Setlist: Bob Mould — Liberty Lunch, Austin TX, 30 Jul 1999

Wishing Well
Hoover Dam
Taking Everything
Your Favorite Thing
New #1
Can't Help You Anymore
Lonely Afternoon
The Last Night
Eternally Fried
Brasilia Crossed With Trenton
[unknown new song]
Sunset Safety Glass+
[unknown new song]+*
Semper Fi+*
Surveyors And Cranes+*
First Drag Of The Day*
Moving Trucks*
The Act We Act*
Man On The Moon*

Celebrated Summer*

See A Little Light*
Makes No Sense At All*

Solo acoustic except (*) solo electric and (+) DAT backing tracks.

Thanks to Mark Weygandt, from whose website (now defunct) this information was retrieved, along with the informal show reviews and comments below, which were originally posted to the Sugar internet mailing list:


From: Bernard Choi

A few notes on the Liberty Lunch show:

1) Bob was in extremely good spirits; he talked for about 5-10 minutes
before even getting into the usual opening song.  Even though you know it's
coming, it's still awesome when he plays the opening riff to Wishing Well.
Eventually, Bob seemed to get tired of people screaming out songs for him
to play, ranging from the typical "Freebird!" request to stuff covering his
entire history of songs.

2) His new stuff was interesting.  The songs in which he used the DAT as a
"backing band" sounded like the following: "Believe" from Cher (no
kidding), "Ava Adore" from Smashing Pumpkins, and finally, any Bob song
from Warehouse and later albums.  He couldn't tell whether his playing was
in sync with the DAT tracks, and you could tell that he was slightly off
beat during some of the songs.  I really liked them, but I'm sure that one
of the main reasons is because Bob was playing them, and not some random
person.  Sue me for being a huge Bob fan, I guess...

3) Somebody asked Bob about whether or not he would sell any of his songs
for commercials.  He jokingly said yes, and then he started talking about
Madonna.  To paraphrase Bob: "Madonna is AT&T...have you heard that song
"Beautiful Stranger?  I really like that song.  Either Madonna's getting
better with age, or I'm getting more gay..."

4) Brasilia was absolutely fantastic.  Bob knew it, too, from the comments
he made after the song.

5) To answer the following question:

><< Celebrated Summer >>
>How does this sound accoustically?  Personally, I find this to be one of the
>best songs, by anyone, ever (notice I said 'one of').  Can I get an amen,
>brothers and sisters?

I think it's one of his best electric-turned-acoustic songs, and judging
from the reactions of the crowd, I think most people would agree.  I was
actually a little concerned that he wouldn't play it, but he did not
disappoint.  If you look carefully at the setlist, you'll notice that he
did not play a single Husker Du song in the main set; one of my friends
noted this when Bob left the stage the first time.

6) BTW, Andrew Duplantis opened for Bob.  I was really impressed.

It's a shame that Liberty Lunch closed it's doors for the final time last
weekend, but what a way to wrap it up!  I heard the Toadies (final show at
Liberty Lunch on Saturday) were phenomenal.


From: Jeff Runnels

A few more comments on the Lunch show:

I've seen Bob play solo acoustic at least 5 times before and I've gotta'
say that this was the best I've ever heard him sound. His voice was
clear and distinct without as much of the phlegmy, nasally, sore throat
rasp that he was known for in his smoking days. Tossing the butts was
the best thing he's ever done for his voice and (editorial comment) his

That said, my personal opinion of his new songs is that they were pretty
lame.  The first untitled song that mark w mentioned in the setlist was,
to my ears, the worst thing Bob has ever written.  If you thought the
line from LDAPS about the "Spanish Inquisition" was a bad line, you
ain't heard nothin'.  This song had every cliché in the book. The gist
of the song was about lying awake at night "memorizing the lines" on the
face of your (as usual)
unfaithful/unfulfilling/distant/non-understanding lover. As for the DAT
accompaniment, methinks Bob's been listening to too much techo.

Brasilia was transcendent.  The "... or I'm getting more gay" line was

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