Pulp opened their first night of their North American tour in Atlanta, a city that they hadn’t played since they opened for Blur in 1994. It’s also been 24 years since Pulp last delivered a new album, and More, released months ago – already landing on “Best of the Year” lists, only added to the excitement of catching this legendary BritPop British indie pop band. A sold-out Tabernacle crowd, with its balconied design that often draws peak performances, set the stage for a memorable night.
Musically, Pulp came ready. Original members Jarvis Cocker (vocals, guitar), Candida Doyle (keys), Mark Webber (guitar), and Nick Banks (drums) were joined by a full supporting cast: bassist, extra keyboardist, second drummer, and a guitarist/violinist. While it risked cluttering the stage, the open center gave Jarvis Cocker plenty of space to command the spotlight—whether hanging in the back or performing at the stage’s edge.
Cocker remains a study in motion live. He teased dance steps, jumped frequently, and tossed guitar picks with abandon. Most often, though, he towered at the front of the stage, often perched on a stage monitor, locking eyes with the audience. His delivery was sharp, and his expressive arm and hand movements visually amplified lyrics that wrestled with class, aging, desire, and coping. Sometimes he seemed to be addressing the entire room; other times, a lingering gaze made it feel like he was singing to just one fan.
Despite acknowledging that he may fall asleep due to the lateness of the hour given the time change, Cocker was fully into the moment. He spoke frequently to the audience, introducing songs, dividing the audience into “O” and “U” choirs, the circumstances of deciding to record again, and a age concession regarding the final high notes with “Help the Aged” and often bring cheers and laughs from the audience.
The setlist balanced the new and the familiar. Standouts from More—including “Got to Have Love,” “My Sex,” and “Spike Island”—had the crowd not only moving but singing along. Classic favorites followed, with “Something Changed” stripped back acoustically, and powerful runs through “Mis-Shapes,” “Common People,” “The Fear,” and “Lipgloss.” “Sunset” appropriately closed the evening, with the band lined along the front of the stage, a gentle piece for a farewell.
A liner note in More reads “This is the best we can do” – whether a triumphant claim or almost apologetic is unknown – for a masterful work. That experience follows with them live. Pulp exceeded expectations – this was not just nostalgia but a band proving they still belong on the biggest stages.
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Encore:
