Explosions in the Sky must get a lot of comparisons to GY!BE. I bet they’re sick of it, but it’s the quickest way I can think to set the tone here in Albert Hall tonight. This venue is perfect for post rock bands like this. The room oozes ambience from the pores of all that aged wood. I’ll make no apology if that sounds pretentious. This music makes you feel atmospheric. I swear at several moments, I’m not sure my feet are actually touching the ground. After thanking us for coming out on a chilly night and promising to warm us up, they do just that, slamming straight into ‘Catastrophe and the Cure’, the three guitars weaving melodies through one another, into our ears and instantly my heart. This is my first time seeing them live and it’s quite an experience, as one guitar is put down and replaced with a solo snare drum. It’s this sort of theatre that I appreciate and it sounds bloody good too. ‘The Birth and Death of the Day’ turns the heavy dial a touch, with powerchords and dissident guitars that would get SunnO))) fans nodding. The piano adds some warmth though and sets the tone for the guitars to unleash pure joy. This is the thing about EitS, it’s a pretty positive sound they pedal. Yes they’re loud. Yes it does get intense, but it’s far from bleak. Now warmed up, 'It's Never Going to Stop’ intros with squalls of feedback giving way to a rush of cymbals and more sweeping grandeur. You get a lot of bang for your buck, with songs twisting through different movements. Each a little cinematic vignette setting a different mood. It can get a little confusing to the point I’m not entirely confident I’ve got my titles in the right place here. ‘Greet Death’ brings some brooding respite, before opening up into a bouncy lament. It’s a jaunty as they get. Heads bob. Only a little though. This is a serious crowd watching a serious band. Which is a bit silly really. Move if you feel it I say. 'Your Hand in Mine' is next, announcing itself as a mid-set monster, with all three guitars one foot forward, banging their heads like The Quo (bet that’s a comparison you weren’t expecting). It’s a lot cooler though, before calming down to the sort of haunting guitar that sounds almost like a violin. They really do keep you on your toes. A sea of phones appear for ‘With Tired Eyes, Tired Minds, Tired Souls, We Slept’. Mostly all held the right way though, not many TikTokers in tonight. Everyone’s well behaved. I’d say it’s the most respectful audience I’ve been in all year and I’m convinced it’s the music guiding us. ‘The Fight’ (I think, I’ll admit I might be getting muddled in the euphoria) takes us into the hour. I’m not sure I remember a set passing this quickly. The militaristic drums slicing through the smoke filled stage. It’s fantastic. They ease up through its gears, pausing only to reset the drum kit that part collapses. Not that you’d know, they’re that tight I’m not sure even everyone on stage clocks it. They close with ‘The Only Moment We Were Alone’, all kneeling, teasing tones before standing and bringing us to ours. It’s phenomenal and to be honest a worthy set closer. Taking our hands and lifting us higher. Although I sat down about half an hour ago and my arse is going numb. It’s a small price to pay though for such a magnificent night and as they wave goodbye and the lights come up I don’t care how cold it is outside. I’ve just been insulated to my core.
