Pixies are a band whose significance is unparalleled. Formed in Massachusetts in 1986, they released a string of critically acclaimed albums before breaking up in 1993 due to tensions between band members. After reuniting in 2004, Pixies have been touring and recording since.
The band’s success has spanned 40 years, seven genre-defining albums and touched old and new generations of listeners. They have influenced artists from Nirvana to Weezer, from Radiohead to the Smashing Pumpkins, and many in between. Pixies are often credited for the existence of grunge as a genre; ‘Smells Like Teen Spirit’, the track which propelled grunge into the mainstream, was Kurt Cobain’s attempt to rip off a Pixies song; they popularised the quiet verse / loud chorus song structure; the female bassist trope. Among the most pioneering bands of the late 80’s, their significance both musically and culturally is prodigious, and they are living proof that bands don’t need to be mainstream to be influential.
On a rainy Tuesday evening (which could have been mistaken for December, not August), 2,500 excited gig-goers gathered at Glasgow’s O2 Academy to watch Pixies perform. The sold-out venue was packed out wall to wall with loyal fans, the demographic a healthy blend of older and younger attendees.
The support band, a Newcastle hailing Trio called The Pale White, warmed the crowd with a kaleidoscopic set. Their sound blended classic rock with grunge, tying in a myriad of influences to create a sound that is uniquely theirs. The drummer was insane and stood out as a highlight throughout the set, as did the driving basslines which the audience seemed to enjoy. The group had a dynamic and memorable stage presence, it was evident how happy they were to be there supporting one of their favourite bands. So happy that one of the band members did a forward roll off stage when it was time to leave. If you’re a fan of emphatic drums, heavy basslines and infectious riffs (or beginner’s gymnastics) then The Pale White are worth checking out.
After a short intermission, Pixies saunter on stage bang on 9pm and, without greeting the audience, they start the set off strong and unrelenting with two fan favourites; Doolittle closer ‘Gouge Away’ straight into an absolute tsunami of a song, ‘Wave of Mutilation’, also taken from Doolittle. Pixies usually do a cover of The Jesus and Mary Chain, and this went down especially well for the Scottish crowd.
After the opening three tracks infused the audience with energy, unfortunately the next three songs resulted in some shifting of feet and a bit of a lull in energy. All three were taken from upcoming album ‘The Night The Zombies Came’ which is set for release in October, and although this audience response is typical for new and unreleased material, Black Francis’ aversion to speaking to the crowd meant we had nothing to help us through. The stage wasn’t very visually interesting either, aside from the huge, winged, glowing P logo that floated behind the band for the duration of the set. He never spoke a single word throughout the entirety of the 90-minute performance, not even a hello or a thank you, just the occasional brief pause between tracks. This is something I’ve experienced before, usually from American’s and punk bands, but never to that degree. This isn’t necessarily a bad thing; although I agree with the argument that it can cause a disconnect between the artist and fans when there is no direct communication or engagement, I also think with a catalogue as extensive as theirs, why not let the music speak for itself.
All eyes were on the new bass player Emma Richardson, who stepped into Paz Lenchantin’s shoes and joined Pixies earlier this year. Emma has slid seamlessly into the band; her stage presence matching that of her peers and her voice harmonised perfectly with Black Francis’ grungy lead vocals.
A few songs into the show and you’re reminded just how punk Pixies are. Their set so tight and unrelenting you risk whiplash. Even the counts between songs felt like they were on double speed as they cram 28 songs into 90 minutes. High points came from the iconic ‘Hey’ and ‘Here Comes Your Man’, moments we had all been waiting patiently for as the crowd sang back every single word in unison.
A signature Pixies feature is having several songs which are recognisable after playing just a few of the opening notes. After two seconds of the sprawling opening riff of ‘Monkey Gone To Heaven’ there was uproar from even the most demure members of the crowd. The track about global warming is still relevant 30 years later, touching on numerology and mythology; it’s one of my personal favourite Pixies tracks because it is so interesting both lyrically and sonically, and judging by the volume levels of the crowd, I’m not the only one.
As the evening drew to a close, the second version of ‘Wave of Mutilation’ was perhaps an unnecessary choice. Two versions of any song in one set just seems excessive, no matter how good the song. On the topic of complaints, ‘Where Is My Mind’ should have been the climax of the evening, however we were delivered a version that was a bit offbeat and different in style, so it was difficult to sing along to the verses. I can’t help but wonder if it’s a case of the classic ‘bands hating their biggest hit’ phenomenon, like how Alex Turner makes it impossible to sing along to ‘Why’d You Only Call Me When You’re High’ when he performs it live.
The set ends on a high note with a singalong Neil Young cover, and after several bows (but no encore and no goodbye) they left the stage. Pixies are a band whose music stands the test of time; their music speaks for itself and that is the reason why they still have a cult following and staying power even 40 years later.
