Tonight, The Beacon, in the heart of Bristol played host to Skunk Anansie, a legendary band that been a mainstay on the UK ‘Brit Rock’ scene since 1994 (they disbanded in 2001 and reformed in 2009). The venue had sold out long before the gig, a sign that there is still much love for this unique band.
The night kicked off with a band called So Good, a politically charged rap/rock collective fronted by a fierce female rapper, flanked by two backing dancers and three pink balaclava clad musicians.
Their set was undeniably provocative, serving as a mouthpiece for their strong political views, particularly in their outspoken stance against Donald Trump. Tracks were dedicated to “our mate Donald,” though judging by their mannerisms, it was hardly an endorsement likely to make the setlist at his next redneck filled, gun-toting rally.
With fists in the air, they encouraged the crowd to raise their middle fingers to fascists everywhere, a call met with emphatic approval. One of the standout moments was ‘Industry Plant’, a wry commentary on the music industry’s penchant for manufacturing success—a sentiment that appeoaled to many in attendance.
Their track ‘1994’ was a tribute to Skunk Anansie, paying homage to the band’s enduring influence. Closing their set, a new song titled ‘I Rewrote the Fucking Bible’ showcased their rebellious streak, marking them as one of the most confrontational yet compelling support acts to take The Beacon stage.
With upcoming dates supporting Queens of the Stone Age, expect their name—and their provocative performances to be in the spotlight.
The Beacon was packed to the rafters, a rare sold-out Tuesday night show proving that Skunk Anansie’s draw remains as potent as ever. The stage itself was a spectacle—black rubber spikes jutting out from in front of the drum riser, resembling something between the King’s chambers from Game of Thrones and a punk-infused fever dream.
As ‘New Rose’ by The Damned blasted through the speakers, the band stormed onto the stage. The opening blast of ‘This Means War’ immediately set the tone for the night—unapologetic, explosive, and brimming with raw energy.
Frontwoman Skin, an undeniable force of nature, prowled the stage with effortless dominance. Encouraging the crowd to lose themselves in the chaos, they didn’t need much convincing—the audience was already with her, locked into a shared rhythm of head banging, moshing, and euphoric release.
Despite decades in the industry, Skin’s voice remains untouchable—a perfect blend of power and soul. During one track, she held a note for so long it felt like time itself had frozen—a moment of pure vocal brilliance.
Visually, Skin was a walking statement—her full-length thick black donkey jacket and clumpy boots could have given Kanye West’s most excessive fashion choices a run for their money. But as the heat of the stage intensified, she shed the coat by track three, unleashing the full force of her charismatic presence.
The band, cool and composed, was in absolute peak form, delivering razor-sharp riffs and thunderous rhythms that reverberated through every body packed into the venue.
The set was a perfect mix of new material and iconic tracks, which made for a high-energy, perfectly paced set.
‘Secretly’ and ‘Weak’ are always going to be firm fan-favourites that sent the crowd into a frenzy. ‘The Skank Heads’, despite being less than a year old, sounded particularly monstrous live. For me, it was the encore that turned the screw a little bit tighter, they kicked off with ‘Cheers’ which bled into ‘Hedonism’, which provided a euphoric singalong moment. ‘Lost and Found’ was followed by ‘Little Baby Swastika’, which closed the night in ferocious fashion.
With a new record due out in May, anticipation is high for the next chapter in Skunk Anansie’s legacy.
Tonight, The Beacon witnessed an absolute triumph—a show that felt like a time-warp back to the band’s 25Live@25 celebrations, except with the intensity cranked that little bit higher.
Words by Steve Muscutt
Pictures by Julian Baird