If there was anything commercial about the Smashing Pumpkins show at Hilton Coliseum Wednesday night, it came well before singer Billy Corgan took the stage.

By pounding through the radio-friendly singles early, Corgan left plenty of time for a true to Pumpkins-style jam session to conclude their show.

Spending more than 30 minutes on two different invasions of Siamese Dream’s “Silverfuck,” Corgan demonstrated unsurpassed guitar work, sprinkling it with delusional word play and depression.

By a third encore, Corgan had twisted all of his emotions into the one song, tripping through extraneous lyrics such as “what is your ear wax doing in my stomach.”

With each echoing scream of “I feel no pain,” the gate to Corgan’s heart creaked further open.

At one point during encore number three, Corgan asked for the lights to be turned on. He told his 8,000 fans to take note of the empty seats that were beginning to show.

“Those were for the MTV stylists,” he said. “They went home to study. You guys are the real Smashing Pumpkins fans.”

But before the “stylists” took leave, the Smashing Pumpkins ripped through a set of signature tunes known for popularizing alternative rock.

The Pumpkins began in beautiful fashion, taking stage behind the Corgan composed “Mellon Collie and the Infinite Sadness” suite.

Other than two simple projection screens, showing everything from Planet of the Apes segments to images of a rat in a cage, the stage was as non-commercialized as the show itself.

The Pumpkins picked up the pace early, mixing favorites such as “Zero” and “Cherub Rock” into perfect pairs.

It was “Tonight, Tonight” and “Today” though, that ran away with the early portion of the show.

As if the songs were telling a story, the fans praised “Today” for finishing off what “Tonight, Tonight” had started.

Corgan responded by breaking down the conversation barrier with a few simple words (which is a rarity for him).

The Pumpkins then ventured “back to 1991,” with a jam-induced version of the Gish classic “Siva.” Battling what appeared to be a bleeding finger, Corgan conquered the pain by picking up an acoustic guitar and starting into the orchestral “Disarm.”

Capping off the big-hits segment of the show, Corgan entered into “Bullet With Butterfly Wings” with a screaming outrage of “the world is a vampire.”

A few ad-lib pauses and bass line solos by D’Arcy took the already awesome track to an even further level.

Keeping with a Mellon Collie theme, the Pumpkins rode their energy into “An Ode To No One.” The fun had just begun for Corgan, who was using his lyrics to hook the crowd and drag them into his chaotic thoughts.

“I took a virgin Mary axe to his sweet baby Jane,” he sang. “Lost my innocence to a no good girl, scratch my face with anvil hands, and coil my tongue around a bumblebee mouth.”

Ending with the melancholy lyrics “… and I give it all back to you,” Corgan entered the hissing lullaby “Porcilena of the Vast Oceans.” From this wave, Corgan surfed into “Silverfuck” and rode it to the end of the show.

What you would have guessed to be a predictable first encore, with the “1979” still to go, actually became one of the more unpredictable parts of the night.

The long-awaited introduction of keyboardist “Johnny Frog,” Jonathan Melvoin’s replacement (and Joey Ramone look-alike,) came just as band mate “Jimmy Frog” entered in full wing costume.

The Frogs, who played the side stage of Lollapalooza in 1994 (the year the Pumpkins headlined the festival,) jammed to “1979” with the Pumpkins and two hand picked dancers from the crowd.

Before entering into “Stumbleine,” Corgan managed to get some rips in on about everyone, from the two dancers to himself. Responding to a dancer’s back-flip, Corgan said he “didn’t ask for fucking Mary Lou Retton.”

Meanwhile, James Iha took on the introduction of new drummer Matt Walker, describing him as the man who “saved our alternative ass.”

Walker came up big in the second encore on “Muzzle” and again with his lead into the “Silverfuck” reprise.

Special guests Garbage took on a different approach to the show that included three of their four singles back to back to back .

From the opening effects on “Queer” to the ending chords of “Vow,” the fullness of their sound proved quite impressive.

The three-guitar sound became even stronger when the provocative- looking lead singer, Shirley Manson, picked up one and decided to jam.

Although Butch Vig’s short-lived drum solo into “Stupid Girl” was only a tease, the band handled Manson’s lack of personality by invoking the crowd with genuine music.

Dubbed a night of “Infinite Sadness,” the presence of two of alternative music’s most fascinating personalities filtered more than just one emotion into Hilton Coliseum. Mainstream fans or underground diehards, the Smashing Pumpkins and Garbage managed to make everyone happy, and it only took four hours.