Guitar feedback pierced through the air above Brisbane’s The Riverstage (14 September).
Brisbane has a strong history of heavy music, beginning in 1976 with The Saints’ holy grail, ‘(I’m) Stranded’. Many bands emerged from that quake, but few have been as successful as The Amity Affliction.
For Brisbane Festival, the metalcore giants headlined Heaven And Hell alongside a heavenly line-up of hell’s best music.
Black-shirted fans gathered under the blazing afternoon sun for openers Nerve Damage. The Gold Coast punks were a last-minute replacement for Southeast Desert Metal, and they did not waste their set.
Nerve Damage - image © @fastlanephoto
A sample played of mining magnate Lang Hancock discussing poisoning rivers to sterilise Indigenous people. The sample fuelled their just anger; the three guitars grinded a furious riff, and their singer stalked the stage and howled from the pain afflicted on him and his people.
Stagehands demonstrated the first of many swift transitions before the gentlest set of the day from Sydney’s Endless Heights.
Singer Joel Martorana sweetly crooned over quivering guitar notes on ‘Come A Little Closer’. Building to its chorus, Joel stood with his arms outstretched on the stage’s lip, making fans swoon when he hit a long high note.
Endless Heights - image © @fastlanephoto
“What the f... is up, Brisbane?!” asked Pagan vocalist Nikki Brumen. “Let’s get this party started!” The Melbourne rockers have built a reputation for energetic performances, and they exceeded expectations at The Riverstage.
When not screaming, Nikki ran across the stage, climbing on the drum kit and whipping her hair. Her energy fuelled the crowd, leading to the unprompted formation of the day’s first circle pit, and fans rushing to the band’s spiky riffs and disco beats.
“You’re all crazy and we love it,” Nikki screamed, her face and white shirt stained in the red wine she guzzled throughout their set.
Pagan - image © @fastlanephoto
Laughs filled the air during the video introduction for Thornhill. An announcer bellowed about “the heavyweight championship of the world” while each member adopted strange personas and had their pros and cons listed on the screen.
As Shawn Michaels’ ‘Sexy Boy’ played, the band took the stage flexing their muscles in dorky poses. Not only did the Melbourne band adopt the hilarity of wrestling, but they also showed they had the energy to last a match, too.
Singer Jacob Charlton swung his mic by its cord and high-kicked throughout, and fans formed a circle pit and rushed clockwise. During the band’s “heaviest track” ‘Lavender’, Jacob’s mic was swiped by Void Of Vision’s Jack Bergin, whose screams amped up the crowd.
Thornhill - image © @fastlanephoto
Jacob took his mic back, leapt into the crowd, and shoved it into the faces of fans climbing over each other to get closer.
The pulse of sub-bass announced the arrival of Void Of Vision, and Jack immediately stood in the crowd held up by fans as he screamed. As riffs burst through skittering beats, Jack climbed atop a speaker and directed the crowd to run in a circle.
“Faster and wider. Don’t you f...ing stop,” he commanded as he balanced on the shaky structure. With their energy burning, fans used the momentum to propel themselves on top of others gathered at the stage’s front, reaching towards Jack.
Void Of Vision - image © @fastlanephoto
Strange electronic noises were overtaken by the brutal riffing of Perth’s Make Them Suffer. Beneath the riffs, Booka Nile played intricate melodies on her keyboard. When the music grew heavier, she held on to her keyboard, using it as support for wild headbanging.
Vocalist Sean Harmanis signalled to part the crowd, counting down to fans charging at each other. He grabbed his mic with both hands, screamed at the end of his countdown, and fans stampeded towards each other.
Make Them Suffer - image © @fastlanephoto
The deep, rasping voice like the announcer in ‘Mortal Kombat’ games began a countdown. On one, techno horns sounded, and members of Japan’s Crossfaith charged on to the stage, growling and waving red flags.
The band seamlessly mixed metal and rave, sending fans into mad flailing, but it wasn’t enough for lead singer Kenta Koie. “To the back, I say, F... you! Join the party, motherf...ers! I’m not gonna eat you,” he screamed. A girl on crutches took the invitation, hobbling in to the madness before the stage.
Crossfaith - image © @fastlanephoto
Cooler temperatures arrived as the sun set, and Newcastle’s Trophy Eyes lit up The Riverstage with their bright pop-punk. Drummer Blake Caruso was the first on stage, playing drums over a remix of their single ‘Friday Forever’.
The rest of the band came out spinning, triumphantly launching into the song. The set was tight, with very few pauses.
Before singing ‘Hurt’, singer John Floreani asked the crowd to climb on each other’s shoulders – an action that had security sharing concerned looks. As ‘You Can Count On Me’ closed the set, a circle pit formed. But, unlike the rest of the day the violence was replaced with fans hugging, screaming the chorus with John.
Trophy Eyes - image © @fastlanephoto
Hell began to freeze over when chilly winds blew through The Riverstage, but they didn’t cool the reception for Underoath. The American band recently reunited and released a new album, and fans were excited for new riffs from these old favourites.
Multiple sets of drums pounded before Spencer Chamberlain held his mic stand high above him and roared. Guitarist Timothy McTague raced across the stage, and Christopher Dudley’s body shook like he was being electrocuted by his synths.
Standing on the stage’s lip with his arms outstretched, Spencer admitted: “I might be a little bit jet lagged, but you guys are making me feel like it’s three in the afternoon and ready to party.”
Underoath - image © @fastlanephoto
Barely any grass could be seen at The Riverstage; the venue was full for the anticipated arrival of The Amity Affliction. The lights dimmed and sparks exploded from the stage, lighting the tangled mass of limbs gathered before the stage.
Smoke filled the stage, a futuristic city lit up on the screen and drummer Joe Lonobardi rose high on a scissor lift. But all the expensive production didn’t deter from their massive songs.
As the band launched into ‘Ivy’, vocalist Joel Birch called: “Let’s hear you sing it, Brisbane!” Fans needed no instruction to sing-along, growling along to every song and impressing Joel. The biggest applause came for older song ‘Anchors’.
The Amity Affliction - image © @fastlanephoto
Earlier, Pagan’s Nikki told the crowd how she realised she could front a metal band through growling to this song, and she pranced on stage to steal Joel’s mic and showcase her skill, impressing the whole venue.
The band closed with ‘Pittsburgh’, but the crowd needed more. “You guys know our tricks, huh?” bassist/ singer Ahren Stringer sheepishly said as the band returned for an encore. Guitarist Dan Brown swapped to an acoustic for “a nice little sing-along” of ‘All F...ed Up’.
Fans met Joel’s request to light up the venue with their phones, telling them to remember they’re here with other people who love them. It’s a heart-warming moment that kept the chill away, and after a full-day of the best metal, fans wouldn’t want to be anywhere else.
