The Gigraphy Review - Eyehategod, Rebellion Manchester, 14/09/2023

On Monday 14th August, Gigraphy achieved a a major milestone - our first official press pass for a gig! Who better to send down to collect this inaugural pass than Nic Howells, who used his photography and reviewing skills to give you a taste of Eyehategod's Rebellion show, supported by Church of Misery.

Let's get into what you may have missed:

Eyehategod's Lasting Impression on Manchester - August 14th 2023

It was a night of unadulterated sonic assault as Eyehategod descended upon Manchester flanked by the iconic Church of Misery. The two delivered performances that left the audience both exhilarated and drained. The duo’s battering of Rebellion Rock Bar sent shockwaves through the city, showcasing their distinctive blend of sludge and doom.

Church of Misery

Firstly, it cannot be overstated how great it was to have the Church of Misery back in the UK. Hot off the heels of Desertfest in London back in May, the group are touring this year's release Born Under a Mad Sign. Marching on stage to 2009’s ‘El Padrino’ gives Fumiya Hattori a beautiful spotlight early in the set.

As far as opening tracks go, this is a great choice for bringing in a crowd that may be colder to the happenings of the Japanese Doom metal outfit. The level of intensity on stage from recent returnee Kazuhiro Asaeda greatly helped as they powered through the epic 10 minutes of ‘Most Evil’ from the new release. The trend of one track from the latest album and then a choice from their earlier catalogue, is one that really seems to work as they go back to 2013 with Thy Kingdom Scums ‘Brother Bishop’ followed by this year’s ‘Come and Get Me Sucker’.

Everything about this set seems to have fallen in its rightful place. With the now well-blooded Toshiaki Umemura battering the drums, and the aforementioned Fumiya Hattori giving it large on the guitar, this show feels like a pivotal one for fans in Manchester. Asaeda has long been known as the one who started it all with Tastu Mikami back in 1995, and the stoic bassist is still on stage today. With Kazuhiro back in the fold it really feels like eras of the band have married into one.

Eyehategod

The arrival of Eyehategod on stage was delightfully understated; they oozed a rockstar aura in the sense that everything they were doing seemed like just natural motions for them. The Lazarus-like screech of Jimmy Bower’s guitar meant any number of tracks from Take as Needed for Pain could be the first of the night, before they launch into the title track itself in commemoration of its 30th anniversary. From the moment the first chord resonated through the air, the crowd - a mix of die-hard fans and intrigued newcomers - seemed possessed by the music. The dimly lit stage, adorned with a minimalistic yet powerful setup, was the perfect backdrop for the NOLA quartet as they rounded out the first trio of songs with a medley of ‘Blank’ and ‘Shoplift’, also from the Take as Needed for Pain era.

Mike Williams cuts an intense but captivating presence during ‘Jack Ass in the Will of God’, while merely swaying in place with the microphone stand. His gravelly vocals and guttural screams cut through the dense wall of controlled chaos from the other three members - the band's chemistry was undeniable and a testament to their years of experience. Jimmy Bower and Gary Mader on the stringed instruments unleashed a barrage of crushing riffs that reverberated through the venue, while drummer Aaron Hill showed to be incredibly tight on the kit as he provided the foundation through tunes ‘Dixie Whiskey’ and ‘Sisterfucker’.

The setlist was carefully curated; the first foray away from their early material came about half way through with ‘Medicine Noose’ and ‘Parish Motel Sickness’, both from 2014’s Self Titled album. It was a proper journey through Eyehategod’s discography with the lone single from 2012, ‘ New Orleans Is the New Vietnam’. There’s a steady blend of old fan-favourites spliced with newer material, that not only showed the evolution of the group, but also cements them as one who have had such a strong routine over the years. The fact the tour is celebrating 30 years of 'Take as Needed for Pain' is a major testament to that.

We come to the most recent point in the band's history as they visit their latest album, 'A History of Nomadic Behaviour'. When playing ‘Every Thing, Every Day’, the newer material gives a real sense of crushing omen. This track seems particularly raw, poignant, and appropriate in a post-Covid world. Judging by the live reception, there are a few in the Rebellion who agreed with Williams, screaming the lyric “Kill Your Boss” in vocal-shredding fashion. Again, this setlist seems like it was written with a nod to the crowd in mind, as they appropriately return to 'Take as Needed for Pain' with the tracks ‘Kill Your Boss’ and ‘30$ bag’. These elicited just as visceral a response from the crowd, with plenty of stage divers and crowd surfers lending the no-barrier venue a rough viewing experience.

Every distorted note and punishing drumbeat made this concert a standout gig in Manchester's summer lineup; this was a gruff event that roped together everyone’s lives into one room for little over an hour regardless of their backgrounds. Eyehategod deserves immense praise for that. The quartet marry nonchalance, nonsense & near effortless rockstar ability, and they bring all that down on the crowd with final track ‘Methamphetamine’ from 1996’s Dopesick. As the final notes of the encore reverberated through the air, it reminds us of an era where everything was grungy, messy and unpolished. It's not to say that Eyehategod stood completely alone in this era, but few were doing this the way they were . Even fewer are doing it that way now. Long may Eyehategod continue to.

Eyehategod's Manchester concert had been an unfiltered, cathartic release of pent-up emotions, a reminder of the power of music to transcend boundaries and bring people together.