[Review] Bad Omens @ Factory Theatre, Sydney 22/03/2023
Review by Megan Milner
Undoubtedly one of the most highly anticipated acts on the Knotfest line up, are American metal band Bad Omens. Hot off the back of a sold out US run, they’ve stopped in early for 2 side shows – mere days ahead of their festival appearance. Last night in Brisbane at the Triffid and tonight at the Factory Theatre in Sydney, will be celebrated as the first every Australian shows for the four piece. Both Brisbane and Sydney performances sold out in less than a minute, leaving many begging for tickets up until show day.
A last minute addition see’s melodic hardcore band, Bloom kick off the night to a sold out crowd. The Sydney boys played their hearts out, lifting the energy early on, creating many new fans. The line for Bad Omens merch snaked back to the entrance, luckily for those patience folks they had a great show to watch! Each member of Bloom was gracious and spoke of being very fortunate for the opportunity to share the stage with tonight’s headliner. Closing out their set with Cold; dedicated to anyone who knew the band before tonight.
The energy in the room is electric and tense, each one of the sold out crowd eagerly awaiting the band we all came to see. Bad Omens trajectory in the last couple of years is undeniable. While they may have been an established act, the release of their 2022 album The Death of Peace of Mind saw their popularity sky rocket to unimaginable heights. Minutes before their scheduled 9pm arrival, the lights dim and pre recorded audio fills the room. Lead singer Noah Sebastian appears on stage dressed in a trenchcoat and gloves, wasting no time starting Concrete Jungle, with drummer Nick Folio.
The volume of the mostly female crowd is immense, we have been impatiently awaiting the arrival of Bad Omens to Australia and we finally have our moment. The stage lights lower again, Noah leading the band back to the stage in a balaclava for Artificial Suicide. It’s one of their heavier songs and one I absolutely adore. Headbangers fill the floor and the pit starts early, packed in nice and tight. Guitarist Joakim Karlsson and bass player Nicholas Ruffilo tower over the crowd on either side of the stage. Their long hair and axes in hand create a menacing image!
Nowhere to Go gives the crowd a chance to open up those vocal chords and sing along. With a huge chorus, this has been a fan favourite since release and one of their top streamed songs. After three tracks all from their latest album they take a break to speak with the crowd, appreciating each person in attendance for their first Sydney show ever. Noah explains their next track, Glass Houses is the very first they ever released, the crowd sung in unison right to the end.
The breaks between songs seem to grow longer and longer, while the fans try to fill the silence with chants for the band, and of course, for shoeys.
The Grey begins acapella, as I look around the room to see multiple fans pouring their hearts into the lyrics, ‘gave you way too many chances, you ran through ‘em all’.
After yet another long break with no stage lights, Noah walks to the centre of the stage to apologise. He’s experiencing vocal issues and is concerned he won’t be able to perform the show we all came to see. It comes as a real surprise, as he has been sounding fantastic from the first note. ‘We are going to try do one more song and go from there’, Noah reluctantly confesses. As the band throw themselves into Mercy, the energy has altered on stage and in the crowd. Less punters are moving, you can almost see them holding their breath, hoping for the best while Noah has clear signs of frustration. The band get through the song before disappearing once more.
This time the break is longer than previous, the chants dissipate and our concern grows. The house lights come on as Noah returns to the stage once more to explain that they are here for Knotfest and believes if he continues tonight, he will damage his voice to the point that he may not be able to perform at the festival. Concern for his voice aside, he announces he will play the track ‘most of you came to hear’, Dethrone. The crowd roars, but a few are confused as it is their heaviest track and will not do any favours to a strained voice.
Regardless, he kicks off Dethrone with the ‘CONCRETE! JUNGLE!’ mantra and makes it through the track before departing the stage. The band delay leaving to hand out guitar picks, setlists, drum sticks and shake as many hands as possible.
Nobody expected tonight to turn out the way it did. Mixed feelings can be found at the Factory Theatre's bar, including regret over just witnessing 8 songs and an understanding, sympathetic heart for Noah's voice, fortunate for seeing the songs we did get. We definitely anticipated a lengthier show tonight from Bad Omens after waiting so long, especially since all three Knotfests only allowed for half-hour sets at a midday time slot.
We wish Noah all the best back to recovery and hope he can get up on stage at Knotfest for all 3 performances!
[Review] Empire Of The Sun @ Enmore Theatre, Sydney 21/02/2023
As the afternoon sun drew behind the clouds and the heavy rain beat down on the street, the doors to the historic Enmore Theatre were opened for the first of two sold out Empire of the Sun Sydney shows.
It’s been 5 years since the Australian band, fronted by Luke Steele, performed on home soil, so you couldn’t help but feel like this was a special occasion.
As the crowd filed into the venue, it was glaringly obvious that Empire of the Sun had not only retained fans from their inception, but had gained fans throughout the years, some of which were probably only babies when Walking on a Dream was first released. Even though EOTS released their first album in 2008, the crowd was brimming with punters of all ages.
As soon as the show begins, it’s not hard to see why the band has held such a wide audience captive for so many years. From the very start, the energy was high octane. Electricity fills the air as the lights finally go down and other worldly visuals appear on the back screen. As the music begins, the backup dancers walk across the stage, their silhouettes showing off the shape of their costumes, of which could be straight out of a science fiction movie.
Finally, Steele, recognisable from just his silhouette, makes his way to centre stage with his guitar slung casually over his shoulder. Drummer Olly Peacock and guitarist Ian Ball join Steele on stage and moving in unison to the beat with the dancers, they open the show with Standing On The Shore, a synthy hit from their first album. Not quite recognisable at first, the beat kicks in and familiarity washes over the crowd, giving them a taste of what’s to come over the next hour. While Steele remains the main character of the show, Peacock and Ball add stylistic flourishes to the music that would be vacant without them.
The set list is a healthy variety of the band’s discography, including one of Steele’s solo projects Listen To The Water, a song he tells the crowd he wrote while he and his family were staying in a log cabin in California during the Covid pandemic. Steele occasionally stops the show to talk to the crowd, mentioning the pandemic a few times, mostly to point out how much he’d missed Australia and playing music to a live crowd. He stated that in the height of the pandemic, he’d promised his kids they were going to get back to Australia. Luckily for EOTS fans, this was a promise he kept!
The band’s biggest hits are sprinkled through the set list, the first coming 5 songs in. We Are The People starts and the crowd roars. There are people all over the mosh climbing on their friends’ shoulders, while the entire crowd jumps to the beat.
Coming in third last, I was disappointed when Walking On A Dream started to play, knowing it wouldn’t be the song to close out the show. The whole package of music and visual elements coming together and the vibe emanating off the crowd really felt like a finale.
When the real finale of the show starts and the discernible sound of Alive starts to play, the electricity of the crowd is palpable. I rejoice in being proven wrong in thinking I knew what song should close out the show. The bass thumps through everyone and the chorus kicks in, Loving every minute ’cause you make me feel so alive. The crowd knows every word and they sing it back to Steele while he runs wildly around the stage, giving us every last bit of himself.
The common thread throughout the whole show can only be described as quintessential Empire of the Sun. Every facet of the show is littered with elements of the band’s personality. From the various costume changes to the glittering lights and visuals that could have easily passed as a standalone show. This wasn’t just a display of the band’s musical talent, but a clear exhibition of their creativity and an example of what a very specific vision looks like when it comes to life. We can only hope that this is only the start of a new chapter for Empire Of The Sun.
[Gallery] Bad Religion / Social Distortion @ Hordern Pavillion, Sydney 18/02/2023
Social Distortion
Bad Religion
Anty
[Review] HED PE @ Crowbar, Sydney 10/02/2023
One of the forefathers of nu-metal, HED PE have been steamrolling across Australia once more. The tour hosted by Silverback Touring began in Perth, stopping at Adelaide, Brisbane, tonight in Sydney, and Melbourne as the final destination tomorrow night.
HED PE have been consistently good to Australian fans, visiting most years with new material and great friends such as Nonpoint on their last run in 2019. Since their last visit, they’ve released 3 albums, 2 EP’s and released a cover of the Ramones classic I Wanna Be Sedated just last week.
The Bloods kick off tonights proceedings to a decent sized crowd for the first of 2 local supports. The post hardcore outfit from Newcastle leave nothing in the tanks performing with passion as though they are the headliners. The crowd nod along, unable to resist the heavy beats and energy at their biggest show to date. If they don’t have a local following already, it was lifted tonight. The Bloods did a great job starting tonights show.
Leading up to the show Silverback and HED PE’s social pages were calling for more supports in Sydney. The second support act making up tonight’s bill is The Weight of Silence.
A trap metal / rap core outfit from San Remo, Philip Island storm the stage wasting no time to begin the show. Their energy is incredible, front man J Figure covered face to toe in tattoos switches between screaming and rapping, never standing still for more than a second.
After blasting through multiple songs, J Figure says his band, guitarist Benny and drummer Lil Gerbz are doing all the hard work, so he is giving them a break to perform a solo rap song. The more he performs, another layer of clothing comes off until he’s shirtless although with how many tattoos he has, he still appears clothed. The band return to surprise us all with a cover of Break Stuff by Limp Bizkit. The crowd has been opening the pit consistently through their set, but this cover really sets it off!
The Weight of Silence are incredibly appreciative of not only the promotor and venue, but Hed PE and their influence. I had an absolute blast during their set, they were a perfect choice for tonights show and they’ve presented a rabid crowd for the Southern Cali greats up next.
The are no egos, smoke covered entrance or gimmicks when Hed PE enter the stage albeit full of smiles waving to the crowd to the sounds of Low Rider over the speakers. A few technical difficulties delay the beginning of the show, giving the packed crowd time to wedge in like sardines. R.T.R opens the show, taken from their 2021 EP and the first chance Aussie crowds get to hear the track. The crowd groove and dance along to frontman Jared Gomes wailing on the melodica during vocal breaks creating a jam like atmosphere.
After a quick smile and hello, Hed PE waste no time launching into Killing Time from 2000’s Broke. The crowd open, the pit widens and doesn’t close for the remainder of the night. I get the impression tonight is a somewhat greatest hits setlist with the exception of a small few. Iconic Hed PE tracks such as Waiting to Die, Swan Dive and Crazy Legs receive an enormous response. Next year will be the 30th anniversary of their formation and they’re as tight as ever. Drummer Trauma towers over the kit, his emotive face amplifying every crash. It’s no wonder he breaks a stick early on!
The smiles, dances and pits keep coming as Hed PE relentlessly throw hits our way. Raise Hell and Blackout garner roars from the crowd, while the slippery diehards in the pit push back the edges to unleash at Jared’s bellow! The heat that is rising from the crowd is blamed for the amps going out, to which we all cheer. The issues only last a few seconds before we’re back grooving to Let Me Know from their Sandmine EP.
Gomes takes centre stage thankful, grinning ear to ear to ask the crowd to sing along to the next one if we know it. The melodica makes a return counting in an instrumental rendition of The Meadow (Special Like You), yet another track from the brilliant Broke which makes up the most of any album tracks, 6 in total. The Meadow is a slower track with a different lyrical approach, Gomes sings much more cleanly in this track which is the crowd’s turn tonight. Punters are arm in arm with one another, serenading each other and having the time of their life. When the band asks the crowd to sing along we usually get a verse, or a chorus but Gomes wants the whole song performaed and we are more than prepared. High fives and cheers are exchanged at the conclusion of the punk rock/nu metal sing along.
If The Meadow sing along weren’t the highlight of the night, we’re treated to arguably their biggest track, Bartender. As a heavy metal DJ, I listened to this song every single Saturday night since I was 18 and hearing the live version will never get old and transport me back to a wonderful time on the dark dancefloors of Sydney night clubs. This fabulous track is bittersweet, as we are all aware the night is winding down.
As mentioned earlier, Hed PE released a cover of the Ramones classic I Wanna Be Sedated a week ago to the day and we are given one of the first live performances. They do a great job, although the crowd are hungry for more Hed tracks. Jared grins and asks if we want one more, of course we do! The opening riff of Renegade fills the room for our final dance together. Renegade is the perfect combination of sing along chorus to heavy verses to mosh to. Our final moment arrives as the guitar chugs along, beckoning the pit to open wide as Jared builds the anticipation with the words, ‘Push me, so I’ll push you right back’.
With one final bow, the show concludes the crowd thirsty for more but thankful for a breath of air. The Crowbar band room resembles a sauna by the end of the show. Trauma stays behind to shake hands and throw out drum sticks, with his trademark smile in tow.
Hed PE played a near perfect set list tonight, full of crowd favourites, you’d be hard pressed to find a single punter disappointed in that set. My only grievance was that the show ended at all! I had a smile on my face from start to finish, forever in awe of this fantastic band. Jared did let the crowd in on a secret that they would return in 2024, make sure you are there!
[Review] Thy Art Is Murder @ Roundhouse, Sydney 13/01/2023
We are not spoiled with a four-band line-up of top-tier talent every day. Tonight’s show is just that. Extreme metal, western Sydney titans Thy Art Is Murder are accompanied by three international heavyweights, Spite, Chelsea Grin and Whitechapel. Strap yourself in, we’re in for a night of heavy riffs and even heavier vocals!
Californian hardcore/deathcore/downtempo maniacs Spite are kicking off the festivities, and the band I am most looking forward to seeing. As they take the stage, the sun is still in the sky leaving the Roundhouse more illuminated than usual. Frontman Darius Tehrani commands the stage with energy too large for the small space, as being the first band on the bill their drumkit is in front of another. Half of Spite’s 8-song set is taken from their latest release Dedication to Flesh, a heavy-hitting no holds barred album that delivers from opening to closing track. Lord of The Upside Down, Caved In and IED give the crowd minimal recovery time, only a chance to warm themselves up for a huge night of moshing.
I’m happy to see just how many punters came down early to catch them! Rounding out Spite’s set is Kill or Be Killed and Crumble, two monstrous songs that showcase their sound perfectly. I’m a big fan of deathcore, but there’s something about Spite’s dash of metal in the mix that really makes them stand out. Their set is far too short, although as this is only their first time in Australia, I’m hoping it’s the start of a beautiful relationship that results in many frequent visits.
Just as I’ve had time to purchase a Spite shirt from the merch booth, the lights dim for Utah’s Chelsea Grin. The last time we saw them was with Born of Osiris in 2019, and in such time they’ve released two new albums, Suffer In Hell and Suffer In Heaven and I’m looking forward to seeing them again. Opening with Recreant, we get a sense that they did not come to mess around. Desolation of Eden, the album Recreant is taken from, had a very different line up, one of the most notable is frontman Tom Barber (ex-Lorna Shore) who’s been with the group since 2018 and is one of the most talented vocalists in the scene. His ability to jump from screams and lows is seamless and astonishing, all with a smile on his face. New track The Isnis gains a great crowd response as horns are cast in the air and pits are widened. Stand outs of Chelsea Grin’s set for me personally are taken from 2018’s Eternal Nightmare, Dead Rose and Hostage.
As for Spite, Chelsea’s Grin only really tickled their catalogue of music. I sure hope next time Chelsea visit, they have a longer set to really get into how great this band is as their popularity is soaring.
I’m already beyond happy with tonight’s performance, as Tennessee’s Whitechapel arrive. I’ve been a fan of theirs since 2007’s Somatic Defilement and they will always hold a very special place for me, the excitement has gone up a notch! In the last few years, their sound has expanded from the heavy deathcore flavour we know and love. Clean vocals have seeped through the mean demeanour, as showcased in their opening track When a Demon Defiles a Witch. Phil Bozeman has a very distinctive voice and evokes monstrous growls from such a small frame with ease.
Bassist Gabe Crisp provides the low end on the strings with force while all three amazing guitarists Ben Savage, Alex Wade, and Zach Householder give their own personal touch to the songs that make Whitechapel one of the biggest heavy bands around. They steamroll through a selection of hits such as Brimstone, Doom Woods and Black Bear which gets the floor bouncing and is impossible to keep out of.
This is Exile makes us long-time fans happy, even my brother with short hair can’t help but attempt to headbang to this Whitechapel classic! A Bloodsoaked Symphony and The Saw Is The Law round out their blistering set, 8 years in the making.
The exhausted punters head to the bar and outside area for one last breath before the headliners arrive to take what’s left from this crowd’s energy tanks.
We Like To Party by The Vengaboys fills the venue, making the metal crowd laugh and dance unaware Thy Art Is Murder lurk just behind the stage. Opening with Reign of Darkness the crowd pushes out a monstrous circle pit to the dark red lights only just illuminating the band members. The crowd scream ‘You will see the true face of panic’.
Vocalist CJ McMahon’s skeletal mic stand towers over him and the front centre of the stage, forcing him to sing upwards similar to Lemmy. Tonight’s performance is a truly special one, the 10th anniversary of their second full-length album Hate being played in its entirety. The mad crowd barely have time to hi 5 their mate before we’re cast into The Purest Strain of Hate. Drummer Jesse Beahler is a madman behind the kit and keeps tempo with precise concentration. I spot him looking into the crowd and smiling at the response his band is getting from the wild Sydney crowd.
Songs such as Immolation, Dead Sun and Defective Breed annihilate the Roundhouse still cast under dark lighting and smoke, adding to the drama of the undeniably heavy music. CJ is belting out some exceptionally heavy vocals, but that doesn’t stop him from having a bright smile across his face for most of the night. The band are truly appreciative of the reception and the love is sent back in droves. Doomed From Birth rounds out the Hate album and the band takes a short break backstage, while the crowd calls out for more!
Thy Art return to the stage for 3 encore tracks, which must have been hard to choose from their catalogue. Death Squad Anthem, Holy War and Puppet Master wrap up tonight’s gruesome events. TAIM consistently delivers goods in a way that inspires unending mayhem and fan love with horns raised as they scream out the lyrics until the last note.
I feel very proud to see an Australian band reach the success that Thy Art is Murder has garnered, especially headlining a tour in their own country with three international supports.
The entire east coast run of this tour has sold out with very limited tickets left for Adelaide and Perth. Do not sleep on this tour.
With 4 spectacular deathcore acts, there really is something for everyone and even if you head down for one band, I’m sure you’ll fall in love with another.
Electric Callboy @ Factory Theatre, Sydney 1/12/2022
German electronicore party monsters Electric Callboy have arrived on our shores, ahead of appearances at 2022’s Good Things Festival. Before the festival cylinders fire up, Electric Callboy are warming up with 2 sold-out headline shows; at Melbourne’s Max Watts, and Sydney’s Factory Theatre. Along for the party are Clay J Gladstone and Paledusk from Japan, the latter also appearing at the Good Things Festival.
Tonight’s venue may be half the size of the night priors Melbourne show, but the excitement and smiles sure are doubled! The Factory Theatre has had a facelift since I last attended a show here and it has a fantastic atmosphere with multiple rooms, hosting metal shows and comedy nights simultaneously. Scattered mullets, activewear and outfits are in full swing in hopes tonight’s headliner reciprocates the wardrobes.
Clay J Gladstone begin the madness with a high-energy set. The Blue Mountains Emo Punk boys, fill the stage in kilts, overalls – sans shirts of course! They get the crowd dancing and singing early on, which isn’t the easiest feat for a local band supporting international acts. I sure hope to see Clay J Gladstone on more line ups, with a longer set. Their personalities pour out of their songs and dance moves, they’re a lot of fun!
Japan’s Paledusk are up next, the first of 2 international headliners tonight. A Japanese, and a German band on the same night? I love festival season!
It feels as though they only just departed Aussie shores, as they appeared on the Metalcore Snitches tour alongside Alpha Wolf, Fit for a King and Great American Ghost in June. Paledusk’s music is unique and tight. The combination of metalcore, industrial, nu-metal, and EDM is exciting and impossible to look away from. We are even treated to an Eminem cover of Lose Yourself, Paledusk style. The guitarist never stands still, complete with spin kicks and windmills. Vocalist Katio jumps in the crowd for a sing along with their new friends, before closing out the set with Lights.
The pit is well and truly warmed up!
After their appearance at Good Things, they are darting across the east coast for a run of shows with Starve. Head to Destroy All Lines for more details on this tour.
Right at 9:10pm, the lights descend, and pink party ambience covers the stage. Intense dance music and intro, “In a world of desolation and sadness, six ultra-attractive men arose to bring back the joy. So, prepare yourself for the time of your lives. This is Electric Callboy. Are you ready?” Electric Callboy bound onto the stage straight into one of their biggest hits, Pump It. Each member kitted out in matching tracksuits, mullets and sweatbands the crowd erupts. Their mix of party tunes and heavy beats is the perfect combination. Before the crowd can catch their breath, we’re hurled into Arrow of Love as band members and crowd members alike make love hearts with their hands. This really is one of the happiest, most positive shows I’ve been to in a long time.
The lights darken and members exit the stage, returning in normal stage clothes asking if we know how to ‘Jump the Fuck up’, why yes Electric Callboy, we sure do! The Scene begins with a marching beat and chant before the crowd jumps the fuck up to the ridiculously intoxicating beat. One of two lead singers, Nico points out that the huge headphones he is wearing aren’t just for fashion. He’s been battling an ear infection and can’t wear in ears, so big over-ear headphones are the next best option. While feeling a little vulnerable, the second vocalist Kevin says he looks cute and asks the crowd to join in to make him feel better. Kevin and Nico share a kiss during Supernova, the love is flowing through the venue tonight!
MC Thunder 2 (Dancing Like a Ninja) shows the full extent of the vocal talent Kevin possesses. He conjures gutturals from the belly of hell, as crowd-goers look to their friends with pure delight in the form of a stank face. While the two singers cover most areas of the stage, the band members are giving just as much. Their music is tight, and they don’t miss a beat. The sound guy needs a raise because tonight is flawless.
September saw the release of their latest album Tekkno, which holds many gems. One of those gems is Tekkno Train, which begins with a fun dance beat beginning the united clap. Interrupted by a heavy breakdown before a big singalong chorus, it’s impossible to stand still! Drummer, David-Karl Friedrich is beating the drums so hard, I can feel it in my chest. Do you want to know what happiness looks like? Its friends dancing around singing the words ‘choo, choo choo, choo choo choo we’re riding on the Tekkno train’
The band exit the stage once more before the intro of favourite Hypa Hypa seeps through the speakers. We all thought we had to wait until the end of the set to hear this one! Hands are in the air clapping to accompany the vocalists, who have returned in yet another costume change. Its contagious ‘do do do do’ sing along ignites the crowd as the circle pit opens to madness.
The banter on stage is just as entertaining as the performance, the German accent only makes it more wonderful. Kevin speaks of a tradition of dancing with friends to a type of music in Germany called Schlager. It’s overused, dance-pop-infused music that is scoffed at. Luckily, they wrote their own Schlager song which transitions quite abruptly into deathcore. Hurrikan is a major hit of the night, coming in at only 1 minute and 39 seconds the crowd is left in awe at what they’ve just witnessed.
One fake encore later, we’re treated to the latest single Mindreader, the film clip, not even a fortnight old. An incredible aspect of the evening is not only that it is Electric Callboys very first Australian tour and they’ve sold out 2 shows, but the crowd knows songs so well, even when performed entirely in German! The members are incredibly moved and thankful for the support, interacting with the crowd at every opportunity. Spaceman may receive one of the most enthusiastic receptions.
Another fake encore reveals the German madmen decked out in bowl cuts and matching white vests. This can only mean one thing, it’s time for We Got The Moves. I’m not sure if it’s predominately laughter or cheers, perhaps both but the crowd is pumped! The song kicks off with the signature head bop, as the band and crowd leave nothing in the reserve tanks.
Tonight, was a fantastic showcase of top tier musicians. We were captivated by our international guests and what a treat it was. Electric Callboy is such a strong band and if you look beyond the funny lyrics and ridiculous film clips for a moment, you will find talent in truckloads. They have unquestionably swept the globe, and I am ready for the takeover! Their recorded music is only going from strength to strength with imaginative film clips and now Australian audiences know how great they are live.
If you are heading to the Good Things Festival this weekend, do yourself a favour and get in the gates early to catch their set.