Review: Stray From the Path @ Lion Arts Factory 21/08/25

Here’s our take on Stray From The Path’s final ever Adelaide show, which in short, was an absolute ripper!

Words & Image Will Oakeshott

Stray From The Path w/Orthodox & Diamond Construct @ Lion Arts Festival 28/08/25

“I’m too outspoken for most people, they think you’re rude if you tell the truth. ‘Punk’ was the only time I fitted in. Just one tiny sliver of time where it was acceptable to say what you thought.” – Viv Albertine.

To be outspoken, to speak with conviction and volume, to challenge what is accepted and believed to be normal – all of these characteristics and countless more are arguably essential elements of being “Punk”. As famed guitarist for punk queenship The Slits Ms. Albertine poetically revealed above, the culture and alternative music genre are zones where expression, to a degree, is encouraged, heard and even celebrated.

Although the three outstanding outfits featured on this night’s showcase subscribe to the heavier soundscapes of metal and hardcore, their artistic energy is driven by that punk motif. For one last “tiny sliver of time”, a bustling Lion Arts Factory was home to the celebration of Long Island’s mosh-rapcore punks Stray From The Path for their farewell Adelaide showcase. Undeniably, this event was to be above outspoken; it was matter-of-factly outstanding.

Considering that only two years and three months prior, Taree’s Diamond Construct was sharing stages around Australia with the New Yorkers, DC may have been experiencing a sense of Déjà vu. However, this “rockin’ reminiscence” of sorts undoubtedly worked in their favour – the quartet knew who the majority of their audience was going to be, they thrived in understanding that crowd members would have a familiarity with them, and best of all, they had a new album Angel Killer Zero to broadcast.

Although met with a smaller audience due to an exceptionally early start, the four-piece were not impeded by this minor detail; they were inflamed. Diamond Construct were armed and ready to take Adelaide on as they had astoundingly accomplished before. Their ‘Wildfire’ was set to ignite.

‘Jynx’ was a delightful disjointed demonstration of electro-nu-metalcore that baffled and bewitched the onlookers brilliantly. Frontman Kynan Groundwater blended the vocal dynamics of Marcus Bridge, Chris Roetter and Jonathan Davis effortlessly and was charismatic with his presence. ‘Enigma’ provoked the two-step mosh dancers, while the quartet switched between melody, maliciousness and eccentric musical ecstasy.

“ADELAIDE LET’S PARTY!” Kynan strikingly spouted and the partygoers became more prominent.

‘Neon’ would have both King Yosef and The Prodigy incredibly intrigued with its electro-punk trapcore; guitarist/DJ Braden Groundwater was entrancing with his dual duties. This was enhanced further during ‘Deathparty’, which came across as some magnificent mutation of Electric Callboy and Void Of Vision. ‘Animus’ returned to a more deciphered nu-metalcore structure that allowed the crowd shout-along of “EVERYTHING BETWEEN!” to erupt properly. This then led flawlessly into closer ‘Psychosis’, which incited a circle-pit, as well as a magical opportunity for the ninja-moshers to commence their first proper combat.

Unquestionably, Adelaide was warmed up and Diamond Construct had gone beyond to impress SA once again. Most importantly, they did so in their style, with their hyper-coloured sparkling fashion, genre-mashing and heart-on-sleeve lyricism. This is why they are so compelling.

First time visitors, Tennessee’s nu-deathcore quintet Orthodox had remarkably attained heights of notoriety before they had even entered Australia. Their stature was truly felt even before the siren-sounding guitars and earth-moving breakdowns of ‘Sacred Place’ shook the walls and floors of the Lion Arts Factory. The five-piece had immeasurable ferocity; they didn’t want to make an impact; they were the impact. Fusing elements of nu metal, deathcore and blackened metalcore, Orthodox were an astronomic onslaught and it was riveting.

‘Head On A Spike’ was terrorific in its psychotic, murderous metalcore mayhem. The windmills, fly-kicks and aerobic-mosh movements were borderline frightening, but that dark energy was so powerfully provocative, it was above enthralling.

“When it becomes my time, I’d like to see you try and take me alive,” vocalist Adam Easterling (and Luke Arnold look-a-like) articulated in such an eerily evil tone, it disturbed attendees’ souls to a breaking point, then…

BOOM!

The “Chugga-Chugg” breakdown pulverised all within the building and we were begging for more.

‘Blend In With The Weak’ threw some Limp Bizkit lunacy into the deathened metalcore. ‘Godless Grace’ instigated more insanity with torrential circle-pits and a slowed-groove-beatdown that Mr. Easterling danced along to in a suave yet unhinged fashion. ‘Keep Your Blessings’ was metal mayhem, numerous necks were assuredly dislocating, especially bassist Shiloh Krebs – this belter was haunting in the best way possible, a cinematic deathcore masterpiece.

Closer ‘Cave In’ was a chaotic coalescence of it all with extra scintillating stomp, alarm guitar bells and groove. It was excruciating and absolutely rapturous.

This was outspoken. Adelaide was left rapt and broken.

But the punk parade was about to begin…

READ MORE: Review: LANDMVRKS @ The Gov 13/05/25

There was no dramatic entrance for drummer Craig Reynolds, bassist Anthony Altamura and guitarist Thomas Williams – three of the adored rapcore punk outfit simply walked onto the platform, assumed their positions and were ready to attack Adelaide for the last time.

“What the fuck is up, Adelaide?” Frontman Andrew “Drew York” Dijorio inqui-inspired (inquired + inspired) the filled Lion Arts Factory – ‘Kubrick Stare’ was to be the farewell opener and karaoke-core escalated to full volume.

This writer has seen Stray From The Path every time they have visited our nation. From large festivals such as Unify Gathering to small clubs such as Enigma bar (rest in power). The Long Islanders always delivered empowered and passionate performances, screaming their poetic messages and shining light on injustice. A moshcore reimagination of the prolific Rage Against The Machine – Stray’ are certainly over-infectious in the best way possible, and they always excel at enlightening their devotees with their art and philanthropy.

This was all clearly and gratefully evident, yet the atmosphere did harbour a difference on this night. For this scribe, it had a parallel spirit to the documentary for Swedish post-hardcore trailblazers Refused – entitled Refused Are Fucking Dead – more specifically, the commentary about their last show. It was a situation overwhelmed with confusion, but the band were going to make it memorable.

So were Stray From The Path.

‘Needful Things’ initiated the hardcore choir effect with the profound question: “Are you in or in the way?” which was shouted back at the four-piece in animated vigour. ‘May You Live Forever’ was iconic and ironic, especially the deafening projection of: “You Will Always Remember Me!” – these five words were faultlessly befitting for this enigmatic exhibition.

‘Chest Candy’ provoked another circle-pit, the big “FUCK YOU” moment, which guitarist Tom Williams enacted with a middle finger, will be ingrained in all spectators’ minds and hearts from this day forth. ‘Can’t Help Myself’ really embraced that RATM hardcore crossover superbly. ‘III’ was a belter that moved the venue in its entirety with its groove and prodigal prose about police corruption. The exhibition could have stopped here, but elatedly, it didn’t.

“Nobody can fuck with this community of punk, hardcore and metal and it’s fucking beautiful,” vocalist Drew proclaimed to an eruption of cheers, with the only sound that quietened that celebration the famed line “Nazi Punks Fuck Off!” – found and shouted in ‘Goodnight Alt-Right’ (and by the Dead Kennedys).

‘Shot Caller’ was a sensational spitfire at the economic divide, disgustingly embellished by crooked people of CEO stature. ‘Fortune Teller’ unified the fanbase as warriors to help each other and alleviate our anxieties about this very troubled world we live in. This was bolstered by a crowd-surfing competition during ‘Clockworked’, which embraced that phenomenal punk rock spirit this article is guided by.

‘Guillotine’ hosted an unbridled vitality, which Mr. Williams magnified with a heartfelt statement, “Free Palestine!” – this was met with venue-wide acclaim beautifully.

There wasn’t to be a dramatic and soul-crushing lecture from Stray From The Path to commemorate their goodbye on this evening. The enrapturing epilogue was more simplistic and ornamental, a genuine thank you to their fans for supporting their art, their message, their band and most importantly, punk rock.

‘First World Problem Child’ exploded in jumping, sing-alongs, crowd surfing and outspoken vivacity.

And we all fitted in, together.

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