band on stage is totally pale, unlived, average, but when you look at the crowd, where it’s boiling, crashing and thundering, it’s clear that Farin Urlaub Racing Team put on an event that’s an absolute chapter of its own. Of course, ignoring the fact that not a single Slovenian visitor would miss them on stage for a single moment.
BLOC PARTY: 20.10 – 21.45
Bloc Party are one of the two big acts that closed out the second day on the “Race” stage. An endless crowd, packed in like sardines, started pouring in below the stage as early as late afternoon, with a single purpose: to secure the best possible spot for a perfect close to the evening. The four-piece from the mecca of indie rock, Great Britain, has a very interesting history, and the most inspiring part is their formation in 2003, when Kele Okereke (vocals, rhythm guitar) and Russell Lissack (lead guitar) came up with the idea of starting a new band. The duo were soon joined by the other members, Gordon Moakes (bass, synths, backing vocals, xylophone) and Matt Tong (drums, percussion). Although many compare the band to Joy Division, Radiohead, The Cure or Sonic Youth, the influence of those bands on their music is truly negligible, as you can hear on their debut record “Silent Alarm”, released in 2005 on Wichita. NME named it album of the year, and it also earned the band a nomination for the prestigious Mercury Prize. A little under two years later the second record, “A Weekend In The City”, came out on the same label and carried on the success of the debut: it peaked at number two on the UK albums chart and became the first Bloc Party album to land at number twelve on the Billboard 200. Under the wing of that same label, the third record Intimacy came out last August, initially limited to online “downloading” and later in physical form too. The handsome foursome kicked off their FreQuency set with “One Month Off” from that latest record, which in a good year since release has already lodged deep in the ears of the assembled flock. Sparks were struck, and the fire raged with “Hounting Witches”, a song from the second album that Bloc Party wrote after the London terror attacks of 2005. In memory of that sad event and as a sign of condemnation, Okereke wove a touch of anger into the melody, taking it to a more personal level. “Positive Tension” was the first song of the night to touch on the debut. But not for long. Another jump back to the third-born brought “Talons” and “Signs”, during which the crowd sang along a bit with Okereke. One of the stormier rounds of applause then went to “Waiting For The 7.18”, which without any needless chatter morphed into “Song For Clay (Disappear Here)”, for which Bloc Party drew inspiration from the novel “Less Than Zero” by Bret Easton Ellis. The first single, which made the Billboard Modern Rock Tracks chart in 2005, was “Banquet”, and many consider it their breakthrough song on the American music scene. Definitely one of those tracks that reaps a roaring ovation. The slightly older hit “Two More Years” flowed into the newest song, “One More Chance”, released as a single in early August this year, and since it’s a brand-new tune, the crowd calmed down a little. But not for long. The mostly electronic “Mercury” poured oil on the fire, and “This Modern Love” cut in with guitars again. “The Prayer” and “Like Eating Glass” boast excellent compositions. Bloc Party wrapped up their set with the mostly electronic “Flux” and “Helicopter”, where you can feel the punk-rock vibes. Like every excellent show, this one ended too quickly. But the crowd wasn’t overly sad, since Radiohead were up next. Like the cherry on top of a fruit pile.
RADIOHEAD: 22.15 –
It’s rare to find a band that has never played in neighboring Austria, so the fact that this would be Radiohead’s first show on Austrian soil was all the more thrilling, and surely an extra bonus when deciding whether to catch the show or not. The quintet, on the scene for a full twenty-four years, storming ahead since their founding in 1985 with a lineup of Thom Yorke (lead vocals, rhythm guitar, piano, beats), Jonny Greenwood (lead guitar, keyboards), Ed O’Brien (guitar, backing vocals), Colin Greenwood (bass, synths) and Phil Selway (drums, percussion). Despite good relations and a huge amount of material, their debut album “Pablo Honey” saw the light of day only after eight years in action. The wait obviously paid off, as “Creep” was Radiohead’s first big breakthrough single and has become an evergreen hit. Plenty of souls hoped that night to hear the song live, but in the end the hope proved to be in vain. Yorke and co. left it out of their repertoire, which counts as an indelible minus for the gentlemen. What’s more, they didn’t touch the debut with a single song. Intentionally or not, that casts a bad light on their whole set. But it was far from bad. Not at all, as the crowd got the chance to hear all their other hits. From the second record, “The Bends”, released in March 1995, they played “Street Spirit (Fade Out)” and “Nice Dream”, and the third album, “OK Computer” from 1997, delivered the hit “Karma Police”, which leads the pack ahead of “Airbag”, “Climbing Up The Walls” and “Paranoid Android”. One of Radiohead’s most successful records is surely “Kid A”, released at the turn of the millennium, which went platinum in the UK in its first week out. And the songs? “The National Anthem”, “Kid A”, “Everything In Its Right Place” and “Idioteque”. The band didn’t forget their fifth record, “Amnesiac”, which came out soon after its predecessor, even if only with “Pyramid Song”. Just as successful was the full-length “Hail To The Thief” (2003), which debuted at number one on the UK albums chart. Radiohead once again sent the crowd to heaven with “There There”, “The Gloaming” and “Myxomatosis”. The biggest emphasis went to their latest studio record, “In Rainbows, released in October 2007, as they played almost every song from it. They came one after another in this order: “15 Step”, “Bodysnatchers”, “Nude”, “Weird Fishes/Arpeggi”, “All I Need”, “Reckoner”, “Jigsaw Falling Into Place” and “Videotape”. Among all those evergreens, the newest piece, “These Are My Twisted Words”, definitely stood out, and the partying died down a bit during it, but not for long. Radiohead carried the crowd through the whole set on the wings of excellent music and a surprising performance. And the mood? It swung from light rhythms, leaned over into heavy psychedelia and then back again. The only minus the band picks up is that they didn’t play the long-awaited “Creep” that night, which is surely one of the reasons to go see them again.
GREEN STAGE
| CURBS: 13.55-14.35 |
Two albums and the prestigious Amadeus award for best alternative rock act of 2003, handed out every year in Austria, sounds very promising, but the Green Stage offered nothing worth mentioning in terms of interesting acts. Curbs are no exception, regardless of the success they’ve had in Austria. A pretty lifeless, static, seen-it-a-thousand-times stage show, with no charisma and no energy, the same worn-out phrases over and over, echoed in the instant repetitiveness of the songs. Pop punk with gently pushed-forward guitars. No standout moments whatsoever, quickly forgotten, easily digestible.
MILOW: 14.50 -15.15
Second on was Milow, a Belgian singer-songwriter whose real name is Jonathan Vandenbroeck. Although the young gentleman already has three studio records behind him and is pretty well known on the local scene, his bigger breakthrough came with his recently released cover of “Ayo Technology”, originally performed by 50 Cent. Despite the fact that all three albums went gold in Belgium and Germany, his music is nothing to write home about. You can even expect the “boom” he caused with that song to die down soon, and Milow will be yet another in a line of acts who sink along with it. And he won’t be the first or the last. Sadly.
THURSDAY: 15.45 – 16.15
The American six-piece post-hardcore band Thursday, on the scene since 1997, has released five studio albums to date, yet still struggles to break through to the wider music scene, even though they’ve already shared a stage with more established acts like Cancer Bats, Bring Me The Horizon, Four Year Strong and others. Their latest studio record, “Common Existence”, released in February this year on Epitaph, helped a bit and also earned Geoff Rickly, Tom Keeley, Tim Payne, Tucker Rule, Steve Pedulla and Andrew Everding a spot on the Punk Is Dead tour, which is well regarded among the HC crowd. Their slot at Frequency will surely bring them a bit more recognition, too. In a good half hour they touched on almost all of their studio records. Although the emphasis was on the latest one, the sextet didn’t forget the second, “Full Collapse” (2001), the third, “War All The Time” (2003), or the fourth, “A City by the Light Divided” (2006). And how did the crowd react? Despite the enthusiasm, many agreed that, given the genre, they’d have fit in much better on the Thursday lineup than the Friday one.
| HEATHER NOVA: 16.45-17.30 |
This gal, too, at her 42 springs, was hotly wanted at the festival, as she’s an artist who has reaped big commercial success in Germany with her album sales. At first glance an offended alternative rocker, she’s more or less a pop songstress cooing about unrequited love pain and the injustices of war. If you’re in some hippie party, you definitely shouldn’t have missed this one. Heather Nova and her five-piece band presented, among other things, her current studio album, “The Jasmine Flower” (2008), and played a repertoire that included (among others) Heal, Heart And Shoulder, Blood Of Me, All I Need, Motherland. Soft and sweet.
| LITTLE BOOTS: 18.05-18.50 |
Little Boots is an English performer whose real name is Victoria Christina Hesketh. Despite her relatively young age of 25, Victoria’s debut album, “Hands”, was a huge success, climbing into the top five best-selling albums on the UK charts a week after its official release. In June 2009. You know how it goes. From there it’s not a long road to Lady Gaga. She started her set with her hit Remedy. On stage she needed just one musician. He came out first. Played a pattern on the synth, put it into “delay”, then sat down at the drums with a Gibson SG guitar (!) and saved a second pattern to memory, which he combined with the first sound loop. Suddenly our miss Victoria appears on stage and the show moves up a level. An electro pop dance mash-up with lots of costume changes between songs. That’s how young MTV starlets do it these days. Superficial, with no depth and no special ideas of her own. Apparently that’s plenty for the crowd. Less music for more and more money.
| KETTCAR: 19.25-20.10 |
It took the German alternative rockers Kettcar to bring a bit more life back to the Green Stage. This is yet another band from the Hamburg indie rock school, with a somewhat shorter track record than their countrymen Tomte, who played shortly before three on the neighboring Race Stage, or Tocotronic. The lineup of Marcus Weibusch (vocals, guitar), Erik Langer (guitar, vocals),Lars Weibusch (keyboards, backing vocals), Reimer Bustorff (bass, backing vocals) and Frank Tirado-Rosales (drums) presented their third studio album, a huge success on German soil, titled “Sylt” (2008). The apple doesn’t fall far from the tree, and if you squinted with one eye and covered one ear, you could practically mistake Kettcar for Tomte. Of course, there are differences in the color of the lead vocals. Kettcar also play melodically sweetened indie rock that’s compact and highly tight, and of course, once again, with typically static stage presence. My nitpicking was naturally disproved by a highly alert and fully motivated crowd noisily egging the band on below the stage. Kettcar visibly enjoyed the view of the field in front of the stage sown with crazed teenagers. The band performed correctly in every way and was highly respectful toward the crowd, which they showed with a few gestures of deep thanks. The repertoire of course didn’t lack the band’s biggest German hits, such as the opening Deiche, Graceland and 48 Stunden.
| MARC ALMOND & THE BAND: 21.15-22.15 |
Marc Almond is a legend of new wave synth pop who took shape on the mainstream scene after the punk wave at the turn of the seventies into the eighties. You probably know the name, as Marc Almond once formed the duo Soft Cell together with Dave Ball, probably best known for the hit Tainted Love, a cover of a song by Gloria Jones (girlfriend of the late legend Marc Bolan of T. Rex). Marc Almond is a gentleman. He knows how to dress, he knows how to spin around on stage. He’s got style. He’s an excellent performer and host who won the crowd over in an instant. On top of the peculiarities of his vocals, where he staged a little school of improvisation through the Soft Cell hits (Tainted Love, Torch, Say Hello Wave Goodbye) and songs from his solo career. The rules of the game were drawn extremely clearly. Marc Almond occupied the bulk of the front of the stage, so he didn’t allow his backing band much exercise during the show. At last the Green Stage got some charisma and meaning on the second day of the festival, too, so it would be unfair to declare it a complete training ground for young, half-established bands of Germanic origin, or young stars still collecting concert mileage. Marc Almond finally lifted the Green Stage’s proceedings to a higher quality level.
| GRACE JONES: 23.00-00.20 |
The headliner role on the Green Stage on the festival’s second day fell to the pop diva of the eighties, the black panther Grace Jones. Booking Grace Jones for FreQuency was quite the surprise. At this hour most of the festival crowd was crushing in at Radiohead, who were playing on the neighboring Race Stage. Luckily, I personally couldn’t care less about sterile MTV wimps, so I fully switched off and gave myself over to the only concert in the three days of the festival that was loaded with real erotic charge! Grace Jones, a big comeback queen with a freshly released album, “Hurricane”, is known for attractive shows that demand constant costume changes. What the visitor remembers most is the palette of the most outlandish headgear Grace swaps on between songs.
At last I could roughly gauge the size of the more mature crowd, which I doubt topped 5,000 heads during Grace Jones. Radiohead’s current popularity among young people simply outweighed everything else.
Grace Jones is truly a magnificent lady. The Green Stage belonged to her. With no competition, she took it over in an instant. The sound was dialed in to perfection. The stage was almost entirely blacked out, with a single beam lighting only Grace. On the left side there’s a makeshift bar for the undressing girls to hang from. Grace climbs up on it and the circular platform beneath her starts to spin as the band launches into probably her best-known hit, Libertango. She dedicated the newer song Williams Blood to the late Michael Jackson. After Jamaican Guy, in the break, with the stage completely dark, you hear only Grace’s whisper: “Give something to suck, drink squezze, just anything!” A moment later the diva appears on stage with a glass of wine and tackles the aggressive Hurricane. Tight rhythms, a flawlessly drilled backing band made up entirely of black musicians, for whom rhythm is by default written in the blood, and Grace’s fantastic vocals. During the Police cover Demolition Man the stage goes completely dark again. Grace, once more almost totally naked, wears a glittering headpiece, and a rainbow beam of lasers circles her constantly throughout the song. Thrilling. At her late 48 years, the woman pulls off incredible moves the whole time, and most striking of all, of course, is her dance where she deliberately shakes her ass, at which the male half of the crowd wakes up instantly!
A show spectacular in both stage play and performance unfolds at breakneck speed, and Grace bids farewell with the hit Pull Up To The Bumper to a drooling crowd that doesn’t stop its loud ovations. She appears on stage once more for Brian Ferry’s Love Is The Drug, naturally recoded into her signature musical language, then vanishes from the stage again, where she’s whispering as she searches for “bells”. She comes out with a hoop she slips around her waist, the techs bring her the missing bells, and for the whole of the closing mega hit the woman spins the hoop on her waist and moves with it from one end of the stage to the other as if it were nothing. The fascination doesn’t let up, and then suddenly the stage goes completely dark, Grace disappears from the stage with her hoop, and the concert ends after just 80 minutes. Without any real competition, Grace thus took the throne of the Green Stage on the festival’s second day and left us immersed in her world of music and entertainment long afterward. The clock had struck 20 minutes past midnight when Radiohead on the Race Stage were just starting their first obligatory encore.
| text: Lea Lesar (Bloc Party, Radiohead, Milow, Thursday) |
| text: Aleš Podbrežnik (The International Noise Concspiracy, Tomte, Jello Biafra & The Guantanamo School Of Medicine, Jarvis Cocker, Farin Urlaub Racing Team, Curbs, Heather Nova, Little Boots, Kettcar, Marc Almond & Band, Grace Jones) |
| photos: Aleš Podbrežnik |
Setlist
RACE STAGE: T(I)NC Tomte Jello Biafra & The Guantanamo School Of Medicine Jarvis Cocker Farin Urlaub Racing Team Bloc Party. Radiohead GREEN STAGE: Curbs Milow Thursday Heather Nova Little Boots Kettcar Marc Almond & Band Grace Jones THE (INERNATIONAL) NOISE CONSPIRACY setlist: 1. Hiroshima Mon Amour 2. Black Mask 3. Assassination Of Myself 4. Boredom Of Safety 5. Up For Sale 6. Child Of God 7. Capitalism Stole My Virginity 8. Body Treatise 9. Washington Bullets 10. Satan Made the Deal 11. Smash It Up 12. The Way I Feel About You TOMTE setlist: 1. Schönheit der chance 2. Wie siehts aus in hamburg 3. Schreit den namen meiner mutter 4. New York 5. Heureka 6. Wilhelm, das war nichts 7. Ich sang die ganze zeit von dir THURSDAY setlist: 1. Understanding In A Car Crash 2. The Other Side Of The Crash/Over And Out (Of Control) 3. Resuscitation Of A Dead Man 4. Friends In The Armed Forces 5. Beyond The Visible Spectrum 6. Division St. 7. Circuits Of Fever 8. Jet Black New Year JARVIS COCKER setlist: 1. Angela 2. Further Complications 3. Leftovers 4. I Never Said I Was Deep 5. Homewrecker 6. Fat Children 7. Don’t Let Him Waste Your Time 8. You’re In My Eyes (Discosong) KETTCAR setlist: 1. Deiche 2. Kein Außen mehr 3. 48 Stunden 4. Im Balkon Gegenüber 5. Landungsbrücken Raus 6. Im Taxi Weinen 7. Graceland 8. Money Left To Burn 9. Nullsummenspiel 10. Ausgetrunken 11. Ich danke der Akademy 12. Am Tisch —encore— 13. Balu BLOC PARTY setlist: 1. One month off 2. Hunting witches 3. Positive tension 4. Talons 5. Signs 6. Waiting for the 7.18 7. Song for Clay (Disappear here) 8. Banquet 9. Two more years 10. One more chance 11. Mercury 12. Modern love 13. Prayer 14. Like eating glass 15. Flux 16. Helicopter GRACE JONES setlist: 1. Nightclubbing 2. This is Life 3. My Jamaican guy 4. Hurricane 5. Demolition man 6. I’ve seen that face before (Libertango) 7. Love you to life 8. La vie en rose 9. Well well well 10. Williams’ blood 11. Devil in my life 12. Pull up to the bumper RADIOHEAD setlist: 1. 15 Step 2. There There 3. Airbag 4. All I Need 5. Kid A 6. The National Anthem 7. Nude 8. Weird Fishes/Arpeggi 9. The Gloaming 10.Myxomatosis 11.Climbing Up The Walls 12.Street Spirit (Fade Out) 13.Videotape 14.Jigsaw Falling Into Place 15.Karma Police 16.Bodysnatchers 17.Idioteque —encore 1.— 18.These Are My Twisted Words 19.Pyramid Song 20.Reckoner 21.Nice Dream 22.Paranoid Android —encore II.— 23.Everything In Its Right Place
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