What a piquant moment for Nine Inch Nails to be back on the road playing their version of David Bowie’s “I’m Afraid of Americans.”
At the Forum on Thursday, for the first show of a final two-night stand of the electronic-rock band’s Peel It Back arena tour, singer Trent Reznor didn’t elaborate on the freshly resonant subtext in Bowie’s song (one that Reznor remixed for the late Brit and, in its music video, played a Travis Bickle-esque creep).
But you could feel the sold-out Forum roil with new unease at that squelching industrial song, as Reznor muttered Bowie’s scabrous lyrics about “No one needs anyone … Johnny wants p— and cars … God is an American.”
At this point, who isn’t a little afraid of Americans? Nine Inch Nails thrive in the murk of base human instinct and tech-driven dread. Who better to help us limn out these feelings of disgust, rage and desolation right now?
Now in their fourth decade as a group, Nine Inch Nails — the duo of Reznor and producer/keyboardist Atticus Ross along with a closely held touring band — does two difficult things extraordinarily well.
For 15 years, Reznor and Ross have served as Hollywood’s eminent techno-intellectuals, with a pair of Oscar wins for their film scores including the brooding lashes of David Fincher’s “The Social Network” and the yearning ambiance of Pixar’s “Soul.” They have an upcoming film-music festival, Future Ruins, that will be the first of its kind and caliber in Los Angeles.
1. Robin Finck of Nine Inch Nails. 2. Trent Reznor. 3. Fans react as Nine Inch Nails perform at Kia Forum. (Hon Wing Chiu / For The Times)
But Thursday’s Forum show was a decadent reminder of just how nasty and violent this band can be as well.
Opening on the smaller, in-the-round B-stage, Reznor took a solo-piano run through “Right Where It Belongs,” gradually adding Ross, bassist-keyboardist Alessandro Cortini and guitarist Robin Finck into a squalling “Piggy (Nothing Can Stop Me Now),” before finally introducing drummer Josh Freese on the calisthenic drum workout of “Wish.”
Freese was a last-minute addition to the touring band, after the group unexpectedly swapped percussionists with Foo Fighters days before Peel It Back kicked off. But Freese — an NIN veteran of the mid-2000s — has become a fan-favorite returning hero, bolstering this lineup with pure rocker muscle.
Back on the main stage, they redlined through “March of the Pigs” and seethed with fuzzbox rot on “Reptile.” They veiled the stage in gauze on “Copy of A,” casting dozens of Reznor shadows while he strutted and howled about a despondent, depersonalized modernity.
A second pass through the rave-ready B-stage gave a hint at what the band’s cryptically billed upcoming Coachella set might look like. “Nine Inch Noize” — implying an ongoing collaboration with their opener and collaborator, the German club music producer Boys Noize — took form here under a monolithic, blood-colored lightbox. Reznor, Ross and Boys Noize revved up a new single, “As Alive As You Need Me To Be” from the film “Tron: Ares,” but also revamped the eternal hit “Closer” and “Came Back Haunted” with an after-hours sizzle.
It’s impossible to imagine a single as desperately sexual, as sacrilegiously sacred as “Closer” ever making it to the Hot 100 today. For the Gen Z fans fascinated by Nails’ gothic-erotic aesthetic, it felt more transgressive than ever.
After slashed-up takes on “The Perfect Drug” and “The Hand That Feeds,” the band closed out the set with an opposing pair of songs that covered the full range of what its audience is likely going through today. How viscerally satisfying to scream “Head like a hole, black as your soul / I’d rather die than give you control” as American life seems to unravel with each passing hour.
But of course, the band closed on “Hurt.” Johnny Cash recorded his canonical version at 70, a cover now synonymous with a lion in winter starting down the grave. Just 10 years younger at 60, Reznor performed it Thursday with all the tightly coiled emotion and intimate grandeur of the kid who wrote it. American life is pain; Nine Inch Nails endures.
This story originally appeared on LA Times
