Karnivool, Intervals – Manchester Academy – 15th May 2026
KARNIVOOL
While the various corners of the internet still has them labelled as “Australian progressive rock“, any thought of Prog in the traditional sense can be parked right away. Ending the tour on a triumphant high leaves us briefly pondering the whole Progressive/Progressive Rock genre as it stands in 2026. No longer the domain of the bands or their acolytes who emerged as leaders in the scene some fifty years ago. Their groundbreaking work might have been the dish of the day back in the day, but in 2026, the new(ish) kids on the block are pulling in a new crowd and progressive music has turned a corner.
The likes of Haken, Leprous and Tool (and Karnivool) have picked up the threads, grown and forged their own paths with music whose roots, but not much else, lies in the philosophies of their forefathers. No longer the domain of the studied intelligentsia, yet retaining the intricate musicianship and ambitious template that breaches the walls of the discerning populus. A new music for a new audience.
SOLD OUT
With their two UK dates in London and Manchester both posting ‘Sold Out’ signs, there’s an air of celebration, and dare we say worship, in the Manchester air as the guys round off their European jaunt and prepare for their return to the land down under. Plenty have donned their shirts with the large ‘K’ and a couple of Caligula’s Horse shirts are spotted to add strength to the Aussie unity.
The magnificent new album, In Verses, fully deserves to contribute half the set with the iconic Sound Awake (unbelievably 18 years old) too, celebrated as it was over a decade ago in town with a full performance at The Ritz ballroom. The band step out to the slow burn and brooding menace of album opener Ghost, displayed in backlit silhouette, bar multi-stringed bassist Jon Stockman who seems intent in crossing the divide. The Hoksing/Goddard guitar duo intensely picking out their parts as Ian Kenny studies his people as he snakes into his unique moves.
Two songs in and someone is already surfing over the barrier, carried by those at the front whose devotion sees them beating at the fourth wall as they scream back every lyric, invited or not. Paying an intense reverence and devotion to the music and bawling “waiting for the great escape” in one of the newest friends, Aozora. It might be the likes of Sound Awake’s Deadman and New Day that sees the Karnivool colours nailed to the Prog mast – “time we all moved on” the prophetic lyric in the former that explores guitar sonics and atmospheres beyond the ten minute mark, extending onwards and upwards, winding around the stratosphere.
DEVASTATING
For the uninitiated, Karnivool has been doing it for years. A reminder comes in Themata which is devastating – possibly the highlight of the set. All dancing guitar lines and ethnic threads snaking through the smoke to knowing nods. Of course, “it’s so good to see” needs no offering to be belted back from the throng. The main course though is the diet of In Verses. The album that even in the early months of the year, will surely see Karnivool’s rise and stock reaching new heights and levels of acclaim. An encore of Opal and Salva confirm, nay remind, that 2026 Karnivool and their In Verses opus are an essential landmark in progressive music in modern times.
London’s Roundhouse and Manchester’s Academy might just have witnessed a biblical event – a second coming even. On this evidence, the ‘best band in the world’ claims from some of the believrs might not be a false claim. A band at the top of their game and breathing the rarefied air at the top of the tree and one who are not going to slowly fade away.
INTERVALS
The Canadian instrumental progressive metal band is stoked to find that so many have shown up early enough to support instrumental guitar music. Indeed the room is pleasantly full some half an hour before kick off making for a great double bill. After their appearance in town at the 2025 RADAR event, many will know of Intervals and even given the fact that it’s the tour finale, it only takes a few songs before Aaron Marshall is declaring Manchester as the best show of the tour.
A case of glasses off, tune up as their 45 minute slot sees them showcasing much of 2024’s Memory Palace album. Instrumental guitar music with an admirable degree of complexity and not just from the twin guitars that set up cascading layers on which to decorate with intricate and complex patterns. A mesmerising blend of angular riffs, clean and clear lead lines, jerky tempos and chest thumping rhythms. Jaob Umansky’s bass plays as much a lead role, becoming seriously funky at times with a hefty thumb slapping with intent.
Alongsdie the djent flavoured metal, or metal flavoured djent, come some chilled out passages and the pairing of Epiphany and Mata Hari from the In Time EP do their job in shining the spotlight on the dynamic range of Intervals. The promise to “slow things down a bit” for Epiphany doesn’t last long as we’re never too far away from an overdose of intensity as the quartet lock into a mighty groove, confirmed by Mata Hari’s manic intensity. However, the return to Memory Palace makes sure that Intervals leave a lasting impression.
Karnivool: Website
Intervals: Website