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The Replacements  

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The Replacements are a rock band hailing from Minneapolis, Minnesota, United States who formed in 1979. They remain one of the most influential rock bands of the 1980s, inspiring everyone from Green Day through to The Gaslight Anthem with their melodic, blue-collar punk rock.

There’s a great irony in the fact that The Replacements began with an older brother trying to keep his younger brother out of trouble. Not least because the band that the two of them would later form would become one of the most notorious bands in the history of indie rock but also because Bob Stinson, the older brother, would later become its alpha hell-raiser. Against all probability however Stinson’s gambit worked, and his eleven year old younger brother Tommy was convinced to stay off the streets by his brother’s gift of a bass guitar. The elder Stinson was already a known guitar player around his native Minneapolis and found a like-minded musician in the form of fellow guitarist Chris Mars.

Stinson and Mars decided to form a band together, with Mars drumming and Tommy being recruited to play bass in their band Dogbreath. However, none of them could sing, so they were soon looking for a vocalist. Paul Westerberg was a friend of Mars’ who lived near the Stinson’s house and would regularly hear them rehearsing in there as he came home from work. He had no idea that Mars was drumming for them so when Mars asked him to audition as the vocalist for his band, he didn’t realize what he was getting into until he saw where they were going to audition him, the Stinson’s house.

Westerberg joined the band as the singer and rhythm guitarist, however Mars and the Stinsons used their rehearsal time as more of an excuse to get high. It was Westerberg that saw the potential that the nascent group had and made them practice regularly. The band booked their first show at a local church hall and, realizing that they were going to take the band (semi) seriously, they changed their name to The Impediments. Unfortunately, Tommy was too young to play, and rather than find another bassist, the band decided to get wasted, play and see what happened. The band were promptly banned from the venue and nearly arrested for drunk and disorderly behavior.

The band still had a whale of a time though, and while seeking another venue to play, Westerberg sent a four-track demo of their songs to Peter Jesperson in May 1980. Jesperson DJ’d at a local venue and Westerberg was hoping that he could get the band a gig there. What he didn’t know was that Jesperson had recently founded a record label called Twin/Tone Records. What’s more, he adored the demo tape so much that he was more interested in offering the band a record deal right off the bat than one measly gig. The band signed a contract with Jesperson and made him their manager after only their second gig.

Jesperson obviously saw something in them that most did not, as he accompanied the band to all their early gigs and was more often than not the only one clapping after they finished their songs. However, since Twin/Tone was such a small label, they couldn’t afford to release anything the band made until August 1981. The upside of that was that it gave the band lots of time to work on their debut album “Sorry Ma, Forgot To Take Out The Trash”. The bands relationship with their manager serves as a good metaphor for their early years, where they were confronted with indifference from most and idol worship from a select few that soon worked their way into the bands inner circle.

It wasn’t until the April 1983 release of their second album “Hootenanny” that the band began to catch some wider attention. The record received critical acclaim from all who heard it, and by the month of the album’s release the band had attracted enough of a following to embark on their first national tour. However, the band seemed dead set on making their lives as tough as possible, up to and including trying to alienate the audience as much as possible during eight dates supporting R.E.M, pretty much the biggest indie rock band in the world at the time.

Their 1984 album “Let It Be” won the group a major label contract with Sire but the band still didn’t want to capitalise or compromise. Even playing an entire slot on Saturday Night Live wasted and out of tune. Soon after the release of their major label debut, 1985’s “Tim”, Bob Stinson was fired for the band for his unwillingness to play on their new material and for his uncontrollable drinking. They carried on as a trio to record and release 1987’s “Pleased To Meet Me”, but for many, the jig was up.

Even though the band were just starting to have hits by the end of the 1980’s, the band were becoming a vehicle for Paul Westerberg. Their final effort, 1991’s “All Shook Down”, was a solo album of his in all but name, and Chris Mars left the band shortly after its release. In 1990, the band began their farewell tour, which lasted until their last show for twenty two years, in Chicago’s Grant Park in the summer of 1991. The bands break up lasted until 2012, where Westerberg and Tommy Stinson got back together minus Bob Stinson and Mars. Unfortunately, Bob Stinson tragically passed in the interim.

Backed by Josh Freese on the drums and Dave Minehan on the guitar, the band are back and playing the best shows of their entire career. Ones that feature more than a little of the ramshackle spirit of their heyday but finally, they’re a band ready for the audience they have. With the kind of back catalogue unrivalled by most of their inspirations, let alone their peers, The Replacements are a band that come highly recommended.

Live reviews

Paul Westerberg cares, as shown by the curses hurled at the cool new guitarist who was all over the place tonight: "PLAY IN F**KIN TIME / PLAY IN TIME, F**KER!" And Tommy cares too, as shown by the kiss he planted on Paul's lips. Tommy's pixie face now looks like he has eaten a lemon and likes it very much. Paul deflected the sentimentality of the kiss and then his expressing reciprocal feelings for Tommy, qualifying it with a "kind-a" and an immediate part piss-take dedication of a pointed song to "your brother".

Wide range of ages at this Amsterdam concert. There was evidence of the older members of the audience regaining their youth to the age level of the young portion. It couldn't only have been the latter that made up what seemed like a third of the audience in a huge mosh pit. The crowd were jubilantly 23 years old and seeing the best band in the world in their prime. Paul's voice loosened up a few numbers in, and the songs were high after high lasting 2 hours. It was, and the remaining concerts will be, one of anyone's events of the year!

Amazing too that it could be so good in spite of the guitarist. Westerberg repeatedly cursed him for it. But Dave made up for his playing on the night by his attitude, which was perfect. He really looked the part - playful and wild - but maybe he'd made the classic mistake when coming to Amsterdam: playing a gig after taking something. He told the audience, "I'm dying up here!" And despite avoiding Paul's baleful looks cast in his direction, he sounded at least injured. But it's somehow right - another story to add to the Replacements' folk history, for instance in Jim Walsh's great Replacements book, subtitled 'an oral history'.

Paul was wearing a very very cool t-shirt with a letter spray painted on each side. It turns out he has been wearing shirts with different letters back and front each night of this reunion tour, and all the letters put together make: "I have always loved you. Now I must whore my past."

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The much anticipated return of The Replacements in 2012 has left every diehard fan with a huge grin on their face. Paul Westerberg still delivers that raspy vocal performance loaded with intense emotion that we all love to hear. Although the stage presence of The Replacements has matured since their performances in the 80’s, they still deliver the highly enthusiastic shows filled with energy that made them so renowned in the 80’s underground scene. The Replacements are no longer performing drunk and smashing their instruments on stage, but they are playing with more focus and dedication to their music then they were in the past. Westerberg is able to still translate the raw emotions of his teenage angst driven lyrics to the audience, and he does so with great precision. Tommy Stinson is still laying down the heavy rhythms on the bass guitar that acts as a strong foundation for the songs.

Over the years of The Replacements’ disbandment and reunion, they have managed to gain a larger fan base as well as a stronger appreciation from their diehard fans. At most of the festival dates that The Replacements have been playing they are acting as a headlining act and packing out their allotted space with masses of fans. Every fan, old and young, is passionately belting out all the lyrics to such classic hits as “Bastards of Young”.

The Replacements are still continuing to impress their audiences with the jangle pop influence of Big Star that they are so renowned at playing. The Replacements have had a huge impact on music influencing many notable bands and pushing the envelope by making different styles of music, and to see them live is nothing short of spectacular.

Minnesota rockers The Replacements delighted fans in 2012 with news of their reformation after over ten years away from the live circuit. Now fans old and new are making the most of the opportunity to see this celebrated rock outfit live performing classic material from albums including 'Don't Tell a Soul' and 'Pleased to Meet Me'.

Although the band formed in the late 70's, the members still launch themselves onto the stage with purpose and energy and seem delighted by the rapturous reaction they receive. They deliver a vibrant live show where they put the focus on the music and themselves as musicians. It is a show devoid of gimmicks and tricks and instead relies on heavy bass notes, blistering percussion and killer riffs.

There is also the appeal of underground cult hits such as 'I'll Be You' and 'Takin a Ride' to keep the crowd singing and clapping along. A masterclass in what makes a classic rock show, the band rattles through a setlist featuring almost all of their singles discography before finishing on an anthemic rendition of 'Bastards of Young' which leaves the audience is a state of elation long after the gig is over.

The concert was great, I had a blast, the Mats were incredible. The energy of Westerberg was amazing. Just a great fucking rocking band. I loved the mix of Replacements and Westerbergs solo stuff. Awesome band, loved them. Heard that there were better shows from other people, but they did not disappoint, I thought they rocked.

Spectacular show...like rock is supposed to be. Careless. Unruly. Ridiculously tight guitar rifts. Really nice mix of the post-punk stuff and the poppier tunes. Acoustic Skyway was beautiful. Never mind blew the roof off early and Alex Chilton closed the show as expected. Westerberg is a madman...and a genius.

If you have loved the Replacements you will love the show. Go see them while you cAn. They may either never tour again or tour for the next ten years. Who knows? Great selection of their classics. Great energy. Felt as fresh as when we first heard them.

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About The Replacements

An Eighties Rock Masterpiece Just Got Even Better

By Rob Sheffield

Rob Sheffield

Like so many other Replacements fans, no doubt, the first thing I did with the new version of Tim was skip right to “Left of the Dial.” One of those “bury my soul in these guitars” songs that any music fan collects over time. It’s a highlight of the classic 1985 album from four Minnesota punk boys, the great American rock band of the Eighties. “Left of the Dial” is the Replacement’s most heart-on-fire confession, a rager about losing your friends over time, missing them over the miles, until you turn on the car radio and get jumped by that stupid tune you used to sing together. Every note in this damn song triggers a neural rush. But now, every note is different. 

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Tim has always been their most polarizing album, the one you can always use to start an argument in a bar. (And boy, do Replacements fans love arguing in bars.) Great songs. Lousy production. For many fans, a total letdown after their 1984 masterpiece, Let It Be . The sound got muffled, with lead guitarist Bob Stinson barely audible. Tommy Erdelyi seemed like a cool choice for producer, since he was also the great Tommy Ramone. But he wasn’t such an experienced producer, beyond his own band, and this job was way over his head. He ended up flattening the Mats, with a feeble mix that sounded soggy, drenched in digital reverb, devoid of guitar dynamics. Even Chris Mars’ drums turned to mush.

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Stasium does a heroic salvage job on Tim , finally doing justice to these songs. Stasium was an old Ramones comrade — he engineered Ramones Leave Home and Rocket to Russia in 1977, and produced Road to Ruin in 1979 with Erdelyi. He adds loads of guitar mayhem from both Westerberg and Stinson. Each song is full of lost flourishes — Westerberg’s grunts and yelps (from “I’ll Buy” to “Swingin Party”), the extra guitar in “Swingin Party,” the piano and strings on “Here Comes a Regular.” Bob always haunted these songs by his absence — but now he’s finally in the mix, as he always should have been, a vital creative force like he was on the Tim tour. He gets to step out in “Little Mascara,” which has a whole new extra minute at the end. Bob cuts loose on guitar, adding his bittersweet sympathy to a song already dripping with it.

Paul Westerberg has so much in common with Taylor — the emotional realness of their songs, their love of melodrama, their tendency to leave genius songs off the damn album. Both love to casually drop a bombshell confession mid-song, then stroll away — it’s so Westerbergian when Taylor tosses “leavin’ like a father” into “Cardigan,” just as Paul slips “you wonder to yourself if you might be gay” into “Sixteen Blue.” (Gen X’s “Fifteen.”) “Mirrorball” and “Swingin Party” are flip sides of the same late-night heartbreak. Taylor’s most Replacements-ish song is “Ours,” which would fit perfectly on Pleased to Meet Me , the same way his Swiftian “Little Mascara” would fit into the Unhappily Ever After trilogy on Evermore . But one thing they have in common is they just took world-beatingly classic albums and made them better. Tim (The “Let It Bleed” Edition) is like Red (Taylor’s Version), where a soundtrack-of-your-life album gets tweaked and makes you completely re-evaluate your long history with this music. It forces you to let go a lot of things you thought you knew about these artists. 

The Replacements have gotten burdened with the mythos of a sob story, a woulda-coulda-shoulda band of beautiful losers who tumbled off the ladder of success, boo hoo. A cute narrative, and it’s easy to see why journalists cling to it, but not the least bit adequate or accurate as a framework for these songs. The self-pity in their music is run-of-the-mill, but the exhilaration and desolation and honesty and we’re-coming-out exuberance — that part’s unique. It’s a corny cliché to sniffle that a band this weird didn’t go mainstream. The real shocker is that these four boys ever found each other, that they ever made this noise, that so many people then and now hear ourselves in it.

The new Tim challenges that whole narrative. It captures their music’s ecstatic highs and harrowing lows, from the back-to-school romance of “Kiss Me on the Bus” to the alcoholic despair of “Here Comes a Regular.” Plenty of people heard this album and wanted to start their own bands. Westerberg had advice for them. “Don’t put an ad in the paper,” he said in Rolling Stone in early 1986. “Just find some friends that you share something in common with—partying, a brand of beer. That’s better than being a member of a band for three years, making it and doing it all with someone you don’t really know. If all this falls to hell, I still have three friends. And that’s good enough for me.”

That was the spirit of Tim right there. Those words had a pretty major impact on my life, like these songs. The bitter irony, of course: a few months later, they kicked Bob out of the band, to replace him with a slicker pro they didn’t know. His name was Bob, too, so they made him change it to Slim, to avoid reminding themselves of the regular they left behind. (Bob Stinson died from drug-related organ failure in 1995.) But that story’s in this music too. “They call your name out loud and clear” — now there’s a line that got messy fast.

“Nowhere Is My Home” is still the showstopper, with a high-energy alternate romp. But it’s best in the original 1985 outtake — the Stasium remix is busier, stepping on the Bob Stinson third-rail guitar that tells most of the story. “Swingin Party” takes on new dimensions, with added twang; very different, but equally essential. Like most Replacements fans, I was too theatrically illiterate to hear the connection to the Rodgers/Hart standard “Where or When.” (That took Bryan Ferry’s version of “Where or When,” where he gives it the “Swingin Party” arrangement.) But it’s now the most famous Tim song, thanks to Lorde’s brilliantly melancholy cover, where she gives this song the pop reach it always deserved.

As for the two terrible songs, they sound marginally improved, still pitifully overmatched by the rest — no surprise when you consider how few bands ever write a song that could hang on Tim . “Waitress” is fine as a comic sorbet to cleanse the palate between tearjerkers, like “Vicar in a Tutu” on the Smiths’ The Queen Is Dead. There’s also a nifty 1986 Chicago Iive show, a couple notches below the excellent For Sale: Live at Maxwell’s 1986 , or various other ’84-’86 shows floating around. (Wonder if Stasium will have a bash at 6/17/86?) The live set showcases Bob’s virtuosity at rock & roll trash. His 1966-not-1965 Lennon guitar in “Nowhere Man” is as eloquent as his 1972-not-1969 Mick Taylor in “Jumpin’ Jack Flash.” “Nowhere Man” also taps into the ever-strange John/Paul connection. You can hear the Lennon chill in Paul’s voice, especially in “Here Comes a Regular,” when he sighs, “Once the police made you go away.”

Tim sold 75,000 copies, a phenomenal total for a Minnesota punk band playing bars with no hits, no video, no NYC/L.A. connection, terrible production, nothing going for them but great press. Yet for some reason, this seemed like a shocking flop to a band who sincerely thought Tim would make them mainstream mega-stars. While everybody saw the Replacements as successful peers to Hüsker Dü, Meat Puppets, the Minutemen, they saw themselves as failed rivals to U2 or R.E.M. That’s one of the most depressing discoveries in Mehr’s excellent bio Trouble Boys — which has to hold the rock-book record for most depressing discoveries per page. The Mats finally got popular in the grunge Nineties, thanks to Nirvana (plus Heathers , Say Anything , Singles ). Tim , more than any of their records, prefigured the 1990s rock boom that made these guys posthumous legends. But they seemed to want no part of it. To them, this album was just another grave for the kids to visit on holidays at best.

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The most emotionally powerful “Can’t Hardly Wait” — and fastest, not a coincidence — is still the one on The Shit Hits the Fans , for my money. It’s still the one I play when I want to hear a bunch of lonely boys in the Midwestern winter try to cheer each other up, by playing a dumb song about a long drive that never ends. It’s a bunch of losers banding together against the world, refusing to get beat down. It’s a bar band refusing to go through the motions, refusing to let anyone stand in the back with arms folded and play cool. A brotherhood making demands, cracking dirty jokes that double as philosophical challenges. The singer is tired of tonight; the guitarist, bassist, and especially drummer can’t hardly wait for tomorrow. The band speeds up at the end, with Paul chanting “no I can’t wuuh-haayt! ” while Bob goes off the guitar guardrails. Three minutes, that’s it, but you’re not the same when it’s over—any attitude you brought into it gets trampled in the dust. It’s a song that laughs at your self-pity and dares you to dare. 

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The Replacements Are Still a Puzzle

By Elizabeth Nelson

The year was 1985, Ronald Reagan’s Morning in America was in full swing, and the Minneapolis-based Replacements were making moves. Following a string of critically beloved and commercially overlooked releases on the tiny local indie label Twin/Tone, the band members were preparing their first LP for the Warner Bros.-backed major label Sire Records. Their songs were ecstatic, romantic, literary, and heartbreaking. Their brand was chaos: live shows that were transcendent or tragicomic depending on the drugs involved; albums that interpolated brilliant Stones-adjacent youth anthems and devastating country weepers with slapdash Kiss covers and improvised jams where no one played their actual instrument. Some wag once termed the Replacements “The little engine that could but didn’t fuckin’ feel like it.” But the band cared too much, and now the industry they collectively both mistrusted and fetishized was knocking at the door, proffering an opportunity. The resulting LP was “Tim,” which has been given the deluxe-reissue treatment, in the form of a five-disk set called “Tim: Let It Bleed Edition.” Some forty years later, the album feels like a five-alarm blaze, prophesying an era of corporate-driven consensus and the outsourcing of America’s manufacturing sector.

The Replacements’ studied unprofessionalism had always been a point of pride, and possibly an aesthetic hedge. In a time of carefully crafted consumer products, here was a band so aggressively untamable that no one could ever accuse the group of selling out. In a world full of glossy fakery, its self-vandalizing, clown-school bloodletting was the genuine article. Or at least something genuine. And yet, unlike more avant-garde-influenced peers such as Black Flag and Sonic Youth, the Replacements made music that was a populist offshoot of influences like Rod Stewart and Marc Bolan, swaggering performers who had ridden meat-and-potatoes rock to global fame. However attitudinal the Replacements might have presented themselves, it didn’t take a great deal of squinting to see the possibility of the band as arena fillers. The lead singer and songwriter Paul Westerberg was a punk-rock Jackson Browne, a pugilistic but ultimately heartsick poet with matinee-idol looks. The bassist, Tommy Stinson—thirteen when he joined the band, all of eighteen when “Tim” was tracked—appeared to be assembled in a rock-star factory, with the lank frame and chiselled beauty of a spare member of Duran Duran. Warner Bros. didn’t sign the Replacements because the members oozed cachet. The company signed them because it saw dollar signs.

Thus “Tim” commences with a binary choice. The opening track is called “Hold My Life,” and the decision is between fame—or at least a life-changing increase in notoriety—and something like a tactical retreat from the limelight. “Time for decision to be made,” Westerberg intones hoarsely over a driving pre-chorus: “Crack up in the sun / Or lose it in the shade.” A sentiment worthy of Jay Gatsby himself. By the end, the Replacements did a little bit of both.

“Tim” is a great group of songs, possibly the best set that Westerberg has ever strung together for a single LP, but the revelation now is how powerfully the album captures the spiralling class anxieties of the era. As a hardscrabble collection of high-school dropouts and juvenile delinquents, the Replacements’ four members came by their umbrage and fatalism organically. “Jail, death, or janitor,” was Westerberg’s diagnosis for the range of plausible outcomes for the band members, and, indeed, in the group’s early days, he served as a janitor in the Minnesota senator David Durenberger’s office, an interloping pawn in the corridors of power. Class consciousness always figured into the Replacements’ catalogue— including the looking-down-the-nose partygoers of “Color Me Impressed” and the golf-obsessed surgeon concerned with making his tee time on “Tommy Gets His Tonsils Out”—but on “Tim” that rage and resignation deepens. Likely because Westerberg has always nervously eschewed the significant political content of his own work, the press and biographers have been slow to characterize “Tim” as what it truly is: a great working-class treatise whose thematic and musical DNA runs through the Stones’ “Beggars Banquet” and Bruce Springsteen’s “Darkness on the Edge of Town.”

Take, for instance, the joyously buoyant third track, “Kiss Me on the Bus,” an amorous flirtation and an echo of the Stones’ “Factory Girl” that depicts two paramours who will need to make their emotional intentions clear within the insoluble strictures of public transportation. “Hurry, hurry!” Westerberg implores, while looking for a kiss. “Here comes my stop!” Or its transport-centric companion piece “Waitress in the Sky,” which on its surface is a mean-spirited broadside against flight attendants but was actually a blow-for-blow description of the kind of abuse that Westerberg’s sister Julie experienced as a flight attendant. “A real union flight attendant, my oh my,” goes the sneering chorus. “You ain’t nothing but a waitress in the sky.” The invocation of union allegiance as a source of ridicule is not coincidental. In 1981, Reagan had christened an era of scorched-earth anti-union policy by firing en masse the striking air-traffic-controllers’ union PATCO . As safety nets for the working class and working poor were dismantled throughout the eighties and nineties, a fashionable stance among the emergent class of Milton Friedman- and Ayn Rand -informed right-wingers was that labor organization was a hubristic overreach at best and a Communist plot at worst.

On the enduring deep cut “Swingin Party,” a ballad partially about being economically outgunned in every social circumstance, and partially about the futile exertions of the under-credentialled, looking for work is presented as a zero-sum choice between abject poverty and a life of stultifying dullness: “Pound the prairie pavement / Losing proposition / Quittin’ school and going to work / And never going fishing.” On the track “Little Mascara,” Westerberg demonstrates a trait that was glancingly rare among male songwriters of his era, the ability to write credibly about women. The story of a struggling young mother trapped in a loveless marriage and still dreaming of some way out, “Little Mascara” evokes Tennessee Williams in its depiction of a gifted individual circumscribed by their social context. When he sings “For the moon / You keep shootin’ / Throw your rope up in the air / For the kid you stay together / You nap him and you slap him in a highchair,” the sublimated implications of multigenerational trauma are made explicit. On some level, and to varying degrees, all of the members of the Replacements had been born into a cycle of abuse, addiction, or depression. In “Little Mascara,” you wish the best for the mother, but your heart breaks for the baby. Fear and sadness will be the psychological foundation on which they’ll have to build a life.

Loudest of all, there’s “Bastards of Young.” A generational howl of fury that commences with a literal scream. Here is the unvarnished offspring responding to a boomer generation that, having first controlled the cultural narrative, increasingly controls the political one. “God what a mess / On the ladder of success,” Westerberg contemptuously sings, taking sport at the rapidly receding myth of American upward mobility. “You take one step / And miss the whole first rung.” Like Randy Newman’s “Louisiana 1927,” it is a perfect American song, capturing a time, place, and energy that resonates and reoccurs throughout history.

To the band members’ frustration, and also possibly their relief, “Tim” did not prove the kind of commercial breakthrough that would soon be achieved by R.E.M. The album’s famous, strangely echoey production by the former Ramone Tommy Erdelyi was neither particularly radio-friendly nor organically punk-adjacent, and confused just about everyone. The front cover looked a little bit like L. Ron Hubbard’s “ Dianetics .” In a legendary bit of reckless self-sabotage, the band was so drunk and powerfully loud on a “Saturday Night Live” appearance that it remains unclear to this day whether the performance represented a shameful low or a resounding victory. “Tim” peaked at No. 183 on the charts, there being something faintly comical about even bothering to enter the Billboard 200 at such a vaguely insulting level.

And yet, on the occasion of the expansive new reissue, the cultural relevance of “Tim” is at an all-time high. “Bastards of Young” has become a calling card of sorts for misfit stories with a socioeconomic subtext, having been featured in Season 2 of the FX restaurant drama “ The Bear .” The new box set is preoccupied with fixing perceived mistakes: a new mix, a new remaster, a counterfactual history of an awkwardly perfect album. There’s lots of fun stuff on the updated version well worth hearing—scrappy tracks from a demo session with the band’s spiritual mentor Alex Chilton, a typically wobbling and bracing 1986 live set from Chicago—but the perverse net effect is of taking a defensive stance to an LP that never truly needed defending. The new Ed Stasium remix is fine, but it was never really Erdelyi’s heavy hand that prevented “Tim” from attaining its commercial aims. The original mix sounds no more gated or dated than “Born in the U.S.A.,” which never had any difficulty connecting to a mass audience. In the 2003 documentary “Come Feel Me Tremble,” Westerberg is asked his opinion of “Tim” and offers a typically gnomic and incisive verdict: “Coulda been.” Whether he is invoking Marlon Brando ’s “coulda been a contender” monologue from Elia Kazan’s social-realist masterpiece “On the Waterfront” intentionally or just by osmosis doesn’t really matter.

After “Tim” was released, the members of the Replacements descended into interpersonal drama even more extreme than their accustomed standards. The guitarist Bob Stinson—Tommy’s older brother—was dismissed for reasons of excess consumption and increasingly erratic behavior, which is a bit like censoring a sheep for being part of the herd. The longtime manager Peter Jesperson was jettisoned for thinking too small or thinking too big or maybe some combination of both. Remarkable music followed from there. “Pleased to Meet Me,” from 1987, a masterpiece recorded at Ardent Studios with the Memphis legend Jim Dickinson, further sharpened the band’s sonics, centering Westerberg on guitar. “Don’t Tell a Soul,” released in 1989, was the band’s last big swing and featured its most commercial sound ever, a handful of good songs, and the closest thing the unit ever had to an actual hit, the keening “I’ll Be You,” which peaked at No. 51. “I’ll Be You” referenced the group’s travails with typical self-deprecation. “A dream / too tired to come true / Left a rebel without a clue.” An opening tour for Tom Petty and the Heartbreakers exposed them to a huge new audience, and it did not go well. Once it became clear that the Petty crowd was disinterested in both its music and its antics, the Replacements played worse and worse every night and tried to quit the tour, only for Petty himself to insist that the members honor their contracts. Petty later borrowed Westerberg’s “rebel without a clue” formulation for “Into the Great Wide Open,” a tune about a talented but vain and erratic songwriter maladroitly navigating the music business. It became a smash.

The Replacements—or at least Paul and Tommy backed by other musicians—staged a successful series of reunion dates between 2013 and 2015 where they were received by ecstatic festival crowds, singing along with every word. This seemed to spook the notoriously skittish Westerberg, who is a bit of a hermit, like his hero Ray Davies, back into hiding. Chris Mars, now a visual artist, prefers to keep his distance from his old mates. Bob Stinson died of organ failure in 1995, at the age of thirty-five. Tommy Stinson turned out to be the true lifer, doing time in Guns N’ Roses and animating his own version of the Replacements’ underdog ethos as front man of the roots-rock band Bash & Pop. Having started working as a literal child, he never stopped.

“Tim” ends fittingly with the ritualistic holding pattern “Here Comes a Regular.” It’s a barroom ballad that would fit as easily on Frank Sinatra’s “In the Wee Small Hours” as it would on Merle Haggard’s “Serving 190 Proof.” The song is distinguished by its epochal opening couplet: “A person can work up a mean, mean thirst / After a hard day of nothing much at all.” A final last call from a freighted time when both a band and a nation hung in the balance. ♦

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The Replacements

The replacements tour dates.

Punk rockers The Replacements have announced their first full U.S. tour in more than two decades! After getting back together in 2012 to perform at festivals during the last two years, the group will embark on their 'Back By Unpopular Demand' Tour beginning April 9th in Seattle. The reunion tour will visit some major cities like San Francisco, Denver, Detroit, DC and Philadelphia with back-to-back shows in LA and Chicago. Later in May, The Replacements will head to Europe to perform in Spain, Netherlands and the UK.

During the summer of 1991, The Replacements embarked on a long farewell tour and played their last show for 22 years at the Taste of Chicago in Grant Park. Since their reunion in 2012, they have performed at festivals like Riot Fest, Coachella and Boston Calling Music Festival. Original members Paul Westerberg and Tommy Stinson will be joined by touring members Josh Freese and Dave Minehan during their 'Back By Unpopular Demand' Tour .

The Replacements Concert Schedule

No events =(, about the replacements tour albums.

The Replacements came on the Pop / Rock scene with the appearance of the album 'I'm in Trouble' released on August 7, 1982. The single 'I'm in Trouble' immediately became a success and made The Replacements one of the newest emerging performers at that time. Later on, The Replacements released the hugely beloved album 'Let It Be' which is comprised of some of the most beloved work from the The Replacements discography. 'Let It Be' contains the song 'I Will Dare' which has become the most requested for fans to enjoy during the shows. In addition to 'I Will Dare' , most of other tracks from 'Let It Be' have also become recognized as a result. Some of The Replacements's most beloved tour albums and songs are provided below. After 34 years since the release of 'I'm in Trouble' and having a true effect in the business, followers consistently gather to see The Replacements in person to perform hits from the complete collection.

The Replacements Tour Albums and Songs

The Replacements: Let It Be

• I Will Dare
• Favorite Thing
• We're Comin' Out
• Tommy Gets His Tonsi...
• Androgynous
• Black Diamond
• Unsatisfied
• Seen Your Video
• Gary's Got a Boner
• Sixteen Blue
• Answering Machine

The Replacements: Tim (Expanded)

• Hold My Life (2008 R...
• I'll Buy (2008 Remas...
• Kiss Me on the Bus -...
• Dose of Thunder (200...
• Waitress in the Sky ...
• Swingin Party (Remas...
• Bastards of Young - ...
• Lay It Down Clown (2...
• Left of the Dial (20...
• Little Mascara - 200...
• Here Comes a Regular...
• Can't Hardly Wait [O...

The Replacements: Let It Be (Expanded)

• 20th Century Boy (ou...

The Replacements: Tim [Expanded Edition]

• Hold My Life (Remast...
• I'll Buy - 2008 Rema...
• Dose Of Thunder (Rem...
• Lay It Down Clown - ...
• Left of the Dial - 2...

The Replacements: Tim

• Hold My Life
• Kiss Me on the Bus
• Dose of Thunder
• Waitress in the Sky
• Swingin Party
• Bastards of Young
• Lay It Down Clown
• Left of the Dial
• Little Mascara
• Here Comes A Regular

The Replacements Concert Tour Questions & Comments

The replacements tour and concert ticket information.

• Sold Out concerts will not be a problem, we always have great tickets.
• Concert schedule for The Replacements can be found on top.
• Tickets for the future The Replacements concert can be found here.
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The Replacements could be coming to a city near you. Check out the The Replacements schedule on this page and press the ticket icon to see our huge inventory of tickets. View our selection of The Replacements front row tickets, luxury boxes and VIP tickets. As soon as you locate the The Replacements tickets you desire, you can purchase your tickets from our safe and secure checkout. Orders taken before 5pm are generally shipped within the same business day. To purchase last minute The Replacements tickets, browse through the eTickets that can be downloaded instantly.

The Replacements Top Tour Album

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Why the Replacements’ Tim Is the Best Reissue of 2023

By Pitchfork

Our weekly podcast includes in-depth analysis of the music we find extraordinary, exciting, and just plain terrible. This week Editor-in-Chief Puja Patel, Reviews Director Jeremy D. Larson , and Features Editor Ryan Dombal discuss the mind-bending reissue of the Replacements’ Tim , which was honored with a rare 10 in a recent review written by Larson. And stay tuned to the end of the episode, where the band’s bassist, Tommy Stinson, talks about an album that he considers to be a perfect 10.

Listen to this week’s episode and read an excerpt from it below. Follow The Pitchfork Review here .

Puja Patel: Let’s talk a little about what makes this reissue of the Replacements’ Tim a 10.

Ryan Dombal: It’s a high number.

Jeremy D. Larson: It’s pretty high. In this case, it has a lot to do with an entirely new mix of the record by the producer Ed Stasium. Because one thing that plagued Tim for its entire existence was how it sounded, and how it didn’t capture the band’s controlled chaos. There was a lot of digital reverb on the voice and on the drums, and it all sounded really compressed.

Now, let me say this: I don’t think Tim is an album that should be talked about among other hi-fi albums like Steely Dan’s Aja . It’s an album that’s meant to be listened to on a cassette in your ’84 Pontiac Sunfire. So what’s really interesting about this reissue and this remix is that question: Is it really something that needed to be changed? And I was like, Hell yes, it did need to be changed . This is a really good corrective that clarifies how great of a band they were at that moment in time.

Dombal: I totally agree. And it’s funny because the Replacements are a band where you basically just wanted someone to put them in a room and put a microphone in the middle of the room—that’s what you want to hear. This isn’t a band that’s using the studio as an instrument, like the Beach Boys. This isn’t an experimental band. This is a pretty basic rock band. So the original mix, by Tommy Ramone, felt like he was using too many effects and tricks—the whole album sounded like it was recorded down a 100-foot hallway. Maybe he had some artful reason for that, but it just doesn’t sound very good.

Larson: I mean, When you put on track one of this new mix of Tim , “Hold My Life,” it feels like you’re the Maxell cassette guy in the chair with his hair blowing back. The minute I hit play, I was furiously chatting and texting people like, “Holy shit, this sounds so amazing.” It really is like entering this alternate dream world.

Patel: I have never seen you bouncing up in your chair with giddy delight in talking about the way that something sounds!

Dombal: I had the same exact feeling when I first heard this. It’s mind-bending. And a big reason is because I’ve heard these songs so many times. It’s almost like I’ve been listening to Tim with a cold for 20 years. And now I can actually hear it.

Larson: This is Tim on Sudafed.

By Jazz Monroe

By Nina Corcoran

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By Matthew Strauss

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Chromeo Announces “Funk Yourself” Tour and new Song “Replacements”

Electro-funk duo Chromeo has announced their “Funk Yourself” tour, and released their latest track “Replacements.” The thumping, synth-laden track features artist La Roux, who also made a surprise appearance during Chromeo’s Coachella sets. On October 13, the band will stop at Brooklyn Steel in New York.

Chicago rapper Ric Wilson, identical twin DJs Coco & Breezy and the rising New York star May Rio will support on select dates. The tour follows the band’s fifth appearance at Coachella which featured an all-new stage design, including four custom chrome modular synth towers. Chromeo celebrated the bangers throughout their career and music from a forthcoming new project debuted live for the first time. The Rolling Stones showed Chromeo appreciation by saying “Chromeo proved once again that nobody does it like the Funklordz.” 

Chromeo is a Canadian dance rock band that was formed in 2002. The musicians David “Dave 1” Macklovitch and Patrick “P-Thugg” Gemayel united to create a blue-eyed soul, dance music, rock, synth-pop, disco and funk sound. The band has released five albums with three of them hitting the Billboard 200 charts. The duo were high school best friends and met in the mid 90s. They connected over different ethnic backgrounds and joked about being “the only successful Arab/Jewish partnership since the dawn of human culture.”

Dave 1 and P-Thugg rose to prominence with their seminal 2007 release, Fancy Footwork . In 2014 Chrome increased their mainstream appeal with their chart-topping album, White Women , and 2018’s Grammy-nominated, Head Over Heels . Chromeo’s five LPs have been hailed as modern funk masterworks, and they have toured the world over for two decades.

We’re an ELECTRO-funk band after all, and this record contains little nods to the 2000s indie dance sound that’s so dear to us. The idea was to combine sweaty dance floor energy with sincere emotions. It’s the duality in our name: Chrome, the shimmery electronics, and Romeo, the heartfelt romantics. Dave 1

Mixed by disco and house legend Morgan Geist, “Replacements” follows Chromeo’s first official single since 2018, “Words With You”. Consequence raved that the song is “just as smooth as it is catchy,” while Stereogum added that “the contagious groove, effortless hooks, the abundance of immaculate flourishes.”

Tickets can be purchased here .

Chromeo 2023 Tour Dates

May 26—Morrison, CO—Funk on the Rocks at Red Rocks Amphitheatre

September 23—Salt Lake City, UT—The Depot*

September 25—Seattle, WA—Showbox Sodo*

September 26—Vancouver, BC—Vogue Theatre†

September 28—Portland, OR—Crystal Ballroom†

October 1—Los Angeles, CA

October 3—San Diego, CA—Humphreys†

October 4—Phoenix, AZ—Marquee†

October 10—Atlanta, GA—The Eastern*

October 11—Richmond, VA—The National*

October 12—Washington, D.C.—9:30 Club*

October 13—Brooklyn, NY—Brooklyn Steel*§

October 16—Boston, MA—Roadrunner*

October 17—Philadelphia, PA—Franklin Music Hall*

October 19—Montreal, QC—MTelus*

October 20—Toronto, ON—Danforth Music Hall*

October 22—Chicago, IL—Salt Shed*

*with Ric Wilson

†with Coco & Breezy

§with May Rio

Ashley Wint is a current sophomore at Hunter College. She is a former writer for SUNY Albany’s student press and an aspiring journalist. Ashley loves listening to various genres of music, attending concerts and writing.

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The Replacements Share Tim Deluxe Reissue Tim: Let It Bleed Edition

Featuring new mix of the album, a 1986 live concert, and tracks from an Alex Chilton-led studio session

The Replacements are celebrating their 1985 major label debut Tim  with a new deluxe reissue titled Tim: Let It Bleed Edition, out now via Rhino.

Clocking in at 65 tracks, Tim: Let It Bleed Edition  begins with a long-awaited fresh mix of the original album. The Replacements were never happy with producer Tommy Ramone’s final mix of Tim, so they enlisted Ramones and Talking Heads collaborator Ed Stasium — who was considered to co-produce the LP with Ramone back in the day — to revamp the record for Disc One. A remastered version of Ramone’s original mix follows on Disc Two.

Disc Three, entitled Sons of No One: Rare & Unreleased,  features previously unreleased Replacements demos, including tracks from a January 1985 recording session led by the band’s hero, Big Star’s Alex Chilton. Disc Four, Not Ready for Prime Time, wraps up the reissue with a live recording of the group’s January 11th, 1986 concert at the Metro Chicago, which they played one week before their infamous appearance on  Saturday Night Live. 

Tim: Let It Bleed Edition  comes in a 12 x 12 hardcover book with unreleased photos of the band and a history of the Tim era by Bob Mehr, author of The Replacements’ 2016 biography  Trouble Boys. Pre-orders are ongoing. Additionally, those who purchase the box set via Rhino will receive a limited edition 7-inch featuring two recordings from the Chilton sessions, “Nowhere Is My Home” and the “Cello Version” of “Can’t Hardly Wait.”

Back in 2020, Josh Boone announced that he was helming a biopic about The Replacements based on  Trouble Boys.  While you wait for that to come to fruition, revisit our ranking of the band’s discography.

Tim: Let It Bleed Edition Tracklist:

CD 1: Tim (Ed Stasium Mix) 01. Hold My Life o2. I’ll Buy o3. Kiss Me on the Bus 04. Dose of Thunder 05. Waitress in the Sky 06. Swingin Party 07. Bastards of Young 08. Lay It Down Clown 09. Left of the Dial 10. Little Mascara 11. Here Comes a Regular

CD 2: Tim (2023 Remaster) 01. Hold My Life 02. I’ll Buy 03. Kiss Me on the Bus 04. Dose of Thunder 05. Waitress in the Sky 06. Swingin Party 07. Bastards of Young 08. Lay It Down Clown 09. Left of the Dial 10. Little Mascara 11. Here Comes a Stranger

CD 3: Sons of No One: Rare & Unreleased 01. Can’t Hardly Wait (Acoustic Demo) 02. Nowhere Is My Home (Alternate Mix) * 03. Can’t Hardly Wait (Electric Demo) [Alternate Mix] * 04. Left of the Dial (Alternate Version) * 05. Nowhere Is My Home (Alternate Version) * 06. Can’t Hardly Wait (Cello Version) * 07. Kiss Me on the Bus (Studio Demo) 08. Little Mascara (Studio Demo) * 09. Bastards of Young (Alternate Version) * 10. Hold My Life (Alternate Version) * 11. Having Fun * 12. Waitress in the Sky (Alternate Version) 13. Can’t Hardly Wait (The “Tim” Version) [Alternate Mix] * 14. Swingin Party (Alternate Version) * 15. Here Comes a Regular (Alternate Version)

CD 4: Not Ready for Prime Time Live at the Cabaret Metro, Chicago, IL, January 11, 1986 01. Gary’s Got a Boner * 02. Love You ‘Till Friday * 03. Bastards of Young * 04. Can’t Hardly Wait * 05. Answering Machine * 06. Little Mascara * 07. Color Me Impressed * 08. Kiss Me on the Bus * 09. Favorite Thing * 10. Mr. Whirly * 11. Tommy Gets His Tonsils Out * 12. I Will Dare * 13. Johnny’s Gonna Die * 14. Dose of Thunder * 15. Takin’ a Ride * 16. Hitchin’ a Ride * 17. Trouble Boys * 18. Unsatisfied * 19. Black Diamond * 20. Jumpin’ Jack Flash * 21. Customer * 22. Borstal Breakout * 23. Take Me Down to the Hospital * 24. Kids Don’t Follow * 25. Nowhere Man * 26. The Crusher * 27. I’m in Trouble * 28. Go*

LP: Ed Stasium Mix Side A 01. Hold My Life 02. I’ll Buy 03. Kiss Me on the Bus 04. Dose of Thunder 05. Waitress in the Sky 06. Swingin Party

01. Bastards Of Young 02. Lay It Down Clown 03. Left of the Dial 04. Little Mascara 05. Here Comes a Regular

*= Previously Unreleased

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The Replacements’ “Tim” to receive box-set reissue this fall, Tommy Stinson says

The Replacements’ 1985 album Tim — the band’s major-label debut, and the last record to feature guitarist Bob Stinson — is next in line to be commemorated with a multi-disc box set, likely this fall, the band’s bassist Tommy Stinson said in an interview this week.

Stinson appeared on the Lisa Loeb -hosted “Where They Are Now” on Sirius XM satellite radio on Thursday. When Loeb asked about recent Replacements archival releases, he said:

“Warner Bros. has been doing these reissues, you know, with the Replacements junk for, seems like it’s been going on forever, but really it’s only been going on these last five years. There’s one coming up, actually, for the record ‘Tim’ that they’re putting out probably in the fall. We only made four records for Warner Bros., really, and they’re reissuing those with box sets and live stuff and this and that and the other thing. It’s cool. I mean, you know, my two cents on it is, it seems like people will want it, so if they want it, give it to ’em. Whatever. You know, people still seem to have some reverence for what we did, and that’s cool. What are you gonna do, pooh-pooh that? I’m not one to do that.”

Rhino Records , which is owned by Warner, has not announced its next Replacements reissue project, but the band’s Facebook page did hint at it on Saturday in a post warning fans not to fall for bootleg product and unauthorized merchandise. The post notes that any official Replacements releases will be announced on the band’s and Rhino’s Facebook pages, adding, “But please *do* keep an eye out here for real, official and very exciting Replacements release news coming this summer.”

To date, Rhino has released expanded multi-disc box sets for 1989’s Don’t Tell a Soul (under the name Dead Man’s Pop ), 1987’s Pleased To Meet Me and 1981’s Sorry Ma, Forgot to Take Out the Trash , in 2019, 2020 and 2021, respectively. Each features copious amounts of unreleased tracks, demos and live material

It’s not clear what might appear on an expanded edition of Tim . The album previously was reissued in 2008 with bonus material that included six outtakes and alternate versions. The album features the songs “Bastards of Young,” “Left of the Dial,” “Kiss Me on the Bus” and “Waitress in the Sky.”

i had a hoot chattin it up with lisa about music and stuff! tune in to check out our interview. – TS Airs today @ 12pm, 4pm, 8pm ET & on Friday 5/12 @SXM90sOn9 or search @LisaLoeb on @SiriusXM #LISALOEB #TOMMYSTINSON #COWBOYSINTHECAMPFIRE #90SON9 #SIRIUS90SON9 #SIRIUSXMRADIO pic.twitter.com/RyfsyQSP4y — Tommy Stinson (@tommy_stinson) May 11, 2023

PREVIOUSLY ON SLICING UP EYEBALLS

• Tommy Stinson’s Cowboys in the Campfire preps debut album “Wronger” — hear “Dream”
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• The Replacements dredge up old footage to make new ‘Can’t Hardly Wait’ video
• Listen: The Replacements, ‘I Don’t Know’ (Demo) — off ‘Pleased To Meet Me’ box set
• The Replacements’ ‘Pleased To Meet Me’ box set to include 29 unreleased tracks

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The Replacements’ ‘Tim: Let It Bleed Edition’ Was Worth the Can’t-Hardly-Waiting: Album Review

Multiple outtake versions of 'Can't Hardly Wait' are just some of the joys in a new boxed set, which includes a full-album remix we could have used 37 years ago

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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How much is Paul Westerberg like Bob Dylan?

That’s a provocative question —  maybe one we need to save for when we know each other better. So let’s just start a related, but easier, one. How much is the Replacements ’ “Tim: Let It Bleed Edition,” a just-released boxed set that commemorates that band’s classic 1985 album “Tim,” akin to another boxed set that came out earlier this year — Dylan’s “Fragments: Time Out Of Mind Sessions 1996-1997,” an expansion of his classic 1997 album “Time Out of Mind”?

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Going on and on about Ed Stasium’s new mix threatens to take up space that could be spent waxing on about the basic album itself, which might be helpful for a generation that has never been cajoled into listening to “Tim” at all before, in any form. So just a few more words about Stasium’s work — and that of reissue producers Bob Mehr and Jason Jones, who helmed the project for Rhino. Stasium was actually a frequent collaborator with the late Erdelyi, on records by the Ramones and others in the ‘70s, and so there’s a fitting way in which he is collaborating with the original producer again, from across the great divide, in a way one hopes Erdelyi would not find to be a desecration. The oddities about the original mix cited in Mehr’s and Stasium’s liner notes come down to: arguably too much digital reverb on Westerberg’s vocals and Chris Mars’ snare drum; a lack of stereo panning that created an essentially mono effect; and a lot of Bob Stinson’s guitar parts (which were minimal anyway, since he rarely showed up at the studio) being left on the cutting room floor. (Westerberg himself told biographer Mehr: “I can remember listening to it and thinking that it sounded kinda like crap, but not watning to go back in. We were just glad it was done.”)

Besides adding a few tantalizing extra guitar or even piano licks here and there, Stasium’s mix has made the whole thing sound utterly crisp, putting the band right there with you, and not even in a bathroom with you. Almost everyone can agree this is an improvement, even if we might have differing takes on how this would have been received had it been released this way in 1985. My colleague Jem Aswad wrote that it was probably a deliberate choice to add that extra layer of sonic goop in the ‘80s, so that the album would be less accessible and actually compromise possible mainstream success, forestalling any charges of selling out as these former Midwest punk-scene denizens navigated a major-label deal for the first time. I hear it more as “Tim” now just sounding like a simple successor to the previous year’s “Let It Be,” hewing closer to their no-frills roots. But it is beefier, even while it’s more bare-bones. Maybe we’re both right: It’s possible the Stasium approach we heard now would have felt more punk-rock in its fashion then but also, thanks to his subtle, pro-grade enhancements, like more of a mainstream monster, too.

The band attempted multiple versions of “Can’t Hardly Wait” before Westerberg abandoned it and saved it for the hit that it became when he nailed it on the next album. It was wise that they held it back till they got it right, but there’s no doubt that “Tim” would have seemed like even more of a masterpiece than it already did if they had tagged on the more rugged version they attempted in ’85. Conversely, there’s a “Can’t Hardly Wait” tryout accompanied solely by cello — go figure, and go enjoy. In general, Westerberg was making the right decisions about what should go on an album, and in what style, but the alternate-universe renditions are thrilling in their own right. Take the early Chilton demo of “Kiss Me on the Bus” that sounds like a pure punk rager; it eschews any of the jangly magic and adolescent romanticism that made the final version a classic, but it sure is a kick to hear them go so far off the emotional mark and play the tune like it’s actually supposed to be angry.

In the end, “Tim” existed in an echo chamber in more ways than one — cementing the group’s status as “band of the ‘80s” (U2 and R.E.M. withstanding or notwithstanding) among the critical intelligensia and those with similar sensibilities, even as the album peaked at a lowly No. 192 and sold a modest 75,000 copies. Why is it still so enrapturing today?

There is plenty to be said about that, but some of the quotes from observers or the band members themselves in Mehr’s liner notes — which are nearly book-length, and awesome — get at it as well as anyone could. Says Jeff Tweedy: “For a sensitive Midwestern guy to sing about his feelings and and do it in an environment that was completely chaotic and irreverent was a real revelation. That made it feel like folk music.” Peter Buck also used the M-word in describing the “Midwestern fatalism” of songs like the boozy barroom closer, “Here Comes a Regular.” Erdelyi, speaking of the ferocious opener, “Hold My Life,” said, “I enjoyed the fact that it sounded onfused, that (Westerberg) sounded like he was lost, trying to climb out of a hole.” Westerberg himself made it sound as if he were more revealing in his lyrics than he was in real life: “I used to mind my deepest feelings and use that for the songs, then keep my relationships light,” he confessed. The album came at a turning point in his writing when he was discovering that “the quieter songs can be more frightening and powerful than the old rockers” — yet he still couldn’t resist writing pure rawk like “Dose of Thunder” and “Lay It Down, Clown” amid the heightened singer/songwriter sensitivity. The album represented a perfect nexus point, marrying Westerberg the proud fool and Westerberg the humble poet laureate.

Which is where we return — as threatened! — to how Westerberg is like Dylan. Whatever might be in the shared water in that part of the world, it turned out two world-class rock heroes who, at their core, are cocky smart-asses with possibly conflicted feelings about how far down their sleeves to wear their hearts. Neither ever placed a premium on an eagerness to please, although the chief Replacement did a better job of sabotaging mainstream success than Dylan was ever able to. What’s most striking is how, for whatever reasons, they have retreated somewhat and become even more mysterious as the years have gone on — Dylan by hiding in plain sight, always on the road but rarely explaining himself in stage patter or interviews; Westerberg by becoming more of an actual rock recluse.

We may want a lot more shows or records than he’s given us in the 21 st century (Westerberg’s last full, official solo album came out 19 years ago). But when he gave the world a “Tim,” how much more does he owe us? If anything, his disinterest in providing “product” anymore only bolsters the feelings that you get from that amazing run of original records. Alienation becomes a kind of humblebrag for so many rockers, but when Westerberg sings about feeling disaffected, you can really believe he wasn’t kidding around. And “Tim” hasn’t dated; it almost sounds like a record a sixtysomething guy could make, albeit a sixtysomething guy with a huge surfeit of energy. Even when Westerberg is singing about being a kid in “Bastards of Young,” he sounds like an old soul. And in 2023, it’s still enough.

But if the massive show of renewed adoration for “Tim” suddenly gave Westerberg the urge to reemerge with a fresh set of new classics — “Jim,” “Billy,” “Roger,” whatever — we’d take an autumnal rose from him, under any other name.

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Taylor Swift’s Eras tour finally arrives in the UK amid fan frenzy

Taylor Swift ’s billion-dollar blockbuster Eras tour arrives in the UK on Friday, amid a frenzy of fan excitement.

British and Irish fans have waited more than a year for the show to arrive, since she kicked off her marathon string of dates in Glendale, Arizona in March 2023.

Since then she has crossed the US, Asia and south America and made stops across Europe, often accompanied by her boyfriend, the NFL star Travis Kelce.

But the wait finally ends when she steps out onto the stage at Murrayfield Stadium in Edinburgh on Friday, ahead of shows in Liverpool, Cardiff, London’s Wembley Stadium and Dublin.

She will then return to Wembley in August.

The tour, which takes fans on a journey through the different musical stages of her career, has been a juggernaut and is predicted to provide a £997 million boost to the UK economy, according to a report.

Almost 1.2 million fans will spend an average of £848 on tickets, travel, accommodation, outfits and other costs to see the pop superstar at one of the 15 UK tour dates – more than 12 times the average cost of a night out, according to the Barclays Swiftonomics report.

Eras tour tickets sparked a 15.8% year-on-year increase in UK spending on entertainment when they were released last July.

The average amount spent on an Eras tour ticket is £206, although 14% of fans, including those who bought VIP ticket packages with premium seating and exclusive merchandise, spent more than £400.

It has already grossed more than a billion dollars, the biggest haul for any act ever and has bagged a Guinness World Record.

Cities will roll out the red carpet for her arrival, with special artworks being installed in Liverpool in celebration of her shows.

Dubbed the Taylor Town Trail, it will feature 11 art installations which are inspired by the studio albums from her back catalogue, including a huge butterfly installation, a regal throne and themed murals.

Capital Radio has also launched a pop-up station dedicated to all things Taylor Swift ahead of the start of the tour.

Capital (Taylor’s Version) will play hits from across her 11 studio albums, as well as offering trivia on the artist.

The station will also provide updates on Swift as she tours across the UK and will speak to fans before and after the shows to hear all the details of the experience.

Capital has said it is the first time in the UK that a national DAB radio station has been dedicated to a single artist.

The appetite for the tour has not been dimmed by the fact it is currently available to view on streaming service Disney+.

It was during the six-night run at the So-Fi Stadium in Los Angeles that the show was captured on camera by director Sam Wrench to make a concert film.

Swift flexed her considerable negotiating muscles by bypassing the traditional Hollywood studios and releasing the film directly to cinemas.

It is now available to stream for free for anyone with a Disney+ subscription.

However, UK and Irish fans will be treated to a significantly different show, after Swift overhauled her set list, staging and costumes following the release of her latest album The Tortured Poets Department.

She has cut songs from the previous set list, including fan favourite Long Live, and added a string of tracks from the new record, including But Daddy I Love Him, Down Bad, Fortnight, The Smallest Man Who Ever Lived and I Can Do It With A Broken Heart, which are widely interpreted to be about her rumoured romance with The 1975 frontman Matty Healy.

The level of frenzy over the tour has prompted a major bank to issue a warning over the risk of scams.

Lloyds Bank estimates more than £1 million could already have been lost in the UK to fraudsters pretending to offer tickets to Swift’s concerts and says more than 600 Lloyds Banking Group customers have already come forward to report being scammed.

The average amount lost by each victim was £332, though in some cases the loss was more than £1,000, Lloyds said.

Swift’s show in Edinburgh on Friday will feature support from US rock band Paramore and is due to kick of at 7.15pm.

The Wembley dates are June 21, 22 and 23, and August 15, 16, 17, 19 and 20.

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Taylor Swift’s girl squad: See the stars who attended the Eras Tour

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