Mogwai Turn Bristol Beacon into a Wall of Cinematic Sound

Sam Holt
25 minutes ago
3 min read

Bristol Beacon, Sunday 22nd February

WORDS / IMAGES SAM HOLT

Mogwai Turn Bristol Beacon into a Wall of Cinematic Sound — PHOTO CREDIT SAM HOLT

Mogwai – Bad Fire World Tour;

As part of their eleventh studio album tour, The Bad Fire, Mogwai stopped in Bristol. Their last album, As the Love Continues, peaked at number one in the UK charts. The Glasgow-based band, who have been around since 1995, have evolved considerably over the years. Their music is often described as alt-rock or post-rock, and they are particularly well known for their guitar-led instrumentals.

“Most people are not used to having no lyrics to focus on,” said frontman Stuart Braithwaite. “Some people find great solace in lyrics. I suppose they enjoy singing along, and they may become a little irritated if they are unable to do so with us.” Naturally, this piqued my interest, and I was keen to experience it for myself.

Matthew Barnes, better known by his stage name Forest Swords, opened the show. He has three albums under his belt and, like Mogwai, has written music for film and television. As he began his set, the stage was almost entirely dark, with only a projector casting shifting coloured shapes that morphed into new visuals. He won over the Bristol audience in style with his intense, immersive soundscapes; rather than speaking, he simply shone a torch towards the crowd as he exited the stage.

At nine o’clock, Mogwai took to the stage with “God Gets You Back”. It was a strong opener — not only for the evening but also as a showcase for the album released last year. The Carpenter-esque influence that has developed in their sound has been widely discussed, particularly in relation to their more recent synth-led tracks. Like John Carpenter, Mogwai have composed several TV and film soundtracks, and that cinematic quality is unmistakable. A lone microphone stand hinted that there would be a handful of vocal tracks — a relatively recent addition to the predominantly instrumental, guitar-driven set.

You could easily lose yourself in “New Paths to Helicon Pt. 1”, a track that steadily builds in intensity, awash with distortion before fading away. “Pale Vegan Hip Pain” stood out for its striking guitar work; in my opinion, it felt slightly lighter than some of the heavier moments in the set.

A powerful, anthemic track from As the Love Continues, which earned the band a Mercury Prize nomination, “Richie Sacramento” was clearly a crowd favourite. It was obvious the Bristol audience relished it. “Fanzine Made of Flesh” followed — entertaining and, dare I say it, surprisingly catchy. The vocoder-styled lines, layered over swirling instrumentation, added an intriguing depth. Closing the main set with the thunderous “Lion Rumpus” was a fitting finale, leaving the crowd wanting more.

After a brief pause, the band returned for an encore, performing “May Nothing But Happiness Come Through Your Door” and the epic “Mogwai Fear Satan”, completing a set that both promoted the new album and celebrated the band’s formidable back catalogue.

At a Mogwai performance, you are completely drawn in by the music and experience it on a deeply emotional level. The lighting — predominantly backlit and powerfully atmospheric — transformed the concert into a fully immersive spectacle rather than simply a live show. It is clear from their all-encompassing soundscapes why they are so adept at composing for television and film.

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