Review: Sepultura @ The Gov 23/03/26
Sepultura’s final Adelaide show was a cathartic celebration of the Brazilian metal outfit's four-decade career that left everyone wanting more.
Words Will Oakeshott // Images Justin White
Sepultura w/Hidden Intent @ The Gov 23/03/26
“A Weapon, Our Music” – Derrick Green, Sepultura, ‘Sepulnation’, Nation (2001).
For over four decades, Brazil’s groove metal royalty Sepultura have rocked and roared the world with their powerful messages revolving around politics, environmentalism, literacy, technology, heritage, personal struggles, anti-corporation beliefs, religion and an abundance of other pertinent topics that have a global impact still to this day.
MTV once described the quartet as the most influential heavy metal band of the ‘90s, and the prestigious Grammy Awards website features an article by Ron Hart on the four-piece, stating that their deathrash groove metal formula as a “groundbreaking exploration of their indigenous connections.”
“A Weapon, Our Music”.
On this night at The Governor Hindmarsh, a completely sold-out audience was in attendance to sullenly yet spiritedly bid farewell to vocalist Derrick Green, guitarist Andreas Kisser, bassist Paulo Jr., and (new) drummer Greyson Nekrutman for their final ever South Australian show. Undeniably, those four poetic words quoted at the beginning of this review are more than an essential part of the influential outfit’s ideology – it is the brilliantly unbreakable bond between the band, their devotees and a worldwide awareness that will be cherished immeasurably.
A meticulous tinkering of eerie metallic ambience crept out of the venue’s speakers, slowly silencing the burgeoning crowd. Three (R)Adelaideans then climbed upon the stage, prepared to thrash with flash and excitedly bestow their marvellous metal spirit among the hundreds before them. Hidden Intent were invited (once again) to support the tribal metal innovators, and they were dead-set on having South Australia ‘Fkn Lose It’ on this balmy Monday night.
‘The Ruins’ was to be the political punch opener, which undoubtedly piqued the interest of the countless spectators as a beginning. A rather befitting initiation after the State’s election that just took place over the weekend, guitarist/vocalist Phil Bennett managed to break a string during the introductory track with his face-melting solo. In all honesty, this took the witnesses from an ambivalent aura to an adrenalised fascination quite superbly.
“We’re Hidden Intent, how the fuck are you?” Chris “McThrashy” McEwen enquired. The bassist/vocalist had assuredly stirred the spectators’ enthusiasm greatly after that first thrashing, as the responsive cheers were prominent and extensive.
‘Addicted To Thrash’ bolstered the entire production, with the audience joining in very willingly to the “HEY HEY!” chant and fist pump enactment. ‘Breaking Point’ amplified the exhibition again, with a crowd circle-pit encouraged by the crossover-meets-groove fusion. ‘Behind The Mask’ then struck up a “party attitude” magnificently – what a wonderful way to forget that it was Monday.
“Anybody remember the Wolf Creek movie?” McThrashy queried. The roar from the witnesses indicated that they were not only aware of the film, but they were prepared for hysteria in an almost horror-themed persuasion. ‘A Place Of Horror’ incited practical madness, and the wall of death was very brutifully befitting. The entire riot was enhanced by the chant “Killer! Killer!”, or as Chris festively substituted: “Killer! Tequila!” – Monday had truly been misplaced from memory, thankfully.
The rarely played ‘Cursed And Bound’ was performed as a tribute to the fantastic Phil Campbell from the beloved Motörhead, may he rest in power. The solo executed by guitarist Phil Bennett was remarkably heart-wrenching and rousing simultaneously, and a ‘Rock Out’ motif was enjoyed by the entire audience.
‘Terrorform’ was an unquestionable highlight, with its musical chapters moving gracefully between thrash, Iron Maiden riffage and a chorus worthy of stadium sing-alongs. To close, from the profound to the playful, the trio launched into the charming composition of comedy, ‘Drop Bears Are Real’. The DEMONStration incredibly encouraged the “celebratory factor” incorporated in this set to much-appreciated and boundless levels.
“A Weapon, Our Music”.
Monday had become Funday thanks to the tremendous music of the three-piece, a truly wonderful weapon against the weekday.
READ MORE: Review: Thornhill @ The Gov 26/02/26
The excitement and anticipation was becoming extremely immense. The “stage setup” backing music even provoked a deafening sing-along to Black Sabbath from the capacity crowd (and rightly so). The unruliness was soon to be diminished, though, when an almost funereal musical emittance radiated from The Gov’s sound system, unveiling a sonic landscape similar to the brazenly brilliant Bear McCreary.
‘Beneath The Remains’ erupted and awoke the stunned witnesses into a thrashtastic frenzy instantaneously. Vocalist Derrick Green was venomous with his rapid howls of furore, while guitarist Andreas Kisser, bassist Paulo Jr. and drummer Greyson Nekrutman pulverised Adelaide relentlessly.
‘Inner Self’ brought about a theatrical metallic assault with ventures into haunting industrial colourings that delightfully devastated the souls of all in attendance. The “HEY! HEY!” and “OI! OI! OI!” chants enriched the atmosphere dazzlingly as each member of Sepultura carried out monuMETAL performances. ‘Desperate Cry’ began with a sensational, unnerving, terroriffic subtlety before detonating into a groove of grotesque greatness that was beyond historic.
“Adelaide, let me fucking hear you!” Derrick bellowed.
To be frank, Adelaide could have probably asked to “hear him”, as their excitement overtook his demands in volume amazingly. Regardless, the frontman conducted both his band and the devotees before him with the malicious metal elegance of a grand orchestra conductor. This was an ‘Ambush’ of illustriousness and mind-blowing as a final South Australian showcase.
“How the hell is everybody doing tonight? We are back at The Gov, back in Adelaide, back in Australia for our farewell tour! We are going to do some old stuff - wind the clock back! And some new too, are you ready? DON’T BE SHY!” Green exclaimed.
‘Kairos’ featured the lyrics “In every blast that starts your mind,” – this poetic statement epitomises what transpired for both the band and crowd alike during the charismatic composition. ‘Means To An End’ moved effortlessly from metallic mayhem to progressive tribal bewilderment and back again in a spiritual ceremony of reverence. ‘Attitude’ was an astoundment of heaviness and mysticism all at once.
“Can you take it?” DG roared at the enlivened onlookers. The answer was delivered with gravity-defying jumps and overactive crowd surfers – we could, and we wanted more.
‘Choke’ stomped with ruinous ambition to a monstrous dimension. ‘Phantom Self’ was a cinematic experience of groove breakdowns that exhibited divinity in its devastation. New single ‘The Place’ was a journey through post-metal, classic rock of Led Zeppelin instruction and heroic metallic harshness that Sepultura have masterfully crafted for a phenomenal 42 years. The “goodbye love letter” EP entitled The Cloud Of Unknowing will irrefutably be a “must have” for heavy music aficionados throughout Planet Earth.
“Did you enjoy that? That was the second time we have played that live,” guitarist Andreas Kisser admitted with a chuckle, before requesting a “mosh pit please.”
‘Propaganda’ needed no instruction for insanity; its intensity overwhelmed all prodigiously, including Mr Kisser, who gazed upon the skies in metallic bliss mid-song. ‘Kaiowas’ was a traditional percussive adventure of splendour, with every member undertaking a drumming role, including guest musicians such as Truth Corroded’s Jason North (seven musicians in total pummelled assorted pieces of percussion in this assault, showcasing a beautiful traditional rhythm). ‘Guardians Of The Earth’ then followed in a theatrical presentation, which impossibly continued to escalate in ferocity from humble acoustic origins and a charming choir backing to math metal malevolence majestically.
“You wanna hear some old shit?” Green questioned. South Australia didn’t have time to answer. ‘Escape To The Void’ and ‘Dead Embryonic Cells’ wonderfully wrecked the spectators into adoring oblivion. The Rock Opera ‘Agony Of Defeat’ offered some relief from the chaos, with its electrifying orchestration. This track, in fact, the Quadra full-length, requires a live classical music collaboration before Sepultura retire – Dark Mofo festival organisers, are you paying attention?
‘Orgasmatron’ was also performed as a tribute to Phil Campbell, where each member of the four-piece raised their horns to the sky in appreciation – understandably, all the concertgoers within the venue joined in for this very moving gesture. ‘Troops Of Doom’ then incited a riot that ‘Territory’, ‘Refuse/Resist’ and ‘Arise’ all capitalised on immensely.
“We love you guys, this place is one of the most remarkable and incredible countries. Thank you for all the support [over] the years. We are going to miss you guys, SHIT!” Derrick declared emotionally.
Although the band decided to leave the stage, they had not even moved to an area out of sight before the deafening demand for an encore shook the building. Sepultura returned for the powerful Portuguese/English traditional number ‘Ratahamatta’, featuring a dynamic duet between Green and Kisser, as well as an awe-inspiring drum solo from Greyson Nekrutman that began the makings of an earthquake.
There was to be only one conclusion: ‘Roots Bloody’ Roots’. The band could barely be heard or seen due to the rabid response from the passionate and worshipping audience. This farewell showcase had achieved the category of cyclonic, and without doubt, this was a very memorable sendoff.
“A Weapon, Our Music”.
That is Sepultura. Incredibly, in that same composition, there is also the poetic disclosure: “Make our own history”.
Obrigado, forever.
Want more pics of the gig? Check out our full photo gallery here.
