Las Vegas, NV - House of Blues (August 2, 2024) post-show

Post your info and reviews related to this concert in the comments section below. Other links (photos, external reviews, etc.) related to this concert will also be compiled in this section as they are sent in.

Setlist:

Irish Blood, English Heart / The Boy Racer / Shoplifters Of The World Unite / You're The One For Me, Fatty / Sure Enough, The Telephone Rings / I Like You / I Wish You Lonely / I Will See You In Far-Off Places / Speedway / The World Is Full Of Crashing Bores / Munich Air Disaster 1958 / If You Don't Like Me, Don't Look At Me / Half A Person / All The Lazy Dykes / The Loop / Everyday Is Like Sunday / Please, Please, Please, Let Me Get What I Want / Jack The Ripper // Bigmouth Strikes Again

Setlist courtesy of FWD, Morrissey Official IG and setlist.fm

 
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Redacted said:
As I recall, according to Mozipedia, the song is literally about Jack the Ripper. I think Moz had been reading a book about the murders.
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From Mozipedia:

'JackThe Ripper' (Morrissey/Boorer), B-side of 'CERTAIN PEOPLE I KNOW' (1992). A longstanding live favourite, Morrissey has often introduced the song as being directly related to the Victorian serial killer of its title. Imagine it's 1888,' he said at London's Royal Albert Hall in 2002, 'you're in Whitechapel and someone touches your knee - or at least he thinks it's your knee - and you turn and are faced with the thoughts of Jack The Ripper.' On other occasions he'd describe it as a song about the most famous person who ever came from London' and a song about the 80s ... the 1880s'.
To quote from Morrissey's own bookshelf, Gaute and Odell's THE MURDERERS' WHO'S WHO,
«Probably more has been written about Jack The Ripper than about any other murderer; theories of identity are legion.' The Ripper, so named because of the 'unparalleled ferocity of his crimes', killed and mutilated five prostitutes (and possibly others) in and around the poor Whitechapel district of London's East End between August and November 1888. The killer was never caught, leading to a host of conspiracy theories, one of the most common involving a Masonic plot to cover up the existence of the royal 'bastard child' of Queen Victoria's grandson, the Duke of Clarence.
Morrissey wasn't the first to immortalise the Ripper in pop music. In 1961, pioneering rock and roll guitarist Link Wray had used the title
'Jack The Ripper' for one of his most celebrated instrumentals. In 1963, Screaming Lord Sutch earned himself a BBC radio ban for his 'Jack The Ripper', a sick comedy rocker produced by Joe Meek (of 'JOHNNY REMEMBER ME' fame) made unnecessarily explicit by the sound of running footsteps on cobblestones, screaming women and naming victim Marie Kelly. Just months before Morrissey's song, in April 1992 Nick Cave also released his own grisly 'Jack The Ripper', though nothing in Cave's lyrics directly relates to the murders of 1888.
Despite the levity of its concert introductions and Morrissey's other comical allusions to the Ripper in interviews ('I just hang around the East End in a long black cape'), his lyrics were entirely sombre. While ambiguous enough to stand on their own as a dark and disturbed love song ('Crash into my arms/I want you'), they portray the Ripper as a calculating predator, sickened by his victims' appearance and their apathetic surren der. The original studio recording also contained a more obvious association with the unidentified killer in its haunting jeer: 'No one knows a thing about my life ... nobody knows me." "Jack The Ripper' is also significant as the first Morrissey song written with Boz Boorer: its with-ered, wrinkled and appropriately loathsome minor-key visage cracking in a creepily serene smile. An awe-inspiring entry in the singer's reper-toire, it still ranks among Boorer's best Morrissey tunes, even if its recording didn't quite meet expectations. Mick RONSON's last session for Morrissey, 'Jack The Ripper' and its accompanying B-side 'YOU'VE HAD HER' were rushed in a few days at Abbey Road in October 1992 before resuming American commitments to promote YOUR ARSENAL. During a four-day break in New Orleans the following month another attempt was made, without Ronson, at the Sea-Saint studios of local R&B hero Allen Touissant. According to drummer Spencer COBRIN, this session 'didn't work out at all'. Ronson's mix was kept as a B-side, though a more dramatic version was caught live for BEETHOVEN WAS DEAF and has taken precedence over the original on all subsequent compilation appearances.
 
I believe the working title was "The Thoughts Of Jack The Ripper" as per Autobiography:

"Nigel quickly arranges for a studio session in New Orleans with the revered Allen Toussaint. Worn out, the band arrives at the studio where Allen will record the song The thoughts of Jack the Ripper, a ludicrously lost gem in Nigel’s view, yet not the catchiest of titles. I slip into the studio and watch the band warm up. I say hello to Allen, who looks at me and then looks away. The band are rough to the point of bad – having been pushed around America like a debilitated Bay City Rollers, and Allen Toussaint looks concerned. I am now embarrassed by the sound coming through the speakers, of which Allen says to his engineer ‘What have I let myself in for?’ I overhear the comment and I catch the engineer’s reply to Allen, which is a silent sssh in my direction, as if to say to Allen, ‘Steady, he can hear you.’ Without fuss or calamity I rise and exit into the balmy air of New Orleans. Boz follows me.
‘So, what do you want me to do?’ he says.
‘El-vest has left the building,’ I say, not remotely funny. It isn’t a question of vanity or ego, but occasionally there is simply no point."

Nothing tangible ever came from the above meeting (highy unlikely anything at all).
Ronson did a good job IMHO.
Regards,
FWD.
 
I made the trip out to Vegas to see the KING! This was my 18th time seeing Morrissey and I was lucky enough to make the trip out and attend the Friday show. I went the previous two years at the Colosseum and loved all the Vegas shows, so if the finances made sense, I would do my best to make one of these House of Blues shows. Thankfully I got a great deal on a plane ticket and the hotel so it was an easy call to go! Here are some observations from the Friday show...

1. I got to the venue around 4:30, and there was probably 30-50 people already lined up. I asked the staff when the doors would open and was told 7:00. Decided to walk around, get some drinks, and play some slots. Got back to the line at almost 6:00 and it was triple the size. The line extended all the way from the HOB to the shopping stores on the opposite side near the poker tables. It was a massive. Still got a great spot too (inside the venue) getting into the line late.

2. Morrissey of course sounded great. Thought the set list was solid and I enjoyed the most hearing Boy Racer, Bigmouth, Lazy Dykes, and IWSYIFOP. I read and see a lot of people complain about the setlists, but as someone who has seen Morrissey several times over the last four years, this one was damn good!

3. The crowd was really good but there were a few drunkards. I'm kind of use to it at this point, for whatever reason I'm always crossing paths with people who are ten pints deep and grunt out the most bizarre things, unprompted. One girl near me completely tumbled over, thankfully security was informed and went over. She could barely stand. Like she was standing but the lights weren't on. Four security guards needed to help her up the steps, and this was pre-show.

4. There was a bride and groom at the show. They were seated in the balcony and towards the middle of the set, they got moved or moved up to the front row. Not something you see everyday at a show. Right before Bigmouth, the bride chucked her flowers down on the stage. Morrissey of course picked it up :LOL:

5. There was only one successful stage invasion.

6. Most of the between song banter from Moz has already been mentioned, so I won't add to that.

7. Saw a number of Morrissey shirts walking the Strip. But since the Grateful Dead are playing the Sphere, there were armies of Dead Heads walking around. Very easy to spot and of course smell. Literal weed aroma surrounding them.

8. Some lady told me she saw Morrissey playing slots in the high end slot lounge early in the morning. I think she was blowing smoke though because she was knocking back tall cans of Corona like nothing and her story kept changing.

Overall outstanding show. Glad I made the trip and got to see Morrissey again!

I Will See You In Far Off Places
 
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GetUpKid said:
4. There was a bride and groom at the show. They were seated in the balcony and towards the middle of the set, they got moved or moved up to the front row. Not something you see everyday at a show. Right before Bigmouth, the bride chucked her flowers down on the stage. Morrissey of course picked it up :LOL:
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Ashley, now you have to wear your dress to the next show;)
 
Redacted said:
As I recall, according to Mozipedia, the song is literally about Jack the Ripper. I think Moz had been reading a book about the murders.
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Well, okay, if he said it....
But I still think my theory on the lyrics having nothing to do with the real Jack The Ripper stands. They don't chime with anything to do with the Ripper's crimes, victims, or modus operandi. Unless of course Morrissey has created a fictional romanticised avatar of the Ripper, whose mind/persona he inhabits for the duration of the song.
The bizarre 'rats' ending does lend more to the vampiric theme though I think.
 
karenina said:
Just months before Morrissey's song, in April 1992 Nick Cave also released his own grisly 'Jack The Ripper', though nothing in Cave's lyrics directly relates to the murders of 1888.
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Simon Goddard had clearly not heard Nick's 'Jack The Ripper' at this point, as nothing about the lyrics are 'grisly', and the song has nothing to do with Jack The Ripper per se. It's about a woman who screams out the phrase 'Jack The Ripper' at the point of sexual climax.
Whether this is from Nick's personal experience or not, one shudders to think!
 

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