Nitzer Ebb @ The Urban Lounge 08.29.2026

On July 24, 1990, a torrential rainstorm hit Park City’s Park West Amphitheatre, forcing the sold-out Depeche Mode concert to be postponed and relocated to the following day at Salt Lake City’s original Salt Palace. Depeche Mode keyboardist Alan Wilder remembered the night in the 2006 documentary included with the Collector’s Edition re-release of Violator:

“I think the weather [in Salt Lake City] was terrible when we arrived and we couldn’t play the show. It was an outdoor venue, there was a thunderstorm or something. It was too dangerous to go on. But we managed to — or the agent, someone managed to — reschedule to an indoor arena the next day. I think it was called The Cow Shed or something like that, it was a real makeshift gig. And there being such a disappointment the previous night that all the people that then came the next night were so up for it, it was one of the best shows we ever played.”

The butterfly effect of that postponement had a profound impact on my life. A friend of a friend was unable to attend the rescheduled show. I was offered their ticket. It was my first concert. The opening act that evening was Nitzer Ebb. As such, Nitzer Ebb were the first band I ever saw live. My only memories of their performance from that night are Douglas McCarthy running around the stage while two drummers — presumably Bon Harris and Julian Beeston — pounded on oversized drums.

I don’t go looking for full-circle moments. When they appear, I’m inclined to embrace them. So when Nitzer Ebb’s concert in Salt Lake City was announced, I instantly knew I needed to be there. Not as a tribute to nostalgia but as a reminder that the wide-eyed teenager of 1990 is not as radically different from the older, slightly wiser man I am today. And this time, I’d know more than “Lightning Man.”

The night begins with Lead into Gold, the solo project of former Ministry stalwart Paul Barker. I last saw Barker when he opened for Skinny Puppy on their farewell tour. I must admit, I was somewhat underwhelmed that night. Tonight, my experience is entirely different. Barker seamlessly mixes the Wax Trax! aesthetic with modern electronics. My first impression was completely inaccurate. Lead Into Gold is excellent.

We lost McCarthy in June 2025, meaning tonight’s show features Harris on vocals, with co-founding member David Gooday and longtime collaborator Jason Payne handling drums and electronics. To be perfectly clear, Harris isn’t McCarthy. If anything, Harris’ vocals remind me of just how unique McCarthy’s voice was. That said, Harris embodies the spirit of these songs, and his performance is strong enough that I never feel cheated. This isn’t a soulless cash-in.

The manic energy of the band is on full display as Harris poses, shimmies, flexes and snarls his way from one side of the stage to the next and then back again. Gooday and Payne are somewhat subdued by comparison, but they’re also confined by their instruments and the Urban Lounge’s stage dimensions. Going in, I worried that the stage wouldn’t give Harris enough room to prowl. Instead, the intimacy of the venue only adds to the energy of the performance.

I’ve discovered that the limitations of a venue often add to, rather than detract from, the live experience. Tonight there is lightning and thunder both inside and outside the venue. The set leans heavily toward the band’s early material, but every era, minus the pre-That Total Age material, is represented in the 17-song set. From That Total Age, we’re given the singles “Join in the Chant,” “Let Your Body Learn” and “Murderous.” Belief dominates the set with the singles “Control I’m Here” and “Hearts and Minds,” along with album cuts “Captivate,” “For Fun” and “Blood Money.”

The Showtime era — the period when I would have first seen them — offers up “Lightning Man” and “Fun to Be Had.” I would have loved to hear “Getting Closer.” It, along with Belief’s “Shame,” appears to be the only song from the 1990 performance that is missing from tonight’s set. From the As Is EP, we’re offered “Come Alive.” “Godhead” and “I Give to You” cover the Ebbhead period. Big Hit, the band’s final mainstream release, is represented by the album track “Cherry Blossom,” rather than either of the singles. The group’s final release, Industrial Complex, is represented by “Down on Your Knees,” “Once You Say” and “Payroll.”

The crowd is rarely rowdy but remains invested, chanting along with Harris from start to finish. A good time is had by all. The rain even subsides long enough for us to get back to our cars without getting drenched. —Ryan Michael Painter

Read more concert reviews by Ryan Michael Painter:
Sarah McLachlan @ Utah First Credit Union Amphitheatre 07.30.2026
Howard Jones @ Maverick Center 07.29.2026

To help SLUG keep bringing you the highlights of SLC’s concert scene, consider joining our community of donors!