Public Image Review
After a seventeen-year hiatus Public Image Limited returned with a stop at the Music Hall Of Williamsburg in Brooklyn, NY. The concert and tour have given me reason to take this moment to re-evaluate PIL’s work and the John Lydon-Rotten legacy.
The show opened with Low Life from the band’s debut album, and Pop Tones from Second Edition, or Metal Box as it was originally titled. Johnny was in rare form. His voice stronger than ever before, almost operatic at times. Often sounding like an angry Nina Hagan.
Throughout the night the focus was on group’s first four releases, largely ignoring their later, more traditional rock albums. Their early work is easily some of the most avant garde rock music ever created. For being a guy who was discovered because he was wearing an “I hate Pink Floyd” T-shirt, Lydon’s music is a moody and dreamlike as anything by Pink Floyd.
The songs often had an off-kilter drum pattern that shifted underneath a heavy, repetitive bass line. Above it the guitar meandered spasmodically, fluctuating between strained ambiance and aggressive dissonance. The music tended to have an amorphous feel that flowed over the audience creating a trancelike groove. Song structures were never-quite clear. Although certainly there, based on the tight and sudden shifts and changes.
Given that the music has no traditional guitar solos or rock and roll blues licks, it is easy to miss the technical complexity of the music. The musicians were top-notch. Drummer Bruce Smith battered away while maintaining the odd, stilted rhythm patterns and tribal beats. Guitarist Lu Edmonds was a force of nature, reproducing original PIL guitarist Keith Levene’s mad genius with ease and energy. He played a variety of instruments, often favoring what seemed to be an electrified balalaika. During Four Enclosed Walls he played what looked like a 12-string banjo with a violin bow, creating eerie Middle Eastern tones.
From the first note Johnny was a consummate performer. His dance moves reminded one of a funky, marching Frankenstein monster. Each move, each gesture and facial expression radiated irony, almost parody. Yet still expressed defiance. Between songs he reprimanded an audience member, “Spitting is for your enemies, not your friends! I am your friend. I am not your enemy, and I never have been. Save your spitting for Sarah Palin and the Tea Party.”
Set highlights were This Is Not A Love Song and Tie Me To The Length Of That from This Is What You Want…This Is What You Get, Bag and Rise from Album, Flowers Of Romance from Flowers Of Romance, Analisa and Public Image from First Issue.
Before a soaring version of Religion II, Lydon screamed “I hate all religions! I hate all organized religions! I don’t need a religious institution standing between myself and my God!”
PIL’s music seemed to take on a new life in the live setting. Lydon’s connection and passion for the lyrical content became more apparent. His bellows, wails, caterwauls, and shrieks, were clearly cathartic. For all intent and purpose he seems to still “mean it man.”
For being the prototype of the angry punk, he radiated a positive attitude. After thanking his band and crew, he said of the audience, “It’s good to be among friends!”
Check out Caeser Pink's novel The Murder Of The Holly King��
posted by Caeser Pink @ 4:08 AM
0 comments
