Words Matt New
Pix by Angie New Photography
As we ease into the new year, 2025 has already brought the heavy music community numerous exciting live music opportunities to sink their teeth into. Looking ahead at the calendar, the abundance of great shows on the horizon is truly relentless. The first show we had the privilege of covering in 2025 was the legendary (Hed) pe at Sydney’s Crowbar. (Hed) pe is no stranger to our shores, returning for their ninth visit since 2001, with their most recent visit being in 2023.
(Hed) pe is one of the more unique bands to emerge in the early 2000s within the dominant Nu-Metal genre. While not strictly a Nu-Metal band, (Hed) pe combines elements from a variety of genres including Gangsta Rap, Punk, and Reggae. Their style, affectionately known as “G-Punk”, is truly one of a kind. The band’s only remaining original member, Jared Gomes, has worked tirelessly to preserve the band’s legacy, and even in 2025, it is remarkable to see the continued adoration for their music across generations. I was eager to witness their performance on home soil, after getting a taste of their live show at Aftershock Festival 2024 in Sacramento.
Opening for (Hed) pe in Sydney was the local trap metal and nu-metal hybrid 3-piece band, The Weight of Silence. Originally from Victoria, the band has now found its heart in the Western suburbs of Sydney. Fronted by ex-Atlantis of the Sky vocalist Jacob Pedersen, Melbourne-based guitarist Benny Ehmke, and Sydney-based drummer Jarryd Mack, The Weight of Silence delivered a surprisingly balanced mix of brutality and sprightly fun.
Their sound seamlessly transitioned between extremely detuned Nu-Metal guitar riffs and groovy EDM breakdowns that had the audience dancing or moshing along furiously. Pedersen’s imposing stature and heavily tattooed appearance made for an impactful presence, but his light-hearted nature genuinely encouraged everyone to have a good time. The Weight of Silence proved to be an excellent choice for the Sydney leg of the tour, and I look forward to seeing them perform again soon.
Securing the main support slot with (Hed) pe for the entire Australian tour was Adelaide’s Heartline. Having recently seen them for the first time in December 2024 supporting 311, I experienced a sense of déjà vu, but in a positive way. Heartline is undeniably one of Australia’s best emerging heavy acts, showing immense potential to become one of the country’s next major heavy exports. Hailing from Adelaide, a city known for producing great musical talent like The Angels, Cold Chisel, and The Superjesus, it’s no surprise why this young band is incredibly talented. It’s well-deserved to see Heartline continue to receive important opportunities to perform alongside respected and seasoned bands.
Their set differed significantly from their 311 appearance, leaning more towards the heavy side this time, which was a pleasant surprise. Heartline demonstrated their ability to seamlessly shift between different musical styles with pinpoint precision, refreshing the audience. The band opened and closed their set with two new songs previously performed live on their last tour, a treat for their new Sydney fans. The exceptional musicianship of the band was evident throughout the performance. Drummer Michael Cooper maintained a solid rhythm, allowing the band to shine. Guitarist George Carey showcased technical expertise, transitioning from amazing riffs to luscious guitar solos effortlessly. Bassist Nevenko Sarunic’s 5-string Dingwall tones rumbled throughout the venue, adding depth to every breakdown. Vocalist Luke Taylor delivered a flawless performance, leading the band through a highly energetic set that had everyone moshing and two-stepping enthusiastically.
Very rarely do you see the velvet curtains drawn at Crowbar before a band begins their set, adding more mystique to (Hed) pe‘s grand entrance to the stage for their opening track No Way Out. Given the endless evolution of this band over the past three decades, the reception for the band was deafening. Gomes, along with guitarist Nathan Javier, bassist Kurt “Kid Bass” Blankenship, and drummer Stephen Arango, were quite a formidable force. Their presence was immense, feeding the Sydney mosh pit into a fierce battleground. (Hed) P.E.’s music has always been characterised by the paradigms of punk and gangster subcultures, making their music extremely relatable to many who consider themselves outsiders. As abrasive as their music may be, or as controversial as their lyrics are, there has always been a real sense of honesty within their music that makes it easy to connect with.
The diverse nature of the band’s shifting musical structure was most present when they progressed from the groove-based Rat Race into the fast-paced hardcore punk stylings of Peer Pressure. They then indulged old school (Hed) pe fans with Killing Time from their breakout sophomore 2000 studio release Broke, an album I still enjoy listening to, to this day, as it takes me back to Year 11 in high school. Gomes repeated to the crowd with much enjoyment, “It feels like a Saturday night in this place,” clearly overwhelmed by the energy in the room.
Gomes’ raspy vocals cut through the funky metal tones on stage like a knife through hot butter. His rapping abilities have always been amazing, and at times he seemed to need to catch his breath as he focused a bit too hard on his physical performance rather than the vocal delivery. But who cares, right? It’s punk rock!
The one interesting gimmick that defines (Hed) pe is not the blend of G-Punk or their abrasive underground image but frontman Jared Gomes‘ unassumingly virtuosic ability on the melodica. An instrument made popular in the 1960s by Brazilian musicians and later in the 1970s by dub and reggae musicians in Jamaica. These influences are very personal as he shares heritage with both cultures. The melodica solos featured in songs such as Let’s Ride and Bartender, with the haunting keyed reed instrument sound piercing over the mix of the rhythm section like a bee buzzing next to your eardrum. It was incredibly refreshing to see, as this is an element I had forgotten about this band. This defining feature seemingly lost into the background, as (Hed) pe were sadly marketed just like all other nu-metal bands back in the day.
Let’s Ride featured a little interlude of Get Up, Stand Up, paying homage to the late great Bob Marley. Reggae music is infectiously groovy and soulful, and (Hed) pe was very thoughtful in their delivery of this classic piece of music. The set was a smorgasbord of hits spanning this Californian punk rock outfit’s extensive career, from Broke to the band’s latest 2024 release Detox. Gomes and ensemble were visibly elated and humbled by the experience, and the affinity for touring Australia is a clear dopamine hit for these fine musicians. They delivered on every practical element, highlighting that although they are mostly an underground band, they also belong on the world stage among the best bands within the genre. It was a great experience to see (Hed) pe twice in four months in both settings, a dark dive bar in Sydney with a hundred die-hard fans, and additionally at a large-scale multi-day rock festival in the US.
They have delivered one incredible experience I am deeply grateful for.
