Laibach's concerts come seriously close to the number of my most visited concerts, such as Gori Ussi Winnetou and Kud Idijoti. However, Laibach is a special case. Their concerts are not just an ordinary ‘best of’ section, but a conceptual journey through carefully selected songs, supported by VJ-ing full of strong messages in the manner of their recognizable style. Their concerts are more of a ritual than a performance and, as some would say, on the border between artistic performance and political manifesto. Yesterday's concert (05/10/24) at the Boogaloo club in Zagreb was another opportunity for Laibach to present their cult album Opus Dei in a new guise. If you're already asking about the location, I have to admit, I can't compare to the recent performance at the Small Roman Theatre in Pula. Pula has that ancient magic, the ancient amphitheater and that special feeling of history under a clear sky. No, yesterday's gig, regardless of the cramped space at Boogaloo, brought new energy and, dare I say, a more intense atmosphere. Upon entering Boogaloo, I immediately noticed something that disturbed me, several neo-Nazis who entered the concert. Seeing such characters at the concert of a band that, with irony, satirical commentary on totalitarian systems and propaganda visuals, constantly provoked and opposed fascism, was paradoxical. However, my uneasiness was eased by the message Laibach sent via the video wall ‘Death to Fascism.’ I hope those guys get the point.
Although it was clear that many came to the ‘event’ more than to the concert, had its moments of frustration. Yes, there was talk, but let's be realistic, this is a rock machine, not a theatre show. Laibach gives all on stage, while the audience, as usual, balances between engrossment in the message and the occasional need to be entertained. When we talk about Laibach and their cult album Opus Dei, we come to an interesting aspect of their artistic appropriation. Laibach are masters of ‘appropriating’ other people's work and transforming it into something new, often ironic. At this concert, they showed again why they are considered pioneers of this approach. Their interpretation of the song ‘Life is Life’ is an example of this art of appropriation in its best form. They turned the song from a banal anthem of joy into a serious, almost militaristic, reflection on power and authority.
Some would say it's vampirizing someone else's work, taking someone else's song and completely changing it. No, unlike regular covers, Laibach's process involves layered recontextualization. It is not only a musical reinterpretation, but also a philosophical and political deconstruction of the original meaning of the song. The concert ended with one of their latest covers, the song ‘I Want to Know What Love Is’ by the band Foreigner. Now, if you're wondering why Laibach would choose a song that celebrates love in such a clichéd form, the answer is simple: their version of the song is not the sentimental ballad that Foreigner originally intended it to be. Instead, Laibach conveyed the message of love as something that transcends individual feelings. Love becomes a symbol of a bigger idea, love of ideology, love of people, or maybe love of control? Irony is key.
The lyrics of the song talk about the desire to understand love, but Laibach's performance does not make us wonder what kind of love they are actually talking about. Is it the intimate love that we all desire or is it the love of an authority that unites and directs us? I must also mention an old anecdote about Laibach that has been circulating since their beginnings in the former Yugoslavia. When they appeared, in the early '80s, their music, much more industrial than today, caused widespread outrage. It was even said that ‘Laibach killed punk.’ Although punk was a revolutionary movement, Laibach managed to redefine the term subversion through even more radical soundscapes and ideological commentary, while punk remained, in a way, trapped in its anti-establishment forms. If anything, Laibach took a bag full of punk rebellion and expanded it into philosophical and artistic terrain that few had the courage to touch.
Regardless of the conversations in the audience, the fact that it was not Pula and that the atmosphere was different, yesterday's concert in Boogaloo was a true example of what Laibach represents - a strong, provocative musical and visual statement about power, authority and irony. Their ability to transform and appropriate other people's songs is not just imitation, but a thought-provoking creative act.
Laibach are masters of reinterpretation, and as long as they continue to play on the border between art and politics, their oeuvre remains fascinating for anyone willing to read between the lines and listen between the notes.
Marko Vojnić
Lecturer, Department of Textile and Clothing Design
Faculty of Textile Technology
University of Zagreb
Prilaz baruna Filipovića 28a
10000 Zagreb, Hrvatska
https://www.ttf.unizg.hr/en/teachers-and-associates/marko-vojnic/166