Words by: Belinda Quick
Photos by: Missy Smiley
Special thank you to The Phoenix AU
“His ear heard more than was said to him, and his slow speech had overtones not of thought, but of understanding beyond thought” – John Steinbeck, Of Mice and Men
When considering the most enduring, resonant and methodical voices of 21st Century metalcore, one needn’t think further than OF MICE & MEN.
A band whose constancy and commitment to craft are unparalleled, it is no wonder that nine records into a nigh 20-year career they continue to produce one after Another Miracle, nor that their reputation amongst peers and popularity with the masses routinely supersedes, in line with each new chapter.
Revisiting a home-away-from-home of sorts, where the band have eternally found welcoming and comfort, excitement and chaos, Of Mice & Men performed in Adelaide an exquisite cross-section of their triumphant discography, offering the opportunity for Tokyo’s CRYSTAL LAKE to return to Australian shores for the first time this decade, and Perth’s PATIENT SIXTY-SEVEN to enjoy opening rites across the nation.
Patient Sixty-Seven expand across the sliver of stage left uncovered tonight. Inviting their nearest-neighbouring capital city audience toward the Barrier, Nothing Inspires Forgiveness Quite Like a rallying war cry, the openers maximise every inch. As the proverbial snake vine weaves, vocalist Tom Kiely charms; “let’s groove”, as Hibbertia lures into a collective Catch 22. The serpent ready to strike, Shed My Skin is the best of the Blegh Crew, leaving Lion Arts Shattered but satisfied.
CRYSTAL LAKE’s modest drummer Gaku Taura precedes the band’s enormous arrival, preparing his kit he performs an incendiary soundcheck to raucous applause. Momentarily exiting, the quintet returns with vital energy, impossibly compounded onto the compacted Everblack platform. Following the recent amicable departure of vocalist John Centorrino, PROMPTS’ PK Hyan screams switch from “fuck you” to “fuck yes”, seeing the crowd’s sacrifice to Blüdgod.
The amalga-metal magnates evolving in realtime, Prometheus “is for you”, the loyal foot soldiers who’ve followed every battle. Salutes suddenly drawn SIX FOOT UNDER by the velocity of yet another circlepit, the army Lost in Forever is swept asunder by The Weight of Sound. Fairylights sparkling like the heavens and Apollo himself, Crystal Lake’s performance not only captures light and music but something more – the metaphysical and the mythic.
A symphony of new millennium nu-metal anthems seamlessly shift into the orchestral introduction of OM&M’s 2025 title track. Frontman Aaron Pauley arriving with hair bound, heralds the immediate energetic shift by relinquishing the symbolic rope; slipping between scream and serenade in perfect pitch, drummer Valentino Arteaga regulates the room’s heartbeat on his kit, similarly uncovered and unrestrained for the headline set.
The newest is simply the next in a longline of Miracle moments produced and performed for the faithful, those who’re ‘tired but never sleep (nor) forgotten how to dream’. Shifting into a bygone era, sensing the nostalgia carried with it, Feels Like Forever is clear as yesterday. ‘If I could find the words’ I would, but it is best encapsulated by an action, with Alan Ashby’s trademark boxer stance, it’s October 2013 again, when OM&M toured with the almighty BMTH – (Bring Me The Horizon).
Would You Still Be There? Pauley asks, to an affirmative ovation. Admittedly his “fourth favourite track off the new record”, Wake Up sets a precedent for what comes next. Taunting, “Do you like heavy music?” You Make Me Sick’s confrontation contrasts Pauley, Ashby & bassist Phil Manansala’s demeanour. The former turning up the houselights to locate a “gentleman’s lost glasses”, the latter passes out his picks with delicateness. Harsh words are Obsolete in their smiling face overtures; there will never be Another You, or another OM&M.
Encapsulating Steinbeck’s literary message from the eponymous novella, Pauley’s mischievous request that we all “turn 180°”, reveals a rudimentary intention – to turn Back to Me – and begs:
“Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love.” Joyous laughter erupting, sonic raindrops which precipitate Flowers are broken by the humour of a crowd clown surfing through unTroubled Waters over the barricade.
Playful antics abound without limit, in a demonstration of pure ecstasy at the wonder of this show. Off-and-on stage also, Arteaga lets out yelps of delight before annihilating the kit, bliss turns blistering in the pit. “Whether you’ve been here since day one or this is day one tonight; you’re all O.G. Loko to us!” Another wholesome moment is paralleled by the viciousness of the conclusive circlepit, a customary game of hide-and-seek secrets the ensuing encore duet.
Hearts on fire, Bones Exposed; the end is the beginning and the end, Second & Sebring. Pauley offers his final sentiments, Arteaga twirls his sticks while considering their gift, Ashby & Manansala playfully flick picks to the adoring audience.
The stellar musical performance coming to its end in Adelaide, it’s off to the east coast tomorrow. OM&M’s actions speak louder than words ever could, “it’s goodnight for now” but never truly goodbye; there’s always time for what lies beyond, and Another Miracle.
GALLERY
PATIENT SIXTY-SEVEN
CRYSTAL LAKE
OF MICE & MEN
