In a monumental moment for Australian heavy music heritage, I Killed The Prom Queen rise from the ashes, returning to the spotlight with a vengeance.
After Say(ing) Goodbye twice over the course of their quarter-century career (most recently in 2017); one of this country's most prolific founding fathers and trend-setters in the core-scene are back together in what rabid fans hope is for the long-haul.
Bringing infamous US-beatdown icons Emmure on this national offering only sweetens the pot for aging core-kids and youngbloods alike – not that it was needed.
In the second show of tour – the first of two in beautiful, blooming Brisbane – the walls of The Tivoli (28 September) are prepared for a sonic onslaught, as are the scores of punters who have spoken with their wallets - promptly selling out the first show, and nearing sell-out status for this, the second, which confusingly is earlier in the tour run; go figure!
One of the bad boys of modern metalcore – Frankie Palmeri – wastes no time in asserting dominance as the Queens, New York, locals explode onto the stage, delivering heavy, saturated carnage to the joy of the crowd.
Palmeri (and Emmure) are polarising to put it gently. Across the heavy and extreme metal scenes, you either love them or you hate them, and frankly, there's no objectively correct take in this conversation (although some recent hypocrisy from the frontman has left some sour tastes in long-time fans' mouths).
Emmure - image © KealiJoan Studios
However regardless of your opinion, it is truly undeniable to understand why this act has had the staying power that it does. The four piece deliver their signature obnoxiously-downtuned melding of breakdowns and abrasive staccato 'leads', creating an abrasive and violent juxtaposition to the forthcoming melodically-infused headliners.
Notably missing from the band this evening is guitarist Joshua Travis, which to fans of this juggernaut of a guitarist, is a sincere shame. Regardless of his absence, Palmeri & co. exude swagger as they aggressively deploy their destructive compositions.
The quartet all own the stage with the confidence that fans have come to expect from an act that has toured for decades at this stage, however it cannot be understated the je ne sais quoi they possess.
Unfortunately, in a sad turn of events, fans are left waiting and wondering for a good 20 minutes after a significant injury occurred to one unlucky punter in the pit. Calls for paramedics can be heard as the house-lights flood the venue and the crowd opens to allow room for the response to this unfortunate occurrence.
Palmeri – who is not known for his uh, let's say, grace and compassion – makes light of the event informing the crowd that people will get hurt at these shows but to look out for each other; before continuing to say they've been asked to head off stage for a moment.
As I took this opportunity to find some personal space and a refreshment from the bar, I bore witness to a man gingerly being walked out of the venue with a bloodied towel to the back of his head.
In as good spirits as one could hope from these sorts of events, the man was a little unimpressed with being escorted out of the venue mid-gig, however given the requirement of a mop and bucket to the mosh pit before recommencing, I think it was for the best.
Emmure - image © KealiJoan Studios
As a long-term fan of the act, I believe a wise choice was made in keeping their set relatively short (not impacted – to my understanding – by the necessary delay). Emmure kept the back-end of their set full to the brim with their bangers such as 'Children Of Cybertron' (my personal favourite) and 'Solar Flare Homicide', to the happiness of their fans.
As Frankie stated earlier in the evening, they were there to play their set and get out of the way.
In anticipation and hype-up to this tour, the originally Adelaide-based monsters of metalcore have been sharing intimate, behind-the-scenes footage across their social media pages discussing their shock, awe, and bewilderment of the support they have received after all but fading into the annals of Australian music history a decade ago.
To say the current IKTPQ line-up is star-studded is a gross understatement. This tour is being helmed by charismatic Michael Crafter (ex Confession, Bleeding Through, Carpathian, and Big Brother Australia – yes, the reality TV show, to name a few).
IKTPQ - image © KealiJoan Studios
Guitar duties have been masterfully undertaken by Jona Weinhofen (ex Bring Me The Horizon, Bleeding Through, D.R.U.G.S.) and Kevin Cameron (ex In Trenches); and held together by a rhythm section comprising of now bassist, and once-vocalist Jamie Hope (ex The Red Shore) and everyone's favourite Aussie hip hop-hardcore veteran, JJ Peters (Deez Nuts, JJ, ex Grips & Tonic).
For hardcore-lore-enthusiasts and OG fans within this gorgeous and dynamic heavy scene that has been cultivated over the last several decades, there is one name missing from the aforementioned icons; Sean Kennedy.
As many may know, Kennedy tragically passed away in 2021. Kennedy, affectionately known as SK within the scene and to his scores of friends, left a gaping hole in the lives of many several years ago, and as anyone who attended Parkway Drive's recent Australian outing, has not been forgotten by Crafter and his IKTPQ brothers as will be recapped later in the evening.
I first saw IKTPQ as a 14- or 15-year-old kid from regional Queensland with The Getaway Plan (when they were still a five-piece screamo band), supporting Silverstein at the Lion's Den. Tonight feels full circle, some 20 years later as the PA fills with soft, building orchestral symphony of 'There Will Be No Violins When You Die' as the stage lights dim, indicating the commencement of the main event.
IKTPQ - image © KealiJoan Studios
The band bursts onto stage with vigour and gusto of men significantly their junior, as they launch into 'When Goodbye Means Forever' amidst red stage lighting highlighted with strobes, the large neon green Monster Energy logos side-stage, enough smoke to cause a coughing fit from Cheech & Chong, and some seriously impressive and grandiose snake-heart logos.
Crafter dominates the stage as a force to be reckoned with, delivering a phenomenal vocal performance (especially for a man who himself did not expect to be doing death-growls after turning 40 years old) standing with confidence and bravado.
Adorned in his recognisable 'SK Forever' flak jacket, it could be argued he's recently picked up some pointers from friend Winston McCall of Parkway Drive from their recent stage-sharing endeavours.
Cameron still demonstrates his flexibility and wild energy as he sporadically throws his guitar and body across and around the stage over the course of the evening. No longer the long-haired, wiry-framed teen that has embedded an image into so many of our minds, he has still retained and remembered the fan-favourite stage moves that won our hearts as teens and executes flawlessly whilst delivering an incredibly tight performance.
IKTPQ - image © KealiJoan Studios
As '€666' commences almost immediately following the opening track of the evening, it is apparent that while Peters 'still hates drumming', he definitely 'can still play'. The now-frontman of hardcore outfit Deez Nuts may arguably be better on his original instrument now than he has ever been.
Delivering a record-perfect performance of each and every song of the evening – possibly even with a little bit more flair than the original records possess – his drumming is a standout highlight and contributes significantly to the excellent evening as a whole.
In what may be the biggest shock of the evening, Hope not only delivers a solid and tight performance on the four-string, but allows his vocal prowess to flourish in both clean and heavy capacity.
To no surprise, there is support for Crafter's lead vocals through Hope's destructive heavy register. However, during the back-end of the evening, he lends his voice in harmonic support of Weinhofen, who has retained the role of lead guitarist and clean singer.
IKTPQ - image © KealiJoan Studios
The evening is a melting pot of new and old – expected for a legacy-style reunion tour and rabid fans cannot get enough of it. A set list spanning 25 years of success leads to some somewhat dated musicality elements in the earlier material.
However that's part of the charm and absolutely true to form. Fans came to experience the band they grew up with (albeit with sorer joints and grey hairs) and IKTPQ delivered in all of their glory.
Throughout the evening, amongst the expected and fitting calls to action from the crowd, Crafter lets his unapologetically loud and captivating personality take to the limelight – ranging from quips during song introductions and banter with some somewhat uppity security guards, through to a sombre and gut-wrenching moment, where he listed a half-dozen or so prolific musicians in the Australian underground hardcore and metal scenes who had committed suicide over the last two decades.
Hearing these names alongside their musical endeavours really hammered it home that no one is immune to dark thoughts, emphasising the importance of leading a life of compassion, kindness and love for your fellow human. This stark juxtaposition comes as no surprise when reminded of the impact that SK has had on those close to him and this outfit collectively.
IKTPQ - image © KealiJoan Studios
The evening comprises over two dozen fantastically-curated tracks, leaving nearly no stone unturned in ensuring their avid fanbase is satiated.
From 'Roses, Post Cards And Machine Gun Kisses' to 'Homicide Documentaries', to 'Your Shirt Would Look Better With A Columbian Neck-tie', and 'Bet It All On Black', the evening is nonstop, balls to the wall, and unrelenting.
In keeping with the appropriately cliche of the evening, IKTPQ walk off stage with at least a couple of arguably unmissable songs left unplayed. However, in a shock to the generic status-quo of encores, the PA speakers filled with a touching tribute to SK, speaking to the love held for him by so many within the Australian music scene.
Crafter and the team re-emerge with renewed enthusiasm as they dive headfirst into both 'Sharks In Your Mouth' and fittingly, 'Say Goodbye' to close out the evening.
IKTPQ - image © KealiJoan Studios
I'm sure I'm not the only punter leaving this evening hoping for not only more live appearances from the IKTPQ team, but also some new music (although there was absolutely no mention to this being a possibility) – a man can dream.
To those who are yet to experience this fantastic evening in their own home town, I say prepare to relive the glory days of metalcore, and be reminded of the death-grip this genre has around the throat of this country.
More photos from the concert.
