Tiles Essays: Europe 1999 Tour Diary
Europe 1999 Tour Diary:
On Tour With Dream Theater
written by Chris Herin Eric Harabadian, 2000
Tour Dates:
November 8, 1999: Docks - Hamburg, Germany
November 9, 1999: Capitol Theater - Hanover, Germany
November 11, 1999: Ijsselhall - Zwolle, Holland
November 12, 1999: Ancienne Belgique - Brussels, Belgium
November 14, 1999: Palladium: Koln, Germany
November 15, 1999: Forum - Nurnburg, Germany
November 17, 1999: Volkshaus - Zurich, Switzerland
November 18, 1999: Colosseum - Munchen, Germany
November 19, 1999: Fila Forum - Milano, Italy
November 21, 1999: Transbordeur - Lyon, France
November 22, 1999: Forum - Ludwigsburg, Germany
November 23, 1999: Kulturfabrik - Esch-Alzette, Luxembourg
November 24, 1999: Elysee Montmarte - Paris, France
It's the kind of tale that, on the surface, sounds a little unbelievable at first. A group of guys are chosen from the
hundreds, if not thousands, of bands crowding the progressive/hard rock/metal landscape and thrust into the limelight
to tour as the opening act for a major band. Against daunting logistical odds they embark on an adventure exploring
exotic and foreign locales, performing for thousands, and basking in a wellspring of enthusiastic response. This past
November, that unlikely scenario became a reality for the Detroit-based progressive rock group Tiles. The major band
in question was none other than progressive metal heavyweights Dream Theater.
One evening, late in September, Tiles guitarist (and manager) Christopher Herin received an email from Dream Theater
(DT) drummer Mike Portnoy. Mike inquired about Tiles'
availability to support them on the first European leg of their Metropolis 2000 tour. Tiles, of course, were surprised,
flattered, and theoretically willing; but with just a few precious weeks to prepare, "able" was the true
challenge.
This opportunity materialized as a result of a series of factors. With three albums released, five years of diligent
promotion and marketing, label signings to Magna Carta and Inside Out Music, and a high-profile partnership with Terry Brown working in their favor, Tiles found that both Mike Portnoy and James
LaBrie were fans. "Several members of Dream Theater have done recording projects for Magna Carta and the entire band
are friends with the owners of our European label Inside Out," explains Chris Herin. "So I know they had seen our name
knocking around a bit. I suspect that Terry Brown was instrumental in keeping our name alive as he worked on the
Mullmuzzler album with LaBrie and also DT's Metropolis Part II: Scenes from a Memory. Our most recent
album "Presents Of Mind" was released in mid-1999. I had contacted Mike Portnoy several times to see if he'
d offer a promotional quote of some sort. He really liked the album and said he would say something after he had time
to think about it. Although we never did get a quote, he certainly one-upped his favor by asking us to do the European
tour!"
We had about a month to prepare which included working with DT's management, our European label, and our own efforts
to figure out all the logistics and necessities of touring," continued Chris. "Although we are a fairly experienced
live band, we have never officially toured - so there was a steep learning curve to climb in a short period of time.
Jim Pitulski, DT's former manager and current manager of Spock's Beard, gave us a lot of helpful tips. At least my
guitar equipment was road worthy in a rack and anything else we needed like keyboard foot controllers, electronic
drums, guitar footpedals and miscellaneous hardware could fit in a custom road case we had built. Our label undertook
t-shirt design and production, made arrangements with a tour bus company, and took care of equipment rental for the
drums and bass gear. We had to supply a stage plot, an input list, and equipment manifest as we were required to rent
our own front of house sound board and effects rack. The record label also started their normal efforts of promotion
and publicity. Unfortunately, the short lead time on our participation made it difficult for promoters to include us
in posters and advertisements."
The band organized a crew consisting of two musician friends (willing to work for an all-expenses paid three week trip
to Europe in lieu of a wage) and a professional soundman from Detroit. With budget concerns always looming over the
arrangements, everyone seemed willing to forgo luxuries (like hotels!) to put, and keep, the show on the road. Chris
took on basic tour manager responsibilities with the help of the soundman, while Michael, the generous native German
bus driver, really did all the work getting the band from place to place. With the crew assembled, equipment organized,
show rehearsed, and details worked out by the label, Tiles headed to the airport to begin their first official
tour.
The reality of inexperience quickly set in when, upon attempting to check their road cases as excess luggage at the
airport, the cases were rejected as oversized and overweight and required to be shipped as cargo. "The lesson here is
to be wary of ticket reservation employees passing on this kind of technical information," advises Herin. "We were told
it would be no problem. I even had given them the exact measurements and weights! We spent a frantic two hours trying
to get our equipment shipped to Europe in time for the first show in Hamburg, Germany without missing the flight
altogether. We eventually had to give up. The best we could do was ship the equipment to Amsterdam and pick it up on
our day off between the second and third shows of the tour." This posed a unique and frustrating predicament because it
meant Herin was not able to use his guitar amp and effects rack, with its tailored sounds and sampler/keyboard modules,
which are integral to Tiles' live presentation. However, knowing they would rent equipment when they arrived in Europe,
he would have to assemble a makeshift amp rig for the first two shows.
Finally, the band, crew, luggage, and
at least the guitars took off from Detroit Metropolitan Airport heading to Frankfurt, Germany to meet their bus and driver - then on to Hamburg for rehearsals and
the first show of the tour. The early arrival allowed everyone to adjust to the time change a little and to set up the rental gear and rehearse. "We had to
re-arrange our set list accordingly for the first two shows in Hamburg and Hannover," explains Chris. "There were no keyboards, samples, or effects at our disposal, so we opted to play songs which didn't rely as heavily on
them. This was somewhat difficult because we felt some songs still had to be played, plus we dug out a few songs that we had not rehearsed very much."
The "Docks" in Hamburg was the
first venue of the tour - and the first of several
places located in or near infamous red-light districts. "It became kind of a running joke with Dream Theater," laughs Chris. "I noted that we began the tour in a
red-light district, played several gigs throughout the tour in red-light districts, and ended the tour in a red-light district! Kind of a culture shock for
first-time visitors."
Both the "Docks" and the "Capitol Theater" in Hannover, Germany drew crowds of around 1,500 people. All the venues on the tour were festival seating. So with enthusiastic progressive metal fans anxious to
get the best vantage points, Tiles was able to perform to the bulk of the audience. Chris remembers the first couple shows... "The first 2 shows were very stressful for me just trying to get
the amps to sound good and attempting to simulate some basic delays and chorus required by the songs. Even John Petrucci was suitably sympathetic about having to use
rental amps! So naturally, our luck would have it that the press was out in full force for these shows - and the reviews were not all positive. The audience responded well enough to the 'stripped down' versions, but as we
later learned through the reviews and our painfully blunt publisher, people were disappointed in the sparse sound. Dream Theater, their crew and production staff,
and the concert promoters were truly professional in helping us acclimate to the tour. There were no 'attitudes' from anyone. They were all very
supportive, helpful, and friendly. I think it helped that DT has had several Inside Out bands open for them in the past. Vanden Plas, Enchant, and now Spock's
Beard have done their tours. DT has done a lot to help out independent progressive artists by taking them on the road."
The first few days in Germany were dark, cold and
drizzly as is typical in November. But, on the way to Amsterdam the skies cleared and the sun shone brightly. Tiles picked up their wayward equipment from the airport then enjoyed the day off finding a
hotel and taking in the sights. Although Amsterdam is known for maintaining a certain liberal atmosphere (if you know what I mean!), the shops, architecture, and
general Dutch culture proved to be much more absorbing and relevant.
November 11th marked the third
show of the tour at the Ijsselhall in Zwolle, Netherlands - just outside of Amsterdam. By this time both Tiles and Dream Theater were getting to know each other
better, creating a friendly camaraderie. "I have to mention, at the risk of sounding like a sycophant, that all the members of DT were great guys. Trading stories
and talking about music, amps, guitars, the Simpsons, kids, Europe, technology - you name it. Especially when you consider how egocentric virtuoso musicians or "rock
stars" can occasionally be," Chris explains. Zwolle was one of the largest shows on the tour with 5,000 people in attendance. The venue was unusual for a concert - a
cattle auction hall/market complex, such as you might see at an American state fair. With their equipment bugs ironed out, Tiles was pleased to perform with a little
more confidence in their sound and presentation. It was also here that the band finally met the President and Promotions Manager of Inside Out after years of phone
calls, faxes, and email!
Next, the Ancienne
Belgique in Brussels, Belgium. "Brussels was really a beautiful city - one of my favorites of the tour. The architecture was quite varied and dramatic," explains the animated guitarist. "The venue was very upscale with nice hardwood floors, great
dressing rooms and facilities, and a 48 track
recording studio available for live recording. Portnoy arranged to have DT's set recorded and I think they've already released some of these versions as bonus
tracks." Dream Theater had settled into their set and were sound checking quicker, allowing Tiles more set up time and a chance to interact on stage. Jeff and Pat spent time satisfying their technical curiosities with the details of bass
and drum equipment, while Chris received a lengthy tour and explanation of Petrucci's impressive amp rig from the guitarist and his technician. "It was interesting
how we didn't automatically fall into friendships along 'instrumental' lines. More along where we stood on stage!" Chris laughs.
Throughout the tour, Tiles maintained an attitude that it was their job to inspire the audience and prepare them for the main event. While the band has extensive live
experience in the Midwest, opening for the likes of King's X, Steve Morse, Judas Priest, Fates Warning, and Kansas, performing on foreign soil presented its own
set of challenges. "We caught a little flack from the press for sometimes pushing the audience too hard for a reaction, but Paul was simply trying to pump up the
energy level - and a lot of times it did work. We played our most challenging and aggressive material, which seemed to go over well. Pat alone is such a dynamic and
powerful drummer that after "Patterns" & "Token Pledge," our first two songs, the audience seemed to key in on him and feel the energy of the music," summarizes
Chris. "There definitely was some added pressure being the opening band for DT and dealing with the language barrier," admits the pensive Herin. "We had worked up
short phrases in German, Dutch, and French, but Paul felt too unsure of himself to use them. I think he was afraid of mispronouncing something and turning it into an
insult. Fortunately, English is nearly every European's second language - so we could communicate a little!"
"DT felt we were a good opener since stylistically we don't sound a lot alike," theorizes Chris. "We share many of the same influences and certainly inhabit the same genre, but we're
more hard rock oriented as opposed to metal. This thankfully absolved us from having to "compete" with DT on the progressive, technical metal style that they
founded."
After Brussels the band enjoyed a day off in Frachen, Germany, near Cologne. The weather was perfect for experiencing a rural German town complete with a
Saturday midday marketplace, then an evening in Cologne drinking in images of the city's beautiful cathedrals, the Rhine River, and culture. The Palladium in
Cologne was the third largest show of the tour with close to 4,000 fans. An interesting venue in an industrial park, it looked like a transformed machine shop or
factory. The following day's show at the Forum in Nurnburg, Germany saw the first of the Tiles/Dream Theater sound check jams. Various members of both groups
jammed delightfully on Rush and Deep Purple covers shortly before the doors opened at the venue. Chris explains, "It came from my offer to play Petrucci's guitar and
amp rig so he could hear how it sounded out front. The sound and power were just massive! Portnoy was still tapping on his drums so we started playing a few covers
like Xanadu and 2112 from Rush. Mike switched to bass with Pat on drums, John reclaimed his guitar, and Jordan joined in on Deep Purple tunes and some general
jamming. It was a lot of fun!"
These touring
experiences, coupled with the wonderful scenery and European people and atmosphere, proved very inspirational to Chris. "You know, we thought it perfectly
reasonable to speculate that this may be our only true tour, outside of what we do around the Midwest," he explains. "Touring is very costly and we don't have a wall
of gold records to make it consistently affordable. In weighing the financial responsibility we assumed against the opportunity to travel Europe, support DT in front of 25,000 fans, and play
to our own European fans - all with the invaluable assistance from our record company - how could we turn down the chance?"
"We certainly owe a huge debt of gratitude to our driver Michael. A native German, he interacted on our behalf every day, and also spoke enough Dutch and French to pull us through. Except for days off, Michael would
make arrangements with the venues and get permission for us to park overnight with an electrical hookup so we could sleep on the bus. He was kind enough to act as
occasional tour guide and chaperoned our excursions into the cities," continues Chris. Besides the sights and scenery, another aspect truly enjoyed by Tiles was the
food native to each country. At least "most" everyone appreciated it! "The catering throughout the tour covered a wide spectrum in quality, but you could always
depend on the German chefs to be the best," enthuses Herin. "Practically gourmet! We always made a special point of trying various dishes on off days, especially
when we could do some sightseeing. An odd 'drummer-thing' occurred though. Both Mike and Pat went on and on about the consistency of McDonald's food throughout
Europe. We finally turned Pat around and got him sampling something more adventurous! I'm not sure about Mike."
The second half of the tour marched back and forth through the Swiss, Italian, Austrian, and French Alps for some breathtaking scenery. The late night trip from Munich, Germany to Milan, Italy was lighted by a full moon that silhouetted the intimidating
mountain range against a skiff of snow that had started to accumulate. The road snaked its way through the huge valley, running parallel to the river. Clusters of
lights shone in the distance and announced the locations of small towns. Several major cities were also nestled in the valley, their lights casting an eerie glow,
which shone to the highest peak. "It's hard to sleep knowing what's passing by," Chris explains. "I sat in the front passenger seat of the bus looking out the big
windows at the country side until I just couldn't keep my eyes open. I can still picture it."
Tiles arrived in Milan, Italy for the only arena show of the
tour. Over 7,500 eager Dream Theater fans began piling into the venue as Tiles set up their equipment and prepared for a brief sound check. The promoter's production schedule was so far behind that DT barely had time for a proper sound check. "The Milan
show generates a lot of conflicting memories that's for sure," recalls
Chris. "The fans and the media were great, the promoter rude and
unreasonable, and the venue was huge and fun! Our soundman, Mark,
really delivered under less than ideal circumstances. Also, someone
stole a plastic Simpsons-family caricature that Mike had loaned as a stage prop off our dressing room door. But overall a great experience and show which we captured on video."
Following Italy was a day off in Lyon, France. On the eve
of their tenth gig of the tour, both bands wound up staying at the same hotel. Chris and Alex, DT's tour manager, had discussed an evening out with the bands and crew. Lyon was the last chance so plans were made for dinner at a nearby restaurant. The
evening was spent swapping musical anecdotes; road stories, jokes, and harassing the French waitresses who spoke zero English. "James and Mike helped the rest of us
decipher the menu then we would point at what we wanted," laughs Chris. "The bar tab nearly equaled the food so you can imagine the frustration of the poor
waitresses having to cope with 20 loud Americans and a Canadian."
After dinner John Petrucci invited Chris to his hotel room for a little jamming. It was an experience he wouldn't soon forget. "I had pestered John off and on about
getting a lesson from him before the tour was over. Mike Portnoy and I had a few cognacs in the bar of the hotel while I waited for John to finish up some phone
calls. Mike said how guitarists are always asking to jam with John - people like Marty Friedman and Dave Mustaine of Megadeth - which actually started making me more
nervous," expresses Herin. "Petrucci is the consummate musician, much like Steve Morse - so it was a little intimidating at first. He's able to adapt to almost any
kind of music - flawless technique but never at the expense of musical value or melody. Anyway, he was just so nice. He said 'I never give lessons, I only exchange
ideas. I always can learn something from everybody.' To hear someone of his skill level say that is such a refreshing attitude." They proceeded to dissect an Allan
Holdsworth transcription from Metal Fatigue that Chris learned from an old Guitar Player magazine. John took a liking to it and the exercise provided a launching pad
for shared discussion and playing.
The following night, on
November 22nd, the tour stopped at the Forum in Ludwigsburg, Germany (near Stuttgart) then it was onto the Kulturfabrik in Esch-Alzette, Luxembourg. An odd venue that was a former slaughterhouse or meat processing plant with the meat hooks still hanging from
the ceiling and walls! Resident vegetarians on
tour complained about the "vibe" of the building. It was here that the second installment of the sound check jam occurred, this time on Tiles' equipment. A little longer and more varied than before, Chris and Mike ran through more Rush tunes with John on bass and Pat screeching an occasional vocal. Then
some Zeppelin and improvisation before Jeff joined on bass for
a Police medley. "The place was so small that people could hear our
sound check jam from outside the venue," says Chris. "It was kind of funny because the doors were not opened yet, but the crowd applauded after each song we did.
Most of it's captured on video and is fun to watch. I wish James or Paul would've ventured out for some vocals!"
The tour ended in
Paris, France at the Elysee Montmarte in the heart of the Moulan Rouge, or red-light district. The show was sold beyond capacity and Tiles was relegated to the balcony for their dressing room, making it difficult
to interact with anyone else. "The French fans were so enthusiastic it made up for the boorish and rude behavior of the promoter," recalls Chris. The layout of the
venue made it impossible for Tiles or DT to execute any kind of "end-of-tour" pranks. Both bands gathered for a group photo at the end of the night to close the
tour. Paul and Jeff even got to meet Bruce Dickinson and Jannick Gers of Iron Maiden who came to see DT. And yes, Jannick wants a lesson from John!
All in all it was an incredible adventure for Tiles filled with challenges, struggles, and countless rewards. It was also an educational and worthwhile
opportunity few regional or independent bands can experience. "We are grateful to the entire Dream Theater organization for their generosity, hospitality, and
confidence in us," reflects Chris. "And especially the people who worked on our behalf. Of course the purpose of the tour and biggest musical reward was the 45 minutes we spent on stage trying to win over a
few new fans. But the overall experience still seems like a once in a lifetime event. The other elements of touring (which made up the other 23.25 hours of each
day!) like traveling, seeing and experiencing new cultures, getting to know Dream Theater and all the people involved in the tour, and our growth as a band and as
friends were the most personally rewarding."
Epilog:
Tiles met up with DT during their February 18th stop in Detroit on the Metropolis 2000 tour. There wasn't much time to visit pre-show as DT's bus was hijacked, impounded by the
police, and the driver jailed - the day before in Cleveland! Although this made for a late and hectic arrival for DT in Detroit, they were in good spirits (mostly amused by the
whole incident) and put on a stellar show - as did the Dixie Dregs. We had a chance to visit and take some more "professional" pictures which we hadn't the chance to
take in Europe. DT was kind enough to oblige...
Europe 1999 Tour Diary:
On Tour With Dream Theater
written by Chris Herin Eric Harabadian, 2000
written by Chris Herin Eric Harabadian, 2000
November 8, 1999: Docks - Hamburg, Germany
November 9, 1999: Capitol Theater - Hanover, Germany
November 11, 1999: Ijsselhall - Zwolle, Holland
November 12, 1999: Ancienne Belgique - Brussels, Belgium
November 14, 1999: Palladium: Koln, Germany
November 15, 1999: Forum - Nurnburg, Germany
November 17, 1999: Volkshaus - Zurich, Switzerland
November 18, 1999: Colosseum - Munchen, Germany
November 19, 1999: Fila Forum - Milano, Italy
November 21, 1999: Transbordeur - Lyon, France
November 22, 1999: Forum - Ludwigsburg, Germany
November 23, 1999: Kulturfabrik - Esch-Alzette, Luxembourg
November 24, 1999: Elysee Montmarte - Paris, France
One evening, late in September, Tiles guitarist (and manager) Christopher Herin received an email from Dream Theater (DT) drummer Mike Portnoy. Mike inquired about Tiles' availability to support them on the first European leg of their Metropolis 2000 tour. Tiles, of course, were surprised, flattered, and theoretically willing; but with just a few precious weeks to prepare, "able" was the true challenge.
This opportunity materialized as a result of a series of factors. With three albums released, five years of diligent promotion and marketing, label signings to Magna Carta and Inside Out Music, and a high-profile partnership with Terry Brown working in their favor, Tiles found that both Mike Portnoy and James LaBrie were fans. "Several members of Dream Theater have done recording projects for Magna Carta and the entire band are friends with the owners of our European label Inside Out," explains Chris Herin. "So I know they had seen our name knocking around a bit. I suspect that Terry Brown was instrumental in keeping our name alive as he worked on the Mullmuzzler album with LaBrie and also DT's Metropolis Part II: Scenes from a Memory. Our most recent album "Presents Of Mind" was released in mid-1999. I had contacted Mike Portnoy several times to see if he' d offer a promotional quote of some sort. He really liked the album and said he would say something after he had time to think about it. Although we never did get a quote, he certainly one-upped his favor by asking us to do the European tour!"
We had about a month to prepare which included working with DT's management, our European label, and our own efforts to figure out all the logistics and necessities of touring," continued Chris. "Although we are a fairly experienced live band, we have never officially toured - so there was a steep learning curve to climb in a short period of time. Jim Pitulski, DT's former manager and current manager of Spock's Beard, gave us a lot of helpful tips. At least my guitar equipment was road worthy in a rack and anything else we needed like keyboard foot controllers, electronic drums, guitar footpedals and miscellaneous hardware could fit in a custom road case we had built. Our label undertook t-shirt design and production, made arrangements with a tour bus company, and took care of equipment rental for the drums and bass gear. We had to supply a stage plot, an input list, and equipment manifest as we were required to rent our own front of house sound board and effects rack. The record label also started their normal efforts of promotion and publicity. Unfortunately, the short lead time on our participation made it difficult for promoters to include us in posters and advertisements."
The band organized a crew consisting of two musician friends (willing to work for an all-expenses paid three week trip to Europe in lieu of a wage) and a professional soundman from Detroit. With budget concerns always looming over the arrangements, everyone seemed willing to forgo luxuries (like hotels!) to put, and keep, the show on the road. Chris took on basic tour manager responsibilities with the help of the soundman, while Michael, the generous native German bus driver, really did all the work getting the band from place to place. With the crew assembled, equipment organized, show rehearsed, and details worked out by the label, Tiles headed to the airport to begin their first official tour.
The reality of inexperience quickly set in when, upon attempting to check their road cases as excess luggage at the airport, the cases were rejected as oversized and overweight and required to be shipped as cargo. "The lesson here is to be wary of ticket reservation employees passing on this kind of technical information," advises Herin. "We were told it would be no problem. I even had given them the exact measurements and weights! We spent a frantic two hours trying to get our equipment shipped to Europe in time for the first show in Hamburg, Germany without missing the flight altogether. We eventually had to give up. The best we could do was ship the equipment to Amsterdam and pick it up on our day off between the second and third shows of the tour." This posed a unique and frustrating predicament because it meant Herin was not able to use his guitar amp and effects rack, with its tailored sounds and sampler/keyboard modules, which are integral to Tiles' live presentation. However, knowing they would rent equipment when they arrived in Europe, he would have to assemble a makeshift amp rig for the first two shows.
Finally, the band, crew, luggage, and at least the guitars took off from Detroit Metropolitan Airport heading to Frankfurt, Germany to meet their bus and driver - then on to Hamburg for rehearsals and the first show of the tour. The early arrival allowed everyone to adjust to the time change a little and to set up the rental gear and rehearse. "We had to re-arrange our set list accordingly for the first two shows in Hamburg and Hannover," explains Chris. "There were no keyboards, samples, or effects at our disposal, so we opted to play songs which didn't rely as heavily on them. This was somewhat difficult because we felt some songs still had to be played, plus we dug out a few songs that we had not rehearsed very much."
The "Docks" in Hamburg was the first venue of the tour - and the first of several places located in or near infamous red-light districts. "It became kind of a running joke with Dream Theater," laughs Chris. "I noted that we began the tour in a red-light district, played several gigs throughout the tour in red-light districts, and ended the tour in a red-light district! Kind of a culture shock for first-time visitors."
Both the "Docks" and the "Capitol Theater" in Hannover, Germany drew crowds of around 1,500 people. All the venues on the tour were festival seating. So with enthusiastic progressive metal fans anxious to get the best vantage points, Tiles was able to perform to the bulk of the audience. Chris remembers the first couple shows... "The first 2 shows were very stressful for me just trying to get the amps to sound good and attempting to simulate some basic delays and chorus required by the songs. Even John Petrucci was suitably sympathetic about having to use rental amps! So naturally, our luck would have it that the press was out in full force for these shows - and the reviews were not all positive. The audience responded well enough to the 'stripped down' versions, but as we later learned through the reviews and our painfully blunt publisher, people were disappointed in the sparse sound. Dream Theater, their crew and production staff, and the concert promoters were truly professional in helping us acclimate to the tour. There were no 'attitudes' from anyone. They were all very supportive, helpful, and friendly. I think it helped that DT has had several Inside Out bands open for them in the past. Vanden Plas, Enchant, and now Spock's Beard have done their tours. DT has done a lot to help out independent progressive artists by taking them on the road."
The first few days in Germany were dark, cold and drizzly as is typical in November. But, on the way to Amsterdam the skies cleared and the sun shone brightly. Tiles picked up their wayward equipment from the airport then enjoyed the day off finding a hotel and taking in the sights. Although Amsterdam is known for maintaining a certain liberal atmosphere (if you know what I mean!), the shops, architecture, and general Dutch culture proved to be much more absorbing and relevant.
November 11th marked the third show of the tour at the Ijsselhall in Zwolle, Netherlands - just outside of Amsterdam. By this time both Tiles and Dream Theater were getting to know each other better, creating a friendly camaraderie. "I have to mention, at the risk of sounding like a sycophant, that all the members of DT were great guys. Trading stories and talking about music, amps, guitars, the Simpsons, kids, Europe, technology - you name it. Especially when you consider how egocentric virtuoso musicians or "rock stars" can occasionally be," Chris explains. Zwolle was one of the largest shows on the tour with 5,000 people in attendance. The venue was unusual for a concert - a cattle auction hall/market complex, such as you might see at an American state fair. With their equipment bugs ironed out, Tiles was pleased to perform with a little more confidence in their sound and presentation. It was also here that the band finally met the President and Promotions Manager of Inside Out after years of phone calls, faxes, and email!
Next, the Ancienne Belgique in Brussels, Belgium. "Brussels was really a beautiful city - one of my favorites of the tour. The architecture was quite varied and dramatic," explains the animated guitarist. "The venue was very upscale with nice hardwood floors, great dressing rooms and facilities, and a 48 track recording studio available for live recording. Portnoy arranged to have DT's set recorded and I think they've already released some of these versions as bonus tracks." Dream Theater had settled into their set and were sound checking quicker, allowing Tiles more set up time and a chance to interact on stage. Jeff and Pat spent time satisfying their technical curiosities with the details of bass and drum equipment, while Chris received a lengthy tour and explanation of Petrucci's impressive amp rig from the guitarist and his technician. "It was interesting how we didn't automatically fall into friendships along 'instrumental' lines. More along where we stood on stage!" Chris laughs.
Throughout the tour, Tiles maintained an attitude that it was their job to inspire the audience and prepare them for the main event. While the band has extensive live experience in the Midwest, opening for the likes of King's X, Steve Morse, Judas Priest, Fates Warning, and Kansas, performing on foreign soil presented its own set of challenges. "We caught a little flack from the press for sometimes pushing the audience too hard for a reaction, but Paul was simply trying to pump up the energy level - and a lot of times it did work. We played our most challenging and aggressive material, which seemed to go over well. Pat alone is such a dynamic and powerful drummer that after "Patterns" & "Token Pledge," our first two songs, the audience seemed to key in on him and feel the energy of the music," summarizes Chris. "There definitely was some added pressure being the opening band for DT and dealing with the language barrier," admits the pensive Herin. "We had worked up short phrases in German, Dutch, and French, but Paul felt too unsure of himself to use them. I think he was afraid of mispronouncing something and turning it into an insult. Fortunately, English is nearly every European's second language - so we could communicate a little!"
"DT felt we were a good opener since stylistically we don't sound a lot alike," theorizes Chris. "We share many of the same influences and certainly inhabit the same genre, but we're more hard rock oriented as opposed to metal. This thankfully absolved us from having to "compete" with DT on the progressive, technical metal style that they founded."
After Brussels the band enjoyed a day off in Frachen, Germany, near Cologne. The weather was perfect for experiencing a rural German town complete with a Saturday midday marketplace, then an evening in Cologne drinking in images of the city's beautiful cathedrals, the Rhine River, and culture. The Palladium in Cologne was the third largest show of the tour with close to 4,000 fans. An interesting venue in an industrial park, it looked like a transformed machine shop or factory. The following day's show at the Forum in Nurnburg, Germany saw the first of the Tiles/Dream Theater sound check jams. Various members of both groups jammed delightfully on Rush and Deep Purple covers shortly before the doors opened at the venue. Chris explains, "It came from my offer to play Petrucci's guitar and amp rig so he could hear how it sounded out front. The sound and power were just massive! Portnoy was still tapping on his drums so we started playing a few covers like Xanadu and 2112 from Rush. Mike switched to bass with Pat on drums, John reclaimed his guitar, and Jordan joined in on Deep Purple tunes and some general jamming. It was a lot of fun!"
These touring experiences, coupled with the wonderful scenery and European people and atmosphere, proved very inspirational to Chris. "You know, we thought it perfectly reasonable to speculate that this may be our only true tour, outside of what we do around the Midwest," he explains. "Touring is very costly and we don't have a wall of gold records to make it consistently affordable. In weighing the financial responsibility we assumed against the opportunity to travel Europe, support DT in front of 25,000 fans, and play to our own European fans - all with the invaluable assistance from our record company - how could we turn down the chance?"
"We certainly owe a huge debt of gratitude to our driver Michael. A native German, he interacted on our behalf every day, and also spoke enough Dutch and French to pull us through. Except for days off, Michael would make arrangements with the venues and get permission for us to park overnight with an electrical hookup so we could sleep on the bus. He was kind enough to act as occasional tour guide and chaperoned our excursions into the cities," continues Chris. Besides the sights and scenery, another aspect truly enjoyed by Tiles was the food native to each country. At least "most" everyone appreciated it! "The catering throughout the tour covered a wide spectrum in quality, but you could always depend on the German chefs to be the best," enthuses Herin. "Practically gourmet! We always made a special point of trying various dishes on off days, especially when we could do some sightseeing. An odd 'drummer-thing' occurred though. Both Mike and Pat went on and on about the consistency of McDonald's food throughout Europe. We finally turned Pat around and got him sampling something more adventurous! I'm not sure about Mike."
The second half of the tour marched back and forth through the Swiss, Italian, Austrian, and French Alps for some breathtaking scenery. The late night trip from Munich, Germany to Milan, Italy was lighted by a full moon that silhouetted the intimidating mountain range against a skiff of snow that had started to accumulate. The road snaked its way through the huge valley, running parallel to the river. Clusters of lights shone in the distance and announced the locations of small towns. Several major cities were also nestled in the valley, their lights casting an eerie glow, which shone to the highest peak. "It's hard to sleep knowing what's passing by," Chris explains. "I sat in the front passenger seat of the bus looking out the big windows at the country side until I just couldn't keep my eyes open. I can still picture it."
Tiles arrived in Milan, Italy for the only arena show of the tour. Over 7,500 eager Dream Theater fans began piling into the venue as Tiles set up their equipment and prepared for a brief sound check. The promoter's production schedule was so far behind that DT barely had time for a proper sound check. "The Milan show generates a lot of conflicting memories that's for sure," recalls Chris. "The fans and the media were great, the promoter rude and unreasonable, and the venue was huge and fun! Our soundman, Mark, really delivered under less than ideal circumstances. Also, someone stole a plastic Simpsons-family caricature that Mike had loaned as a stage prop off our dressing room door. But overall a great experience and show which we captured on video."
Following Italy was a day off in Lyon, France. On the eve of their tenth gig of the tour, both bands wound up staying at the same hotel. Chris and Alex, DT's tour manager, had discussed an evening out with the bands and crew. Lyon was the last chance so plans were made for dinner at a nearby restaurant. The evening was spent swapping musical anecdotes; road stories, jokes, and harassing the French waitresses who spoke zero English. "James and Mike helped the rest of us decipher the menu then we would point at what we wanted," laughs Chris. "The bar tab nearly equaled the food so you can imagine the frustration of the poor waitresses having to cope with 20 loud Americans and a Canadian."
After dinner John Petrucci invited Chris to his hotel room for a little jamming. It was an experience he wouldn't soon forget. "I had pestered John off and on about getting a lesson from him before the tour was over. Mike Portnoy and I had a few cognacs in the bar of the hotel while I waited for John to finish up some phone calls. Mike said how guitarists are always asking to jam with John - people like Marty Friedman and Dave Mustaine of Megadeth - which actually started making me more nervous," expresses Herin. "Petrucci is the consummate musician, much like Steve Morse - so it was a little intimidating at first. He's able to adapt to almost any kind of music - flawless technique but never at the expense of musical value or melody. Anyway, he was just so nice. He said 'I never give lessons, I only exchange ideas. I always can learn something from everybody.' To hear someone of his skill level say that is such a refreshing attitude." They proceeded to dissect an Allan Holdsworth transcription from Metal Fatigue that Chris learned from an old Guitar Player magazine. John took a liking to it and the exercise provided a launching pad for shared discussion and playing.
The following night, on November 22nd, the tour stopped at the Forum in Ludwigsburg, Germany (near Stuttgart) then it was onto the Kulturfabrik in Esch-Alzette, Luxembourg. An odd venue that was a former slaughterhouse or meat processing plant with the meat hooks still hanging from the ceiling and walls! Resident vegetarians on tour complained about the "vibe" of the building. It was here that the second installment of the sound check jam occurred, this time on Tiles' equipment. A little longer and more varied than before, Chris and Mike ran through more Rush tunes with John on bass and Pat screeching an occasional vocal. Then some Zeppelin and improvisation before Jeff joined on bass for a Police medley. "The place was so small that people could hear our sound check jam from outside the venue," says Chris. "It was kind of funny because the doors were not opened yet, but the crowd applauded after each song we did. Most of it's captured on video and is fun to watch. I wish James or Paul would've ventured out for some vocals!"
The tour ended in Paris, France at the Elysee Montmarte in the heart of the Moulan Rouge, or red-light district. The show was sold beyond capacity and Tiles was relegated to the balcony for their dressing room, making it difficult to interact with anyone else. "The French fans were so enthusiastic it made up for the boorish and rude behavior of the promoter," recalls Chris. The layout of the venue made it impossible for Tiles or DT to execute any kind of "end-of-tour" pranks. Both bands gathered for a group photo at the end of the night to close the tour. Paul and Jeff even got to meet Bruce Dickinson and Jannick Gers of Iron Maiden who came to see DT. And yes, Jannick wants a lesson from John!
All in all it was an incredible adventure for Tiles filled with challenges, struggles, and countless rewards. It was also an educational and worthwhile opportunity few regional or independent bands can experience. "We are grateful to the entire Dream Theater organization for their generosity, hospitality, and confidence in us," reflects Chris. "And especially the people who worked on our behalf. Of course the purpose of the tour and biggest musical reward was the 45 minutes we spent on stage trying to win over a few new fans. But the overall experience still seems like a once in a lifetime event. The other elements of touring (which made up the other 23.25 hours of each day!) like traveling, seeing and experiencing new cultures, getting to know Dream Theater and all the people involved in the tour, and our growth as a band and as friends were the most personally rewarding."
Epilog:
Tiles met up with DT during their February 18th stop in Detroit on the Metropolis 2000 tour. There wasn't much time to visit pre-show as DT's bus was hijacked, impounded by the police, and the driver jailed - the day before in Cleveland! Although this made for a late and hectic arrival for DT in Detroit, they were in good spirits (mostly amused by the whole incident) and put on a stellar show - as did the Dixie Dregs. We had a chance to visit and take some more "professional" pictures which we hadn't the chance to take in Europe. DT was kind enough to oblige...
