The Doors – Live Performance

Saturday March 29, 2003

Dallas, TX        by Jeff Horton

The Doors (21^st Century version) brought 1968 to the Dallas suburb of Grand Prairie and rocked a crowd of 5,000 into a frenzy that included one of the wildest concert finishes seen in Big D in years. Mr. Mojo had to have been looking down with a big, big smile. 

Set List:

Roadhouse Blues

Break on Through

When the Music’s Over

Love Me Two Times

Moonlight Drive

Wild Child

Alabama Song (Whisky Bar)

Back Door Man

Five to One

Awake Ghost Song

Spanish Caravan

Maggie M’Gill

L.A. Woman

Light My Fire 

Encores:

Riders on the Storm

Peace Frog 

Unexpected Encore:

Soul Kitchen 

A five man version of the ultimate 60’s psychedelic rock group, The Doors, successfully passed the torch of wild-ass rock and roll from the hands of the baby boomers through generation X and on to generation Y Saturday in the Dallas suburb of Grand Prairie. The Next Stage venue was not filled to the brim but included a crowd of approximately 5,000 that was 65% graying boomers and 35% their younger siblings and offspring. The band took the stage about 8:45 pm and gave a solid two and ½ hours of entertainment. If you’ve been sitting on the fence about this tour, thinking it’s another money grubbing nostalgia act, drop your concerns and buy your tickets today. 

Ray Manzerak preserved the spirit of the Doors, Robbie Krieger remains the great unknown guitarist of his era, and Ian Astbury, was possessed with the spirit of Jim Morrison in a performance that featured strong vocals, physical antics, “fuck you’s” and the audience dancing on the palm of his hand.  

Backed by an actual bassist, the group came on to their trademark “From Los Angeles, California – The Doors” introduction and blasted through the first four numbers. No one reclaimed their seat until about 60% through the show and then only for a few minutes. Backed by a single video screen that featured fewer images of Morrison than expected, the Doors performed a wide range of material from their six studio albums and the Awake Ghost Song from Morrison’s American Prayer collection of poetry. 

 While the three principals were individually strong, occasionally Krieger’s lead guitar and, (or with), Manzerak’s keyboards drowned out Astbury on the less intense Moonlight Drive and Spanish Caravan. During Five to One, the video screen was filled with 60’s era footage of police using nightsticks on Vietnam protesters and from there Manzerek drew some of the loudest cheers of the night when urging support of “our troops” and for them to all return safely. He then leveled criticism at a “21^st century dictator” and the need to restore peace to the Middle East. Since the dictator remained unidentified, both sides on the Iraq war debate could fill in the blank as they chose.  

From there the group launched into Morrison’s poetry accompanied by two Native American Indians from New Mexico in traditional dress, who, back by a hypnotic beat and Krieger’s strumming, performed a dance that was worth seeing. Manzerak’s commentary labeled all born in the U.S. as native Americans charged with a responsibility for the environment and protecting mother earth. Manzerak also complimented the crowd for having the spirit of Texas Radio and the Big Beat as he recited the opening lyrics to the WASP.  

Then it was back to rock and roll with increasing intensity as the group assaulted the crowd with Maggie M’Gill, L.A. Woman, and Light My Fire. Next was the traditional exit stage left under darkness to return for Riders on the Storm. That’s when this show got really interesting.  

Through out the night Astbury gave the best impression of the Young Lion turning erotic Lizard King since the real deal in the late 60’s. At the start of the second encore number, Peace Frog, a young blond climbed the stage but was whisked away by security before she could get to Astbury, who happened to have his back turned. As Krieger rocked through Peace Frog a second young lady, a brunette, climbed the stage and was also whisked away. Then it was “Thank You, Goodnight” and lights up as the crowd headed for the exits. About 30% had made it through the doors when the band reappeared and jumped into Soul Kitchen, which caused a rush to the stage. About 30 seconds into the song, the blonde appeared from offstage and began to do a striptease next to Astbury, the brunette appeared, and then it all broke loose as one female after another hit the stage. The blonde stripped down to her birthday suit as more and more young men and women invaded the stage. The blonde strutted over to Manzerek and danced in front of him. At least 100 people enveloped the band on stage; surrounding all the musicians where none could be clearly seen. Astbury somehow popped out to the edge of the stage and dived into the audience for a bit of body surfing. Manzerak kept shouting out “Oh, man. Oh man.” And those of us in the stands, who hadn’t tried to get a jump on traffic, busted out in hoots, hollers, applause, and laughter unheard at a Dallas concert in years. Mr. Mojo had risen and rock and roll was restored to the edge of wildness where it belongs.

by Jeff Horton

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