The clock strikes 9 p.m., and the lights dim inside the sold-out Marble Factory. The silence that follows, created by possibly the most respectful and quietest audience I have ever witnessed, was incredibly eerie. The only sounds heard around the venue were the echoes of walkie-talkie earpieces from the staff and security. A pin drop would have been noticeable to nearly all 1,600 attendees.
After a moment of what can only be described as deafening silence, we hear the beginning of what will become a 13-minute drone, during which the band improvises as a warm-up for what is about to unfold—commonly known as “The Hope Drone.”
Thierry Amar, the double bass/bass guitarist, and violinist Sophie Trudeau begin the improvised warm-up, setting the tone for what will be more of an experience than any “normal gig” for those in attendance. They are soon joined by the remaining six members. Guitarists Efrim Menuck, Mike Moya, and David Bryant take their seats on stage, where they will remain for the mammoth two-hour set, which includes songs and movements from albums such as No Title as of 13 February 2024, 28,340 Dead, Fire at Static Valley, Asunder, Sweet and Other Distress, and even their 1997 debut, the critically acclaimed F♯ A♯ ∞.
The only glimpses of the band come from flickers of light emanating from the 35mm and/or 16mm film projectors they use to display short films. Sometimes politically charged, sometimes abstract, and often uneasy, these artistic films are created by the band’s longtime filmmakers and projectionists, Karl Lemieux and Philippe Léonard.
Fans of the band will know that their songs, movements, and pieces of music range from six minutes to over thirty minutes. A personal highlight of the show—and judging by the roar of the crowd, theirs too—was when the band began to play a section from the song “East Hastings,” specifically the part called “The Sad Manifesto.” This is probably the closest the band has come to a single in their 30-year existence, and some may recognize it from the 2002 movie 28 Days Later.
Known for their peaks and troughs, their epic, euphoric, thunderous crescendos, and their quiet but intricately dreamy lulls, the band did not disappoint a single person in the packed Marble Factory. As each song finished, the crowd remained silent, completely in awe of the performances.
If you ever get the chance to see this band in a city or venue near you, I urge you to take the opportunity. Even if you’re not a fan or have never heard long-form instrumental music before, it is an experience you will never forget.
Their new album “No Title as of 13 February 2024, 28,340 Dead” is out now.
I am a self taught Photographer and an aspiring reviewer.
I have been in and out of bands for the past 15 years and some, so thought it only makes sense to stay in the scene that has been the most important aspect of my life since I can remember, live music.
Available for:
I am available for small gigs, larger concerts, recording sessions and festivals.
First attended gig:
The first proper gig that went to that I can actually remember was Muse supported by a then lesser known Elbow and I think the main reason I remember that is because it was the first big concert that I was allowed to go to with just my friends. Obviously Muse were fantastic by the way.
First gig shot:
Im pretty sure the first gig I shot was for a friends band at a local social club with some sort of £30 Argos camera. You can only imagine the fantastic quality of the shots.
Dream gig:
My dream gig to shoot would most definitely be either Tool, not just because they are amazing but their stage and lighting is magnificent. Or I would love to shoot another one of my favourite bands which is Explosions In The Sky and that’s just because they are incredible.
