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Except Huddersfield. On Christmas Day. At a venue called Ivanhoe’s, in a market town in West Yorkshire, the Sex Pistols would play a benefit show for the Fire Brigades Union, which had recently called its members out on strike in pursuit of a 30 percent wage increase. This was a very McLaren-esque piece of business: The Sex Pistols, avatars of sociopathy, would throw an afternoon Christmas party for the families of striking firefighters. Gifts, games, a cake, a performance, T-shirts for the children. What could be nicer? What could be worthier? Then they would play a second set for their fans.
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The first show, the one for the kids, was extraordinary enough. Thank God we have the footage. Preteens with soft 1970s hair bounce and jive unselfconsciously, and with even a strange solemnity, as the band rips in gusts of joy through “God Save The Queen” and “Anarchy in the U.K.” No future for YEEEEEW! “Bodies”—She was a girl from Birming-HAM-uh / She’d just had an a-BOR-tion-ah!—acquires the pure and vicious resonance of a playground chant. The kids take the mic, sing along to the chorus: Mum-my! I’m not an animal! Johnny Rotten mashes his face into the Christmas cake during “Pretty Vacant.” The kids wave flags. Credit here the unscrupulous McLaren and his nose for the carnivalesque. An event this wholesomely riotous, this innocently lawless and punk-rock-paradoxical, if it happened today … well, it wouldn’t happen. It would be held in an art gallery.
But it’s the second set, for the grown-ups, that concerns us here. Sex Pistols: The End Is Near 25.12.77 collects the in-show shots of the photographer Kevin Cummins, who was covering the concert for New Musical Express. That afternoon, at his parents’ house, Cummins had committed small-scale anarchy by getting up and leaving in the middle of Christmas lunch. This meant that he was also skipping the Queen’s televised speech, traditionally watched with boozy fealty by every single person in the country. “My father didn’t speak to me for at least three weeks,” he writes in his introduction.
No one, not even the ferally alert McLaren, knew it at the time, but this was the last show the Sex Pistols would play in England. Days after the Hudderfield show they would leave for a short, fiasco-filled tour of the U.S., a jaunt across the un-punk-rock South (Atlanta, Memphis, San Antonio, Baton Rouge) that was essentially an extended act of incitement. The band, as an entity, would not survive it. In less than three weeks, at San Francisco’s Winterland Ballroom, the Sex Pistols would explode, fall to bits, end. “Oh bollocks. Why should I carry on?” asked Rotten, pertinently, in the middle of a half-hearted assault on the Stooges’ “No Fun.” All of which adds a film of wistful irony to the power of Cummins’s photographs from Ivanhoe’s, because here are the Pistols in their pomp, on their mission, fully charged.
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