For over two hours this past Thursday night at Nation, Laibach proved that they are still one of the most fascinating, dramatic and powerful acts still performing.
Beginning with a 15 minute classical introduction featuring music from Tchaikovsky, Laibach took to the stage clad in jodhpurs and trademark military dress. All members had matching black leather bracelets on both wrists, fastened with silver buckles.
Smoke filled the stage and the visuals began. The band played a short introductory song and then lead singer Milan came on stage, wearing a black leather skirt apron, sleeveless gray vest, belt with the Laibach symbol in the middle and trademark black hat. They then launched into "In The Army."
Milan's voice was as gripping and sinister as ever, his eyes piercing and his stances dramatic. He had definitely aged since the last concert I saw in 1997 - flecks of gray now in his beard, but he was as moving and beautiful a presence as before.
After "Alle Gegen Alle," Milan exited the stage and the band members launched into their second instrumental of the evening. When "God Is God" ("You shall see hell/You shall see darkness") started, Milan returned shirtless, as he usually performs. Around his neck was a silver medallion in the shape of the Laibach symbol, which reached to his waist. During the song, he struck several Christ-like poses.
"Tanz Mit Laibach," the most well-known track from their new album, was up next. Unfortunately I felt that this song sounded much better recorded than the version they presented live. However, it was during this song that the next "phase" of the concert began - one which certainly provided a lot of the entertainment for the rest of the night.
Right at the beginning of the song, two girls entered wearing brown-colored military dress (jodhpurs, hats, tall black boots and brown t-shirts with Laibach symbol on). One girl (Eva) had blonde hair worn in two braids; the other girl had brown hair also worn in braids. They looked identical in dress, hair style and make-up (red lips and smoky eye shadow). Both began the task of beating drums completely in sync - obviously routines that required much practice and physical strength, considering how long the songs lasted. Occasionally they sang as well, augmenting Milan's voice with their own harmonies.
"Hell:Symmetry" (also from the new album) was one of the more poignant songs during this time. Milan was so focused, as were the girls on either side. The lyrics "I will take your thoughts/I will make them mine ... Love me, love me not ..." were sung most intensely.
A few songs later, the two girls left and then reappeared back on stage minus their hats, but having changed into skirts.
"Wat" was another foray into extreme intensity. Smoke, visuals and the austereness of the band all seemed to swirl together, and I was drawn into the spectacle being presented before me. All was quiet, except for Milan's haunting, deep gravely voice, when he sang "But when our beat stops/And the lights go out/And when we leave this place/You will be left here all alone/With a static scream locked on your face." You could hear a pin drop, and a shiver ran up the back of my spine.
"Mama Leone" was the only deviation (in terms of sound) from the rest of the setlist. If you had walked into the concert right at this time, you might have been confused. For "Mama Leone" is a very soft-sounding classical anthem sung in Italian, featuring sweetly and innocent-sounding singing female voices.
"Ohne Dich" featured some of the most interesting visual footage of the evening. A vintage black and white slowed-down gymnastic routine (showing a man on the parallel bars) provided the backdrop for this song. Everything seemed to fit together perfectly.
When the next song began, the two girls took their braids out (now long and flowing hair appeared, with Eva's hair blond with dyed black ends) and began the most intense drum-beating sessions of the night. Their hair cascaded over their face and shoulders, and back again, as in exact opposition to one another, they moved up and down in their routines. The mood was wild, powerful and primal.
"Geburt Einer Nation" (one of my favorite songs) proved another of the most powerful. During "Opus Dei" the visuals intensified once more, featuring Laibach's symbol in flames the whole time.
At the very end, when Laibach left the stage for the final time, they didn't just do so to the cheers of the crowd. The mood was only heightened because a very dancey, upbeat remix of "Tanz Mit Laibach" kept the energy and excitement going.
Here is the track listing:
1. (Intro)
2. In The Army
3. Dogs Of War
4. Alle Gegen Alle
5. (Instrumental)
6. God Is God
7. Tanz Mit Laibach
8. Du Bist Unser
9. Now You Will Pay
10. Hell:Symmetry
11. The Great Divide
12. (Instrumental) (Sung in German)
13. Achtung!
14. Das Spiel Ist Aus
15. WAT (We Are Time)
16. Mama Leone
17. Ohne Dich
18. ?
19. Sympathy For The Devil
20. Geburt Einer Nation
21. Opus Dei (Life Is Life)
22. (Outro) (Remix of Tanz Mit Laibach)
(End note: I was lucky to encounter the keyboardist later, and completely unexpectedly, he gave me a pass to go backstage. I did so, and met the two girls, one of the guitarists and later the keyboardist was there too. Unfortunately I didn't get to meet Milan, but when I heard the band had just flown in from Europe the night before, I completely understood why he wouldn't want to hang around after the concert. It made the striking performance all the more amazing, considering how little sleep these people had gotten).
Cheers
DJ Medusa.
