Strange Brew has a reputation for the unpredictable and the eclectic. From African funk to mind-bending electronica, it’s Bristol’s go-to stage for acts that defy convention.
That character was on full display when Water From Your Eyes took over the venue on a particularly icy Tuesday night. A man with metal on his teeth screamed into the room, thrashing a battered acoustic guitar held together with duct tape. just another night at the city’s favorite experimental haunt. In other words, just another night at the city’s favorite experimental haunt.
Morgan Garret, Water From Your Eyes’ supporting act, was a Philly-based experimental noise artist bringing terror to the main stage. Backed by a guitarist and drummer, Garret unleashed his demons against a relentless barrage of strobes, creating something genuinely unforgettable. At times, the set felt genuinely unsettling, unfolding less like a warm-up and more like an initiation ritual.
He seemed to wrestle with his guitar more than play it, channeling a kind of noise-rock exorcism that has already earned major media coverage and a run of supporting slots. His reputation clearly precedes him, matching the momentum WFYE have been building. They were freshly tapped to support Paramore’s Hayley Williams on her sold-out, solo 2026 tour.
Predictably, the crowd’s response to Garret’s set swung between classic British bafflement, genuine fear, and a handful of punters roaring with approval. It was easily one of the top five most bizarre performances of the year, and for that, gratitude was due. Something fresh is never unwelcome, even if it risks nightmares later on.
After a short break, the lights dropped and WFYE stormed the stage with a tight, punchy set. Touring behind that year’s fantastic (and career-best) album It’s A Beautiful Place, the band was finally getting their flowers. Their seventh album propelled the duo (vocalist Rachel Brown and multi-instrumentalist Nate Amos) to sold-out shows from Glasgow to Hamburg, a well-earned payoff from the growing buzz around 2023’s Everyone’s Crushed.
Backed by guitarist Al Nardo and drummer Bailey Wollowitz, the band kicked things off with the fuzzed-out “Born 2.” The track immediately established the evening’s tone: laid-back, slightly art-school aloof, and sonically adventurous. “Structure” and “Barley” came next, each one twisting and turning between razor-sharp precision and gleeful chaos, keeping the crowd on edge and completely absorbed.
What they lacked in traditional stagecraft, they more than made up for it with tracks that kept the audience off-balance. You were never quite sure where a track was about to land. Songs frequently leapt from hyperpop bursts to Radiohead-esque anxiety freakouts. Each song lured you in with a catchy melody before the band figuratively blindfolded you and spun you around with their unpredictable, original sound.
WFYE’s music carried the spirit of krautrock legends Can, filtered through Y2K vibes and a few Sonic Youth records. “Life Signs” hit especially hard, with Amos’ spidery guitar lines giving way to a lo-fi pop chorus that ranked among the best tracks of 2025.
Mid-set highlights like “Out There,” “Nights in Armor,” and “Buy My Product” kept the energy sharp, each one landing with a slightly different shade of weirdness. They also threw in a track from 2021’s Structure, but the 12-song set mostly split evenly between their latest two albums. Judging by the many engaged faces in the crowd, fans clearly appreciated the choice.
By the time they played “It’s a Beautiful Place” and “Blood on the Dollar,” the room was fully locked in, buzzing with energy both physical and psychological. They closed the encore with “Playing Classics” its glitchy groove sending the crowd swaying one last time before the spell finally broke.
The night unfolded as a case study in contrast: Garret’s unbridled chaos against Water From Your Eyes’ cool composure. It was a rare chance to experience such arresting music and witness a band on the rise up close, where every strange, brilliant detail landed with full force.