Live Review: The Amity Affliction, Underoath, Crossfaith, Pagan

CONTENT WARNING: This article contains discussion of mental health. If you are suffering from any of the issues that have been discussed or need assistance, please contact Lifeline on 13 11 14 or Beyond Blue on 1300 22 4636.

Madonna’s Like A Prayer is quickly overpowered by a piercing, “What the fuck is up, Melbourne?” from Nikki Bruman of Pagan, who ferociously open the night up for us. Bruman crawls down the runway and lies on the floor, screaming high and growling low. As she pours her bottle of red wine over herself, you can’t fault the energy and enthusiasm that she unaffectedly radiates.

Pagan @ Melbourne Arena. Photo by Jaz Meadows.

When it’s time for Crossfaith's epic heavy metal dance fusion, the Japanese legends enter to an epic techno breakdown and wave flags across the stage. If you weren’t awake before, you are now. With synchronised headbangs during Monolith and fierce, low growls in The Perfect Nightmare, they lap up each moment, declaring Melbourne as their “favourite place to play in the world”. Vocalist Kenta Koie and keyboardist Terufumi Tamano are great balls of energy. Tamano takes a run-up and dives into the crowd before Leviathan ends their much-too-short set and we are left with a “see you next year” that conjures whispers of hope from all around.  

Crossfaith @ Melbourne Arena. Photo by Jaz Meadows.

More madness engulfs us as Florida band Underoath explode onto the stage, The Best Of Me's bass line rattling our bones. Keyboardist Christopher Dudley looks like his head may just fly off with how vigorously he headbangs to every song. Lead vocalist Spencer Chamberlain is a force of nature, dashing about the stage, swinging his mic. He brings constantly fierce energy, declaring, “I’m not yelling at you because I hate you, I’m yelling at you because I love you,” before final song Sink With You. 

Crossfaith @ Melbourne Arena. Photo by Jaz Meadows.

A pounding drum line creates a dramatic atmosphere for the reveal of our headliners tonight, and as lead vocalist Joel Birch appears through the smoke, cheers pierce the air. The Amity Affliction waste no time in bringing the pyrotechnics, and fire shoots from the stage during opening song Drag The Lake. As the spotlight shines perfectly across the hands of a front-row fan flawlessly mimicking the guitar solo of I Bring The Weather With Me, it’s a surprise anyone in the front row is still alive.

The Amity Affliction @ Melbourne Arena. Photo by Jaz Meadows.

The stage quietens at a voice recording of a softly spoken girl. It’s hard to make out exactly what she’s saying but the themes are of suicide and pain, which creates a slightly uncomfortable atmosphere that's violently torn open by All My Friends Are Dead. As Birch lays into the crowd during DIE you can feel the love and energy. Screaming and crowd surfing at the same time is a solid effort, and it lands Birch straight into the arms of a crowd-surfing fan who just won’t let go, the singer emerging tangled in his mic pack. Amity don't do things by halves, and an epic drum solo from Joe Longobardi sees him raised above the stage surrounded by fire.

The Amity Affliction @ Melbourne Arena. Photo by Jaz Meadows.

“The first time I tried to kill myself was when I was ten years old” - that voice recording is back again and makes for a tense vibe. The potential triggers make it an odd thing to play. It leads into Chasing Ghosts, missing whatever mark it was pointed at.

The community energy is at a high during Don’t Lean On Me and Pittsburgh, and bodies fly from all angles before the band return for an emotional encore of All Fucked Up. Birch sits at the end of the runway requesting “everyone hold [their] friend” as phone lights appear, each crowd surfer getting a handshake from Birch as they arrive at the stage. The feeling of unity and belonging often associated with Amity’s music is solidified, along with their growth as a certified arena band.

The Amity Affliction @ Melbourne Arena. Photo by Jaz Meadows.