In Australia for their first headline tour in five years, La Dispute delivered a passionate and polished performance at Melbourne’s 170 Russell (12 September) in a testament to their ability to continually reinvent themselves and keep it fresh.
It’s no secret that the mainstream hardcore scene is far from an inclusive genre, with most shows being dominated by men both onstage and in the crowd. That’s why it was fantastic to see gender-diverse Sydney four-piece Sports Bra open up the night’s proceedings with their wholesome brand of pop-inspired rock.
Handpicked as an opener by La Dispute, Sports Bra have made a name for themselves across the country for their open, honest and supportive discussion of queerness and mental health with songs like ‘Survival’ and ‘Little Beast’.
While the band has more of a pub vibe that didn’t translate as well to a larger stage, the audience met each song with enthused cheers and applause. With a bit more practice on the tour circuit, Sports Bra are set to be a force to be reckoned with.
As the last chords of ‘True Love Will Find You In The End’ rang over the PA during the break between the bands (a bittersweet nod to the passing of Daniel Johnston earlier that day), La Dispute entered the stage to the minimal synth sounds of ‘Rose Quartz’.
Without a word, the band launched into the melancholic introduction of ‘Fulton Street I’. Jordan Dreyer’s iconic half-sung, half-spoken vocals washed over the eager crowd, who swayed to the reverb-drenched, melodic guitar.
The five-piece continued with ‘Fulton Street II’, ‘A Departure’ and ‘HUDSONVILLE, MI 1956’ before Dreyer addressed the crowd for the first time. After thanking fans for coming, the vocalist stated how it’s important to the band to promote inclusivity at their shows so everyone can feel safe and comfortable.
Going forth, the group continued delivering emotional performances featuring standout tracks from all of their albums including ‘First Reactions After Falling Through The Ice’, ‘Harder Harmonies’ and ‘The Castle Builders’ (dedicated to fans who saw La Dispute perform at Melbourne’s iconic Irene Warehouse on their first visit to Australia).
Punters were deeply engaged for the entirety of the set, with Dreyer’s vocals sitting above the consistent hum of fans singing along. Often, he’d lift the microphone to the crowd and be met with a word-for-word recitation of his lyrics.
The atmosphere was impassioned, visceral and cathartic, with the connection between Dreyer and the crowd almost palpable. The band’s technical proficiency was impressive and provided a dynamic backing to Dreyer’s vocals, which flowed seamlessly over the beautiful, soft passages and crushing heavy tones.
A highlight came about when guitarist Chad Morgan-Sterenberg whipped out a trumpet during ‘Rhodonite And Grief’, adding some variety to the performance and building upon the powerful atmosphere created by the other members during the melancholy song.
Not a band for the theatrics of live shows, Dreyer announced before the final two tracks that they were going to perform an encore “without the ceremony”. Remaining onstage, the group played ‘A Poem’ and closed with the cult favourite ‘King Park’.
Despite the grim subject matter of the song, it was haunting and goosebump-inducing when the crowd joined Dreyer in screaming, “can I still get into heaven if I kill myself?” in the climactic final verse.
Undoubtedly a performance that’ll stay with fans and acquaintances of the band alike, the Michigan five-piece continue to remain relevant with their music as well as fostering a safe, inclusive environment while doing so – and if that’s the future of hardcore, I’m all for it.
