Words by Tabitha Murrell
I was first introduced to Placebo by the┬áever-dramatic┬á1999┬áfilm┬áadaptation┬áof Pierre Choderlos de┬áLaclos’ 1782 novel┬áLes Liaisons┬ádangereuses. Cruel Intentions‘┬áopening scene streams┬áacross a graveyard and then up to the iconic┬áNew York┬ácity skyline. Ryan Phillipe (swoon) is seen driving over┬áBrooklyn┬áBridge in his┬ábeautifully┬árecognisable┬áblack┬ávintage┬áJaguar XK140 – the car is as much a plot device as the┬áfilm’s┬ásoundtrack, which of course begins with the blasting of Placebo’s┬áhit from the same year Every You Every Me.┬áThe scene was ranked by Screen Rant in 2019 as one of the┬áTop 10 Best Teen Movie Opening Scenes┬áand┬áfurthermore, the song was ranked twenty years later as 83rd┬áon the hottest hits of all time by radio station Triple J.┬á┬á
Tonight, the atmosphere is once again hot, the lights on stage shimmer a low red as the crowd pack in for a show of unusual stature. Why? Because Placebo have done something┬ámany artists would not attempt to do: they have placed a cap on the use of phones during the show. Sure, many artists such as Frank Turner and Florence and the Machine┬áask fans to place their phones away for a couple of songs, to embrace the crowd, their┬áneighbors. But Placebo is approaching this in a different way, one that I eagerly welcome; they have released a statement┬áreminding fans NOT to use their phones because of the difficulty personal technology can create: ÔÇÿMore difficult to connect with you and to communicate effectively the emotions of the songs. Please be here and now in the present and enjoy the moment. Because this exact moment will never ever happen again.ÔÇÖ Placebo write that their purpose to┬áto┬ácreate ÔÇÿcommunication┬áand transcendenceÔÇÖ┬áand I cannot help but agree that the use of phones does limit face-to-face communication. With the┬áperformance┬áright in front of you, why do we find it so hard to live in the moment, and not behind a screen?┬á┬á
The night┬ástarts┬áwith the Cruel Hearts Club. Maybe┬áit’s┬ájust my desperate want to be┬áa 90s┬áRiot┬ágrrrl, but┬áthere’s┬ásomething about women on stage, carelessly rocking their hearts out that will always win me over. The unbridled talent in┬ápainted pink fingernails┬áwhizzing┬áalong the┬ástrings┬áof a┬ájet-black┬águitar makes me soar.┬áLead singer┬áEdie’s┬ávoice is killer and instantly┬árecognisable, beautifully unique and,┬áin┬ásome way,┬áglamorous.┬áHowever,┬áthe most brilliant part of the┬áband’s┬áperformance┬áis their back story, they┬áare breaking┬áunexpected┬árules in an area many┬árock and roll legends┬áhave not spoken of.┬áThe three are mothers by day, grunge band by night. My┬áfavorite┬ábit of┬átitillation┬áabout the trio is the story of drummer Gabi’s┬áthirteen-hour┬ábus journey to France┬áto introduce Sting whilst┬áheavily┬ápregnant. Sting became such a fan that night that he invited the band to be the opening act for his residency┬áat┬áthe London Palladium┬áearlier this year. That is girl power.┬á
It is a sad┬áreality┬áthat when artists, like Placebo, have been in the spotlight for many decades, a set list composing of many new songs can┬álose engagement with the crowd, a time to nip to the bar or have a quick┬áloo┬ábreak.┬áPlacebo’s┬áenigmatic new soundtrack made it clear this was not an option.┬áThere┬áwas no moment┬áwhere the wave broke, the tidal sound system remained steadily high throughout. The┬ástage was set┬áwith the┬áopening┬áhymn┬áof Forever Chemicals filling the room, the lights lift slowly the water┬árises┬áand the brilliance of Placebo is unveiled.┬áThis song is classic Placebo, to a┬ámodern-day┬áaudience,┬áthe use of the bare synths┬áallows┬áme to picture myself riding shotgun in┬áRyan┬áPhillips’┬áJag.┬áWe are┬áthen┬áengulfed┬áby a song you canÔÇÖt help but sing from your lungs,┬áBeautiful James.┬áThe tone of Placebo’s music is truthful and raw, speaking of loneliness, of┬áaddiction, of┬áfighting nihilistic┬átendencies.┬á┬á
The majority of┬átheir music came from their new album Never Let Me Go, their eighth studio album in 28 years. The album’s track placement is echoed in their set timings and itÔÇÖs a love story to the lost art of album listings. The album proves to be┬ámusically┬ámulticultural┬áand┬áappreciative of┬áexperimental┬áinstrumentals forged with Placebo’s signature sound.┬áTwin Demons showcases the┬áband’s┬áfabulous┬águitar┬átalent. The elopement of guitar and lyrics in order to showcase a┬ábattle against┬áone’s┬áown demons is reminiscent of Milton’s┬áPandemonium; the┬áallegories┬áfor a sea inside every human provides blossoming poetic darkness.┬áAnother personal┬áfavourite┬áwas Chemtrails, a reminder that we can get warped by┬ásociety’s┬áconstant skepticism┬áand┬áconspiracy’s, an ode to wanting more than day-to-day rantings and anger.┬áLastly Placebo did┬áa series of covers, including what has arguably been the song of the year by a Ms. Kate Bush, a song theyÔÇÖve been covering for twenty years – talk about being ahead of the curve. They┬áalso took a moment to┬átake┬áa political stance in their cover of Tears for Fears’ Shout, an artist that has obviously influenced┬áPlacebo’s┬ásound. Comments on┬áenvironmental┬árights┬áresult in loud applause from the audience and it feels like IÔÇÖm in a place where people┬áwant for┬ásomething better, for us all.┬á
My last note on the performance is that, as I conclude this review, I go on my phone to attach a photo I took of the performance, which I usually use as notes to write such articles. I had completely forgotten I hadn’t taken any notes, but the gig was so brilliant, so memorable and bold that just my memories were the perfect thing to take home.
