Concert Review: Ministry Revisit Their Synth Pop Origins at Emo’s, Austin: Al Jourgensen and bandmates, flanked by openers Die Krupps and Nitzer Ebb, gave their ’80s new wave output an industrial makeover in a bucket list show for die-hard fans.
Austin loves Ministry. The band, helmed by Al Jourgensen, who lived briefly in the Texas capital during the ’90s, has always enjoyed a devoted following here, and their sold-out set last Friday at Emo’s proved that affection remains strong.
Ministry shows are known for high-quality openers; this night was no exception. The crowd was treated to a potent warm-up via the one-two punch of Die Krupps and EBM pioneers Nitzer Ebb, whose martial beats and barked vocals brought the energy to a boil.
But what followed may have surprised fans more familiar with Ministry’s caustic riff fueled furor.
Instead of launching into pit-starters like “Stigmata”, “Thieves”, or “N.W.O.,” Jourgensen and company took a deep dive into their synth-pop origins: the era when Ministry bore more resemblance to Soft Cell or Heaven 17 than the industrial metal juggernauts they’re known as today.
The focus was their latest album, “The Squirrely Years Revisited“, a reimagining of tracks from the band’s much-maligned 1983 debut “With Sympathy” and other early 80’s tracks, this time augmented by heavy guitars and menacing undertones.
Jourgensen emerged in a glittery jacket for the occasion, standing behind a podium adorned with roses (a nod to “With Sympathy’s” floral cover) and asked the crowd, “Are you ready to go down memory lane?”
They were. The set kicked off with “Work for Love,” whose funky post-disco groove remained intact but was now bolstered by chugging guitars and thunderous drums. The transformation of other tracks like “All Day” and “Here We Go Again” showcased the band’s ability to merge nostalgia with sonic weight, updating them without stripping away their core charm.
Gone was the faux-British accent Jourgensen adopted to appease Arista Records. In its place: a rich croon, still raspy but surprisingly melodic. Backed by a tight and playful band – including former Tool bassist Paul D’Amour, who danced across the stage with glee – Jourgensen embraced his New Romantic roots.
Well…mostly. At one point he said “we’re out of our comfort zone right now!” But the tight arrangements and musicianship spoke otherwise, including a searing take on “Not An Effigy” which split the difference between twinkling synths and guttural guitar perfectly.
There were nods to their darker mid-’80s shift, with selections from 1986’s “Twitch” including “Just Like You,” “Same Old Madness” (with a strident, Killing Joke vibe), “We Believe” and “Over the Shoulder,” the latter employing Jourgensen’s strangest vocal delivery to date.
The night ended on a high with two of Ministry’s best early tracks: the sonic noir of “Revenge” and the goth outsider anthem “(Every Day Is) Halloween,” which turned into a joyous sing-along with the crowd echoing Jourgensen’s playful “Oh be bop be bop bop” chant. As an encore, they tore into a frenetic cover of Fad Gadget’s “Ricky’s Hand”, a perfect deep-cut tribute to another electronic progenitor.
And then, just like that, they were gone.
Jourgensen has hinted that one more album and tour, featuring the return of longtime bassist and collaborator Paul Barker, will close out Ministry in their full-blown industrial-metal glory. But for one night in Austin, fans were treated to a reimagined musical introduction that was a full circle moment for band and fan alike.
It was also a reminder that few acts have undergone a more dramatic transformation in the last four decades, or have survived and remained relevant far longer than their fractious past would have ever predicted.
