Garbage celebrates 30 years of career in Antwerp

More than three decades after their debut, Garbage returned to Belgium on Saturday night for a performance at Antwerp's OLT Rivierenhof that quickly became much more than a nostalgic trip through the band's catalogue. In the intimate open-air setting, Shirley Manson and her band delivered a show that balanced new material, classic hits and sharp social commentary with remarkable confidence.

The audience reflected Garbage's longevity: fans of all ages were present, though the crowd was largely made up of those who first discovered the band during the MTV era of the 1990s. Yet nothing about the evening felt like a heritage act going through familiar motions. Garbage remain a band with something to say.

Shirley Manson immediately acknowledged the beauty of the venue before opening the set with 'There's No Future in Optimism,' one of the standout tracks from the band's latest album, 'Let All That We Imagine Be the Light' (2025). The title sounded particularly apt beneath Antwerp's half cloudy half sunny skies, but live the song carried less despair than determination. As Manson has explained in interviews surrounding the album, the record seeks hope without denying reality's darker aspects, and that tension defined much of the evening.

'Hold' deepened the emotional atmosphere before 'Empty', from 2016's 'Strange Little Birds', introduced the first wave of melancholy. Then came 'I Think I'm Paranoid', and suddenly OLT Rivierenhof was transported back to the late 1990s. Nervous, seductive and effortlessly danceable, the song remains one of Garbage's defining statements. 'Stupid Girl' followed shortly afterwards and landed with equal force, provoking a collective flashback to bedrooms, headphones, music television and teenage rebellion.

The band then shifted into heavier territory with 'Right Between the Eyes' , that was never a single byt that they played honouring Courntey Love's attacks by the press in the late 90s, and 'Vow.' The latter, taken from their landmark 1995 debut album, still sounds remarkably dangerous. It remains a reminder of what made Garbage stand apart from their contemporaries: polished enough for pop audiences, yet too abrasive and unpredictable to be entirely comfortable.

A darker atmosphere emerged later with 'No Horses', whose apocalyptic imagery felt particularly relevant in today's uncertain political climate. The mood softened beautifully with 'Lovesong', Garbage's long-standing cover of The Cure classic. In the cool evening air, it felt less like a cover version and more like a moment of refuge—romantic, fragile and slightly haunted.

The middle section of the concert balanced new material with deeper catalogue cuts. 'Have We Met (The Void)' created a spacious, almost cinematic atmosphere, while 'Control' revisited the colder and more obsessive textures of 'Not Your Kind of People'. One of the evening's strongest moments came with 'Chinese Fire Horse'. Fierce and defiant, the song perfectly suited Manson's current stage persona. Written in part as a response to ageism and expectations placed upon women in music, it felt like a declaration of intent. If anyone expected Shirley Manson to quietly fade into the background, Antwerp received a very different message.

And Manson herself remains a fascinating performer. There is still something almost doll-like about her appearance, but any sense of fragility disappears the moment she takes command of the stage. Every movement, glance and gesture felt deliberate. Equal parts rock star, storyteller and provocateur, she carried herself with the confidence of someone who no longer has anything to prove yet continues to evolve. Age seemed entirely irrelevant. Professionalism, charisma and conviction mattered far more.

The final stretch of the main set became increasingly celebratory. 'Boys Wanna Fight' delivered raw rock energy against old politicians ruining the World, while 'Cherry Lips (Go Baby Go!)' injected colour and exuberance into the heavy-charged evening, accompanied by Manson's dedication to the LGBTQIA+ community. 'When I Grow Up' followed with its trademark blend of pop hooks and biting irony.

Then came 'Push It', one of the defining songs of Garbage's career. Nearly thirty years after its release, its fusion of rock, electronics and attitude remains astonishingly effective live. Introducing the song, Manson described it as an anthem for people struggling through difficult times—a source of strength and perseverance. Judging by the audience response, many in attendance still feel exactly that way.

'The Day That I Met God', another highlight from Let All That We Imagine Be the Light, closed the main set on a more reflective note. Intense, spiritual and emotionally charged, it demonstrated just how confidently Garbage are integrating new material alongside their classic repertoire.

For the encore, the band returned with two of their most beloved songs. 'Special' arrived first, elegant and bittersweet, its futuristic sheen undiminished by time. It provided one of the evening's most beautiful moments. Then, inevitably, came 'Only Happy When It Rains'. More than thirty years after its release, Garbage's signature anthem remains both a joke and a truth.

Garbage arrived in Antwerp with a new album to promote, but they left having demonstrated something far more important: they remain one of alternative rock's most distinctive and enduring bands, capable of honouring their past while continuing to push forward.

Setlist

01. There’s No Future in Optimism

02. Hold

03. Empty

04. I Think I'm Paranoid

05. Stupid Girl

06. Right Between the Eyes

07. Vow

08. No Horses

09. Lovesong (The Cure cover)

10. Have We Met (The Void)

11. Control

12. Chinese Fire Horse

13. Boys Wanna Fight

14. Cherry Lips (Go Baby Go!)

15. When I Grow Up

16. Push It

17. The Day That I Met God

ENCORE

18. Special

19. Only Happy When It Rains

Watch more video in our Instagram highlights! Find upcoming concerts in Belgium at FKP Scorpio.be