Twenty-six years ago it seemed entirely plausible that Bobby Gillespie and Andrew Innes would use Primal Scream’s lofty platform to scrutinise those in power. For too long, they’d been keeping their powder dry.
A decade on from the band’s hedonistic, party-starting breakthrough Screamadelica, there was a renewed appetite within the band to get serious. Or seriously angry. The politically charged XTRMNTR had authority in its sights and nobody was safe: in 2000 government, the police and unscrupulous multinationals all felt the wrath of a band emboldened.
“I’m very proud of that record,” says Bobby. Primal Scream are set to play XTRMNTR in its entirety at Newcastle’s NX next month and a prescient album has never sounded so relevant. “I remember meeting my future wife around that time. I was in love and I had this amazing new album ready to release.
“One night I’d had a couple of drinks and I played Accelerator (track two on XTRMNTR) at full volume through these enormous speakers and I said to the lady who would become the mother of kids ‘if I never make another record again I don’t care’.
“Everything that I ever wanted to say and do as a teenager came out on that record. All my dreams as an artist are laid bare. XTRMNTR was what I always imagined my music would sound like if I was ever in a band and I didn’t give a f*** what anyone else felt about it. I’d made the record I’d always wanted to make, with my mates, and I’m still so proud of that today.
“We started doing the press around the album and I’d invite people to my flat for a party. After a while I’d play the new record and they’d be like ‘what is that!’. Everybody was blown away. It didn’t sound like any other band at the time but it was the realisation of what Primal Scream could become, the music we could make and what we really stood for. We’d finally fulfilled our promise.”
If many industry insiders feared XTRMNTR represented commercial suicide — aggressive and divisive song titles included Kill All Hippies, Swastika Eyes and Blood Money — then Gillespie and co-writer Innes didn’t care. And their critics were proved wrong anyway. The band’s sixth album peaked at number three on the UK album charts and Swastika Eyes nudged the Top 20 backed by some serious Radio One support.
As sonically enraged as it was lyrically intense, XTRMNTR was the foreboding antithesis to new millennial optimism and its anger resonated with a fresh generation of campaigning voices. Fast forward to 2026 and Gillespie feels the album’s key themes remain deeply relevant.
“When we wrote that record a neo-liberal Labour government was in its first term and they were doing some good things,” adds the familiar voice of Primal Scream. “But 9/11 was just around the corner, the War on Terror was about to begin and, as a nation, we became part of a much wider and far-reaching global conflict. It was the beginning of where we find ourselves now. In the years that followed XTRMNTR there was mass immigration, the financial crisis and ongoing wars in the Middle East — it proved to be a prescient piece of work. Things haven’t changed too much.”
It’s no surprise that Gillespie remains politically active and a passionate voice for change. As a member of the Artists For Gaza collective — the charity that’s raised more than £140,000 for Healthcare Workers For Palestine — the Glaswegian’s keen sense of social conscience runs deep. Gillespie and good friend Paul Weller are two prime movers in an organisation determined to shine a light on what the pair perceive to be the single greatest human rights ‘issue of the day’.
“Paul’s had a terrible time getting artists to agree to play the gigs,” admits Gillespie. “If you ask me everybody in rock music — or at least indie rock music — are cowards. In my opinion there’s a genocide going on in Palestine and everyone can see it. Everybody knows it’s happening but too many people in music choose to look the other way.
“The people that shout about it are the female pop artists. People like Dua Lipa, Lorde and CMAT. They’re prepared to use their platform to address the issue and these young women are very articulate. But where are the white guys in indie rock music? They’ve got their heads in the sand.
“Like Paul, I’ve asked artists to play the Gaza gigs and they either don’t return your email at all or they come back with a lame excuse. What can you do?”
Gillespie’s frustration is clear and it’s that simmering anger and bitter disappointment in his peers that helps fuel Primal Scream’s reassuringly explosive live shows. Returning to Newcastle evokes fond memories in a singer who’s always fed off the passion of loyal North East crowds.
“The first time I was in Newcastle doing anything remotely to do with music, I was rehearsing with the Jesus and Mary Chain before an appearance on The Tube,” recalls Gillespie. “We did the show in 1985.
“As we were leaving — I think she was in the same rehearsal room — I saw Pauline Murray of Penetration. I used to buy all of the Penetration singles and the first couple of albums and I was a huge fan. I never spoke to Pauline that day and I so wish I had.
“We’ve played Newcastle a few times with the Scream over the years and the last time we played there was at the City Hall. It was mind-blowing. The atmosphere was like a football match! There were mums, dads, kids — an incredible mix in the audience. If we can recreate that level of passion this time it’ll be another amazing night.
“Playing NX will bring back some great memories too. I remember meeting Gordon McQueen at the venue during soundcheck. He was doing something else later that night but he was a big Scream fan and wanted to come down. You have to understand that as a Scot — and as a Scottish football fan — it was a real thrill to meet him. This is the guy who scored that famous header against England at Wembley in 1977 and here he was at our Newcastle soundcheck!”
Primal Scream play Newcastle’s NX on September 8. Tickets are available here. XTRMNTR is reissued on September 4 as part of The Bunker Trilogy series.