Live Report: Garbage close tour in magnificent fashion at the Iveagh Gardens

Far from rubbish.

Garbage’s triumphant show at Dublin's Iveagh Gardens is a powerful masterclass in activism. The band condemn oligarchs, US and UK politicians, hate, division, and misogyny, all while passionately championing artistic expression, grassroots action, LGBTQI+ and trans rights, and the right to be yourself, no matter how you want to be.

Formed three decades ago, the band have always carved out a unique path. Uber-producer Butch Vig on drums, alongside guitarists Steve Marker and Duke Erikson, are joined for this tour on bass by former Smashing Pumpkins and Veruca Salt member, Nicole Fiorentino.

It is frontwoman Shirley Manson though, who commands the spotlight with her magnetic stage presence. From the off Manson prowls the stage, dressed head to toe like a futuristic cyberpunk with her leather kilt and chain straps .

Garbage open their set with 'There’s No Future in Optimism', a standout track from their eighth studio album, Let All That We Imagine Be the Light. An urgent plea for collective action and solidarity, the song provides a flawless introduction to an inclusive evening, drawing an immediate, enthusiastic response from the audience.

Before long, they launch into the hits and anthems. Manson hooks the audience into singing the cynical chorus of 'I Think I’m Paranoid', after which she starts to chat with the crowd, telling us that it's so incredible to be back in Dublin and that this is the last night of their tour, that they are privileged to be here .

Manson isn't afraid of being outspoken either. She talks of how the music business has changed since they played their first show in Ireland back in 1999. Unbelievably, before yesterday's outing in Belfast and tonight's show, Garbage have only played in Ireland twice during their 30+ year career. She tells us how the band were told by promoters that no one wanted to see them in Ireland. Scanning the huge crowd in Iveagh gardens would suggest that is far from the case.

Following a blistering version of 'Stupid girl', Manson calls out to Aaron, a superfan who tonight marks his 100th Garbage show. She recalls meeting him when he was a wayward and lost young punk, and compliments him for making huge changes to his life. It's clear that Manson has such empathy and love for her fans, and it that it is completely real.

'Right Between the Eyes', from 2005's Bleed like me, sounds massive; the throbbing bass reminiscent of the undertones' 'Teenage Kicks', with Manson again covering every inch of the stage and making eye contact with her devoted fans up front. She recalls writing this song in reaction to intense and sexist vitriol Courtney Love received from the 90's press, telling the crowd to stand up against misogyny, that all men are scared of women, and that young boys need to be educated and young girls protected.

Next up is a volley of 'Vow' , 'No Horses' and 'Its All Over But The Crying'. The band are on major form, tight and thrilling and sharp from 30 years on the road.

During 'No Horses', as the evening darkens, the massive screen behind the band comes alive with images of strike footage from drone operators of massive bomb attacks and burning buildings, while Manson sings: "They'll turn on you, They'll come for you, They'll hurt you too, They'll get to you too.. Just men with guns, In their shiny black uniforms, And their big black boots, With their shiny black batons, And their sleek black cars, With their fingers on the trigger. Very powerful stuff on this balmy evening in Dublin.

Manson is surveying her crowd again and spots a young fan up front wearing a pikachu hat. She goes down to crowd level to give her the necklace off her neck, and is stunned to learn the kid is only 14. In return the fan gives Manson a friendship bracelet, which the singer duly attaches to her wrist.

On a roll, Manson spots a young lad on his dads shoulders during 'It's all over but the crying', before pointing him out and singing directly to him. The joy on his face was magical, a moment that kid will remember for the rest of his life.

They deliver a terrifying version of 'Have We Met', which Manson explains was written after a sinister visit from a stalker who came knocking on her door late one night in Barcelona, after which she feared for her life: "In the dead of the night, You come at my door, You're all dressed in white, And you're callin' me a whore".

Then, Manson stops the show to tell the band she has decided to change the set list, as this is the last night and Fiorentino can crush the upcoming tune on her bass. The band launch into ‘#1 Crush’ from Baz Luhrmann’s Romeo and Juliette soundtrack, and the roar from the crowd is deafening. The smile on the band members' faces says it all - the crowd singing every word back at them: "I would die for you, I would kill for you, I would steal for you, I'd do time for you". In a nice touch Manson sings to her bandmates: "I would even empty the dishwasher for you".

This woman is on fire. She wants all the band to tell the crowd about their wildest times in Dublin. Marker is first, mentioning whiskey but saying he doesn't care to share more. Vig on the other hand, regales how a band member and his wife conceived their daughter after a show in Dublin, then another where he spent a long night partying hard with a certain Bono at the Shelbourne Hotel till 5am, which led to the worst hangover of his whole life. This elicits a huge roar from the crowd and a few lines in Scots Gaelic from Manson.

After a sublime cover of The Cure's 'Lovesong', we get to a salvo of tracks to close out the night. The mosh kicks off to 'Cherry Lips (Go Baby Go)', which is is dedicated to the LGBTQ and Trans communities; 'When I Grow up' has the crowd roaring back every line; and 'Push It' rocks. During 'The Day I Met God', Manson salutes the Irish people and government on being outspoken and calling truth to power and despot leaders.

The band leave the stage to huge cheers and calls for 'one more song', only to rapidly return (why do bands still do this leave and come back routine?) They break into 'Special' from 1998's version 2.0 album. The production is stunning, with Manson spotlit centre stage and the band bathed in blue and red hues. For the first time in show, she stands in the one spot, striking poses which reminded this writer of an Edith Piaf performance whilst posing as Evita Peron on the balcony photo. A mesmeric moment in during what was a frenetic performance.

Before we could pick our collective chins off the floor the band launched into their magnus opus 'Only Happy When it Rain's'. Thirty years on, Garbage, in name at least, remain the ultimate contradiction. A band that champion the beautiful freaks, speak truth to power, and create a sonic treasure that time cannot decay, they prove that this Garbage is pure gold. What a show, what a night.