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Review: Gong, The Thekla
“This is why I joined a band in the first place – in the hope of seeing scenes like these,” beams Kavus Torabi, as he surveys the sea of flailing limbs down the front.
How to describe the Gong of 2022? Well, if first generation Peak Gong was achieved in 1974 with the You album, which most of us were way too young to experience at the time, it helps to imagine a contemporaneous alternate universe Gong. They’re a different band – no space whispers or excessive Pothead Pixie whimsy here – but have clearly descended from the same mothership and are every bit the equal of the feted Allen/Hillage incarnation.
It’s taken a while to get here. A slightly tentative rebirth after founder Daevid Allen’s death has given way to well-merited confidence in their own abilities as a driving psychedelic rock band. It helps that they’ve succeeded in taking all but the grouchiest greybeards with them, while tackling natural wastage by bringing on board a younger generation of enthusiastic hippies. Judging by the chatter, some of the latter don’t even seem to be aware of the band’s illustrious history or recognise the strange old geezer in the funny costume whose image is occasionally beamed onto the projection screen. Not that this matters. As Torabi frequently reminds us, it’s all about the here and now.
is needed now More than ever
They open this epic two-and-a-half hour show with the 20 minute Forever Reoccurring, a highlight from the current The Universe Also Collapses album which underlines this incarnation’s many strengths. With seemingly effortless skill, bassist Dave Sturt and drummer Cheb Nettles lay down the bedrock of a solid groove that gets those feet moving, while Fabio Golfetti and Ian East contribute the distinctive embellishments of glissando guitar and saxophone respectively. Wisely, talented guitarist/vocalist Torabi has never attempted to imitate his illustrious predecessor, largely because he doesn’t have to. Having been handed the keys to the flying teapot, he’s taking it on a journey of his own devising and has more than enough charisma in the tank.
There are, of course, respectful nods to Gong history, with the likes of the evergreen You Can’t Kill Me, Master Builder (aka The Glorious Om Riff) and a mid-set “word from our sponsor” as Torabi puts it, which seems to confuse younger members of the crowd. But, significantly, much of the set is drawn from the last two albums, Rejoice! being greeted with as much enthusiasm as the old stuff and accompanied by a hearty audience singalong. It’s all served up with frantic, psychedelic projections and a relentless, suitably retina-punishing lightshow that blows tiny minds and reminds their elders why they got into this crazy, cosmic stuff in the first place.
Read more: Metal & Prog Picks: March 2022
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