Psychedelic, punchy, and politically charged, Primal Scream took to the stage at O2 Academy Leeds this Good Friday, fresh off the back of their critically acclaimed album Come Ahead.
Tagging along for the northern leg of their tour was fellow Scot, Dylan John Thomas, channelling a vibrant cocktail of influences—from The Beatles and Bob Dylan to the likes of Johnny Cash and Leonard Cohen. Performing to a crowd largely made up of new listeners, along with scattered pockets of devoted fans on shoulders, Thomas introduced his own material, from the tender, heartwarming ‘Jenna’ to the soaring, romantic anthem ‘When I Get Home’. His set also featured bold renditions of rock staples like Fleetwood Mac’s ‘Big Love’ and Johnny Cash’s ‘Ring of Fire’, swiftly fostering a sense of camaraderie and shared spirit amongst the crowd, even in unfamiliar territory.
Shortly after Thomas’ departure came an anticipatory surge in the crowd, as more old-school ravers piled in for the main act. As the lights went down and the energy in the room spiked, the iconic, shuffle-inducing ‘Don’t Fight It, Feel It’ from their 1991 smash album Screamadelica blared out in all its sketchy, synthy glory.
Immediately transcending into some of their latest tracks, such as ‘Love Insurrection’, ‘Ready To Go Home’, and ‘Deep Dark Waters’ to name just a few, there wasn’t a moment in the near two-hour-long set that felt disjointed or unnatural amidst the archetypal ‘90s sound they’re known for.
While the band, led by Bobby Gillespie, have released 12 studio albums since their inception in 1982, Come Ahead feels like the most comprehensive marriage of their strongest influences through the ages, making each track translate into something beautiful and dynamic on the live stage. From rock, rave, blues, dance and pop to gospel to dub, there was a real sense of harmony between the band, their sound, and the utterly engrossed audience throughout, making the night feel as spiritual as it was boisterous.
Shifting gears, the band moved into the fast-lane with the likes of ‘Medicine’, ‘Innocent Money’, and ‘Heal Yourself’, combining the ethereal vocals of “soul sisters” Rosyln Adonteng and Martha Evans with striking basslines from Simone Butler. Whilst Gillespie might be the poster boy for Primal Scream, it was crystal clear that every member of the reformed lineup was locked in and vital to the chaotic brilliance of their sound.
Marking the elongated climax of the night was ‘Loaded’, arguably not only one of Primal Scream’s biggest hits but also one that defined them during the era, before hit after hit followed by the likes of ‘Movin’ On Up’ and ‘Country Girl’. By now, the mood inside the tiered venue was electric, showing no signs of slowing down.
Nestled rambunctiously between these huge classics also came the attention-grabbing ‘Swastika Eyes’, an anti-establishment belter that did most of the talking through its provocative, timely visuals. Lapping up the energy that radiated around him and standing resolute on stage in a way that allowed the words “parasitic” and “syphilitic” to dart across the screens and hit home without the need for much on-stage entertainment, Gillespie upheld the image of himself as both a passionate political commentator and a legendary artist.
The encore, sparked by the solemn and aptly titled ‘Melancholy Man’, was swiftly ramped up by the coalescing ‘Come Together’. As hypnotic visuals illuminated the backdrop, both gospel vocalists glittered under the luminescent spotlights while the academy’s punters hugged one another, making this track stand out as one of the biggest crowd-pleasers of the night—perhaps even a song that could have kept going for hours without any complaint from either the group or the attendees.
With not many phones in sight, swapped out for mosh pits and shared dances, the night closed with their much-loved raucous hit, ‘Rocks’. “Let’s take the roof off!” Gillespie ordered, as those before him followed with no hesitation.
Before greeting Leeds goodbye, the band appeared genuinely in awe of the crowd in front of them, thanking them again and again for the energy they brought to the tight-knit 2,300 person venue. As hands contorted into peace signs and rose in unison, the night wrapped up not just as a salute to Scottish talent, but as a riotous celebration of unity, community, and borderless solidarity.
Words by Ruby Brown
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