Review of Public Service Broadcasting at perhaps their last show at Inverness Ironworks – a vintage set with a signature futuristic take on past human landmarks
Register for free to read more of the latest local news. It's easy and will only take a moment.
Public Service Broadcasting
Ironworks, Inverness
5 stars
There was a moment somewhere in the middle of the glorious noise filling the Ironworks on Thursday night, as PUBLIC SEVICE BROADCASTING returned for possibly the last time before the venue closes, when you felt these eccentric, tongue-in-cheek, apparently mild-mannered musicians might be the unlikely instigators of the actual revolution the UK has never had.
Was it me, or was something definitely stirring in the packed crowd as the old film footage of track All Out showed serried ranks of helmeted police marching through a mid-80s landscape in the era's wonky technicolour to take on striking miners?
The voiceover starts “You know we’re not going to take it anymore/ We’ve just had enough!” and the angry energy of the song stung through you as you realised something this band loves to remind you.
Their mantra is they teach the lessons of the past through the music of the future.
And as the track’s stabbing guitars grew into one of the noisiest, most full-on moments of the night, the visuals offered the stark realisation that history goes in circles, an age of strikes is with us again – and Public Service Broadcasting have already provided the perfect soundtrack for what the future might bring.
Just as they promised in that statement of intent.
But anger was just one emotion they could stir in a night packed with human endeavour – the Second World War, the space race and now, most recently in latest album Bright Magic, celebrating the creative spark that has powered everyone from Marlene Dietrich to David Bowie, courtesy of the city of Berlin.
Eight tracks from the album were showcased, though their take on David Bowie’s Sound And Vision – its recording finished in the Hansa Studios in West Berlin where Bright Magic was also recorded – set the scene. And the song’s title, for a band like PSB with its trademark of interplaying film and music, probably perfect.
It’s hard not to make the band’s work sound worthy by just describing their love for old film looking at big themes and historical landmarks. But like the music – electronic and live instruments, brass and guitars, synthesisers to banjo, beats and theremins and vocoders, celestes and ‘field recordings’ in Berlin itself, and guest slots on the album from the likes of 80s legend Blixa Bargeld of Einzurstande Neubaten – the visuals are cutting-edge, experimental and totally of-the-moment.
Mr B filming the act onstage and live-screening it was exactly what was happening in Scottish Ballet’s new production Coppelia on the other side of town, the live film and performance blowing the minds of the dance audience.
Mixing work from PSB’s career throughout their set, Thursday night offered constant surprises alongside the welcome return of old favourites like The Night Mail (using the black and white 1936 film made with poet W H Auden’s poem of the same name about the post train) or maybe their biggest live hit Go! which they used as a high on which to end the official set.
Yet there are already strong contenders for that ‘biggest live number’ crown from Bright Magic. My Blue Heaven with the video featuring a playful Andreya Casablanca big on the backdrop pillars.
And, saved till the sweet spot, second in the encore’s four top tracks, People, Let’s Dance with Eera and robotised versions of the real-life roller skaters in the video dancing across the stage screens – turned the crowd into a euphoric borg, smiling and moving as one.
Rewind back to the start of the gig and the inspired support was Devon/Sheffield band PALE BLUE EYES.
PSB thoughtfully brought along the band on their tour to what turned out in Inverness to be an enthusiastic and receptive Inverness audience – singer Matt Board told us at the start they had just driven up from Devon for the gig!
One of these bands that have little echoes of other favourite bands sparking from them – Echo And The Bunnymen, The Human League, New Order – that just added to the spacious melodies, but driving pop of the six-song set. Standouts included opener Globe.
Nearing the end with the slow, woozy brilliance of Chelsea, Matt Board’s ethereal vocal seemed to have invoked a trance state, the crowd standing rapt, huge cheers ending the set.
I rushed out to buy the newly-released album Souvenirs – for sale in the venue foyer – which has many of the songs they played on it.
Later J Wildgoose Esq thanked them and appealed to us: “It’s a difficult time to be a musician, if you can buy their CD …"
I think anyone who hadn't come across them before, and did, might have found their new favourite band…
As Public Service Broadcasting cranked up towards the end of their set, two space-suited funsters hit the stage and pit, the multi-skilled brass section turned into an inspirational dance troupe and then Public Service Broadcasting reached the highest peak … yes, Everest.
As J Willgoose Esq said: “It looks like it’s our last visit to Inverness for a while with this place closing!”
The crowd booed.
“Let’s get another venue going, let’s hope something presents itself. We will keep coming up here regardless!”
Epic, vintage, it was a show to remember, though maybe one PSB fans will have to remember for a while, until that promised return. MC
