Primal Scream returned - again - to Nottingham and proved their relevance and willingness to harness their art to speak out. Rock City proved the perfect canvas...
From its release in 2000, XTRMNTR, Primal Scream’s sixth studio album, marked a turning point in the band’s output. The album was the final full-length release on Creation Records, marking the end of the group’s working association with Alan McGee. The band staggered on into the noughties as the chapter was brought down on the champagne and drug induced hedonism of the 1990s. The early 90s saw a decade where music had a message of peace and prosperity, a decade where people were “Moving on up” (sorry). But as the decade fizzled out, and we made it into the 21st Century, the musical landscape was in stark contrast; music was getting more visceral and violent in its sound and message. If Screamadelica was Primal Scream’s peace offering, then XTRMNTR was their declaration of war.
Despite its overt caustic aggression and brutal sound, XTRMNTR had near universal acclaim, and is often cited as the album that reinvented the band's image. It saw the band at their creative peak with a record just as daring as its predecessor - 1997’s Vanishing Point - the first album to feature former Stone Roses’ bassist, the late Gary “Mani” Mounfield. Personally I think this is their magnus opus, edging out Screamadelica, their most iconic record, for the reasons above. The release of Evil Heat in 2002 completed The Bunker Trilogy and the most interesting period in Primal Scream’s history.
It ushered in a new age of “art is terrorism”, a phrase first circulated in John Carpenter’s satirical sci-fi film 'They Live', to pieces of art used to disrupt harmony, cause extreme shock and offence and embody violence as an act of theatre. The band caused controversy during a gig at The Roundhouse in Camden during the performance of Swastika Eyes that depicted a Swastika entwined with the Star of David in a message calling out the government’s role in the Gaza genocide.
Rock City is hyped up for the performance of XTRMNTR, the disemvowelment of Exterminator, in its entirety, to see if its message is just as relevant to today's political landscape. Spoiler alert, it is. It also happens to be Primal Scream’s third visit to Nottingham in a little more than 18 months following a gig in April of last year and a slot at the final ever Splendour in July. As Bobby Gillespie recounts from his first performance here 44 years ago, he gleefully admits Rock City is one of his favourite venues - in fact: “It’s a great f***ing venue.
As we catch the final part of tonight’s support, The Paris Match, the mood is somewhat idyllic and in stark contrast to the mood evocative of XTRMNTR as to what Scream fans expect it to be.
This band are quite jovial and combine twangy guitars with light-hearted wit and jazzy harmonies. They took their name from the iconic Style Council album and it's easy to draw comparisons with a sound reflective of cool metropolitan living. It is what can be described as Cafe music: light, soothing and swarve.
The headline set kicks off with Kill All Hippies, an executive order of artist nihilism that shatters the ideals of peaceful revolution. The opening spoken sample of Linda Manz’s character “Gorgeous", taken from Dennis Hopper’s cult classic 'Out of the Blue', sends everyone wild. Hearing it live for the first time is just as raw and nasty as it is on record. The gnarly bass from Phil Mossman is incredible; it doesn't do Mani a disservice. Gillespie’s falsetto vocals on the chorus “You got the money / I got the soul” sounds less sung than a man detained under interrogation, and after 25 years his delivery is still in-tune. Gorgeous signs off, but Primal Scream have just got going.
Exterminator follows suit, unleashing itself as an industrial reign of terror with a funky beat pounding on top. The musicianship is just as impressive with the mainly new line-up doing its very best.
It's a fair assessment to say Primal Scream are a fleeting band these days. The recent deaths of keyboardist Martin Duffy, Robert “Throb” Young, Denise Johnson and Mani, the latter doing so this year, has made things very difficult, but Gillespie, being commander-in-chief, flies the flag even if it is essentially all in his own image with Andrew Innes and drummer Darrin Mooney being the two remaining long-term members.
Both remixes of Swastika Eyes appear twice in the set, and the song's inclusion is incredibly well received for it being the standout track on XTRMTR. The dark pulsating grooves and fierce anti-government rhetoric still captivate the audience. There are a few chants of “Free Palestine" at the back, but Gillespie gets them to serenade it properly in the chorus of Blood Money. MBV Arkestra exposes another musical onslaught and makes you wish that Kevin Shields became a permanent member with the gloomy shegaze elements that the live line up do they're best to maintain.
Shoot Speed/ Dark Light completes the XTRMNTR set and leaves a constant ringing in my ear as they exit to play another set. Experiencing XTRMNTR live was an absolute treat and reaffirmed my view that this was Primal Scream at their creative best.
The encore includes classics from the ages such as Loaded, Move on Up, Jailbird and Country Girl - the last single from the group that still had popular acclaim. Kowalski’s inclusion is a great addition that shows The Bunker Trilogy is still popular amongst fans. Finally, Rocks is the perfect curtain caller, leaving people chanting the chorus out of the venue and down the stairwell. A perfect endorsement of the band's legacy.
This gig was proof that Primal Scream can still harness the timely relevance of their work. By playing XTRMNTR in its entirety, the band have charged up the rallying cry to take a stand against growing authoritarianism in today's world. It was an album that embodied the most radical nature of art and its relevance today is scarily stronger than in 2000.
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