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Destroy All Lines

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Gig ReviewsReviews
December 8, 2023
Megan Milner

[Review] Slaughter To Prevail @ Liberty Hall, Sydney 5/11/2023

As the dust is still settling from Good Things Festival, there are a handful of bands remaining in Australia for side shows. Tonight, I return to Moore Park, although not the parklands but to Liberty Hall for a headline performance by Slaughter to Prevail. The Russian deathcore act was a notable highlight for many at the festival over the weekend, and we are lucky to see them for a full set, this time out of the sun.

Adjacent to the venue, Mary’s serves as a prelude, spinning tracks from bands like Parkway Drive, Make Them Suffer, Spiritbox, and, of course, tonight’s headliners. With no prior announcement of set times, the crowd gathers early, forming a serpentine line that winds its way around the venue, past the basketball courts, and down the road at Fox Studios. With no support, the main event arrives right on 9pm with New Orders Confusion remix (famously associated with the blood rave scene from the film Blade) fills the packed room making the metal heads dance.

The set kicks off with the relentless Bonebreaker, immediately signalling that Slaughter to Prevail is here to deliver an unapologetically heavy night. The crowd responds with a surge of energy as bodies collide in the mosh pit, embracing the controlled chaos that characterizes the deathcore scene. The intensity only escalates with each subsequent track, including the bone-chilling Agony and Bratva which begins with an enormous wall of death as those from the safety of the balcony above cheer on.

Zavali Ebalo and Viking showcase the band’s versatility, seamlessly blending guttural vocals with intricate guitar work and thunderous percussion as we all again hold our breath to hear vocalist Alex Terrible perform the alligator growl. The band take a moment to introduce themselves, all but one member (British guitarist Jack Simmons) hailing from Russia. After many thank you’s for allowing them to travel the world and play their music, we are treated to Made in Russia, of their 2019 album Kostolom.

As the set progresses, Slaughter to Prevail continues to unleash their hits and frontman Alex Terrible is all smiles despite the demon vocals throughout his songs. Before they kick off, I Killed a Man Terrible says the band have never done this before, while it is semi common in the heavy music scene, he would like Sydney to be his first, requesting the entire venue to sit down on the floor. We all know this is a ‘Jump the F*ck Up’ made famous by Slipknot in live renditions of Spit it Out. As I join the venue crouching down, we are all smiles as we hold onto one another from falling over and laughing about our aching knees, though once the music hits we jump to the skies! A highlight of their set for many is the ominous Baba Yaga, creating an atmosphere that mirrors the dark folklore from which the song takes its name. The venue pulsates with energy as the band unleashes their signature track Demolisher, prompting a collective eruption from the crowd.

For the encore, the band returns to the stage with unwavering intensity, each member wearing the ‘Kid of Darkness’ masks, delivering a final blow with Hell. The crowd, now a sea of sweat and exhilaration, savours every moment, knowing that this night marks a historic chapter in Slaughter to Prevail.

We all pour over to the water station and notice the walls of the venue dripping with condensation. In their Australian debut, Slaughter to Prevail has not only conquered the stage but has left a lasting mark on the hearts of their fans, no doubt gaining a fair few after this week! The performance is a testament to the band’s ability to translate their raw, unbridled energy from the festival grounds to a headline show, solidifying their status as a force to be reckoned with in the world of deathcore. As the final notes fade away, Liberty Hall stands as a battleground, bearing witness to the assault that was Slaughter to Prevail’s inaugural Sydney headline performance.

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Gig ReviewsReviews
December 6, 2023
Megan Milner

[Review] Good Things Festival @ Centennial Park, Sydney 03/12/2023

Review By Megan Milner

As the sun-drenched skyline of Sydney welcomes the much-anticipated Good Things Festival, 2023, it is quickly evident that music fanatics from all walks of life have converged upon Centennial Park. Following a wild kick-off in Melbourne yesterday and a sold-out anticipation for tomorrow’s climax in Brisbane, the festival has become a vital bond for fans eager to immerse themselves in an eclectic blend of international and local musical talents. With a lineup that reads like a rock and alternative music lover’s dream, featuring headliners Fall Out Boy, Limp Bizkit, and DEVO, alongside powerhouse acts like Bullet for My Valentine, Corey Taylor, and I Prevail, the air is charged with excitement and the promise of an unforgettable day. As the festival gates swing open, the collective heartbeat of the crowd echoes the anticipation of a day of music that transcends genres and unites enthusiasts under the banner of Good Things.

Although Centennial Park may not be everyone’s preferred festival venue owing to its location and accessibility challenges, there is a distinct advantage that emerges as you make your way in. The unmistakable sound of the main stages, today featuring Enter Shikari’s Sorry You’re Not a Winner, can be heard during your approach. Fortunately, my entrance into the festival proved remarkably straightforward. After a leisurely stroll along the park’s perimeter to the sole entry/exit point, the lines moved swiftly, and the security guards were notably friendly. Describing the sensation upon passing through the festival gates is a task in itself—there’s a deep exhale, a wide smile, and a palpable excitement as you contemplate the day ahead.

One of the bands I am most looking forward to are Russian deathcore goliaths, Slaughter to Prevail. Each band member appears on stage in the iconic ‘Kid of Darkness’ masks, lead singer Alex Terrible in gold and the band in silver. Opening their set with Bonebreaker the crowd kick into to mosh mode and it doesn’t slow for the remainder of their set. Alex’s monstrous vocals have been covered many times by online media, though none as much as his alligator growl in their latest single Viking, released in July this year. We all know it’s coming and there was a communal gasp when he did it, followed by loud cheers and headbangs! They take a short breather to thank the crowd for their first trip to Australia, before wrapping up with Demolisher. Sydney has one more chance to see them on Tuesday December 5th at Liberty Hall, before they pop over to Adelaide for their final performance in Australia on December 6th at The Gov. If you missed their festival set, don’t pass up the opportunity to witness Slaughter to Prevail in such a close setting.

Perth’s Make Them Suffer have the difficult task of following Slaughter to Prevails set on the adjoining stage, although Aussies tend to support their own – as the crowd fills quickly. Opening with Ghost of Me, they have the crowd moving before they can even get a drink of water. Their set list was really well crafted and flowed perfectly, their final songs Erase Me and Doomswitch were evidently crowd favourites.

The day and the heat were well underway as I take shelter under the trees for a moment catching up with friends new and old at every turn, because of the very scattered genre line up it really is a reunion of many people not seen in one place often! A few breaths and a cold beer later, its time to head back into the sun and the pit for Brazilian metal legends Sepultura. Derrick Green is an enormous tank of a man who commands the stage from the first note of Isolation, quickly followed by the 1993 classic track Territory. Sepultura have one of the strongest bands in the game with machine gun in human form drummer Eloy Casangrade, bass wizard Paulo Jr and everyones favourite shredder, Andreas Kisser. Their set was a good mix of current days Seps and Cavalera-era tracks including Arise, Ratamahatta and of course closing with Roots Bloody Roots.

Before racing off to see Slipknot front man Corey Taylor on the mainstage, I hear British metalcore act While She Sleeps begin their set, I suddenly feel very torn! Hearing the crowd scream back the intro to Sleep Society I know I have to stay. Lead singer Lawrence ‘Loz’ Taylor is full of energy, not staying still for more than a moment. I was surprised to hear Anti-Social as the second track, and I was not alone as others dance around beside me. The tracks I did hear from While She Sleeps were great, and thankfully they announced they will be returning to Aussie shores next year with new material – I need more!

Time to dash over to the main stage for Corey Taylor. If I hadn’t seen Taylor and co earlier in the week at their Metro Theatre side show, I may have stayed for the remainder of While She Sleeps although I had far too much fun and look forward to seeing them again. I arrive as he is wrapping up his first song Post Traumatic Blues. The setlist unfolded with a mix of Stone Sour and Slipknot hits, including Through the Glass, Tumult, Snuff, and the iconic Duality where a man in a Corey mask headbanged beside me. Taylor surprised and delighted the crowd with unexpected twists, such as a rendition of the SpongeBob SquarePants Theme, a main stay in his solo performances, showcasing his playful side in which he is still flipping of the crowd with a smile on his face. Their set concluded with a heartfelt cover of INXS’s Don’t Change. Corey was in this same park in March for a sold out Knotfest where Slipknot headlined, we are thankful he has returned so soon.

Next up on the main stage to our left are the Welsh metallers, Bullet for My Valentine, who were long overdue for a visit, last appearing at the very first Good Things Festival in 2018. The crowd had significantly swelled, and security guards had their hands full as crowd surfers and moshers flooded in during Your Betrayal. The setlist was stacked with hits, featuring favourites like 4 Words to Choke Upon and Scream Aim Fire. The nostalgic journey reached its peak when the entire crowd joined in to sing their hearts out during All These Things I Hate (Revolve Around Me) and Tears Don’t Fall. Vocalist Matt Tuck wore a continuous smile, expressing gratitude to the enthusiastic crowd and acknowledging that it had been too long since their last visit. He assured everyone that Bullet for My Valentine would be back in 2025, which is already too far away!

You could not have asked for a better band to continue the energy, than I, Prevail. They immediately took command with Bow Down as the energy surged through the crowd setting the tone for a huge performance. The setlist was a rollercoaster of intensity, featuring crowd favourites such as Hurricane, Choke, and the powerful Gasoline. I Prevail’s dynamic stage presence and seamless transitions between heavy hits showcased their mastery of the genre. A standout moment came with their unexpected cover of System of a Down’s Chop Suey injecting yet another momentous amount of energy into the already puffed out crowd.

One of the surprising additions to the line up are American new wave artists from the 70s, DEVO who are currently on their Farewell Tour celebrating 50 years as a band. From the opening notes of Don’t Shoot (I’m a Man) to classics like Whip It and Mongoloid, DEVO’s quirky energy and synchronized movements captivated fans old and new. The setlist, including hits such as Jocko Homo and Gut Feeling (Slap Your Mammy), had the crowd dancing from start to finish. Good Things organisers tend to throw in a wild card, and it’s safe to say DEVO were it this year!

I quickly ran over to stage 3 to catch Polish extreme metal band Behemoth. From the ominous chants of Ora Pro Nobis Lucifer to the relentless fury of Conquer All, Behemoth’s performance was a primitive journey into the depths of extreme metal. The setlist, featuring intense tracks like Ov Fire and the Void and Bartzabel, showcased the band’s mastery of dark atmospheres and ferocious arrangements. Frontman Nergal’s commanding stage presence and guttural vocals added a menacing layer to the performance, while the crowd was immersed in the occult and apocalyptic themes of Chant for Eschaton 2000. Behemoth’s set was a testament to their status as one of the most influential and uncompromising forces in the extreme metal scene and a great addition to the day.

The sun was setting over Centennial Park and many sunburnt faces finally took a sigh of relief. As the sun descends, it means it is headliner time and it is now time for nu metal master’s Limp Bizkit! Opening with the explosive Break Stuff, the crowd immediately kicked into gear. Hits like Rollin’ and My Way had us all singing along, showcasing the lasting appeal of the band’s anthems. A standout for me was Show Me What You Got from 1999’s Significant Other, quickly showing the old school fans in the crowd rapping every word flawlessly. Guitarist Wes Borland is always a showman with his movements and more so, his outfits. Today is no exception as he dons an ornate mask with teeth hanging from the jaw (originally buffalo teeth but weren’t permitted in the country), and a white suite adorned with flowers and Scandinavian designs. He was first spotted with this new stage outfit in Japan, it’s great to see in person.

The setlist featured a energetic mix of old favourites such as Nookie and My Generation, and their classic cover of George Michael’s Faith. Frontman Fred Durst’s charismatic stage presence and the band’s tight performance was perfection as Sam Rivers, John Otto, DJ Lethal and Wes Borland were back together once more. The set concluded with a powerful reprise of Break Stuff, leaving the audience on an adrenaline high and cementing Limp Bizkit’s status as influential trailblazers in the fusion of rap and rock. This will be an incredibly hard act to follow!

Fall Out Boy are the festival headliners this year and the crowd is packed in tight, ready for the pop rockers. Opening with the infectious energy of The Pink Seashell and transitioning seamlessly into the anthemic The Phoenix, the band set the tone for a night of unbridled enthusiasm. Classics like Sugar, We’re Goin Down had the audience singing in unison, showcasing the popularity of Fall Out Boy’s signature blend of catchy hooks and emotive lyrics. The setlist also featured gems like Love from the Other Side and Uma Thurman, the latter cut short due to an impending storm.

“Please bear with us for a moment. There’s a storm approaching,” bass player Pete Wentz explained amid a chorus of confused boos from the crowd. “We’re informed that we need to pause the show momentarily. We’re hoping to resume real soon. Your patience is appreciated; we’ll be back shortly.”

However, in a matter of moments, at roughly 8:40pm an announcer over the PA system urgently instructed us to evacuate immediately due to the imminent threat of a hailstorm.

“We have a hailstorm approaching with large hailstones and lightning,” the announcer emphasized. “We kindly request an orderly evacuation of the site. Please avoid rushing and move away from the structures for your safety.”

I didn’t hear a confirmed number of fans in attendance today, although I was told it was close to 25,000 of us were all ordered out a single exit with the skies flashing above us. The storm felt imminent as announcers said the festival will resume after the storm, although in a statement posted to the Good Things Festival social media pages after 11pm stated the decision to evacuate was made by police, the State Emergency Service and event organisers.

I was extremely fortunate to see each band I set out for, although I know many weren’t as lucky with the early cancellation of Pvris due to illness and headliners Fall Out Boy cut short. The band posted a statement to social media, promising they would “make it up to” Sydney fans.
“Sydney, we’re bummed that last night’s @GoodThingsFest set got cut short due to the weather. We’re working hard to figure out how to make it up to you, stay tuned. ❤️” – Fall Out Boy

Ultimately, my time at Good Things Festival 2023 was truly fantastic! The short lines at the bars, food stalls, and water stations made the day incredibly smooth, letting me fully immerse myself in the music hassle-free. The diverse lineup featured bands at the top of their game, with Corey Taylor, Bullet for My Valentine, and I Prevail delivering main stage energy performances, alongside the iconic presence of DEVO and the heavy vibes from Behemoth. Thankfully the issues with low sound from last year were rectified and my personal highlights were the nostalgic rap-metal hits of Limp Bizkit and the raw power of Slaughter to Prevail. Good Things Festival, though relatively new since its debut in 2018, (and two years lost to Covid) has become a staple event for alternative music fans, and I’m already looking forward to what 2024 will bring!Top of Form

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Gig ReviewsReviews
December 2, 2023
Raelee Atkinson

[Review] Electric Callboy @ Hordern Pavillion, Sydney 30/11/2023

Review By Raelee Atkinson

Choo-Choo … climb aboard and let's ride the Tekkno train …

This time last year, Good Things Festival was in full swing and the German band formerly known as Eskimo, now Electric Callboy, took to the stages of Australia, wowing crowds and winning over new fans.  A few months later in February 2023, a headlining tour of Electric Callboy was announced and it was met with much excitement. It took no time to sell out and the venues were upgraded to house more fans, and again the entire tour was sold out quickly.  The buzz around this band has kept going throughout the year as they have been travelling the globe with their Tekkno World Tour.  

I’ll admit, I’ve been so excited for this concert that I’ve been counting down the “sleeps” like a kid waiting for Santa. 

Finally, its a balmy Thursday night and we’ve just fought off the peak-hour traffic and arrived in Sydney’s Moore Park, the location of the Hordern Pavilion, to be met by an eclectic sea of black clothed metalheads and neon attired techno-heads. Electric Callboy’s genre-bending mix of metalcore and EDM attracts an interesting demographic ranging in ages.  

Bro and I nick across the street to the pub for a quick pre-gig feed of French fries and a lager, then passed through the security check to the awaiting hordes. We joined the long line for merch that snaked its way around the outdoor area that enclosed the Hordern, eventually got our tee shirts and entered the venue. We were early so we were able to get up pretty close to the front. 

At 7.30pm it was time for the first support band, Future Static, a five piece band from Melbourne. Future Static are a fusion of alt rock, indie pop, and metalcore with a dash of prog for good measure. They have recently released their first full length album titled, Liminality. After a minor ‘false start’ they hit the stage running with an energy reserved for the young. Spinning like a dervish, lead singer Amariah Cook's clean vocals are lovely, then she surprised with some filthy harsh vocals and injected so much emotion into her performance. Bassist, Kira Neil complimented Cook’s vocals with some sweet harmonies and gave an indie/alt vibe to the performance. There’s three dudes in the band, but to be honest, apart from a random thought that they were good, the focus was on the women, who put on a great show.

Four songs into their set, they played a cover song titled Gasolina and I realised that this was the band that my brother had sent me the link to three times. I turned to him and he's grinning. Future Static entertained the growing crowd with a cracking 30 minute set, which included Waves, Venenosa, Chemical Lobotomy, Gasolina, The Hourglass, Roach Queen and Dead End. 

The next band up is Stockholm-based, Self Deception. The Swedish foursome enter the stage and it's obvious that there are sound problems. The singer isn’t singing in tune (and I know he's an experienced and talented singer) and every time the bass hits there’s a horrible vibration and popping sound emanating from the speakers which hurts my ears.  Part way through the second song the singer, Gabriel Keyes, better known as the current vocalist for fellow Swedes, Crashdiët, stopped the band and said that they are having ‘technical difficulties’. Roadies scattered on the stage looking busy while the bass player, Patrik, chatted with the crowd and announced that he’d like to do a “shoey”. It’s an obvious distraction that overseas bands seem to think Aussie audiences enjoy. The crowd cheered him on and then the band re-commenced by playing Scandinavian Dream. The sound is still horrible, so again the crew scamper on stage trying to “fix” the problem and this time the bass guitarist suggests that the guitarist, Ronnie, do a “shoey” now, again, the crowd cheer him on but it's getting awkward, thankfully Keyes, the singer took over and explained that they’d had a dreadful day. That their flight from Melbourne had been cancelled and they had been told that they were no longer going to be able to play the gig in Sydney, but the band wanted to come and play so much that they decided to hire a private plane and flew up, having not long arrived. The audience cheered encouragingly,  the technical issues seemed to be resolved and singer Gabriel introduced the next song, Roxette classic The Look. The audience dances and sings along loudly and the Self Deception set continues without the earlier sound problems. They have a heavy rock industrial-electro sound with a Marilyn Manson flavour. Their stage presence was a tad confusing to me as the drummer wears a mask, the man-buned singer prowls the stage semi (and eventually) shirtless and the bassist is dressed in a neon pink cowboy hat, matching Hawaiian shirt and shorts set and long pink socks, looking more like he's on an island vacation rather than playing at a metal gig. It’s definitely a “vibe” I'm just not quite sure which “vibe” though. I enjoyed their songs, the band were tight, and Gabriel Keyes is an enigmatic frontman. Bass player Patrik Hallgren ended up playing in the mosh pit crowd at one point. At the end of the set, they thank the audience for their patience and say that it had been the most memorable night of the tour.  Self Deception played an interesting 30 minute set that included, Six Feet Under, Scandinavian Dream, The Look, Psycho, Holy Water, Fight Fire With Gasoline. 

The Hordern had now filled with people and everyone was hyped and excited for Electric Callboy to take to the stage. To pass the time, some people had brought a couple of beach balls and a spaceship shaped balloon, which the crowd tossed around ooh-ing and ahh-ing as they rose and fell.

The time had finally come, the excitement from the crowd was palpable as the lights dim and the big screen at the back of the stage is illuminated with a video clip of a woman dressed up as an airline stewardess announcing the beginning of the Electric Callboy set. Towards the end of the announcement, the band entered the stage, the lights came up, a confetti bomb exploded and the audience was bouncing and singing loudly to Tekkno Train. Vocalist Nico Sallach asked the audience to form a “Ninja Wall of Death” for the next song, MC Thunder (Dancing Like A Ninja) then when the song ended, Nico mentioned what we’d all been thinking, “where was Kevin?”. Sallach explained that after the Melbourne show the previous night, Ratajczak had to leave straight away to the airport to return home for “family reasons”. Then Nico asked us all to sing loudly for Kevin as Spaceman played. The Spaceship balloon from earlier flew around during the song. Then they played Love/Hate followed by the Cascade cover, Everytime We Touch, The Scene, Castrop X Spandau and Arrow Of Love.  At this point, the band left the stage leaving the drummer to perform his solo to Darude’s Sandstorm. The band then returned and to the delight of the crowd, and the much loved Hypa Hypa played next, followed by Parasite, then a stripped down acoustic version of the Backstreet Boys cover, I Want it That Way which had the audience singing along very loudly. Sallach explained that the next song is based on German Schlagger music and separated the crowd in the centre to form a space and encouraged everyone to “couple dance” to Hurrikan. They rounded the set out with MC Thunder, leaving the stage as the audience cheered and called out for an encore. They complied and returned to the stage to play Pump It to the excited and energetic crowd as another confetti bomb went off and followed it with Mindreader, leaving briefly once again. With more encouragement, the band returned once more to perform the hit single, We Got The Moves to a final confetti bomb and streamer bomb. At the end, the band lined up for the obligatory band with the audience in the background pic, then Nico spotted a couple of youngsters who had been perched on their dads shoulders during the show, singing along enthusiastically, and called them up on stage to join the band in the pic. The crowd cheered, everyone posed and then there was the scrum for the picks, sticks and set lists. The house lights come up at 10.45pm and everyone is buzzing as they exit the venue. 

What a night! Electric Callboy delivered a high octane set, even without their co-vocalist, Kevin Ratajczak. The sound and lighting were on point, the multiple confetti and streamer bombs added to the party atmosphere and the energy from the audience was like being at a dance club or a rave with everyone dancing, bouncing up and down and singing along loudly. This definitely felt more techno than metal and even though lyrically, the songs imply something a bit “rude”, the absolute silliness of the band and their songs appeals to all ages, so there were parents there with their children. The fanbase is varied to say the least, with the black parade of ‘core and metal fans mixed with the brightly coloured ‘fits of EDM fans. There were a lot of fans dressed up like the characters from their videoclips, with matching  outfits, wigs and headbands. The support bands were high energy and did their job of gee-ing up the audience and firmly established the party vibes. Venue staff were friendly and polite, and security kept everyone safe. Overall, there’s a legit reason why this band totally sold out this tour so quickly, because they bring the dance party 100 percent, even with a missing bandmate. The night was exactly what you would want for an event like this and I’ve walked away feeling like I could very happily do that all over again! I'm definitely up for seeing these bands again, especially Electric Callboy, so who’s coming with?

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Gig ReviewsReviews
November 30, 2023
Megan Milner

[Review] Corey Taylor @ Metro Theatre, Sydney 28.11.2023

As a millennial Metalhead, few artists have been as prominent in my heavy music journey as Corey Taylor. Whether you know him as number eight the masked madman in Slipknot, the charismatic unmasked frontman of Stone Sour, affectionately as ‘The Neck,’ or the constant query in headlines and comment sections – ‘but what does Corey Taylor think?’ – his impact on the music world is undeniable. Tonight, we are lucky to see him stripped back, in an intimate setting performing a little taste of everything he’s ever been a part of ahead of his appearance at Good Things Festival.

Tonight, Taylor is backed by Clay J Gladstone, a regular on Sydney’s local AM//PM club circuit, delivering a punk rock emo fusion. Described on their Triple J Unearthed profile as a must-listen for fans of Violent Soho, The Used, and Stand Atlantic, Clay J Gladstone captivates audiences with their ‘heart on sleeve’ lyrics, emotive earworm bangers, and intense performances. Corey himself, recounting on stage, bestowed significant praise upon Clay J Gladstone, noting that while every potential support band that came his way was rubbish, Clay J had something truly special. You can’t get much more praise than that!

Not the weeknight or the pouring rain outside could dampen the energy of the jam-packed, sold-out show at Sydney’s Metro Theatre tonight. The anticipation is intense as “Corey! Corey!” chants begin before the house music fades away – this crowd is ready, unwilling to wait a second longer.

The band takes the stage first, launching into an auditory onslaught with precision. Mr. Taylor himself bounds on stage shortly after dressed in a suit jacket, kicking off Post Traumatic Blues from his latest solo album, CMF2. All five band members sport smiles by the end of the first song, clearly bewildered by the enthusiastic reception from the Sydney crowd. The time machine then transports us back to 2002 with a Stone Sour deep cut, Tumult. Since the inaugural Good Things Festival in 2018, Australia hasn’t witnessed Stone Sour live, making the revival of these songs nostalgic as many of us thought we wouldn’t hear them again!

While our love for Corey’s bands is undeniable, we are here to see him on his solo run. Strapping on a guitar he kicks off Black Eyes Blue which is such a beautifully crafted song bordering on ballad which had the crowd singing in unison. To everyone’s delight, they pull out a song for the couples (and bromances) in the form of Song #3 by Stone Sour. I wasn’t sure if he was being serious when he asked, ‘I hope you remember this one’. Multiple members of the crowd drape their arms around a loved one and sing it loud! I cannot wipe the smile off my face seeing Corey so comfortable on stage, his smile stretches ear to ear, interacting with his band members who all share the same energy and happiness.

In a brief break to chat with the crowd, Corey teases, saying “before I forget,” prompting a roaring response. Playing along, he asks if he’s missed something, building anticipation. After some playful banter, he declares, Before I Forget as the next song. Having seen Slipknot twice this year at Knotfest in Sydney and Download Festival UK, experiencing Corey sing this iconic track unmasked in an intimate 1,000-pack venue is unbelievably special.

There are few songs that artists turn their nose up at and flip off the crowd but that’s exactly what Corey does before dropping his head and giving into the peer pressure to play the Spongebob Squarepants theme. Quickly shortening the rendition, before asking if he can sing a song he actually enjoys playing, emotions were immediately switched on and turned to tears, to the sounds of the Slipknot heartbreaker Snuff.

The hits keep on coming, such as 30/30-150 and Through the Glass by Stone Sour, Midnight and Beyond from his solo work, it’s incredible that each projects songs are easily distinguishable. Usually when you have the same vocalist, they can be similar in style, although each are expertly crafted offering something different. The onstage chemistry between Corey and guitarist Christian Martucci is mesmerizing. Christian, who permanently joined Stone Sour in 2014 as Jim Root’s replacement, exhibits a seasoned partnership with Corey matching energy, bouncing off each other all night, Taylor even changes lyrics to praise his buddy.

After a brief intermission, the band returns for the encore. The unmistakable riff of Duality by Slipknot fills the room, as the venue begins to shake. Despite having just four members on stage, their performance echoes the intensity of the full nine (minus the keg). The night concludes on a high note with a cover of INXS’s Don’t Change, a choice Corey hopes won’t be considered meandering, expressing his love for the Australian band.

The sweaty, happy crowd pour out of the venue all raving on about a different part of the set which was their personal highlight. Collectively we know we witnessed something special tonight, treated to almost flawless renditions of songs we’ve cherished for over two decades. Corey was incredibly heartfelt with his thankyous, telling us that the reception he continues to receive is the reason why we are one of his favourite destinations on earth to tour.

Tonight’s performance was the first of 4 in Australia and if you are heading to Good Things over the weekend, catching Corey Taylor and co is a MUST. You will not be disappointed! I will be speaking about this show for a very long time.

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Gig ReviewsReviews
November 20, 2023
Tammy Walters

[Review] Bloc Party / Interpol @ Sidney Myer Music Bowl, Melbourne 16/11/2023

In what can only be described as A Y2K indie rockers wet dream, Manhattan force, Interpol, and London legends, Bloc Party team up for an epic amphitheatre takedown. Both groups soundtracked the early noughties with masterful debut albums and their sets on this cool November evening were showcases of their longstanding double decade careers.

Having just returned from a two-week European and UK tour,  Awabakal Land / Newcastle post-punk five-piece, dust settled the crowd with playful power-hits Joy (Guilt) and Ward 52. 

“We’re dust from Newcastle. This is a lifetime experience.”

As tight and energetic as these young guns were, notably, the rolling green hill of the Bowl was met by ill panning and compression issues on the sound, an unfortunate error that slid into the first half of Interpol’s set and reappeared throughout Bloc Party’s set, seeing the larger-than-life stylings of both indie greatest fractured. Muffled and muddied, the guitars stuck together like chewing gum and vocals were drowned. Gut-punches from the heavy set drumming celebrated throughout both artists’ discographies were non-existent in this fader faux pas but both bands made up for the production problems with intense delivery and enthusiasm.  

Paul Banks strides to the stage mic, his look coming straight out of Don Henley’s ‘Boys of Summer’ – “that hair slicked back and those Wayfarers on baby”. He is joined on-stage by Daniel Kessler, and Sam Fogarino, and touring members Brandon Curtis and Brad Truax all donning head to toe black ensembles and a New York coolness. 

They launch into the mammoth opener of‘Untitled with the first half of the set topped with classic cannonballs including C’mere, My Desire, Roland, and crowd favourite Obstacle 1. 

The lighting techs excelled in elevating the show. Interpol lived in red lighting states throughout majority of their set with pops of blinding whites and reflections from the low-hanging mirror-ball behind Fogarino, echoing their 2002 debut Turn On The Bright Lights album title and cover art, and a palette that has been threaded through their entire discography of artwork. 

The screen relay was set to black and white, making use of delays, fading transitions and slow mo effects for a real rock and roll vibe.

To a shifting blue light, Rest My Chemistry from the 2007 Our Love To Admire was a Pixies delight at the time of release. Live, the drifting melody of Kesslers guitar with Banks’ prosaic vocals is transportative.  

Sitting largely in their first three albums, Interpol catered to their mostly middle-aged audience, offering only two recent tracks from last year’s The Other Side of Make-Believe, Into The Night and Toni. They closed out with a chorus of “Rosemary”’s for the highlight Evil, rounding out a quality set with The New and Slow Hands.

The impact of this monumental co-headline tour was not lost on either Banks or Bloc Party’s energetic frontman, Kele Okereke. 

“It’s amazing being back in Australia. It’s been a while so it’s nice to be back with you after so long and sharing the stage with Bloc Party,” Banks acknowledged.

“Good evening Melbournia. We are Bloc Party from London and we are heaps excited to be here tonight. That’s the true,” Okereke quipped as a lead into You Should Know The Truth after slamming in with last year’s Alpha Games hit In Situ. Later in the set, the euphoric This Modern Love was also dedicated to their co-headliners; “They took us on our first ever tour so this song is for them.” 

Kele Okereke’s vibrant green and black cardi, paired with a cream headband, only lasted three songs before being discarded. Bloc Party were here for one reason only. 

“Let’s get this party started,” Okereke exclaimed as the eerie descending notes of Hunting For Witches launched.

Okereke kept the set lively with his contagious stage presence and general hype-attitude. From some cheeky quips to the stage crew “Thank you John that’s enough. He wants his own spin-off show. Now get out of here”, to pumping up the crowd with lines like “Let’s keep it rolling”, his infectious energy rolled into the crowd. 

Offering epileptic strobing, Kettling from the 2013 FOUR brought some pop punk power whilst Song For Clay (Disappear Here) was prefaced by Paul Kelly classic Dumb Things. 

The middle aged crowd of indie rock ‘n’ rollers were blessed back in 2018 with hearing the game changing debut Silent Album in full on Bloc Party’s last tour and it shows that the album is still as beloved. While only four songs made the bill this time around they were all met with explosive sing-alongs. Banquet was the first in the set with drummer Louise Bartle elevating the track with a smashing tempo building to a huge “I’m on fire” screaming match.

Okereke’s energy did not dwindle, incorporating fancy footwork into Different Drugs and playing with the vocal pedals on the ground. He also never missed a beat with the banter.

Ahead of the latest track from The High Life EP, Blue was introduced with a dig at our weather, “If I wanted a cold summer evening I may as well have stayed in London”.

The final leg of the set was one of epic proportions, not just for the song choices but for the audience’s liveliness, which had thus far ebbed and flowed throughout the evening, spiking for nostalgic songs. The brooding So Here We Are saw Bartle back on the fire, a hard task considering Matt Tong’s original drumming was intense and dynamic. Guitarist Russell Lissack came to the party in this section. Whilst a bit of an enigma on stage, he makes the guitar sing the heavenly builds, catapulting the revelatory, “I figured it out”.  

Swapping to cutting guitar lines, Lissack led in a crowd chorus for Helicopter. There is nothing quite like 13,000 people singing the line “As if to say he doesn’t like chocolate”. Flux followed for a dance floor epic. Okereke hugs his guitar to his chest during the second verse before leading a clapping army from front to the back of the hill, leading perfectly into The Prayer.

Revealed as a song about a boy from St Kilda, the Interpol dedicated This Modern Love started off on a high note. A favourite all round, the build in the recorded version is monumental but live it fell flat in the crescendo. The pummelling “This modern love, breaks me” repetitive bridge lacked guts with Okereke singing down an octave. Not quite the euphoric moment experience of their last Australian tour but still the ultimate Bloc Party belter.

Ending on a high note was what Okereke referred to as a certified banger. “We have one more rocket in our pocket. Back home we call this one a banger but I don’t know what you call it in these parts. Do you like a banger Melbourne?”, he questioned, going out with the rambunctious Ratchet.

Whilst both Interpol and Bloc Party sets suffered sound-wise, both 2000’s giants both put on a show set to invigorate the indie dream and the crowd lapped it up.

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