Review: I Killed the Prom Queen @ Hindley Street Music Hall 09/10/25
“This has been a night to remember!” Michael Crafter shouted in jubilation. Find out what went down at I Killed the Prom Queen’s Adelaide return.
Words Will Oakeshott // Images Justin White
I Killed the Prom Queen w/Emmure, To The Grave and Threshold @ Hindley Street Music Hall 09/10/25
May 22nd 2008, was the last time that frontman Michael Crafter, drummer JJ Peters, and guitarists Jona Weinhofen, plus Kevin Cameron, united as the South Australian metalcore torchbearer outfit known as I Killed The Prom Queen in Adelaide.
Understandably, a great deal has changed in the last 17 years.
That prestigious event took place at 149 Hindley Street, in the Adelaide CBD, known then as the “HQ Complex”. The exhibition was a part of the grand Say Goodbye Tour, a nine-show expedition around five states of Australia that signified the ending of the incredible IKTPQ.
Well, that is what the heavy metal universe had perceived.
In 2011, a new reincarnation of the band emerged featuring The Red Shore’s Jamie Hope on vocals, then later, Day Of Contempt’s Ben Coyte on bass, Jack The Stripper’s Shane O’Brien on drums, who joined forces with Jona and Kevin, eventually releasing the band’s third full-length, Beloved, through Epitaph Records on February 14, 2014. More global touring followed, but near the end of 2016, ‘Prom Queen were thought to have, in all probability, called it a day on their brutiful parade.
However, in a re-established venue (known as Hindley Street Music Hall) quite close to where I Killed The Prom Queen had previously concluded almost two decades ago, they were back, with a 25 year anniversary to brilliantly commemorate.
They were also celebrating the life of their artistic soulmate, bassist, and brother, Sean Kennedy, who tragically passed away in 2021.
Their legendary last Adelaide show from 2008 was captured on film and released as a DVD/CD with a documentary included entitled: Sleepless Nights And City Lights. Just past the halfway mark of the featured booklet inside, a pictured snippet of an article this writer composed from an interview with JJ Peters all those years ago comes into view, its opening quote reads:
“Great is the art of beginning, but greater is the art of ending.” – Lazarus Long (also stated by Henry Wadsworth Longfellow).
Remarkably, I Killed The Prom Queen have accomplished all of this, on multiple occasions.
The question is, could their greatness be beginning again?
Melbourne’s metallic hardcore quintet Threshold more than understood the significance of this demonstration, and in all honesty, they relished in the opportunity of being the opening act.
With an awe-inspiring abrasive formula that pays homage to astonishing acts such as Sanction, Year Of The Knife and Walls Of Jericho – but with an astounding throwback to noughties metalcore, these Victorians hit hard and gloriously.
‘Fractured Reflection’ was marvellously monstrous, moving effortlessly between thrashier hardcore parts, to pulverising breakdowns with exquisite Euro-metal undertones. ‘Descent To Misery’ somehow escalated all of these fantastic foundations, but with more delightful dissonance. Vocalist Tenaya Corbett Gray is a force to be reckoned with, fronting with a vivacity that is both vicious and enchanting; her lyrical outburst is clearly cathartic as well as energising. Gratefully, this radiates to Threshold’s audience beyond superbly.
As she expressed her fondness for our fine city, and the sublime outfits we have birthed, including Embodiment 12:14, Day Of Contempt, Cry Murder, Winnerz Circle and the numerous more she listed; it became rather obvious that the five-piece will be back, thankfully sooner rather than later. Assign Threshold to the “must see” category if heavy music is an exciting prospect.
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Sydney’s To The Grave are arguably one of the most transcendent and striking deathcore outfits in existence today. Their crushing, earth-shattering breakdown introduction provoked the ninja moshers into a rampage, then this dynamism escalated even further when enigmatic frontman Dane Evans suddenly appeared indistinctly yet prominently, hidden within a black hooded jumper, butcher’s apron and haunting pig mask. ‘Forced Diet Reassignment’ was delightfully deranged, practically engraving the (on this night) quartet’s presence, with Mr. Evans DEMONstrating his engrossing animalistic vocal capabilities that vary between a Tasmanian devil’s bellow, a mountain lion’s screech and the pig’s grunting snort, quite similar to grindcore greats Gutalax’s Martin “Maty” Matoušek.
“This is TTGHC!” Dane roared, concluding the band’s opening. To The Grave were here to tremendously terrorise Adelaide in dazzling deathcore fashion.
“You call that a fucking moshpit?” Evans queried, provoking the chaos, as the frantic four-piece launched into the cinematic nu-deathcore monstrosity and Nic Webb nearly dislocated his neck in hair-windmill wildness. ‘Deadskin Skimask’ immensely increased this psychosis, and then ‘DxE Or Die’ battered all within the venue with breakdowns of decimation.
“Fuck all you people!” boasted a colossal crowd-shout along, followed by an inspired clap-along. Dane then brought out a prop knife, adding a thrilling theatrical motif to the showcase. It should be acknowledged that To The Grave’s art is inspired by veganism and animal liberation; undeniably and incredibly, the band present their message electrifyingly.
‘Vegan Day Of Violence’ reached new levels of uncompromising intensity, and led into an adored cover of ‘Unanswered’ by Suicide Silence (Rest In Power Mitch Lucker) flawlessly. Mask removed, Evans descended to the barrier to allow for the deathcore admirers to have their moment screaming into the microphone, which ended up being lost in the metal madness.
This spiritedness was maintained for ‘Shock Tactics (1000v)’, which was diabolically extreme and momentous. The groove interludes and superhuman drumming by Raymond Martin added a booming embellishment to the soundscape that shone brightly amongst the band’s gloomy tenacity.
‘Made In Aus’ was the finale that had the mosh athletes obeying Dane’s order to “Shut the fuck up and dance,” with eager attendees cartwheeling, swinging fists, two-step dancing and even piggy-back circle pit jogging. Truthfully, To The Grave displayed a headliner performance on the night, and in the near future, they will probably be excelling in that status at venues of this size.
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The venue darkened and bodies began flailing before even a note was struck. Emmure’s prolific frontman Frankie Palmeri questioned the sold-out audience: “Are we ready, Adelaide? Get the fuck up!”
Adelaide assuredly was. ‘You Asked For It’ was a befitting opening which had the band in full-flight, utilising their entire bodies to embrace the powerful nu metal deathcore hybrid, their instruments became weapons of devastation, as did Palmeri’s vocals. ‘Shinjuku Masterlord’ enhanced this momentum, with an eloquent diversity assisted by the cinematic backing track.
Palmeri’s intentions were set forth instantaneously, dressed to execute exercise drills with a metallic soundtrack, he would often perform squats, odd devilish-driven breakdancing and even a form of “the robot”. The frontman would almost enter a different identity, some form of machine creature humanoid from an eerie horror film; it was unquestionably provocative.
‘Russian Hotel Aftermath’ presented astronomical clanging beatdowns that the moshers relished in, while Frankie morphed between screeches and roars to nu metal rap yells. ‘Flag Of The Beast’ stomped with severity and upgraded everything Emmure does well.
To be frank (get it?), the quartet’s earlier material is what severely scintillated the most. ’10 Signs You Should Leave’ and the self-professed “millennial anthem” ‘Children Of Cybetron’ incited reactions of ruination from the attendees.
“It’s been real, it’s been fun, it’s been really fun,” Palmeri exclaimed before propelling into the fan favourite ‘When Keeping It Real Goes Wrong’, which might be one of the most schizoid separation songs in the deathcore genre. Nevertheless, the crowd-chant along to “Won’t you be my bride?” was certainly rousing.
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A playlist presenting some Australian music greats, including Jimmy Barnes, John Farnham (‘You’re The Voice’ actually instigated an audience sing-along), GANGgajang, The Angels and AC/DC’s ‘Back In Black’ was simply immaculate for a lead-up to this grand event.
When the lights dimmed and the all-familiar instrumental of ‘There Will Be No Violins When You Die’ ignited, the capacity crowd were magnetised to the elaborate stage. Percussionist JJ Peters, guitarists Kevin Cameron and Jona Weinhofen, vocalist Michael Crafter and bassist Jamie Hope all took their respective decisions to enrapture their hometown (mostly), as they have done countless times before. Irrefutably, this time involved a higher level of greatness.
‘When Goodbye Means Forever’ erupted, Crafter was manic in his presence, ensuring he utilised the entire platform, engaging every member of the audience he could see while Cameron, Weinhofen and Hope whirled around in a ballet of brutality.
“Check your vital signs!” was screamed by the audience in a deafening and memorable fashion. This was to be a sensational spectacle.
“It’s good to be back!” MC announced as the quintet burst into the enthrallingly devastating ‘€666’, where Jamie Hope truly beamed as a backing vocalist, adding a radiance to the already compelling savagery of the metalcore sonic landscape IKTPQ have sculpted so well.
JJ motivated the madness with his marching drumbeat for ‘Never Never Land’ that prompted numerous crowd surfers. Jona wasn’t even required to sing the chorus of ‘Your Shirt Would Look Good With A Colombian Neck-Tie’, but his solo magically inspired a venue-wide “jazz fingers” in ardour.
“Parkway Drive have taken over the world!” Crafter stated, recalling their 20th anniversary tour where he was invited along as a guest vocalist (“a TEMU Eminem” as he hilariously described). I Killed The Prom Queen were, in fact, the first band to take PWD on tour in Australia. Befittingly, they played ‘Homicide Documentaries’, which was illuminated by the audience’s phone flashlights in vibrant brilliance.
“This is our biggest show of our lives in Adelaide!” Michael admitted and elaborated that the band were slightly hesitant in booking a grand venue for this return. Suitably, ‘Bet It All On Black’ was then exhibited in its excellent extremity, where guitarist Kevin Cameron was charmingly unhinged.
‘Dreams As Hearts Bleed’ was a thrilling throwback, where the demand for a circle-pit was almost too challenging to accomplish due to the sell-out status of the show. Michael Crafter then took a moment to discuss the mental health issues the world currently faces. He sent IKTPQ’s love to Miles Away’s Steven “Hoppo” Hopperton, Polaris’ Ryan Siew, Taking Sides’ Ricky Taylor, among others, who have tragically lost their lives far too young. The highlighted person being Sean Kennedy, and the flowers next to the elevated drumkit signified their love for their brother.
‘Roses, Postcards And Machine Gun Kisses’ was performed in their honour.
‘Sleepless Nights And City Lights’ was luminous with its majestic melodies and bolstered follow-up ‘To Kill Tomorrow’ faultlessly. The closer ‘My Best Wishes’ was a beautifully becoming ending for this reunion, with Crafter’s bellow of “You are so beautiful” acting as a love letter to ‘Prom Queen’s hometown, Adelaide.
Predictably, there was more to come.
After a deafening chant of “one more song” that morphed into “Say Goodbye”, the hometown heroes returned to the stage for the charismatic metalcore anthem ‘Sharks In Your Mouth’, where Jona Weinhofen brought out his daughter atop his shoulders for the song’s entirety.
“This has been a night to remember!” Michael Crafter shouted in jubilation. This bursting energy was matter-of-factly exceeded by the South Australian devotees for the single and melodic metalcore pièce de résistance, ‘Say Goodbye’.
“Great is the art of beginning, but greater is the art of ending.”
Perhaps “greatness” is the next chapter for I Killed The Prom Queen. The prospect is indisputably ‘Bright Enough’.
Want more pics of the gig? Check out our full photo gallery here.
