HEALTH – Gig Review 1st August @ Lion Arts Factory, Adel SA

HEALTH
Lion Arts Factory, Adelaide SA
August 1, 2024
Support: Zheani and Karina Utomo with Joshua Wells

“I think the most important thing about music is the sense of escape.” – Thom Yorke.

Reality can be a harsh and cruel realm, especially with the current state of our existence. The disastrous effects of historic human impact on our world’s environment, impending global war, the crippling economy, political upheaval, the effects of the pandemic and an uncertain future; it is becoming rather difficult to find hope, promise and elation in our day-to-day lives. This is where the arts universe has become practically, a life-saving entity. As one of the marvels behind Radiohead, The Smile, Atoms For Peace and of course, his solo output, Thom Yorke has almost irrefutably captured the immeasurable value of music with his quote above and how it helps us escape the current distressing state of being. At this event especially, his words sang immensely true.

An eerie and gloomy tone overtook the entirety of the venue as vocalist Karina Utomo and music producer Joshua Wells took their positions onstage in practical darkness. Ms. Utomo then gave her breath-taking and inspirational acknowledgement of the Traditional owners and ongoing custodians of our land, the Aboriginal people, as well as a heartfelt recognition of the traumatic events of Palestine that invigorated the audience remarkably.
It was an integral catalyst to the energy behind what was to unfold.

A glimmering fire rose as a cinematic backdrop courtesy of production designer/artistic light engineer Matt Adey, and a spiritual ceremony began. Karina entranced the sold-out crowd with vocal transitions that moved effortlessly between whispered melodies, almost Gregorian chants, throat singing, powerful wails and brilliantly bleak black metal screeches. It was an emotional journey that also empowered those witnessing the exhilarating prowess of Utomo; Joshua Wells’ compositions incorporating live drum machine manipulations and tremendous techno landscapes bolstered the entire exhibition to an enchantment that had no decipherable magnitude.

The demonstration altered heartbeats, shook the walls and floors of Lion Arts Factory and helped all within escape the ruthlessness of life for an incredible window of time. There is no real comparison for this sensational spectacle – perhaps a collaboration between Chelsea Wolfe, Kai Uwe Faust and Trace Amount; but this is only an insight, it just has to be seen.

When Central Queensland’s Zheani took to the stage, one could have assumed this was the headliner. The deafening shriek from the capacity crowd was of a monumental amplitude. The fairy trap inventor who combines rap, metal, emo-pop and trapcore was clearly adored and the reason why was exceptionally clear. Her artistic endeavour and musicianship divinely guide her escape from her different levels of trauma. This includes her difficult upbringing, the pressures she has felt from the industry, Sparkes’ experiences with “predators” and her creations are undoubtedly her soundtrack of freedom. Better yet, her creativity and poetry offer a platform of support for her followers; they find strength in her expression.

‘Melt Away’ presented a Youth Code and Alice Glass concoction that was delightfully dynamic. ‘Whore Of Babylon’ emitted a firepower that The Prodigy would have been bewitched by; in a perfect punk statement to embrace her power and fire, Zheani removed her top and doused herself in wine to present that she is vitality, light and her own being. An identity beyond compartmentalisation. Zheani Sparkes wasn’t just performing, she was making HER statement strikingly.

‘Bring Wet C*nt’ was the terrific troublemaker, a Purity Ring motivated trance hit with an uppercut of devastation.

Profoundly again, we had escaped our reality – Zheani maybe approaching world domination, but perhaps she is going beyond the world we know too.

“If NIN are considered commanders of industrial music, then HEALTH are one of the most entrusted and respected lieutenants pushing the boundaries of the genre.”

This writer expressed this exact description for Los Angeles’ HEALTH at their Odeon Theatre show in the review at Dark Mofo Festival in Hobart only a year ago. It was an escape for this scribe, for the festivalgoers, for Tasmania and for the Cum Metal trio themselves.

So much has changed since, except HEALTH are still that outfit; let us escape together.

Sight? An impossibility. Space? Unfeasible. Escapism? Amazingly acquired moments into HEALTH’s walk-in-track Neon Genesis’ ‘A Cruel Angel’s Thesis’ – a J-pop song of rousing beauty. The thunderous percussion of ‘IDENTITY’ provoked the orgasmetal waves – then just as tidal movements never stop, neither did anyone at this event.

‘GOD BOTHERER’ bothered celestials assuredly with its impossible movement from sensual trance to electropunk thrash. ‘CRACK METAL’ continued this majestically, possibly dethroning Reznor – if only in Adelaide for a moment though. Maybe not everywhere HEALTH has been since RAT WARS was unleashed, yet one would think Trent Reznor would be riveted by how far this three-piece has come. South Australia was understandably well and truly away from reality at this point, and we were thankful for it.

‘HATEFUL’ is the composition the Wachowskis wish they knew two decades ago, hopefully they are reading this space. ‘UNLOVED’ was flawlessly the “cum metal” definition, impossibly it emitted the aura of a sexualised Ian Curtis; seems unimaginable, however, that was impeccably the translation. ‘THE MESSAGE’ was as dreamy as New Order then as fantastically fierce as Parkway Drive – all in one.

‘TEARS’ was a hypnotism that Robert Smith wishes he created and realising that he is one of the prodigies of The Cure, this seems even more suiting. Jake Duzsik's sweet and soothing vocals took Adelaide to a euphoric wonderland, John Famiglietti's bass and electronic flourishes transported the spectators to a wondrous rhapsody, and B.J. Miller's rhythmic percussion felt honestly, otherworldly. This musical seduction was in short, illustrious.

There were technical difficulties, there was genre-bending, then there was some of the most indescribably exquisite and charming artistry exhibited. This was HEALTH.

And we were able to escape to a better universe.

Gig Review by Will Oakeshott. Insta: @teenwolfwill