Words by Natalie Blacklock
Photography by Elizabeth Sharpe // @ummagummamumma – VIEW FULL GALLERY HERE
Following the release of their Redux version of seminal 2014 album ‘Let The Ocean Take Me’, hometown metalcore legends The Amity Affliction are headed out on a 6-date national tour, delivering the album (presumably as well as a few extra sneaky bits and pieces) in full to audiences around the country. Heading out alongside TAA are Boston heavy metal outfit Ice Nine Kills, Detroit metalcore band, We Came As Romans and Melbourne-based newcomers, Heavensgate in what’s shaping up to be one of the must-see tours of the year.
Playing host to the Brisbane leg of the tour is arguably one of the city’s best venues for live music, Riverstage. Located along the Brisbane River, nestled amongst Queensland Parliament, the City Botanic Gardens and the Queensland University of Technology, Riverstage is an icon. The 9,500-capacity outdoor entertainment venue has hosted acclaimed local, national and international acts including Ed Sheeran, Arctic Monkeys, Lorde as well as hometown heroes Powderfinger, Violent Soho and Ball Park Music as well as community events, including the annual Lord Mayor’s Christmas Carols. With rolling hills for a more relaxed view and plenty of room to mosh down the front, Riverstage offers the best of both worlds for punters of all ages.
A band largely born out of bunch of Instagram DM’s during Melbourne’s COVID-19 lockdowns, Heavensgate have come with something to prove and nothing to lose, pushing out fresh side to modern metalcore, and have set the groundwork to be a household name very quickly. Following the release of their EP ‘And All I Loved, I Loved Alone’ in 2023, the band have gone from strength to strength. Recently doing their own headline tour around the country as well as support slots with fellow Melbournians The Gloom In The Corner, Texan metalcore outfit Invent Animate and American prog-metal lords, Currents, Heavensgate’s unyielding passion hits more than just skin deep. Opening up proceedings early, the all-ages crowd packed in early in droves to catch Frontman Nazareth Tharratt and the band let rip on EP tracks including Chemical Heaven and Ginsick as well as the band’s latest single, Ratking. Certainly, an early and quick set, but definitely a great way to kick off a huge night. If Heavensgate weren’t on your radar before, they certainly should be now!
Having only toured Australia last year, Detroit band We Came As Romans were back and the crowd were visibly keen, with many jumping to their feet as the stage lights began to dim. Frontman Dave Stephens wasted no time introducing the band “We are We Came As Romans. Let’s do this shit. Open this fucking pit up, Brisbane” as the band kicked into Darkbloom, the title track from their acclaimed 2022 album. Following up was Doublespeak with Stephens telling the crowd how great it was to be back in Australia, as Guitarists Joshua Moore and Lou Cotton and Bassist Andy Glass got down to business, throwing down in sync. Dialling back to 2017, the band delivered Wasted Age as well as Cold Like War. Stephens paused to speak of “concerts being our safe space” and how it was an opportunity to connect with people who felt and thought about things in a similar way. Plagued ignited the crowdsurfers who continued to come over the barrier one after another. Lost In The Moment, dedicated to former bandmate, Kyle Pavone, who passed away in 2018, saw the crowd get involved once again, hanging on every word and clapping along in unison. By the end of the song, a young fan had managed to crowdsurf his way to the stage and spoke with Frontman Dave Stephens who asked who he was there to see. “YOU!” the young fan exclaimed. Stephens sounded flattered, yet surprised, undoubtedly making the moment a highlight of the kid’s night! The band kicked into Hope from 2011 record ‘Understanding What We’ve Grown to Be’ before rounding out their set with a ‘Darkbloom’ 1-2 punch; Black Hole (which features Beartooth’s Caleb Shomo on record) and Daggers, which was unexpectedly accompanied by a Fireworks Display further down the river, lighting up the back of the venue, offering a fitting end to a tight and enjoyable set.
Known for their American horror inspired music and film clips, Boston’s Ice Nine Kills certainly pulled out all the stops for their set, turning the dial on stage set-up and theatrics up to 11. The PA blasted out the very familiar strains of Nick Cave and The Bad Seeds 1994 epic Red Right Hand setting the scene for what was to come. Opening the set with the ‘Resident Evil’ inspired Rainy Day, Meat & Greet taken from the band’s 2021 record ‘The Silver Scream 2: Welcome to Horrorwood’ was a feast for the senses, with the track’s film clip projected on screen behind the band and with backup performers; one in a Straitjacket, one as a Police Officer, complete with baton, bounding around the stage. The band rolled through Ex-Mørtis, which saw Vocalist, Spencer Charnas, in his element; armed with a Chainsaw, attempting to cut another backup performer. In an upbeat change of pace, the band launched into their cover of Katrina And The Waves 1980s classic Walking On Sunshine, which the band recently released with Californian Ska legends Reel Big Fish for the new ‘American Psycho’ comic series. Ice Nine Kills didn’t skip a beat as they launched into the live debut of A Work Of Art, the band’s contribution to the recent ‘Terrifier 3’ soundtrack accompanied by the gory-as-hell film clip projection as well as an appearance from Art The Clown, re-enacting some parts of the clip in the flesh (p.s. it wasn’t a real baby…). Funeral Derangements saw Charnas with a bloody shovel in hand commanding to crowd to move as Guitarists Ricky Armellino and Miles Dimitri Baker and Bassist Joe Occhiuti combining to deliver some stunning backing vocals. Each song of the set was broken up with 1980s/1990s style TV ads, and these ones for Blockbuster Video and a Video Hits compilation definitely gave the older members of crowd a giggle. Next up was another cut from ‘The Silver Scream 2: Welcome to Horrorwood’, Hip To Be Scared, where Charnas armed himself with an axe, swinging and striking as simulated blood splatters were projected on the screen. Inspired by iconic 1984 film ‘A Nightmare On Elm Street’, 2018 track The American Nightmare gets the crowd going with touring Drummer, Adam Reed, setting the pace. Charnas looks every bit a fierce Frontman as he dons Freddy Krueger’s claw glove and tells the heaving crowd to “get your claws in the sky”. The Shower Scene, referencing perhaps the most famous scene in the history of cinema from Alfred Hitchcock‘s ‘Psycho’, is played out on stage with Charnas taking on the role of psycho-killer Norman Bates. Ice Nine Kills round out their set with Welcome To Horrorwood, with the visuals on the screen depicting Charnas’ court case where he’s accused of murdering his fiancé as seen in the song’s film clip. The set ends with Charnas officially welcoming Brisbane to ‘Horrorwood’ – where our indoctrination is complete. The crowd were so enamoured, there were even calls for an encore. If the crowd weren’t sure who Ice Nine Kills were before their set, they definitely do now – and undoubtedly, they’ve earned themselves a bunch more fans with the intricate and (very) intentional production value of their live show.
Since forming in 2003, while still in High School in Gympie, The Amity Affliction have undergone various changes in line-up, but one thing that has remained constant is Amity’s power to bring punk and hardcore music to the forefront in the scene both in Australia and overseas. The band have earnt their reputation on the back of powerful live performances and relatable lyrics, which often explore the darker sides of human emotion; including depression, heartache, and loss. 2024 has delivered The Amity Affliction’s 5th #1 ARIA debut for the ‘Redux’ of 2014’s career-defining record, ‘Let The Ocean Take Me’. The re-release comes after the band’s exit from their previous label, who they worked with from 2012’s ‘Chasing Ghosts’ through to 2018’s ‘Misery’. Produced by Amity guitarist Dan Brown and mixed by Henrik Udd (Architects, Bring Me the Horizon), the ‘Redux’ version marks a sonic evolution for The Amity Affliction and has allowed the band to reclaim their creative legacy on their terms.
As promised, The Amity Affliction were slated to play ‘Let The Ocean Take Me’ in full – of course with a new spin thanks to their recent ‘Redux’ release of the album. Following its release in 2014, ‘Let The Ocean Take Me’ became seminal record for the band, praised by critics and fans alike – opening up TAA to a larger audience, and pushing their sound to new heights. 10 years on and the fusion of raw emotion and dynamic soundscapes on the record are just as poignant as it was upon release, full to the brim with some of the band’s biggest songs to date. TAA emerged with Frontman Joel Birch and Bassist / Clean Vocalist Ahren Stringer took pride of place owning the front of the stage. Guitarist Dan Brown and fill-in Drummer Sam Bassal of Ocean Grove (jumping on the skins for this tour run after Joe Longobardi broke his collarbone in a recent bike accident) arguably had the best view in the house perched on risers behind creating a two-tier stage set-up. Kicking things off with album opener Pittsburgh, the first noticeable change on the ‘Redux’ version of is the omission of the choir vocals, instead using the lush female vocals of Alison Jane (All That’s Left), who recently unmasked herself on TikTok, keeping up the opening immediacy of the track. Brown joined Birch and Stringer on the lower level for Lost & Fading followed by Don’t Lean On Me, igniting the crowd singalongs with “1, 2, 3, Let The Ocean Take Me”, complete with impeccably timed Streamer Cannons. The Weigh Down allowed Stringer’s clean vocals to shine through reverberating drums and guitar. Frontman Joel Birch was full of gratitude saying “This tour wouldn’t be possible without the sum of its parts” before launching the band into Never Alone, featuring synthy production, oddly reminiscent of early Enter Shikari. The band launched into Death’s Hands, which just wouldn’t have been complete without the crowd screaming back “Hey death, get fucked!” and a bit of on-stage pyro for good measure. FML saw Brown back on the riser with Bassal allowing Birch to bound around the lower level. The power behind Frontman Joel Birch’s vocals was palpable on My Father’s Son. Chosen as the lead single for the re-release, the track is noted as being one of Birch’s favourites, exploring the similarities between himself and his Dad, even though he didn’t have a relationship with him. Forest Fire showcased Joel and Ahren’s unique and beautiful vocal complement, highlight the reasons why their partnership has lasted 20 years. The album’s closer Give It All tied up the record beautifully with the crowd helping out on vocal duties as conducted by Birch and Stringer. Seeing and hearing the ‘Redux’ version from start to finish in a live setting highlights the unrelenting energy found on the 2014 album and takes it to new heights; every riff, breakdown and chorus hitting harder than ever – showing a depth of maturity, not just as people but as musicians too. Concluding the ‘album set’ was a reel of TAA archival footage from over the years, providing a heart-warming walk down memory lane for those of us who’ve been around the Amity camp since the early days.
The band quickly returned to the stage with the heavy-hitting I See Dead People, featuring posthumous contribution from Kiwi rapper and long-time friend of the band, Louie Knuxx, on the backing track. Drag The Lake, taken from 2018 album ‘Misery’ followed up, igniting the crowd for one of the loudest singalongs of the evening. Frontman Joel Birch wasn’t backward in coming forward in telling the heaving masses what he wanted for the next track, “Alright Brisbane I wanna see a fucking circle pit out there” as the band ripped into All My Friends Are Dead from 2020’s ‘Everyone Loves You… Once You Leave Them’. The stage turned all shades of neon for ‘Like Love’, arguably one of The Amity Affliction’s most moving and gut-wrenching works to date. The track, which pays homage to late I Killed The Prom Queen and Deez Nuts bassist Sean Kennedy, whose passing in 2021 sent deep shockwaves through the alternative community, instantly struck a chord with the crowd, as lyrics “I’ll be in space” (part of a conversation between bassist Ahren Stringer and Kennedy before his passing) rung out through the venue. Closing out the set was long-standing crowd favourite, Open Letter, from 2012 record ‘Chasing Ghosts’. This track has long been a personal favourite of mine, and tonight it took me down memory lane, recalling the first time seeing it played in the open air – Soundwave Festival 2013 at Brisbane’s iconic RNA Showgrounds saw my sister and I run from Stage 2 (Blink 182) to catch the end of Amity’s set over at Stage 3 (for those of you in the know, that’s literally from one side of the RNA to the other), jumping on top of a couple of wheelie bins to grab the best vantage point. There is definitely something to be said about the connection between music and memories, and tonight definitely provided another golden opportunity for that.
TAA couldn’t leave it at that though and returned for a much-welcomed encore. Kicking off with It’s Hell Down Here from 2023’s ‘Not Without My Ghosts’. A song detailing the band’s painful loss of close friend, colleague and all-round legend to many (including this reviewer) in the Brisbane music scene, the one and only Shane Collins, highlighted the clever juxtaposition of Birch’s guttural screams and Stringer’s clean vocals on display. Frontman Joel Birch spoke candidly to the crowd; “Brisbane, you’ve been incredible. You’ve given me goosebumps all night” before closing out the night with 2020’s Soak Me In Bleach. Before the breakdown, Birch instructed the entire crowd to sit down – and sit down they did – before the band launched into the final strains and the crowd a final mosh, complete with streamer cannons in full force.
This wasn’t my first rodeo with The Amity Affliction crew, nor will it be the last – but this was definitely one for the ages. There is something incredibly special about seeing an Aussie band (even a Queensland band in this case) in the open air, along the banks of the ‘Brown Snake’. Is it ‘hometown’ pride? Is it that feeling of unification with a venue full of strangers over music? I can’t say for sure, but one thing I do know is that 10 years on, ‘Let The Ocean Take Me’ still stands up as one of this country’s strongest metalcore releases and this anniversary tour is going to be something very special for those of you lucky enough to have nabbed a ticket!
THE AMITY AFFLICTION
‘LET THE OCEAN TAKE ME’ 10 YEAR ANNIVERSARY TOUR
w/ Ice Nine Kills, We Came As Romans + Heavensgate
Saturday 9th November – Hordern Pavilion, Sydney NSW
Monday 11th November – Enmore Theatre, Sydney
Thursday 14th November – John Cain Arena, Melbourne VIC
Friday 15th November – The Drive, Adelaide SA
Saturday 16th November – Red Hill Auditorium, Perth WA
With thanks to Beehive PR + UNFD
