When Panchiko recorded their first demo over 25 years ago, the group of then-high-schoolers likely never imagined they'd be playing it live decades later, let alone on tour in front of a Toronto crowd. But last night (June 3) at History, the once-lost band took the stage to a devoted audience.
The shoegaze‑leaning indie rock band from Nottingham have spent the past few years stepping out of online myth and into a strange kind of legacy. Formed in the late '90s, Panchiko quietly released a few demos before fading into obscurity. It wasn't until 2016 that one of those early CDs, a worn-out copy of 2000's D>E>A>T>H>M>E>T>A>L, surfaced in a UK charity shop and was uploaded to 4chan.
With its warped audio and no trace of the band online, it quickly became an internet mystery. Now reunited, original members Owain Davies (vocals, guitar), Andy Wright (keys) and Shaun Ferreday (bass) are joined on stage by guitarist Robert Harris and drummer John Schofield as a five-piece touring IRL.
Toronto was the only Canadian stop on their trek behind sophomore album Ginkgo, and while it wasn't quite a sold-out show, it didn't need to be. It was interesting to imagine how each person in the room had found Panchiko: an algorithm? A Reddit thread? However they got there, the band's bizarre digital afterlife had brought everyone to the same place.
The Toronto set opened with "Stabilisers for Big Boys" and moved through tracks from both their early demos and newer releases. Live, Panchiko aren't exactly polished performers. The band have only been touring since 2022, and while they may look like a legacy act, at times it felt like they were still finding their footing.
Musically, though, they were tight and intentional. No track matched its studio version exactly, each reshaped and distorted with jazz-leaning stretched tempos and improvisation. It was clear that they were more interested in experimenting than replicating, and at points, the show felt more fluid and exploratory than sharply staged.
That said, they still seemed hesitant to take up space. Banter was minimal, and the members' body language carried a quiet uncertainty, as if they hadn't fully settled into the idea that they're a band that people have come to see. There was a kind of reverse starstruck energy to it; not exactly self-deprecating, but a sense of genuine surprise.
By the set's second half, Panchiko had noticeably warmed up. Their initial restraint gave way to freer moments, including a few birthday shoutouts and some offhanded jokes from Wright and Davies. "D>E>A>T>H>M>E>T>A>L" felt like the climax of the night. For many, it was the song that introduced them to the band. Hearing it live had weight, the whole room acutely aware of the unlikelihood of experiencing a piece of music that once seemed lost to time.
From there, the band eased into their final stretch with a few more fan favourites: "Laputa," "All They Wanted" and "Kicking Cars." Panchiko may still be adjusting to life on stage, but that's what makes their presence so compelling. Their shows aren't about polish or theatrics, but the astonishing serendipity of a second chance — and choosing to show up for it.