Review by Belinda Quick. Photography by Justin White.
I am an unashamed true believer in the concept of soulmates; perhaps that makes me Doomed. Yet, every so often, someone or something comes along. They ask, ‘Can You Feel My Heart?’, and you’re shown it’s real. ‘It was no accident…’
For two decades now, Bring Me the Horizon have excited this, and, last night in Adelaide, 11,000 others. Reaffirming their status as the kings of heart, they brought along their musical matches and delivered the undisputed concert of the year.
One of two domestic offerings, Melbourne’s daine performs to a building crowd. Doom demonstrating the diversity of the Filipino-Australian artist, the goddess careens to demon with ease, before flashlights amass for an acoustic I Want the Light to Swallow Me. The audience is teased: ‘Who likes metal music? Psych! I’m going to play a pop song. We like pop right?’ Anyone that’s witnessed the between-set reactions of the hardest to Backstreet Boys, or, in fact the speckling of colourful balloons bobbing in the mosh between sets tonight, knows that’s a vehement yes.
Perth’s Make Them Suffer is heatedly anticipated by punters. Ghost of Me is a saturation point in opening, encompassing everything this band has to offer – Alex Reade a prodigy on keys, Sean Harmanis releasing powerful screams. Hollowed Heart is a promise fulfilled, bloody red beams match the rhythm, before the glorious Ether. New track, Epitaph, is welcomed by uniform applause that restarts often; it was only released two days ago but is already an institution. We call time on the Doomswitch’s clock, all begging for more.
There is credence to the notion that, for as many as were here for BMTH tonight, equal were here for the mysterious entity that is Sleep Token. Goosebumps risen all over my skin, remaining peaked throughout, I was one of those in attendance; I was here in Worship.
Commencing proceedings with The Offering, this was exactly that. An extended hand, in the form of Vessel’s, reaching out to show passion, desire and love. The masked and cloaked figures in front of our eyes defying words. Named in homage to the deity Sleep, they are Token and offer their gifts to us, and we are infinitely blessed.
In an effort which serves as tour of 2023’s best album, The Summoning, Vore, & Rain follow. The first notable for II, the enigmatic ‘Drummer of the Year’; the lemon-lime lighting complimenting and contrasting the vocal and instrumental interplay of the complex second. Vessel plays a gorgeous piano interlude to introduce the third and matrimonial track, which is further accompanied by a bejewelled lighting show.
Returning once more to 2021’s previous release, This Place Will Become Your Tomb, Alkaline seems the ultimate love song. That is, until the most metaphysically resplendent song that has ever been written – Granite. It is a crystalline performance, which conjures tears and raises hands to chests.
This set has been one of the most cumulative experiences of my life, love personified, yet what I experienced in the final and title track of both album and set cannot be understated. Take Me Back to Eden is a beauteous goodbye. I can’t help but wish I’d heard but one of Sundowning’s shadows, and will see Vessel, II, III & IV dance across our landscape again this year.
Without breath returned, our Next Gen cyberhost appears. Appeals to ‘Please remain calm’ will not be heeded. ‘Are you ready to live?’ Absolutely, let’s expose our DArkSide.
Shooting off confetti cannons immediately while against the stained-glass windowed set, Oliver Sykes stands. Adelaide treated to an almost two-hour journey into the formidable and unmatched discography of this kingly band.
Empire is demonic, Sempiternal coldness; Mantra demonstrating their unique and phenomenal diversity. Spanning two decades, no album has ever followed the same path but all have been masterful in their dalliance. It is outrageous how gifted this brotherhood are and you can feel their bond with every beat.
‘Do you want to join a cult with me?’ Yes, unequivocally. I’ll recite Amen while the pyrotechnics burn me, and I’ll drink the Kool-Aid happily. ‘We’re going nowhere.’
Parasite Eve is absolute sensory overload. The combination of perfect musicianship, the insane projections behind stage and the audience screaming ‘This is a war!’ is too much but concurrently not enough. This is the show of the year and the encapsulation of what I live for.
None of us more in a hallucinogenic daze than audience member Dylan, brought up in synonymous style to accompany Sykes for Antivist, we all Drown before Can You Feel My Heart? takes out the major set with a lighting spectacular. Confetti and projections of all our beating, pulsating love mirrored back at us.
The encore, a final three tracks ensues, serenading at first, connecting with the Doomed and the LosT. With no ‘word left unspoken’, Throne is offered as one final embrace. Inciting at once dance, circlepit and whole crowd jump-ups, Sykes conducts the adoring audience like the magician he is.
Feeling the passion themselves and for us, we have all been reminded – Soulmates don’t come easily and often not in the way we are taught to believe. Man sometimes, music always. Nights like these reaffirm; they do exist.
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