Words by William Oakeshott
Pix by Danny Wallace
“But tonight we’ll set you free.” – Dan Marsala (Story Of The Year), Swallow The Knife, Page Avenue, 2003.
“So follow me into the setting sun.” Buddy Nielsen (Senses Fail), Bite To Break Skin, Let It Enfold You, 2004.
“Cause now is the time for us to rise.” Josh Stuart (Behind Crimson Eyes), Shakedown, A Revelation For Despair, 2006.
Three different lines, from three different songs, from three different bands, from three different years, but all cut from the same “emo” cloth, to a degree. Believe it or not, this isn’t a trip down mEMOry lane to an event that occurred in the noughties; this show actually happened just days ago on a current tour that is mostly sold out. The past may have come back to haunt us, but in times like these, people are wishing they could turn back the clock, revisit a page in history and this showcase was the avenue to accomplish exactly that.
Each lyrical quote above almost acts as a peculiar prophecy, and for Melbourne openers Behind Crimson Eyes, this was assuredly the case. The five-piece has been predominately active for two decades, with some dormant intervals; however, this tour allowed for the quintet to reveal that it is their time to rise, albeit for one last post-hardcore Shakedown. (more on that later)
There was no grand entrance for BCE at The Governor Hindmarsh this evening, it was simply climb onto the stage and “game on”. Appropriately, Game Of Life was their introduction to the emo yesteryear. Even though the track is nearing its 20-year anniversary and probably performed infrequently in recent times, the Victorians impressively sounded remarkably polished with its delivery. Age is just a number supposedly and Crimson Eyes (like their emo journeymen) were here to prove just that.
Chapter I: Art Of War in all honesty should have opened the exhibition, energised, engaging and enraging. You’ve Had Your Chance was a jangly mix of indie-metal-pop that had hips-shaking but no neck-breaking. That was thankfully administered by Revenge I – Of The Cradle adding a very appreciated exhilaration.
The Bonesmen enhanced this vitality, especially with the chant: “Do you wanna be a part of this?” leading into the metallic punk groove beatdown. Empty Promises toned-down the spirit unnecessarily when the BCE cocktail was just getting spicy; gratefully new single DEAD.DROP.DEAD was the nu-metalcore saviour. The nod of respect to Linkin Park’s chorus bridge from One Step Closer with modernised crunch in the breakdown is a victory for the Melbournians. It should be noted that the ‘Eyes were never shy from seeing where their artistry could take them in their realm of genre explorations.
It was at this juncture that vocalist Josh Stuart announced that Behind Crimson Eyes had one final EP to release, and a headline tour planned before they officially retired the outfit. Regardless of one’s preferred sonic landscape in music, what BCE have achieved, delivered and pioneered in Australian alternative music is one to admire.
The Black Veil was the stomper and enlarged every part of the performance. Closer Shakedown brought that sing-along effect from the sold-out crowd that had been hidden, maybe from hesitancy; nevertheless, it provoked a necessary angst attitude from the fandom in the best way. ‘Crimson Eyes will rise for one last emotional time in 2025 – watch this space.
Buddy Nielsen is a character. In the very pages of this publication, this scribe has written both live reviews and interacted with the quirky frontman on multiple occasions, even once in a face-to-face interview setting. At times Buddy could be bashful and uncertain, then he can flip to being impassioned and profound, and then he can transform to be cartoonish and reckless. What was the vocalist going to present on the 20th anniversary of Senses Fail’s debut album Let It Enfold You? Only he knew. Adelaide soon found out.
Mr Nielsen literally sprinted onto the stage; but he didn’t start by screaming into the microphone – he executed a fly kick, then welcomed all by dancing in a ballroom fashion. Perhaps he had studied Paul Mercurio in recent times? Only he knows.
Tie Her Down was oddly charming, yet very offbeat. Lady In The Blue Dress was a darkened ballad that emitted an estranged aura – weirdly alluring, abnormally arresting. This may have been accentuated by the use of an extrinsic vocal backing track, then again, the whole presentation was bizarrely theatrical. This experience was bolstered by Nancy Sinatra’s Bang Bang (My Baby Shot Me Down) as an interlude before Buried A Lie provoked a roar from the South Australian adorers and a need to be as close to the New Jersey quintet as possible; again, though, this was presented as a performance, a dramedy even. The motif almost portrayed a Shakespearean unveiling, done in punk fashion – necessarily Buddy spent a great deal of time at the barrier interacting with his adorers.
Bite To Break Skin was certainly the highlight; a metallic emocore onslaught (quoted at the beginning of this article) that ironically sought a gloominess amongst the pulsating liveliness. “And I will bleed the poisons dry” bellowed in some form of melodic fashion during the chorus and then at the conclusion of the song, he sent a cross to the sky. Why? Only he knows.
Between song banter about the TV series Bluey, “Adelaide smelling like fun”, America loving their guns and other perplexing subjects; Nielsen also complimented Coopers beer which was very welcomed. Regardless, he was bouncing off the walls the entire time. Unexpectedly a shoey was undertaken, during the Australian National Anthem sung by the audience – what else do people do on a Tuesday?
Irony Of Dying On Your Birthday was a blast that South Australia required and where the five-piece exposed their true chemistry – a bit punk, a bit party and a lot of screaming into your drink. Angela Baker And My Obsession With Fire gave testament as a fun follow-up.
Martini Kiss is where it all became bombastricks – no that isn’t a word, nor was this closer a “composition”; it was a mash-up and unpredictably so. The last minute of the track is known to evolve, explode and extinguish wholeheartedly; the quintet mixed this idea up, Noughties Mix CD style. Throw in System Of A Down’s Chop Suey, Disturbed’s Down With The Sickness, Limp Bizkit’s Break Stuff and Rage Against The Machine’s Bulls On Parade and you have the best jukebox investment of 1999.
Perhaps with an emocore makeover? Regardless, Senses Fail’s fans are still heading towards the “setting sun” with Buddy Nielsen’s Slow Dance leading the way.
“I’m picking up good vibrations.” by The Beach Boys suddenly silences then captures the capacity crowd into a blissful trance. “Are you fucking ready?” Story Of The Year’s Dan Marsala awakens them in joyful exuberance.
It wasn’t just his Britney Spears shirt that was going to incite the Crazy; And The Hero Drown was going to be that anthem. Like Piranhas on fresh carrion, the mad Missourians were set to attack the, at times, dangling audience and set them free from their worries for about 16 of their best cuts; both emotionally and spiritedly through emotional punk rock. Guitarist Ryan Phillips and bassist Adam Russell were instantaneously ravenous, as if they had been stuck in an aquarium, able to see their prey, but not able to pounce at them. They were set free and ready for WAR (more on that later).
Dive Right In brought the provocation for the fist-pumps and eager jumps from the aficionados who had been waiting 10 years for this moment. Divide And Conquer was striking in its heavier parts but curiously overwhelming in a power ballad fashion from the 1980s – nostalgia is to be embraced not erased, right?
Anthem Of Our Dying Day is the song Yellowcard wish they wrote; truthfully Story Of The Year are victorious with this AnthEM(O) and live, their delivery is more imposing in a memorable sense. Page Avenue achieved the same effect, but The Ataris probably wish they were wearing SOTY’s Vans shoes on this belter. The Boys Of Summer are still rocking together on Ocean Avenue for the time being; that would be a very welcomed throwback tour though.
As aforementioned, WAR was featured to support the four-piece’s 2023 LP Tear Me To Pieces and incredibly, the quartet have broadcasted a progression that demands respect. Electronic flourishes with pulverising guitar and bass coalescence – it’s a new approach for the outfit and it is a triumph.
Razorblades was that emotional cut, the Hollywood soundtrack number that would work in the American Pie series (this is a positive sentiment). Burning Years was “included” as per Story Of The Year, which probably describes its “importance” enough. We Don’t Care Anymore was an unexpected addition and so began the joyous youthful mosh-pit antics, deservedly so. Real Life returned to that Hollywood movie soundtrack conception, as did Swallow The Knife and Sidewalks (the audience phone light collaboration was rather endearing).
In The Shadows brought back the adrenaline thankfully, The Gov was now the home of youthful freedom (see the first sentence) – cue the crowd surfers. Tear Me To Pieces was pop-core at its finest and enriched by the athletic Falling Down. A circle-pit was more than required, to be frank, this should have initiated the four-piece’s retrospective at the start of the set-list.
A rather obvious finale of Until The Day I Die recalled that tremendous and unforgettable era of Taste Of Chaos, backflips and a time we wished we lived on Page Avenue. Perhaps, for about 16 songs, we did.
By the way, Story Of The Year, if there is a new film involving Emilio Estevez and The Mighty Ducks – you are the only band capable of doing the soundtrack justice; The Black Swan says so.
