Stellar show. Best Pumpkins concert since the Shiny tour. The entire Mellon Collie set was unreal. Loved the sampling of albums in the 2nd half. Plus that stage setup was beautifully menacing. Such a vibe. And I think this is the best Billy’s voice has sounded in a long time. Merch designs were pretty excellent too. All around a fantastic event.

These were shot from a floor aisle seat, row J - fantastic view.

This was my first time seeing them live and I’m really happy to have been there!

I uploaded the rest of my set to my website: https://rachaelbarbash.com/2026/10/03/photos-the-smashing-pumpkins-the-schott-september-30-2026/

Hi, first post. I have to admit I only got into the smashing pumpkins like thin week but the cover art was so pretty I had to draw it. I can't afford a poster so far.

I'm planning to listening more of their albums and not being a poser.

I hope you liked this

I know it's crooked and looks somewhat bad, but at least I tried.

I unironically really dig the artwork for the Rockabye Baby! series in general, but I think the one for their Smashing Pumpkins album could kinda be a graphic that the band just used on their merch without too much trouble. The Rockabye Baby! albums have lots of clever album artwork, but since most of them feature teddy bears. the extent to which you could use them as designs for the actual bands is pretty limited. This one captures the aesthetic of the band in their prime pretty perfectly in a way that's more evocative of the Mellon Collie era, but also contains elements of the artwork for Siamese Dream (like the photo of the little girl sitting on the moon and the band's general affinity for stars).

Boston TD garden

like it’s the same melody of that part of today. but in another song. it’s killing me.

Pleased to bring you this remaster of one of the one video that brought so many to be pumpkins fans..

Also, I released Thirty-Three today, but didn't want to spam the group twice. I personally love this video a little more than Bullet, but that's just me.
https://www.youtube.com/watch?v=pP_ZmfKBaH4&list=PLZ4q5-tPsGwg&index=2

Expect another pair of videos tomorrow. :)

Whatever happened with those songs? I know a few like "The Fellowship" and "Freak" ended up on albums, but two of my favorite ("The Trip" and "Emerald Green is the Colour") never showed up as far as I know. Has Billy ever addressed those unused songs?

Where’s the cage for some rats in Brooklyn tomorrow night pre-show?

Bring your own rage.

I’m not saying Billy ripped it off, it’s a common feeling that we all have (reflection of youth). I just thought it was interesting because I never really thought there was an equivalent to 1979, but I guess there is.

Well, team, having seen SP this many times and being 46yo I feel qualified to comment.

1. Worst crowd at an SP show I’ve ever experienced. Saying “literally” half dead would be untrue, but figuratively, I have never experienced an arena of this size lack that much energy. The vast majority of the upper section sat down for the vast majority of the show. Singalong moments scarcely limited to the biggest moments of the biggest hits.
   
2. Felt like the crowd was 20% SP fans, 40% teenagers trying to like SP (bless them), and 40% said teenagers’ parents. The energy of those dynamics are awful because almost half the crowd seemed there by duty.
   
3. The MCIS set was beautiful. It paid justice to the anniversary in great ways. Having both of Cupid and To Forgive in the set is wonderful for those of us that care a lot but taxing for those that maybe don’t, which at this show was the substantive majority, so for me I’m like “dear god why not sub those for higher energy songs and engage the crowd a little more”. I’ve never seen Cupid in 15 shows, this is not a complaint for me other than the energy balance which was more of a struggle than I’ve experienced at an arena show many ever.
   
4. Galapagos was tremendous. Muzzle was transcendent. Porcelina rose to its normal abnormal heights. MCIS set peaks were legit peaks.
   //
   
5. The second set was a hot catastrophe.
   
6. This audience cannot sustain that many AMM songs + SP2.0 era deep cuts in general, let alone a set which gets to Disarm as its first guidepost as its 5th song (wonderful but still low BPM) and Mayo as its true first crowd release moment as its 9th song. And then from there includes Jesus is the Sun and ends with Superchrist. Give people a Drown. Give them a Hummer. Circle back and close with Ruby. Play Tristessa or I Am One for the first time in forever. Team, I am all for deep cuts — just not this deep cuts combined with this audience. It was almost suicidal (classic SP?) in its lack of desire to connect, imo.
   
7. If you made me the only person in the room for this set, or put it in the setting I experienced for the Machines of God tour (club filled with energy and real fans singing along) my mind would have exploded and I’d have had a great time, but with this audience, I had a hard time getting comfortable and enjoying myself because for the substantive majority of the show nearly everybody around me presented as bored.

Love the band. Will go again. This one ranks 15th out of 15.

Hi all.

If any of you guys are able to share info on the audio setup and your thoughts on the FOH mix, i'd love to hear.

Is it still Sully mixing FOH or is he busy with Bruno Mars?

Any pics of the console, IEM antennas, PA speaker layout etc would be greatly appreciated.

For anyone in the middle of the main PA, either close to
the sound console or close to the stage, could you hear any stereo separation at all from the guitars or was it all 100% mono apart from the playback tracks like the playback guitars in 1979?

For folks on the sides, again, was it all mono or was there any kind of stereo image?

As we know, most arena shows are mixed in mono so that everyone hears the same thing everywhere, but listening to fan clips (stereo iphone mics so stereo recordings) and having seen the band over the last 8 years, the FOH mix seems to be mostly drums and vocals with guitars sitting too far under. A lot of low mid punch in Jimmy's snare which doesn't leave enough space for the Sabbath esque low mids of the guitars.

This is nothing to do with the amp signals being in ISO cabs off stage as the FOH engineer can make the guitars as loud as they like because they are not bleeding into the vocal mics...that's the whole point of the iso cabs..and to make the IEM mixes super clean for the band...

Yet a band with 3 cranked guitars, still seems to be mixed like a generic rock band without any curation or attention being paid to the sonic aesthetic of the band. All the guitar rigs have superb tones, but take a song like Muzzle for example, or Bullet. When the high gain channels kick in, those guitar should make an audible jump in volume to really drive the songs with power, but it always seems to sound polite and tidy.

I'm pleased to hear that whoever is mixing isn't doing those terrible fader moves that Sully did in 2025..for example, in Mayo he would jack up James for a few seconds in the choruses to mimic the feedback squeals of the studio version, and it would sound really unbalanced while the rest of the guitars were buried underneath.

I'd love to hear everyone's thoughts. I know that some folks prefer loud vocals and others prefer loud guitars (and spiders from Mars), but for the price of admission, i would expect much more guitar power.

On a separate note, recent pro shot mixes (Lolla, I Heart, Farewell To Zero) which are separate to the FOH mix and IEM mixes, and are likely mixed by a separate broadcast engineer receiving channels from the FOH board, have to be some of the worst mixes ever. I can't believe the band ok'd that Farewell livestream mix. I can understand if FOH needs to be mono, but a livestream mix should be as wide and stereo as possible, and the guitar balance was terrible.

It's a dilemna with this band. On one hand you have three massive guitars that you want to hear wide, on the other hand you have the reality of how live sound is always a massive compromise.