Special Guests on the recent Inglorious excursion were the acclaimed modern-edged, grunge-influenced Marisa And The Moths. Having previously encountered them on just one occasion, at a certain broadcaster’s pre-Yule shindig, I was looking forward to reacquainting myself and charting their progression.
Marisa And The Moths
KK’s Steel Mill, Wolverhampton – 7 June 2025
Words: Sophie James
Photography: John Inglis
Whoever the artist, viewing them on this venue’s sprawling stage consistently provides a true perspective of the abilities and potential of any fledgling artist.
For those unacquainted, Marisa And The Moths comprise Marisa Rodriguez on vocals & guitar, Alez D’Elia on lead, bassist Liam James Barnes and sticksman Alex Ribchester. 
As the house lights dimmed and the stage was bathed in a tangerine hue, a warm reception streamed from those devotees among the early arrivals.
“Thank you for coming down early and checking us out.”
The performance commences with the delicate strumming of the post-grungish Needy. Alex’s whipcrack drums enter the fray before the chorus crashes in, whereby Marisa’s tones soar in an ethereal yet angst-ridden fashion.
Even at this early stage, one notes the poise in Marisa’s audience engagement while Alez and Liam explore every inch of the vast platform.
“I don’t know what you’re talking about.”
The pace increases with Skin. Steeped in thrusting rhythms, it transports me to the dark glory days of goth rock. Alez’s contrastingly mournful yet soaring fretboard fireworks elevate it to an even grander plane.
Get It Off My Chest is imbued with Middle-Eastern melodies and skirts the modest regions of symphonic metal.
“Well, how did I get so damn wasted? Keeps me tipping over the edge.
On the verge of hell and heaven, but either way, I feel a mess.”
Wither Away is a weighty punk-tinged slice of power-indie that builds into a crescendo that concludes on the most succulent terminal chord.
“I’m not okay, not okay.”
From its restrained dreamy almost whimsical origins, Choke expands into a triumphant whirl of guitars.
“So say what you want about it, I’m getting used to being out of my mind. I’m on the precipice.”
Borderline – no, not that one – is a song that Marisa introduces as “A song celebrating the weird.”
A Radioheadesque intro eventually weaves into the set’s most anthemic chorus, with Alez providing one of the most compact but oh-so-sweet solos.
Finale Who Are You Waiting For has the kind of arrangement that can grace any space. Marisa even indulges in a spot of harsh vocals that adds another layer to the lavish sound.
In a striking set lasting barely 25 minutes, Marisa And The Moths made an enduring impression, no doubt winning some fresh followers. Their crunchy, propelling cadences profited from the clarity of the flawlessly powerful PA, providing so much impact to their cathartic lyrics.
I, for one, would have liked to have experienced a moderately longer set, but that will be a motivation, should it be needed, for checking them out in a headlining capacity.
