Eaton’s Hill - Saturday 23 April 2022

Written by: Sam Wolsteinholme - Sense Music Media | Wednesday 27 April 2022

2022 has seen the glorious return of large-scale music festivals to the Australian scene, and particularly where the dedicated punters of Australian heavy music are concerned, it’s clear that this has not come a moment too soon. In the case of Full Tilt’s Brisbane leg, come hell or high water, this festival has overcome every obstacle thrown in its path to finally take place. After several rescheduled dates, the moment has finally arrived, and not even dubious weather conditions can dampen the unbridled enthusiasm of the hordes of fans filling out Eatons Hill’s outdoor area when doors open at midday. As I walk in, there’s a palpable sense of excitement crackling in the air like jolts of electricity. The stages are set, the drinks are beginning to flow, and I know I’m in for an amazing day.

Central Coast’s experimental prog masters RELIQA are the first band to take the outdoor stage. I’ve been a huge fan of these prodigious young whippersnappers ever since reviewing their superb debut EP a few years back, but I haven’t since had the pleasure of seeing them live. The four-piece have quite the formidable task of officially kicking off the festivities today, and boy, do they deliver this and more. Frontwoman Monique commands the stage with her effortless charm and powerful presence, her crystal-clear vocals ringing out through the grounds like a bell. It’s a great live mix and every member of this band demonstrates impressive technical proficiency with guitar shreds, slapping bass solos and driving drums to boot. There’s already a mosh going by the second song, and the band’s energy only increases throughout the set. It’s a tight, energetic and mesmerising performance that sets a very high bar for the bands to follow.

I duck inside to the Ballroom just in time for local punk-hardcore favourites STEPSON. After an atmospheric intro builds the tension, the band crashes in with the full force of their more ferocious hardcore numbers, accompanied by a captivating lighting show. It’s only the second band on the bill and already the room is packing out. A great circle pit breaks out during the second song and the crowd is going wild, singing along to some of the band’s catchier pop-punk hits. We’re advised by the vocalist that STEPSON’s usual frontman couldn’t perform due to an injury, but the five-piece manage to raise the roof regardless with their cracking set.

Back on the outdoor stage, we have the soothing alt rock vibes of LUCA BRASI for a pleasant change of pace. Something of a cross between SIMPLE PLAN and BIRDS OF TOKYO, it’s catchy and uplifting, and makes for a nice breather from all the heavies indoors. The band successfully creates a very relaxed atmosphere for the growing outdoor crowd to enjoy. It’s steady, chilled-out rock, but delivered through a tight and confident performance.

Heading back inside, I’m metaphorically slapped in the face with the sudden brutality of JUSTICE FOR THE DAMNED, who’ve just begun their set. The Ballroom is absolutely packed and the mosh pit is going berserk as crushingly heavy deathcore consumes the room. Half the band are decked out in some Brisbane weather-friendly mosh shorts, which is a sensible choice of attire considering how the room is heating up with a kind of tribal intensity. I’m struck by the sheer force of the breakdowns, with double kicks cutting through like white-hot knives. The combination of the packed-out room and the ferocity of the music creates an almost claustrophobic experience. The band power through some unexpected gear tech issues like champs with an epic drum solo and are rewarded for their troubles with floor-wide circle pits and a wall of death. A fantastic set from these guys.

Next up, it’s SLOWLY SLOWLY on the outdoor stage, and the contrast in musical style could not be more marked here. I’m jolted back into candy-sweet, pop-punk teen dreams as the punk rockers launch right into infectiously catchy tunes with no shortage of bubbly, effervescent energy. This is true feel-good music, and the band gives it their all, jigging around with big smiles and joyful abandon. These guys are clearly here to party and have a good time, and the crowd are loving it, singing along to every word and going off like a frog in a sock during beloved track “Jellyfish” in particular. I’m not that familiar with this band, but even I’m having a little dance – you simply can’t not move to this music. It’s a joyous experience that has thoroughly converted me.

Meanwhile, it is packed to bursting in the Ballroom, where VOID OF VISION are dominating the stage. The metalcore mavericks deliver an impeccably tight performance with a notably punchy guitar tone that tears through the wall of sound. I swear every time I come back in here, the mosh seems to have grown in size and energy, and rightly so for this band and the palpable aggression that underpins their sound. Everything is meticulously executed yet imbued with a raw, feral intensity. The frontman’s guttural harshes sound like they’ve been clawed up from the depths of the underworld, yet what I’m more impressed by is his mid-set declaration that though it’s great that festivals are back, no creeps would be allowed in their mosh pit. It’s fitting that VOID OF VISION are so polished in their visual presentation, because these are classy lads indeed who know how to get the crowd pumping.

Shortly after this at the outdoor stage, the stage lights dim and ominous sirens sound, then the heavens open and rain suddenly cascades down upon us as THY ART IS MURDER take the stage in an appropriately foreboding start to their set. The deathcore titans are as brutal, relentless and unyielding as ever, helmed by the formidable force that is CJ McMahon who delivers some of the most terrifying harsh vocals known to man. Instantly, an absolutely massive circle pit breaks out that takes up half the outdoor stage area, and the excellent lighting that punctuates every blast beat really adds to the frenzy of it all. As the set unfolds, dusk settles over our outdoor arena, giving the impression of a literal descent into darkness as the feral brutality of THY ART’s perfectly mixed live sound eclipses the space. But the most astounding thing about this performance is yet to come – when CJ challenges the punters to create a wall of death record for the day, the entire crowd splits into a square, then hurtles at each other at full speed like a dam had broken from all sides. Only during a deathcore set would you see something like this.

In another jarring contrast, FRENZAL RHOMB are up next, bursting onto the outdoor stage clad in hi-vis vests to lighten the mood with a dash of their trademark cheeky bogan Aussie humour and old-school 90s punk craziness. With their high-octane energy and punchy delivery, these punk legends perform their unusually short songs with the spirit in which they were written – it rocks up, makes a statement that both shocks and entertains you, and then it fucks off. FRENZAL RHOMB never take themselves too seriously, and with song titles like ‘I’m Shelving Stacks as I’m Stacking Shelves’ – about shoving ecstasy up your backside before doing the night shift at Coles – it’s a riotous party that never ends and will make you very nostalgic for all the 90s punk bands you loved, especially THE OFFSPRING.

It’s back to the breakdowns in the Ballroom where deathcore dynamos ALPHA WOLF are crushing it, and again the room seems even more packed out than before. How many people can actually fit in this room before it explodes? This is a pertinent question because there’s a wild and primal atmosphere circulating in the room. An alarming amount of fight dancing breaks out in response to the filthy breakdowns complete with booming bass sound and significantly down-tuned guitars. You can feel the raw, uninhibited anger, defiance and rebelliousness radiating from the stage – this is a band that dispenses with niceties completely and lets the rage flow freely from its source. The band are back on home soil after a recent American tour, and their elation shows in the passion of their performance.

Now it’s time for another legendary act in Australian metal – IN HEARTS WAKE. The five-piece emerges from the shadows onto the outdoor stage in 1940s gas masks like some kind of cyberpunk fever dream, then proceed to dominate the arena with their crisp guitar riffs, contrasting with electro synths and gritty harshes. The outdoor area is packed out now, and it’s a striking sight to see everyone raise their hands simultaneously before throwing down when the beat drops. IN HEARTS WAKE deliver world-class stagecraft and a clean, polished yet defiant performance, with not one, but two drum kits that add even more crunch to the rhythm section and reinforce the tribal intensity of the music. Frontman Jake Taylor has an incredibly strong presence; he commands attention and owns the space completely. The band have fantastic chemistry and never once let the energy levels drop. What they manage to create feels like a movement, with everyone united in one moment of complete catharsis.

The final band to take the Ballroom stage is Melbourne pop-punk quintet BETWEEN YOU AND ME, who seem a little confused as to how they ended up on this bill. Declaring that they are the “pussiest band on this metal lineup”, they nevertheless put on a fun and engaging performance that is reminiscent of GOOD CHARLOTTE 20 years ago. Even though the crowd in the Ballroom has dwindled somewhat, with many punters outside ready to see NORTHLANE, there’s still a great crowd response as the band rolls with their anti-heavy angle by owning their candy-sweet pop-punk melodies that are catchy and uplifting.

Finally, the entire festival crowd gathers at the outdoor stage as they await the arrival of their beloved headline act. The lights dim, then it begins – NORTHLANE burst out onto the stage to raucous cheering, launching straight into new album single ‘Clockwork’. The live mix is impeccable, with notably sharp toms punctuating the album-quality performance of the quartet’s greatest recent hits. Then out of nowhere, the crowd is treated to a majestic spectacle of pyrotechnics, whilst frontman Marcus Bridge sets hearts and souls ablaze with his feral, guttural harshes and soaring cleans, both of which are spine-tingling. With the crushing guitars and bass, you can feel the power emanating through the floor, and the intensity of the experience is so palpable that it ripples through the air. Every track, both old and new, is perfectly and seamlessly executed, smooth as silk.

Particularly striking moments are when fireworks explode on stage while a huge wall of death rages during ‘4D’, and when a fade off into dark silence is abruptly interrupted by the crushing ‘Jinn’. Recent single ‘Carbonised’ gets an absolutely insane crowd response, and towards the end of the set, it’s hard to believe an hour has flown by as the energy and intensity of the music just seems to grow and grow. When NORTHLANE closes out their set with ‘Bloodline’, complete with bright red lighting, I am overcome with emotion at the sheer passion of the performance. This is a special track on a very special album that’s dear to me, and it has clearly impacted the rest of the crowd too. The band returns for one final encore number of ‘Talking Heads’, complete with an unexpected explosion of white confetti that cascades onto the crowd like snow. What a way to round out this festival that has been quality fun with quality Australian bands from start to finish.

Big Thanks to Destroy All Lines for putting on such an epic event!

All photos by: Tracy McLaughlin - Kaotic Images

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