Like many second
cities, Sweden’s Göteborg works hard to keep up with its more illustrious rival
Stockholm, and in particular revels in a musical past that has produced the
likes of Ace of Bass and current melodic death metal darlings At The Gates, In
Flames and Dark Tranquility. A visitor to the city’s premier museum anytime
between November 2015 and January 2018 will have had the chance to see the
major exhibition on the city’s music scene between 1955 and 2018, emphasising
both the past and the present of this vibrant port which works hard to dispel
the “safe but boring” tag associated with the city’s major employer,
the Volvo corporation. Although featuring the city’s punk scene, the exhibition
is disappointingly light on the Sisters’ main contemporaries from the area,
Leather Nun, whose knowing guitar-and-iconic vocalist swagger, history and
attitude made them worthy rivals of Leeds’ finest.
Gothenburg has become
a semi-regular stopping point for the current incarnation of The Sisters of
Mercy in their gigging-only mindset, possibly as a result of their first visit
there back in 1985, towards the end of the Armageddon European tour
following Gary Marx’s departure from the band. The Gothenburg gig took place in
the Mudd Club on Kungstorget, which in an earlier life had been The Cue Club,
an organisation which was based in a series of venues over the years and hosted
gigs by the likes of Jimi Hendrix, Deep Purple and Yes.
The Mudd Club was the
brainchild of the late John Lindholm, who brought Johnny Thunders, Nick Cave
and a host of metal bands to the venue in the mid-1980s. On the occasion of his
untimely death at the age of 56 in 2010 (in a bizarre accident in which he was
hit by a tram trying to save the life of his dog which had strayed into the vehicle's path),
local paper GT included a tribute which contained a section about the
Mudd Club, stating that he painted the whole club black (a feature which means
that there are some excellent photos of many of the bands who played there) and
put on mud wrestling events (giving the club its unusual name) in the venerable building, which is now home to the Tranquilo restaurant
and the (Some Kind of?) Stranger Bar.
The Sisters' gig at the Mudd Club, which took place
on Wednesday 15thMay was memorable for several reasons. Of course it
was Eldritch’s birthday, which meant that the FALAA reference to
“twenty-five years of ever after, ever more, more more” needed to be updated by
one for the first time, a lyrical change which was repeated in some of the
US dates and at the Royal Albert Hall. Phil Verne of the ever fascinating TSOM 1980 1985 unofficial FB fan page has kindly uploaded this first "twenty-six years" FALAA to YouTube for us all to enjoy. As Eldritch explained at the Stockholm
Press Conference later that week, “We had a lot of problems in the
afternoon [in Gothenburg]….all the barriers collapsed.” However, a lively and supportive crowd
resulted in a memorable show “Gothenburg was ok, a good audience…It was still a
good show because the audience were good in the end….The Swedish audience is
fine”, was the singer’s considered (if slightly repetitive) opinion.
Encores Knockin’ On Heaven’s Door and Train from this gig later surfaced on the
well-known Opus Dei bootleg double vinyl live collection, and a high-quality
cassette of the full gig is in circulation amongst the usual collectors. It
reveals an enthusiastic audience who not only clap along to the Doktor’s
opening drumbeats for the set-opener FALAA, but cheer when Hussey begins the
“Scottish” riff, like Sinatra fans applauding their approval after the opening
line of a song. Their enthusiasm is maintained to the end, continuing to
attempt to sing the “Knockin’ on Heaven’s Door” chorus after the singer has
left the stage at the end of the first encore, making tapes of this show easy
to identify. Eldritch is in fantastic voice throughout but is uncharacteristically
quiet between the songs for the first 45 minutes, but before the encore (KOHD
and Train) he does address the crowd with the legendary “Hey, Eengleesh, why
you no play Temple of Love?” before answering in his own sotto voce "Because we played it last time", referring to the Stockholm 1983 gig. Craig’s bass is particularly prominent on some
tracks, particularly towards the end of the main set with a rapid-fire punky
Floorshow/Alice and an arguably never-bettered Gimme Shelter (bizarrely
introduced by a possibly not-all-there Von as Body Electric), where it buzzes
towards the end in a style rarely heard since 1983. Hussey responds as he did throughout the European tour with some
virtuoso psychedelic rock soloing of his own, wigging out big time in a
mesmeric version of the song. With Wayne also rocking out on the next song, KOHD, the amused (annoyed?)
singer drily comments “Sorry, this one doesn’t have a guitar solo…much” before
the “Train” finale. There has been no mass copying of a video of the show
which is said to exist, as the alleged owner of the master has apparently kept
it in his private collection, although this could be an apocryphal tale.
Most photos of TSOM shows of that era are grainy
shots taken by an eager fan from the moshpit with a basic instamatic, yet from
the Gothenburg gig not one but two sets of excellent black and white prints
have emerged. The first collection, taken by Per-Ake Wôrn is well-known as it
contains some of the best in circulation of the band at their best, and feature
the author’s copyright watermark in the bottom corner. Arguably even better is
a set of photos taken by Henrik Rylander (later of the band Union Carbide Productions and still a major figure on the Gothenburg arts scene) and
feature on his excellent tumblr archive “Welcome to Gothenburg 80s 90s”. Posted
on the internet five years ago, the silhouetted shots of Eldritch against the
dry ice, dramatic stage lighting and the club’s monochromatic décor make for a
memorable and powerful reminder of the importance of the singer’s iconic
appearance at this stage of the band’s career, such as the example reproduced
below.
The Sisters of Mercy have become semi-regular visitors to
Gothenburg since this initial visit in 1985, and later this year they are
returning once more, for a show which is already sold-out. If it’s anything
like the 1985 gig, the fans are in for a real treat. My thanks for this
and others in this Scandinavian Armageddon mini-series of blog posts are due to
the usual triumvirate of Phil Verne, Bruno Bossier and LG, and especially to
Anders and other Scandinavian Sisters fans who have provided fascinating info.
Rise and reverberate!
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