Review: Hawthorne Heights @ The Gov 24/04/26
American emo post-hardcore trailblazers Hawthorne Heights delivered an energetic and entertaining set that had rocked The Gov to its core.
Words Will Oakeshott // Images Skye Sampson
Hawthorne Heights w/Armor For Sleep & Tapestry @ The Gov 24/04/26
“I'll do anything if it would bring you back.” – ‘Bring You Back’, Skeletons, JT Woodruff, Hawthorne Heights (2010).
It’s an indescribably powerful statement crooned by the vibrant guitarist/vocalist JT Woodruff from third-wave emo trailblazers Hawthorne Heights. Unequivocally, lyrics are deciphered differently by each person who is exposed to the thought-provoking poetry presented to them, or conceived by the writer. Extraordinarily, though, these nine words presented above combine to become a flawlessly befitting synopsis of this “emo extravaganza”. This event was to be a showcase to bring emotional music aficionados back to distinct and more fundamental times, or better yet, introduce the new generation of followers to this “safety sector” of artistic honesty.
Essentially, ‘Bring You Back’ is about loss and grieving. However, if one were to truly decode the aforementioned lyrical excerpt meticulously, they may discover how Woodruff commits his entire livelihood to helping people.
Planet Earth is suffering, and sometimes the purest form of comfort can come from our past lives, or an escapism for our current existence.
Welcome to the If Only You Were Lonely Australian tour. Fortunately, hundreds of South Australians were not lonely on this evening; therefore, if loneliness was experienced, it was in an entrancingly shared haven where support through music was cherished together.
“Bring You Back” – these three words are a formidable artistic guidance for Darwin-through-Melbourne’s progressive emocore quartet Tapestry. The four-piece elegantly appeared on The Gov’s stage and chimed into ‘The Pain You Desire, The Love You Deserve’, a soulful journey channelling the criminally underrated Secret & Whisper (an outfit who reunited after a 15-year absence and whose last album was released BACK in 2010).
“Hello Adelaide! Thanks for coming early, we’re Tapestry from Melbourne!” vocalist Tom Devine-Harrison broadcasted to the intimate but growing crowd. It was an early start, although these sonic dreamscape adventurers were committed to enchantment and were inspired by the prog-emo yesteryear.
‘Turning Blind’ echoed Texas’ Ivoryline superbly and then graduated to a For All Those Sleeping metalcore ruination at the latter part of the composition, increasing the audience’s interest sublimely. ‘Chasing Silhouettes’ seemed to elevate the entirety of the venue into the clouds, which thankfully ‘Retrospect’ magnetised the hundreds of spectators back to Earth with its heavier Being As An Ocean moments. ‘Violent Pictures’ was an unquestionable highlight, exploring a progressive post hardcore intensity that the exceptional The Receiving End Of Sirens procured, but with disjointed math-metalcore moments aspiring to Exotic Animal Petting Zoo.
New single ‘Bedsheets’ embraced that dreamwave emo-prog-pop recipe, which assuredly should be attracting international attention. Then to close, ‘I Don’t Belong Here’, this track remarkably combined all the ingredients of the engaging musical formula that the four-piece do exceptionally well. For comparison’s sake, the cinematic post hardcore approaching Chiodos’ soundscape is more than justified and suiting – yet, there is an Aussie authenticity that trickles through, which City Escape did fantastically well.
It is a fascinating juncture that Tapestry find themselves in, and hopefully, with the momentum of ‘Bedsheets’, the band can break through to that all-important next level in their career.
READ MORE: Review: Pierce The Veil @ The Drive 14/04/26
New Jersey’s Armor For Sleep, specifically the sole remaining original member, guitarist/vocalist Ben Jorgensen, has certainly undertaken a life of perseverance. Whether through his own personal relationships and breakups, or through the harsh grind of the music industry, including major label dalliances, disbandment, reunions, member rotations and other obstacles, Armor For Sleep have undeniably come a long way to be in Australia at this moment. Finally arriving down under to celebrate the quartet’s fifth studio album, the critically acclaimed There Is No Memory (2025), as well as bringing Adelaide back to their earliest marvellous material, the anticipation from both band and crowd alike was buzzing.
Bassist Chad Sabo, guitarist Erik Rudic and Jorgensen marched onto The Gov’s elevated platform from the public side stage and joined drummer Nash Breen with magnetic purpose. It was clear from the outset that the New Jerseyans were going to give ‘All The Best’ they had to South Australia with this treasured opportunity.
The grunge blast of ‘Stay On The Ground’ launched the four-piece’s assault on Adelaide as Rudic and Sabo stalked the stage, similar to ravenous grey wolves ambushing their prey, being the concertgoers before them.
“Thank you for watching us, we have never been to Adelaide before! This song is about some fucked up shit,” Jorgensen declared before propelling into the emotional ‘Remember To Feel Real’, where he was so enraptured within his own poetry, Jorgensen began striking his own head. Occasionally, bringing yourself back to the more difficult times can be wearisome, but they can also be inspiring and therapeutic.
“This song is about being stabbed in the back – but it’s a rock song, so are you ready to dance around?” Jorgenson prompted his admirers. We were – and new single ‘The Outer Ring’ energised the atmosphere with its gothic rendering of Queens Of The Stone Age and latter-day Midtown fusion.
“You guys rock! This is my second time in Adelaide, and this visit is better,” Jorgensen exclaimed excitedly. ‘Awkward Last Words’ and Armor For Sleep’s very first song they ever wrote, ‘Dream To Make Believe’, stirred the hundreds that were within the venue magnificently.
Newer song ‘Breathe Again’ enhanced that magical melancholy aura with astonishing musical intricacies, ‘Williamsburg’ maintained that viewpoint but with a delightful dynamism and a spirited guitar solo courtesy of Eric Rudic. ‘Basement Ghost Singing’ was an eerie venture of darkwave electronica that truly shone in its conflicting shimmering gloom. ‘The Truth About Heaven’ then bolstered the vivacity of the showcase, but retrospectively, this was the opening chapter for the anthem that is ‘Car Underwater’.
“My voice is kind of shredded, so you are going to have to help.” Jorgensen requested of his devotees. This request was essentially not required. The quartet had barely commenced the ethereal introduction before Adelaide took over, this was an emo choir of arena volumes, in an incredibly intimate setting. The only prospect that may top the performance of this scintillating single? Witnessing it with Armor For Sleep headlining in Adelaide in the very near future, please.
“I'll do anything if it would bring you back.”
READ MORE: Review: The Amity Affliction @ The Bridgeway Hotel 21/03/26
Let’s travel back, over two decades in fact, to the last day of February 2006. Ohio’s emo luminaries Hawthorne Heights had just unleashed their highest charting and RIAA Gold certified second full-length If Only You Were Lonely, which explored more melodies, metallic shifts and overall sound refinement for the four-piece. The successes were bountiful, and on this night at The Governor Hindmarsh, guitarist/vocalist JT Woodruff, guitarist Mark McMillon, bassist Matt Ridenour and percussionist Dango Cellan were present to bring South Australia back to those phenomenal times by playing IOYWL in full.
‘This Is Who We Are’ provoked dancing havoc instantaneously. Sing-alongs, clap-alongs, arms raised in air-hugging appreciation – time travel was possible, and HH had the soundtrack for the emo DeLorean (De[mo]lorean?).
‘We Are So Last Year’ augmented the atmospheric fervency with its loud/quiet fluctuations, Woodruff even held his guitar toward the sky in revelry as McMillon screamed ferociously. Hawthorne may have been ‘…so last year’, or even “so 20-years ago”, but at that moment, it was fantastically what the world needed.
“Hey Adelaide! It’s so great to be back here, at The Gov, this legendary place. We’re here to play throwback emo songs, let’s fucking go!” Woodruff yelled in delight.
‘Language Lessons (Five Words Or Less)’, ‘Pens And Needles’ and ‘Saying Sorry’ all incited an emo theatre of choir cinematics from the hundreds of devotees present, who also whirled around under the shimmering sonic landscapes of these heartfelt compositions.
‘Dead In The Water’ featured a more aggressive breakdown that brought about some near neck-dislocating headbanging from the hyper enthusiasts. ‘I Am On Your Side’ then slowed the exhibition down momentarily, with the chorus amplifying the supportive family surroundings that the crowd had wholeheartedly embraced.
“Our first time in Australia was in 2006!” Woodruff announced reflectively – “This time around, we’re trying to make our and your guys’ reality better. You are strangers to me, but I feel connected with you all.”
‘Breathing In Sequence’ united all in attendance poetically and boosted the vivacity with its metallic pursuits. ‘Light Sleeper’ was an emotionally enigmatic ballad with charismatic variances in tempo, melodies and maliciousness. ‘Cross Me Off The List’ provided a welcome deceleration before the Atreyu-inspired emocore song ‘Where Can I Stab Myself In The Ears’ had SA emphatically engaging in A Death-Grip On Yesterday.
“We’ve never played this in Australia before,” Woodruff admitted with a sense of curiosity - “This year is actually my 20-year wedding anniversary, and I remember in 2006, instead of going away on my honeymoon, I went on Vans Warped Tour. But I wrote this song for my wife.” ‘Decembers’ was a beautiful love-song ballad that channelled The Beach Boys, Jimmy Eat World and Death Cab For Cutie wonderfully.
The band did not undertake a traditional “encore”, but alternatively performed a “noncore”. The first quoted song of this article, ‘Bring You Back’, was momentously narrated with bewitching elegance. ‘Dandelions’ gave rise to some rather craved intensity before leading into the adored single ‘Niki FM’, which could potentially be used for a reimagination of the treasured film Say Anything (especially the scene with John Cusack holding a boombox).
“That’s pretty good singing, Adelaide!” Woodruff acknowledged with an infectious smile. New single ‘Like A Cardinal’ demonstrated that Hawthorne Heights are still striving forward and soaring with their spectacular third-wave emo recipe. Then to close, the one and only ‘Ohio Is For Lovers’, which Hawthorne Heights could have delivered as an instrumental as the sing-along was that deafening.
“I'll do anything if it would bring you back.”
Thank you for doing exactly that, Hawthorne Heights.
Want more pics of the gig? Check out our full photo gallery here.
