Cradle of Filth are about the play the last show of their Australian Invasion tour and are the bait bringing a large colony of goths to The Triffid (29 September) in Brisbane.
The heavy-hitting Moldavans Infected Rain are the support act, opening their set with 'A Second Or A Thousand Years' from their latest album 'Time'. It hits like a freight train trying to outrun an avalanche, and that avalanche just happens to be an earlier track 'The Realm Of Chaos' from their album 'Ecdysis' (2022).I may need a seat as 'Pandemonium' takes the energy level off the charts and not one joule is lost as they claim a stake in our black metal hearts with an exquisite performance of 'Vivarium' that comes before 'The Answer Is You' and 'Dying Light'.
Fans in the pit are frothing for more of their raw, unfiltered sounds delivered with loads of heart and grit by Elena 'Lena Scissorhands' Cataragal; she must wear a neck brace to bed every night judging by the way she whips her lengthy dreads like a windmill.
Infected Rain - image © Clea-marie Thorne
Vadim 'Vidick' Ojog heightens the frenzy as the crowd watch on as he executes amazing solos. The sonic goodness of 'Never To Return' and 'Because I Let You' seep into our pores and we breathe in the music.
It's such a shame that blistering banger 'Sweet, Sweet Lies' from the album of the same title (2014) is the ending of their crushing set, because I could have copped another nine in the ear, easy peasy.
Anyone with a penchant for a metal band who is not afraid to experiment and mix up genres will fall for Infected Rain, who dance on the edges of nu metal, metalcore and are even brave enough to inflict a bit of groove here and there, creating a perfect storm of aggression and melody that'll get anyone thrashing along. If you're keen on something fierce and fulsome, Infected Rain is where it's at. Bloody legends, the lot of them.
Infected Rain - image © Clea-marie Thorne
During the break, the smoke machines continue to pump out more billowing clouds of fog transforming The Triffid into a dark, misty cavern.
The aircraft hangar is a great space that allows the lighting and stage crew to create a haunting atmosphere deserving of the dark poetic lyrics and melo-mayhemic instrumentation eagerly anticipated by Cradle of Filth (CoF) fans.
Beneath the dim lights sits a screened drum kit for Martin 'Marthus' Škaroupka and Zoe Marie Federoff (keys, synth, vocals), whose rigs are set up on risers at each end of the back of the stage against a demonic CoF backdrop.
There is clearly enough space left between drums and keys for Filth to stand, swing a mic stand and pelt his high-pitched screams into our ears. Heck, even Marek 'Ashok' Šmerda (guitar) and Donny Burbage (guitar) could shred away for us or perhaps Daniel Firth (bass) may claim it while laying down his thick and juicy basslines, just so fans way up the back can see.
Cradle Of Filth - image © Clea-marie Thorne
Extreme gothic metallers are appearing on the stage! Škaroupk, Firth, Šmerda, Burbage and Federoff take their places while fans cheer at their presence. But when a cloaked, shadowy figure moves onto the stage and up the small steps to the riser at centre stage, fans lose it big time.
The place is starting to hum like a turbine at the first sounds of 'The Fate Of The World On Our Shoulders' as Filth is unveiled beneath the cloak in his signature spiked leathers and white and black theatre makeup.
Taking us on a cinematic journey through 'Existential Terror' and 'Saffron's Curse', we are enthralled. Speaking of which, Firth is fascinating to watch as he plays his bass dressed up as a cenobite. It's such a contrast to the soft, flowy feels emanating from Federoff's presence at the back of the stage.
Cradle Of Filth - image © Clea-marie Thorne
CoF release an inferno with 'She Is a Fire'. Filth is mesmerising us with his demonic voice. For the uneducated, Filth can miraculously emulate the sound of a man possessed by a demon spawned from the lower echelons of hell, only it's way better than you can imagine.
Next level of hell presents us with 'The Principle Of Evil Made Flesh' and apparently an opportunity to "go get a drink" while they play a more recent song 'Crawling King Chaos' (2021) that is before a huge fan favourite from 2004, 'Nymphetamine (Fix)'. The band are playing this under a wash of purple lights cutting through the constant smoky haze – the vibe is ethereal.
Filth stalks the stage often and we only glimpse his made-up face occasionally as more often than not, we see only his striking eyes looking out over the top of his mic-filled fist held closely against his mouth to amplify his vocals to pierce all the ears in the room.
Cradle Of Filth - image © Clea-marie Thorne
More dark and misplaced romanticism, an ode of sorts to the mystical powers of the night, is 'Dusk And Her Embrace' as Filth showers the venue with a tempest of squalls at the beginning of the song.
Before he lets have the next song, Filth asks us to give it up for Infected Rain and cheers fill the room. He tells us the next song is about "what happens when you are on the road with Cradle. . . and rot on tour". Ha! It's 'Necromantic Fantasies'; and yes, it's about necromantic love and resurrection.
Fans become a body of rabid moshers for 'Born In A Burial Gown'; the only song so far from 'Bitter Suites To Succubi', which was a well-worn circle of vinyl in my youth. If you are wondering, Filth's voice still has the ability to make you quiver, and Škaroupk hammers the tubs and bass so hard the vibrations might just shake free any teeth fillings you have.
Cradle Of Filth - image © Clea-marie Thorne
Yass! The lights flicker and the encore starts with a little tasting of 'A Bruise' into 'The Promise Of Fever', and once the fever breaks into its ending; three CoF classic bangers hit us in the feels.
Stemming from the legend of Countess Bathory, we get the dark storyline of 'Cruelty Brought Thee Orchids', and Šmerda and Burbage carry it all on the necks of the guitars. Next, another song from the album 'Midian', 'Her Ghost In The Fog': "Never to part lest jealous Heaven stole our hearts." I so lost my little goth heart to this song for a decade or more, and still have a soft spot for it.
Filth tells us Brisbane is getting a treat with an additional song just for being the last show on the tour. The industrial flavour and heavy, grinding riffs that crash beneath the sinister lyrics which speak to the darker side of human nature – it is one of the most beloved mini symphonies they've made IMO – 'From The Cradle To Enslave'.
Cradle Of Filth - image © Clea-marie Thorne
Cradle of Filth smashed it tonight. Dani Filth's iconic shrieks? Still bloody spine-chilling right to the end, cutting through the symphonic chaos from Šmerda and Burbage on guitars. The rhythm section? Firth on bass and Škaroupka, a punisher of drums, both pounded away causing the vibrations to rattle our chests, keeping the energy cranked.
Federoff's haunting keyboards and backing vocals? Pure magic, adding an otherworldly vibe to the whole thing, not to mention she can sing like a siren. The band's chemistry? Spot on. Tight as a drum, showing off years of refining their art and performances.
Even though Federoff is one of the newest members, she has added a welcome dimension to their live shows and music. Keep her please and Burbage too!
I only hope CoF continues crafting their dark, cinematic soundscapes and electrifying live shows. Without their music to sustain us, we might wither away like vampires caught in the sunlight. After all, it's the blood of their music that sustains us as fans.
More photos from the show.
