Some concerts entertain. Others remind you why music matters in the first place. Garbage’s performance at Gröna Lund last night belonged firmly to the latter category. It was loud, rebellious, emotional and unapologetically political—a celebration of everything that has made Garbage one of the most distinctive bands of the last three decades.
All photos Karen Lundquist
From the moment Shirley Manson stepped onto the stage, it was clear that this would not simply be a nostalgic trip through the band’s catalogue. Instead, it became a powerful reminder that Garbage remain as relevant, passionate and fearless today as when they first emerged in the 1990s.
The evening was savage in the best possible sense of the word: pure revelry with a reform-the-world spirit running through every song, every speech and every interaction. Manson wasted no opportunity to express her beliefs, champion causes close to her heart and remind the audience that music can still be a vehicle for empathy, resistance and change.
The band reflected on their long relationship with Sweden, recalling how they first visited the country at the beginning of their now thirty-year career and how their last Swedish performance had been a decade ago. For many fans in the audience, this was a long-awaited reunion. For those of us who grew up with Garbage’s music, hearing these songs live once again felt particularly special.
As someone who has followed the band since my teenage years, watching them command the Gröna Lund stage was nothing short of magical.
The setlist was a dream for longtime fans. Classics such as Stupid Girl, Push It, Special, The Men Who Rule the World, Cherry Lips (Go Baby Go!) and Only Happy When It Rains ignited wave after wave of excitement throughout the crowd. Each song was greeted with deafening cheers, proving that Garbage’s catalogue has lost none of its power over time.
What has always separated Garbage from many of their contemporaries is their ability to blend raw rock energy with intelligent songwriting and social commentary, and nowhere was this more evident than during their introduction to No Horses. Describing the track as one of their darker and lesser-known songs, Manson reflected on the world in which it was written. Released in 2016, the song imagined a future teetering on the edge of collapse. Looking out at the audience almost ten years later, she remarked that rather than improving, the situation had worsened.
“This is what happens when capitalism, greed and wickedness take over the world,” she said, introducing a song that suddenly felt more relevant than ever.
Yet despite the serious themes, the evening was filled with warmth, humour and genuine connection. Manson was in exceptionally high spirits and seemed determined to savour every moment. Between songs she spoke constantly with the audience, joked with her bandmates and repeatedly interrupted drummer Butch Vig, at one point stopping him just as he was about to count in the next song. One of the most touching moments of the evening came when she spotted three young girls in the crowd who had been dancing enthusiastically throughout the show. Calling attention to them, she removed her armband and gifted it to one of the girls.
“You remind me of myself when I was your age,” she said. “You looked kind of sad. Let me remind you that sad girls get what they f***ing want.”
The audience erupted. Moments later, she spoke passionately about the need to protect young people, particularly young girls.
“The world is being brutal towards young girls,” she told the crowd. “I want them protected. And I want all men protected too, make no mistake.”
These moments revealed what has made Shirley Manson such a compelling frontwoman throughout her career. Beyond the voice, beyond the charisma, there is an unmistakable sincerity. Her words never feel rehearsed or calculated. They come from conviction.
That same conviction was present when introducing Chinese Fire Horse, a song born from a frustrating experience. Manson recalled being asked during an interview when she planned to retire. Initially shocked by the question, she later channelled her response into music.
“Don’t let the world tell you that because you’re over a certain age you’re done,” she declared defiantly. “Because you’re f***ing not.”
The message resonated strongly with the audience, many of whom have grown older alongside the band itself.
Another emotional highlight arrived before Cherry Lips, when Manson expressed her love and support for Garbage’s LGBTQ+ audience, particularly their transgender fans. It was another example of the band’s enduring commitment to inclusivity and standing alongside communities who often face discrimination.
By this point, the atmosphere at Gröna Lund had become electric. The crowd mirrored Manson‘s energy, singing every lyric back to the stage with unwavering enthusiasm. It was impossible not to feel empowered by the sheer force of positivity and defiance radiating from the performance.
The band themselves appeared to be thoroughly enjoying their return to Sweden. Manson shared stories from their time in Stockholm, including the visit they made before this concert to the ABBA Museum. Unsurprisingly, the members confessed to being devoted ABBA fans, earning yet another roar of approval from the Swedish audience.
Then came the finale. As the opening notes of Only Happy When It Rains rang out across Gröna Lund, the audience immediately recognised what was coming. Thousands of voices joined together for one final celebration, singing every word of one of Garbage’s most beloved songs. In a charming tribute to their Swedish hosts, the closing moments seamlessly blended into ABBA’s Super Trouper, which Manson sang with visible delight and no small amount of affection.
It was the perfect ending to a night that celebrated not only Garbage’s remarkable thirty-year journey, but also the enduring power of music to unite, inspire and challenge us.
Some bands survive the passing of time, Garbage continue to thrive because they never stopped standing for something and last night at Gröna Lund, Stockholm loved them for it.
