Review: A Wilhelm Scream @ The Ed Castle 07/03/26
A Wilhelm Scream brought the noise to Adelaide, showcasing their tremendous talent in front of a packed Ed Castle crowd.
Words Will Oakeshott // Image Danny Wallace
A Wilhelm Scream w/Totally Unicorn, Knife Hands and LOLA @ The Ed Castle 07/03/26
“I got a light inside of me that’s like no other.” – Trevor Reilly and Nuno Pereira, ‘Visitor: Unimpressed’, Cheap Heat (2026).
It’s quite magical how the poetic excerpt above from Massachusetts’ punk metal maniacs A Wilhelm Scream fits so flawlessly when describing punk rock, the genre’s devotees and the punk community. Whether listening to any of these outfits’ recorded outputs, or other memorable releases that subscribe to the description “punk”, or witnessing punk rock in a live setting, there is irrefutably a “light” that switches on “like no other”. This luminescence glows from within the artists, as well as the spectators, and sparks an unbridled energy of exhilaration that is beyond infectious.
The Ed Castle may have undertaken a darkened aura for this showcase, but the capacity audience and bands themselves shone their unique lights so brightly that it became simply bedazzling.
An early start resulted in local skate punk quartet LOLA performing to an intimate crowd, but similar to countless times before, the four-piece straightforwardly engaged, then enraged with their enthralling demonstration. ‘Billionaire’ opened up the exhibition with its alluring political sentiments and shout-along chorus highlights: “You're a big fat (rich cat)” is delivered with such conviction that it is near-impossible not to partake in, and the growing number of spectators did so delightfully.
‘Love It And Leave It’ would have had Teenage Bottlerocket busting out their skateboards in envy and ecstasy. ‘Game Over’ was loud, raucous and remarkably rocking for its tremendous two-minutes. Then ‘Drying Out’ recalled the glorious NOFX, with elements of Aussie punk greats Bodyjar.
“This one’s really fast, and it sucks to play,” guitarist/vocalist Billy Burns exclaimed as the quartet launched into the thrashing punk assault that is ‘Fast Life’, and assuredly, Frenzal Rhomb would embrace this chaotic number wholeheartedly. The ‘MISIRLOU’ (by Dick Dale) inspired interlude added an immeasurable vitality to the demonstration.
“This song is faster,” Drummer Mitch Seager argued, with ‘My Life’ showcasing a One Dollar Short pop-punk revelry but with extra snarl included for good taste.
“This song is about going to work,” Burns explained as the crowd slightly groaned at that reality. “So I guess this is for most of you,” he stated with a laugh, then LOLA blasted through ‘What’s The Point?’ with Burns embracing a jovial Angus Young trot dance across the stage.
‘Don’t Try To Find The Drugs’ escalated the party atmosphere comprehensibly with beaming lyrical output such as: “So smoke your fucking joint, and drink your fucking beer,” the punk rock spirit was unquestionably shimmering. To close, ‘Riding Free’, which channelled Pennywise superbly, saw Burns practically screeching the words, “Feel so good and I don’t know why” in a haze of hysteria.
“Get KEEN!” he declared at LOLA’s conclusion - undoubtedly, Adelaide was.
“What the fuck is up Adelaide, you beautiful mother fuckers!” vocalist Mischa Calcagno screamed as Tasmania’s Knife Hands commenced their powerful metallic punk introduction. “Thank you for being here with us TONIGHT!”
The dynamism was boundless; every aspect of Knife Hands’ demonstration was at the point of eruption, then… Jason "Danger" Mizzen shattered his snare drum stand.
“I was so amped up after that intro, do we do it again?” guitarist Jordy Hooper enquired.
“That’s what happens when you rock TOO HARD!” Calcagno joked.
A replacement snare, reset and restart, brought the rock back, but the light-heartedness of it all is what made this community, this event, so magnificent.
‘Haunted City’ was to be the Hobartians proper take-off, and if Death By Stereo could have seen or heard this charismatic composition, they would take the next flight down under to share the stage with Knife Hands. ‘Welcome To Hell’ was a fantastic fusion of Latterman with the criminally underrated Mikoto, but with an astounding Australian edge that provoked the onlookers to craziness, in the best way possible.
“How good!” Mischa yelled triumphantly.
Brand new single ‘L I V I D’ brought about a very impressive math-punk orientation that continued to elevate in intensity, although it was marvellously melodic at the same time – a nod of respect to Strike Anywhere in songwriting could be felt, but this was, without doubt, a Knife Hands tantalising track.
‘The Loudest Lie’ was the “loudest” no “lie”, and would hopefully inspire Irrelevant to get back together. ‘The Waltz’ slowed the exhibition down, with a power-pop-punk ballad that had audience members linked in arms, swaying, singing-along and swigging beers – a perfect portrait of punk rock. ‘Revisionist Histories’ and ‘Vices’ were above excellent in their extravagance, with varying tempos, but by the same account, incredibly catchy and left the crowd beyond enlightened.
“A lot is happening in the world right now. Racism, war, hatred – but we got this! We have hardcore and punk music, that community, and I want to thank you all for that,” Mischa Calcagno described gratefully. The quintet then walloped the venue with ‘Weave’, a Comeback Kid meets Rise Against hybrid of wonderful wildness, with a striking injection of thrash, as well as post-hardcore intricacy.
Hard to believe that this event was only at the halfway mark.
READ MORE: Review: Thornhill @ The Gov 26/02/26
“Adelaide… ADELAIDE!” Totally Unicorn’s Drew Gardner bellowed at the Totally Unicorn admirers. The four-piece was ignited and ready to light The Ed Castle on mathcore fire.
Within literally the first minute of the opening song, Gardner was already atop the merch table, guitarist Aaron Streatfeild and bassist Dean Podmore were fantastically flailing about in-between neck-dislocating headbang movements and drummer Adam Meyers was a magician in keeping rhythm amongst the chaos.
“Anyone got any dexies?” Drew asked.
“How good was that?” Dean raved.
It was only going to get better and better.
‘Weekday Warrior’ was simply put, pandemonium. DG was nearly decapitating himself and crowd members with his rampant microphone swings and throws, but phenomenally never struck anyone, as if he had recently graduated into wizardry (Drew Gandalf perhaps?). ‘Trust Fund Glee’ inspired Gardner to climb onto the sound desk and dance with the engineer for the evening, who was also grooving in delight to the mathcore mayhem. Drew then took to his traditional antics, creating a “jump rope” game with the audience and his microphone cable. Totally Unicorn can always make light of any situation.
It was announced that this was to be the last hometown show for drummer Adam Meyers, so the ‘Unicorn was totally going to make this demonstration extremely ‘Good Thanks’. The disco-noisecore of ‘Parrot’ was dazzlingly deranged, with the microphone cord games continuing in a moshpit version of “Limbo”.
‘Hard Feelings’ was a sensational stomper. Drew decided to cook up some more chaos by entering the kitchen area of The Ed Castle, dancing with one of the chefs, stealing a ladle and returning to the stage to slap Pody’s bass with the cooking utensil.
‘Yeah, Coach’ brought the rampage altogether. At some point, Drew had vanished, only to have reappeared back at the merch table wearing the light that illuminated the merchandise on sale. Upon his return, he grabbed an eager punter and carried him atop his shoulders to The Ed Castle platform, dancing and ultimately, boosting the High Spirits of the entire production.
It was all over too soon; however, this won’t be forgotten any time soon either.
Vision? Gone. Space? Unavailable. Excitement? Unlimited.
The love in the room was matter-of-factly without limit. Punk rock showcases are renowned for being unhinged to the point of being dangerous. It must be stated, though, that when one of the most fun, technically proficient and vibrant bands in that universe comes to party, known as A Wilhelm Scream, ‘Lose Your Delusion’ becomes more than their song title; it is their modus operandi.
‘Me vs. Morrissey in the Pretentiousness Contest (The Ladder Match)’ began the punk rock raid. The positivity, the rampage, the uproar – this was instantly prestigious. ‘I Wipe My Ass With Showbiz’ and ‘5 to 9’ quickly followed and shook the Ed Castle walls to the point of collapse and the ceiling above hazardously. Bodies were flying, and on the odd occasion, one could see vocalist Nuno Pereira emerge above the madness, as he had either climbed atop the foldbacks or even joined the crowd off-stage.
“Yo! Trevor Reilly, give them the shakes, baby!” Nuno demanded.
‘GIMMETHESHAKES’ stirred up psychosis sublimely. Special mention to the multi-vocalists hammering from AWS, but better yet, the punk rock choir which Adelaide supplied willingly, and deafeningly. Newer single ‘Midnight Ghost’ even provoked the bar staff into dancing exuberantly - “I got a light inside of me that’s like no other,” doesn’t this ring so true about A Wilhelm Scream and their compelling music, as well as their devoted nature?
“Thanks for being a part of this. We have been really lucky! My friends and I go to sleep smiling, dreaming about your smiles.” Pereira admitted with arguably the biggest grin in the venue at that moment.
‘Be One To No One’ was an anthem of adoration, ‘The Soft Sell’ harboured a political sentiment that seems to radiate more now than when it was released 21 years ago. ‘Boat Builders’ provoked devotees to abandon ship, in the sense of diving off the stage into a sea of their friends and punk rock community – “we are the lucky ones”, this poetic declaration rang very true.
“FUCK YEAH!” guitarist Trevor Reilly shouted in absolute merriment.
‘The Kids Can Eat A Bag Of Dicks’ put the pedal to the METAL. ‘Let It Ride’ should be on the next Tony Hawk’s game, with A Wilhelm Scream band members as possible game characters, as the composition rips that much. ‘The Last Laugh’ featured the statement, “I’m going to get the last laugh from you,” and that is what the five-piece does – make their fans laugh in spirited positivity.
‘Anchor End’, ‘Devil Don’t Know’ and ‘The Horse’ enhanced the crowd-surfing, stage-diving, sing-alongs and mosh-pit antics flawlessly. South Australia did not want this light to burn out.
“Adelaide, you fucking destroyed tonight! We love you! Let’s go Mother Fuckers!” Nuno Pereira hollered happily. ‘Famous Friends And Fashion Drunks’ was thought to be the end…
Then that “light” came back on for ‘The King Is Dead’ and Adelaide was left beWILDered.
A Wilhelm Scream are undeniably a band “…that’s like no other.”
Want more pics of the gig? Check out our full photo gallery here.
