Billy Corgan has already announced plans to "renew and revive the Smashing Pumpkins," his edgy, influential 1990s alternative-rock band, and it can't happen too soon.

The singer-guitarist's show at the Moore Monday night, before about 1,000 devoted fans, was an arty, high-concept experiment in digital light and sound that was lifeless and mechanical. The music was overwhelmed by an eye-irritating wall of light that filled the stage behind the band. Made up of thousands of crossword-puzzle-like boxes, it constantly pulsated with intensely bright, colorful, swirling patterns, the novelty of which wore off quickly.

The show was based on Corgan's new solo album, "TheFutureEmbrace," a collection of bland songs with simple messages, mostly about love. In concert, he was backed by three musicians, two playing synthesizers encased in silver sculptures like tall flowers, and a third playing thudding synth drums, which gave every song a disco edge.

Review


Billy Corgan, Doris Henson and the Crimea, Monday night at the Moore Theatre, Seattle

The only interesting and surprising parts of the show were the covers, which were the best songs of the night. The Bee Gees' "To Love Somebody," AC/DC's "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)" and Slim Harpo's classic dirty blues, "I'm a King Bee," seemed to energize Corgan more than his own compositions.

While emphasizing spacey, futuristic electronic sounds, it was Corgan's good old reliable screaming, classic rock guitar solos the crowd loved most. When he came out for the encore — after the crowd chanted "Bill-LY, Bill-LY" for a long time — he had a big Flying V guitar around his neck and wailed on it during the intense "Walking Shade." The crowd went nuts. Corgan was nice enough to stay around after the show to greet fans and sign autographs.

After heading two outstanding, guitar-based bands, the Pumpkins and the short-lived Zwan, Corgan is allowed a little self-indulgence. But even he seems to know the experiment is a failure.

The show was opened by two talented, conventional five-man rock bands, the Crimea and Doris Henson, who played solid sets marked by youthful exuberance. They were actually more entertaining than Corgan.

Patrick MacDonald: 206-464-2312 or pmacdonald@seattletimes.com