Three Bands, One Forest, No Survivors: Garbage and Skunk Anansie Ignite Delamere

Forest Live’ at Delamere Forest, 18th June 2026

IMAGES / WORDS PAUL EVANS

Some concert venues simply provide a stage. Others become an integral part of the experience itself, elevating a performance into something far greater. On a warm June evening, Delamere Forest proved to be exactly that kind of place. Nestled amongst the trees, Forest Live feels less like a conventional outdoor show and more like a carefully curated mini festival, where anticipation hangs in the air long before the first note is struck and lingers long after the final echoes disappear into the woodland canopy.

With Du Blonde, Garbage and Skunk Anansie sharing the bill, the evening arrives with considerable promise. What unfolds, however, is something far more memorable: a communal celebration of three artists who understand that great live music is built not only on performance, but on connection, spontaneity and shared experience.

Du BLONDE

Du Blonde are handed the unenviable task of opening for two of alternative rock's most celebrated bands, yet they rise to the challenge with ease. Du Blonde command attention from the outset, drawing the crowd into the moment and ensuring that the evening begins with genuine momentum. They create a sound that is raw, abrasive, playful and emotionally charged, drawing from alternative rock, grunge and garage rock. The set is full of restless energy that balances distortion-heavy guitars and thunderous rhythms with sharp melodic instincts and an irreverent sense of humour.

One moment, songs surge forward with snarling riffs, shouted vocals and a punk-like urgency; the next, they reveal unexpectedly catchy hooks, vulnerable lyrics or moments of introspective calm. The result is a sound that feels both nostalgic and fresh: loud, cathartic and uncompromising, yet packed with memorable melodies. Vocally, frontwoman Beth Jeans Houghton/Du Blonde moves effortlessly between sweet, melodic passages and fierce, confrontational delivery. Her voice sounding fragile and reflective one minute, then explosive and defiant the next, mirroring the emotional swings embedded within the songs.

As daylight slowly begins to soften, their performance feels perfectly attuned to its surroundings. The set steadily raises the temperature without overwhelming the atmosphere, allowing excitement to build organically. It’s a great set and a band I definitely need to catch up with. By the time they leave the stage, the audience is fully invested and ready for what comes next.

GARBAGE

As the evening sun has no intention of going down anytime soon, Garbage make their entrance to the haunting strains of Laura Palmer's Theme from Twin Peaks, and the atmosphere shifts instantly from anticipation to total absorption. It is a beautifully judged introduction; cinematic, nostalgic and rich with atmosphere. The familiar melody drifts through the forest like a ghostly invitation, immediately signalling a band with an instinctive understanding of mood, memory and presentation. Before a single live note is played, the audience is already under the Garbage spell.

Opening with "There's No Future in Optimism," "Hold" and "Empty," Garbage quickly establish that this is no exercise in nostalgia. Far from relying on past glories, the band sound fully engaged with the present. "There's No Future in Optimism" lands with characteristic wit and bite, perfectly encapsulating Garbage's ability to wrap darkness in irresistible melodies, while "Hold" and "Empty" deliver the emotional weight and sonic depth that have long defined the band's appeal. Each song is performed with conviction, balancing tension and release in a way few bands manage quite so effectively.

The arrival of "I Think I'm Paranoid" and "Stupid Girl" provides a powerful reminder of just how enduring Garbage's catalogue remains. These songs may be deeply embedded within alternative rock history, but they feel anything but nostalgic. Instead, they pulse with urgency, attitude and a sense of danger that remains entirely intact. The audience responds instinctively, singing every word and embracing every explosive chorus.

At the centre of it all is Shirley Manson. More than three decades into her career, she remains one of the most compelling frontwomen in rock music. What makes her so captivating is not simply her iconic status, but the commitment she brings to every performance. She never appears content to rely on reputation. Every lyric, every glance and every movement feels purposeful and immediate. She marauds across the stage with the confidence and authority that only years of experience can provide. Yet there is nothing complacent about her presence. She prowls, teases and provokes, constantly drawing the audience further into the performance. There is a wildness to her stagecraft that feels entirely authentic, as though the songs themselves demand movement and physical expression. Every gesture adds another layer of intensity, making it impossible to look away.

A stunning cover of The Cure's "Lovesong" provides one of the evening's most affecting moments. Rather than simply recreating a beloved classic, Garbage reinterpret it through their own distinctive lens. Manson's vocal performance brings fresh vulnerability and melancholy to the song, transforming it into something both familiar and deeply personal. Beneath the forest sky, it becomes a moment of quiet beauty and emotional resonance.

The set is briefly interrupted when an issue arises within the crowd, and what could easily have been a routine pause instead becomes one of the evening's most human moments. As security staff and audience members work together to ensure everyone's wellbeing, Shirley addresses the crowd with visible emotion. "I don't know what's wrong with me, you're all f***** amazing for keeping everyone safe." It is a brief comment, but one that carries genuine weight. In that moment, the audience becomes more than a collection of spectators. The mutual care and attentiveness on display reinforce the sense of community that has developed throughout the evening. It is a powerful reminder that live music is at its best when it fosters connection as well as entertainment.

With the situation resolved, Garbage return with renewed momentum. "Vow," "Chinese Fire Horse," "Control" and "When I Grow Up" form a formidable run of songs, showcasing the band's remarkable ability to balance abrasive intensity with pop sophistication. "Control" lands with particular force, while "When I Grow Up" transforms self-awareness into something euphoric and celebratory.

The mood shifts again during "Push It," as Manson abandons any remaining barrier between performer and audience by venturing into the crowd. The reaction is immediate. Excitement ripples through the audience as the distance between stage and spectators disappears entirely. It is a perfect illustration of what makes Garbage such a compelling live band: their ability to balance precision with unpredictability, control with chaos.

Between songs, Manson proves every bit as engaging. Joking that Garbage will never play Delamere again because they are "too old," she delivers the line with characteristic humour before offering something considerably more heartfelt. "This is the last time all of us." The crowd responds with laughter and disbelief before she continues: "We thank all you beautiful mentalists who chose to see us, Du Blonde and Skunk Anansie and spend your hard-earned cash to spend it with us. You're miracles to us." It is one of those rare moments where a performer's gratitude feels entirely genuine. Rather than standard concert banter, it comes across as a sincere expression of affection and appreciation.

That connection reaches its peak during "Only Happy When It Rains." Encouraging the audience to join in "full f****** throttle," Manson barely needs to ask twice. The response is immediate and overwhelming. Thousands of voices rise together as the song erupts across the forest, triggering one of the night's biggest singalongs. All around, people dance, shout and celebrate beneath the trees, creating exactly the kind of communal release that great outdoor concerts are built upon.

Even then, Garbage are not quite finished. "The Day That I Met God" provides a fittingly reflective conclusion to a set rich in atmosphere, emotion and musical power. As the band leave the stage to a rapturous reception, they leave behind a lingering question. How exactly do you follow that? The answer arrives moments later.

SETLIST

1. Laura Palmer's Theme

2. There’s No Future in Optimism

3. Hold

4. Empty

5. I Think I'm Paranoid

6. Stupid Girl

7. Lovesong

8. Special

9. Vow

10. Chinese Fire Horse

11. Control

12. When I Grow Up

13. Push It

14. Only Happy When It Rains

15. The Day That I Met God

SKUNK ANANSIE

As darkness now begins to fall, Skunk Anansie take to the stage and immediately shift the evening into another gear. If Garbage wrapped their emotional intensity in atmosphere and dark glamour, Skunk Anansie arrive with raw, electrifying force. At the centre of it all is Skin, still a phenomenal whirlwind of energy, exploding onto the stage and seizing control from the very first moment. Some performers maintain intensity through carefully cultivated mystique; Skin achieves it through relentless movement and total commitment. She prowls, lunges, commands and connects, her body, voice and presence operating on the same unstoppable current. From the instant she appears, the performance crackles with urgency, creating a sense of barely contained energy that threatens to spill over at any moment.

Opening with "This Means War," the band establish their intent immediately. There is no gentle introduction, only forward momentum. "Charlie Big Potato" follows, its grinding groove and muscular dynamics sounding colossal beneath the forest canopy. The expansive surroundings only amplify its impact, allowing the song's towering riffs to breathe while retaining every ounce of their power. "Because of You" introduces a different texture, highlighting once again Skunk Anansie's remarkable ability to balance crushing heaviness with melody, emotion and accessibility.

At the heart of the performance is Skin's extraordinary voice. Even after all these years, it remains one of the most remarkable instruments in live music. One moment she draws the audience in with an almost whispered intimacy; the next she unleashes a spine-tingling, note-perfect roar that feels genuinely breathtaking. There is no sign of complacency, no sense of an artist trading on former glories. Every lyric is delivered with conviction and purpose, as though the songs are being lived in real time. The effect is not merely impressive; it is completely absorbing.

"An Artist Is an Artist" and "God Loves Only You" expand the emotional and political reach of the set, reinforcing the fact that Skunk Anansie have always stood for far more than simple entertainment. Their music continues to derive its power from identity, challenge, social commentary and uncompromising self-expression. Live, those themes take on an added intensity. Skin does not simply perform for the audience; she engages with them, provokes them and ultimately draws them into the centre of the experience. Within minutes, the crowd belongs entirely to her. It is thrilling, chaotic and somehow perfectly controlled all at once, embodying everything that has made Skunk Anansie such a formidable live band for more than three decades.

Among an already exceptional set, "Hedonism (Just Because You Feel Good)" emerges as a truly transcendent moment. The opening chords are greeted by a huge roar of recognition from the crowd. Although the song has long been established as one of the defining anthems of British alternative rock, it loses none of its potency live. Skin delivers it with a perfect balance of vulnerability and defiance, while the band provide a performance rich in both precision and emotion. For a few unforgettable minutes, it feels as though the entire forest is singing as one. The response is nothing short of euphoric.

That momentum continues through the emotional depth of "Weak" and the aching intensity of "Twisted (Everyday Hurts)." Each song strengthens the bond between band and audience, creating an atmosphere that feels increasingly communal and immersive. "Love Someone Else," "Cheers" and "I Can Dream" maintain the pace before the politically charged pairing of "Yes It's Fucking Political" and "Little Baby Swastikkka" delivers a powerful reminder that Skunk Anansie have never shied away from difficult conversations. Decades after they were first written, the songs still resonate with remarkable force and relevance.

"You'll Follow Me Down" provides another emotional high point before the band launch into a raucous burst of AC/DC's "Highway to Hell," which sends another surge of energy through the crowd.

Skin refuses to be confined by the stage. She disappears into the audience, thriving in the very heart of the crowd. At one point, a spontaneous mini mosh circle forms as she stands grinning amid the chaos. It is a perfect illustration of what makes Skunk Anansie such a compelling live force. There is no barrier between artist and audience, no sense of distance or separation. There is only participation, connection and shared experience. The ferocious brilliance of "Intellectualise My Blackness" brings an extraordinary headline set to a suitably explosive conclusion, capping a performance that is equal parts celebration, confrontation and catharsis.

What makes this evening so memorable is not simply the strength of the individual performances, impressive though they undoubtedly are. It is the way the entire event unfolds as a complete experience. Each act brings something distinctive to the stage, yet together they create a remarkably coherent journey through different shades of energy, emotion, vulnerability and release. Ultimately, Forest Live at Delamere Forest delivers everything that a great outdoor concert should. It is visually stunning, emotionally engaging and musically uncompromising. There is atmosphere in abundance, but also substance. There is nostalgia, but never at the expense of relevance. Most importantly, there is a genuine sense of connection running through every performance.

For one unforgettable June evening beneath the trees, Du Blonde, Garbage and Skunk Anansie transformed Delamere Forest into something truly special. From the first note to the final roar, it served as a powerful reminder that live music remains one of the most exhilarating and unifying experiences available.

SETLIST

1. This Means War

2. Charlie Big Potato

3. Because of You

4. An Artist Is an Artist

5. God Loves Only You

6. Shame

7. Hedonism (Just Because You Feel Good)

8. Weak

9. Twisted (Everyday Hurts)

10. Love Someone Else

11. Cheers

12. I Can Dream

13. Yes It's Fucking Political

14. Little Baby Swastikkka

15. You'll Follow Me Down

16. Highway to Hell (AC/DC cover)

17. Intellectualise My Blackness

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