Review: Mogwai at The Rechabite

Mogwai at The Rechabite
w/ Gia Como
Thursday, February 15, 2024

You never forget a Mogwai show.

They may have been regular visitors to Perth Festival over the years, but each time they seem to come with even more expectation, and invariably, the post-fest perspective tends to land them as the (contemporary music) act of the festival.

With two remarkable sold-out shows in 2024, that reputation isn’t in any danger. In short, there are just not many live acts in the world that can compete with the intensity of their monumental post-rock instrumentals.

Playing two completely different sets across the two nights, the second of these (Thursday night) was also the first announced. Probably knowing this would be where their most loyal fans would be, Glasgow’s finest dished up an even better setlist on day two, with both their most revered 10-minute epics in Mogwai Fear Satan and Like Herod appearing, and three in total coming from their 1997 debut record, Young Team.

Unsurprisingly, nestled in prime positions finishing the main set and encore, respectively, these two belters were the night’s most astounding highlights: the loudest, fieriest, most aggressive, and jaw-on-the-floor moments to leave ears ringing in Perth for some time.

They were far from alone, however. Earlier, Drive the Nail hit hard six tracks in with a light show to match, following a somewhat subdued opening that built the tension nicely. Lifted from latest record As the Love Continues, Nail is a reminder that Mogwai are still putting out great records 30 years into their career.

Ex-Cowboy, in particular, was an absolute monster just a few tracks later, achieving total liftoff like a phoenix rising from the ashes of its subdued moments. Taken from 1999 album Come On Die Young, it’s the sort of deep cut Mogwai aren’t afraid to dig into, knowing they are better judges of their best work than any music critic.

Early on, Stuart Braithwaite got on the microphone for a rare pair of 'songs’ amongst the surging tide of instrumentals. Cody was introspective but effective, while Ritchie Sacramento is that rare example of a Mogwai tune that’s better on the album than it is live.

While there was no Barry Burns on this occasion, it was an opportunity to check out new keyboardist Maria Sappho, who even guested on vocals for Killing All the Flies. Alongside bassist Dominic Aitchison, who frequently jumped on the synths, they provided the electronic textures that got toes tapping between guitar onslaughts, none better than Remurdered late in the set.

Earlier, local queer electronic outfit Gia Como was a welcome addition to the bill, with an ambitious mix of live dancers, a DJ, and instruments melding together into some kind of shoegaze-Bowie-with-beats collage that’s got plenty of goth potential. Keep an eye on this lot.

As for Mogwai, it’s safe to say by now that we know what we’re going to get from them live. But it never gets old; it just seems to get better. With a peerless live sound that must surely push the boundaries of local noise limits, they continuously navigate a knife’s edge of brain-crushing noise and epic journeying.

HARVEY RAE

Photos by Linda Dunjey