Review: Pierce The Veil @ The Drive 14/04/26
Platinum-selling rock icons Pierce The Veil turned The Drive into a mass of heaving bodies as they took fans on a journey through the anthem-filled career.
Words Will Oakeshott // Images Shaun Wilkinson
Pierce The Veil w/Movements & Jack Kays @ The Drive 14/04/26
“Adelaide, you have got one job tonight, and that is to have the best night of your life. Can you do that?”
It is difficult to tell if this was a request or a demand from the endlessly charismatic Vic Fuentes - the vocalist/guitarist and leader of San Diego’s post hardcore outfit Pierce The Veil.
With all intents and purposes, it doesn’t really matter; what is most significant about the message stated above is its immeasurable positivity. Pierce The Veil strives to have their spectators experience more than a rock show: they want their admirers to have an everlastingly memorable and defining moment of their lives.
This was the “job” presented to the thousands of attendees jammed into The Drive on this fresh autumn evening, and truthfully, the entire production earned a ‘Gold Medal Ribbon’.
Ohioan Jack Kays would have potentially been relatively unknown to the majority of concertgoers present at the early commencement of this grand showcase. However, the very punctual and eager crowd were presented with a dazzling demonstration of heartfelt honesty in prolific songwriting. Jack’s poetry is simply breathtaking, and he utilises a shoegaze, emotional alt-punk soundtrack to spellbind his audience.
The quartet were met with ear-splitting screams upon their arrival onto the darkened stage, but wasted no time in launching into their set. ‘The Rug’ was a mesmerising Midwest emo delicacy that fused the brilliant brashness of Balance & Composure with the incredible intricacy of This Town Needs Guns. The witnesses were undoubtedly captivated.
“Thank you so much! This is our first time in Adelaide,” Mr Kays exclaimed with a charming humility. “Unfortunately, we are from the USA and live in Washington DC. We live right next door to ‘THAT GUY’! I saw him once in a limousine, glowing orange.’
“FUCK TRUMP! For real,” guitarist Will professed after a hilarious impersonation of the POTUS.
‘To Be American’ was then performed as a glistening coalescence of shoegaze emo folk punk directed by Bruce Springsteen. ‘Caffeine’ channelled Chicago’s Pet Symmetry superbly, even surpassing them with magnetism. ‘Sleep When I’m Dead’ transfixed the growing audience and was assuredly a punk anthem Frank Turner wished he had composed.
The closer ‘I’ve Got A Gun’ outstandingly oscillated through multiple sensational soundscapes, including grunge, pub rock, indie punk and aggressive spoken word passages inspirited by Bob Dylan’s melodic snarl.
JK’s political insights are irrefutably exhilarating, with a focus on communities shunned by many in his home nation, including the LGBTQIA+, as well as women’s and children’s rights, other minority groups and cultures. His devoted appreciation and earnest message for equality and love is beyond contagious, and Adelaide assuredly became a new home for Jack Kay’s fanbase. A new album is approaching its release date soon, so keep your eyes, ears, and souls ready for more enchanting enlightenment.
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“ADELAIDE! What the fuck is going on?”
Frontman Patrick Miranda for Orange County’s post hardcore luminaries Movements was champing at the bit to have South Australia MOVING to their intoxicating musicianship as soon as the quintet hit the stage. Unquestionably, the mission presented to the onlookers was hastily accepted, and this extravaganza became a ‘Fever Dream’ of punk rock euphoria.
Suitably, ‘You’re One Of Us Now’ opened the exhibition, which blended the progressive, prestigious song-writing of Thursday with the pop sensibilities of the criminally underrated Secret & Whisper. ‘Lead Pipe’ shared moments of Taking Back Sunday, however, Movements took the DNA of the aforementioned trailblazers’ craftsmanship, then enhanced the composition with an indie-dance-rock flavour that was truly bewitching.
An unknown sorcery seemed to burden the venue for an unfortunate time lapse as ‘Killing Time’ suffered an auditory collapse with essentially just Spencer Young’s drumming and occasional guitars seeping through a mostly silenced sound system. After what felt like an eternity, the jangular alt-lounge-rock single returned at proper volume to transport the spectators to a sonic landscape supervised by Incubus from their noughties era.
“Adelaide, can you guys hear me?” Mr Miranda comically enquired, with a genuine concern also incorporated. An eruption of cheers confirmed the show was ready for RUCKUS! once again.
‘Kept’ instigated a circle-pit, ‘Colorblind’ was a powerful ballad of haunting honesty that latter-day Pianos Become The Teeth would be envious of; then, ‘Where I Lay’ fantastically provoked a venue-wide clap-along almost without provocation, solely due to its charming Title Fight aura.
‘Skin To Skin’ showcased an exquisiteness of pop-post-rock that felt out of character, but amazingly and uniquely still Movements on that same note. An announcement that the five-piece had prepared a new LP for release in the near future was assuredly exciting, and the new song ‘Dissolve Me’ offered a rough-and-ready punk rock energy that escalated the enthusiasm for new music to immeasurable levels.
“10 years ago, in 2016, we were presented with a great opportunity to tour stadiums with a band called Pierce The Veil!” Patrick admitted in an ecstatic broadcast. It was, therefore, more-than-fitting for the five-piece to play their revered single ‘Full Circle’, as that is what this tour had precisely and magically become.
‘I Hope You Choke!’ was an incredibly infectious aggressor of progressive punk that sensationally synthesised Trophy Eyes with splendid funk-indie-rock. Then to close, ‘Daylily’ was a clear crowd favourite, with phone flashlights lighting up the entire venue and an unbounded captivation understandably fixated on the majestic Movements. A headline tour is not requested, but required, as soon as possible.
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When thousands of voices are singing along to the soundtrack for the headline band’s setup, which featured Blink-182 and Rise Against (gratefully), it is a rather solid indication that the anticipation for the main event is immense. However, even that description diminishes how hectic this situation had become.
When the lights went out, the screams weren’t just deafening, they had actually become a terrifying form of noise pollution. Understandably, it has been a long three years since the San Diegans delightfully destroyed Australia, but to say this response was excessive (and impressive) would be degrading how very special this moment was.
“Adelaide, you have got one job tonight, and that is to have the best night of your life…”
Bring It ON!
After a divine introduction of José Alfredo Jiménez’s ‘El Rey’, drummer Loniel Robinson took to the stage and incited pandemonium. This vitality impossibly grew exponentially when bassist/vocalist Jaime Preciado, guitarist Tony Perry and the much-adored guitarist/vocalist Vic Fuentes appeared through the smoke, glowing through the incandescent red light.
‘Death Of An Executioner’ was the initiation into the prolific production, and from this moment on, all seemed to be right in the universe.
This is what Pierce The Veil astoundingly achieves with their artistic integrity - there is an unbridled positivity that phenomenally radiates from their music. Regardless of whether certain songs contain lyrical nature which are navigating discontent, or other troublesome matters, the quartet always transmit an energy encompassing a shimmering brightness.
‘Bulls In The Bronx’ emitted a hysteria of heavy and heavenly all-in-one. “Maybe we’re just having too much fun,” Vic angelically serenaded in his charismatic angelic croon – these seven words flawlessly encapsulated the essence of The Drive at that very moment.
‘I’m Low On Gas And You Need A Jacket’ trickled and tremored in tantalising hypnotic exquisiteness (also, who doesn’t love a Wayne’s World reference?). ‘Pass the Nirvana’ then ramped up the lunacy with its frantic metallic grunge hardcore amalgamation. As if chiming into the spirit of Kurt Cobain, the four-piece ventured into an improvised punk tangent that heightened the spectacle marvellously.
The theatrics of the demonstration were otherworldly, whether darkening the entire venue after certain songs, only to be lit up by the renowned symbols of the “I Can’t Hear You” tour in a fiery red fluorescence. Or the live psychotic movements of bassist/vocalist Jaime Preciado and guitarist Tony Perry, who stalked the stage like ravenous jaguars, often leaping and twirling gymnastically in prodigious rage. Preciado’s guttural roar was also not to be forgotten. It commanded attention from his metaphoric prey, being the audience, who stood in comprehensible awe before him.
A throwback to ‘I’d Rather Die Than Be Famous’ was unexpected and cherished, its raw mathcore undertakings were perhaps a little too perplexing for the adorers from the more modern era of PTV.
“Adelaide, welcome to the global tour. We’ve been travelling the world to prove that we have the loudest fans in the world!” Vic Fuentes announced. The noise from the crowd was indescribable.
A cover of the Pixies ‘Where Is My Mind?’ was above treasured, which led into the bouncing ‘Floral & Fading’ superbly. Another journey into the past with ‘Yeah Boy And Doll Face’ punked-up the atmosphere in a tremendous topsy-turvy crusade, then the blindsiding folk ballad ‘She Makes Dirty Words Sound Pretty’ captivated the entirety of Adelaide for the near four-minutes lovingly. This love song was astonishingly accentuated by the flashlights from the concertgoers’ phones, which could have quite possibly been seen from departing aircraft above.
‘I Don’t Care If You’re Contagious’ jazzified the ambience sublimely, then ‘Wonderless’ provoked the adored “Wo-Oh-Oh” sing-along that transformed The Drive’s attendance into a Pierce The Veil choir. Darkness blanketed the arena again. After the backscreen lit up with the cartoon symbol image of a woman, Vic emerged with an illuminated megaphone, screaming: “If you wanted to set me free / Why the fuck wouldn't you say something? / See, I was just over 17 / May the poison set me free.”
The beckoning track was ‘May These Noises Startle You In Your Sleep’, a minute-and-a-half of ferocity that led into the thrashtastic ‘Hell Above’ exquisitely. ‘So Far So Fake’ and ‘Emergency Contact’ were stadium rock compositions that required harmonising with, and waving arms along to, in electrified splendour. Then, to conclude, ‘Circles’ – a dance adventure driven by rapturous pop-punk voltage. Well, this wasn’t really the conclusion…
“Can we create something beautiful…AND DESTROY IT.”
These eight words illuminated the screen to a monumental cheer, an astronomic encore was to be administered (thankfully).
‘Disasterology’ was a Tim Burton-inspired gothic fairytale single that Chiodos wished they had composed. Admiringly, the band finished the track facing drummer Loniel Robinson, kneeling in worship (his percussive solos were assuredly superhuman).
“Thank you guys so much. This has been amazing! Have you got a couple left in you?” Fuentes teased.
‘Hold On Till May’ was an anthem of saviour, with Vic asking the audience: “Let’s break it down, how many people out there would say music saved their life?”
Just try to imagine the response.
The “proper ending” predictably came with ‘King For A Day’, a revelation of post hardcore which exploded repetitively in screaming madness, breakdowns and magical melodies.
Bassist/vocalist Jaime Preciado was beyond unhinged, throwing his weapon (instrument) into the sky, in a carefree attitude, but in a defining statement of ‘Flawless Execution’.
“Adelaide, you have got one job tonight, and that is to have the best night of your life. Can you do that?”
Mission Accomplished.
Want more pics of the gig? Check out our full photo gallery here.
