By Alex Rendon
By C. Townsend Rizzo
By Lee Zimmerman
By Liz Tracy
By Liz Tracy
By Liz Tracy
By Matt Preira
By Victor Gonzalez
Smashing Pumpkins frontman Billy Corgan has a thousand stories to tell. The group's only remaining original member helped found the Pumpkins in 1988 after relocating to his native Chicago from none other than St. Petersburg, Florida. He'd moved to the Sunshine State briefly in '85 after graduating from high school because he was fearful of the Windy City's reception to his goth band at the time, the Marked. After playing a little more than a dozen shows in our beloved state, bassist Dale Meiners suddenly quit, and Corgan moved back to Chi-Town and started Smashing Pumpkins soon after.
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Florida still figures in, though. Corgan visits family in Coconut Creek regularly, and there's a sold-out crowd awaiting him Tuesday at Revolution, a stop on the Smashing Pumpkins' latest tour. He's scaling back, playing only small shows for his biggest fans and signaling SP's return to heavy guitar rock. If the tour kickoff at Los Angeles' Viper Room June 30 is any testament, a lot of the band's early songs will figure in, and a handful of the first people in line could be rewarded with a more intimate performance at sound check before the show. New Times chatted with Corgan about his 20-plus years in the music industry; the inspiration behind his latest effort, Teargarden by Kaleidyscope, Vol. 1: Songs for a Sailor; and why he's releasing his latest music track by track only.
New Times: What's it like to know you're playing to a sold-out show again?
Billy Corgan: You mean a sold-out show of 200 people? [laughs].
Well, it's still a sold-out show.
You know, for now, I'm just gonna hold shows that have like 50 people and just sell them all out for the rest of my life. I have to say this from a prideful point of view: Sellouts always feel good, no matter what the size of the place is [laughs].
So what inspired you to do a small-venues tour?
We got two new members of the band, and it takes a little while to get your feet underneath you as a unit. I thought it would be good to not throw ourselves in the deep end of the pool right away. Because you can intellectualize sets and what you wanna play and what you think the audience wants to hear, but till you go out there... because you know audiences shift, things shift. Over the past five to six years, some of my more gothy material has become more popular, like the Batman song ["The End Is the Beginning Is the End"]. Now gothy songs are not a concert killer, where ten years ago, they would've been.
What's it like to be a part of something that's had such longevity?
First, things start to kick in that you can't anticipate. Positive number one: Now we're getting to that place where we're getting the kids of fans. So we'll meet the 16-year-old, and he's like, "Yeah, my dad was totally into you guys, and I'm so excited 'cause this is my first chance to see you." You get people that have been fans for so long that they don't wanna hear anything new. They're just totally over it. They just wanna hear only songs between the years 1990 and 1995, and fuck all the rest. When you're playing in 1997, you can never imagine getting to that place where your audience wouldn't wanna hear what you were doing new. All of a sudden, you've got this guy who's mad because you only played four songs from Siamese Dream and not 11 and could give a fuck-all about the new album.
Oddly enough, your newer stuff sounds really similar to your much earlier albums.
Oh, that's interesting. Spiritually, I feel a real affinity for the new songs with the first couple of albums. I think the new stuff even more so will remind you of those early years. It's not because I'm trying to do that musically, but I just kind of come back around to wanting to play like that.
What inspired the songs on your new album, Teargarden by Kaleidyscope?
The Teargarden concept is that there's four stages in the journey of life. There's childlike innocence when you just don't really know anything in the world and it all seems sort of big and magical; then there's the part that's maybe the teen aware but not really liking what's going on; then the third person that's cynical, where you get kind of bitter because you feel so small and there's all these things that are sort of happening and there's not much you can do about it. And life constantly tells you to just suck it up and deal with it — like everybody likes to talk about how broken our political system is, but not everybody wants to do something about it. The fourth stage out of that would be finding a sort of spiritual place within yourself where you can live in reality, you can see it for what it is, but maybe you can find a deeper source of inspiration and peace. And of course, things dovetail. Just because I feel spiritual now, it doesn't mean the cynical person doesn't get involved or the child doesn't get involved.
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