Live Review: Killswitch Engage @ Hindley Street Music Hall 12/11/27

"Breathing a new vitality." – Jesse Leach, Killswitch Engage, 'Forever Aligned', This Consequence, 2025.

January 4, 2012, the metal universe was left awestruck by the surprise departure of melodic metalcore trailblazers Killswitch Engage's then-vocalist Howard Jones. Mr Jones had undertaken the enormous role after original frontman Jesse Leach exited in 2002, just after their landmark second full-length Alive Or Just Breathing began to garner significant momentum and the band was surging in popularity.

It was a nightmare déjà vu scenario for the Massachusetts metallers, and their future faced a frightening uncertainty.

After an audition process which invited singers from all over the world to try out, an image shared by Killswitch Engage in early February 2012 revealed that Jesse had gratefully rejoined the five-piece. This would begin the quintet’s longest chapter with the same voice gloriously guiding the group’s magnificently malicious artistry.

Over four new studio albums: Disarm The Descent (2013), Incarnate (2016), Atonement (2019) and last year's The Consequence, Mr Leach has been remarkably "breathing a new vitality" into KSE, as well as the heavy music galaxy.

On this night, the vitality was to be breathed in by Adelaide once again, with a 'Ravenous' demonstration of fantastic metallic fierceness.   

Sydney's metallic popcore quartet Heists had the highest honour of opening this entire Australian tour for the esteemed and influential acts from the other reaches of the globe, and they were not going to waste the opportunity.

Percussionist Dean Cecire-Goodwin marched onto the stage quickly, proudly taking his position behind his prized drum kit and began an assault on both the instrument and the audience, which wrought heavenly havoc sublimely. Guitarist Guy Vears and bassist Sean Nevin soon followed with a sensationally stomping exertion exciting the building crowd, before vocalist Chris Zagas contributed further gasoline to the already swelling fire by ordering: "Adelaide, MAKE SOME FUCKIN’ NOISE!"

It was time for the frenzy to unfold.

'Lights Out' was the initiation into the madness, a melodic metalcore venture that superbly channelled Memphis May Fire, namely their Remade In Misery LP. Mr Vears was spinning himself into his own tornado, while frontman Zagas growled in animalistic recklessness.

'Death Calls' encompassed a more adventurous groove and grit in its heaviness, as well as a notable melody in maliciousness. 'Submerged In Pain' embraced the modernised melodic metalcore sonic landscape with technological flourishes that flawlessly suit the Rise Records roster; honestly, though, Heists are more exhilarating when they perform with an organic and remarkably raw drive. Nevertheless, the mosh enthusiasts had made their presence known, motivated by the four-piece’s artistry.

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'Terminal Unrest' enhanced every element of the band’s formula, with more electronic embellishments citing the advancements that Bring Me The Horizon brought expertly to the subgenre. Vears was in peak condition with his playfulness, balancing his guitar on Nevin’s head while dancing in glee. Undeniably, Heists know how to have fun, and it is above infectious.

"Thank you, guys! This is actually crazy; we're extremely grateful to be on this tour, and these are some of the biggest venues we have played. So, we need the biggest circle pit!" Zagas implored.

Bassist Nevin and guitarist Vears had already begun their own circular race, in a tremendous Tom & Jerry cartoon mischievousness. 'Defeated' became the inspired song, a far more intriguing escapade which embodied a more stripped-back melodic hardcore soundscape, an auditory panorama executed wondrously by the UK's Landscapes in their earlier discography that Heists conveyed vividly.

"Vibe this with us, positive energy, bring it up – this song is called 'Miles Away'," Chris instructed.

This post-popcore expedition was a rather refined amalgamation of the brash easycore of OC's Mikoto, combined with New Jersey's Palisades latter material. Cecire-Goodwin burst forth from his drum kit to compel the concertgoers to shine the flashlights on their phones and swing them in a hypnotic fashion. The clap-along was practically unavoidable when he returned to his kit and set the rhythm for what seemed like all of the Adelaide CBD to experience. Unquestionably, positivity and merriment became the aura.

"Thank you guys so much, this has been a dream," Zagas exclaimed.

"I was made for lovin' you baby, you were made for lovin’ me."

The instantly recognisable chorus from KISS erupted from the Hindley Street Music Hall sound system. Gleefully, dozens of eager attendees commenced a sing-and-dance along to the particularly engaging glam-rock single. Before the song could even reach its conclusion, the lights dimmed to an eerie blue and black radiance. A haunting composition somewhat reminiscent of the Terminator theme song shifted the atmosphere in a thrillingly theatrical manner, presenting a shadowy gloominess gloriously.

"BIG CIRCLE-PIT! RIGHT NOW! Let's see you running," Sylosis' vocalist/guitarist Josh Middleton demanded.

Planet Earth's orbit may have undergone an alteration from the spirited circular sprinters.

'Beneath The Surface' was the immaculate introduction to thrash insanity. Guitarist Conor Marshall immediately dislocated (presumably) every joint in his body, with deranged windmill headbanging, charismatically convulsive outbursts of lunacy and bellowing roars.

"You have turned us ANTI-HUMAN!" Middleton thundered.

"Breathing a new vitality," indeed.

'Poison For The Lost' faultlessly coalesced death and thrash metal in an imposing majesty of heavy splendour. This was enhanced by the frequent athletic fly-kicks of bassist Ben Thomas, who may want to consider the possibility of being a professional gymnast with his flexibility.

Essentially, if Heists presented refinement, Sylosis demonstrated ruination. Truthfully, this was beyond phenomenal.

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'Erased' was irrefutably spectacular. A highlight of the exhibition, there was an immeasurable spirituality which shimmered through the brutality of the single. If one could imagine the film The Mighty Ducks 2 being redeveloped to include a team from Great Britain called "The Mako Sharks", the infamous "Flying V" by Team USA would have been decimated by the utter thrashing viciousness of England.

Who is included in the English Ice Hockey team line-up? Josh Middleton, Conor Marshall, Ben Thomas and Ali Richardson – Sylosis.

They are merciless and majestic.

"We have had some great shows on this tour so far, but this may be the clincher," Middleton expressed wholeheartedly.

'Lacerations' was a savage anthem of erraticism as well as immersion, beautifully combining harmony and delightful discordance profoundly all at once. 'All Glory, No Valour' incited a devastating chant-along with a circle-pit, guitar solo exchanges and righteous energy of momentous essence.

To try to describe the groove beatdowns that tremendously trembled the ground below emitted from the quartet could arguably be nearly impossible. Although Texas crossover luminaries Power Trip would, in all likelihood, cherish this bedazzling heavy bombardment.

'Pariahs' was a marching belter of barbarity. 'Deadwood' featured (amazingly) two walls of death, then 'The New Flesh' was a torrential whirlpool of thrashtastic psychosis. The tidal movements were clearly provoked by the Readingers; however, referring back to the Mako Sharks metaphor, Sylosis were circling and attacking their prey (the crowd) in high-velocity ambush hammerings of teeth and riffage, that were both ferocious and fantastic simultaneously.

"I hope we will be back soon!" Josh shouted gratefully…Sooner, rather than later, would be preferred.

From "I’ll stop the world and melt with you" to "for those about to rock…"

New wave to metallic hard rock. Modern English to AC/DC (with a Looney Tunes-influenced dimension incorporated). Ballads to brutality. There is arguably only one act that combines these artistic musical virtues so impeccably.

Killswitch Engage – "Simply put, they're one of the most important metal bands of the 21st century…" Gregory Adams, Revolver Magazine, 2025.

After the tranquil pop sensibilities of Modern English, which were then abolished by AC/DC…Three simple cymbal hits, a sharp downward guitar slide followed instantly by a quick, palm-muted Drop C riff…

BOOM!

"Yeah! Fixation on the darkness / That engulfs this world / Drain the life force of our people. Change… CHANGE!" Jesse Leach howled in monstrous magnificence.

It caused the hairs to rise on one's body, the chills to reverberate from the spine outward, the hands to clench into fists with excitement and the head to initiate a dangerous rocking movement, tormenting the spine.

The track is entitled 'Fixation On The Darkness', and it is a prodigious awakening of melodic metalcore brilliance.

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On this night, Adelaide experienced this virtuosity once again, with a familiar yet fantastic inflection that alters our souls for the better, always.

Thankfully, guitarist and producer extraordinaire Adam Dutkiewicz ensured to present this heavy music marvel with the grace and distinction of an intoxicated uncle, who is a part-time Physical Education teacher, but still shreds with the ability of a magician with 22 fingers.

"Breathing a new vitality" – undoubtedly, melodic emotional metalcore requires comedy and charisma; just ask KSE and Adam D.

The mosh aficionados elevated their disorder when 'This Is Absolution' commenced; crowd surfers were flung in every direction until they reached the barrier, the South Australian heavy music choir was at full deafening strength, fists were pumping, and the "horns" hand symbol was prevalent throughout the entirety of the venue.

This was all escalated impossibly further when the five-piece erupted into the unequalled and dynamite metalcore hymn that is 'The End Of Heartache'.

It was enrapturing; frontman Jesse Leach even launched into a luminous spin, with his arms spread wide open, drinking in the adoring atmosphere projected from the thousands of devotees before him.

"Hi!" he politely articulated at the single's conclusion.

Adam D then embarked upon an improvised song greeting Adelaide, whilst repairing some technical issues with his equipment. Mr Leach's reply explained that the guitarist "always breaks shit", and that the band had been putting up with it for years in a hilarious exchange of comedy.

"We're gonna play a bunch of stuff from pretty much every record. This song is called 'Aftermath', so two-step, drink some beer, have fun, we love you guys!” JL challenged South Australia.

We did all of the above, and then some.

This inspired the frontman to do his own energised two-stepping dance, eventually collapsing to the ground onto his knees, with his head in his hands, exposing the importance of the music and Killswitch's admirers to himself, as well as his soulful poetry.

'A Bid Farewell' brought the vocalist to the barrier to scream into the faces of his adorers and hug them in loving appreciation. 'In Due Time' was colossal, a stupendous single that provoked an orchestra of harmonising vocals during that riveting chorus. The throwback 'To The Sons Of Man' then became a divine decimation, which was both unhinged and sensationally serendipitous equally.

"My friends, how are you? Look around you, these are YOUR PEOPLE!" Leach enlightened us.

'Unleashed' enriched this very sentiment, with a reggae-prog-rock remix thrown in mid-song for good measure and light-heartedness. 'Where It Dies' exhibited the striking chugga-chug riffage in all its gargantuan glory, a track that Harley Davidson would more-than-likely adore to use in one of their commercials. 'Forever Aligned', the scintillating single used to instruct this very article, was a marvellous ballad of luminescent heartfelt beauty. Mr Leach released his microphone, held his arms open to the audience, then bowed in blessed gratitude.

This wasn't just special; this was beyond memorable.

'I Believe' somehow surpassed this, terrifically transmitting a powerful positivity, and even portraying the immortal, incredible imagery from The NeverEnding Story. Namely, where Atreyu is riding Falkor in mesmerising flight - perhaps Killswitch could undertake a recreation of the film’s soundtrack; that would unequivocally be a cinematic masterpiece.

Leach then went on to discuss how we need to bring about change, to ignore and strive against the billionaires, the priests and pastors, the politicians, and connect with each other and seize onto optimism. He iterated the importance of discarding the division that separates us and filling social media with positivity.

"That being said, I'm gonna chug my beer!"

The cheer from South Australia was thunderous.

'Daylight Dies' and 'Rose Of Sharyn' were earth-shattering in the best way possible and acted as loving tributes to former frontman Howard Jones.

"You fucking guys, this is awesome," Adam D expressed in glee. The guitarist ended up wearing a donated coat from a crowd member, before storming into the audience, ascending to the bar, downing shots and taking selfies with his followers in hellraising hilarity and wholesome spirit.

'My Curse' and 'My Last Serenade' were to be the closing chapters of this monumental metallic demonstration. An event destined for the history books, it left Adelaide "Breathing a new vitality."

"There is no greater weapon against the world of hate than love, peace and unity," Leach bestowed upon the capacity crowd before him in his closing words.

'The Signal Fire' has been ignited for us to be better – thank you, Killswitch Engage.

Want more pics of the gig? Check out our full photo gallery here.