If the majority of this two-hour show is characterised by overdriven guitars, unerring robotic beats and pristine sonic curlicues, there are also other moments of human scrappiness. There are covers of Big Star’s heartsick ballad Thirteen and the ramshackle Can’t Seem to Make You Mine by freaky 60s garage-rockers the Seeds, which climaxes with Manson shouldering up to Erikson on keyboard so they can both bash out a punch-drunk solo. There is also enough wriggle room to include their 1999 Bond theme The World Is Not Enough, a reminder of how Garbage’s self-described “ mongrel pop” so effectively infiltrated the mainstream. While some shows celebrating key albums stick to the familiar running order, here songs from Version 2.0 are reordered and riffled in with B-sides from the era, a time when the band’s inspirations and influences ranged from SodaStream commercials (the perky bubblegum of Get Busy With the Fizzy) to contemporary classics of Scottish feminist literature (the burning-chrome languor of The Trick Is to Keep Breathing, named after Janice Galloway’s first novel). While her bandmates stick to basic black outfits, she is a Helios goddess of Irn-Bru glam, dazzling in an asymmetrical dress of sunburst sequins, shiny leather bovver boots and a bold orange war-stripe of eye makeup recalling Daryl Hannah’s backflipping replicant from Blade Runner. She gives a shoutout to friends, family and any former customers from her teenage days working in the local Miss Selfridge.

So Scotland still loves Manson, and Manson still loves Scotland. The Agnès B-designed garment is one of the key pieces in the National Museum of Scotland’s summer exhibition Rip It Up: The Story of Scottish Pop, on show as part of a Garbage nook that includes a platinum disc marking a million US sales of Version 2.0 (it would eventually sell 4m worldwide). The album’s striking orange gridded cover was inspired by one of Manson’s outfits – a jacket that is, by coincidence, currently on display just round the corner. If Garbage’s 1995 debut album was the sound of Manson adapting to her new collaborators – injecting soul and wicked wit into Garbage’s sepulchral techno-rock – Version 2.0 was where the band found their cyberpunk groove. Then, in 1994, she was invited to cross the Atlantic to join Garbage, the smelting-pot studio project cooked up from the persuasive melodic sense and industrial remix sensibilities of US producers Butch Vig, Steve Marker and Duke Erikson. Shirley Manson was born and raised in Edinburgh, honing her singing and songcraft in local bands Goodbye Mr Mackenzie and Angelfish in the late 80s and early 90s. ‘We love you Shirley!” This excitable shout from the stalls is a reminder that, for a quarter of Garbage at least, the opening night of their 20 Years Paranoid tour – marking the two-decade anniversary of their second album, Version 2.0 – is a home-town gig.

Garbage band