Arts & Culture

Last Night

By David Meinert April 17, 2010

Editor's note: How'd Soundgarden sound at their big reunion show last night? Longtime Seattle music freak David Meinert was there.

First, here's last night's 18-song set list.

SPOONMAN
GUN
SEARCHING WITH MY GOOD EYE CLOSED
RUSTY CAGE

BEYOND THE WHEEL
FLOWER
UGLY TRUTH
FELL ON BLACK DAYS
HUNTED DOWN
NOTHING TO SAY
LOUD LOVE
BLOW UP THE OUTSIDE WORLD
PRETTY NOOSE
OUTSHINED
SLAVES AND BULLDOZERS

Encore/Break

GET ON THE SNAKE
BIG DUMB SEX
WAITING FOR THE SUN-(Morrison) “Doors” cover

Last night was something between a legendary reunion of one of Seattle's best ever rock bands, and a party for long time members of Seattle's famed grunge scene. After generating a huge buzz starting Thursday morning
, tickets for Soundgarden sold out in 15 minutes Friday.



Lining up for Nudedragons, aka Soundgarden, tickets. Friday morning outside the Showbox.


It'd been 13 years since they last played a show, and they totally killed it. Appearing (anagram alert) as Nudedragons, they were loud, dark, hard and even still a little dangerous sounding. All four band members—guitarist Kim Thayil, bassist Ben Shepard, drummer Matt Cameron, and frontman Chris Cornell—brought their A games and tore the roof off of Seattle's best live music venue, The Showbox
.

They ran through an 18-song setlist that covered just a few hits, and fortunately for the crowd who was very familiar with the band's music, some deeper album cuts and a few rare tracks, ending with a cover of the Door's "Waiting for the Sun."

Cornell sounded as great as ever, hitting all the high notes and sustaining his incredible screams longer than I can hold my breathe. But it was the thundering bass, huge and hard drums and mammoth heavy rifts from Thayil's guitar that really made Soundgarden what is was and it was no different last night. It made it easy to forget Cornell's recent lame solo albums, and made me hope the band really does record a new album, but one with the riff heavy rock of earlier Soundgarden and not the pop 'sensitivity' of Cornell's recent solo efforts.





















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