Garbage - Gig Review 12th December @ Thebarton Theatre, Adelaide SA

Garbage
Thebarton Theatre, Adelaide SA
‍December 12,2025
‍Support: Lucky

“…let the light shine through us.” – ‘Hold’, Shirley Manson, Garbage (2025).

The artform known as “Music” arguably comes down to a primitive yet mystical response for living creatures, and that is their “reaction”. It has even been utilised as a main source of communication for human beings. The artistic exploration can be a catalyst, a trigger, an emotional, physical, mental, and even spiritual alteration that occurs from, in simplicity, “feeling”.

As per German-Norwegian-American psychologist, neuroscientist, and even violinist, Stefan Koelsch:

“Music triggers engagement in social functions, hence musical activity is directly related to the fulfilment of basic human needs, such as communication, cooperation and social attachment.”

In the immeasurable ambience of a sold-out Thebarton Theatre, on a sweltering Adelaide summer’s night, Wisconsin’s (via Scotland) alt-rock luminaries Garbage engineered a glow from their art that triggered engagement throughout thousands of music aficionados present. The quintet’s light shone through us all, and after a decade long wait, our attachment and engagement was undeniably, ‘Magnetized’.

The astounding undertaking of the support role for multiple showcases in this realm of grandeur was presented to Melbourne’s alt-grunge-pop musician Lucky, and with a full-band setup, the four-piece embraced these opportunities with remarkable finesse.

The welcoming shriek from the growing audience alone was startling enough, but it did not phase the charming Victorians one iota. Before the crowd even knew it, they were singing along to the charismatic poetry of Lucky, having in-all-likelihood, never heard one of the captivating compositions this young musician has sensationally shaped.

Whether magnificently manoeuvring between pop-punk royalty such as blink-182 fused with Lash, or the indie-pop enchantment demonstrated on single ‘Houston’ – Lucky ingeniously affixes to her witnesses’ minds in the best way possible. The shoegaze delicacy found on single ‘Never Know’ was above engaging, and closer ‘Ladybeetle’ had a grunge-pop energy that Pennsylvania’s Tigers Jaw would irrefutably sink their teeth into.

The four-piece finished with a rockin' recklessness, as Lucky exhibited some exquisite Joan Jett vitality herself. In all honesty though, this was a series of momentous presentations for the up-and-coming musician, but her light is truthfully, only beginning to shine.

In an almost contrasting viewpoint to the very theme of this article, as well as the lyrical excerpt quoted at the commencement of this review in reference to the “light”; Thebarton Theatre was suddenly immersed in a cloak of darkness. Angelo Badalamenti’s ‘Laura Palmer's Theme’ sensationally seeped out of the venue’s sound system, and into the minds, bodies, and souls of every attendee. An overwhelming euphoria was overtaking Adelaide, and the screams when the amazingly austere silhouette of vocalist Shirley Manson discreetly appeared onstage were simply, deafening. Garbage had indeed arrived, and they were here to enlighten our ‘Big Bright World’.

Surprisingly, ‘There’s No Future In Optimism’ introduced the performance, which was an interesting selection considering its infancy, and possible unfamiliarity with the rather diverse age groups within this capacity turnout. The single, and the band’s radiance, shone exquisitely and instantaneously though. In retrospect, Adelaide was practically stupefied by the enormity by this production. However, and astonishingly so, this was essentially a culmination of divine yet earnest musicians. The track’s exhibition outstandingly recalled post-punk royalty Siouxsie And The Banshees to a degree, and Garbage’s light was set to be brilliantly blinding.

‍‘Hold’ itself would fit flawlessly on the next instalment of the Blade film franchise, but not just as a soundtrack appearance, the Wisconsinites (and Edinburgher) would be required in the actual production with their esoteric luminosity, and near savagery, especially with Shirley stalking the stage with the intensity of a lioness. ‘Paranoid’ prompted one-of-many sing-alongs that essentially, silenced the five-piece with the South Australian choir effort of boundless volumes. So much so, that Ms. Manson grasped this rare opportunity to revel in dance at the anthem that herself, drummer/producer Butch Vig, and multi-instrumentalists Duke Erikson, and Steve Marker crafted nearly three decades ago.

‍‘Vow’ featured a borderline burlesque elegance that will be remembered for many years to come. In its cultivated beauty, there was a sense of therapy that emitted from the chorus and delightful demonstration itself:

“I came to pick you up”...

Art is almost always deciphered differently depending on the onlooker, but there was a striking unification during this single that felt, otherworldly.

‍‘Run Baby Run’ furthered this sentiment with an empowering message of escaping difficult situations. Whether a hidden, or highlighted chronicle, it was ultimately and amazingly, uplifting. This was escalated by the incredible finesse of bassist and backing vocalist Nicole Margaret Fiorentino, who genuinely deserved more time in the spotlight.

“Thank you so much beautiful Adelaide! Thank you for selling this venue out!” Shirley expressed in glamorous authenticity.

Apparently, this rapid tours’ sell-out status in Australia had never occurred before for the alt-rock-royalty outfit.

“…let the(ir) light shine through us.”

‍‘The Trick Is To Keep Breathing’ brought us all back to Earth with its tantalising trip-hop explorations and jazz club motif, this included the band themselves bonding into a joint musical hypnotism. ‘Not My Idea’ transported South Australia back to 1995, more specifically, a swing-set where Duke and Shirley wrote the delightfully disjointed pop number (the New Order sampling was irrefutably, rather spectacular).

‍‘Hammering In My Head’ was a disco-art-pop-rave that felt out of place, but strangely perfect at the same time. ‘The Men Who Rule The World’ is a composition of haunting relevance; there is a situation of decline in our world right now due to the actions of mostly one man, and it is truly tumultuous and terrifying.

“…musical activity is directly related to the fulfilment of basic human needs, such as communication…”

‍Garbage are portraying this message, and so much more, every day. They wholeheartedly encapsulate awareness and equality. Alongside them, we need to listen, to learn, to love, and to take action. Let’s “Watch Those Haters BLEED!” and “let the light shine through us”.

‍‘#1 Crush’ was gothrillingly majestic – that single possesses endless poetic illustriousness, and it is beyond evocative. Jerry Moss, you were very VERY wrong, Baz Luhrman, thank you, eternally.

‍‘Queer’ was so bewitchingly idyllic and compelling, it felt like the "big hug" this planet needs, now more than ever. This anthem isn’t just an artistic expression of music; it is an iconic statement. Understandably, this single provoked one of the most resounding sing-alongs heard on this night.

A warranted ed shout-out to Mushroom Records executive Michael Gudinski, as well as Shirley’s great aunt, who is wonderfully named Adelaide, bolstered ‘Chinese Fire Horse’ with its phenomenal Riot Grrrl POP punch. Ms. Manson was inspired lyrically for the track by rather judgemental journalists, and her punk rock attitude towards them was a sublime act of HERoicism.

‍‘When I Grow Up’ should be a 90s skate punk belter, but Garbage triumphed in that songwriting contest. ‘Cherry Lips (Go Baby Go!)’ is now undoubtedly engrained in thousands of music lovers' minds after witnessing this contagious composition – it will potentially spread like wildfire, again! Then ‘Push It’ was a blazingly brash marvel that London’s Savages probably wish they had written, or at least, covered. The conversion and escalation into noise rock territory by Garbage was absolutely wondrous.

‍
‍‘The Day I Met God’ Shirley described as “pain killer high” adventure in song-writing. Truthfully and straightforwardly, the composition is a grand rock opera. Queen would assuredly adore and admire this song. It is a visionary, and also a bewilderment. It could be a "curtain call", or it could even be a new calling for Garbage? Nevertheless, the genius and savviness incorporated into this ceremony of a single, is scintillating.

An encore was above necessary; ‘Stupid Girl’ and ‘I’m Only Happy When It Rains’ were unequivocally glorious and quintessential as conclusions. Shirley Manson elevated to a conductor and composer, her words were resounding in magnitude for her adorers, and her actual voice, was barely required.

“Pour Your Misery Down…”

Australia did. We had “…let the light shine through us”, perhaps for the last time.

However, Let All That We Imagine Be the Light seems to be perfectly, Garbage.

So, Australia will always keep our lights on for you.

Gig Review by Will Oakeshott. Insta: @teenwolfwill

Setlist

There’s No Future in Optimism
Hold
I Think I'm Paranoid
Vow
Run Baby Run
The Trick Is to Keep Breathing
Not My Idea
Hammering in My Head
The Men Who Rule the World
#1 Crush
Special
Queer
Chinese Fire Horse
When I Grow Up
Cherry Lips (Go Baby Go!)
Push It
The Day That I Met God

Encore

Stupid Girl
Only Happy When It Rains