Review: Poison The Well @ Lion Arts Factory 08/06/26
15 years on since their last Australian tour, Poison The Well return with a new album and a live show that turned Lion Arts Factory into a heaving mosh of bodies.
Words Will Oakeshott // Images Cameron Stemmler
Poison The Well w/Haywire, Iron Mind & Stressed @ Lion Arts Factory 08/06/26
“To stay here would be a dream.” – Jeffrey Moreira, Poison The Well, ‘Cinema’, The Tropic Rot (2009).
October 21, 2009. Unbelievably, this was an astonishing 16 years, seven months, two weeks and six days ago. Remarkably, this date represents the last time that Florida’s post-metalcore luminaries Poison The Well blasted Adelaide metaphorically to a heavy music paradise that would conflictingly ‘Plague Them The Most’.
This was to be the last time the band travelled to South Australia, and a mere three days later, the five-piece were to leave our beautiful nation for what was eventually assumed to be their last time ever.
When frontman and lyricist Jeffrey Moreira bellows the seven aforementioned words at the beginning of this article, Australia, matter-of-factly, any heavy music admirer from around the world who cherished Poison The Well comprehended this poetic statement with a new and sorrowful perspective.
“To stay here would be a dream.”
The dream was thought to be over, especially with their hiatus announced on July 14, 2010.
May 2015, the quintet reunited for two shows in New York and New Jersey. The trailblazing act then continued to tour sporadically for nearly a decade.
August 2024, the influential outfit announced they were working on their first studio album in 15 years.
January 29, 2025, the scintillating single ‘Trembling Level’ was unleashed upon Planet Earth.
March 20, 2026, Poison The Well’s sixth full-length Peace In Place was released to critical and commercial acclaim.
June 2026, Poison The Well were thankfully back in Australia.
Adelaide’s straight edge metallic hardcore band Stressed were living their own dream with the honour of opening this grand return showcase. ‘Oceans of Despair’ began the hysteria with an Integrity-driven metallic assault that sent the mosh-ninjas into lunacy. The intensity escalated so fiercely that vocalist Nicole Fickling fell to the stage’s floor in a moment of screaming rapture. This wasn’t just an introduction; this was an amazing annihilation.
‘I Against Apathy’ was a metallic hardcore onslaught with a pulsating groove breakdown and deathened ruination of gargantuan levels. ‘Silence’ impossibly sped the entire demonstration up with roaring gang vocals from the enthusiastic crowd members, with Nic descending to the barrier numerous times so they could partake in her impassioned lyricism.
“A Tuesday night mosh is crazy!” she exclaimed in gleaming appreciation.
‘House Of Gold’ was beyond menacing, especially with its powerful percussive distorted interlude section and Fickling howling: “You will die in vain!”
‘An Offering’ slowed the exhibition down momentarily, with a post-metal venture that continued to build until it erupted into the track ‘Break’ that shook the walls and floors of the Lion Arts Factory.
‘Excuses’ maintained the madness until closer ‘Control To Decay’ brought upon absolute destruction with maniacal mosh-dancing, as well as bodies flying toward the venue’s platform in adrenalised psychosis. Undoubtedly, this conclusion would have had Alabama’s No Cure above envious.
Melbourne’s Iron Mind were immensely intent on sustaining the hardcore frenzied mania after their hauntingly inspiring spoken word introduction that finished with the aggressive articulation: “…I won’t stay down, no more pain? Fuck that, more pain! How much you got? How much you got? How much you fucking got?!”
BOOM!
‘More Pain’ was the profound commencement. The quintet was instantaneously reckless, stomping and circling around the stage, similar to a pack of possessed, ravenous gray wolves. The audience fed off this energy with limitless vigour, shouting along to the motivating poetry of frontman Sam Octigan, before a bombardment of groove beatdowns incited chaos.
“Adelaide, I want you to show me HOW YOU GET DOWN!” Mr Octigan roared electrifyingly.
‘How You Get Down’ was simply monstrous, and Adelaide wreaked havoc in hardcore spiritedness stirred up by this hardcore anthem. ‘Guilt’ sped up the spiritus mundi of the presentation, with its thrastastic closure inciting near devastation and Sam punching the air in furious exhilaration.
“Wassup? We’re Iron Mind - Adelaide, did you miss us?”
Obviously, we did.
‘Solitary Realm’ is arguably one of the most engaging cinematic hardcore compositions ever written by an Australian band. The quintet undertook a magnificently theatrical approach with this single, featuring chapters of awe-inspiring musical movements and lyricism – it becomes a charismatic contagion for the witnesses to shout along to. Or for the extremely enthusiastic concertgoers, windmill and fly-kick to psychotically.
This is the truly uplifting essence of Iron Mind, they broadcast a message of strength to their followers. They encourage the action of being strong-willed, to face challenges head-on, and overcome fears. There is no denying that we currently live in exceedingly difficult times, but to find that drive of perseverance and relentlessness, to continue to strive forward, no matter what life or the world throws at us, is what this globally revered outfit portrays and encourages flawlessly.
‘Look Into My Eye’ is an insightful exploration of this, potentially from both sympathetic and empathetic viewpoints. However, the exceptional pandemonium in a live setting that this Melbournian hardcore act receives from their supporters time and time again is a testament to how dynamic Iron Mind genuinely are.
READ MORE: Review: Hellions @ The Gov 08/05/26
Boston’s Haywire (aka Haywire 617) caught the (almost) capacity crowd off guard with their entrance. There was no grand audiovisual short film, no flashing lights, no sirens – the Bostonians simply stormed the stage and launched into a cover of The Angels’ ‘Am I Ever Gonna See Your Face Again?’.
“NO WAY, GET FUCKED, FUCK OFF!” The entirety of the congregation within the building deafeningly voiced.
Haywire had seized Adelaide in punk music splendour, and we embraced their positivity and vivacity wholeheartedly.
‘HANG UP THE TELEPHONE’ was a popcore delight with a prodigiously catchy message and aura. Clap-alongs, “Wo-Ohs” and sing-alongs to the charming chant: “Hang up the telephone, turn up the radio, and put this record on repeat.” The atmosphere was undoubtedly eclectic and electric all at once.
“To stay here would be a dream.”
Vocalist Austin Sparkman was unquestionably a man possessed, but he is above magnetic in his amazing absurdity. Spending practically as much time at the barrier as he did onstage, simply so his fans (albeit punk-rock-choir) could join in the fun, was beautifully poetic. He even executed an acrobatic front-flip into his admirers, who found a new spark of enlightenment from his mischievous madness.
‘SUMMER NIGHTS’ bolstered the vitality of the demonstration with its more vigorous “caveman hardcore” soundscape that Gorilla Biscuits would assuredly enjoy. ‘GET TO STEPPIN’ delightfully displayed a modest yet marvellous introductory rallying call that played out as follows: “RA NA, NA NA NAAA, NANANANANAANAA RA NA, NA NA NAAA, NANANANANAAANAAA” over a raw bassline, until the stomping hardcore and circle-pit inducing lunacy took over.
“In the wise words of Australians, we’re not here to take part, we’re here to TAKE OVER!” Austin exclaimed excitedly.
‘POSER DISPOSER’ enhanced everything about Haywire sublimely. Mr Sparkman even channelled some of the derangement of Letlive’s Jason Butler with some hysterical stage antics, including beating drums with his microphone.
Sparkman then discussed his past life as a crazy teenager and being able to see Poison The Well many years ago. He openly talked about his problems with alcohol and love for cocaine. He then revealed he was one year sober, and he didn’t care if people partied around him. What he did care about was listening and supporting one another and being there if problems do arise that need discussing.
“I don’t want to set the world on fire, I just want to watch it burn,” he yelled animalistically as the band launched into ‘LOVE SONG’, a track 98 Mute wish they had penned.
“Raise your hand if you know someone in the room? Well, send them a text and give them a hug. HAPPY PRIDE MONTH EVERYBODY!”
Austin Sparkman and his Haywire crew are what the world needs right now.
A cover of Title Fight’s ‘Shed’ was more than celebrated, it was cherished and idolised by both band and audience alike. ‘LIKE A TRAIN’ was an unhinged display of hardcore brashness with an enormous injection of joviality. The microphone was lost numerous times. Often, Austin simply went missing among the hundreds of maniacal participants around him offstage.
“Mosh like security will kick you out!” he demanded. Have a WILD guess what transpired?
“But I adore her…” A tender strum of the guitar first silenced, then invigorated the crowd. “This will never happen…” Detonation!
Poison The Well had arrived after 16 long years away from our shores, and they wondrously bewitched South Australia with their sensational single ‘Botchla’ to proclaim their return.
“To stay here would be a dream.” – Now, it was a reality.
‘Zombies Are Good For Your Health’ followed, and the frenzy escalated. Frontman Jeff Moreira stalked the stage with the threatening presence of a voracious leopard, but with a thunderous roar that was beyond barbaric. Counteractively, he could move from harrowing to heavenly, with angelic harmonies that Chino Moreno would revere.
“Wassup, everybody? We’re Poison The Well.” Mr Moreira compassionately expressed, not that the Floridians needed an introduction.
New single ‘Thoroughbreds’ incited a clap-along as it graciously moved between tender and terroriffic effortlessly. This captivating composition faultlessly demonstrated the band’s remarkable chemistry. Drummer Chris Hornbrook, bassist Noah Harmon, guitarists Vadim Taver and Ryan Primack, alongside frontman Moreira, coalesce into an enthralling monument of heavy music artistry and poetry that is ingeniously unique. Besides Hornbrook, every member contributed vocals to the exquisite narrations, and rather spectacularly. The quintet decisively soars in unison, pushing the boundaries of dazzling dissonance, but with a finesse that truthfully cannot be matched.
Throwback ‘Slice Paper Wrists’ was a chaotic catharsis of hysteria that was soulfully enriching in its severity. ‘12/23/93’ explored the post-metalcore virtuosos’ history superbly, showcasing just how phenomenal the five-piece are and what they have contributed to the heavy music genre.
“What the fuck is up? Thank you for coming out on a Tuesday. You have no idea how it feels after so long to see so many people repping Poison The Well,” Moreir declared with heartwarming sentimentality.
‘Ghostchant’ wound the clock back to PTW’s first visit with the esteemed Big Day Out, a different time, but a timeless deliverance of illustrious virtuosity. ‘An Artist’s Rendering Of Me’ was practically drowned out by the mayhem of the adoring audience - “I could never swallow your false ideals of a happy ending.”
Did you get goosebumps? Or chills up your spine from just reading those 11 words? Imagine hundreds screaming it at the top of their lungs.
“This is fucking INCREDIBLE! We hope to come back real soon. These will be our last two songs going all the way back to the Opposite Of December record – thank you!” Mr Moreira unveiled with the greatest respect.
‘My Mirror No Longer Reflects’ provided a clearer insight into Moreira’s visionary authorship, his honesty, his anguish, his brilliance. At times, he would stare his observers intensely in the eyes, then, during other moments in the performance, his piercing, tormented screams would breathtakingly absorb everybody, while his eyes were fastened tightly shut.
The only ending could be ‘Nerdy’, and it was bruitfully bewildering and practically brought the building down.
“To stay here would be a dream.”
This was, still is, and will remain as captivating ‘Cinema’ for years to come.
Want more pics of the gig? Check out our full photo gallery here.
