Saturday at First Avenue Liz Phair asked the audience “is anyone here actually from 1993?” The crowd response was overwhelming, because for a night a crowd of mostly middle-aged fans could feel like it actually was 1993 again. The scene at First Avenue included two things I’ve never witnessed before, the men’s bathroom was completely empty (and yes, there were a lot of men in attendance) and there was no line at the bar. I don’t know whether these observations speak to the devotion or age of the crowd. When Exile in Guyville was released in 1993, I was twelve and my father (perhaps inappropriately) played the album constantly, though I do remember the occasional “earmuffs” as we listened in his car. At the time, the album was shocking and groundbreaking; Phair carved out a whole new realm for female musicians with honest and daring lyrical content.

Phair played the entirety of Guyville, the one exception being the addition of “May Queen” before Guyville’s final track due to technical difficulties with her guitarist. For “Flower,” two audience members who “attend every show, ever” were chosen to sing the backing vocals. The encore consisted of a new song, “Chopsticks,” “Supernova,” and “Polyester Bride.” Stage banter included the origins of “Canary” (wrote in her parents’ house while pretending to practice for music class), praise for Trey Anastasio’s guitar prowess, and the bailout plan.

Liz Phair performed Exile in Guyville true to the album, with very few flubs and better vocals. She seemed affectionate for the songs but at the same time mechanical in her performance. I’ve never seen an album played in its entirety, and the lack of spontaneity perhaps spoils part of the appeal of a concert. Besides “Fuck and Run” and “Mesmerizing,” two of my all-time favorite songs, I enjoyed Whip Smart’s “Supernova” in the encore more than anything else.

It’s easy to feel nostalgia for what seemed like a more simple time (Do Phair’s lyrics still seem edgy?). When the world seems like it’s on the fast track to hell, a sense of nostalgia for the nineties can feel overwhelming. Still, it’s hard to complain about the opportunity to see one of the most important indie rock albums of the previous decade recreated almost flawlessly.

-Chase Turner