Skip to main content

Public Image Ltd

O2 Edinburgh

Thursday 21st September 

Four stars

 

“’Ello!” hams John Lydon, returning to the stage after he and the rest of Public Image Ltd have ploughed through a glorious rewind as far back as 1979’s Metal Box record alongside songs from their recently released End of World album. By Lydon’s account, the gap since their last one has been “eight years of fucking misery for all of us.”

 

Sporting a long coat and ornate vintage tie, Lydon looks and sounds every inch the music hall Dadaist provocateur. With lyrics perched on a music stand, he unleashes his guttural declamations over bassist Scott Firth and drummer Bruce Smith’s pounding rhythms and guitarist Lu Edmonds’ torrent of jaggy metal shards. 

 

Having set the scene with album opener, Penge, a backhanded guide to the South East London suburb of the song’s title, the dub echo bass and drums of Albatross, from Metal Box, is a spacey and still startling sounding creation. Similarly, the kneejerk snarl of new record’s Being Stupid Again segues into Peptones’ queasy swirl, as Edmonds makes Keith Levene’s original guitar patterns his own. 

 

On Death Disco, Lydon howls like a wounded bird of prey. Part showman, part grumpy old man, throughout a thrilling Flowers of Romance, his voice is laced with undisguised venom. “Memories,” he deadpans, introducing the song of the same name, “we’ve all got ‘em. Let’s see if I can remember them.” 

 

Lydon’s patter is a treat. There are digs against “socialist council bins,” and, on Shoom, which ends the main set, a mass sing-along of “Fuck off” is aimed at Lydon’s former Sex Pistols comrades, Steve Jones and Paul Cook.

 

For the encore, Lydon’s “Ello!’”, of course gives way to PiL’s self-titled theme song. A dark Open Up follows, with a triumphal Rise provoking a mass chorus of ‘Anger is an energy’. “We will never let you down,” Lydon declares as a parting shot. He means it, man.


The List, October 2023

 

ends



 

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...