In a rush and can’t read the full recap? Make sure to check out: "Extinction" -> "Gondii," "The Dripping Tap" -> "Sad Pilot," and "The River" -> "Wah Wah."
Looking back it seems obvious. Of course King Gizzard would choose their 2024-05-20 show in Berlin, an international hub for modern electronic dance music, to debut an expanded bank of synthesizers and processors and, naturally, material from The Silver Cord. Beginning at the end, the band opened the show with "Extinction," with Stu, Joey, Lucas, and Cook gathered like mad scientists around a cornucopia of keyboards arranged on a rolling table. Amby, looking a bit lonely if I'm being honest, played keys from his new position at the front of stage left. Starting with some ambient knob-fiddling, the band built up the melodic core of "Extinction" for two full minutes before Cavs stepped onto the drum riser. After the song proper the band faded down to a synthy soundscape before Cavs picked up a positively driving groove, the perfect backdrop for an exploration of drones and oscillations, the jam growing dissonant as Amby joined the others at the synth table.
As if the live debut of "Extinction" wasn't enough Gizztory for one show, the band then navigated a very clean segue into the first ever live performance of "Gondii." The inclusion of a synth-based song from Changes opens up speculation about which songs we might see in future synth segments of shows. (Aside from The Silver Cord tunes, rearrangements of numbers like "Magenta Mountain" and "Shanghai," as well as live debuts from Butterfly 3000, all spring to mind.) During the absolutely raging debut of "Gondii," Stu sampled and then manipulated his own vocals in real time as the band continued the onslaught of textures and noodling. For most of the song Jason Galea projected an overhead live shot of the synth table with overlapping psychedelic effects. At about six minutes, Cavs again went quiet as his bandmates conjured more ambient terrain, only to reenter moments later with a pumping techno beat. The improv rose to a frenzied peak before some "Extinction" jamming and quotes closed it out. "Holy fuck!" Joey exclaimed as the Berlin audience roared its appreciation after thirty solid minutes of synthesized fire.
A quick reset (goodbye for now, beautiful synth table!) and then... "Magma." The version from the tour opener in Brussels was very strong, so hopes were high for another energetic rendition. While this one didn't stray too far from the beaten path, it did feature prominent sax work from Amby and closing lyrics annunciated with unusual clarity by Stu. "The Dripping Tap" next? Why not? If there's one thing we can say about setlist placement choices so far this tour, it's "expect the unexpected," so a mid-show "Tap" seems on the level. The band dropped a "Sad Pilot" tease in the first few minutes, and then a uniquely flavored jam after the first break in "Tap" led to a full transition into the tune. The band took their time getting there (Stu even sat for a spell on the edge of the riser) but get there they did. The second-ever "Sad Pilot" was very well performed, the vocals sounding more confident than the debut in Offenbach. After the band brought our glum aviator in for a safe landing, they leapt right back into "The Dripping Tap," creating a tastier sandwich than any you're likely to find in an airport. The second half of "Tap" was loose and jammy, with "Motor Spirit" throat singing from Stu and oodles of gleeful guitar interplay featuring prominently.
When "The River" is the "breather" song, you know something is in the air. The band took the intro nice and slow, letting the audience settle a bit after the preceding musical onslaught. An average-length "The River," this performance still offered plenty to enjoy, including some dark yet triumphant jamming and further "Motor Spirit" teases and quotes. After just twelve minutes they introduced the familiar theme of "Wah Wah," but before heading into the song proper, Stu wove in some otherworldly "Extinction" teases that will make the hairs on your arms stand up. In an unexpected move, the fading noise of "Wah Wah" gave way not to "Road Train" (or back into "The River"), but to a heartfelt "Let Me Mend the Past." This choice was a ray of musical sunshine in an otherwise brooding and stormy setlist. In another about face, the band shifted into microtonal mode, trudging through the glowing ruins of "Doom City." Despite Joey's stated intentions to play past curfew, the band cut "All Is Known" and "Rattlesnake" from the microtonal segment of the printed setlists. With the new synth setup bound to get more of the band's onstage attention, it will be interesting to see how they balance microtonal, metal, and now electronic segments of music across future shows.
Speaking of metal, the band delivered a three-song throwdown to end an incendiary evening. After a typically shattering "Planet B," the audience was treated to the second-ever live performance of "Flamethrower," the final song on PetroDragonic Apocalypse, gesturing back to the closing song from its sister album that opened the show. Before the last song of the night, Joey and Amby gave a hearty congrats to Stu for orchestrating the synth table, but, ever gracious, Stu handed the praise on to crew members Nico and Laura, encouraging the audience to give them a round of applause. A predictable but impassioned "Gila Monster" closed the affair, but not before Stu worked in some awesome slowed-down "Dragon" riffs.
The greatest King Gizzard show ever? Probably not, but certainly historic and memorable, and one of the strongest so far this tour. The introduction of the synth table marks an evolutionary step in the band's live repertoire, one that fans will undoubtedly watch develop with excitement. On to Hamburg and the first marathon show of 2024.