Nirvana, the iconic grunge band, captivated audiences worldwide with their raw energy and unforgettable live performances. Their concerts were legendary, known for unpredictable setlists and passionate delivery. However, even for a band as prolific as Nirvana, a selection of songs never graced the stage. These unperformed tracks offer a fascinating glimpse into Nirvana’s creative process and the evolution of their music. Let’s delve into the intriguing world of Nirvana songs that remained studio-bound.
Kurt Cobain performing with Nirvana in black and white
Some omissions are easily explained. Tracks like “Beans” and “Escalator to Hell” were primarily studio experiments, never intended for a live setting. Their experimental nature and unconventional structures made them less suitable for Nirvana’s high-energy concerts. Similarly, “The Landlord,” a Krist Novoselic-fronted comedic piece, likely remained a rehearsal room joke, lacking the seriousness for a full stage performance. These songs, while interesting for hardcore fans, were outliers in Nirvana’s core catalog of live-ready material.
More surprisingly, songs like “Opinion” and “Old Age,” both from relatively early in Nirvana’s career, also never made it to a setlist. “Opinion” emerged seemingly fully formed in a 1990 radio appearance, despite Kurt Cobain claiming the lyrics were recently written. This suggests a rapid development, possibly during a period of drummer instability after Chad Channing’s departure. With limited live shows and rehearsals, Cobain likely had time to refine songs in isolation. “Old Age,” on the other hand, appears to have been in its nascent stages during the Nevermind sessions. Despite the subsequent explosion of Nevermind and extensive touring, “Old Age” remained untouched, perhaps indicating its lower priority compared to other material. The fact that these songs, created between Bleach and In Utero eras and not making the live cut, is unusual considering Nirvana’s dynamic setlists and willingness to introduce new tracks. It hints at an internal ranking, suggesting these songs weren’t favored enough for live performances, perhaps explaining why “Old Age” was eventually given to Courtney Love.
Exploring further back, the Fecal Matter era songs present another layer of obscurity. While concrete evidence is scarce, it’s plausible that some Fecal Matter tracks were played at Nirvana’s very earliest shows. Nirvana’s early period was characterized by shedding previous musical identities. Just as their new wave influences quickly faded upon signing with Sub Pop, Cobain’s garage punk/Melvins-esque Fecal Matter sound was something he seemed eager to leave behind as Nirvana solidified. “Mrs. Butterworth” is another enigmatic track. It arguably leans more towards the Fecal Matter sound than classic Nirvana. Its relatively straightforward structure and lyrical density are reminiscent of “Downer,” but with experimental elements like spoken-word sections. However, compared to more developed songs like “Aero Zeppelin,” “Mrs. Butterworth” feels like a transitional piece, possibly deemed too rudimentary as Cobain’s songwriting rapidly evolved.
Considering “Opinion” again, it fits within Cobain’s experimental acoustic period from 1988-1990. It’s easy to forget that acoustic guitar was a relatively new instrument for Cobain at the time. This experimental phase yielded songs like “Creation” (misidentified as “Sappy” for years), “Clean Up Before She Comes,” “Don’t Want It All,” and even “Beans.” While “Polly” and “Dumb” successfully transitioned to electric and live performances, most acoustic experiments remained confined to practices and demos. Nirvana’s MTV Unplugged performance later skewed perceptions, as acoustic sets were actually rare in their “real” performances.
Finally, the four In Utero outtakes (“Gallons of Rubbing Alcohol Flow Through the Strip,” “The Other Improv,” “Frances Farmer Will Have Her Revenge on Seattle” original demo, “Tourette’s” original demo) that surfaced later also never saw the stage. This likely reflects their spontaneous creation. Similar to other unperformed tracks, evidence suggests limited pre-production. “Gallons” and “The Other Improv” appear to be improvisations built around lyrical fragments. The other two were early demos significantly different from their album versions. These In Utero era songs, despite their raw appeal, come across as unpolished fillers, potentially useful but not essential. Nirvana’s high standards are evident in how even some In Utero album tracks received limited live airplay. With a vast song catalog and relatively fixed setlists during the In Utero tours, incorporating lesser-known or half-formed songs was unlikely. Rumors of a soundcheck jam of “Gallons of Rubbing Alcohol” might exist, but a polished, word-perfect performance is improbable.
In conclusion, the list of Nirvana songs never played live reveals interesting aspects of their creative choices. From studio experiments to early demos and spontaneously created tracks, these songs offer a deeper understanding of Nirvana’s artistic journey and the high bar they set for their live performances. While fans might always wonder “what if?”, these studio rarities remain a unique testament to Nirvana’s prolific output and the curated experience they delivered on stage.
