I'm part of the new generation of PiL fans. At 28 years old, a fanatical strain of the millennial lollipop mob. Although I’m American born and bred I formerly had the opportunity to see Public Image Limited on a few occasions while abroad in England. The first two of which were respectively in London as well as the sunny south end in Brighton. Different vibes for different venues but each having drawn me closer to the music. My third pilgrimage was cut short when some middle-aged punk decided to relieve himself on my friend Timmy’s pant leg while at a gig in Birmingham. Being the solid friend that I am, I adhered to ol’ pissy-pants request to leave the venue a mere three or four songs into the set. This was approximately two years ago.

Having returned home to the Twin Cities I had a choice to make if I were to see PiL again while the band was on tour in the states. Either metropolitan Chicago or rural Lincoln. Either way it was going to be a long, lonely drive through six hours of Midwestern cornfields. I'd opted to take the trip to Lincoln without firstly having secured a ticket to that evening’s gig at Knickerbockers nightclub. Regardless, I was determined and hopeful that I would be able to make the trip down from Minneapolis and would be able to purchase a ticket at the door.

As luck would have it there were still a few tickets left at the bar upon my arrival. This came as a welcome as it meant that my trip had not been made in vain. Thursday, November 19th 2015 not only marked PiL’s performance in Lincoln but also marked the official start of the winter season. My drive into Nebraska was met with gusting winds and on the drive home the next day I was obstructed with a wintery blizzard which made the final 150 miles of my journey a complete nightmare. Nevertheless it was all worth it as I was once again able to spend an evening jamming with Public Image Limited.

As soon as I was in the building and out of that horrible wintery outdoor chill I was greeted with Reggae music blasting out of the PA stereo which was a welcome reminder that my journey was worth every bit of trouble that the highway had to offer. I perched myself up against the guardrail front and centre. For over an hour I chatted with Pamela, a local Cornhusker punk who had recently relocated to Lincoln from Los Angeles. I like to make conversation with others while at PiL gigs because everyone always seems to have an interesting story or two regarding why they’re attending the show. She was a frenzied Devo punker taking advantage of her opportunity to see John Lydon live for the first time.

Lu, Bruce, Scott, and Johnny (as well as Rambo) took to the stage to a welcoming uproar from the crowd. PiL fans always seem equipped with plenty of things to say to Johnny and company. You can tell exactly how familiar someone in the crowd is depending on their commentary. Some choose to yell out lyrics from old Sex Pistols songs while others are clamouring to hear from some of the deeper cuts in PiL’s extensive catalogue. Lincoln, admittedly, wasn’t as raucous as say London but there were still a fairly good mix of well wishers and curious parties in the audience from what I could tell.

Mr. Lydon spent a few minutes bantering with the crowd while taking several different store bought cold and sinus medications, explaining that he was feeling a bit under the weather but ready to perform nonetheless. I don’t know whether he had really felt hampered or not because from minute one the band seemed in top form to me. The show opener was ‘Double Trouble’ which had recently been broadcast on the Late Show with Stephen Colbert just two days prior. Immediately afterwards the band ploughed ahead into ‘Know Now’, in effect airing the first two numbers from the latest album “What The World Needs Now...”

I tend to forget the order of the music from this point but it was a steady mixture of classic Public Image favourites from yesteryear as well as a few more selections from more recent albums. ‘The One’ ‘Corporate’ ‘Shoom’ ‘Deeper Water’ to mention a few. ‘This Is Not A Love Song’ ‘Warrior’ ‘The Body’ and naturally ‘Rise’ were also somewhere in the mix amongst other former hits.

My personal favourite was the sonically destructive rendition of ‘Religion II’ which consistently impresses me each time I’m able to see it performed live. Johnny, in particular, almost seems as if he regresses back to himself as the twenty-two year old who first penned this number as he passionately belts out his scathing lyrical condemnation toward the nefarious nature of theology. The bass guitar becomes an accompanying measure of auditory warfare as the crowd unites in repeating the mantra “Turn Up The Bass!” The audio engineer obliges the congregation’s request. At one point we were able to hear the audible popping from the house PA as the levels of bass exceeded their redline limitations.

The most earnest of vocal performances came in the form of ‘Death Disco’ which, as most PiL fans are aware, comes from the more sensitive side of the man we were first introduced to as Rotten. You can feel the honest expression come across from the vocalist as he puts forward his most vulnerable side for his audience to observe. There may even have been a tear or two shed. You can immediately tell that you’re witnessing something genuine, something honest being communicated. There’s something sincere that John Lydon wants to impart to his audience through this song that is likely not measureable by words themselves. I’m not simply attempting to draw from the lyrics to support my commentary. You have to see these songs performed in a live setting to truly grasp their importance. The very human aspect of these songs necessarily depend on it.

The gig at Knickerbockers closed out with ‘Public Image’ followed by the soulful ‘Rise’ which gave way to yet another moment for the crowd to partake in “Sing Along With Johnny Time!” As the band wrapped up its set their lead singer made a point to recognize his three band mates individually. He thereafter gave his endorsement to them by asserting that “This is Public Image Limited” as he acknowledged the musicians accompanying him on stage while showing no sense of self-importance of vanity for himself.

My understanding of Public Image Limited may differ from that of Punk antiquity. I am admittedly a newer convert having only been introduced to the band within its recent incarnation. It’s not like me to clamour for the Metal Box era. That particular band is a foreign concept which I set apart from the benevolent four-piece that I’ve become accustomed to within recent years. My experience in seeing John Lydon perform, in particular, has been anything but Rotten. The historians may eventually gloss over and negate this side of Johnny while continuing to put forward the established narrative of his rebellious teenage youth.

To me, however, and to everyone who’s been able to see PiL within the last few years knows much differently. What we’ve witnessed is a performer that might’ve just reached his peak now well into his late 50’s. A performer who is comfortable with himself, his audience, and one who has nothing but kind words and a peaceful message to offer. It’d be a shame if this era of PiL goes unnoticed. However, I have to imagine that in recent years there have been more than a few who’ve left gigs such as this one inspired to emulate the positive message inherited.

Review & Photos by Adam Moyer (30th November 2015)

Buckley 26th September 2015 >

God Save The Sex Pistols ©2015 Phil Singleton / www.sex-pistols.net
All rights reserved. Not to be reproduced without permission.