Live Review: Ocean Sleeper @ Hindley Street Music Hall 11/09/26

Ocean Sleeper w/Nevertel, VANA & Outloved @ Hindley Street Music Hall 11/09/26

"Art is unquestionably one of the purest and highest elements in human happiness." - John Lubbock.

This is undeniably a bold statement from the renowned English philanthropist, scientist and politician Sir John Lubbock in his celebrated work of Victorian moral philosophy, entitled The Pleasures of Life (published in 1887). Nevertheless, it arguably upholds a truth that art in all its forms does bring about human happiness through its purity.

"Purity" could be disputed to a degree, but perhaps "creativity" might be a more relevant term. In the music universe, creativity triggers a bond, a connection. Whether it is between the musicians themselves or the spectators, this is where the "highest elements in human happiness" can be found, in connection.

Each outfit at this electrifying event utilised their art to connect with each other and their audience. Their intention and creativity were not directed towards success or prestige; they were striving for connection.

Undoubtedly, that bond was discovered and revered in this memorable showcase of illustrious artistry.

Victoria's Outloved had the distinguished honour of opening up this extravaganza and did so with refined humility and finesse. Vocalist Jaydon Colvin even disclosed during the quartet's demonstration that he was Ocean Sleeper's photographer for eight years – however, on this night, his band were sharing the stage with his closest friends on a different scale.

Irrefutably, in the Hindley Street Music Hall, there was a deeper sense of connection.

'DIE FROM NOTHING' commenced the exhibition with its emotional poptronica metallic rock that would have assuredly impressed The Used; essentially though, this was just the "warm-up".

"Alright Adelaide, BANG YOUR FUCKING HEAD!" Jaydon commanded at the launch of 'ILOVEME', which demonstrated a heavier, janglier disposition, and hinted at the cinematic nu-metalcore of Bring Me The Horizon.

'RUN' enhanced the intensity immensely; drummer Luke Bakker was above thunderous in his earth-shaking percussive power. It must be noted that the sing/scream exchange between members was also enlivening for the growing crowd, who joyfully obeyed the demands of circle-pitting, jumping, clapping along and clashing in the infamous wall of death.

'OVERDOSE' was an immaculate encapsulation of Outloved. With its infectious harmonies, electronic flourishes and raw emotional lyrical output that California's Point North would envy – the combination had Adelaide engaged and eager for what lay ahead.

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"This is my goal, this is my rea­son, this is my purpose," Yvonne Winckel told Revolver Magazine's Emma Madden in April this year - instantaneously, when Yvonne, better known as VANA, strutted onto the Hindley Street Music Hall platform, those twelve words became an entrancing reality.

An eerily evocative electronic swirl trickled out of the sound system as the blazingly bright red-haired songstress Ms Winckel tenderly sang: "Yeah, you better pray to God / That I get what I want / Yeah, the rapture has begun / Don't you wanna fall to your knees? Make you say, 'Pretty please'…"

Then an eruption of pulsating guitars, bass and drums burst forth while VANA screamed: "I'm a motherfucking god!"

This bold statement had been made with the introductory composition 'Pray', VANA was here to mesmerise Adelaide under her enchanting spell of industrial-metal crunch, accentuated by R&B melodies, trapcore and K-pop endeavours.

"Human happiness" unequivocally radiated from practically every witness fortunate enough to experience this ExperiMetal-pop sorcery.

VANA and her bandmates, drummer Mathieux Davis, guitarist Niles Gibbs, as well as bassist Harlan Allen-Jones, are beyond theatrical in their resounding live presence. Spins, kicks, duelling guitar combats (especially when Yvonne utilised her six-string weapon) and sensual dancing all come together to bewilder the audience into a magical hypnotism.

"What the fuck is up, Adelaide?” the charismatic chantress shrieked in adrenalised euphoria.

The volume and the amazement were both up, and practically indescribable. Poppy, your new sister of artistry has arrived.

'In your name' was a majestic fusion of Lady Gaga, Evanescence and Korea's electronic adventurer CIFIKA. While 'Serpentine' and 'Bite Back' unveiled nu-metalcore severity in glamorous artistic splendour.

'Clandestine' then brought all the "highest elements" together in "human happiness", as VANA crooned and bellowed in spiritualistic heavy hysteria and her band undertook gymnastic lunacy.

Truthfully, this demonstration was of a superior level, which made it almost difficult to believe that VANA was not the headliner at this event. Undoubtedly, that status will be achieved properly by Yvonne Winckel in the very near future, especially when her album is released in the coming months.

"Thanks for helping me make my dreams come true!" she yelled in joyful exuberance.

"This is my goal, this is my rea­son, this is my purpose" – it certainly is.

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Florida's NEVERTEL had a difficult challenge placed in front of them in following VANA, but their determination was gratefully obvious the instant they hit the stage, with one major problem: there was no sound emitting from vocalists Jeremy Michael and Raul Lopez's microphones, at all.

"Yo Adelaide! Can you hear me now?" Lopez asked the capacity audience. The roar of relief and excitement indicated quickly that we could.

"That's good, we want to give you the best show possible, so let's restart this shit!"

To their credit, the duo (live four-piece) maintained their engaging energy and self-composed attitude after the troublesome beginning. Their invigoration was above apparent; NEVERTEL wanted Australia's first impression of the band's live performance to be a positive and noteworthy one.

'OTHERSIDE' (which was cross-referenced in the outfit's walk-on with the Red Hot Chili Peppers' famed single of the same name) initiated Adelaide into a NEVERTEL exhibition, and their Linkin Park-inspired nu-metal-pop-rock certainly struck a chord with the enthusiastic spectators straightaway.

'Sacrifice' was a darkened pop nu-metalcore artistic abnormality that, frankly, had excessive and unnecessary autotune utilised with the vocals of Mr Michael.

Lopez showcased his rap skill-set in 'Losing Faith', which added an extra dimension to NEVERTEL. This then carried through to 'SYM', which emitted a Hyro Da Hero and Chester Bennington coalescence as a highlight.

Retrospectively though, what this Floridian group try to execute in their astonishing assemblage of nu-metal, stadium pop rock, hip hop and electronica is confusing. The unbridled talent possessed by Jeremy and Raul is boundless, but the overproduction, subgenre mishmash and over-adventurous ambition ultimately subtract from the organic musicianship and chemistry.

That being said, 'Break The Silence' featured an overwhelming number of crowd-surfers, which bolstered the vitality of the set. 'Some Things' was a rock ballad that broadcast a Justin Timberlake vigour to a degree, and intriguingly. 'Everything In My Mind' then had the atmosphere of a From Ashes To New B-side from their earlier releases.

This is potentially the best sound wavelength to describe NEVERTEL, as From Ashes To New's more enterprising cousin. They assuredly won many fans on this evening, and their genuine happiness and artistry come from their infectiously loving souls. However, sometimes the "less is more" outlook can work wonders, and their future may very well be a beguiling one to keep watch over.

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A breathtaking sky viewpoint of an oceanic reef break lit up the back screen of the Hindley Street Music Hall as a calming white noise glistened out of the venue's speakers, provoking a wondrous meditative calm for the sold-out audience.

Anticipatedly, this was the calm before the Ocean Sleeper storm, which would cascade down onto the Adelaide adorers who were impatiently awaiting this momentous musical typhoon in the purest happiness.

As this sensational showcase was a celebration of Sleeper's new critically acclaimed album Peace When I Am Dead (their first for the prodigious Rise Records), this was understandably going to be a focus of the setlist. When the angelic melodic metalcore opener of 'Every Part Of Me' began, the soulful aura incredibly integrated with the severe aggression, which then transported South Australia to a higher sense of heavy music enlightenment.

This was to be short-lived though…

"Adelaide! Let's fuck this place up, shall we?" frontman Karl Spiessl propositioned.

Let the madness begin…

'Break The Cycle' was a marvellous monstrosity of breakbeat alt-industrimetalcore mixing Washington's ChemLab with Polaris superbly. If the AFL are reading this, Ocean Sleeper have crafted a "must-use" soundtrack moments.

"I want to see you hang from the chandelier!" Spiessl dared Adelaide – fortunately, it was unreachable, as this dare could have become a reality with the thrilling party post-hardcore of 'Heaven'. The party element was excellently enhanced by the delightful distribution of inflatable Fireball Whisky mementos which became the mosh-pit's play equipment (one actually did hit the chandelier).

"From bum-fuck nowhere, and now we are touring throughout the world!" Mr Spiessl exclaimed in exhilaration.

'Peace When I’m Dead' exploded from the quartet, demonstrating a Refused-driven glitch heaviness and experimentation which was beyond fascination. 'Someone Better' invited the crowd-surfers to soar, and Spiessl even grabbed a fan's smartphone to take a selfie of himself and the immense audience in a heart-filled moment of gratefulness. 'Skin Deep' was a haunting siren-song with a wall-shaking bombination of nu-metalcore lunacy. 'Promise' undertook a poppier sensibility, allowing the mosh-pit enthusiasts to gleefully dance themselves to heavy music happiness.

"I once sang this to 30 people at Enigma Bar; now I am singing it to 1,000 people in here," guitarist/vocalist Ionei Heckenberg disclosed in elated disbelief. His mostly acapella performance of 'Light In The Dark' was truly breathtaking. A blissful emotional journey of immeasurable resplendence that made it nearly impossible to hold back the tears due to Heckenberg's beautiful and divine voice. Phone lights and sing-alongs enhanced the charismatic composition wonderfully, and for a moment, all felt right in the world.

Drummer Jarred Robson awoke the audience with a riveting solo before the band launched into 'Lonely Love' alongside NEVERTEL. 'Never The One' channelled California's Mikoto, but with a stadium rock motif. 'Punishment' then brought out VANA in a dazzling duet of devastating metalcore, and this was gargantuan, in the best way possible.

'Take Me To The Grave' and 'My Forever Drug' echoed Of Mice & Men with Austin Carlile, but were rather superior in Ocean Sleeper's artistic exhibition and aspiration. Outloved's Jaydon Colvin joined the four-piece for 'King Of Nothing' in a magnificent full-circle moment of family and brotherhood.

To close, 'Maybe Death Is All I Need', a brutiful nu-metalcore anthem of ferocity and emotion. Honesty, mental health awareness and support in poetic transparency guide this brilliant track, and with Spiessl at the barrier sharing these powerful words with his devotees, this was an above striking and inspirational crowning moment.

"Thank you for supporting a band from the middle of nowhere!" he roared in gratitude.

From Gippsland to now Global road warriors, Ocean Sleeper have done it their way. They have sought out "the purest and highest elements in human happiness" in their art, and their connection is now felt the world over, deservedly so.

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