Run Past The Solstice

William Patrick Corgan “Processional”

I saw Billy Corgan perform a solo show at the Murmrr Theater – actually the Union Temple of Brooklyn with a makeshift stage – over the weekend. The opening set was his new solo record, Ogilala in full, and the second set was a career-spanning setlist ranging from late period material to deep cuts from the classic ‘90s Smashing Pumpkins catalog. This second set was excellent, and genuinely surprised me several times over. I never expected to ever see him play “Starla” live, much less a gorgeous solo piano version. There was also a lovely piano arrangement for “Soma,” an inspired simplified versions of “Muzzle,” “Annie-Dog,” and “Age of Innocence,” all big favorites for me.

It was a very intimate and generous performance, and it was met great enthusiasm by the audience whether he was playing the new material or songs from his most famous records. (He received at least five standing ovations from the entire audience, including when he first came on stage.) I feel like on some level the motivation of the audience was to show Corgan how much he is appreciated, since he so often seems bitter and misunderstood. He seemed genuinely moved by the love of the audience. He also seemed at peace during much of the performance – there is a serenity at the core of the new songs in particular, perhaps the effect of being a new father. He ended the show with “Farewell and Goodnight” from Mellon Collie and the Infinite Sadness and made a point of telling the audience that the song was written with James Iha, and then clarifying further that it was mostly James’ song. There was a lot of affection in his voice when he talked about James, and it was so nice to hear knowing that they had been estranged for a long time.

James Iha plays on the studio recording of “Processional,” and it’s the first song they recorded together since “Untitled,” the final track recorded by the Pumpkins in their original run. The song is low key and lovely, and feels relaxed in a way that Corgan rarely seems, even on his most mellow songs. If you’d asked me to peg which cut on the record featured Iha, I might not have chosen this – it’s so simple and spare that it doesn’t announce itself as a song with a guest star. But I think it’s meaningful that these guys came together for a song that feels so calm and graceful. It’s like a peace offering, or a prayer.

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