There was no long video delay, no meat ban to enact, no last-minute cancellation, just Morrissey with a tambourine in hand showing up and on time for his Riot Fest set in one of the most shocking moments of Saturday.
“I’m pleased to be here. I’m pleased to be alive. It’s a miracle,” the British singer said, nearly taking the words out of everyone’s mouths.
Due to impending inclement weather that prompted Riot Fest organizers and the city to cut festivities at 7 p.m. Saturday, Morrissey’s set was pushed up to 5:10 p.m. and reduced to 50 minutes — though he had a wise crack about that too. “The rain, the mud, the thunder, the lightning! We’re all gonna die,” he said as he played it off. “We have been warned we have to be very quick tonight, otherwise I’ll get my face kicked in, which I’m used to,” he cheekily added.
Morrissey is no stranger to antagonism, his antics and arrogance doing no favors to his overall reputation. Saturday’s appearance was no different, following a wave of controversy as local community groups chastised organizers for booking the controversial singer, who has a record of making statements about immigration and has been known to support right-wing movements. Overnight, fencing around Douglass Park was spray-painted with “racist Morrissey not welcome.”
In an interesting move, the singer started the set with images of civil rights icon James Baldwin, perhaps to counteract the sentiment. It also came minutes after Social Distortion ended its set with singer Mike Ness decrying racism as they played “Don’t Drag Me Down.” As Ness declared, “We believe immigrants make a country. White Christian nationalism isn’t going to fly.”
Even so, Morrissey chose to poke the bear with his comments. “Welcome to our soundcheck,” he joked about having a rushed set. “Can you hear us crystal clear? Is it disgusting?” The sizable crowd begged to differ with a dose of hearty applause. “I’m surprised,” he retorted.
What varnish this all leaves on his legacy is a conversation that would take more than 50 minutes and a few paragraphs to explore, but in the art vs. artist conversation, it would be hard to negate Morrissey’s influence on legions of rockers, balladeers and goths, ever obvious as he ran through a surprising amount of Smiths and solo material in the time he was given.
Songs like “How Soon Is Now,” “Every Day Is Like Sunday,” “Billy Budd” and “First of the Gang to Die” sounded impeccable with Morrissey’s preserved croon and an assembly of practiced musicians hailing from as far as Texas, Colombia, Italy and right here in Chicago with his solid drummer Matt Walker, who also once logged time in The Smashing Pumpkins. His drum kit was decorated with Chicago’s four-star flag motif in homage.
Before Morrissey wrapped, he had one more thing to get off his chest, literally taking off his shirt.
“When I was a teenager, I worried and worried about wasting time and I wasted 10 years worrying about wasting time,” he said, “so my message to you, if you want one, is if it feels good, do it.”