Review: The Used @ Hindley Street Music Hall 29/08/25
Performing their third album Lies For The Liars in its entirety for an adoring Adelaide crowd, The Used proved why they are American punk rock royalty with a set few will forget in a hurry.
Words Will Oakeshott // Images Danny Wallace
The Used w/Hevenshe @ Hindley Street Music Hall 29/08/25
“You're changing every day, right? Your curiosities and ambitions change, your ear changes, the music you like changes - and the music you want to make, too.” – Ryuichi Sakamoto.
This Academy Award-winning Japanese musician, composer, keyboardist, record producer, singer and even actor was an artist driven by ambition. From his earlier work as a solo act mystically manoeuvring through several different styles to his pioneering electropop band Yellow Magic Orchestra, which was influential in the development of many electronic subgenres, Sakamoto would go on to produce music for events such as the 1992 Barcelona Summer Olympic Games before moving into the soundtrack universe. In this realm, he would amazingly acquire numerous awards, including a Grammy, an Oscar, and several Golden Globes (as well as nominations) for the films The Last Emperor, The Sheltering Sky, and The Revenant.
Sakamoto welcomed change, followed his curiosities and embraced his ambition. His artistic integrity has inspired countless throughout the world, regardless of their pursuits or soundscape.
Jenna McDougall from Sydney’s pop-alt-punk-rock band Tonight Alive has also followed her ambition and the result is the enchanting Hevenshe. Whilst not completely separated from the charmingly contagious sounds of TA, this new project has McDougall glowing in the artistry of finding herself, with a more luscious sonic landscape.
Wonderfully withdrawing from the Paramore parallel (which was assuredly not a negative correlation by any means), Jenna has adopted a “less-is-more” approach with her charismatic pop-folk-rock formula, and it warms the heart and soul immeasurably.
‘Wild Wild Heart’ was the introduction that beamingly broadcast a 1980s alternative-pop-power ballad with country swagger; it was instantly and incredibly stirring and uplifting. Nashville’s Little Big Town would have undoubtedly clicked their boots and sung along to this belter.
‘Trying Not To Feel’ provoked a charming choir effect from the audience, who joined in with the “Wo-Oh-Oh” chorus. Sheryl Crow would have been undeniably proud of this anthem. ‘Wish I Had A Friend’ acted as an astounding nod of respect to Alanis Morissette and Jenna stressed the importance of simply saying “Yeah” to life more and encouraging positive affirmation. This sentiment was further bolstered by her stage movement away from the microphone as she presented her radiant smile not to her audience, but her friends in the room. A bond through music that was beyond heart-warming.
An unreleased track was excellently exhibited that Avril Lavigne would have been envious of. ‘Dear Life’ was sent out to the “Healers in the room” and seemingly stopped time with its bedazzling acoustic beauty. ‘Floor Bed’ was presented for the LGBTQIA+ community in an exquisite acknowledgement that McDougall expressed unconditionally and passionately, “Love Is Love” – a message the world really needs to hear and grasp in these trying times. Undoubtedly, the theatrical grunge flourish strengthened that narrative superbly.
“If you want to know why there is only two of us onstage, it is because being a musician in Australia is so expensive!” Jenna McDougall expressed in a stunning statement of honesty. It is essential we support our ambitious and above remarkable artists so they can pursue their dreams and in return, they can bestow their gift of music upon aficionados throughout the planet.
‘Essential’ was brilliantly befitting as the closer – Shania Twain would have been more than impressed by this rousing rocker of magical musical motivation.
On 22 May 2007, Utah’s alternative scream-pop emo luminaries The Used unleashed their third studio album Lies For The Liars. The full-length peaked on the US Billboard chart at number five, and also charted at number 39 in the UK, becoming the quartet's fastest-selling album in that country.
Almost 12 years later, it was certified gold by the RIAA in 2019.
The record was a slight departure for the four-piece from their adored scream-pop-rock recipe of their first two LPs. Vocalist Bert McCracken, bassist Jeph, guitarist Quinn Allman and fill-in drummer Dean Butterworth from Good Charlotte followed their ambitions to create a cinematic, eerie rock showpiece. A marvellous mutant of Tim Burton-driven eccentricity with huge choruses, delightful diversity and musical experimentation.
Sputnik Music reported this about the release: “The Used clearly switched some aspects of their music up and these adjustments along with natural growth have guided them to craft the best record of their career.”
Whereas Punktatstic publication expressed: “…if you loved the first album I think you may feel this is a bit of a letdown.”
In essence, Lies For The Liars was a polarising affair when it was introduced. However, for countless around the globe, it has matured immaculately, like a fine wine (as the saying goes). On this night, the final of the threepeat of performances by Bert, Jeph, and newer members guitarist Joey Bradford and percussionist Dan Whitesides at Hindley Street Music Hall, the committed crowd were again ready to re-experience that enriching era of artistry. So, let’s (re)live Lies For The Liars.
READ MORE: Review: Atreyu @ Lion Arts Factory 13/07/25
A short documentary film was projected onto a large screen curtain covering the stage that featured the time The Used were recording the album some 19 years ago in black and white. The footage raised the excitement from the intimate but rowdy audience who revelled in the countdown that was shown while orange fluorescent spotlights glimmered through the backdrop.
That all familiar trinkling of stirring guitar sounds emitted from the hidden figures behind the curtain, whose shadows became more prominent as the light escalated. Then that resounding vocal roar of ‘The Ripper’ bellowed like an eruption, but in a superb and mystical mistake (possibly), the curtain’s drop didn’t happen as planned.
Theatrically, this was sublime.
The venue’s cloak was finally ripped down and the four-piece were in full flight. They were not deterred; they were determined, and each player ignited for part three of these Adelaide demonstrations.
The crunchy riff of ‘Pretty Handsome Awkward’ elevated the energy of the room rapidly; that near-Every Time I Die groove provokes spectator erraticism masterfully and Bert’s seminal and striking poetry incites that fist-pumping sing-along necessity. Joey Bradford’s solo flawlessly warmed all on this wintry evening prodigiously.
Lead single ‘The Bird And The Worm’ was a glittering-glitchy-rock extravaganza. The track is impossibly cinematic even through only an audio dimension, with hypnotic flutterings of string orchestration; it’s a wonder why it hasn’t featured in the wondrously weird Wednesday Netflix series. McCracken’s laugh mid-song was sensationally sinister and Whitesides tremendously tremored the walls and floors with his hard-hitting percussion expertise.
As per Bert’s usual antics, he sent his love and thanks out to his adorers in a gloriously awkward fashion, pointing out the devotees who had been present at all three nights, in particular one lucky gentleman who was a standout with his “blue beard”. ‘Earthquake’ was the love song sent to us in the building, with a cheesy Aussie rendition of the phrase: “You fuckking c*nts” in jest and affection.
‘Hospital’ was a jangular indie punk marvel that depicted chapters of liveliness and sonic movements of near-impossibility. Indie-dance-cinema-core perhaps? Confusing? Certainly. Fascinating? Positively.
Mr McCracken then brought up selected audience members to be back-up dancers and singers for ‘Paralyzed’, which became a funk-punk-jazzified party. “Get the fuck off my stage!” McCracken jokingly instructed after hugging each stage invader personally with heartfelt thanks.
‘With Me Tonight’ was a bopping art-pop adventure that honestly could be used as a waltz dance soundtrack (crowd members did pursue this classical jig in glee), or even a spasmodic jazz-popcore rave party. Bert’s guttural scream was deafening and spellbinding, adding extra luminosity to the composition’s lunacy. Is the revelation of Lies From The Liars being ambitious and ahead of its time coming into clearer perspective now?
‘Wake The Dead’ instigated jazz fingers and synchronised arm waves from the audience for its commencement, before launching into bouncing bewilderment incorporating parts of Queen’s magnificence, a thriller film hysteria and a rocking parade of madness. The Walking Dead producers, here is your next theme song.
“Only the truest fans of The Used would come for Lies For The Liars. Consider us your best friends in the world!” McCracken said. “This is a slower one, so open up this circle pit, and slow dance…”
The frontman was in his element, yelling out these statements and ‘Find A Way’ was The Used’s musical love connection to all in Hindley Street Music Hall.
‘Liar Liar’ was a manic sing-along of bratty scream-pop insanity. A B-side entitled ‘Pain’ was executed ingeniously; the track is very worthy of being a single in itself. Divinely moving between fantastic phases of new wave pop, post hardcore, orchestral rock and metallic hardcore intensity – it comprehensibly captivated everyone.
“We never broke up, we never took a fucking break, we’ve been here the whole time!
‘Smother Me’ was the gothic emo rock ballad to conclude a truly epic venture.21 shows, five different states, three different albums played in entirety on different nights, all for The Used’s 25th Anniversary.
Ambition? The Used just redefined the word.
Want more pics of the gig? Check out our full photo gallery here.
