ERRA - Gig Review & Photo Gallery 15th March @ The Metro Theatre, SYD NSW

ERRA
‍The Metro Theatre, Sydney NSW
March 15, 2025 
Supports: Silent Planet, Resolve, Inertia 

A few months ago, one of the tastiest lineups to hit the Southern Hemisphere was announced, and on this sweaty Saturday night, it was finally set to rupture the stage at Sydney’s eclectic Metro Theatre. As the crusty pavements sizzled under the penetrating beams of the sun's near forty degree heat, bodies began to file alongside the venue (bodies which were mostly filled with pre-gig Whoppers and milkshakes from the neighbouring Hungry Jacks). As the bands’ vans began to infiltrate the line, there was an intersection of anticipation, and a night close to coming to fruition.

The diversity of merch was a representation of the lineup at hand, with a solid showcase of decade-old Silent Planet shirts, fresh Resolve merch, Inertia caps, and of course ERRA gear galore. As the beeps of the scanners started a hypnotic chime, patrons made the rigorous journey up the stairs and beelined… to the tiered railings? It was a first to see this section bustle as quickly as it did, but was likely a sport of the biggest guitar nerds assuming their best sight-seeing positions. With merch lines now intruding on every entrance into the band floor, it became a maze to enter the night's festivities. 

Opening the evening were homegrown heroes, Inertia. Trudging from the dawn of the Sydney scene, the band’s palpable passion has seen them become a staple in playlists, and on stages Australia-wide. Their intense energy is something that has become almost a trademark for them. Aided by the glimmering light show of deep hues and forceful visual penetration of strobing lines, the band became engulfed in a deeply enchanting surrounding scape. I have had the opportunity to see Inertia on multiple occasions, with their persistence in support slots and shows making them an inescapable force to be reckoned with. But something was different tonight, in the most mesmerizing of ways. Whether it was a heightened sense of confidence, a self-assurement in the small but punchy setlist curation, or perhaps the freshness of a new year they intend to take over… Inertia were truly glowing. Sounding the best I have ever seen them, the spark of why I was captured by their sound so many years ago fizzled within me again, and I felt the excitement of their music channel within me at such a deeper level than the past few shows. Not only did this make for an enriching experience to open the night, but it restored all the faith I have in this band, and became an asset to their campaign of becoming one of Sydney’s best exports. There is also much to be said about Julian LaTouche and his possession of the crowd, dominance of the microphone, and orchestration of the energy swirling around the room. With a simple utterance, he entranced a chorus of fans to embark in a loud sing-a-long, and saw nodding heads infect entire bodies to instead conjure a crowd now bumping and moving. His swagger is a gift in which he uses to his best advantage, and radiates all the desired energy of a frontman and more. With just 50 tickets left to their Easter Weekend Lansdowne Hotel show, I can only imagine it will sell out after this performance. 

A swift change from the venue’s playlist of Turnstile and Jelly Roll to an opera ballad of emotion and strength set the scene for Resolve’s first ever show in our city - of course, among their first ever shows in the country! The room multiplied itself swiftly, almost like there was an outbreak of mitosis, with each group of connections and friends rapidly mutating to show the French powerhouses the crowd they had garnered. Much like most people in the room, I had become such a fan of their 2023 album, Human, and was anticipating their slot. However, nothing could have prepared me for the performance they put on - one that very nearly could have seen them headlining this show, and one that I hold in regard as one of the best live performances I have seen this year. The band took the stage under blaring red lights and the eerie worldbuilding of the namesake track, ‘Human’. Hurling into the first primal screams of the night, the energy was countered by everyone on stage, especially guitarist Antonin Carré, whose hair was getting whipped in an equally meticulous yet ferocious spin cycle. Barely failing to get entangled within his strings, he became a spectacle of energy, and thus, an outward projector of it, as the crowd began to move consciously for the first time of the evening. 

It is almost like a forewarning when a band comes out with intense style, almost a red flag that their live show will be a hundred times more heavy, and by this measure, when there are loafers and sunglasses involved, you are in for a show. Even in the heat, the four piece held their composure and shattered through the ceiling with unbridled intimacy and rage. Their passion was very intricately replicated with people in the front, and many others splattered throughout the venue singing lyric for lyric, reaching their hands, and extending such a profound connection to songs that have very quickly asserted themselves as soundtracks for many. This was particularly noticeable within ‘Death Awaits’ that saw the volume of the venue increase tenfold. I had asked a few other attendees their feelings after their set, although much need not be said, but could be inferred by their gaping mouths and bulging eyes. For fans and spectators alike, Resolve bought something unique to the Metro- a truly diverse feat of artistry defined by unheard riffs, disgusting instrumentals, and divisive, dangerous creative choices. All of which translated to an utterly insane exhibition of new generation metal, and uninterrupted personal freedom. 

Check out our interview with the gang below and dive into their world ahead of another big year for the French metalcore maestros

Perhaps with a touch of personal bias, my heart aligned with the belief that Silent Planet really should have had a headline tour here to celebrate the glory, beauty, and sophistication of SUPERBLOOM in full. Despite this, the Californian expressionists charged through the doors in an attempt to encapsulate the most important notes and sentiments from their latest release, whilst also raising older favourites from the grave. 

It is only fair to take a moment here to place a particular focus on the band’s lead vocalist, Garrett Russell. I have long adored him for his elusive nature, prophetic and poetic lyricism, and striking nature as a creative. This show marked my first occasion actually being able to see them in a live setting. There is truly no distinction between Garrett and the stage as he comes out void of shoes, his sole (and soul) connecting to the very ground beneath him. Stature and frame, he donned the look of Tarzan - a small droop in his body characterized by his long hair draping wildly over his mouth, whilst his long limbs escaped his control on multiple occasions, only taking obedience from the sound exuding from the drums behind him. As he jumped high enough to almost strike the roof, to then crawling, pleading ominously to the spotlight that radiated the moist shimmer of his eyes, his movements were almost that displayed in an exorcism. It was a moment that saw the very music he once poured his soul in, crawl back into his system to divulge in the memories and initial passion of his creation.

It would be too simple and far too performative to call Garrett a strong showman. Instead, he presents as an enigmatic creature that flails around doe-like, before unzipping into a labyrinth of disgust and dishevelment that sees an emotional harbinger coerce and possess him for the entirety of his performance.   

The crowd for Silent Planet grew exponentially and so too did the physical buzz. Alongside the blinding and consistently flashing lights, the pit became a haze of faceless bodies being thrown and put a sheer reliance on hope that your feet would touch the floor again as a veil of white was drawn over your eyes. It was in these lights that you would see Garrett’s silhouette change upon every beat, mutilating his body to the eerie sounds of SUPERBLOOM; very much brought to life by the electronic features of guitarist Mitch Stark. The volume of the room for ‘Antimatter’ and ‘Trilogy’ were unlike anything I had witnessed in this venue, and was an audible representation of the yearning and desperation felt by many for Silent Planet to make the trip down under. Showing off some of their heaviest catalog, whilst also imploring everyone who sang back to heed the messages embedded within both the very framework of their lyrics, as well as the very accessible moral alignments of their band, there was a perfect mix of platform integrating through performance. Their set was nothing short of powerful, and I find myself still longing to hear more from them, and of course, a deeper dive into some of their most touching and eclectic work. 

As ERRA was now set to take the stage, the only thing more packed than the small standing room floor was the bin just next to the entry, overflowing with cans and bottles that were signals of a momentary retreat from the heat- now equal to the same heavy humidity felt before entering. As the men piled on stage, there was almost a fight for play space (that is a lot of people to fit along the front of the Metro stage)! Before the first string began to rattle, the lights once again began swirling for a lightshow as cosmic as VIVID - it was truly something to behold, cloaking the audience in an arrangement of yellow and pinkish hues for the entry section of this set. 

The band needed absolutely no introduction nor warm up, and this was personified by the waves of movement that happened as early as ‘Pale Iris’, seeing the venue engulfed into a circling swarm of bodies now merely floating upon the litres of sweat exerting from them. It was still early enough to see men chug down a beer before rushing into the pit, leaving the breath from their last gnarly burp in their wake. 

If anything, this show was a guitar geeks (and I say that with all the love and respect in my heart) ultimate dream. Of course, in true ERRA form, riffs are being piled upon riffs, encasing you in a vivid sound that involuntarily has your nose scrunching. And it was clear that the intention of the night was to be a showcase of the spectacle of it all with all three tool-wielding members pushing their neck in front of the other, prancing to the edge of the stage, just so fans could get a better glimpse of the mastery at work. There was a particular swagger that poured from Clint Tustin as he strutted around the frameworks set up, weaving through obstacles as he offered a smirking face to the crowd. There, of course, was also a blistering technicality from Jesse Cash too, showing off his effortlessly smooth, gliding fingers. 

It was interesting to watch ERRA after Silent Planet, particularly in reference to the stark differences between the two bands’ frontmen. JT Cavey oozes a confidence which solidifies his position at the front. The duration of the set saw him stand upon a pillar, his cap bouncing up and down as he threw his head to the beat, pointing and smiling at the people at the front. The juxtaposition between Garrett crawling around and using every aspect of the stage, versus JT standing boisterously and intimidatingly, with a kind of ‘macho’ presentation, yet somehow conjuring the control and direction of the crowd similarly is something to behold. I found it interesting to perceive their presentation styles, and how it then shifts the tone of the band. 

There was an underlying notion of legacy throughout the night, with particular shoutouts to Drift and Augment. There was a moment where the band took a step back, retrospectively reflecting on the journey they have embarked on since 2011. 

Oh have they grown since then.

From Impulse to CURE, the band has leapt from strength to strength- one of those strengths being the continual growth of their live show and the essence of experience; moments to sink in the new legacy they are leaving. The two most loud crowd moments erupted from the performance of songs from the 2024 release CURE- those being ‘Blue Reverie’ and the title track. It is heart warming and hopeful to see a band’s newer catalog be so wildly celebrated, especially considering the new release environment for many other longstanding projects. Peaking the night's movement, these songs were solid reminders of ERRA’s unwavering presence in the heavy scene, and the impression their creative outlook continues to make. 

Both the deep and guttural screams, as well as the pretty and fragile clean vocals were on point all of the evening, with ERRA conducting themselves with the usual professionalism. Of course, that is in between JT shouting; “If you’re tired, I don’t give a shit!” There was a mission in mind that until the very last note, this room would remain swirling. There was also an air of family to the tour lineup, with ERRA dedicating ‘Vanish Canvas’ to their touring counterparts! 

Before delving into their encore, ERRA made a strong dedication to our culture, shouting out “every VB long neck, every Golden Gaytime”- I think they clearly had a good time. Descending into utter madness through ‘Rebirth’ and ‘Skyline’ the show concluded as it started; in a flurry of piercing lights, engulfing energy, and a loudness that punctured your very heart. 

Truly, this tour was a mosaic that brought the colours of many facets of heavy music together, collating them and allowing them to shine their respective lights upon an audience left agape by the fresh and unique talent currently fostered within the scene. From local metalcore to French experimental, poetry in motion to instrumental prowess, it was more than a night of live music, but an exhibition of creativity at its most bountiful. 

Review by Georgia Haskins @ghaskins2002

Photo Gallery by Jackson Saunders @jsaundersfilm. Please credit Wall Of Sound and Jackson Saunders if you repost photos.