The Christmas my parents got divorced my dad bought me Jane’sAddiction’s “Nothing’s Shocking” (much to the amusement of the kid that sold itto my 300 pound bib overall-sporting father). I remember laying in the dark onthe living room carpet listening to “Up the Beach” and “Ocean Size” and “Ted…JustAdmit It.” It was weird and fascinating. In a way, it changed my path. I betmany of the concertgoers at Wednesday’s Jane’s Addiction show at Ovens Auditoriumhave similar stories. And while I’ll never recapture the magic and romanticism ofseeing Jane’s live for the first time during the “Ritual de lo Habitual” tour,I never expected them to be so good 21 years (to the month) later. Aided bystylized production, which included Perry Farrell’s wife Etty Lau as one of twoscantily clad S&M dancers, Jane’s put on an incredible show that was farbeyond the performance it gave a few years ago opening for Nine Inch Nails atVerizon Wireless Amphitheatre (although that one did boast original bassistEric Avery, which was a treat).
Wednesday’s show was more like one of Farrell’s twisted (hisword) fantasies come to life. Whereas in 2009 Farrell seemed to show his age more,he, ever buff guitarist Dave Navarro, drummer Stephen Perkins and bassist ChrisChaney all appeared fresh from the gym. Farrell in particular reveled in thespotlight grinning that wide Cheshire cat smile and repeatedly calling us “SouthCarolina” (which did garner some boos) until the very end of the show.
Britain’s the Duke Spirit opened the show with its sultry,bluesy modern rock. Singer Leila Moss is a show unto herself. In skintightleggings, a lacy poncho-style blouse, and braids framing her petite face shelooked like a cross between a “Game of Thrones” character and CBGBs era DeborahHarry. Like Harry she’s got a sexy, capable and unique voice that purrs overthe gnarling guitars as she shakes her tambourine, or at one point, played a killerharmonica solo. The Duke Spirit has opened for Black Rebel Motorcycle Club, TedLeo, and Incubus in Charlotte. I long to see it receive a greater receptionstateside.
The audience stepped into Jane’s Addiction’s crazy, colorfulworld as the band took the stage with “Underground,” which opens its newestalbum “The Great Escape Artist.” The dancers swung above the band withparachute-like skirts that draped almost to the stage while a man dressed as anevil bird “flew” and pawed suspended on one side of the stage. The crowderupted as Jane’s kicked into “Mountain Song” with Navarro turning in one ofmany spot-on guitar solos. The dancersleft the stage giving way to retro footage that busily played on backdropscentered around the nude twin statues that serve as the tour mascots ont-shirts and posters.
“Just Because,” “Been Caught Stealing,” and “Ain’t No Right”followed. Then the two Asian girls returned wearing bondage gear and negligees and nestled on a rocking wooden seatthat reminded me of a porch glider for asort of disturbing showstopper - “Ted…Just Admit It.” They “unwrapped” eachother using their binding as a prop while vintage pinup and bondage footagerolled on the screens to illustrate the lyrics (“sex is violent”). Althoughsome of the footage featured women on women violence, it annoyed me that allthe violence was perpetuated against women.
Written 25 years ago lyrics like “the news is just anothershow” are even more relevant today. As if to disprove the “nothing’s shocking” refrainof “Ted,” the hauntingly catchy “Twisted Tales” was accompanied by a babydollbashing performance art piece and clips from a 1988 documentary about dollabusing teen punks or, as the film is titled, “Sadobabies: Runaways in SanFrancisco.”
One fan climbed on stage during the stage front acoustic jamof “Classic Girl” and “Jane Says” (with Perkins playing steel drums on thelatter). Farrell invited the fan to stay, but Navarro, who was incrediblypatient, eventually had her escorted off the stage after she insisted on whisperingin his ear while he was trying to play.
It was refreshing to see Navarro, so adept on guitar, focuson drumming alongside Perkins and Chaney during a tribal rendition of “ChipAway.”
The set really hit its stride with the instrumental “Up theBeach” leading into the atmospheric, reverb drenched “Irresistible Force” and “OceanSize," which closed the set. The cast regrouped for an encore of the marathon “ThreeDays” and the powerfully spastic “Stop!” As the music dropped out at the latter’sclimax the entire crowd seemed to join in with Farrell. The band appeared trulythankful and humble sticking around to shake hands and sign a few autographsafter those last lingering notes disappeared. Farrell even handed a set list toone adoring fan - something you rarely see the actual artist do. 
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