There are few bands who reign supreme as trendsetters and superstars in their field, and Architects comfortably sit within this upper echelon.
The opportunity to (once again) experience an act of such calibre is one to never be passed up, particularly with such a star-studded supporting bill – LA electro-punk-rockers (who I've covered previously) House Of Protection and mysterious, enigmatic newcomers to the alternative music scene, President.
Brighton metalcore rockers, Architects have spent the better part of the last decade refining not only their own charismatic, emotional and energetic sound, but defining a genre; inspiring countless other artists and musicians. Recently celebrating 20 years as an outfit, the British quartet return to their oh-so-familiar stomping grounds of Australian soil.
Only forming and entering the arena this year, bursting onto the scene with their debut live appearance being the iconic Download Festival, President has raised speculation and incited curiosity through their anonymity.
While (in this reviewer's opinion, valid) comparisons have been raised between President and the other hyper-successful anonymous alt-metal outfit, Sleep Token, President have invigorated a genre that is seeing significant movers and shakers, and breathing a new life into a no-longer stale sub-genre.
The combination of incredible melodies with soaring crescendos culminating in often the 'only' heavy portion of their music, President are justifiably one of the most hyped bands to form in what can be considered an incredibly competitive year for the heavy music scene.
Playing a short, 25-odd minute set, President left the crowd wanting more. With no banter or talk to fill the air between songs, this band are – for now, at least – leaning into their anonymity drawcard.
Where the band succeed in their thematic choices, their live performance was somewhat lacklustre, lacking the energy of more formative artists, however with a surely illustrious career ahead of them I can only imagine what their performance will be like the next time I inevitably witness them.
House Of Protection's Stephen 'Steevis' Harrison and Aric Improta are two of the most dynamic and exciting musicians in the heavy scene – period. As a duo, they are simply unmatched in chaos, carnage, and hype-inducing mayhem.
House Of Protection (Sydney concert) - image © Paige Eveleigh
As an ex-metal elitist, a decade ago the thought of a band relying on backing tracks and instruments to support their sonic production would have made me cringe, however in the case of House Of Protection; who gives a sh.t?!
By reducing the traffic onstage and turning the intensity up to 11, this duo are a masterclass in what this reviewer believes to be the heart and soul of live music – performance.
Punk rock has changed over its life, and to minimise the impacts of an act like this because of a utilisation of modern technologies and standards is not only shortsighted and unjust, but undermines the message the band stands on – it's raw, it's frantic, and it's fun as hell.
From launching immediately into 'Pulling Teeth' with huge intensity, to Steevis singing the second song ('Learn Tp Forget') of their set from the centre of the mosh, surrounded by circle pit-goers, there were no moments of reprieve from the unadulterated joy of their set.
The highlight of their set (and potentially the entire show) however belonged to track 'Godspeed' where Aric opted out of playing drums entirely, calling on a crew member to fill his throne, so that he could lead the band with the energy and prowess of a top-tier, full-time frontman.
From delivering vocals atop the crowd, front-flipping into them, to executing a clean backflip off of the guitar cabinets, these brief moments are some of the best I have had the pleasure of witnessing all year.
Architects are a band I could write a thesis on, being a fan from the days of 2009 album 'Hollow Crown'. However, at this point in time, the majority of fans – particularly those who live and breathe the scene – are all too familiar with their illustrious and heartbreaking history.
As I entered Brisbane's The Riverstage (14 December) I was immediately transported back to Architects playing a truly unforgettable closing set at 2020's Unify Festival where clouds formed and a light rain slowly and poetically drenched my sobbing cheeks during 'Gone With The Wind'.
Architects (Sydney concert) - image © Paige Eveleigh
My hopes were high that Brisbane's recently rambunctious weather would deliver another gift from the heavens to further enhance the experience, however in a blessing and later commented on by Sam Carter himself, the weather was immaculate and downright delicious.
Fans wee treated to a set list comprising near-20 tracks, albeit with a slightly more modern set list that some OGs may have hoped for. However, such grievance is difficult to validate as a band with such a rich history, still releasing new music, must shift their focus to the newer songs at the expense of the older tracks.
"Old-heads," as addressed by Carter, were still accounted for with an invigorating performance of 'Gravedigger', underpinning one of the highlights of Architect's set.
Unsurprisingly,Carter, who I believe to be one of the best vocalists in heavy music history, delivered flawless upon flawless renditions of this exceptionally-curated set list, showcasing his phenomenal talent.
Architects (Sydney concert) - image © Paige Eveleigh
Noticeable in his delivery was a renewed emphasis on the heavy gutturals that seemed to have left his arsenal for several years. As a fan of heavy-heavies, this was a delight to see a man with many touring miles and years under his belt bring back something of this calibre.
Gone are the days wherein vocalists are shoehorned into either heavy or melodic stylisations, and Carter consistently delivers performances that inspire and set the standard as he effortlessly shifts across the spectrum.
Founding father of the band, drummer Dan Searle's heart must beat like a metronome, as he delivers a truly ridiculous performance. Searle's musicality and musicianship is otherworldly as he almost-carelessly delivers his signature rhythm section full of flourishes, aggression, and technicality.
Behind their respective strings, bassist (and keyboardist) Alex 'Ali' Dean and guitarist Adam Christianson join their brothers-in-arms in executing this evening's performance flawlessly.
Architects (Sydney concert) - image © Paige Eveleigh
While Architects have always been a guitar-driven band, the tight technicality and syncopation across their catalogue never ceases to amaze fans (like myself). To say this performance was emotional would be an understatement. Having endured their own heartbreaking loss throughout their career together, there's no surprise their subject matter often touches on this loss.
This set however is much more high energy than those of yesteryear – maybe some of the old wounds have healed into scars, and while still formative in the band's heart and soul, are no longer needed to be pushed to the forefront at every opportunity.
However, at no time does their performance feel self-indulgent or self-pitying; it's authentic in a way that resonates deep within the souls of fans who have grown to know this act as a means of emotional release and a source of comfort.
In the same tone, Carter & Co. have no qualms in making their political and ideological stances in public forums; something as important now as it has ever been since music's creation.
Prior to kicking into 'Impermanence', Carter takes a moment to reminisce about The Riverstage being the first stage the band was lucky enough to perform in in Brisbane – some 15 years ago – in support of Australian metalcore heavyweights, Parkway Drive.
Architects (Sydney concert) - image © Paige Eveleigh
To the envy of every other city on this tour, Brisbane punters are treated to an impromptu appearance by Parkway Drive's own Winston McCall to deliver a truly memorable rendition of this masterclass of heavy-ness. "How about that for a f...in' surprise, ay?" exclaims Carter.
Such features have occurred previously, but generally in much larger-scale locations such as international festivals when stars have aligned and both cohorts have been – never at an Australian headline show.
After the smoke settles, Carter takes a moment to reflect on how amazing it is to have friends and supporters like Parkway Drive who after their own international successes, still make the effort to support Architects.
Beyond the final encore song 'Animals', still having the energy and vigour expectant for such renowned tracks closing out an evening, a special moment will remain with me in the place of an abridged version of 'Gone With The Wind' leading into 'Doomsday'.
Beyond 'Doomsday''s musicality being my Architects preference, the subdued and haunting connection between these two tracks has added even further depth and weight to this very specific piece of their career, now, with renewed meaning and an ever burning purpose.
Architects (Sydney concert) - image © Paige Eveleigh
Architects once again delivered a performance on par with any of the Goliaths of this genre, and confirmed why they exist at the same level of fame and notoriety as some of the biggest names in metal.
They are solemn, hugely energetic, frantic, authentic, and tight – what more could you want out of fantastic British metalcore?!
