I Just Read About That…

[ATTENDED: April 20, 2026] Knoll

I saw Knoll open for Agriculture three months ago.  Then I saw that they were returning in three months to open for Pallbearer.  And they are the reason I went to this show (and why I listened to Pallbearer for the first time).

Knoll’s show in January was just mind blowing–intense and wild and loud and a little scary.  And I really wanted to see them again.  Last time I was in front of guitarist Cameron Giarraputo, so this time I wanted to experience it from the other side of the stage in front of Ryan Cook guitarist and trumpet (!) player.

What did I write three months ago?

I have seen a lot of extreme bands, but there’s nothing to prepare you for this.

And the show was largely the same.  Possibly the same songs, but it’s kind of hard to tell.  So I’ll quote from myself a bunch.

Knoll set up their gear.  They had an old-looking end table (I would guess like 100 years old, with all kinds of filigree–but probably not worth anything) and interesting gear on it.  The table also had a little light on it and there were four floor lamps around the stage.

This time I watched as singer Jamie Eubanks asked them to cut all of the lights.

These lights were the only things that lit the stage!  And, most interesting of all, each band member had a step on plug which turned their individual light on and off throughout the show.

All five members of the band were dressed in all black–button down shirts and black pants.  And the lead singer, James Eubanks, has his head shaved, (possibly his eyebrows), his fingernails shaped into points.  He looks like Nosferatu.

Last time I noted that Giarraputo was like a machine with the speed and technical expertise he brought to these incredibly fast songs.  The same was true of Cook–his wrsits moved so fast!

Drummer Jack Anderson must be exhausted by the end of the show playing so fast.

Last time it was bassist Lukas Quartermaine who made me first aware of the foot pedals.

It worked so well to create an atmosphere.  Sometimes the lights were in synch.  Sometimes not.  Sometimes just one light was on.  It cast wonderfully eerie glows around the stage.  Like the moment when things were grinding and then all the lights went out  until BAM, the return of the super fast with all of the lights on.

But again, it is Eubanks who demands your attention.  For while the band is full of technical mastery and obviously, they would be nothing without them, the focal point is always Eubanks.

He stepped up front and an unholy demon jumped out of his mouth.  He growled, he shrieked, he made sounds that I didn’t think a human could make and… apparently… there were words associated with these sounds.  Whether he clutches his chest (pale hand, long nails against the black shirt) or leaning towards the audience with a scowl, he delicately stomps (is that possible?  he seemed to weigh nothing but his presence was intense).

And what about that trumpet?  It doesn’t come out much but when it does it adds a layer of dissonance that you wouldn’t think would be able to fit among the rest of the dissonance.  Incredible.

Since I was in front of the trumpet tonight, I was able to hear it a bit better–adding unusual sounds (somehow even creepier) to the mix.

I have no idea how many songs they played.  I have no idea what songs they played.  Their new album is about 40 minutes and that’s how long the set was so I’m inclined to think they played the whole album.  But I have no idea.  What was interesting was the set seemed to be broken into 15 minute chunks.  During the downtime, Eubanks would play with the things on his table. There were knobs and faders and feedback makers.  And he messed with those for a minute or so, presumably for the rest of the band to rest?

After one of the breif pauses, someone behind me said God. Damn.  And that sums it up pretty well.  For the final section of their set

Eubanks was back at the table.  He put the microphone on the lightbulb of the lamp (no idea if it did anything but it seemed to).  And then he had this …. box with wires sticking up.  He took out a violin bow and proceeded to bow these wires which were clearly plugged into something as they made a low rumbling metallic sound that Eubanks manipulated with his gadgets.  He also had a flat piece of wood with stretched out springs.   Towards the end of the set Eubanks took his small light, removed the shade and put the bulb in his mouth while he played with the stuff on his table.  Again: silly? Yes.  But it looked nicely spooky.

It was somehow louder than last time and I will admit that from this side, Eubanks was in darkness more (the light in front to his table is brighter).  The thing about being that close is that his voice is really hard to distinguish from the mix.  And while I realize it’s just one more part of the sound, I’m curious if I stood farther back if his voice would be noteworthy.

And when the show was over, I loved that Eubanks, in a very polite voice said Thank you very much.  They are from Tennessee and I wonder if he speaks with an accent.

I would definitely like to see them once more, this time from further back to hear how his voice sounds when I’m not right in front of one of the guitars.

SETLIST

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