First of a two-night run. Nikki Sudden opened.

Setlist is incomplete and speculative based on below review and incomplete information.

Review from The Red and Black dated May 8, 1990
Hitchcock pleases his fans
REVIEW By NOEL MURRAY - Contributing Writer
Robyn Hitchcock walked onstage at the 40 Watt last Thursday night wearing a shirt with a print that looked like an exploding Hawaiian.

He rambled about nothing sensible for two full minutes and then he began his first song, ‘This Could Be the Day.”

From that moment until the end of the gig, over an hour later, Hitchcock pleased his fan-filled audience by giving them what they’ve come to expect from him over the years — a genuinely interesting experience.

Hitchcock gave that and more, telling stories and playing songs from his entire career, including a few from his Soft Boys days, like ‘'Queen of Eyes” and "Hey-Hey-Wep-A-Hole.”(sic)

On stage alone, with only his acoustic guitar (except for a brief three-song piano interlude), Hitchcock resembled nothing less than a favorite uncle sitting on the porch, picking and singing; only this uncle is the one the family is a little worried about.

Any family would worry about Hitchcock’s lyrical obsessions, mainly sex and death. He relates the two often, as on his brilliant 1985 album “I Often Dream of Trains,” where he used the breakdown of the British Rail as a metaphor for psychosexual decay.

These strange relationships are what Hitchcock does best. Despite the tunefulness and often comic surrealism of his songs, Hitchcock’s finest moments on record and during shows come from his poignant comparisons.

“Glass,” for example, presents the image of transparent and fragile panes of glass as representative of the barriers people put between each other.

Hitchcock played “Glass” for his encore, after asking the audience for requests. He then launched into the song “Ye Sleeping Knights of Jesus,” with the crowd providing proper backup vocals.

He finished with “Listening to the Higsons.”