The main hall of the Sydney Opera House is full tonight, not just with bodies but with memory. Garbage’s long-awaited return to Australia arrives on the back of a relentless run of headline shows and festival appearances, and this performance feels less like a victory lap than a reckoning with legacy. It’s their first Australian headline tour since 2016, and possibly — if Shirley Manson’s social media posts are to be believed — a farewell.
When the band launch into the opening song, the room is instantly recalibrated. Garbage remain a startlingly tight unit: Butch Vig’s drum patterns land with clinical force, Steve Marker and Duke Erikson weave grit and texture into a sound that still feels engineered for emotional confrontation, not nostalgia. Nicole Fiorentino, the bassist for bands like Veruca Salt, and The Smashing Pumpkins is on bass.
Manson commands the stage with a mix of defiance and vulnerability that has only sharpened over time. Her presence fills the Opera House without strain; she doesn’t overpower the room so much as pull it inward. There’s a sense of communion here, heightened by the weight of the day. As news of tragedy at Bondi Beach hangs over the city, the show becomes something more than a concert. It becomes a space for collective processing, for grief and release to coexist.
Garbage’s catalogue has always thrived on tension — between beauty and abrasion, intimacy and confrontation — and tonight that tension feels necessary. The songs hold space for anger, resilience, and empathy in equal measure. If this does turn out to be Garbage’s final Australian tour, it’s a powerful reminder of why their presence has mattered for decades. And if it isn’t, the hope is simple. That they return. That this room fills again. That the healing work of loud guitars and shared breath continues.
Words and Images Deb Pelser
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