A Resounding Recap of Froth & Fury Festival in Adelaide - November 18th, 2023
REVIEW AND PHOTOS BY: MONIKA OBERSCHEVEN-SMITH
The Butterfly Effect - Photo By: Monika Oberscheven-Smith
In the echoing shadows of the festival grounds at Pirate Life Brewery in Adelaide, the roaring guitars and thunderous beats of the sold out Froth & Fury Fest 2023 ignited a symphony of sonic chaos and camaraderie.
Returning for my second pilgrimage to the heavy metal haven of Froth & Fury Fest, I traversed from the NSW Central Coast to Pirate Life Brewery in Adelaide for an electrifying day of musical mayhem.
Froth & Fury unleashed this power in a symphony of shredding Axes and apocalyptic percussion; once again entering into this heavy metal heaven. From the moment I set foot in the venue, it was evident that this day would transcend the boundaries of mere musical appreciation – it would be a visceral experience, a journey into the heart of heavy metal euphoria.
As the sun cast its golden glow upon the festival grounds, pop-punk locals Late Night Lies took the stage, becoming the morning heralds of punky fun energy. Their vibrant set acted as a siren call, awakening the slumbering spirits of the audience and setting the stage for the sonic odyssey that awaited. With each chord, each beat, the crowd felt the festival vibes coursing through their veins setting a lively tempo for the day.
The transition to the Fury Stage introduced Vapours, a "djenty-deathcore" force that painted the air with vibrant musical hues. Their playful exploration of dynamic death metalcore turned the stage into a canvas of sonic expression. The crowd, now fully immersed, found themselves navigating a musical labyrinth of riffs and breakdowns, surrendering to the infectious energy that permeated the atmosphere.
Enter Suffer The Evenue, clad in nu-metalcore splendor and led by a vocalist whose antics echoed the peculiar charm of Russell Coight. Picture a scene where Limp Bizkit meets a funk-fueled dance party – it was not out of style; it was a rearranged spectacle that drew the festival's biggest crowd of the morning. The beer-dousing anthem 'Loose' transformed the venue into a chaotic dance floor, proving that Suffer The Evenue had mastered the art of 'Dad Vibes' disruption.
As the morning unfolded, Emergency Rule took the stage, changing the festival's tempo with their charming blend of southern BBQ-bash sound.
The swampy thump of Maylene And The Sons Of Disaster instructed by the depths of Black Sabbath became a spiritual crusade, coating the audience with the overwhelming charm of Monster Truck. The festival, now fully awake, embraced the sludgy-spiritual crusade of 'The Garden,' letting the infectious groove of 'Corporation' seep into their souls.
Extreme metal quintet Descend To Acheron then transformed the sunny BBQ vibe into an "extreme metal vile" of exceptional proportions. Their performance, marked by the brutifully bleak 'The Goddess,' left an indelible mark on the Fury Stage, setting the stage for the metallic hardcore onslaught of Warpath. In the echoes of their performance, the audience found solace and connection, proving once again the tremendous power of heavy music to bridge the gaps of existence.
The seamless movement between the three stages became a beereeze, allowing festival-goers to navigate effortlessly between sonic realms. The stages were impeccably set up, strategically positioned to ensure no sound clashes, allowing each performance to shine independently. The mere minute walk between stages provided a sense of continuity, yet the clever separation of areas allowed for an uninterrupted sonic experience. Walking to and from stages, there was ample space, ensuring a smooth flow and allowing attendees to immerse themselves fully in the sonic tapestry woven throughout the festival.
Full credit must be given to the organizers of the event, as the movement between the stages was not just a logistical triumph but also an aesthetic one. The separation of areas created pockets of anticipation, adding to the overall excitement and unpredictability of the festival experience. The happy crowd, a diverse congregation of metal enthusiasts, moved with purpose and unity, creating an atmosphere of shared enthusiasm and collective celebration.
And what a perfect day it was. The sun-kissed sky provided an ideal backdrop, casting a warm glow on the vibrant tapestry of band shirts, denim jackets, and eclectic festival attire. The free water station, a thoughtful addition, ensured that the crowd remained hydrated and energized, contributing to the overall well-being of festival-goers. The festival's meticulous planning extended to every detail, from the comfortable spacing between stages to the welcoming open areas, allowing attendees to find their rhythm, whether they were rocking out in the front row, diving into a mosh pit, or simply soaking in the sonic spectacle.
Back to the music, the stage lighting elevated each performance to a visual crescendo, creating an immersive experience that transcended the auditory. The bands, now part of a larger-than-life spectacle, fed off the energy of the crowd, their performances amplified by the perfect synchronization of sound and stage aesthetics. Each chord struck, every beat hammered, resonated not just in the ears but reverberated through the collective pulse of the festival.
Reliqa, hailing from Sydney's lively streets, surfaced as sonic craftsmen, expertly blending progressive alt-metal and rapcore to craft a captivating soundscape that echoed through the lively crowd. Monique Pym, the vocal enchantress, commanded the spotlight, effortlessly navigating between enchanting melodies and gritty rock edges, embodying a dynamic essence reminiscent of Sarah Anthony from The Letter Black. A pivotal moment unfolded with 'The Bearer Of Bad News,' an auditory masterpiece enriched by inventive breaks skillfully executed by Brandon Lloyd on guitar, Miles Knox on bass, and Shannon Griesberg on drums. An unexpected yet enthralling near Saidi interlude added an extra layer of fascination to the performance, captivating the audience in an unforgettable musical odyssey. 'Safety,' hailed as the BOUNCE anthem, transformed the festival ground into an "inflatable castle floor," marking the zenith of synergy between the band and the exuberant crowd. Beyond contributing to the festival's vibrant atmosphere, Reliqa's infectious energy catapulted them into a realm of warm, electrifying celebration, etching an indelible mark on the hearts of those immersed in the front row, the mosh pit, and the circle pit.
Adelaide's own tech death metal heroes, Freedom Of Fear, took the Fury Stage by storm, their set turning the alley leading to the platform into a heaving sea of enthusiasts. 'Primordius' became an exhilaratingly euphoric anthem, showcasing the band's outstanding orchestral attack. Vocalist Jade Monserrat, with her frightfully fantastic growls and shrieks, bewitched the audience, solidifying Freedom Of Fear as a force to be reckoned with on the global metal stage.
The festival's journey continued with the thrash heroes Hidden Intent, who deservedly captivated the audience. Faultless anecdotes, Occa humor, and a grand welcoming party for the three-piece returning from Europe and the monstrous Wacken festival – 'Breaking Point' and the UnHidden WIntent moment became a highlight of Froth & Fury Fest.
Melbourne's nu-metalcore genre smashers, Windwaker, took the stage with a strategy to wake the attendees from their delighted daze. 'Beautiful' unfolded poetically, a delectably devastating dessert of heavy music that stirred in the deep nu-metal tones of Korn, the electropunk dance of The Prodigy, and a bit of Mudvayne with a metalcore makeover. The wind was truly beneath the festival's wings now.
Stabbitha & The Knifey Wifeys, winners of the South Australian Music Award for Best Heavy Act 2023, emerged as more than a blackened punk'n'roll group; they were THE group that waved the flag to an elite level in Australia. Their performance, exemplified by the beer-dousing anthem 'Stockyard,' showcased a triumph of raw, unapologetic, and strong energy. Sass Williams, the vocalist, was a WOMENTOR, screaming with vigor and engagement, leaving an indelible mark under the "must-see" category.
As the sun bathed the Froth & Fury Festival in golden hues, Emmy Mack, the magnetic force behind RedHook, took the stage with an infectious enthusiasm that set the crowd ablaze. Alongside her, the talented lineup of Craig Wilkinson on lead guitar, Alex Powys on drums, and Ned Jankovic on bass formed a musical alliance that transcended boundaries. Craig's guitar prowess was nothing short of mesmerizing, and his surprising saxophone interlude during 'I Don't Keep Up' added a layer of musical brilliance that left the audience in awe.
The rhythmic heartbeat of the performance came courtesy of Alex Powys' commanding presence on the drums, driving each beat with precision and passion. Ned Jankovic's bass lines provided a solid foundation, grounding the sonic journey with depth and resonance. Together, they were more than a band; they were a powerhouse of talent that elevated RedHook's music to extraordinary heights.
In a magical collaboration that further enriched the festival experience, Monique from Reliqa joined the stage during RedHook’s ‘Imposter’, creating a fusion of energies that reverberated through the audience. The seamless integration of talents underscored the camaraderie among musicians at its best, a celebration of artistic unity that echoed the spirit of Froth & Fury. As the collective energy of Emmy and her bandmates reached its peak, the festival became a kaleidoscope of sonic colors, leaving an indelible mark on the hearts of those fortunate enough to be in the front row, immersed in the musical tapestry woven by RedHook and their collaborators.
As the sun dipped behind the buildings, Mélancolia took the stage, their gothic blackened deathcore becoming a grotesque sonic spectacle. 'God Tongue' emerged in a beyond eerie, devastating, and nightmarish fashion, a spectacle in a horrorific magnitude. The quintet, with their twisted behavior and heavy deathcore moments, became a testament to the madness that defines their genre.
If it were a weekday, this would be the hours of closing and "knock-offs," and one of the best bands to entertain lavishly was the Melburnians in Ocean Grove. A bit of weird and a hit of wonderful – could one imagine anything more "frothiness"? 'SEX DOPE GOLD' became an instantaneous party hymn, and Dale Tanner, the party preacher, yelled: “Welcome To The Odd World Baby!” The Brit-pop banger 'California Sun' wreaked havoc, 'Stratosphere Love' created chaos, and a wall of death comprehensibly ensued.
The anticipation hung thick in the air as the moment we've all been waiting for finally arrived—the long-awaited return of Alien Weaponry. Their inclusion in the festival lineup was, for many, the main driving force behind their journey to the event. As the New Zealand trio took the Froth Stage, a collective hush fell over the crowd, soon to be shattered by the thunderous beat of the Haka. Drummer Henry de Jong embodied a spiritual warrior, setting the stage for the energetic entrances of guitarist and vocalist Lewis de Jong and bassist Tūranga Morgan-Edmonds.
The crowd's enthusiasm was palpable, their collective awe at the technical prowess of Alien Weaponry evident from the start. The atmosphere crackled with excitement as the first notes of 'Raupatu' reverberated, and from that moment on, Pirate Life Brewery became a pulsating sea of energy. 'Holding My Breath' brought forth a thrash groove that had the audience in a frenzy, the profound lyrics delving into the history and injustices faced by the Māori people added a soul-stirring layer to the performance. It wasn't just a metal show; it was a passionate embrace of a powerful message, and the crowd responded with devotion.
The intensity reached its zenith during 'Blinded,' transforming the space in front of the stage into a gathering of protest and solidarity. The youth, captivated by the music and moved by the lyrical narrative, climbed the barriers, seeking a closeness to their favorite New Zealand metal trio. A heartfelt nod to the security team is due, as they not only maintained order but actively supported the cause, allowing a breathtaking moment in metal history to unfold safely. Alien Weaponry's presence on stage was not just a performance; it was a magnetic force that held every gaze, leaving an indelible mark on the festival's collective memory.
Adding an unexpected touch of delight to the already charged atmosphere, a few young fans took center stage, right at the front, reveling in the Alien Weaponry experience with the same fervor as the adults around them. In the midst of the moshing and headbanging, these little ones, eyes wide with awe, found themselves unwittingly becoming part of the show.
Tūranga Morgan-Edmonds, Alien Weaponry's charismatic frontman, couldn't resist the adorable sight and, with a grin, acknowledged the young enthusiasts. The band, known for their serious and intense musical presence, effortlessly shifted gears, embracing the light-hearted moment. Tūranga, in a spontaneous act, reached out to fist-bump one of the kids, creating a heartwarming connection between the band and their youngest fans.
This unexpected interaction added a layer of joy to the performance, underscoring the universality of music's impact. Alien Weaponry's ability to seamlessly blend their powerful message with such endearing moments showcases not only their musical prowess but also their genuine connection with fans of all ages. It was a testament to the unifying power of music, where, for a brief moment, generations collided in shared enthusiasm, leaving everyone with smiles that echoed the infectious energy of the festival.
Gold Coast's Sunk Loto awoke from their 15-year hiatus rest in 2022. They sold out an entire tour throughout the east coast, spoke of creating new music, and the world seemed 'Cured' from the sickness of the alternative metal quartet's absence. At the end of August this year, founding member and guitarist Luke McDonald was dismissed from the outfit in a rather unnerving situation; Rohan Stevenson from Melbourne's instrumental group I Built The Sky was announced as the new axeman. The quartet was in Adelaide for the first time in 18 years to perform their iconic LP 'Between Birth And Death' in full. The irony of the album's title seemed to repeat in significance; for this jaunt, Sunk Loto were more guided by the statement: “Between Death And Birth” – a rejuvenation, another reintroduction, and a reignition. '5 Years Of Silence' boomed as the sun descended, and vocalist Jason Brown charged off the stage to scream those sacred words: “You Destroy Me” while SL's adoring enthusiasts yelled the words back at the invigorated frontman with rhythmic fist pumps. The jigsaw had all fit together supremely, and this flow in live performance continued throughout the entire set, with Sean Van Gennip (bass guitar) and Rohan remarkably increasing their energy and presence as the set wore on, 'Erased' being climactic and possibly the epitome Sunk Loto live. There is more new music recorded from these four gentlemen to be released, and this 'Lift' has only just commenced.
The air at Adelaide's festival grounds resonated with an insistent chant: "S.T., S.T., S.T., S.T.!" The call for the presence of skate punk crossover royalty, Suicidal Tendencies, echoed through the crowd, an irresistible demand that could only be quelled by the quintet's appearance. When they finally took the stage, the eruption of energy was palpable as they tapped into power with 'Bring Me Down,' a manic performance that defied the song's title. Guitarist Ben Weinman, seamlessly transitioning from his tenure with The Dillinger Escape Plan, unleashed a performance that defied age, climbing, leaping, stomping, and swinging his axe with the fervor of a musical berserker. Bassist Tye Trujillo matched Weinman's intensity, delivering a jaw-dropping solo with the smooth yet vigorous style reminiscent of his father. Drummer Greyson Nekrutman, at a mere 21 years old, served as more than just the percussionist; he was the pulse beat of the quintet, a rhythmic machine. 'Shot Reagan' reverberated through South Australia, 'Cyco Vision' became the unofficial theme song of the night, and frontman Mike Muir, activated by the lyrics, delved deep into the audience ocean, igniting a whirlwind of a circle pit. It was a blur of whirling bodies, chop-dancing, and skater attitude – a nostalgic return to teenage anarchy courtesy of the ageless Suicidal Tendencies.
The Butterfly Effect, an Australian hard rock gem born from the collaborative spark between Ben Hall and Kurt Goedhart 24 years ago, took the stage in Adelaide, proving that seemingly insignificant events can birth mighty consequences. With three gold-certified LPs under their belt, The Butterfly Effect had soared globally before going into a hiatus announced in 2016. Fast-forward to 2022, a pandemic, a world on fire, and signs in place, the band returned with 'Start Again,' their first full-length album in 14 years. Adelaide became the canvas for witnessing the consequences of their musical journey, a city granted the chance to experience The Butterfly Effect's resurrection.
Froth & Fury Festival 2023 proved not only a triumph in heavy music but also a testament to the brilliance of the unsung heroes behind the scenes. The festival staff, from the meticulous sound engineers who sculpted the sonic landscapes to the skilled lighting technicians who painted the stages in vibrant hues, worked tirelessly to ensure every chord, beat, and moment was experienced with perfection. Security personnel, the silent guardians of the metal realm, seamlessly maintained order while fostering an environment where fans could express their passion freely. Each cog in the festival machinery, be it the stage crew, catering staff, or logistical wizards, played a pivotal role in orchestrating this heavy metal symphony.
The day unfolded under a perfect canvas of weather, as if the metal gods themselves had blessed the occasion. The sun's warm embrace complemented the roaring tunes, creating an atmosphere where festival-goers could revel in the sonic chaos without the hindrance of adverse weather. Smiles were as abundant as the brilliant performances, and the crowd's collective energy mirrored the seamless coordination of the festival staff.
The brilliance extended to the bands that graced the stages, with each act contributing to the festival's vibrant tapestry. From the infectious energy of RedHook and the mesmerizing sounds of Reliqa, to the thunderous return of Alien Weaponry, the lineup was a showcase of musical brilliance. The impeccable sound quality, a result of the dedication of sound engineers, allowed every note and lyric to resonate with crystal clarity, enhancing the overall experience.
As the final echoes of the festival reverberated through Pirate Life Brewery, there was a unanimous sentiment among the attendees—a yearning for Froth & Fury Festival 2024. The anticipation for the fourth installment was already palpable, a testament to the enduring success and brilliance of this heavy metal gathering. Froth & Fury had not just hosted a day of music; it had forged an annual pilgrimage, a tradition that fans eagerly looked forward to as a highlight on their calendars. With the memories of 2023 still fresh, the prospect of what brilliance the next chapter would unfold left everyone eager for more sonic mayhem, community camaraderie, and the unrivaled brilliance that defines Froth & Fury.
