The Copper Evolution
After months of fine-tuning (a never-ending process, actually), we finally debuted the new live show, The Copper Revolution. Runtt, the robots, and I were joined by bassist Matt Pompei for the first crash site (Boston), and then managed to crash once again just a week later in Chattanooga. After two shows, the reception is already warm enough to counteract how effing cold it is in New Hampshire right now.
But we’re not finished. And that’s weird.
I’m used to conceptualizing an album, writing the album, producing the album, and being done with it. This show is something new, something that will evolve and probably improve over the coming months. We may have debuted something at Arisia in January, but it’s something of an unfinished finished product.
Now that I’ve chosen to go for a more theatrical live show, I’m discovering why I love performing even more than recording and releasing albums: the live shows are, appropriately, ALIVE. If working on a recorded album is like building a doll, working on a live performance is having an actual child. This thing will grow, change, and adapt based on experience and inspiration. And, I’m sure, there will be some poop… but nothing more than we can handle.
A thousand years ago, when I was in high school and college, I was a theater geek. I played leading roles, I played supporting roles, and I worked tech. And I haven’t had a chance to flex my theatrical muscles since then. It’s amazing how good it feels to be doing some live fiction in front of warm bodies (and a few cold-blooded ones) on new and exciting planets. I’d forgotten that, though there’s a script and choreography, every single live show is a new creation.
I can’t wait to see what becomes of The Copper Revolution this year.