STORIES: EVAN DANDO II

For the true meaning behind us supporting Evan Dando please refer to the first story on this website relating to him.

At the beginning of 2001 I randomly came across an email address of the legendary Tom Johnston. Tom is from Boston MA and has managed Buffalo Tom from day one. In my eyes this makes him a legend. As of late he had also been managing Evan Dando, meaning he was in charge of two of my biggest musical influences. I had been wanting to send my mini album and album to Evan for a while but just had no idea of how to get it to him, so I wrote to Tom with a short description of how I'd met Evan in late 1999. (Refer to the the first Evan story). To my surprise Tom wrote back and was not only friendly but incredibly cool. He seemed to get a laugh out of my story, passed the mail onto Evan and also gave me an address to send the CD's to. Mission accomplished. I emailed Tom several times more, mostly nagging him with a multitude of questions about the Boston scene which he graciously answered.

I'd heard rumours that Evan was touring Australia in October 2001, so I wrote Tom and mentioned that if they were looking for a support act that we'd be more than happy to play. The internet has certainly changed the way we live. I find out the craziest things, usually during the middle of the night, that I have to check the next day to actually make sure that I didn't imagine them in the first place.

September 2001

I was logged onto one of those chat groups dedicated to Evan and the Lemonheads. There was a message left by Bill Gibson (former Lemonhead bassplayer and fellow Sydneysider) stating that Evan was confirmed to tour Oz and that he had heard that "C-Minus Project / Sam Shinazzi” will be doing some of the supports". I honestly read it in disbelief, as if they were discussing someone else's musical act. I initially re-read it maybe ten times.

Three things blew my mind:
a) that Bill had heard of me
b) that I was being discussed as a possible support
c) that maybe we'd even get to play more than one show.

I was overwhelmed and I was happy.

I am kind of hopeless at pushing 'my product' and whilst I think I have a have a fair grasp on how the music world is run, it doesn't mean I can actually phone people up and make things happen. After not hearing from anyone I emailed Tom Johnston again who said they were doing everything they could to get us onto the tour. He also told me to send some CD's to Evan's Australian label Modular. A week later I get an email from Richard at Handsome Touring in Melbourne. Game on. October 14 Newtown RSL. A few days later I find out that the RSL is indeed closing. Richard calls me, saying it has changed to Monday 15th October at the Metro. I reply "You mean the Metro in George Street?". For those outside of Sydney, it is our premier (larger) venue which holds about 1100 people. The sound is immaculate and for the punters there are plenty of viewing positions. It is mainly used for o/s bands and bigger Australian acts. Getting a support slot here is not easy.

The past few months Tom Hartney and I had been playing as a very quiet two piece. I wanted an extra guitarist and had remembered my good friend Robert Cranny had offered his services. He had been a very vocal admirer of mine, we shared similar musical ethics and most importantly I knew he was 100% into the songs. The timing was perfect because he had been, shall we say, "Let go" from 78 Saab. We had three and a half weeks to get it together. I was happy with the three piece line up and as it turned out, we had the most people onstage anyway!

A week before the show I found out some very interesting news. Five people from Melbourne emailed me and two called. Turns out that in all of the advertising for Evan's tour (Melbourne, Adelaide, Perth) The C-Minus Project / Sam Shinazzi were named as his support! I do not know the story behind this. Truth was that although yes, I was disappointed at being so close to a national tour with my favourite songwriter, I was also extremely satisfied with a highly publicised show in my hometown. Again I am assuming, but the most likely explanation is that Tom Johnston on behalf of Evan wanted us for the tour and that was initially advertised. Maybe then the promoters decided that a local support in each city would suffice. For some reason then we were still advertised up until the week of the shows. We received free advertising linked with Evan Dando in Melbourne, Adelaide and Perth.

Monday October 15, 2001

Those of you that have read the tour diaries may have noticed I don't sleep regularly, but the night before the show I actually didn't sleep. Not even for an hour. It was obviously some sort of nervous thing but I wasn't 'typically' nervous. I was looking forward to playing. I wasn't lying there shaking or worrying... I guess my body clock just didn't turn off. I did rest though; I wasn't just up all night doing things. I just lay there.
I received many calls during the day and arranged for some people who were helping us out to get in as our guests.

In Sydney we were billed as the main support. I felt guilty for about ten minutes until someone said "Everyone else always gets supports and the lucky breaks...for once you have the contacts and the luck."
At 3:30pm my Dad drops me off at Adam Wes Gregorace's. He is driving us around and is also our roadcrew for the evening. We leave his place in St.Peter's. I call Rob and tell him we are on our way to Alexandria to pick him up enroute to the city. As we pass Adam's girlfriend's house (Jen), he decides he'll just pop in to get some cigarettes. He'll only be a minute he tells me...and he was only a minute. But there was a problem. HE LOCKED HIS CAR KEYS INSIDE HER HOUSE AND NO ONE ELSE WAS HOME! I didn't yell at Adam because
a)I can tell he knows how bad this moment is.
b)He didn't do it on purpose.
c)I needed him to be as resourceful as possible.

We try to climb walls and fences. No luck. Twenty minutes fly by and I am worried. We are supposed to have already picked up Rob, been at Evan's soundcheck and then do our own. Finally I see the Gould sisters (Jen and Bernadette) walking down the street. We both applaud them. They look puzzled. We then get lost picking up Rob and when we do, we hit traffic.

We unload our gear and meet the Metro staff who are extremely friendly. Soundpeople, lighting technicians, a bookkeeper to name a few. They all treated us with the utmost respect and we were thankful for that. We missed Evan and Chris Brockaw's soundcheck; they have gone back to their hotel. Rob's Dad Frank Cranny happened to see it! Frank is a real character and very supportive of Rob's music, our music and music in general. He is more than welcome anywhere we go. I ask him how Evan sounded and pulled this face saying "Wonderful".

Tom Hartney arrives from work and it is time for us to soundcheck. From here on in (after the disaster with Adam's keys) everything ran smoothly. Standing onstage at The Metro with the houselights on it actually looks kind of small. Then the lighting guys start up with the stage lights and that was something else. I think they were just experimenting because at one point they were blinding. When we actually played they were suitably simple yet moody. I soak up the feeling of standing on such a legendary stage and will do so again in front of the crowd when we play.

Our own mixer Konrad Skirlis (also engineered the first album) arrives just in time for us to do two songs which were ‘Night For Remembrance’ and ‘747’. Konrad is situated at the mixing desk out front where the crowd will be. Side of stage left is the Metro's own soundguy who's job it is to get a good sound for the band onstage. I give the man 10/10. The best sound I've had onstage and out front apparently was amazing too. This would make the task at hand (playing) a pure joy.

We get our own room and a fridge with refreshments. From memory I think it was 12 beers, Coke and water. Rob talks the merchandise people into selling 'Long Drive Home' CD's right next to the Dando t-shirts which I am very impressed with. Rob's professionalism and general banter with the Metro staff was a huge help for us, and for me in particular.

The doors open in the foyer but the actual doors to the main room open only five minutes before we play. I chat with Konrad at the mixing desk. He plays some of our forthcoming debut album over the PA and as awesome as it sounds all loud and big, I am also embarrassed and ask him to turn it off.

In our room Tom, Rob, Wes and I all have a drink. Tom is nervous and freaking out a little. We reassure him. My eldest brother David sends me an encouraging text message on my phone. I am keen and ready. Not nervous. Instead of ambling on one by one, Rob and Wes say we should get everything ready and then walk on as a group. The doors are now open and people are coming in. I quickly place my drinks down and say hi to a few friends including Brad, Liz, Alice and Michelle. We then wait by the stairs next to the stage. The soundguy says three minutes.

Evan's tour manager asks us if we are okay to go. We walk onstage to the Flaming Lips 'Soft Bulletin' album. Not our choice but a fine one anyway. I look out at the crowd that is already there. I am pleased to see familiar faces but even happier to see some strangers. With Evan on at the early time of 9:30pm, our time seems especially early. But from the start of our set we had a crowd and by the end there were far more people than I ever expected. We play a confident set and the enthusiasm of the crowd made us feel more than welcome.

Goofy / Wyoming / Tiger's Tale / Night For Remembrance / My Friend and a Free Day / House Near Bridge (with 'Mallo Cup'- Lemonheads interlude) / 747

In my head I am balancing the mood of the songs with the actual moment onstage. With the great sound coming from the foldback I am able to effortlessly sing my lungs out, whilst also savouring a very special occasion. The set did fly by and was over way too soon. Thankfully Leigh videoed the performance for us which is an added bonus to the souvenirs of memory already established.

As soon as we finish I tell Rob that it was one of the best shows I've been involved in and that we honestly could not have played too much better. Almost immediately someone from the Metro hands me a cheque for playing. For once I wouldn't have to get someone else to chase the cash.

In the band room we have celebratory beer. Tom seems much happier. I tell him he did good. Rob says I sang well. This means a lot. The beer is running low and there is no way we were going to ask for more. Our friend Darren Hanlon is onstage next. We debate over whether we should take some of his beers but in the end Tom goes out and smuggles in some whiskey.

I walk out into the crowd feeling on top of the world but kinda shy too. I see many friendly faces. I pause, then go sit next to Marty and Luke. Everyone has only kind words, especially about the general sound. I go and thank Konrad. I can tell he worked hard and Wes says that he didn't stop moving around the large mixing desk the whole time and wouldn't even really talk to him! I drink whiskey with Konrad.

Darren Hanlon plays a sweet set. I go backstage to get something when I see a distant figure. It is particularly dark in the hallway and I hear someone say "Hey...Sam, right?". It's a tall American sounding guy shrouded in cigarette smoke. I walk closer and it is Evan Dando. Keep in mind I haven't seen the fella at all really (aside from a photo or two) for two years. He has long hair and is wearing an Iron Maiden t-shirt. He looks like he is twenty. I shake his hand and ask him how he is. He apologises for not seeing us play our whole set, saying that he needed a sleep. I tell him he has an important show to do and no worries. (With Evan not releasing anything nor touring his legend seemed to have grown. I and others have always listened to his music but the hype for the show was weird. He was 'cool' again).

He says he heard we played well and then says he caught a few songs which is great. I tell him I have his latest demos and mention 'All My Life' as a standout. He fills me in on future plans for an album. Like our previous meeting, he looks me dead in the eye. He seems tired but very friendly and rather healthy. He then moves towards his dressing room and tells me to come in. I sit on the lounge and offers me some fruit. He sits down and we chat. The terror of September 11 2001 comes up. He saw the second plane hit the WTC. He and his wife live two or three blocks from where the Twin Towers stood. I can actually see the horror in his eyes. He opens his guitar case and shows me the dust from the rubble still in his case. He says that when they were evacuated he forgot to shut a window.

He asks me some more about my music and then tells me his travel plans for after Australia. A bolt of thought hits me when I realise I am sitting next to someone that I admire so greatly in his dressing room. Don't get me wrong, Evan is a regular and friendly normal guy. But he is also the guy who's songs amaze me. Bill Gibson walks in and they haven't seen another in a long time so I leave them to it.

I try to find friends but it is packed now and dark everywhere I go. Chris Brockaw is up next. He is Evan's guitarist but also has a vast history including time in Codeine (who I loved), Come and most recently Pullman and The New Year. Leigh and I watch from side of stage which was great because the crowd was getting a little chatty. Having said that, Chris certainly brought in fans of his own and his set was excellent. Leigh managed to video some of his set as well. Rob joins us and me being a little drunk but more just very happy, I put my arms around both of them. (Two products from Bonnyrigg no less). Rob goes back out to hang with his Dad and sister.

Leigh and I chat to Chris Brockaw after his set. He is a nice fella. He tells me he enjoyed our set. We grill him about Codeine and The New Year. Evan stands with us and tells Chris he sounded great. Due to there being four acts there is not much time between sets. Almost straight away Evan and Chris stroll onstage to a big Sydney applause. They start with Down About It and pretty much don't stop for an hour and a half. Evan chats a little to the crowd but you get the feeling he is here to sing his heart out, which he does. I personally know of some people (perhaps there to see Chris more than Evan) who left quite early, having heard some hits and thinking "Same 'ol, same ol'" ... but in my opinion this is bullshit. I may be a biased fan but not to the extent where I cannot tell the difference between an average show and a great show. He hasn't sung this well in years and it wasn't just a greatest hits show. He played new songs and covers too.

I watch most of the show next to Leigh. It is a pretty amazing and rare opportunity to watch this guy side of stage so I make the most of it. New song All My Life is brilliant, as is the gorgeous Hard Drive. I am familiar with these new tracks due to a kind soul (Mel Lake) passing them onto me so knowing these new songs makes it even more satisfying to hear them live and stripped back. They are honest, reflective portrayals of someone looking back but but in doing so, looking forward. I go out into the crowd briefly and it is an awesome atmosphere. Friendly and relaxed.

Back at the side Darren joins Leigh and I. He is a larrikin. A guy taps him on the shoulder and asks "Are you Sam?" and Darren points to me. It is Tom Johnston (refer to the start of the story). We chat for a few minutes about the show, him being in Australia for the first time, the BT's (Buffalo Tom). I am very happy to meet someone so influential to something I love (Boston music scene), who also happens to be extremely nice.
Evan and Chris finish their main set. Leigh and I huddle together to give them room as they walk by. Evan sticks out his hand jokingly, almost camouflaged, which I acknowledge with a gentle (low) high five.

Darren, who is sitting on the floor, says he'll give me $50 if I go out onstage and start singing. He is serious. I shoot the bet right back at him but then Evan and Chris walk back past and begin their encore. Darren swears he was about to do it. $1000 wedding is sad and sweet, as is Confetti. New songs Why Do You Do This To Yourself and Fat, Broke, Bald, Armed and Angry are both quite interesting and country sounding. Around 11:15pm Evan and Chris leave to a glowing applause and both give us big smiles as they walk past us again. I hang with Leigh for a while as we watch the crew begin to pack up.

The crowd leaves pretty quickly, though some hang about in the foyer. I say goodbye to friends. Alice tells me how proud she is of me. Back inside the Metro Evan is sitting with Tom Morgan on the dancefloor. We pack our gear and get some cash for CD's sold. Robbo is sitting with Tom and Evan. I say hi to Tom. Everyone is leaving. Rob and I thank Evan for having us. He seems pretty tired actually but he is polite as usual. Wes, Rob, Tom and I head down to Newtown for drinks. Wes and I have kebabs near the Town Hall Hotel...nothing else is open. We eat on the bus stop seat. Scott McIntyre calls my mobile. He is still in Japan, you see. I tell him about the show. I also tell him he should have been here but then apologise. We talk for ten minutes then Wes and I head to the pub.

Our friend Matthew Hancock is there, he saw Billy Bragg tonight. I have beer and whiskey. I am fairly drunk but do not want to get completely so. I want to remember everything about tonight and besides, I am happy enough as is. They move us downstairs where Darren Hanlon is socialising with some friends. Rob and I join them. Rob takes over, telling stories from high school. (The one about the dog surprisingly doesn't rate a mention).

Around 2am Wes, Rob and I head towards his place in St.Peter's where I was going to stay. I decide on a whim to bus it home. I get out and thank them both for their help. I catch a Nightrider home and the journey seems quicker than usual. I recap on a brilliant evening. One that makes you kind of stop and just be content; not worry about tomorrow or the following year. Just happy to be.

I remember at about 3:30am I lay down on my bed and I almost felt unconscious. The booze mixed with no sleep mixed with nervous energy mixed with great satisfaction had taken its toll. I sleep, thinking of a night I will always remember.

Thanks to Tom Johnston, Evan Dando, Handsome Touring, Modular, Chris Brockaw, Konrad Skirlis, Metro staff, Rob Cranny, Tom Hartney and Adam Wes Gregorace for a marvelous time.

Sam