Cine Joia hosted one of the most iconic and unpredictable names in post-punk history on the 8th. John Lydon, at 70 years old, took to the stage with Public Image Ltd (PiL) for a show that delivered intensity, irreverence, and impeccable sound. After 34 years without playing in Brazil, expectations were high and the venue was packed. The sound was crystal clear, powerful, and true to PiL's DNA, with the band playing with surgical precision from beginning to end.
Upon entering the stage, Lydon was direct: “Good evening, this is PiL. We've had two hours of sleep since yesterday, but I'm not going to make excuses.” And he kept his promise. Without hesitation, the band launched into “Home” and “Know Now,” already showing that the performance wouldn't be half-hearted. During “Corporate,” even before the song began, John blew his nose into his hand and spat on the floor, showing that his rebellious spirit remains alive and well, far from any etiquette protocol.
Starting with “World Destruction” (a Time Zone), the audience, which initially seemed a little reserved, really began to loosen up. The danceable “This Is Not a Love Song” made the Cine Joia vibrate. The sequence with “Poptones” and the moving “Death Disco,” dedicated to lost friends and relatives, demonstrated the depth and versatility of the band's repertoire, while “Flowers of Romance” gained a unique texture with the guitarist using a violin bow on the guitar.
In a rare and touching moment of affection, Lydon expressed how much he missed Brazilians and revealed that the next song, "Shoom," was inspired by his father. The band followed with "Warrior," maintaining the intensity and dense atmosphere that characterize their sound.
The band said goodbye with “Public Image,” perhaps the track that most evokes the energy of his former band, the Sex Pistols, especially in the vocal lines. Lydon commented that he would normally smoke a cigarette at that moment, which led some fans to throw cigarettes on stage in a mixture of humor and admiration. The song was widely celebrated and sung in unison by the audience. Lydon said goodbye, claiming it was very hot and that they needed “3 minutes” to come back, asking everyone to wait.
The return for the encore was marked by Lydon's characteristic mockery, joking that the audience was “making some old people work for a living,” before thanking everyone for coming. The encore began with a very danceable version of “Open Up” (a Leftfield), followed by the band's biggest hit, “Rise,” which had everyone singing and marked the moment for the band members' introductions. The night ended with the powerful trio “Annalisa / Attack / Chant,” in which Lydon, enraged and with his powerful voice, displayed all his fury and passion, leaving the fans ecstatic. The farewell was worthy of Lydon's provocative spirit, who asked the audience to curse him, resulting in a general and warm cheer.
More than just a show, PiL's performance at Cine Joia was an encounter with the living history of post-punk. With impeccable execution and a band in top form, it was clear that the strength of PiL's repertoire is enough to meet the audience's expectations without resorting to his former band. After more than three decades, it was worth every minute of waiting. Classic post-punk still has much to say, and without a doubt, Lydon remains one of its greatest spokespeople.
