Public Image Ltd @ O2 ABC, Glasgow, 13 Jun

Miles Hunt opens the evening with some acoustic polemics taken from his collaborative work with Erica Nockalls, railing against the Tory government and injustice, before a few more well-known songs from his main band, The Wonder Stuff. It certainly sets the right tone, though it's the last time we're going to hear an acoustic guitar tonight.

“I think you know who we are...and I think you know what this is,” sneers John Lydon as he saunters onstage brandishing a bottle of nondescript brown liquor, before giving the ageing faithful a once over. This tour is ostensibly to promote a 40th anniversary box set and film The Public Image is Rotten and though there's no mention of it, the show definitely aims to encapsulate all things Public Image Ltd, with more or less great success.

They play at least one song from each of their ten albums, which gives a fantastic snapshot of the different styles the band has encompassed over the years; from the no-frills post-punk of Public Image, through to the more avant-garde Death Disco; industrial dance with This is Not a Love Song and Open Up (Lydon's 1993 collaboration with Leftfield), before finishing with the snarling Swans-esque experimentalism of late-career highlight, Shoom.

Despite the disparate styles on offer, it's all held together with gracious aplomb by Lydon, with his oversized pinstripe shirt, bulging undershirt parodying a dog collar and reading glasses balanced on the bridge of his nose, he's the very image of a sacrilegious, disaffected punk preacher. Alternating between lacerating rage and cynical apathy, he keeps things rolling at a sharp clip despite many songs approaching the ten-minute mark. He has his lyric book on a short stand, providing the perfect mini-pulpit for his pithy critiques and caustic chants; the man can still roll a venomous “R” and hold an off-key howl.

Throughout the night we're treated to Lu Edmonds' wonderful saz, banjo and guitar, Scott Firth's elastic bass (and double bass) and Bruce Smith's motorik drums, but it's tough to take your eyes off Lydon. Just the chance to see his confrontational, magnetic presence is enough to warrant the admission, that it all sounds so good is just the icing on the cake.