Words by Sam Wolstenholme
Alabama’s progressive metalcore luminaries ERRA have really risen to prominence in the past few years, captivating heavy music fans the world over with their sophisticated riffage, soaring melodies and mighty breakdowns. It hasn’t been long since they were last in Australia, supporting Northlane on their national tour in early 2024, but now, off the back of ERRA’s recently released sixth studio album ‘CURE’, the quintet have returned with their first-ever headlining tour here. Backed by the dual force of touring co-supports in USA compatriots Silent Planet and France’s Resolve, ERRA have assembled a glittering line-up of some of the most exciting new international talents in metalcore. Tonight at The Tivoli, we gather for the tour’s eighth and final show, ready to mosh and nerd out about musical technicality in equal measure.
Melodic hardcore hooligans Headwreck have nabbed the local support slot tonight. The quartet have a fair few loyal fans hollering at them as they launch into a fun, groovy set that loosens up the pit nicely with its A Day To Remember meets Alpha Wolf flavour. Jamo Benadie comes swinging in with a satisfyingly meaty guitar tone as he chugs through breakdowns in Plan B and Freefall, though his clean vocals sound a tad pitchy and over-projected in places. A nu-core cover of 50 Cent’s In Da Club is a pleasant and entertaining surprise – I definitely would not have pegged that hip-hop classic to work as a heavy track, but Headwreck pull it off with their cheeky swagger. Closing with Buzzsaw, there’s a sudden volume jump across all instrument levels, as if to further encourage the mosh. Overall, it’s a job well done from the local boys tonight.
Resolve’s set begins in true Frenchy-chic style, with their arrival announced by Édith Piaf’s unmistakable vibrato in Non, je ne regrette rien booming over the PA. This soon shifts abruptly to spaceship synths pulsating as the lights go out, and then the quartet rip into fierce metalcore imbued with darkwave undertones simmering beneath a pop veneer. It’s the last night of the tour but Resolve are buzzing with energy; they are thrilling to watch and instantly hold the crowd transfixed. The myriad of strobe lights flashing from all angles adds drama to the high-octane performance. Frontman Anthony Diliberto delivers some of the purest clean vocals I’ve heard in core lately, which contrast effectively with his solid metalcore screams and pitched screams that echo Gojira’s Joe Duplantier. The mosh is becoming so invested that Death Awaits generates a circle pit even before the first chord is struck. Diliberto expresses his gratitude at the warm welcome the band has received on their maiden voyage to Australia – good thing too, because with a performance of this calibre, punters will be ecstatic for their return.
The time for even more unholy downtuning has come – California’s Silent Planet take the stage to bring the kind of low end that you could break your neck to. Silhouetted against a cinematic video backdrop, the quartet unleash a colossal wall of sound bolstered by a beautifully balanced live mix. Between the demonic growls from frontman Garrett Russell and breakdowns that land like the judgement of God, the quartet’s brutality immediately stirs up the mosh with the feral frenzy of Collider and Euphoria.
Props to Mitchell Stark for seamlessly jumping back and forth between his guitar and synth desk, often with barely a second to switch. Russell demonstrates amazing physicality in his full-bodied, frenetic movements around the stage; he’s a forceful frontman, to be sure. The pit grew ever more unhinged for hits such as Antimatter and :Signal:, and what starts as a politically charged slam poetry piece gives way to a devastating throwdown in Panic Room. Recent single Mindframe inspires a massive floor-wide jump pit, and at this point both Stark and bassist Nick Pocock join in on the mic to flex their vocal chops.
Everyone’s multi-talented in this band, apparently. Russell imparts a heart-wrenching message of resilience for closing number Trilogy, which he wrote after he made an attempt on his own life. The perpetuating chant of “It’s always red, the static in my head” leaves a lasting impression after a powerful set from Silent Planet.
The headlining stage setup is unveiled, and it sparkles with elaborate lighting design reminiscent of Architects’ lighting preferences. As soon as ERRA launch into their complex, deeply technical riffage, it’s clear why this set-up is needed – the lighting sequence itself is programmed to flash with every quarter note, and the resulting audiovisual effect is mesmerising to the point of being almost overwhelming. The live mix is perfect; the sound is crushing yet razor sharp as the quintet carve up the room with lethal shreds and chugs, not to mention the thunderous, thrashy drums and deafening kicks from Alex Ballew that fuel a huge circle pit in Pale Iris.
Gungrave stokes the mosh mayhem while Jesse Cash’s stunning tenor belt soars high above us, in deep contrast with J.T. Cavey’s trademark ferocious screams. This being the band’s first-ever Australian tour, they’re digging deep in the archives for their setlist, bringing out 2016’s Drift which offers the opportunity for Cash and Clint Tustin to show off some glorious shreds in the extended guitar solo outro.
Scorpion Hymn, AKA Cavey’s favourite song as we are informed, is a controlled explosion of rage, while Glimpse is achingly melodic. In a live setting, ERRA’s impeccably polished yet deeply arresting sound creates the sense that we are all trapped in a ghostly box that is slowly being crushed around us. After a crowd singalong for ballad Blue Reverie, it’s right back to brutality with Alpha Seed, which is met with a seething circle pit.
Vanish Canvas is a masterpiece in guitar tapping from Cash, and then Cavey commands us to “move that ass” for Cure. It’s an order the mosh is only too happy to oblige as they go wild for the grooves, and all too soon we’re ostensibly at the end of the set with absolute belter Snowblood. Tired and very sweaty, the band disappear off stage, but apparently they’re having too much fun and can’t resist the calls for an encore. They reward their Brisbane fans with two additional songs from the archives – Rebirth which inspires instant pit carnage, and Skyline.
ERRA have played the long game, patiently building their presence for over 15 years now. Six albums in, that patience is paying off, as they are clearly hitting their peak in modern metalcore with their astonishing technicality, delivered in the framework of a highly accessible sound. Tonight, they capped off their debut Australian tour in an impressive fashion, with a performance and team of supports that hit all the right notes.
With thanks to Dallas Does PR
