For devoted Nirvana fans, the thrill of discovering deep cuts and unreleased tracks is undeniable. While Nirvana’s live performances are legendary and extensively documented, a fascinating question arises: which Nirvana Songs were never actually played live? Delving into Nirvana’s discography reveals a collection of songs shrouded in mystery, never gracing a concert stage. This article explores those elusive tracks, examining why certain Nirvana compositions remained studio-bound and offering insights into Nirvana’s creative process.
Nirvana songs never played live categorized list
The Unlikely Live Candidates: Studio Experiments and Joke Songs
Some songs are inherently unlikely candidates for live performance. Tracks like “Beans” and “Escalator to Hell” fall into this category. These are widely understood to be studio experiments and home recordings, more akin to sonic explorations than fully formed songs intended for a live audience. Their experimental nature and lack of conventional song structure make them unsuitable for the energy and demands of a Nirvana concert.
Similarly, “The Landlord,” sometimes known by the more descriptive title “The Landlord is a Piece of Sh** from Hell,” stands out as a joke song primarily fronted by Krist Novoselic. While theoretically, Nirvana could have developed it for the stage, its comedic nature and Krist’s lead vocals suggest it was more of a lighthearted studio moment. It’s plausible it originated as an improvised piece during an early practice, never intended for serious live consideration.
Surprising Absences: “Opinion” and “Old Age”
More intriguing are the songs that seem surprisingly absent from Nirvana’s live setlists: “Opinion” and “Old Age.” “Opinion,” famously aired on Calvin Johnson’s radio show in September 1990, appeared remarkably developed. However, Kurt Cobain’s statement that he “just wrote most of the lyrics this evening” casts doubt on its prior evolution. Despite its seemingly polished form, there’s no evidence of “Opinion” existing in any earlier iteration. This is particularly noteworthy considering Nirvana’s fluctuating drummer situation after Chad Channing’s departure and before Dave Grohl’s arrival. While they toured briefly with Dale Crover and played a single show with Dan Peters, these periods offered Cobain ample time to refine music and lyrics. The absence of “Opinion” from live performances remains a curious anomaly.
“Old Age” presents another puzzle. It appears to have been in a nascent stage during the Nevermind studio sessions. This period, while intensely creative, also saw fewer live shows as Nirvana navigated the album’s recording and the subsequent whirlwind of its success. What’s striking about both “Opinion” and “Old Age” is their unique status as the only songs between “Big Long Now” (January 1989) and the In Utero leftovers (January-February 1993) that never transitioned to the stage. During Nirvana’s peak live era, when they frequently varied setlists and spontaneously introduced songs, neither “Opinion” nor “Old Age” seemed to gain enough favor for live performance. This absence perhaps reflects their internal standing within the band’s catalog and might explain Cobain’s decision to give “Old Age” away to Courtney Love, who released her own version.
Fecal Matter Echoes and “Mrs. Butterworth”
Venturing further back, the songs attributed to Fecal Matter, Kurt Cobain’s pre-Nirvana band, present a different kind of obscurity. It’s probable that some Fecal Matter songs were played at the very limited number of pre-Nirvana shows (reportedly three). Nirvana’s early years were marked by a shedding of earlier musical identities. Just as their new wave influences were quickly discarded upon signing with Sub Pop, Cobain seemed to move away from the garage punk and overtly Melvins-influenced style of his Fecal Matter material. This rapid evolution suggests a deliberate distancing from his earlier musical phase.
“Mrs. Butterworth” occupies an ambiguous space. The article posits it belongs more to the Fecal Matter era than the established Nirvana sound. It shares similarities with “Downer” in its straightforward structure, uncomplicated guitar riffs, and lyrical density. However, like other recordings from January 1988, it incorporates experimental elements, notably a spoken-word interlude, making it feel transitional. The issue, however, is that Cobain was rapidly developing more complex and compelling songwriting skills. In comparison to tracks like “Aero Zeppelin,” “Mrs. Butterworth” sounds more like a developmental exercise, a stepping stone to his later, more sophisticated work.
Acoustic Explorations: Studio Realm
“Opinion” might be best understood within the context of Cobain’s experimental acoustic phase from 1988-1990. It’s important to remember that acoustic guitars were a relatively new instrument for Cobain at this time. He rarely used them in the studio before the April 1990 version of “Lithium,” and even less frequently live (excluding the MTV Unplugged performance, which later heavily influenced public perception). This acoustic experimentation yielded songs like “Creation,” “Clean Up Before She Comes,” “Don’t Want It All,” and even “Beans.” “Polly” and “Dumb” were exceptions, successfully adapted for electric live performance. However, for the most part, acoustic guitar for Cobain was a tool for practice, experimentation, and songwriting exploration, not typically intended for full-band Nirvana performances or album inclusion. The Unplugged performance, while iconic, distorts the broader picture of Nirvana, where acoustic guitar was largely confined to the creative process rather than the final product.
The In Utero Era Foursome: Unloved Fillers?
Finally, the four In Utero-era outtakes raise questions about their absence from live sets. It’s argued that the creation process of these songs explains their lack of live outings. Similar to many of the songs discussed, there’s scant evidence of extensive development. “Gallons of Rubbing Alcohol Flow Through the Strip” and “The Other” are described as improvisations built around fragments of lyrics. The remaining two songs from this session sound like they were quickly assembled during or just before the January 1993 practice sessions, relying on basic riffs and Cobain’s initial ideas. These four tracks, despite their raw appeal and distinctive characteristics, are characterized as “unloved fillers,” potentially useful but not essential. Nirvana’s notoriously high standards are reflected in the limited live performances even of some In Utero album tracks. With a substantial catalog and relatively fixed setlists during the 1993-1994 tours, incorporating rarities, especially half-formed ones, was uncommon. While rumors of a soundcheck performance of “Gallons of Rubbing Alcohol” exist, even if true, it likely was a loose jam rather than a polished rendition.
In conclusion, the Nirvana songs never played live offer a fascinating glimpse into the band’s creative process, evolving sound, and internal song hierarchy. From studio experiments to early demos and In Utero outtakes, these unperformed tracks highlight the depth and breadth of Nirvana’s music, even beyond their celebrated live shows.
