As the mercury quickly rises at the awesome but infamous Brisbane Showgrounds (2 March), final moments of comfort and personal space are enjoyed by those lucky enough to be the first to wander through Knotfest 2025's museum.
From wall to wall, snippets of Slipknot's generation-defining heritage are hung, and on display in glass cabinets. The museum is a fantastic installation documenting some of the defining moments and differing eras of the superpower from Iowa.Guitars and cabinets; destroyed baseball bats, and masks and jumpsuits all cataloguing the illustrious career of these superstars. There's even an opportunity to play signature model guitars and bass for those inclined (don't worry, the sound was all through headphones, so no 'Wonderwall' or 'Stairway To Heaven' cutting through the soundtrack to the exhibition).
Truly an exciting experience for the diehards; an incredibly unique experience worthwhile checking out if feeling exceptionally nostalgic. Farewelling the reprieve of the Slipknot Museum, first cab off the rank in the oncoming onslaught of a monster day is Cali beatdown hardcore four-piece Sunami.
Sunami - image © Clea-marie Thorne
The arriving masses are greeted with the fast, driving beats and rhythms delivered in tight but enthusiastic musicians. Forming in 2019, Sunami have turned a would be short lived and meme-worthy lifespan to one taking them around the globe.
Upon formation, Sunami had intended on playing three shows before disbanding: A live debut and EP release show, a breakup show, and a reunion show. Now, years later they're braving the rugged Australian climate to show what the Bay Area hardcore scene is all about.
With their driving hardcore sounds and huge energy, the crowd is warmed, and if this is an indicator of what’s to come, we have a huge day ahead. Moving from one stage to its parallel in a personally-loved Showgrounds layout is a breeze at this hour, however it's unlikely to last as the thousands of attendees begin flooding through the gates.
Vended have an impressive turnout to witness their nu-metal destruction. Non-nepo babies, Griffin Taylor (vocals) and Simon Crahan (drums) are the respective sons of rockstar dads, Corey Taylor and Shawn 'Clown' Crahan, and have put in the work to establish themselves as formidable musical personalities regardless of their family fame.
Unfortunately, Crahan (and Crahan Sr.) are noticeably absent from the festivities, with Corey Taylor later, during Slipknot's set, informing crowds of a family emergency keeping the pair away. We're sending our best to their family throughout this time.
Vended - image © Clea-marie Thorne
Taylor Jr. has a presence far beyond his years as his incredibly talented outfit deliver with their dare-I-say Slipknot-sounding or inspired sounds. In saying that, this young outfit are unique, exciting, and with a final headlining show on the cards before returning home, I have no doubt that these youngsters have a huge future.
An undeniable drawcard of today's line-up for this reviewer is US core-fundamentals Miss May I. Forming and climbing to a very rapid success in the MySpace-era of breakdowns, riffs, and electronics, Miss May I have been on everyone's radar for over a decade.
Guitar-driven melodic metalcore that has inspired many millennial teenage guitarists being blasted live across a stage like this is truly a momentary step back in time. Heads bob and stank faces are hit throughout the ever-filling stadium – Miss May I has definitely encouraged Brisbanites out of bed before midday to brave the clear, burning skies. Having missed seeing the original line-up, which had remained unchanged until recent months, being so close yet so far was bittersweet.
This band undeniably made significant contributions to this landscape's growth and wider acceptance, and this can be seen as the droves of fans enthusiastically participate to the heavy beatdowns, intricate guitar leads, and absolutely fantastic vocal performance from bassist and clean singer, Ryan Neff.
Miss May I - image © Clea-marie Thorne
A highlight to the day, Health took to the stage with confidence, chaos, and their signature industrial and noise-rock sound, enticing crowds to dance, bounce, dance, and groove through the afternoon. The quartet is known for oozing bravado and an undeniable je ne sais quoi.
With a would-be soundtrack to a warehouse party, the talented LA natives commanded their afternoon set. As a huge fan of this outfit, it could be considered the band benefits from evening and more intimate venues and shows.
While the excitement of this heavy dance-influenced trio transposes to the large stage, having been present at some more Health-heavy shows (ie. headliners), there is a bit of a different energy. In saying that, John Famiglietti (bass and keys) has a presence that is both engaging and enthralling and quirky and entertaining. Health know what they're about, and they bring a reprieve to crushing guitars with their unique and interesting combination of sounds.
Health - image © Clea-marie Thorne
Another personal highlight, pseudo-hometown heroes by way of Byron Bay, In Hearts Wake are a staple to the modern touring circuit. Forming in 2006 and have unrelentingly toured their way to the stratosphere of Australian heavy music landscape, this is my first time experiencing the revised line-up with the departure of clean vocalist and bassist Kyle Erich in 2024.
Regardless of the disappointment of saying goodbye to such a staple of the scene, the nature-loving metalcore quartet stood up and delivered their loved, resounding sound to adoring fans. Interestingly, IHW have opted to not just replace live bass with a bass backing track, but have actually had a shift in line-up, where Eaven Dall, previously guitar, is now undertaking bass duties.
You love to see an outfit like this take every possible opportunity to remain authentic and traditional in approach to heavy music, and this is a testament to this. As teased over the weekend past, fans were treated to a special performance of 'Hellbringer' featuring Jamie Hails of Polaris. Released in 2020 with the 'Kaligula' album, Hails feature on this track is a phenomenal addition to an already exciting and vibrant set.
For the second guest vocal spot of their banging set, IHW brought out Miss May I's Ryan Neff to participate and fill a much needed void within 'Earthwalker', a song previously driven by Erich. With Neff's fantastic voice this song – as well as all others – was performed to such a high degree of musicianship, that walking away unimpressed would be borderline impossible. These Byron Bay locals know how to bring the party.
In Hearts Wake - image © Clea-marie Thorne
Grandfathers to the metalcore genre, Hatebreed command the stage showing what 30 years of experience in the game looks like. Having truly participated in the early origins of the genre, Hatebreed is a name in the industry at home alongside names such as Earth Crisis and Converge.
The genre-defining quartet are an enjoyable juxtaposition to those who have followed in their footsteps and forged their own 'uniquities' within the ever-expanding landscape. Chugs without the colossal detuning is just nice to the ears in an event as unrelenting as this.
The band's arguably biggest single to date, 'I Will Be Heard' has been an anthem for years, and the crowd respect this with a mighty contribution to the 2009 banger. Hatebreed, citing friends of the band actually starting the wall of death craze, opted for a 'ball of death' in a tongue-in-cheek and not too serious approach to the festival scene.
These high-school throwbacks (for many of us) are the first band of the day to draw enthusiastic participation from not only in front of their stage but from the neighbouring too. As the afternoon progresses, the level of engagement rises, just in time for some real heavy-hitters of the day.
Hatebreed - image © Clea-marie Thorne
Another regularly globetrotting delight is British rockers, Enter Shikari. With an unchanged line-up since 2003, the band is fronted by industry sweetheart Rou Reynolds (vocals and keyboards).
From being streamed directly from MySpace through Kerrang! Radio, to bringing an always adored afternoon energy to these long days, Enter Shikari always bring their A-game. Note-for-note perfection, and an authentic and engaging Brit-rock energy across the stage embrace the crowd, overflowing with infections dancing.
Highlights like 'Bloodshot', 'Destablise', and 'Sorry You're Not A Winner' send the thousands of punters into a frenzy of singing, screaming, and embracing the chaos of the electro-breakdowns and swinging grooves.
Interestingly, Enter Shikari opted to co-opt some of their own songs into drum & bass and driving electronic beats; an unsurprising switch up from a band known for covering their own songs (I'm looking at you Johnny and the Snipers).
Enter Shikari - image © Clea-marie Thorne
Enter Shikari have so much vibrance and energy and really suit fitting in an afternoon set. While absolutely of stature to warrant a later set, their no bullsh.t approach to authentic and enjoyable music really assists in breaking up a non-stop day, and for this, we take our hats of (figuratively, the sun is still belting down) to you.
In a slight change of pace, Dutch symphonic metallers Within Temptation proceed to wow the crowds with their soaring soundscapes and the equally ethereal vocals of Sharon Den Adel. With the heat slowly starting to break, there's an enjoyable symbiosis between the physical and aural reprieves working in tandem.
While not a personal big-ticket drawcard to the day's festivities, diehard fans revelled in the soaring melodies, supported by guitar riffs that feel almost classic by today's standards. With a huge career to date, this is actually the act's maiden voyage to Australia and boy oh boy, did they revel in the opportunity.
Adorned in an Australian flag-inspired outfit (being quickly changed after a couple of songs, however), Den Adel puts on a masterclass of huge, driving and wailing vocals. I may not have entered a fan, but I have left at least with a renewed respect of the talent presented.
Within Temptation - image © Clea-marie Thorne
Love them or hate them, Slaughter To Prevail have become a name synonymous with extreme metal, largely led by Terrible frontman, Aleksandr 'Alex' Shikolay. The beast-noise king continues to set a new standard in what a human body can do, akin but oh-so-different to the likes of Will Ramos.
After some frustrations surrounding the start of their set – to which Terrible took the opportunity to express his joy at living his dream thanks to the support the adoring fans – Slaughter To Prevail exploded with blast beats, breakdowns, and disgusting displays of human talent.
Where they're undefeated however, is the sheer power and presence this weapon of a man projects and throws his voice across the crowd. While well documented in viral moments, it never gets old being in the presence of this degree of power.
With an insanely tight and syncopated tech-metal guitar and drum combination, with their relentless intensity and raw aggression, Slaughter To Prevail's rise to superstardom comes as no surprise. With intensity and anger, they deliver every punishing note with a sense of magnitude and power. Between 'Baba Yaga' and 'Demolisher', this is an unrelenting onslaught without a moment of calm.
Slaughter To Prevail - image © Clea-marie Thorne
STP also shared a song with a young fan who took to the stage to support in guitar. Let me tell you, this kid did not miss a beat. Young Oscar – whose story we're not fully exposed to – joined the band on stage on a red 'V' and has done what many wish they couldl; perform on a stage to this calibre. Incredibly cool to witness, and a positive feather in the cap of this polarising however impressive act.
Polaris storm the stage, radiating an energy that's both electrifying and deeply emotional. Their love for what they do is infectious, and the crowd feeds off of every note. The huge hooks and delicate riffage of Polaris have ruled Australian airwaves and billboards alike over the last decade, and their live display solidifies them rightfully atop the pillar of success within this country.
While bassist and vocalist Jake Steinhauser is pitch-perfect as anticipated, Hails' voice continues to age like a fine wine. Older fans will remember the days of solely dirty vocals delivered with a raw drive admired by many; current fans enjoy a man who has well-crafted his instrument over a rigorous and demanding touring life.
Flavour and flair drip from the seams of the quartet, without an individual onstage not having a defining moment to truly showcase their talent. The exciting and busy drumming from Daniel Furnari acts as a dynamic and exciting foundation for modern metal showcasing some crushing breakdowns.
A zealous display of life exudes from the quartet in light of tragedies and heartaches and is returned from fans in emotional displays of understanding. A small 'RS' inside a loveheart can be seen on Furnari's kit, a small memento of a fallen brother.
Polaris - image © Clea-marie Thorne
We are starting to ramp up in production value at this time – Polaris are the first act of the day to introduce pyrotechnics, and their lighting design is more creative than the stock-standard festival array. These guys have truly earned their spot as the highest billed (and one of two) Australian acts on this tour, and with the response and outpour that the crowd gives these incredibly musicians, it should come as no shock when they continue their supremacy both at home and internationally.
As we begin to get to the pointy end of the evening, the Japanese kawaii metal band BABYMETAL takes to the stage in all of their over-the-top goodness. Their J-pop crossed metal sounds create an otherworldly atmosphere when overlayed with the band's movements.
There's a duality of almost bi-polar proportions with jarring switches in genre, however with poise and grace, BABYMETAL flourish in their element and perform flawlessly. The three-piece (plus supporting Kami Band) are all gas and no breaks with a set that keeps you on your toes trying to keep up.
The trio command the crowd with ease and grace – be it waving, bouncing, dancing, or splitting the pit and allowing chaos to unfold. As the sun settles behind the Showgrounds landscape, we are blessed with some exciting and vibrant production to accompany their massive energy.
Playing 'Ratatata', a song featuring Electric Callboy (however substituted for a big-screen appearance), the crowd explodes where no feet can remain on the floor. BABYMETAL are infections for all of the right reasons.
A Day To Remember - image © Clea-marie Thorne
With evening finally truly set in, A Day To Remember ignites the sea of people as they burst onto stage with an explosive rendition of crowd favourite 'The Downfall Of Us All'. Setting the tone for the evening with a giant start, A Day To Remember aren't here to waste any time.
With a giant time slot, fans are in store for a set filled with nostalgia, classics, and newer hits – you've got to love it. To no surprise ADTR brings out all of the big guns of production: lights, fire, cannons, confetti; all of the heavy-hitters.
The band, comfortable filling giant venues across continents is refined and succinct; trained by the countless shows performed to fan delight, and refining and honing their art. Hot off the release of a new album, you'd expect the peddling of the recent additions to the discography, however ADTR have absolutely spoiled their fans with a set list that would be damn-near impossible to improve on.
'2nd Sucks', 'Feedback' and 'I'm Made Of Wax Larry' catapult this explosive set at full speed, led by the beloved Jeremy McKinnon and band of brothers. Having seen ADTR a number of times at this stage, it cannot be understated how much fun they have each and every time.
As industry leaders, there's no disputing their place as one of the biggest rock bands in this league. Throwbacks such as 'Mr. Highway's' and 'If It Means A Lot To You' are peppered throughout the back half of the set, where we see more recent additions to the catalogue. However, in a truly giant display, the Floridians seal their ecstatic set with 'All Signs Point To Lauderdale'.
The band sporting surprisingly heavy production throughout their set, with emphasis on the guitar tone being bitey and aggressive. While by no means a soft band, you do wonder whether this production choice was a bit of fan service. I may well be wrong; it's been several years since last seeing this quintet perform, however I simply do not remember them being this aggressive. Regardless of driver, this is a fantastic choice, and the crowd absolutely loses their minds at every second line of the evening.
Slipknot - image © Clea-marie Thorne
The moment of truth; one of the most recognised and infamous names in music in recent decades, Slipknot. As is customary, '742617000027' ignites the speakers and serves as warning to the sea of maggots (Slipknot's loving fanbase's collective term), that chaos and destruction is imminent.
Commencing performance with '(sic)', the heavy metal ensemble are catastrophic in their powerful and emotional set. With an unruly stage production and flailing bodies, keeping up with the action requires a head on a swivel. Or on a pivot, leaving your view nothing more than lights and hair.
The live debut of 'Gematria (The Killing Name)' follows 'People = Sh.t', grounding all pre-existing expectations as fact that while this may be the 25th anniversary of this infamous group, their energy is still unmatched by most and admired by all.
In similar fashion to their predecessors, Slipknot's set is a smorgasbord of delights to diehard and casual fans alike. Mainly, they all love the heavy-hitters; the songs that have remained in lore and folktale surrounding the emergence of this crazy and wild evolution in creativity and expression.
'Wait And Bleed', 'Duality', and 'Spit It Out' made their way to this celebration of catastrophic success and acclaim. I will never tire of seeing guitarists Jim Root and Mick Thompson wailing, screeching, and shredding along to the dissonant and evil intro to 'Surfacing' – it's a moment I'll remember fondly for a very long time (which can be said for pretty much every second of this set).
Even 'Scissors', Slipknot's eight-minute track only recently released from the vaults and annals of their estate has seen inclusion as the final encore of this gargantuan performance. As intended, the crowd is battered and bruised and I'm sure for some, bloodied. Corey Taylor shows his compassionate side that was well-hidden for years behind the mask, wishing safety to all revellers and thanking them for their ongoing support and love.
Knotfest is an institution for a reason. It's a display of what true authenticity and conviction can result in with the special sauce and dynamicism that comes around but once in a blue moon. Maggots around the world will continue to gather and swarm for as long as the men behind the masks continue to demand our attention and downright respect.
More photos from the festival.
