LIVE REVIEW: Placebo @ Bristol Sounds, Bristol
Iconic: relating to or being an icon, a symbol worthy of veneration. Also, see PLACEBO. As you step into Lloyds Amphitheatre, you’re immediately greeted by a laminated A4 sign and a pre-recorded message from Brian Molko, urging the crowd to keep their mobile phones pocketed during the performance. Molko’s plea for us to experience “connection, euphoria, and transcendence” without digital interference is clear, but his delivery comes across as a bit preachy, almost as grating as the phone screens he aims to eliminate.
Nowadays, PLACEBO is essentially just Molko and his long-time collaborator, Stefan Olsdal. They take centre stage while the rest of the musicians hang back, almost invisible in the shadows. The set kicks off with Taste In Men, its electronica-flavoured synth riff transitioning into a barrage of industrial guitar. This opener sets the tone for the evening, hinting at the blend of old and new that defines PLACEBO‘s current sound. Beautiful James follows with an infectious electro-synth hook and robust chords, illustrating the band’s musical progression from their raw, grungy beginnings to a more polished, electronic-infused rock sound.
One of the night’s more poignant moments comes with Happy Birthday In The Sky, dedicated to Molko’s late brother. The song’s heavy chords and Molko’s soulful delivery create a sombre yet beautiful atmosphere. This isn’t just a performance; it’s a tribute, a cathartic release of grief and love. As Molko’s guitar solo fills the air, the crowd is silent, collectively holding their breath, caught in the emotion of the moment.
Bionic, a rare track from their 1996 debut, features an instrumental duel between Molko and Olsdal. The visual contrast between Molko’s slight frame and Olsdal’s towering figure is striking, almost symbolic of their dynamic. This track is a throwback to the raw energy of their early days, and the crowd loves it. The instrumental sparring between Molko’s wiry, frantic guitar work and Olsdal’s more measured, powerful bass lines is a highlight of the night, showcasing the duo’s chemistry and long-standing partnership. Molko‘s war on mobile phones isn’t just a passing comment – it’s a recurring theme throughout the night. Before the band even takes the stage, the audience is reminded multiple times about the no-phone rule. The intent is clear: PLACEBO wants to create an environment where fans are fully immersed in the live experience, free from the distractions of recording devices and social media notifications. Molko’s disdain for mobile phones at concerts is well-documented, but tonight it feels like he’s particularly driven to hammer this point home.
The frustration is palpable when, during Surrounded By Spies, Molko points out into the crowd, declaring, “You’re all spies”. It’s a nod to the track’s dark, paranoid lyrics, but also a pointed reminder of the band’s no-phone stance. Security personnel are vigilant, gesturing at fans to put their phones away, but the effectiveness of this policy is debatable, as pockets of the crowd inevitably whip out their devices during fan-favourite Every You, Every Me.
The response to the no-phone rule is mixed. While some fans appreciate the push for a more authentic concert experience, others find the constant reminders and security interventions intrusive. During The Bitter End, Molko singles out a bald fan, instructing “phones in pockets,” which, while seemingly in good humour, underscores the band’s serious stance on the issue. The enforcement of the phone policy sometimes feels as distracting as the phones themselves, creating a tension between the band’s desire for immersion and the audience’s ingrained habits.
The nostalgia factor is strong tonight. Tracks like Bionic and Every You, Every Me transport the audience back to the 90s, a time when PLACEBO‘s angst-filled anthems resonate with a generation grappling with its identity. Molko’s vocals, still as raw and emotive as ever, cut through the air, reminding everyone why PLACEBO became icons in the first place. The interplay between Molko and Olsdal during Bionic is particularly memorable, a visual and auditory clash that highlights the duo’s chemistry and long-standing partnership.
Despite the phone-related tension, the show features several high-energy highlights. For What It’s Worth stands out with its dance-rock energy, distorted guitars, and audience clap-alongs. The crowd’s enthusiasm peaks during this number, with Molko and Olsdal feeding off the energy and delivering a performance that’s both electrifying and cohesive. This song exemplifies PLACEBO’s ability to blend rock with more danceable elements, creating a sound that is both familiar and refreshingly new.
The two-song encore concludes with PLACEBO’s 2003 cover of KATE BUSH’s Running Up That Hill. The song starts sparse and atmospheric, gradually building to a powerful crescendo of guitars and emotion. It’s a fitting end to a night that has seen PLACEBO navigate through different eras and styles, all while maintaining the distinctive sound that has kept their fans loyal for decades. The cover is a crowd favourite, and as the final notes ring out, there’s a sense of communal satisfaction in the air.
Phones might never completely disappear from concerts, but tonight, Molko‘s push for a more connected, communal experience is almost realized. The band’s ability to engage and move their audience, phones or no phones, is a testament to their enduring appeal and artistic vision. Despite the occasional flash of a phone screen, there are moments of genuine connection, where the music takes centre stage and the crowd is united in their shared experience. Molko‘s vision, though not fully achieved, offers a glimpse of what live music can be when distractions are minimised and the focus is on the here and now.
Rating: 9/10
Check out our photo gallery of the night’s action in Bristol from TheBristol GigGuide here:
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