2024-10-03 | Godspeed You! Black Emperor, Tashi Dorji | HMV Empire, Coventry

Anyone who has read any Gigregator (or moreover, anyone who knows me), will know that I’m a huge Post Rock fanboy. It goes without saying then, that I’ve listened to my share of Montreal-based legends of the genre, Godspeed You! Black Emperor, henceforth referred to as GYBE. After missing their previous London visit due to illness, I was keen to take the opportunity to see them this time around, on the eve of their new album release, NO TITLE AS OF 13 FEBRUARY 2024, 28,340 DEAD.

Somehow, this was my first ever visit to Coventry. While the city seemed to have some decent amenities in the centre, I had genuine hints of mugging fear parking up in the in the darkness of The Barracks alongside the venue.

Upon arriving at the HMV Empire, I was taken aback by the size of the venue for what, despite their cult following, is still a niche band. The group have a mystique surrounding them, from their outspoken anarchist tendencies to fabled early tape releases that went missing for literal decades. It’s tough to argue that GYBE have always produced exactly the music they desired, without any distractions of chasing financial success or expansion of their loyalist fanbase.

I entered the hall to Tashi Dorji, a single, brave musician pumping out discordant shred on his acoustic to a seemingly somewhat bewildered audience. It was a highly improvisational set that I wouldn’t say I completely enjoyed, but was interesting nonetheless. As usual, a group of chatty lads who weren’t the least bit interested decided to post up behind me and natter through the performance. I resisted the temptation to check their respect, wanting to remain un-mugged for the rest of the night.

It goes without saying, fans of GYBE are renowned for being a colourful bunch - I was informed by friends in the know that there was a “defecation incident” at the London show. Thankfully there wasn’t a repeat performance, but largely the crowd seemed to be fairly normal (albeit aging) bunch.

After a seemingly endless fuzz-intro from GYBE, the band made their way out one-by-one to the steady uptick of sombre violin. The levels for such a dynamically variant makeup were really well set, allowing each instrument the necessary space, even when “wall of noise” mode was engaged.

The band are renowned for their fairly fluid lineup, however the appearance of Sophie Trudeau, Mike Moya and certainly Efrim Menuck were unmistakable. I was pleasantly surprised that the honky guitar wail so distinctive from the band was a contribution from all guitarists on stage, lots of it coming from David Bryant, a veteran who had evaded my prior research.

As expected, the audience interaction from the band was essentially nonexistent - no illusions of an encore here. The backdrop projections throughout the set ranged from pencil draw glyphs indicating the ever diminishing “HOPE”, to ablaze skylines and brutal sepia cockfights. These set the scene well and are a good stand-in, as it’s clear the band have no interest in traditional showmanship.

Despite a lone girl down the front lifting her skinny fists, audience involvement was limited to respectful cheers and spirited swaying (my preferred way to indulge this brand of dystopic drone). I struggled to place many of the tracks performed beyond latest single, GREY RUBBLE - GREEN SHOOTS and a classic to close, East Hastings. Despite this unfamiliarity, the ease with which one can lose themselves in the soundscapes of GYBE is uncanny.

One fellow to my right shuddered in exultation at the end of the set, as if just concluding a spiritual experience, and I can completely relate. Despite not coming away with the typical buzz one would associate with leaving a gig venue, I have no doubt of my privileged to have witnessed a performance by these trailblazers of the genre. I’d see them again in a heartbeat.