12/4/95, Jeremiah's, Charlotte NC.

From the sublime to the ridiculous...this is an honest-to-Goddess converted Western Sizzlin' Steakhouse. I swear. (Bands play where the ice cream bar probably was.) --Everyone that we talked to beforehand had expected MM to cancel the show as soon as they saw the venue, which is about as tiny and scuzzy as they come. The venue, on the other hand, had sold maybe 800 tickets to a place that legally holds maybe 250. So the line stretches and stretches, and we wait, chatting with local Spookies (including a tall kid beautifully turned out in full Willy Wonka costume, and in character to boot. His name's Chad and he inherits this bucket of Gobstoppers I've been carting around for months - looks much better on him than me =). ..6:00, 6:30...still no black bus. Are they going to show up? Frankie has already been here and gone, and we suspect he's at the hotel giving the band the lowdown and waiting for their vote. At 7:00 the bus arrives. Yahoo! --There's much hammering inside as a barricade is hastily put up (they insist on it) and MM blasts through soundcheck. The news circulates that Tony Wiggins is here tonight as well...

The stage is tiny - maybe 12' square. Clutch singer Neil asks if we got their sticker - they'd slapped one of them on our car last night when we happened to be at the same hotel. (Yes, we know they did it themselves.)--yeah, Neil, thanks a whole lot. (I'll save the Us vs. Clutch battle of wits for another post, if ever. It's run most of the tour. Briefly: they're born-again Christians, they come from this very state, and they're sick to death of being resolutely ignored by a pack of little devil-band fangirls and boys in dresses - which has been the front row every single night.)

The Mansons' set is disarrayed and choppy, broken in the middle by the onstage appearance of Wiggins. (No, he didn't do "White Trash" --he did a new composition called something like "Can I Push In Your Stool," described as "a pickup line in gay bars." Owtch.) The Rev gives him a couple of nice deep chest cuts with a broken beer bottle, Twiggy cringes to the back of the stage when Tony professes carnal intentions in his direction, and Daisy looks mildly dismayed by the whole affair. (Still, it was Tony Night - Manson had "wiggins" written across his chest and Twiggy had "Tony" on his hand, the rabbit was "just a Tony in disguise," and "Tony Wiggins was a nigger" replaced the usual line.) About half the set is clipped - no "Lunchbox," "Hate Anthem," "Wrapped in Plastic," "Cyclops" or "Sweet Dreams." -the Rev launches a mikestand into the drums as usual on his way out; it lodges itself far enough down that Ginger doesn't see it, and in the tiny pitchblack space trips and falls splat as he tries to leave. The other thing the Rev throws as he flings himself offstage is Daisy, who he actually grabs and tosses out of his way. Dais just laughs...

Afterward there's a sort of bus-to-bus party between the Mansons' black bus and Wiggins' big cream-colored one, with people scurrying back and forth for hours. We get Ginger to sign the used drumhead we'd gotten and Daisy signs his photo in "Guitar School" magazine. There's a wonderfully expressive - though silent to us - Daisy/Twiggy conversation in the front window of Wiggins' bus (I wish I could've heard this! Much patting of Twig's shoulder and gesturing of the "well, what're you supposed to do?" variety...). At this point I bail out, freezing and footsore, and miss the probably unforgettable sight of Twiggy not only pretending to drive Wiggins' bus but cheerfully displaying himself, pants down and in a number of *ahem* poses, to anyone within viewing range. Coyote laughs herself nearly dizzy; EVB has her camera...we'll, erm, see how they turn out...

==angelynx==
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