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Oct 18, 2024 By Dom Gourlay Photography by Alex Dougherty (lead photo) Web Exclusive

Rob Marshall has become one of the most coveted names in music in recent years, not only as a guitarist of some considerable repute. But also as a songwriter, arranger and collaborator. Aside from working with the late Mark Lanegan on 2017’s Gargoyle and the follow-up Somebody’s Knocking two years later, Marshall has further enhanced his reputation as Humanist with two critically acclaimed albums under his belt.

Essentially a solo project, Humanist has provided Marshall with an opportunity to collaborate with some of the biggest names in music – Depeche Mode’s Dave Gahan, Peter Hayes from Black Rebel Motorcycle Club and highly respected Scottish musician and composer Isobel Campbell being three of the names who’ve contributed guest vocals on Humanist records. While the recordings undoubtedly laid the foundations, Humanist’s live show is a force to be reckoned with as well, and the current line-up – Marshall on guitar, Wendy Rae Fowler on bass, Scott Pemberton on drums and Jimmy Gnecco – is arguably the best one yet to bare the name of its creator.

So, it’s no surprise that there’s a hive of anticipation around Nottingham’s Bodega long before the doors are due to open on this cold and wet Monday evening.

Beforehand, locally based three-piece TRNKS open proceedings. A Nottingham supergroup of sorts, its three members Christian Davis, Chris Moore and David Startin having played in the likes of Six By Seven, Spotlight Kid, I Am Lono, The Kull, Soulsavers and Model Morning among others over the years. However, what sets TRNKS apart from any of their previous projects is their propensity to exist solely for the purpose of clubland dance floors rather than the rock venues of yore. In thrall to the early Warp Records releases as well as the more celebrated likes of Underworld and Depeche Mode, TRNKS are a welcome anomaly that’s difficult to resist whatever the setting. Recent single “Need To Get Out Of My Mind” bears all the hallmarks of a future disco classic in waiting, not to mention being a hugely infectious earworm in its own right.

With the bar raised by tonight’s openers, Humanist don’t just hit the ground running. They take off in style. Playing twelve songs this evening in a set that mixes tracks off the first two albums with the odd Mark Lanegan cut co-written with main conspirator Marshall. Which makes for a brooding, atmospheric, and at times poignant ride of mixed emotions.

Opening with “Beast Of The Nation”, a song impeccably delivered by the aforementioned and lamented Lanegan on 2022’s self-titled debut. Vocalist Gnecco more than doing the piece justice in the flesh. As he also does with “The Holding Pattern” whose recorded vocalist James Cox is ironically playing just around the corner on the next street with his band Crows this evening. The mid-section of the set proves an admirable showcase of Humanist’s second LP On The Edge Of A Lost And Lonely World, which is sure to be among many end of year “Best Ofs” come December.

“Born To Be”, “The Immortal”, “Too Many Rivals” and a solemn rendition of “Brother” all resonate cathartically with all and sundry. Gnecco’s pitch perfect voice in tune with the three musicians around him. All clad in black and clearly lost in the sonic bliss they’re creating. It’s a thing of wonder seeing the way Humanist communicates with their audience through the power of music, but also one that’s testament to its creator and his accomplices.

The final quartet that throws the big singles from the first album “Ring Of Truth”, “Shock Collar” and English Ghosts” back-to-back with a powerful run through “Disbelief Sensation” off Mark Lanegan’s penultimate record from 2019 Somebody’s Knocking makes for a breathtaking finale that leaves those present aghast and wanting more.

Afterwards, an emotionally drained Rob Marshall looks genuinely flabbergasted at the overwhelming response, which is nothing less than one would expect from one of the most humble men in music.

With more live shows and festivals on the horizon for 2025, Humanist’s ascension to the next level surely beckons.