Nothing Treat Fans to a Post-Shoegaze Masterclass at London’s Moth Club [Show Review]

Nothing has been reconstructing and reimagining what shoegaze is typically thought to be for nearly twenty years. Now five studio albums and a whole host of collaborations and EPs later, it seems those who live in the above-ground world of alternative music are still sleeping on the absolute genius of the man behind the reigns of this progressive powerhouse, Domenic Palermo. Palermo started Nothing as a bedroom project in 2010 and has since seen a football team’s worth of musicians come and go from the lineup, although this revolving-door-style management of the band has never derailed Palermo from making his dreams a reality. In terms of progressing the genre, Nothing are maybe only matched by the efforts and achievements of Deafheaven and Slowdive in the past ten years, yet it still feels like they are well overdue for the recognition and acclaim they deserve.

Tonight’s venue, The Moth Club in Hackney, East London, is somewhere Nothing are familiar with, having played here in 2016 after the release of their brilliant second album, Tired Of Tomorrow. An intimate setting that doesn’t look too dissimilar to a Working Mans Club / Scout Hall, it’s unique charm and atmosphere feels like a real hark back to a time when it wasn’t uncommon to see established bands play smaller local shows in the early 2000s. With the release of album number five back in February and a two-year absence from UK shores, there’s a very real edge of anticipation amongst the faithful gathered this evening. Opening with “Purple Strings” from the new album Toothless Coal, they immediately cover the room in a Nothing-shaped blanket of hush, filled with really minimalist yet increasingly expansive tones and soaring melodies.

Pulling from their latest release for a majority of the set, live these songs sound even dreamier, scuzzier and packed full of world weary levels of unease and emotional turmoil. They convey such a spectrum of feelings musically, it’s really quite jaw dropping at points, with overwhelming amounts of diverse and conflicting noise, it can feel like an absolute tsunami of sonic, sensory overload and a constant collision of ideas that somehow end up marrying perfectly. Songs such as “Famine Asylum” and “April Ha Ha” from 2020’s incredible The Great Dismal see them go full abrasive dreamgaze, using all of those beautifully intricate and nuanced guitar loops and patterns along side the harsher and scuzzier builds, it creates such a full and interesting body of sound. “Never Come Never Morning” is probably one of the most self-identifying songs on the setlist today, a cascade of siren-style guitar loops, the ethereal, gazey vocals and abrasive riffs. It’s a beautiful song that, in the live setting, will whisk you a million miles away, removed from your surroundings and fully on board and entrenched in its journey.

“A Short History Of Decay” is as close as Nothing comes to a radio-friendly track, showing off the lyrical genius of Palermo, employing sweeter verses and hooks, it has all the mountains soaring and landscape drifting you’d expect from them without any of the harshness, giving this now sweat-drenched audience a chance to catch their breath. Ending what felt like an absolutely exhilarating exploration into so many various levels of sound and sonics, they take the performance home with the incredible Eaten By Worms, a grunge-filled sea of riffs and down trodden sentiments fill the air and sign off on what feels like a real moment for them.

Watching Nothing feels like being in the presence of an energy vampire… in a good way, of course. They create these vast, rich and lush landscapes through beautiful tones and uniquely structured patterns, designed to mentally feed on your emotions and anxieties, making you feel the music, not just hear it. They are a special band who bring a different edge and spirit to this genre. It was a real experience seeing them in such a small setting, but its time for them to get the space and production of bigger stages and public support and admiration they deserve.