A review of Primal Scream's recent concert, focusing on their ability to both embrace their classic hits and push musical boundaries with new material.
Just about every legacy act does this sneaky trick: floor the accelerator about two-thirds through a set with a final explosion of hits and crowd favourites, leaving the audience feeling as though they’ve been to the best gig of their lives.First, for Scottish veterans Primal Scream , this closing run includes some of the most euphoric songs of a generation, in the best-known trio from their earth-shattering 1991 indie/dance/chillout album masterpiece.
But the second, and perhaps more relevant, thing is that Primal Scream – or at least charismatic frontman Bobby Gillespie – don’t even see themselves as a legacy act. Yes, they’ve done the classic-album tours in the past; but whenever they put out something new – in this instance, last year’s, their first original collection since 2016 – it has often had that vital, risky spark of artists who want to challenge themselves and their audience. Remember, that’s howAnd so we have what proves to be a little too much latest-album work to do before we’re rewarded with what most have come to hear: some of it pulsating and terrific (the gospel-cum-disco of. You can’t completely ignore the fact Gillespie comes from the Bob Dylan school of “singing” – but that has rarely been an issue in the past 40 or so years. He does just about hold it together for the sublime, which is given extra soulful life by this tour’s not-so-secret weapons, the two female backing vocalists and a multi-instrumentalist (who plays jazz flute –(“we wanna be free/to do what we wanna do” etc) gets the party going after a couple of short-lived false starts (shout out t
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