_+_+_+_+_+_+_+_ A giddy excitement bustles in Dublins iconic south-central venue. Taking the stage tonight are the citys very own genre-splicing, post-punk troubadours, Gilla Band. Formerly Girl Band before a hasty sidestep away from the cultural dangers of misogynistic misinterpretation, Gilla Band emerge onstage to a sold-out audience of devoted fans. The heaving throngs cannot be deterred (even on a Wednesday evening) from losing themselves completely in the furious bewilderment that is Gilla Band. Sludge groover De Bom Bom opens proceedings with characteristic swagger sending the crowd into a shamanic frenzy, opening a portal into a spirit world of noise rock angst. I too share the crowds fervour. Through a series of unfortunate events / comedy of errors, I have waited nearly 6 years to see one of my favourite bands, and tonight they do not disappoint. By the time we reach Adam Fauklners drum breakdown the obligatory mosh pit has formed, strap yourself in mate, my creaking mid-thirties body tells itself. Singer Dara Kiely captains the ship at centre stage. Dressed like some type of gorgeous yet bedraggled substitute teacher he howls and shrieks into his vintage hand-held microphone. Certainly not your standardised rocknroll frontmen, he takes Cobainesque introversion to new heights. The crowd take his lead as he swoons effortlessly between low transatlantic drawl and nightmarish, banshee screech. Pears for Lunch offers the mosh pit their first opportunity for true violence and the somewhat unusual singalong moment in the couplet I look crap with my top off. It is not long until those most courageous of gig goers, the humble crowd surfers, make their ascent into the lofty heights; passed from pillar to post like a cigarette in prison, smiles beaming from their upside-down faces. A lot is made of Gilla Bands success in stretching and challenging notions of the conventional four-piece guitar band. Alan Duggans radio static guitar/dial up modem style, is both highly original, iconic and mind bending at times. Coupled with Daniel Foxs broken sub-woofer bass sound and glass bottle plectrum, youre beginning to cook up a somewhat unique rocknroll soufflé. However, less seems to be made of Dara Kielys surrealist, postmodern lyricism that traverses both poetic intent and almost slapstick humour. Kiely, who has spoken openly and bravely about his battles with mental health, has painfully self-reflective gems littered throughout all tracks. Notable set highlight Going Norway, has the fervent crowd chanting why is death so alive? Certainly, a deep philosophical question for any Wednesday evening. Adam Faulkners perfect, yet almost schizophrenic drum patterns knit the grunge jumper together; setting the pace and the swaying hips dance patterns for the baying Dublin masses. The band close the evening with cover of Blawans underground techno hit, Why They Hide Their Bodies Under My Garage? A song, although not written by Gilla Band themselves, almost perfectly represents what theyre all about. Something primal takes over the room when the beat is finally dropped. Grown men shriek the completely insane tracks title at full volume. People bop and sway like at some post-apocalyptic, subterranean rave; hiding from the mutant people who stalk the Earths upper floors, losing themselves in the music in one last glorious midnight. Gilla Band both cement and destroy the notion of the
conventional guitar band. They tear up the manual and rewrite it in
static noise, surrealist lyrics, and an all-consuming bass swell.
Perhaps there is a nihilism to it that reflects the Gen Z
zeitgeist? Perhaps its just a stick to poke the industry bear?
Perhaps its comedy? Perhaps its art? Who knows? Words : Declan McKay +_+_+_+_+_+_+_+_+_ +_+_+_+_+_+_+_+_
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