Pete Wall
There’s a palpable buzz in the air as the crowd fills the dimly lit venue. The slight delay on the doors has only added to the sense of anticipation. When God Alone finally take the stage it’s clear we’re in for something special.
Hailing from Cork—“same place as Cillian Murphy,” they proudly proclaim—the band are quick to pay homage to the rich cultural heritage of Bristol, “where Tony from Skins is from.” It’s this blend of humour and high-octane energy that sets the tone for a chaotic yet deeply engaging set.
God Alone’s sound is a wild ride: discordant blasts give way to technical intricacy, then bloom into something almost heartbreakingly impassioned. Drummer Jack O’Hanlon is a revelation—tight, inventive, and versatile enough to belong in five different bands across five completely different genres. Meanwhile, guitarist and lead vocalist Jake O’Driscoll spends half the show weaving in and out of the crowd, his riffs veering all over the sonic map but never losing coherence. By the end, he’s sprawled on the floor in the middle of the pit, guitar squealing its final notes into the ceiling.
There’s a vitality to their performance that’s impossible to fake. In the course of the six-song set, the band showcase a clutch of new tracks alongside familiar material from 2022’s ETC. Every song and component element feels urgent and necessary. ‘Kung Fu Treachery’ closes things out accompanied by an onstage display of the finest kung fu skills this side of Outbreak festival.
It might have taken a minute to get going, but once it did, God Alone delivered a set that was as emotionally raw and frenetic as it was musically accomplished. Their upcoming set on the Wednesday of this year’s ATG is unmissable.
If we discount the band’s appearance at ArcTanGent last year, it’s been a long time since Brontide here in Bristol —all the way back to 2011 to be precise—but tonight, they return to Bristol reformed and reinvigorated, and the room is buzzing. The perfect encapsulation of just how much time has passed comes from an early back-and-forth with a member of the crowd, “You were the last band we saw before we had our baby… she’s 13 now,” we’re told. This show, and this tour, feels like a really big deal for the band and their fans, and it’s a privilege to be witness to it.
From the moment Artery’s opening track ‘Tonitro’ kicks things off, it’s clear the band means business. The sound is tight, heavy with groove, and packed with those chunky, progressive builds that make Brontide so distinctive. The crowd is locked in early, riding every rise and fall. There’s no doubt—they’re here for this.
The set flows with purpose, touching on second album favourites like ‘Kith and Kin’ and ‘Cabin’, while older tracks like ‘Limehouse Ink’ and ‘Coloured Tongues’ keep the energy sharp and the nostalgia flowing through the room. Nothing feels dated. Brontide aren’t just reliving past glories—they’re reminding us why their return makes all the sense in the world. “We’re planning to keep going,” is the message from the stage, a pledge that is met with universal warmth and appreciation.
By the time Brontide close the set with the one-two of last year’s single ‘Mineral’ followed by the infectious undulations of ‘Matador’, the room is fully locked into the rhythm—heads nodding, bodies swaying, a collective immersion. No theatrics, just three musicians totally in sync, doing what they do best.