Photo Credit: Audrey Leon

Whether or not the crowd was fully prepared for the event at hand, The Pixies certainly were, delivering a performance worthy of their legend and of the landmark record on display. The sound, appropriately, was simply enormous.

The Pixies took the stage Friday night at the Aragon Ballroom to perhaps the most adoring crowd I have ever stood in. I mention this because it’s interesting to see a band play to a group of people who just a few months earlier would never dream that they’d be standing where they were, seeing a band of such magnitude playing an album of such importance.

As with My Bloody Valentine on the same stage a little over a year ago, it was a surreal experience that was somewhat difficult to fathom, even as it was happening. Maybe I was just too awestruck by the spectacle at hand or maybe, just maybe, this often troubled and messy band came out and delivered a flawless performance to complement the material. From where I was standing I detected nary a single hiccup or deficiency the whole night, not that I was expecting such imperfections.

As promised, the band started out by running through a handful of Doolittle B-sides that, as fans know, are about as awesome as B-sides come. Though obvious second tier Pixies material, songs like “Manta Ray” and “Weird At My School” can hang with most bands’ ‘A’ material, and served as a great warm up to (and later cool down from) the main event.

Photo Credit: Audrey Leon

As soon as Kim Deal plucked the opening notes of “Debaser” the crowd went wild and the energy level never seemed to dip as the band ran through the entire album without pausing much at all. Indeed, I can’t recall frontman Frank Black uttering a word the entire night other than a couple “thank yous” and only Kim offered the occasional quip regarding the performance and the set’s progress.

The band seemed to be mostly all business, but it was obvious that they were enjoying themselves. It might’ve been nice to get a little bit in the way of commentary from the people behind an album as incredible as Doolitle as it was being played, as some insight into the music could have been really interesting, but the band chose to let the music speak for itself, which was just fine. There was no self-congratulating or introspection, even though such indulgences have been more than earned and would have been tolerated.

Photo Credit: Audrey Leon

Every track sounded amazing live, and the presentation was awesome as well. Clips from Un chien andalou, the surrealist film that Francis cites as a major inspiration for the album provided a great intro, and the videos playing in the background, ranging from abstract clips to footage of the band, did a fine job of accentuating the experience.

As an added treat, there were two encores featuring more excellent B sides and a few classic cuts from elsewhere in the Pixies catalog like “Velouria” and “U-Mass,” all of which sounded equally as awesome as the Doolittle material.

Photo Credit: Audrey Leon

The show was an unqualified success, showcasing a band still able to tear it up in a live setting. The album being celebrated certainly deserved an epic performance and the Pixies delivered, and I hope they see fit to perform their other classics at some point.

The music still deserves to be heard in a live setting, and the Pixies proved Friday night that they are still more than capable of delivering a phenomenal live performance.

Let me be the first to wish all of our readers a very merry Thanksgiving holiday. While you’re stuffing your gullet with turkey and dressing, we’ll be here all holiday long providing you with the latest Chicago music news and reviews. Also, beginning in December, we’ll start our best of the decade/best of the 2009 lists. So that’ll be fun.

This weekend, we’re spotlighting tonight’s Pixies’ show, Peaches and Permanent Records Third Anniversary Bash at The Hideout.

But before we get to our picks for top weekend shows, a reminder: Loud Loop Radio will once again grace the intertubes tomorrow, Saturday, November 21, at 3 p.m. until 5 p.m. CST on Radio DePaul. We’re going to review the Them Crooked Vultures album, so that should be fun. Joining me in the studio this Saturday will be Loud Loop associate editor Andy Kahn.

Let’s get to it, shall we?

The Pixies
Ok, so not everyone is a fan of The Pixies obvious cash grab tour. Still, it’s The fucking Pixies. And they’re playing all of Doolittle? Yes, please. Say what you want about selling out and so forth, but they put on a damn good show. Our own Audrey Leon gives you some great reasons to try and finagle your way into at least one of this weekend’s shows. Also, No Age is tonight’s support with Jay Reatard opening Saturday night’s show – so that’s awesome. – Richard Giraldi

7:30 PM. Friday, 11/20 & Saturday 11/21. Aragon Ballroom. SOLD OUT.

Peaches
Queen of electro-shock rock, Peaches, will get the audience at the Metro hot and bothered on Friday night with her always wild and provocative live show. Peaches is in town to promote her latest album I Feel Cream, which was produced by James Ford of British electronic act Simian Mobile Disco and features the singles “Talk to Me” and “Lose You.” – Audrey Leon

9:00 PM. Friday, 11/20. Metro. 18+. $23 adv. / $26 door.

Brendan Benson
I might not have given the new Brendan Benson the greatest review, but I did note that his new stuff sounded way better live. Well, you have two chances this weekend to decide for yourself. Friday he’s playing for free at the downtown Apple Store at 6:30 and then hustling on over to Lincoln Hall for a 10:30 show. – Ross Meyerson

6:30 PM. Friday, 11/20. Apple Store on N. Michigan Ave. All Ages. FREE!

10:30 PM. Friday, 11/20. Lincoln Hall. 21+. $20.

The Gorilla Press
A weekend diversion that’s not the Pixies. Local alt-rockers The Gorilla Press will be headlining at The Bottom Lounge tonight with Split, Flights, and The Sweeps. I’ll be there if anyone else wants to come! – Britni Day

8:00 PM. Friday, 11/20. Bottom Lounge. $9.

3 Inches Of Blood
Oh, Canada. Not a metal haven per se but when you bring it you really bring it. Vancouver’s 3 Inches Of Blood bring their throw back to self-referential metal to the Beat Kitchen Saturday night. If songs about metal are your thing or you just miss Overkill-esque vocals go check it out. To sweeten the pot, Oakland’s Saviours open. You very well be reading more on their new album here shortly. Anyways, riffs will be flowing. – Ross Meyerson

9:00 PM. Saturday, 11/21. Beat Kitchen. 18+. $13.

Permanent Records Third Anniversary Bash
Our friends at Permanent Records are throwing a bash at the Hideout to celebrate their third anniversary. It will be, as the kids say (or used to), off the hook. You know I champion the store and the label they started. Well, 4 of the bands on their in-house label will be playing: Cave, Cacaw, Black Math, and Mako Sica, whose review you, of course, have read here. That’s a ton of good stuff for, how much, really, only $5? Go tell Lance and Liz and the rest of the staff how much you dig their little record store that could. – Ross Meyerson

9:00 P.M. Saturday, 11/21. The Hideout. 21+. $5.

1. Pixies will be honoring the 20th anniversary of their classic 1989 record Doolittle by performing the record in its entirety plus b-sides like “Bailey’s Walk” and “Into the White.”

2. There’s a good chance you’ll hear cuts from other Pixies’ records, such as “Something Against You,” “Nimrod’s Son” and “Where is my Mind,” which appeared during the Pixies’ second encore at the Fillmore Auditorium in Denver, Colorado, on Nov. 16.

3. Like a comet or a meteor shower, the Pixies only come around every couple of years. And while they may never record another record, it doesn’t mean we can take a night (or three) to appreciate what was. For instance, check out this video of the Pixies performing “Debaser” from Lollapalooza 2005 in Chicago.

The Doolittle tour hits Chicago’s Aragon Ballroom on November 20 and 21. Tickets go on sale September 12 at ticketmaster.com.

UPDATE: Per WindyCityRock.net, The Pixies have added a third show on Thursday November 19 at the Aragon Ballroom to their already two-date Chicago stop. Tickets for the added date will go on sale October 24 at Ticketmaster.com. Additionally, WindyCityRock reports show opener information:

Bad Lieutenant, the new project from Bernard Sumner of New Order and Joy Division, will open the November 19 show. No Age will support on November 20 and Jay Reatard on November 21.

The set list will feature not only Doolittle tracks but all the album’s related B-sides.

I’m still amazed that the band have managed to work through the tension seen in their 2004 reunion tour documentary loudQUIETloud for yet another tour. But it’s The fucking Pixies, so who cares? Just give me my “Debaser.”

The complete Doolittle tour dates courtesy of Pitchfork.com after the jump.

08-29 Burl’s Creek Park, Ontario – V Festival
09-30 Dublin, Ireland – Olympia
10-01 Dublin, Ireland – Olympia
10-02 Dublin, Ireland – Olympia
10-04 Glasgow, Scotland – SECC – Hall 4
10-06 London, England – Brixton Academy
10-07 London, England – Brixton Academy
10-08 London, England – Brixton Academy
10-09 London, England – Brixton Academy
10-11 Frankfurt, Germany – Jahrhunderhalle
10-13 Amsterdam, Holland – Heineken Music Hall
10-14 Brussels, Belgium – Forest National
10-15 Paris, France – Zenith
10-16 Paris, France – Zenith
11-04 Los Angeles, CA – The Palladium
11-08 Oakland, CA – Fox Theater
11-09 Oakland, CA – Fox Theater
11-12 Seattle, WA – Paramount Theatre
11-13 Seattle, WA – Paramount Theatre
11-14 Eugene, OR – Hult Center
11-16 Denver, CO – The Fillmore
11-20 Chicago, IL – Aragon Ballroom
11-21 Chicago, IL – Aragon Ballroom
11-23 New York, NY – Hammerstein Ballroom
11-24 New York, NY – Hammerstein Ballroom
11-25 New York, NY – Hammerstein Ballroom
11-27 Boston, MA – Wang Center
11-30 Washington, D.C. – Constitution Hall

The Breeders are known for their lengthy downtime between releases, which is why it’s quite impressive that the Kim and Kelley Deal-headed group released their new EP Fate to Fatal only a year after 2008’s Mountain Battles. While Fate to Fatal offers some of The Breeders’ moodier moments, the record unfortunately suffers from haphazard song ideas and lack of quirkiness.

The quick and dirty four-song Fate to Fatal is more of a reminder that The Breeders are still breathing than the “We’re back and ready to kick some ass!” statement that made last year’s album such a success. This EP expands upon the similar minimal production and lo-fi pop sensibilities from Mountain Battles, but the songs simply aren’t as fun and playful as their previous efforts.

While Mountain Battles wasn’t quite as fresh and powerful as their 1990 debut Pod, the album did have a sense of what it wanted to be. “Bang On” was a drum machine-fueled ditty where the Kim and Kelley’s harmonies took the forefront, and “It’s The Love” was frantic girl-guitar attack at it’s finest. But aside from the opening title track, Fate to Fatal doesn’t surprise the listener with any new ideas. The result is a loose, off-the-cuff sounding demo than an appropriate release, which definitely does not suite one of early alternative rock’s most clever groups.

Opener “Fate to Fatal” is clearly the EP’s high point with the Deal sisters yelling “Get Up! Get Out! Oh!” over crunchy guitars and pounding drums before the mesmerizing George Harrison-esque wandering lead guitar-filled verse takes over. Unfortunately, the rest of the album never again recaptures this same energy.

“The Last Time” features former Screaming Trees front man and current Gutter Twin Mark Lanegan sounding a bit out of place laying down his cigarette-induced baritone over light two-chord acoustic guitar strums and uplifting organ. The subdued acoustic cover of Bob Marley’s “Chances Are” that follows features beautiful vocals but doesn’t tug at the heartstrings like their en español cover of “Regalame Esta Noche” from Mountain Battles. Album closer, “Pinnacle Hollow,” is perhaps the most lackluster and demo sounding of the bunch. A good two and a half minutes of messy strumming and electric guitar noodling occur before the vocals enter, but by that point interest has waned.

Mountain Battles was a very well done low-key pop record, and the future for Kim and Kelley Deal seemed bright. But with Fate to Fatal, the group is sounding somewhat hollow with exception of the title track, which is exactly the kind of energetic rock track the band needs to be producing at this point in their career. Maybe Kim will regain her bearings when The Pixies reunite for two one-off Euro festival dates this summer.

One can only hope.