Review: Lacuna Coil @ The Gov 17/02/26
Italy’s goth metal merchants Lacuna Coil put on one hell of a performance when they took over The Gov.
Words Will Oakeshott // Images Danny Wallace
Lacuna Coil w/Future Static @ The Gov 17/02/26
“That's why I love theatre, because things happen in the moment.” – Clotilde Hesme.
Before there is any confusion about the reference to “theatre” in the above quotation from the award-winning French actress Clotilde Hesme, this writer would like to confirm one simple and striking detail.
Italy’s goth metal luminaries Lacuna Coil and Melbourne’s prog-metalcore radicals Future Static are both thrillingly “theatrical”. What both acts achieve in their prestigious musical demonstrations is frantic captivation. They can provoke an array of reactions, stunned silence and awe, random dance and body movements of adoration, a defiance of gravity – the list is extensive and astonishing. Most importantly, these actions, from the bands and spectators alike “happen in the moment”.
In a jam-packed Governor Hindmarsh on this night, this is why Adelaide loved “theatre”.
Victorian quintet Future Static put the “prog” in “progressive”, the “meta” in “metal, and the “or” in “core”. Bewildered? It is an understandable response to the prior peculiar description, but essentially vocalist Amariah Cook, bassist/vocalist Kira Neil, drummer Jackson Trudel, as well as guitarists Ryan Qualizza and Jack Smith do NOT follow the rules of how a “genre” should sound. They bend, defy and deconstruct that very idea astoundingly. They are futuristic in sound, and it is tremendously transcendent.
Walking onto the stage from the crowd to Cancer Bats’ version of the Beastie Boys’ smash hit ‘Sabotage’, followed by Loverboy’s ‘Working For The Weekend’, was an odd combination, assuredly. Flawlessly though, it set the atmosphere for the remarkable recklessness to follow.
“Are you ready to dance with me tonight?” Amariah beckoned to the near-capacity audience.
The onlookers were not even given permission to answer; in the best way possible, a powerful percussion introduction led into a wall-shaking breakdown and Future Static soared into a charismatic psychosis.
‘The Hourglass’ was the opening, delightful detonation. Ms Cook effortlessly moved between severe screams and majestic melodies while enigmatically exhibiting a charming design of cabaret dancing. The angelic Kira Neil was above elegant with her vocal inclusions, and when Amairah and Kira harmonised together, the demonstration was beyond heavenly.
However, it isn’t just the metal movements that are immeasurably enchanting; the five-piece transition between pop, prog-rock and even chamber rock orchestration (with the assistance of a backing track) is very graceful. It is amazing what they can make “happen in the moment”.
‘Plated Gold’ balanced the prog-rock artistry with the discordant melodic metalcore immaculately. ‘…And The Walls That Were Built’ ventured into Björk-inspired electronica before approaching a post-rock entrancement, then a mathcore-driven lunacy Rolo Tomassi would certainly admire. ‘Chemical Lobotomy’ was undeniably testament to why Future Static were an ideal support for this prestigious tour, moving between demolition and delicacy with immeasurable finesse.
READ MORE: Review: Dream Theater @ Hindley Street Music Hall 10/02/26
‘Iliad’ was amazingly absurd, a nightmare of resplendent ruination in musical form. ‘Will I’ began as a recovery from the previous enthralling chaos, with a deep house lounge aura, but a math-rock-to-metal madness brought about a contagious lucidity comparable to the premise for the SuckerPunch film. Although Future Static executed that wildness wondrously, the movie was not quite of that classification.
“As you can tell, we probably like breakdowns.” Amariah joked. “There’s one coming, Woo!”
‘Waves’ was that heavy tidal musical bombardment, and the audience became an oceanic pulsation of wonderful wreckage in appreciation. New single ‘State Of Mind’ showcased a cinematic nu-metalcore energy that blended the classical approach of Killswitch Engage with the UK’s Ithica sublimely.
‘Venonosa’ was a track that California’s Volumes would be more than envious of. ‘There’s Nowhere Else To Go’ then hit a level of soul-stirring eminence that it became practically torrential; a whirling marvelment of eclectic musicianship and brilliance.
A cover of Daddy Yankee’s ‘Gasolina’ was, in all honesty, fire. Reimagined into a metal rendition, the song was of such a high calibre that it actually felt like The Gov had been sprinkled in a stardust of heavy music, and consequently, the venue entered a different universe.
Closer ‘Roach Queen’ brought Amariah Cook to the barrier; the adoring crowd supported her as she elevated above them in rapturous shrieks of intensity. Ryan Qualizza, Jack Smith and Kira Neil escalated the madness, spiralling into a metallic tornado of splendour – truthfully, it was hard to believe Future Static were the support act. Remember, though, amazing “things happen in the moment”.
“For those about to rock, we salute you.”
Those eight words ignite an unparalleled feeling in Australians, dare this scribe say (but it is actually accurate), heavy music enthusiasts’ souls. AC/DC provoke an adrenaline rush for those who proudly display the “devil’s horns”, who almost dislocate their necks, who bellow the lyrics they love.
At the Governor Hindmarsh, this was to be the sensational strategy for the oncoming storm which Italy’s goth metal trailblazers Lacuna Coil were going to exhibit – and having AC/DC as their warning, to a degree, was exceptional.
A transfixing electronica composition that Tim Burton wished was a part of his legacy acted as the entrance for the Milanese metallic royalty. Drummer Richard Meiz strolled out with a purpose of incitement, standing 11-feet tall atop his platform and glowing in (almost) corpse-painted stature, he faultlessly introduced the gothic mayhem. Daniele Salomone, Marco Coti Zelati and vocalists Andrea Ferro, as well as the charismatic Cristina Scabbia, provoked a near-riot of excitement upon their arrival. Adelaide was already ‘Spellbound’ with rocking reverence that Lacuna Coil were back and headlining in Adelaide after a lengthy absence.
‘Layers Of Time’, a very significant choice to begin this assault, erupted in profound power. Andrea Ferro bellowed with monstrous magnificence and, impossibly, an elegance in the same gleaming embodiment. The glorious glow, however, shone blindingly from songstress Cristina Scabbia, who had admitted earlier via social media that she was suffering from an illness during this Australian onslaught. It would seem metal is the best medicine, because miraculous “things happen in the moment”.
“Adelaide, let me hear you!” Scabbia demanded.
‘Reckless’ was the siren song, and The Gov was blinded and deafened by gothic greatness. ‘Hosting The Shadow’ (which features Lamb Of God’s Randy Blythe) hosted a delicious darkness and fantastically flaunted the chemistry between all members of LC in divine beauty – the spoken word passage was exceptionally spiritual. ‘Kill The Light’ invoked a stunning ambience like sipping on a Cynar Boulevardier, ravishingly bitter and sweet at the same time.
‘Die & Rise’ haunted and compelled in nu metal extravagance, and ‘Spellbound’ evoked an Alice Cooper oddity, although the song’s delivery unveiled that Lacuna Coil can accomplish this soundscape with more refinement and ambition.
“We are back to share good vibes with our friends and our family. That’s what you are!” Cristina articulated wholeheartedly.
‘In The Mean Time’ magically devastated with its djent groove and hosted a resplendent reminiscence of the Notre-Dame de Paris musical. ‘Intoxicated’ broached upon Linkin Park territory, but unquestionably this was still Lacuna Coil, and Cristina’s ethereal vocal projections were above ravishing.
‘Heaven’s A Lie’ had crowd members entwined arm-in-arm, grateful for the supernatural musical wonder happening before them. ‘In Nomine Patris’ was simply put, otherworldly. At one point, it seemed like the near-capacity audience was becoming unruly beyond attention, then this five-minute venture shocked them to their very essence. ‘Blood, Tears, Dust’ and ‘Gravity’ phenomenally kept the concertgoers on this wavelength vividly, with an epic sing-along to boot. ‘Oxygen’ duelled as a duet dramatically and delectably. ‘Nothing Stands In Our Way’ impossibly expanded on this (Evanescence would potentially be lost in admiration).
Surprisingly, Lacuna Coil soon left the stage. An extended period of time transpired to the point of confusion.
In a rousing and wickedly romantic enterprise, Lacuna Coil returned, and the bounce of ‘The Siege’ was ceremonious. ‘I Wish You Were Dead’ was as powerful as ABBA undergoing a metal makeover, with Scabbia even wielding a prop-knife DEMONstrating her Shakespearean mightiness. ‘Swamped’ was the song left off The Crow soundtrack, and now it might “rain all the time”; however, the sing-along from the hundreds present created a supernatural soundtrack regardless. Then closer ‘Never Dawn’ radiated in its twilight – heavy, harsh, heavenly and hectic.
“We will continue to be perfectly imperfect, with real voices, with real instruments, music is about this, THE HEART!” Cristina exclaimed.
“That's why I [we] love theatre, because things happen in the moment.”
Want more pics of the gig? Check out our full photo gallery here.
