|
Posted on
08.03.06 by Widge @ 9:35 am
Okay, to close this out…I found out who the "fucking genius" was who came up with how the tickets were handled: The man himself. So it looks like Tabernacle's off the hook. They were probably doing the best they could given this half-assed will call idea. Anyway, Tom admitted as such on-stage and advised us that he made us show up with ID and credit cards with everything on will call in order to keep tickets off of eBay. He was cruel only to be kind, in others. While he's well within his rights to put whatever parameters he wants on attending his show, there are easier ways to achieve that objective that do not involve making your audience stand out in the heat for a fucking hour. Have the purchaser provide names for each of the people he's buying tickets for, have the names on the tickets, and have everybody show up with ID at the door. That would also negate the two tickets per person nonsense. Or at least do two lines: general admission and assigned seats. We were in assigned seats because we're old farts and can't stand up for two hours. But hey, we got to stand up for an hour outside. Good job. So for anybody showing up for a Tom show, get there really fucking early–even if you're not general admission. He gives a great fucking show, no joke at all. Love him. There's nothing quite like "Goin' Out West" live. But he's no logistics expert. Taggification: atlanta, tabernacle, ticketbastard, tom-waits Filed under: General BS
|

John Robinson is a writer of prose, poetry and comics who also writes under
the pseudonym of Widgett Walls.
This is my latest book. Short stories written especially for you, or at least someone who reminded me a lot of you at the time.
Widge,
Glad you liked the show. What was his set like? He play anything Pre-Rain Dogs?
Comment by David Gallaher — August 4, 2006 @ 8:48 am
Indeed. "Shore Leave," "Heartattack and Vine," sadly nothing from Small Change, though. Set was pretty much all over the place. I was a little surprised he didn't segue from "Goin' Out West" straight into "Big in Japan," honestly. It felt like that was what was coming next. Lot of slower stuff. "Murder in the Red Barn" was very bluesy and it was an odd variation of it but good. It was damn good…they had somebody with a digital video camera there, perhaps they're compiling stuff for a live DVD, which would be nice.
Comment by Widge — August 4, 2006 @ 10:04 am