First taking to the stage were Irish post-punk outfit M(h)aol. Drawing equally from the muddy experimentation of noise bands like Sonic Youth, and the anthemic feminist anthems of Bikini Kill, M(h)aol have been at it since 2014. A welcome mainstay in the Irish alternative music circuit – the band have remained amongst the country’s best and brightest musical offerings, releasing their debut LP, Attachment Styles last year.

In a heartfelt explanatory essay in this month’s issue of Hot Press, lead vocalist Róisín Nic Ghearailt recently announced her amicable leave from the band; citing the negative impact live touring had taken on her mental and physical health. Taking to the stage in suitably spooky attire – supporting Squid, first at Belfast’s Mandela Hall and now at Vicar Street – these performances mark the band’s first since Róisín left.

“We went to Dealz, we got some fake blood, do you like it?” Quipped drummer and co-vocalist Constance Keane, before the band launched into a new track, steeped in palpably familiar shades of Goblin’s infamous 1977 Suspiria soundtrack; as bassist Jamie Hyland howled into the microphone over a delightfully cacophonous wall of distorted bass, thunderous guitar and foreboding drums.

A suitable exorcism for the October night’s proceedings…

A new, more experimental and noise rock-infatuated sound seems to be emerging from the Irish post-punk quartet – if these new tracks are anything to go by. Abrasive and unconventional, it’s a more than welcome sonic progression.

“Firstly, Free Palestine,” says bassist and co-vocalist Jamie Hyland during a quick post-gig chat.

“It’s a weird transitional state, we don’t fully know what we’re going to morph into, but we’re confident in what we do and hopefully people like it!”

M(h)aol supporting Squid at Vicar Street. October 25th 2023. Copyright Piper Sewell.

With a whirlwind mix of both the new and the old, M(h)aol were in fighting form; ripping through a remarkable suite of their signature – noisy riot grrrl infused anthems, wrapped up in mind bending guitar work and verbose reflections on the state of modern feminism. That’s not to say that former frontwomen Róisín isn’t sorely missed, by bandmates and fans alike – but fret not, the future of M(h)aol is in more than capable hands…

Followed by an impressive array of avant-pop excellence from Blue Bendy, it was time for the main event…

“Four minutes until Squid,” called out an announcement, over the dusts of Vicar Street’s dodgy intercoms; then all were scrambling to get a good glimpse of Brighton’s post-punk prodigies.

A vague evocation of post-punk – whatever that stands for nowadays –  Squid’s is music blown out to its inevitable postmodern conclusion, somehow blurrily toeing the line between post rock, industrial, noise rock, krautrock, math rock, chamber pop and freeform jazz. Phew, quite the music nerd mouthful. In short – they’re a bit out there.

On a wave of murky synth, Moodily shouted vocals, and jazzy trumpet, came the riotous crescendo of 'Swing (In a Dream).' A cut from the band’s sophomore release O Monolith – which arrived earlier this year. The track sounded even better live, complimented by Judge's impeccably tight drumming and Leadbetter's deep, warbling synths.

Squid at Vicar Street. October 25th 2023. Copyright Piper Sewell.

South London guitar scene’s male answer to Karen Carpenter, Ollie Judge, launched through the set with an unceasing energy; taking up the dual duty of drumming and singing – no easy feat considering the technically demanding nature of Squid’s music.

Squid at Vicar Street. October 25th 2023. Copyright Piper Sewell.

“Hi guys, this is the last stop on our tour…” Judge began, “except for London!”

Patriotic tendencies not lost, this roused a fine racket of rowdy Irish booing from the crowd.

The band then ripped into 'Undergrowth,' a slick and jazzy lyrical reflection on animism – inspired by an infamous Twin Peaks scene, in which Josie Packard is transformed into a chest of drawers. Weird – I know!

Chaotic and gritty, 'Narrator' from the band’s studio debut Bright Green Field was the perfect storm of fragmented guitar lines, thick basslines and fuzzy guitar.

The band delved further into electronic territory with 'Leccy Jam' – which wouldn't sound out of place on a Thomas Bangalter Gaspar Noé soundtrack; a pounding and hypnotic dance/industrial vortex.

Squid at Vicar Street. October 25th 2023. Copyright Piper Sewell.

Perhaps on the self-indulgent side, Squid’s set regularly veered off into slightly strident interludes – leaving many patrons bewildered, ears ringing. In briefly tender ambient moments, however, the band let up their energy for a pause; allowing a much-needed respite for the audience’s ears, with atmospheric soundscapes of swelling cello, trumpet, chorusy guitar and lush synth.

Glancing over the crowd, Judge said: “we are reaching the final chapter of this tour, but fear not, there are still a few bangers left!”

After a thunderous applause, the band laid into a brilliant rendition of crowd pleaser ‘Paddling.’ ‘Peel St.' repeated the trick, a disarming showcase of chaotic guitar stylings from Borlase and Pearson, given even more edge by Judge’s distinctively eccentric vocal delivery.

Squid at Vicar Street. October 25th 2023. Copyright Piper Sewell.

An over-zealous crowd surfer was escorted out by security – something, something, 1984 – as the energy reached its booming peak, the band running through standouts 'Documentary Filmmaker' and 'Pamphlets.'

“Thanks so much, we are going to go to sleep now…”

Closing out the set was poignant track 'The Blades,' a haunting rumination on the British climate of police brutality that inspired the “Kill the Bill” protests in Bristol last year.

And with that, they were gone...

An unparalleled triple-threat of alternative music, Squid’s gig was an exceptional showcase of three charmingly experimental bands at the very height of their sonic powers – Squid must be seen live to be believed...