Caught in the Carousel

Providence, RI
It’s usually not a good sign when the band arrives late for a show. This is particularly true at Lupo’s Heartbreak Hotel, where Placebo was playing their first ever gig in Providence, RI. The venue cuts concerts short in order to turn the place into a nightclub by 11pm sharp. No exceptions. So the crowd was slightly perturbed when after waiting outside on the chilly New England evening, they found themselves in yet another line inside the club. Fortunately, fans were given a special treat while waiting, as Placebo quickly soundchecked, playing a few songs off their fifth release Meds. Though somewhat rushed, Placebo played a fantastic set, highlighting some of their best songs out of their 10+ years as a band.

The opening band was Evaline, who sounded a little like The Music, but seemed to have paid more attention to their clothes than their sound. But due to time constraints, they only played four songs before leaving the stage.

Placebo came on stage quietly and launched right into their set with the catchy paranoia of “Infra-Red.” They went through three songs off their new album before Brian Molko finally stopped to introduce the crowd to “the ladies and gentleman of Placebo.” Then it was right back into playing. It was this lack of interaction that made the show seem rushed, but these boys were determined to do what they came to do and they did not fail to impress.

Placebo

New songs such as the downer “Meds” and the fast-paced “Drag” got the crowd moving, but it was the older songs that were the highlight here. “Every You Every Me,” best known for its appearance on the soundtrack for “Cruel Intentions,” had the crowd singing along. Meanwhile, the hard-driving “Special K” started the crowd-surfing. The band had quieter moments with a subdued and slower version of “Special Needs.”

It seemed Molko didn’t want to be the star of this show, opting to stand in the background for much of the set, allowing bassist Stefan Olsdal to play the rock god. And he certainly enjoyed the opportunity, preening and posing for the crowd during songs such as the powerful “I Know.” It was as if Molko were taking to heart the line “I know you love the song, but not the singer,” which he repeated at the end of the song.

But even without the rock star attitude, it was impossible for Molko to disappear, due to his wholly original and androgynous voice. Songs such as the darkly romantic “Sleeping with Ghosts” and the extraordinary “Without You I’m Nothing” showcased the power of his vocals and his ability to stand out even when it wasn’t his intention.

The night came to an end all too abruptly, with the band choosing the slamming “The Bitter End” to perfectly express the general feeling in the air. After coming back briefly for an encore of Kate Bush’s hypnotic “Running Up That Hill,” the band left quickly, while the crowd cheered.

Placebo

—Jessica Simons

The Fillmore, SF
I’ve seen Placebo in concert a dozen or so times, and they never disappoint. Singer Brian Molko coyly introduced himself and his black-clad bandmates as “the ladies and gentlemen of Placebo,” and indeed with his pixie-style haircut and his bluish eye shadow coupled with his boyish energy, he looked much like the nancyboy of his younger days. Musically, though, they came across as polished, mature, versatile veterans. Their 18-song set—a full half of it comprised of tunes from the new album Meds—reminded me again that Placebo is at heart a punkpop band. They ripped through already zippity numbers such as “Drag” and “Because I Want You” like thoroughbreds, and even some mid-tempo cuts like “Blind” and “One Of A Kind” had the crowd pogoing because of their quickened pace. Slower ballads, like “Without You I’m Nothing” from the same-titled second record, or the surprise treat “I Know” from their first album, were beautifully executed moments of euphoria. Though songs from their 2004 hits collection were salted in sparingly, they made sure to please the fans with longtime favorites like “Every You Every Me” and “Special K.” The trio were backed by two additional musicians on keyboards and bass, which granted Stefan Olsdal the opportunity to play guitar alongside Molko for most of the tracks. The encore cinched the deal: during the applause to bring the band back, a throbbing computerized beat became the intro to Kate Bush’s “Running Up That Hill,” and the conclusion to “Twenty Years” featured a frenzied electric string cacophony reinforced by thundering drums. The only weak spots in the otherwise flawless performance were those where Molko used voice distortion (“Infra-Red” and “Space Monkey”), making his lyrics somewhat inaudible for the uninitiated. However, the crowd sang right along with him, and the choruses became all the more melodic when he reverted back to his own chords.

—Mark Cabasino

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