Words by Matt New
Pix by Angie New Photography
Few bands that emerged from the 2000s punk and emo explosion have left as enduring a legacy as The Used. Formed in Orem, Utah, they became torch-bearers for a generation seeking catharsis through emotionally raw, angst-laden music. Now, 25 years on, The Used have returned to Australia for a tour steeped in both nostalgia and celebration, an occasion made even more meaningful for frontman Bert McCracken, now a proud Australian citizen residing in Sydney with his family.
This anniversary tour is ambitious in concept and deeply sentimental in execution. Across three nights, fans are being treated to full-album performances of the band’s most formative records: The Used (2002), In Love and Death (2004), and Lies for the Liars (2007). These aren’t just albums; they’re cultural milestones that have helped define a subgenre, while giving a voice to a generation of emotional outsiders. Hearing them played live, front to back, is a rare gift for longtime fans, a time capsule that transports you right back to where The Used‘s story began.
Kicking off the night was Hands Like Houses, an acclaimed post-hardcore act hailing from Canberra. While often billed as a support act, their performance was anything but secondary. This was my first time witnessing the quintet live, and they immediately proved why they’ve earned a reputation as one of Australia’s premier rock exports. Their sound was massive, melodic, and tightly executed. Their dense arrangements filled Liberty Hall with authority and purpose.
Frontman Josh Raven delivered a standout performance, effortlessly shifting between soaring melody and gritty aggression. His dynamic stage presence, laced with charisma and wit, kept the energy high and the crowd engaged. Between songs, Raven bantered playfully, cracking jokes about guitarist Alexander Pearson needing to be up early for a “cashie,” and teasing about the stage lights giving him a tan.
Drummer Matt Parkitny added to the band’s cheeky sense of humour by slapping his bandmates playfully on the arse during a brief interlude in Panic before rejoining with pinpoint precision as he commanded a wall of noise led by his thunderous drum kit.
The band showcased a strong selection from their ambitious four-part concept album Atmospherics released earlier this year, which landed extremely well with the Sydney audience. A particularly haunting highlight came with their cover of Chris Isaak’s Wicked Game. Opening with Raven and guitarist Matt Cooper in a sparse, intimate arrangement, the moment swelled as the full band exploded back onstage, turning the classic into a devastating sonic climax. Sadly, the impact was slightly dulled by audience chatter, a fairly unfortunate distraction from an otherwise captivating performance. Still, this did not stop Raven from continuing to entertain, as he leapt into the crowd mid-set to reignite the energy, plunging into a circle pit that erupted with adrenaline, setting the perfect tone for what was to follow.
Tonight’s headlining set saw The Used performing their self-titled debut album in its entirety—a record that, even 23 years after its release, still hits with ferocity and emotional weight. The show opened with a nostalgic video montage, grainy behind-the-scenes clips and throwbacks to the band’s early days that instantly set the tone for an evening steeped in memory and gratitude.
As the stage lights dimmed, the crowd’s roar rose to an excruciatingly loud level. Bert McCracken bounded onto the stage and declared, “I’m ready to have a fucking party!” before launching into the album’s title track with unrelenting energy. What followed was an emotional rollercoaster of soaring anthems, guttural screams, and unfiltered vulnerability, everything that made this album a defining work of the early 2000s emo-punk scene.
McCracken took a moment mid-set to reflect on recently becoming an Australian citizen and how this is his “home town show,” which evidently demonstrated a profound purpose for this tour. With a beaming smile, he introduced his daughters watching from the side stage, prompting the crowd to call out a heartfelt “Hi Cleo, hi Minnie!” The intimacy of the moment made it feel as though everyone in attendance was part of The Used’s extended family. Then, Bert introduced Say Days Ago as a song “about smoking crystal meth,” a darkly humorous moment that exemplified his signature blend of raw honesty and playful irreverence.
Songs like Bullemic and Buried Myself Alive pushed the crowd into a hysterical blur of chaotic motion. The Used surprised the packed Liberty Hall crowd with a cover of Nirvana’s Smells Like Teen Spirit, seamlessly woven into the tail end of A Box Of Sharp Objects. An electrifying homage that sent waves of nostalgia throughout the crowd.
What makes The Used unique is their ability to traverse extremes: the melancholic beauty of Poetic Tragedy giving way to the unhinged chaos of Says Days Ago. They have a willingness to embrace a polarising contrast between beauty and brutality, tenderness and rage. This is what has always set them apart from their peers: the ability to be adaptable and follow their own musical journey.
Though only McCracken and bassist Jeph Howard remain from the original lineup, the band feels anything but incomplete. Bert’s magnetism and manic energy are undiminished, and Jeph’s playing adds both emotional and technical depth—his bass lines often do the heavy lifting beneath the chaos. Joey Bradford (guitar) and Dan Whitesides (drums) thrive as the newer members of the band. Bradford’s inventive guitar work, including tap harmonics on Buried Myself Alive, added nuance and texture, while Whitesides’ drumming was a relentless, thunderous backbone throughout the night.
The night wound down with On My Own and Pieces Mended, two tracks that brought the emotional arc full circle—tender, triumphant, and raw. These songs, like much of The Used’s catalogue, speak to pain, survival, and hope. And hearing them live, surrounded by fans screaming every word, felt not just nostalgic but necessary.
This isn’t a reunion tour or your usual anniversary tour. It’s a living, breathing celebration of a band that continues to evolve while staying rooted in authenticity. The Used have never just been a band for the broken-hearted and misfit souls—they’ve been a voice of resilience, catharsis, and unfiltered emotion. And after 25 years, that voice still hits with just as much power, maybe even more.
With electric performances like this one, I would be absolutely certain there will be fans attending all three nights’ shows across Australia. It’s clear The Used’s impact hasn’t faded with time. If you have the chance to catch this tour before it wraps, don’t think twice. Whether you’re reliving your teenage years or discovering the band anew, The Used live is a visceral, unforgettable experience. This isn’t just punk rock—it’s poetry, passion, and pure, unrelenting heart.
