Industrial veterans and genre forefathers Ministry started 2024 spreading Hopium to the Masses on its 29 date trek, from late February to early April. The tour celebrated Ministry’s 16th release Hopiumforthemasses, with yet another dose of frontman, creator Al Jourgensen’s biting whipped social/political commentary. Tuesday, March 12, the Hopium was delivered in Columbus to Kemba Live passing it around in spades with potent, heavy, effect.
Dropped in March, the masses got nine razor sharp tracks barking out his world view with barns burning and dumpsters ablaze, addressing the modern day chaos, confusion, dysfunction and brainwashing with Jourgensen and crew playing half the record during the front end of the show.
Along for the return ride were Front Line Assembly and Gary Numan. While sounding like a potential odd fit, the live bill complimented everyone greatly each adding their own visual, musical ambiance, mood and lasting impressions.
The show opened in bright, blinding lights and deep/dark shadows with electro-industrial vibes. The front line was taken over by vocalist Bill Leeb and keyboardist Rhys Fulber with touring band Matthew Setzer and Jon Siren decimating listeners, with a 17-album arsenal, ready to unleash the night’s opening industrial symphony.
For 30-40 aesthetically cold minutes they spread their digital footprints and proto-scars across Columbus, the Uber-opera started with Improvised Electric Device’s and “I.E.D.”’s. Atmospheric ambiance ended as beats, guitars, drums and creepy noise started. Synthetic insect-like buzzing, slithered off stage into the speakers subconsciously invading ears and eyes.
From cold steel mechanization to desolate landscapes The Millennium began in “Vigilante” mode with the echoes of genetic crossbreeding and binary bending blasted out with defiant pride with only a cyber-heartbeat to pump blood. “Plasticity” showed off the fragility of human skin, appearance and physical condition. “Deadened” sounded like the musical circulatory system of an artificial life form in the making. “Killing Grounds” spurted a similar cryo-assault while “Mindphaser” was set on end of show assimilation.
For those seeing the bands and tour for the first time, the visual bar was set, though Mr. Numan was ready to call and raise.
For those old enough to remember the late ‘70s and ‘80s witnessed the birth of Gary Numan’s audio voyage, as many recognized the tune that brought him to the MTV audience, “Cars.” However he’s maintained decades of healthy output with over 20 releases and the 2022 career spanning streaming documentary Resurrection. He had plenty to offer, with a mysterious, body animated performance with an equally, visually compelling creepy band, besides bright reflecting lights, you couldn’t unsee. The towering, intimidating ambiance and aura of guitarist Steve Harris and bassist Tim Slade added to the visual creative void Numan inhabited, welcoming everyone to his world.
The show carried a natural, sci-fi vibe in lyrics and appearance. Numan added some unique new/dark wave dark gospel to the nights industrial sandwich. Some might’ve considered it a unique choice of lineup, of one not being like the others, but Numan’s performance fit in perfectly with the opening industrial dirge and headlining industrial metal.
They played 12 songs in rapture. The creepy crawl of “Everything Comes Down To This” introduced everyone to his splintered mind and chaotic psyche. Adorned in black and gray, accompanied by ghostly keyboard echoes gave us a stark warning of an unknown, planetary, questionable ending.
From the Jagged Edge came the dark, dance of “Halo.” With flames and desolate landscapes on screen “The Chosen” jumped straight onto the dance club floor demanding full movement, participation and attention to his newest opus. Keyboards rained down audio waves, infiltrating the senses.
Numan acted out every song moving and contorting body, mind and soul to the music’s command. His band was the perfect visual vessel of accompaniment to his live vision resembling creepy, moving shadows buried in background light and illuminated by silhouetted dark shade.
“Metal” offered a nice coppery taste of old-school nostalgia, with a time-twist kiss back to the beginning with some robotic yearning to be human. “Pure” spoke of violent pursuits of a disturbed mind filling speakers and ears with darkness thought patterns and mental rot from a true crime committing psyche.
Sharp words cut through “Love Hurt Bleed” continuing the splintering, pricking ear drums. “Is This World Not Enough” brought another modern-day intrusion to this earthly realm.
Phones lit up for the song almost everyone knew, including Fear Factory, “Cars.” “Haunted” crept slowly with ethereal dancing shoes, stalking listeners.
“Pray for the Pain You Serve” continued a post world gone survival hymn. It could’ve been The Walking Dead meets Dune in a Savage rendering of “My Name is Ruin” offering an apocalyptic reign of a post-traumatized world. “A Prayer for the Unborn” ended the audio ear-bending experience.
The Ministry began with the man in black as Father Al emerged ready to drop some new/vintage gospel on Columbus, grabbing everyone by the proverbial holiest of holies with a twist.
For the next 90 minutes he perused the stage, visiting each side, pointing at the crowd, encouraging participation, often leaning on his fascinating and very anatomically creepy as !&@! stained glass-humanized with human eyes pulpit. He was our Johnny Cash for the night, showing he still had some sharp piercing bullets in the belt and mic to use. With the touring machine of guitarists Cesar Soto and Monte Pittman, bassist Paul D’Amour, keyboardist John Bechdel and drummer Roy Mayorga with Jourgensen attacking the toxic political poison oozing on social media and TV.
“B.D.E.” rallied with big doses of adrenaline and testosterone swinging loud heavy audio appendages one lyric at a time with the ‘alfa’ male in danger of being taken down, by hush money and a perfect Storm.
The world’s liquid currency spilled out on “Just Stop Oil” as “Goddamn White Trash” spewed its mega-phone anti-MAGA militant message, slamming Proud Boys and those supporting the bright orange a–hole. Capital destruction deserves Capital punishment. They took a big heaping, outhouse exhibition on racism and “Aryan Embarrassment,” it’s stupid.
“New Religion” ended the smoking Hopium while adult Moral Hygiene was promoted on “Alert Level” and “Broken System.” The set was split between new and modern material with the second half covering the classic Psalms, brain food and sweet landscapes.
Several years before WCW made the letters, too sweet “NWO” was a household name on Headbangers Ball along with the dope-sick heavy hangover “Just One Fix” and holy high speed racing of “Jesus Built My Hotrod.”
Vintage old-school continued with as divine crimson passion poured from Jourgensen’s mouth enrapturing “Stigmata.” The song made for the circle pit “Thieves” jolted through its juggernaught pace and beat, ending the bulk of the celebration.
Just when Columbus thought they’d get a brief breather, “Burning Inside” triggered extra encore adrenaline.
The ending came not with a cover but a genuine true, kiss goodbye, Ministry-style saying so long and “So What.”
Jourgensen says this is the beginning of the end as Ministry starts its final round or two in the spotlight. He’s promised at least one more album before he demolishes the pulpit to pursue other projects and endeavors. As sad as it may sound, another Ministry record’s and potential tour’s always a good thing. The world will be burning inside waiting.
Images/Words – Mike Ritchie
Front Line Assembly – www.frontlineassembly.com
Gary Numan – https://garynuman.com
Ministry – https://ministryband.com/tour
