Whenever I'm feeling miserable, I scrounge a few dollars out of my jacket pockets and tromp up to the bar I don't like. The bar is about three-quarters of a mile from my apartment and wholly forgettable, but ostensibly a metal bar.
The first time I visited, I did what I do whenever I find myself in a new bar: Go to the jukebox and see what record is number 69. Here, it was Thin Lizzy's thoroughly nonseminal Jailbreak. I've never listened to that album the whole way through, and by the grace of God I know I'll never need to, for I know that Jailbreak features at least two songs: "The Boys Are Back in Town," and whatever song comes after "The Boys Are Back in Town," which reminds you that you need to hit rewind.
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Let me make one thing excruciatingly clear: "The Boys Are Back in Town" is an incredible song and I love it. I love it so much. My heart beats bwaa-da, bwaa-dadada DAAH dah to match Scott Gorham's guitar riff, and this leaves my physician furious and unable to speak. When my roommate leaves for work in the morning, I genuflect toward his wonderful dog, who respects me. I press my forehead to his flank and I whisper "the boys are back" over and over again. The dog turns his furry brow to look into me and I know he respects me even more, for I have done as Messrs. Lizzy commanded. I have spread the word around.
I am pulled back again and again into this bar I do not like by an uncontrollable and carnal drive: a loyalty to The Boys and a congenital love of hollering. I am usually content to summon this song just once from the jukebox of the bar I do not particularly like, as even one play is a parade for the spirit. That's the life I lived for several months. I would enter the bar, queue up "The Boys Are Back in Town," slam beers until the jukebox arrived at my selection, then clap my hands, clutch them to my chest, and maybe recite a psalm from the mother tongue of my proud rural people (perhaps "oh, HELL yeah!!! HELL YEAH!!!," or "now THAT'S what I'm talking about!!!!") to the silence around me. Then I would leave.
Over the course of these past few months, I have come upon two bits of forbidden knowledge: One, this bar does not have a working "kill switch" (which allows the bartender to change a song in case someone plays, I dunno, the entire A-side of 2112). Two, this jukebox permits the same song to be played back-to-back if each instance was paid for with a separate bill.
It was 3 AM on a recent Tuesday when, standing in the dark outside my train station, these truths reconciled themselves within me. My compulsion became explicit and inescapable: I needed to stay up and play "The Boys Are Back in Town" as many times as I could. The thorns from the road ahead cleared themselves, and I walked toward the future amid roses to share the gospel with the other patrons of this unlikeable bar. The boys were back.
This is a familiar and lonely road. I play the same song over and over again in my apartment, and I've done it in bars, and I'll do again. One foggy summer evening amid the delightful garbage bars of San Francisco's Outer Richmond district, I watched a shot glass sail past my head when Annie Lennox's (rapturous! transcendent! holy, holy!) "Walking on Broken Glass" surfaced for the fourth near-consecutive time. I've been cut off by America's greatest bartender (the sunbeam who illuminates Wally's in Orlando) when she realized my plan to continually play different recordings of "The Monster Mash." I have compelled friends and strangers in a doomed bar of downtown Houston to listen to Soft Cell's "Sex Dwarf" on loop with me until I was certain that everyone's evening had been thoroughly ruined.
This is the era of late capitalism, where bigger is always necessarily better, without exception. To the true doom disciple, to listen to a song more times is to enjoy the song more deeply. General funnyman John Mulaney wrote a bit about looping Tom Jones's " What's New, Pussycat," which has been sent to me in a dozen gchats, but there are thousands more like me; maybe you've even slept with one, and we're all very sorry. We are terrible, ecstatic, self-ruinous creatures greedy for and undeserving of love. The soul of our sweet delight can be purchased for three songs a dollar. We grab our little joys and squeeze until we've throttled them between white-knuckled fingers.
When Thin Lizzy reappeared, the people of the bar united in groansong. Cocktail napkins flew like weekend litter in a gust of two dozen exasperated sighs. I betrayed myself with a giggle, and the table sitting nearest to me caught on. Some dude asked me why I'd done this. "The boys are back in town," I stammered. "The boys are back!"
The opening notes to the fourth occurrence of "The Boys Are Back in Town" was met with an immediate shattering of glass, a roar of fuck-words, and the small but rapid egress of people whose ears were closed to the good news (the good news about the town, and the boys who were back in it). Two wild-eyed men, drunken and furious, descended upon the jukebox and lifted it away from the wall to get at the plug. When things had resettled, there was a line to queue up songs at the jukebox, which I joined.
Where are the boys? I am in the town, looking outward. Time is space; the distance between me and the boys unravels the years before me. Come back to us, boys; come back to me. The multitudes within me are expanding and I am breaking at my seams. I am becoming my own universe, and the boys are nowhere to be seen.
Thirst will never leave you completely. The body demands water until it drowns. I had spread the word around until there was no word left to spread. Gorged on the beauty of exuberance, I dove, and I pressed myself against the floor of the sea. Today were lost the boys from town, and my whole life has been taken.
And it's not just teenagers and pre-teens in the audience, Littrell said, as many parents who grew up with BSB posters on their bedroom walls and eagerly watched the pop group's videos on MTV's "TRL," now are taking their children to shows.
Expect multiple generations singing and dancing to Backstreet Boys hits like "Larger Than Life" and "Everybody (Backstreet's Back)" when Littrell, AJ McLean, Kevin Richardson, Nick Carter and Howie Dorough bring their DNA World Tour here.
"It's pretty exciting; we've got 32 songs in the set," Littrell said in a Zoom interview. "Of course, there's some medleys. We don't want to keep everyone there for three or four hours. We want to keep your attention."
A: Well, there's going to be just about every song you can imagine the Backstreet Boys sing. Like I said earlier, there's 32 songs in the set. It's about two hours. Definitely a lot of dancing and high energy. You're going to see the culmination of almost 30 years of music. And it's just a lot of fun. If you have an opportunity to come see it, don't miss it. We're going to make you feel you're 10, or 12 or 15 years old again. Like you're a little school girl or school boy. The funny thing is there's a lot more dudes showing up at Backstreet Boys shows nowadays. It's different.
A: I think they're husbands. I think they're boyfriends. I think they're guys who liked us 20 years ago, but they were just afraid to like us. They couldn't really publicly say it (laughs). So I think we stood the test of time. We stuck around long enough and now they're like, 'Man, I think these guys are pretty dang gone good' so we should go see them in concert. Look, if you're close by and you get a chance to purchase a ticket, because I know they're selling pretty quickly, but it's really the perfect storm. To be back on stage live, seeing the fans' smiling faces and singing every word to the song. It doesn't get any better than that.
A: It will still move you. And what I mean by that is the sound is really so loud it will literally move you, physically. Your body can feel it hit your chest. And I love that. It gives us energy on stage to do what we do. It's not easy to do what we do. You've got to get your body prepared. But when you're talking about the screeching sound of the crowd, it's lowered a little bit, because we don't have the same number of 10- and 12-year-old girls out there. We do have kids, I'll say that. A lot of parents are bringing their kids to show the new generation, 'Oh, this was your mom's favorite band growing up when she was your age.' I think that's a huge compliment. But the screeching is not as high as when they were 10- and 12-year-olds.
A: Totally. That's exactly what we're going to do. When you listen to all of our songs, I think they have a certain vocal quality of harmonies and melodies, and they've really stood the test of time. They've stood above average, I would say, and we pride ourselves on the quality, not really the quantity, of the music over time. For us, it's a joy. There is a point in the stage show where we sing an a cappella song, "Breathe," it's on the brand-new "DNA" album, so that's really a standout point where everyone can be like, 'Oh, my God, these guys are really good.' Because sometimes these vocals get lost in the song and the production and the dancing. Like you said, the dancing has always been like the second element from a show standpoint for us compared to the vocals. And it will always be that way, focused on the vocals
A: Man, it's really hard to pick a favorite. I mean, I love seeing the reactions to 'Quit Playing Games' when we're out front, where there's a little stage we'll pop up on and get to sing some songs and be really, really close, out in the middle of the audience. As soon as that intro hits, people just lose their stuff. They're like, 'Oh my gosh, I remember this song when I was like in second grade.' I ran into a guy a couple weeks ago on the golf course and he said, 'Dude, I have you say you were my first concert. I loved you when I was in the sixth grade. And "Quit Playing Games" was my favorite song.' And I was like, 'Dude how old are you?' And he said, 'I just turned 30 last month,' and I was like, 'Oh, man, I really got old.' He made me feel old real quick. (laughs). So I'd say "Quit Playing Games" just for the reaction of fans. It's something that never gets old. 152ee80cbc
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