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Congratulations to everyone who got to sing on stage. I'm already on record as not being a fan of the karaoke concept, but I hope everyone had fun. I'm sure it was an unforgettable experience.

I saw their performance on Fallon a few weeks ago, and there was a noticeable lack of joy in their performance. I like St. Vincent, and I was excited when I heard she was producing the new S-K record, but she seems to have imposed a costume/theatricality/robotic element on them that, as it unfortunately turns out, has ruined their band.

I had someone sneer at me when they played this in Atlanta several years ago. I said something to my wife like "Ooh, I like this one" and the sniveling weasel on the other side of me said "you like THIS song? Eww." Hope you get to hear it.

I didn't say never. I sad YET. We may get there with playback technology, and in anticipation of that, all recording tapes have value and should be preserved. As for the rest of your post, I'm sure your parents or grandparents have shown you photos of themselves from before you were born. What if there was a photo album of theirs that you never knew about that you found in a closet somewhere? You wouldn't be interested in looking at those pictures? Do you think those pictures would add to your understanding of them and what they experienced or achieved in life, or do you think those pict

Music playback technology is still far less advanced then recording technology. You might have the records or CDs and a great stereo system, but none of us have ever heard any of that music the way it sounds coming directly off the tape. The most honest version of the music that exists, and the way it really sounds. Maybe someday we will be able to. And for that reason alone, those tapes are a huge loss and deserve to be preserved at least until that day comes. The Limp Biscuit quip was hopefully in jest, and is a cheap shot. In some cases, outtakes are actually full-length unreleased

I thought my point was pretty clear, but I guess not. I mean, I am advocating FOR karaoke. Just in a different (and imo, MORE fun) format. Anyone who fears they might do a bad job shouldn't have jumped through all the hoops to get on stage. This isn't a school production where everyone, including the severely insecure kids, are forced to dance and sing in front of the whole school. I think it's safe to say that anyone who has been selected (or even hoped to get selected) to sing is confident enough in themselves that they can laugh it off if they aren't great. I hope everyone has fun,

Embarrassing yourself in karaoke is inherent and is done willingly. It's part of the deal. Empathy is not warranted. But to be clear, I was not cheering/hoping for people to embarrass themselves. On the contrary, I would prefer they not be given the opportunity to do that i the first place. At least not on the main stage. I was not hoping for embarrassment, I was bemoaning what I think is a disappointing gimmick. That's why I offered what I think would have been a potentially good gimmick. What do you think would cause more buzz in the audience or on this forum: "Did you hear that

I don't think I will keep my comments to myself. I'll say whatever I want, within the bounds of the rules of this forum, and you can either like it, dislike it, ignore it, challenge me to change it, or respond however you want. But I will not agree to keep my comments to myself. If I had insulted a specific performance, or someone directly, you'd have a point. But I didn't do that.

Maybe if this proves embarrassing enough for folks, the concept will be shelved in the future. A better idea would have been to have a karaoke event as a side attraction somewhere on-site, and have various musicians make surprise appearances. Suppose you sign up to sing a song, and right when the song starts a curtain opens and there's Glenn or Nels playing the song with you.

I think Wilco's surprise should be playing a set of their favorite Nels Cline Singers songs.

I recently read a book about the death of classic rock and discovered that the author has a podcast called Celebration Rock. He interviewed Jeff and John in 2017 when AM and Being There were reissued as deluxe sets. The focus of the interview is Wilco's origins/early years. But toward the end they discuss the idea of nostalgia and how they feel they've avoided it. The whole thing is enjoyable, but if you want to hear their take on nostalgia, it starts around 52:00. https://www.stitcher.com/podcast/kq-morning-show/celebration-rock/e/52358927?autoplay=true

I wouldn't call them a nostalgia act. That seems derogatory and I don't think it's fair or accurate. But taking my brand loyalty out of the equation and looking at it objectively, they do have an increasing number of check marks in that column. Return after two years with no new material. Karaoke performances. (An inherently backward looking gimmick.) Jeff's Memoir (An inherently backward looking concept.) Schmilco sounding like a Jeff Tweedy solo album, while Tweedy sounds more like a Wilco album. (Suggesting that Jeff is prioritizing his creative energies towards his non-Wilco pro

I watched a chunk of it with headphones on during my lunch break, and then most of it at home last night on my TV via the Youtube app. Agree about sound quality. Where does Nugs get the sound mix? Everything sounded flat and out of balance, and I suspect the house mix was better. I also found the video editing to be like what yo'd see on the Jay Leno show, where the camera stays on Jeff because he's the singer, even though someone else is playing a solo or interesting instrumental part. It was like the camera operators or editors were not familiar with the songs and missed a lot of the b

I don't know what Great Scott is, but they have a long touring history that shows that they're up to the challenge of finding those limited options more often than not.

Why does it have to be easy? I think I've seen Wilco 10 or 12 times, in four or five different cities in three states. Only one of those shows (Tabernacle, Atlanta) was in a venue owned by any of those companies. There's a reason you pay people to do things for you, and it's not because what they're doing is easy.

I'm surprised it's that low. $30 is barely more than I've paid in fees on some $50 tickets. Actually, someone on my FB page said they were skipping the Atlanta Wilco show because there were $30 in fees on regular seats. My wife bought our tix for that show. I'll have to ask her what she paid in fees.

So Ticketmaster just pockets that money, having done absolutely nothing to create the demand? Also, are fees on a $750 ticket the same as they are on a regular ticket?

That demand is determined during an on-sale by Ticketmaster's computing, which neither the promoter nor the band have access to. So is it Ticketmaster doing to gouging, or the promoter, or the band? This is a layer cake of shadiness. Who said anything about paying up front? Put down a deposit and settle the balance after the show.

Seems like the band and venue should cut the promoter out of the deal. A band on this level should be its own promoter.

On one hand, if WIlco has anything to do with that, it's shitty. In theory, anyway. On the other hand, the second the bots get those tickets, that's how much they cost. So I'd rather Wilco get the money than anyone else. But it sounds like (according to remphish) the venue pockets that money...and that's what makes this fishy. Where are the artists who are willing to speak out about this? I wouldn't want to see Wilco surrounded by people who paid $500+ to get in, so if that's the norm now, I have no interest in being up front even if someone gave me a ticket for free. Did Wilco or

What is the platinum price on the other dates?

I don't doubt your experience or mean to suggest you're wrong. But everything is negotiable in business and artists do have the power to buck industry standards. How many times has Wilco demonstrated that? I suspect in this case, it's a Radio City thing, and not something we'll see at a theater in Arkansas, or something.

I find it impossible to believe that artists don't have the right to add clauses to contracts that say "no ticket can be sold above the price of $___." If venues had the freedom to charge whatever they wanted, $750 tickets would be far more common and there would be artists speaking out against it. Something about this doesn't smell right.

They might be pricing most people out. But they'll have no trouble finding the 200 people (or whatever the number is) who would buy those seats in NYC. There's no shortage of businesses that want to give a nice pair of tickets out to clients as as "gifts," or rich assholes who don't care about the band but want to show off for their dates. I've snuck up to the front few rows at Wilco shows. It's not exactly their fan club sitting in those seats a lot of the time. I don't like it any more than you do.

Damn, Saturday: Julian Lage Trio, Ohmme, Cate Le Bon, Feelies, WIlco. That's a ridiculous day of music.