Shirley Manson fête ces 50 ans en ce 26 août 2016
Happy Birthday Miss Manson

Sur sa page Facebook, Shirley a posté ce message:
 

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Strange Little Birds Promo

 8 juin 2016
Radio/Web Video Virgin Radio Italy - Italie
Interview Duke Erikson, Steeve Marker, Shirley Manson

> l'interview sur virginradio.it

 Sur leur page Instagram, le groupe et Giulia Salvi

L'animatrice Giulia Salvi a rencontré le groupe en backstage avant leur concert donné à la Fabrique de Milan, pour parler de leur nouvel album "Strange Little Birds".

> captures
 
 
 
 

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.  

Sur la page Twitter du groupe Garbage, Shirley Manson a posté le 9 juin 2016:

Strange Little Birds Tour

7 juin 2016
Center Urbane Kulture Kino Siska
Ljubljana
Slovenie

Groupe

Shirley Manson (voix)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Matt Walker (batterie)
Eric Avery (guitare basse)

Setlist

1. Sometimes
2. Empty
    3. Stupid Girl
   4. Special
5. Blood For Poppies
6. Bleed Like Me
7. My Lovers Box
8. Sex Is Not The Enemy
9. A Stroke Of Luck
10. Control
11. #1 Crush
12. I Think I'm Paranoid
13. Battle In Me
14. Automatic Systematic Habit
15. The Trick Is To Keep Breathing
16. Blackout
17. Push It
18. Vow
19. Only Happy When It Rains

Rappel / Encore
20. Why Do You Love Me
21. Even Though Our Love Is Doomed
22. Cherry Lips

> 07 juin 2016 - Garbage publie une photographie sur Instagram

Concert

- live:  I Think I'm Paranoid -

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.  

   Garbage's Shirley Manson Is Not Taking the Music Industry's Sexist Bullshit
06/14/16  - by Ilana Kaplan
on papermag.com

Twenty one years since their self-titled debut album introduced the world to their brand of seething, industrial pop, Garbage continues to discover uncharted territory. With their recently-released sixth studio album, Strange Little Birds, the band wanted to make a record that captured a different, more personal side of themselves, so they decided to base it around the idea of romance. While that theme might, on face, seem to imply something light and airy, that's not exactly how the record panned out. Lead singer Shirley Manson, along with bandmates Butch Vig, Duke Erikson and Steve Marker, couldn't ignore the darkness, depression and self-doubt that can come along with any romance (not exactly surprising for a band that had a hit single "Only Happy When It Rains.") Manson filled us in on how Garbage put their own spin on romance, the effect of talking publicly about her sexual assault, and why she'll never stop fighting for equality in the music industry.

You said last year that Strange Little Birds was going to be a romantic record. Now that it's complete, do you feel like it lives up to that ?
I do still feel that way. I think primarily the reason I said that is because I feel like the record is touching on a lot of things that I don't automatically reveal every day. The [subject matter] tends to be [about] parts of myself that I keep to those moments when I'm with people I love, when I think you're at your most open, honest, vulnerable, ugly and beautiful. I was touching on a lot of hot spots in my life on this record and that's why I feel like it's a romantic record.

When is the last time you feel like Garbage wrote a romantic record ?
Well, I'm not entirely sure that we ever have before. I think that's why I feel that Strange Little Birds is a new landscape for us. We have certainly written the odd song that is equally as romantic as this entire record, but the new album is definitely held together by a romantic preoccupation.

Garbage has broken up over the years, do you feel like you guys are finally, really together again ?
I don't feel like we ever weren't together. People outside of the band made a lot more about our break than we did. It was a natural trajectory for a band that had been touring solidly for a decade, and we just needed time to live normal lives. The break ended up being longer than we ever intended it to because our lives took over. Butch had a baby. My mother died. I acted in [Terminator: The Sarah Connor Chronicles] for a year and things started happening. Of course the band is together and always has been -- we don't feel like we ever weren't moving as one.

What do you think has helped Garbage have such a long-lasting career all of these years?
I have absolutely no idea other than we have an incredible work ethic -- all of us in the band. We all have a defiant streak in us -- we don't take a lashing sitting down. We tend to get up on our feet. We carry on even when things are difficult. I think you'll find that in any career that's lasted, that tenacity. Other than that, I feel really privileged and happy that of all of the millions of bands in the world, we've survived. To me, it seems like a complete miracle.

If you had to put Strange Little Birds in the same category as any of your other records, do you think it's comparable to any of the work you've ever put out?
Yes and no. I think the songs are so completely different and we have stumbled upon some new territory for us, which is pretty remarkable for being in a band for 21 years. Whenever you stumble upon a new world after so much time, it's amazing and unusual. But, I do think the record [resembles the] records that people identify us with, the sound of the first two records, in particular. I think the reason for that is that we made a very dark-sounding record. Our first records were similarly dark. Culturally, we've gotten further and further away from serious themes and darker strategies of trying to understand the world. We in Garbage ached for an exploration of the shadows, and that's what we did with this record. We didn't want to make any concessions to be an obsession with bright light and happiness -- we feel like we're living in serious times and that requires an examination of the monsters and undertows.

When making your latest record, did you feel like you were treated positively and respectfully by the music industry?
I demand to be treated as an equal in my band, and I am treated as an equal entity in that environment, but I still struggle to be treated as an equal inside the patriarchal system which is the music industry. I'm set for the task -- I can fight my own battles. I'm not looking for anyone else to do it for me. If I come face to face with a man who I believe is treating me disrespectfully or underestimating me, I'll deal with him as I see fit. I'm not intimidated by it. The way you are treated is not indicative of your value as a human being. At no point do I find their attempt to diminish me diminishing in any way. Unfortunately, when me and my band come up against a wall, my three counterparts who are male can get over that wall with a little more elegance and grace because I have to fight harder than they do. I don't believe it'll be that way forever. Women just need to keep stepping up and expecting to be treated with equality. Sooner or later, I think we'll get there, but it does take effort and you putting yourself, as a woman, on the line when it's much easier to rage privately. Sometimes you have to look ugly and graceless and make a bit of a scene. I've definitely had to make a few scenes over the years, but at the end of the day I feel so much better about speaking up instead of going back to my room and seething in private.

Was there any recent experience where you had to throw up your fists, so to speak?
Being excluded from a business meeting about a song I wrote…let's start there. I could go on forever, and I don't think that achieves anything. Listing all the moments where you were slighted are dangerous. It causes despair and hopelessness, and I don't believe it's a hopeless situation. I think 99.9 percent of all men are happy to be feminists if they even knew what the word "feminist" meant. Then there's the 1 percent of people who are assholes. Women have to be prepared to get their hands dirty and help each other out, but I don't see that all the time. Women have to change as much as men have to change in different areas, but everyone has to change. Pointing fingers at men is a waste of time and a totally inaccurate way of painting the picture.

An article was recently published in Billboard about you being sexually assaulted at such a young age for the first time. What made you open up about that experience? How do you hope it helps other women?
To be honest, it's not the first time I've talked about that [experience]…it's just the first time it was published. I didn't have any agenda whatsoever, other than I spoke about it and the writer chose to focus on that [subject]. I've always been open about sex and how it played a part in my life. I don't have anything to hide from anyone. If you ask me a question, I'll be as forthright with you as I can. In this case, I never had spent a lot of time thinking about the situation I found myself in at that young age. I guess I was so careless as a young woman that I'm not even entirely sure I fully understood what had occurred.

But it wasn't your fault at all.
Of course not. I just mean I was a careless human being because I should have thought about it more seriously. It's only in recent retrospect that I consider it a form of sexual assault. That's my own ignorance and my own misunderstanding. I think it's important that we, as women, talk about sexual violence of any sort, whether it's implied or followed through. We as women must speak up because it's only when we do that we have a chance in hell of limiting our encounters with sexual violence.

Do you think you will ever feel any regret about opening up about it publicly?
I don't have any regret about saying anything. What do I have to lose? What do I have to hide? I'm here for a very limited amount of time -- my lifetime, so to speak, is running out already. I can [spend] my lifetime in service to making things a bit better for women who are following in my footsteps. I feel like I'm as inconsequential as a blade of grass or an ant, so why should I be precious about my life experience when it can help inform others -- especially young women who I feel protective of. I never have regrets about speaking up about my life experience -- I think that's a strange way of looking at the world.

2016 has been a fairly significant year for women coming forward about sexual harassment and abuse in the music industry. Do you think people will continue to talk about this, or will speaking up against the music industry remain intimidating for most?
Unfortunately, assholes are assholes, and they're everywhere. They're not specific to the music industry. There are unfortunately a minority of people all over the world who are assholes -- male and female. The more women get accustomed to speaking up about inappropriate sexual behavior, the less confident perpetrators of that kind of violence or harassment there will be. The problem is that so many people rely on our complicit silence to get away with outrageous behavior in many areas of our lives. They understand that people are reluctant to speak up, so that's what I think has been great about musicians speaking up. When people who are preying on women see and hear women speaking up, that's intimidating to them, because it starts to lift the veil on insidious behavior that's carried on for far too long.

Strange Little Birds Tour

5 juin 2016
La Belle Electrique
Grenoble
France

Groupe

Shirley Manson (voix)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Matt Walker (batterie)
Eric Avery (guitare basse)

- Première partie: Heat Parade -

Affiche

 Setlist

1. Sometimes
2. Empty
    3. Stupid Girl
   4. Special
5. Blood For Poppies
6. Bleed Like Me
7. My Lovers Box
8. Sex Is Not The Enemy
9. A Stroke Of Luck
10. Control
11. #1 Crush
12. I Think I'm Paranoid
13. Battle In Me
14. The Trick Is To Keep Breathing
15. Why Do You Love Me
16. Blackout
17. Push It
18. Vow
19. Only Happy When It Rains

Rappel / Encore
20. Automatic Systematic Habit
21. Even Though Our Love Is Doomed
22. Cherry Lips

> 06 juin 2016 - Message de Garbage sur leur compte Twitter
 

> 07 juin 2016 - Garbage publie une photographie sur Instagram
 

Concert

- live:  Why Do You Love Me -

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

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  Elle
n°1608
pays magazine: USA
paru le 30 juillet 2016
édition août 2016
prix: 7,80 Euros
article sur Shirley Manson

Shirley Manson Is Turning 50 and DGAF About What You Think
( source article elle.com )
 By Lyndsey Parker - JUL 12, 2016

​With a gritty, aggressive new album and a transatlantic tour, Garbage's frontwoman takes her alt-rock revolution into its next phase.​

This article originally appeared in the August 2016 issue of ELLE.

"I don't know what propelled me," says founding Garbage front woman Shirley Manson of her new, chic, candy-pink dye job. "I woke up one day and thought, I cannot stay red-haired for one second longer! My hairdresser didn't want to do it. But I needed a break from myself. When she pulled the towel from my head and I saw my pink hair, I burst into this huge grin and gasped: 'I look amazing!' And I've never said that about myself in my entire life."

This is a woman who, since Garbage's first electro-tinged, trip-hop-traced, self-titled album in 1995, has challenged what it means to rock hard and—with her punky mix of combat boots, acid-bright clothes, and iconic black eyeliner—looked great doing it. She's the hard-core fighter pilot Queen Astarte in Garbage's sci-fi hit video "Special." She has seven Grammy nominations, including Best New Artist in 1997 and Album of the Year in 1999. She's sold more than 17 million records. She's kicked open doors for every modern-day pop-rock heroine, from Charli XCX to Karen O. She's even recorded a Bond theme (1999's "The World Is Not Enough")!

But what would Garbage be if Manson—who somehow turns 50 this month—weren't still tapping into the insecurities that have fueled the group's most iconically angst-ridden hits? "Sometimes I look in the mirror, feel my shoulders slump, and am disappointed with what I see," Manson says. "And I have imaginary voices about what people might say about me having pink hair at 50. But I'm at that point where I don't give a fuck if you think it's appropriate or not. Go fuck yourself and be boring! I want to be free to explore the person I want to be."

You'll find that person on Garbage's sixth studio album, Strange Little Birds, which, after an early-summer release and a European tour, the band is taking on the road in the U.S. Recorded with bandmates Butch Vig, Duke Erikson, and Steve Marker, mostly in Vig's basement studio, it's the second release on Garbage's own indie imprint, STUNVOLUME, formed in 2012 when the band ended a rocky seven-year stretch of breakups and makeups that was initiated by the troubled production of 2005's Bleed Like Me.

Their newest effort is Garbage's darkest, most raw, and most immediate album since that 1995 debut, with Birds' 11 tracks thriving on Manson's seductive but sorrowful voice—high, dry, and confrontational—amid crashing-and-slashing guitars, slinky bass lines, and rumbling buzz-saw beats. It's a bold production choice that enhances Manson's unflinching ruminations on self-loathing and aging ("Youth and beauty don't remain," she sings on "Teaching Little Fingers to Play"), which stand to strike a nerve among the grown-up Gen-X girls she once inspired to stockpile up-to-there shiftdresses and Manic Panic Wildfire hair color.

But while Strange Little Birds is reminiscent of Garbage (which the band played in its entirety on last year's twentieth anniversary tour, 20 Years Queer; reports say a similar celebration of 1998's Version 2.0 is in the works), Manson isn't living her life in the rearview. "I don't believe in nostalgia," she says. "Nostalgia connotes a desire to return to a moment in time. And I don't want to go back. I want to see what's next! That, to me, is much more interesting."

"I hate being constricted by clothing. Fuck that. Life's too short."​

Her fashion choices, too, point forward. Gone is the woman who went braless under a halterdress emblazoned with Version 2.0 album art to the 1999 Grammys, and, a year later at the same awards, rocked a Britney-baiting schoolgirl skirt. These days, she takes the stage in, say, an MSGM satin smock with side pockets and an abstract print (still pink, though). According to Manson, it's all about a wardrobe that's "simple and I can move in. I've always wanted to be more dominant than what I was wearing. I hate being constricted by clothing. Fuck that. Life's too short. My comfort's more important."

Manson, though, is no less a rebel. In fact, as an icon fearlessly following legends who have come before her in earning the rock-won right to flip the finger to ageism—Annie Lennox, Patti Smith, Mick Jagger—she may be more of a rebel than she's ever been. "People write to me on social media and say, 'Shut the fuck up! Give it up! You're too old!' But it doesn't mess with my head too much. That's other people's problem, how they view my age. Sure, I'll be compared to Taylor Swift or Sky Ferreira. I get that. But age is information. Age is empowerment. I'm tired of being told I must infantilize myself and pretend I'm younger than I am. I'm 50, and I have lived an incredible life."

Dazed
n° ?
2 couvertures au choix (Léa Seydoux / Soko)
pays magazine: Angleterre
parution: août 2016
édition automne 2016
 £4.50 / 5,31 €
article sur Shirley Manson: "The alt-rock iconoclast inspires a new generation of females to explore their deepest fantasies".
> site web dazeddigital

Shirley Manson: sex, straight-talking & strange little birds
( source article dazeddigital.com )

On a high following Garbage’s triumphant new album, the unapologetic frontwoman talks pricking pomposity, Rihanna and the insanity of sexual double standards.
    Text Isabella Burley
    Styling Emma Wyman
    Photography Michael Hauptman
    Fashion Editor/Stylist Emma Wyman
    Hair Stylist Nikki Providence
    Makeup Artist Elie Maalouf

If you believe what you read in the 90s, Shirley Manson enjoys golden showers, is ‘sex on a stick’ and looks like Tina Turner on rhino tranquilisers when she lip-syncs. She’s also not the kind of girl you’d want to take home to your mother, more the kind of woman who’d serve cold rat to her crippled and imprisoned sister for a laugh.

“It wasn’t even slightly undermining terminology,” laughs Shirley Manson, recalling the obscenity of what the press (read: middle-aged music schlubs) have written about her. “Looking back, I didn’t say or do anything particularly wild or crazy. I’m actually pretty fucking together. It was just a way for people to undermine me, but that’s life.”

People tend to be intimidated by icons. The crazier the rumour, the greater the icon – and the bigger the threat. There’s no doubt that Manson is both. For three decades, the (formerly) flame-haired Garbage frontwoman has refused to compromise, subverting stereotypes and writing her own narrative in an industry still dominated by men. Manson, who began as an alternative voice for a generation of disaffected kids, has emerged as a true role model, speaking out against sexism and ageism while articulating the change she wants to see.

“I’ve always felt that the truth is powerful, even though it’s sometimes difficult to stomach,” says Manson. Today, the Edinburgh-born musician is back in her adopted hometown of LA (“I just love the dark, seedy underbelly of Tinseltown”) for a few days before heading out on tour with Garbage to promote their new album, Strange Little Birds. Here, she talks orgasms, Marilyn Manson, and giving as good as she gets.

You’ve always spoken so openly about sex. I remember reading that you bought a bright orange Fender guitar because you wanted it to match your pubic hair, which is amazing.
Shirley Manson: That’s true, I liked the colour of it. (laughs) I think I’m a truth-seeker, I’ve spent my entire life that way and I’m not entirely sure why. I think that when you’re seeking the truth, you want to explode all the bubbles. You see them and you just want to take a pin and burst them. I think I was probably bright and realised that sex was being used in an exploitative fashion – it was being appropriated and used in power-play. I didn’t like the power it had over me, so I decided to destroy it.

Did growing up in a ‘nice girls don’t talk about sex’ type of environment impact that ?
Shirley Manson: Yes, I think it’s only recently that I’ve become more and more outraged about the inequality regarding female sexuality. I guess it was spurred by the onslaught of celebrities who were posting photographs of their bums on social media. I wanted to examine what that meant. As ape-like as it was, it did make me very aware of how we weren’t encouraged to think of ourselves as sexual in any way, shape or form in my generation. In the 70s and 80s, it was seen as shameful that women had any kind of sex drive. If we did, we were called ‘sluts’ and ‘whores’, and really, really frightening terminology was used to describe any woman who had any sexual desire whatsoever. I’m grateful that I was rebellious as a young person and fought back against that.

“I realised that sex was being used in
an exploitative fashion.
I didn’t like the power that it had over me,
so I decided to destroy it”
— Shirley Manson

Totally.
Shirley Manson: Now I’m really angry about it. Why is it that the entire sexual experience is couched in completely patriarchal terms? Why are we not expecting to have orgasms every time that we step up to the plate? Why is it a joke among women that we are somehow expected to fake an orgasm? I think women really need to start redrawing the playground in that regard. It’s important that we are sexually fulfilled – why should we be ashamed of our sex drives? Why shouldn’t the sexual act be pleasurable? It’s taken me a long time to get to this point where I’m truly outraged by it. I think of my teenage self and how we were almost conditioned by the idea that if we got into bed with somebody, as long as the male orgasm was achieved, there was success! It’s insanity. I’m grateful, particularly to Rihanna, who I think has changed the game in terms of how we view sexual women. To me, she feels completely equal with a male counterpart on a sexual level. She’s not being coy, she’s not playing power games, she’s not titillating and she’s not using her feminine wiles in a dangerous, dishonest way. I wish I’d had somebody like that when I was growing up.

  
Lace dress Philosophy di Lorenzo Serafini,
laser cut dress worn underneath Anthony Vaccarello, tights UK Tights

What was your introduction to feminism?
Shirley Manson: Well, I read the Shere Hite Report (on female sexuality) when I was 14. My best friend Jane gave it to me and that’s where I discovered the female orgasm. I’d never, ever heard of it before and my mind and body were literally blown by this discovery. (laughs)

What happened next?
Shirley Manson: I became very loud. We had a teacher who was very much like Miss Jean Brodie, who had a clique of girls. It really was like that movie, where she sort of developed our confidence and our curiosity and introduced us to sex in literature. It was crazy. I got involved in a drama group and a band and became a professional show-off. I was quite insufferable, truth be told. I wanted to embarrass people with my body. I would be in rooms constantly showing my tits off… I’m so grateful that social media didn’t exist back then.

There’s one thing that I have to ask because I’ve heard rumours and wasn’t sure if it was true – about your boyfriend’s cornflakes? (Manson reportedly shit on an ex-boyfriend’s cereal. If someone treats you like shit…)
Shirley Manson: That is true.

“I’m grateful, particularly to Rihanna,
who I think has changed the game in terms of
how we view sexual women”
— Shirley Manson

Amazing! What’s the craziest rumour you’ve ever heard about yourself?
Shirley Manson: My favourite one is that I’m related to Marilyn Manson. It’s amazing because I’d love for him to be my brother! There’s always a myriad of things written about anybody in the press. Things get exaggerated, completely taken out of context or people get it wrong and write it down and then it’s fact. Welcome to the new world of Wikipedia.

Recently, you’ve said that you felt sexism was your generation’s problem. Why?
Shirley Manson: I don’t think that sexism is my generation’s problem, it’s a humanistic issue that has gone on since time began. But I do believe that the lack of desire to really stand up as a feminist has fallen out of vote and that is my generation’s fault. When my generation first emerged and broke out into the alternative music scene, we really pushed. We were vocal. We were passionate and we really fought to be heard. And we succeeded, but we just took our eye off the ball and a whole generation of young women came up behind us, thinking they didn’t have to be alert. I’m always saying to young women, ‘It would be wonderful if we lived in the Garden of Eden, but we don’t – so stay alert and fucking wake up.’ You cannot walk down the street naked and there not be consequences. I’m sorry, I’d love to tell you that you can, but you can’t. Be aware of what’s out there, be smart, learn what’s in the shadows and try to protect yourself at all costs against people who don’t want you to have equal rights. There are people who will look at you salaciously; people will objectify you. The thing is, I don’t entirely know what the answer to it is, either.

 
Wool coat BOSS, tights UK Tights

I think it’s about including both sexes.
Shirley Manson: Yes… I really do believe more and more that feminism is not a female subject. It’s a human issue that we all need to work towards, together: the faster we get that message across, the better. There are so many men who feel threatened by so-called ‘feminism’, and feminism isn’t about threatening anyone. It certainly isn’t about stealing anyone else’s power, it’s about sharing. The entire word has been obfuscated, deliberately so. I’m convinced that it’s deliberate.

When I read the way male music journalists described you in the 90s, you came under so much criticism, it’s crazy! You must have always felt so misrepresented?
Shirley Manson: Yes, life isn’t easy so you have to hone your skills and figure out how you’re going to survive, and I did. They didn’t hold me back in the end, but there are so many women who are not as articulate as I am, or not as well-versed in how to push it, and that’s what concerns me. Again, just the influence on women’s currency is so skewed towards beauty and youth. People might say, ‘Of course she says that, she’s not young any more.’ And that’s right, but what’s happening to me is going to happen to all of you – every single one of you, male or female! I don’t think what I’m talking about is any less relevant as a consequence of me being older. I want to make it better for all of y’all because it’s too late for me! (laughs)

“I want all women to bloom,
to be unapologetic and have confidence in their skills,
intelligence and integrity”
— Shirley Manson

You’re just trying to help prepare the next generation.
Shirley Manson: Doing the press for this record, I’ve spoken about the importance of women understanding that they have more value than just the way they look. I really believe in it passionately and a lot of people say, ‘Oh, she’s just moaning,’ but I’m not just moaning – I’m protesting. It’s for you. It’s not for me because I’ve had a great career and actually, I’ve got a number-one fucking rock record in America right now (Strange Little Birds topped the Billboard rock album chart on release in June). I’m speaking out for you because I want all women to bloom, to be unapologetic and have confidence in their skills, intelligence and integrity – all the things that they can’t see inside, which are important. They’re tools at their disposal. Your appearance? You have no control over it, you can’t even take credit for it because it had nothing to do with you! (laughs)

Let’s talk about the new album. You’ve said that vulnerability has played a big role in shaping it?
Shirley Manson: I think anyone with half a brain is aware that we’re living in treacherous times. I mean, I really, genuinely feel that. It’s the most tumultuous time that I can remember. I’ve grown up through the 70s, which were not easy in the UK, but I feel somewhat scared – particularly by the level of denial which seems to be in operation right now about what’s actually happening. When we went to make this record, there were a lot of things at play. Obviously, I’m not the only person in the band so there were a lot of other agendas too, but my agenda was certainly that I wanted to be truthful about the world I found myself in and what that meant. It was an exploration of that, rather than a focus on just making people feel good. There are enough artists doing that. Now we need to really step up and start speaking out. If we don’t do it, who will? Unfortunately, the business side of music has distracted musicians from their task, and has only allowed those who play the game, conform and play happy-go-lucky pop music, to survive. I think you see fewer and fewer musicians willing to speak up. We just live in a cowed society right now, across the board – you probably see it in your world.

It will be interesting to see what happens to people like Rihanna and Beyoncé over the course of time.
Shirley Manson: For me, Rihanna has the voice of a generation. She’s like a Billie Holiday to me. She can sing until she’s an old woman like Aretha Franklin, she’s got something magical inside her. Beyoncé’s been very smart, and that incredible record that she’s just released has elevated her game. It’s taken her out of being just a pop entertainer and into the role of an artist. She’s like, ‘I can’t just keep being cute and pretty and dance for everyone,’ she’s been able to have a second act and that’s why I find those two women so exciting. Beyoncé’s Lemonade, to my mind, is unquestionably a masterpiece. Everyone says it’s this and that – it’s ‘calculated’. So fucking what if it is? She’s done a great job. Is she just supposed to be accidentally great? Like, she just stumbled into it? She fucking worked her ass off to get there, to get this smart, to know where to go. Meanwhile, someone like Jack White is called a genius. Well, they’re playing the same game but somehow, for a man, it’s cool to be a genius but for Beyoncé, she’s just got to be the cute little honey over there with a nice outfit, dancing all day for everybody. God forbid she think of herself in a more elevated way than just an entertainer. Fuck off! Everyone can fuck themselves.

Strange Little Birds is out now
Hair Nikki Providence at Forward Artists using Bumble and bumble., make-up Elie Maalouf at Jed Root using M.A.C, photographic assistants Adam Torgerson, Jake Schmidt, fashion assistants Ioana Ivan, Megan King

--Bonus--

Sur le compte Instagram de Garbage,
Shirley a publié le 06 août 2016:

Thankyou Dazed Magazine
for featuring me in your pages this month
and for sending me this angel to love.
@emmawyman ⭐️

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Strange Little Birds Tour

3 juin 2016
Radiant-Bellevue
Caluire-et-Cuire, Lyon
France

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Groupe

Shirley Manson (voix)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Matt Walker (batterie)
Eric Avery (guitare basse)

- Première partie: Heat Parade -

 Setlist

1. Sometimes
2. Empty
    3. Stupid Girl
   4. Special
5. Blood For Poppies
6. Bleed Like Me
7. My Lovers Box
8. Sex Is Not The Enemy
9. A Stroke Of Luck
10. Control
11. #1 Crush
12. I Think I'm Paranoid
13. Battle In Me
14. The Trick Is To Keep Breathing
15. Why Do You Love Me
16. Blackout
17. Push It
18. Vow
19. Only Happy When It Rains

Rappel / Encore
20. Automatic Systematic Habit
21. Even Though Our Love Is Doomed
22. Cherry Lips

> 03 juin 2016 - Message de garbage sur leur compte Twitter

Concert

- Heat Parade - 
 

 - live:  Sex is not the Enemy -

Review

Garbage - Radiant Bellevue - 3/06/2016
Article publié le 13/06/2016 - en ligne sur LaGrosseRadio.com
Nous étions nombreux, mais pas plus que ça, ce vendredi 3 juin au Radiant-Bellevue à Caluire et Cuire, une des 3 scènes françaises (Montereau la 4ème prévue ayant été forfait suite à la montée des eaux) accueillant Garbage lors de sa mini tournée française préparatoire de l’immense et long tour all over the world prévu pour la sortie mondiale du nouvel opus, Strange little birds, le 10 juin (et déjà chroniqué sur La Grosse radio of course, voir lien sous cet article)
(...) Mais pour l’instant c’est encore le duo devenu quatuor pour la scène : Heat parade qui officie. C’est la première partie de 2 tiers des dates françaises de Garbage. Shirley Manson en parlera pendant le concert en racontant qu’elle avait rencontré Bénédicte, la chanteuse, ex Mélatonine, alors âgée de 16 ans au Chili arborant un tee-shirt à son effigie et copiant allègrement les attributs stylistiques cosmétiques et capillaires de sa star préférée. Forcément ça crée des liens. C’est ainsi qu’après Mélatonine qui ouvrait déjà à l’époque pour Garbage, le nouveau projet de Bénédicte n’a pas été oublié. Tant mieux pour eux mais sans grand intérêt pour nous, sympa mais un peu trop « popeux-électro » pour moi et surtout une voix pas très loin de celle de Jen des Superbus qui passe très moyennement du côté de mes esgourdes. Bref, exit les Heat Parade. On attend la suite.
La scène est prête, grande et bien vide. La batterie est cernée de plexi glace. Seul en bord de scène un micro léopard trône. Chaud mais pas teigneux, le public s’impatiente poliment mais clairement au bout de 30 bonnes minutes.
  Enfin c’est le noir sur le plateau pour le sombre « Sometimes » du nouvel album strange little birds qui n’était pas encore sorti le soir du concert. Le public ne le connait donc pas encore et se tait.
Shirley Manson chante, éclairée en stroboscope, de dos, par deux spot qui aveuglent le public et les zooms et empêchent de croiser son regard et les traits de son visage. Elle chante et on n’a que le choix de regarder par intermittence le contour de sa tête qu’on devine blonde pour le moment, de son corps autour duquel on voit voleter quelques plumes noires ou ses jambes gainées de bas fantaisie à trous qui descendent jusqu’aux bottines de boxer lacées mi mollet. Très NIN ce premier morceau ! Machines sourdes, beat lourd et cardiaque, cordes, piano et voix : «Sometimes I feel I’m not here»…  ça dure un peu plus de 2 minutes, comme ça, noir et aveuglant pendant que le reste du groupe s’installe en catimini et ça assoie une ambiance bien comme il faut en moins de deux.
Sans transition flash rose girly sur la scène c’est « Empty », le premier single sorti en avant-première de l’album qui énergise son monde. Sur scène, Garbage avec un Eric Avery à la basse qui est aussi crédité sur l’album et un Matt Walker (Smashing Pumpkins, Morrissey, qui avait déjà travaillé avec le groupe par le passé) derrière les fûts pour remplacer le malheureux Butch Vig victime d’une sinusite aigüe et une interdiction des médecins de prendre l’avion pour quelques semaines (il sera de nouveau sur scène cet été pour la tournée U.S).
Bref, « Empty », le public connait déjà et commence à remuer aimablement accompagnant notre Shirley qui tourne comme une lionne en cage sur la grande scène plutôt empty pour le coup, car les 2 meneurs de jeux aux guitares, Duke Erikson (qui ne se départira pas de son chapeau de tout le concert) et Steve Marker (crane toujours aussi lisse qu’il y a 20 ans) restent et resteront le plus souvent plutôt statiques dans leur coin du ring.
Mais ne gâchons pas notre plaisir, le groupe enchaine avec l’incontournable « Stupid girl » repris par les afficionados qui s’époumonent avec bonheur et bougent en rythme leur corps sur le parterre ou seulement leur têtes sur les gradins…
C’est « special » qui suit.
Le problème de ce genre de morceau qu’on connait bien, plutôt ciselé, avec des chœurs et des voix qui passent du grave aux aigus c’est qu’il faut un son de très bonne qualité et une maitrise parfaite des arrangements ou de machines pour remplir l'espace sonore… ou le rendre juste explosif, bon pour la scène, sans fioriture, à l’arrache, rock ou punk quoi !  Enfin, avoir un vrai parti pris scénique pour en faire autre chose… Ce n’est pas ce que j’ai entendu malheureusement.
Pour ce morceau et même plusieurs autres dans la soirée, je me retrouve à chercher pourquoi ça ne me prend ni au tripes, ni aux neurones...
La voix de Shirley galère un peu dans les graves ok, mais il y a autre chose… Le reste des musiciens est super statique, presque emprunté parfois (Eric Avery le basiste d’adoption, très bon et qui mouline fort justement, ne dépassera cependant pas le tiers arrière de la scène). Shirley Manson doit à elle seule faire le boulot de remplissage et d’animation de ce grand espace scénique vide. Le son de la salle, déjà plutôt brouillon, baveux dans les graves et bouilli dans les aigus, sans patate, n’aide bien sûr pas.
On enchaine avec « blood for poppies » puis c’est « bleed like me » que Shirley d’une manière très surprenante stoppe au bout de quelques secondes en lançant un regard courroucé au pauvre Duke Erikson qui venait de planter bien comme il faut la tonalité de sa partie.
Naturelle et comme en répète, Shirley gueule un coup, dit que c’est un de ses morceaux préféré et qu’elle ne veut pas le bacler.
- "On recommence" lance t-elle.
Ils recommencent effectivement, mais le morceau ne décolle pas pour autant.
Pourtant, petit à petit, aidés par un public conquis et tellement heureux de les retrouver, Garbage arrive à reprendre des couleurs, comme le rose des cheveux de Shirley sous son carré blond maintenant relevé ! Il faut bien sur faire fi des conditions sonores et rajouter les chœurs féminins et petits arrangements machines dans sa tête pour que l’ennui s’éloigne complètement parfois.
Le concert devient plutôt plaisant d’autant que Shirley Manson s’arrête quelques minutes, plusieurs fois dans la soirée pour raconter des moments de vie, des anecdotes, faire des dédicaces émouvantes, parler de leur dernier album, du bonheur de travailler, créer et jouer encore tous ensemble alors que rien ne le prédisait, nous assurer enfin de son soutien pendant cette période très compliquée et difficile pour la France (sic).
Sympa Shirley ! Comme à la maison, elle tchatche, fait des blagues, rit, se moque d’elle-même, répond aux interjections du public et tourne sur la scène non stop... Rendant dingue les ceusses avec des vélléités de cadrage (suivez mon regard).
Sinon elle chante, se roule à terre ou rend visite au batteur, planqué derrière ses plexis protecteurs.
«Il faut prendre soin des vieux musiciens» dirait Pete Townshend qui a lui-même payé un lourd tribut aux guitares et batteries trop fortes ou aux moulinets de bras.
Du côté de Garbage, ça suit son cours. Les morceaux s’enchainent bien, les fans sont ravis. Il est déjà temps de se dire au revoir sur un «  happens when it rains » bien senti !
Le groupe revient évidemment pour le rappel et redonne trois morceaux dont une très jolie version du 2ème single de l’album nouveau « Even though our love is doomed ». La lumière sera rallumée sur les moins jeunes et les plus vieux fans à la fin de "Cherry lips" qui résonnera encore un peu après que le groupe ait quitté la scène…. sous nos applaudissements bien sûr.
A entendre les commentaires joyeux voir exaltés du public à la sortie, la médiocre qualité du son n’a pas entaché la joie de retrouver les Garbage, même sans Butch Vig. Beaucoup de commentaires sur la dernière fois que certains avaient vu le groupe…
-"Tu te souviens, j’avais 20 balais"…
-"Ah ouais, moi j'étais au service militaire..."
Tu m’étonnes...
Les voyages forment la jeunesse, Garbage nous l’a rendue… un moment.

>> A lire aussi:

Garbage [3/06/2016] 9/10
article publié sur Pavillon666

Garbage @ Radiant Bellevue (3/06/2016)
article publié le 07/06/2016 sur RockUrLife

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand. 

   Garbage : «Vieillir est un soulagement»
Le 03/06/2016  - en ligne sur leprogres.fr

Leur album, Strange Little Birds, ne sortira que la semaine prochaine. Mais Garbage est déjà là : sur la scène du Radiant-Bellevue ce vendredi.

 
Photo archives Le Progrès 

Avec quelles intentions avez-vous commencé l’enregistrement de votre nouvel album ?
Shirley Manson : « Nous n’avions pas vraiment d’intention. Notre guitariste, Duke Erikson, avait déjà quelques instrumentaux qui étaient absolument parfaits, et ça nous a tous stimulés. Ça nous a obligés à proposer des titres à la hauteur. C’est ce qui a défini l’humeur du disque, ce n’était pas vraiment une compétition, plutôt une émulation… »

Vous travaillez toujours ainsi ?
« Non, pas du tout. C’est très variable. Pour ce disque, on n’avait que très peu de temps, juste quelques semaines. Alors, on a foncé. Là où on passait des journées à se poser des questions, on a tranché dans le vif. Et franchement, j’ai adoré ça. »

Et vous avez votre propre label désormais. Qu’est-ce que ça change ?
« L’avantage, c’est que vous travaillez pour vous. Avant, il y avait toujours cette question en suspens : que va en penser la maison de disques ? Maintenant, on ne s’en soucie pas. C’est une petite différence, mais ça change la vie… »

De quoi parle ce nouvel album ?
« Dans l’ensemble, il parle de ce que cela signifie d’être un être humain aujourd’hui et dans ce monde. C’est donc un disque pensif et sombre… Il évoque le nombre d’erreurs que l’on peut commettre dans une vie, et comment les surpasser, comment apprendre de ces errements. Si on ne le fait pas, on se condamne à vivre dans la crainte. »

C’est quelque chose que vous avez appris avec les années ?
« Oui, je vis aux USA et ce pays n’encourage pas les femmes à vieillir, et à assumer leur âge. Et pourtant, vieillir, c’est apprendre, c’est avancer. Pour moi, c’est comme un soulagement, parce que l’on devient plus heureux. »

Même si l’on est une rock-star ?
« Bien sûr. Un musicien a la chance de pouvoir faire ce qui lui plaît, de pouvoir rencontrer qui il veut, dans les conditions qu’il choisit. On échappe à plein de situations qui rendent la vie très difficile aux autres gens. »

Pratique Garbage en concert, ce vendredi 3 juin à 20 heures, au Radiant-Bellevue, 1, rue Jean-Moulin, Caluire. Première partie : Heat Parade. Tarif : 34 €.