lifeblood: listlogs: 1998v01n173-news

ig-news-digest         monday, august 31 1998         volume 01 : number 173

today's subjects:
  [ig-news] more mpls sst                         [casey <>]
  [ig-news] scene mag. review of ss-cleveland(long)  ["<leslie c.>" <ndigogr]
  [ig-news] chicago tribune article         [sherlyn koo <>]


date: sat, 29 aug 1998 22:53:54 -0500
from: casey <>
subject: [ig-news] more mpls sst

[sherlyn's note: this is an excerpt of a message which was
originally sent to the indigo girls mailing list at]

here's a setlist for the minneapolis sst:
the corner of my setlist got ripped actually so i don't know the first
song, but it was a jean smith spoken word thing with tahlia zedek on guitar
and jane siberry on keyboard.  and jean told me afterwards it was the first
time they had done this one.
okay from there it goes like this....
under your skin
roll the dice
tengo la vida
faye tucker
pulling a cloud
love is everything
pale light
a song by rose p....don't recall the title, the setlist just says rose, but
amy added that she was doing this particular song because a&e had requested it
chez virtue   this was gail ann amazing song!  emily was on
way below radio
soon to be nothing
power of two
midnight train to georgia
well, that's the setlist.  looking at the setlist, it seems emily was on
the stage more than anyone, only one song she didn't play on, and that was
the opening jean smith deal.  if anyone wants more info off the setlist,
it's pretty detailed, e-mail me privately.  and amy did mention that it was
lisa germano who put it together.  


    i too forgot how much i loved jane siberry, and amy was smiling and
making gestures to her during the fisherman song, which was really a funny
song in some ways, but amy was kind of standing back from her mic and
singing along with jane, as though she just really liked the song and
wanted to sing.  
    i was most impressed with lisa germano and gail ann dorsey, neither of
whom i'd heard before, i spoke with gail after the show and she expects to
have her first solo release out soon, possibly before the end of the year.
her singing on midnite was also killer!

"how many physical goods can you amass?  a better way to measure wealth
is how many unique experiences you have had.  what captured your attention
then and forevermore?"   - esther dyson

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date: sat, 29 aug 1998 23:59:06 edt
from: "<leslie c.>" <>
subject: [ig-news] scene mag. review of ss-cleveland(long)

[sherlyn's note: this message was originally sent to the indigo
girls mailing list at]

"suffragette sessions
buffalo daughter
august 22

        their mamas always told them to share. so when these 10 particular
women took
the stage saturday night, they did it all together.  the stage looked more
like a reunion of the band and the variety of songs and styles was a bit risky
to pull off. but "the socialist experiment in rock and roll: (coined by indigo
girl amy ray) had very positive results.
        "roll the dice" was an appropriate opening song for the 90-minute
conglomeration.  it's a risk i have to take, went the lyrics, psyching up the
crowd and the performers, it seemed.  they formed a front-line with indigos
ray and emily saliers in the center, a symbol of strength.  gail dorsey's
tambourine added even more of a celebratory feel.
        lisa germano sat down at the keyboard next for the mellow, breathy
"way below the radio" displaying her young, girl-next-door voice.  an indigo
favorite, "power of two" followed, bringing spirits up again with an audience
        jane siberry stepped out, instrument-less, for "love is
everything."  ray's
back-up vocals aided in balance, adding some power to the higher parts when
siberry's voice would thin out.  almost chirpy at times, her southern vocal
slides were strangely amusing with the serious lyrics and came off like
motherly advise.  however, the biggest indicator of her style sprang from the
little horned tufts of hair sticking out about her head, proving fun and
playful was definitely part of her persona.
        thalia zedek, who contributed throughout the concert with clarinet
came on hard-core for "cimarron."  zedek droned close-eyed and soulfully into
the mic.  jean smith went into a head-whipping frenzy - pleased by the
electric intensity and possibly homesick for her band, mecca normal.  germano
got crazy on the violin.  this song was worth the entire price of the ticket -
have you ever seen the indigo girls roar in the metal way before?
        josephine wiggs introduced the next song, "tengo la vida," as "your
spanish 101 lesson."  lourdes perez got the sad, blue spotlight at the corner
of the stage and turned the odeon into a spanish cabaret. her provocative,
melodic growl and the three-part harmony of ray, saliers and siberry elicited
flamenco claps from the audience.  germano's violin wept through an interlude
and the melody closed with a slow salsa finish.
        jean smith kicked off "chisel," a song of jazzy angst, with a slurred
sarcastic "hey, thanks cleveland" that she repeated between songs for much of
the show.  her lyrics were evil yet sexy and the nasal hum was accompanied by
clarinet, keyboard, violin and background vocals by all.
        "go" and "wood floors" had definite indigo girl overtones but
boasted smith
on standup bass and ray on mandolin.  the jam-time in the middle of the show
allowed for much instrument improvisation and experimentation - reinforcing
the originality of the gathering.
        before getting back on track, smith took the stage alone and
growled untitled
poetry of barn animals and killers.  her performance art could have won her
the part of "maureen" in rent.
        perez interjected in espanol one more time with "vestigos," a
tender love
song of spanish finger-picking.
        saliers' new song "soon to be nothing" featured germano on the
buttonbox and
siberry on keyboards.  smith interjects in some more spoken-word twang but the
indigos overall tone is apparent again, carried by saliers' sweet, rolling
        the well-known luscious jackson tune "under your skin" was covered
toward the
end when it was kate schellenbach's turn to shine and the set was wrapped up
with "midnight train to georgia."  led by siberry, ray and saliers sang back-
up and dorsey added a bluesy emotional influence to the refreain.  the crowd
went wild, woohooing and clapping until the impressive a cappela end.
        siberry fronted "fisherman" - a low tribal beat set to the story of
the storm
and sea.  smith's guitar wailed in pain, adding to the background
illustrations at the pick-up.  the chant repetitions set the groove for
siberry's soothsaying song.
        "ziggy," the last of the three encores, was the most unifying of
the evening.
the bowie cover, appropriate for dorsey's sake (she's toured with bowie in the
past) let everyone onstage and in the audience sing along and jump around.
        the opening act was buffalo daughter, a three-woman, space jam band
japan.  with low minor harmonies, breathy vocals and a hard guitar/keyboard
sound, the tokyo trio spiced things up ... for a little while.  in "brand new
cat" the mechanical strumming and solemn urban funk created some interested
ingenuity.  the song, "about the great lakes in the states" introduced some
funky synthesizer sound effects but ribbits, woofs and car horns got old when
the song aged into an unreasonable time span.
        saliers remarked that they all love the tour.  "it's like being in
a brand
new band."  although it was disappointing for some who came specifically to
see the indigo girls and whined about the lack of typical tunes, others were
happy to have been that close to ray and saliers (the odeon isn't their usual
venue size).  but overall, the brand new band put on a brand new kind of
concert and succeeded in bringing about some good old fashioned fun.
marie skoczylas"
scene magazine
august 27-september 2, 1998

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date: mon, 31 aug 1998 16:22:58 +1000 (est)
from: sherlyn koo <>
subject: [ig-news] chicago tribune article

hey folks,

here is the chicago tribune article that monique
mentioned... if you want to read it online, the
address is:

- -sherlyn

music review, suffragette sessions, indigo girls at park west

by allison stewart
special to the tribune
wednesday, august 26, 1998

a traveling caravan of folkies, underground rock stars and
singer-songwriter types, the suffragette sessions intend to
serve, on some level at least, as an antidote to lilith fair.

lilith can seem slick and overdone with its high profile, big
venues and superstar headliners, its well-intentioned but
sometimes suffocating vibe of granola and sisterhood. not so
the suffragette sessions, a shambling, endearingly sloppy road
show led by the indigo girls, sometime lilith-ites themselves.

the sessions, which ambled into the park west on tuesday night
for the first of two shows, encompass a seemingly random
sampling of the offbeat and the under-appreciated, boasting an
all-female, genre-spanning lineup that includes
singer/violinist lisa germano, puerto rican vocalist lourdes
perez, luscious jackson drummer kate schellenbach, and singer
jane siberry.

instead of performing individual sets, the suffragette artists
take the stage en masse, each one taking solo singing turns.
this way, goes the theory, fans who came to see, for example,
underground heroine jean smith of mecca normal will be exposed
to bassist/singer gail ann dorsey as well.

it's a laudable concept, even if the suffragettes seem to be
preaching to the converted, since anyone attending an evening
informally billed as ''lilith fair, only with socialists''
probably already has a pretty open mind.

a sweet idea, messily executed, the suffragette sessions seem
to thrive on dissonance: the artists often appeared unfamiliar
with each other's songs (''here's one we learned today at
sound check,'' went a frequent refrain), slip-ups were
frequent, and the sheer volume of musicians meant a lot of
people stood around on stage looking superfluous and awkward.

though josephine wiggs of the lamented, probably late
breeders served as emcee (the position rotates), the
ever-graceful indigo girls were the night's de facto den
mothers, making jokes, taking charge, and stroking a crowd
that was primarily there to see them. during their own songs,
the indigo girls sounded mostly like themselves, only (thanks
to their voluminous backup) a lot louder, which can be seen
as good or bad, depending.

the camaraderie and the unorthodox pairings made up for the
fact that much of the show was more novel than actually good.
to watch the indigo girls and schellenbach backing come's
thalia zedek during one of the evening's livelier numbers was
a wonder to behold. after all, who would have thought the
indigo girls even knew who come is?

other highlights: a tremulous and lovely acoustic number from
local singer-songwriter rose polenzani that was one of the
evening's few genuine solo turns; a spanish-language ballad
from perez; a wry, overwrought spoken word reading from
smith; an opening set from japanese indie favorites buffalo
daughter that was cheery, engaging, and went on far too long
before descending into prog rock hell.

for such a proudly political happening, tuesday night was
disappointingly low on rabble-rousing.

anyone expecting a teary group version of ''we shall
overcome'' complete with hand-holding and lilith-like hugs
went home unhappy.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= a+e=ig
sherlyn koo -                  [sydney, australia]
"this is the song that we are always just this side of singing..."
                                        - peter mulvey

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this has been a message from the ig-news list.
please send feedback, questions etc to
submissions are welcome - please send these to


end of ig-news-digest v1 #173

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