Live Review : Gnome + Wall @ Rebellion, Manchester on March 31st 2026

The way we discover new bands and fads has changed irrecoverably since us ageing dinosaurs, called the shots. Gone are the days when weekly publication like Kerrang, NME or Sounds would proclaim who was hot or not. Or of waiting for musical soothsayers like John Peel, Tommy Vance or Janice Long to rake through the entrails of never-ending demo cassettes in order to feed us with the tastiest morsels of new talent. Even the once-dominant record labels, who were able to make or break a career with the flourish of a chequebook, have seen their power greatly diminished. The Internet and specifically social media has managed to democratise this whole charade, removing any need for a middle person and allowing new acts to prostitute themselves directly to the listening public. Gnome are one of those bands that has attracted a rampant following by tapping into our seemingly unquenchable desire for new content. They came into our lives via Facebook videos and Tik-Tok and have obviously struck a chord as Rebellion is chock-full of a heady mix of usual suspects, hipsters and one-a-year giggers. 

Advertised openers Shred Dibnah (apparently a doom metal band inspired by the legendary steeplejack Fred Dibnah) have been unable to make the perilous journey over from Yorkshire. So, we go straight into instrumental duo, and one half of Desert Storm, Wall. Consistently entirely of twin brothers, Elliot and Ryan Cole there is an obvious telepathic cohesion between the two of them as they roll out track after track of riff-heavy guttural blues. This is music to become lost in. Gargantuan guitar passages, rich with texture and scuzzy beauty. Even though you are watching essentially half a band, at no point did you miss the vocals or the bass. Given that their collective day jobs is being quintessential components of one of this country’s leading purveyors of doom, this side hustle is surprisingly buoyant and breezy. There is a jaunty velocity at play with tracks being dispensed at a brisk pace. It is all surprisingly accessible and rather delectable if you are in the market for pure unadulterated riffage. 

By the time we reach Gnome’s prescribed 9.15 set time, Rebellion is buzzing with anticipation. There is nothing more intoxicating than the unbridled expectation of an audience hungry to devour on their new musical obsession. The merch desk has done a brisk trade all evening, and the room is heaving with newly purchased T-shirts and proudly worn Phrygian caps. The rapturous reception as they wander on stage is deafening. Gnome present a potent marriage of whimsy and rampant riffage. There is an obvious sense of irrelevance and folly, but their USP is how they expertly splice it with extraordinarily adept musicianship. It is stoner metal, but stoner metal with a spring in its step and joy in its heart. 

Earlier cuts such as ‘Jebediah Supreme’, ‘Antibeast’ and ‘Blacksmith’ are exclusive instrumental. They shimmy along with flair and wonderfully refined groove. Geoffrey Verhulst's bass does some seriously heavy lifting in these lyric-less numbers (which make up around half the set). His playing is warm and organic. It is so full of character and finesse that it gifts each song with a vibrant personality. His vibrant thumbing gives the tracks shape and meaning even when there are no words at play.

Vocalist and lead guitarist Rutger Verbist, also plays his part in weaving a joyful communal atmosphere. As a front person, he is a veritable open book. His face is permanently frozen in gleeful ecstasy as he surveys the euphoric chaos that is unfolding in front of him. He does, though, take time to point out to the sole stage diver that leaping headfirst into an unsuspecting melee of people may not be the brightest of ideas. His guitar playing is sublime. The riffs he ushers forth are gorgeous. Gigantic and penetrating, they also share that comforting warmth that emanates from all elements of Gnome’s being. 

The reception they get during their hour and a quarter on stage is astonishing. A sold-out room sing along with glee when there are indeed words to respond to. The pit is a heaving mass of pointy red caps, spinning around in elated ecstasy. Rebellion just becomes this cauldron of unburdened euphoric glee. Even during ‘Rotten Tongue’ when they sing of their disdain for Belgium's politicians, they still manage to do so with an infectious level of exultant jubilation.

Sadly, basically because they are starting to run out of songs, the merriment has to come to an end. There is no encore; they come across as far too genuine and honest to partake in the whole "we are going and we are back” façade. Instead, we get the wonderful ‘Kraken Wanker’ and final flourish of ‘Ambrosius’, with its sweet, simplistic, wistful words and barraging riffs. The welding of minimalism and progressive playfulness is once again mesmerising. That’s the point. That is what is so sumptuously wonderful about Gnome and makes them stand out from the crowd. By not trying to be clever or conceited, they have managed to craft a musical universe that is both hypnotically entrancing and also incredibly accessible. They have created a corner of our world where joyful whimsy is not just accepted but encouraged. In today's grim, grey world, that can only be a good thing.

Check the “In The Flesh” page for more photos!
Gnome + Wall