KoЯn – Gig Review & Photo Gallery 4th December @ AEC, Adelaide SA

KoЯn
Adelaide Entertainment Centre, Adelaide SA
December 4, 2024
Support: Loathe

“Something Takes A Part Of Me.” – Jonathan Davis, KoЯn, ‘Freak On A Leash’, Follow The Leader (1998).

It is a compelling statement that the vocalist and songwriter Jon Davis of the nu-metal prodigy KoЯn formulates from these six words. This is essentially the mystical and miraculous allure of lyrical analysis, the connection. Jonathan’s misfortunes, life hurdles and tormented childhood are well documented and exposed with his poetic expressions; but it is how KoЯn’s worldwide audience connects with his heart-on-the-sleeve narratives that still has this nu-metal demigod globally adored after over 30 years.

“Something Takes A Part Of Me.”

For the spectator, this could be related to the loss of innocence, perhaps a turning point in their childhood similar to Jonathan Davis. It could be a spiritual experience where a mental, physical and/or emotional alteration occurred and their entire being changed from that moment onwards. The first time they found love, heartbreak, felt the ocean – the possibilities are practically endless. Perhaps, it may have been the first time an individual heard a song, saw it live, felt its energy and inexplicably bonded with a collection of words vocalised over a musical soundtrack.

There is a strong probability that this last described enlightenment is exactly why thousands of people infiltrated the Adelaide Entertainment Centre on this summer evening. Something beyond significant had taken a monumental part of their vital force, and they were here to relive and cherish every moment of it.

Achieving a sellout status weeks before the event itself was undeniably cause for immeasurable excitement, it was also troublingly responsible for a line-up to the venue that engulfed a noteworthy portion of Port Road. With the wait exceeding an hour plus for many (consider this an average), arriving to the progressive alt-metal djentcore of Liverpool’s Loathe in time was a feat in itself. However, those who were able to witness this fascinating four-piece were certainly rewarded with stirring entrancement.

‘Gored’ was a magnificent musical malformation of metalcore that explored elements of djent and even deathcore devastation. Lead vocalist Kadeem France oozes with swagger arguably more than the majority of metal front-men in the genre. Between bloodcurdling screeches and bellowing growls, the goliath will suavely cross his arms, and nod is head with thankful appreciation and to a degree, a “headbanging” momentum. As if effortlessly, he will then vividly move into hip-hop inspired dance variations all without missing a beat. It has to be seen to be properly believed. ‘Dance On My Skin’ took this articulate heaviness to another echelon with more experimentations of sound in cinematic djentcore that became remarkably raw.

The quartet dazzlingly anchored the severity of their extravaganza for the slow-burning ballads ‘Two-Way Mirror’ and ‘Is It Really You?’ that assuredly would capture Deftones’ attention. The “rest time” though, was to be short lived; after the Liverpudlians profusely thanked Adelaide and the headliners who played an enormous part on their musical development, they crept into the epic that is ‘I Let It In & Took Everything’. Beginning with sinister synthesiser tones and an eerie gloominess that washed over in nu-metal-wave surges while Kadeem and guitarist Erik Bickerstaffe shared haunting melodic croons; the composition built into djent-metalcore madness before morphing into some form of deathcore transmogrification. It then eased ever-so-slightly to some form of hypnotic heavy heartbeat of breakdowns and electropunk, as if concluding a theatrical masterpiece before THAT haunting exit.

Loathe have supported While She Sleeps in Australia, opened for KoЯn and are a must-see at Good Things Festival. What’s next? Surely it has to be album number four and their own headline tour of down under, both are ‘Screaming’ “necessary”.

In 1965 Hasbro Inc toy manufacturing company released a doll entitled “Little Miss No-Name” that was designed as the contradiction figure of the graceful Barbie. Drawing inspiration from American artist Margaret Keane, the underprivileged character was dressed in a burlap sack, without shoes and a safety pin holding the outfit together. The toy failed to make any real impact in its respected markets and was discontinued only a few years later.

Its physical appearance is haunting – the theme song to its commercial, incredibly more-so.

How perfectly fitting it was to welcome Californian nu-metal juggernaut KoЯn onto the stage in Adelaide for the first time since 2010, as their absence had haunted South Australia for 14 impossible years. Better yet, what a message the quintet began on: ‘Here To Stay’.

The wondrous frontman Mr Davis was instantly magnetic, in a radiant red ADIDAS tracksuit with a red microphone to match, he was to be the leader that the thousands would follow on this night. This audience was understandably astounded by what was happening before them, yet they did not stutter when the microphone was presented for: “Fucked Up Feelings Again!” That. Was. Deafening.

‘Dead Bodies Everywhere’ included a charismatic creepiness to the already sensational spookiness the song evokes via guitarist James “Munky” Shaffer and his vocal effect microphone tube. Stirring throat-singing additions seemed to echo throughout the enormous venue as if Nytt Land were spiritually present in the anthem’s live rendition. This almost felt beyond surreal.

‘Got The Life’ awoke the illustrious lunacy from both band and crowd alike, although a weightlessness oddly seemed to become the amazing aura. Possibly because of the continuous leaping by attendees attempting to defy gravity, or because we all obeyed the lyrical commands of: “Get your boogie on” and “dance with me”. Either way, we all ‘Got The Life’ and seized it with our ‘Insane’ hands. ‘ADIDAS’ was a necessity and a provocative thunderous chant of astounding admittance that both nu-metal and intercourse are climactic. The five-piece then wound the clock right back with a rendition of ‘Hey Daddy’ that is an unsettling listen; it does seem to help Jon in a way that therapy might not be able to attain. Remember that opening quote?

A visual fire backdrop bolstered ‘Good God’ that seemed to electrify everyone in the arena inclusive. Understandably the temperature had elevated, but the energy of all components entered a new stratosphere. Davis had also reached new levels of brutality with his movements between anguished melodic snarls to roaring bellows of defiance. ‘Start The Healing’ had that bounce and groove that the genre is renowned for but included storytelling and sound chapters that resonated immaculately.

For many, KoЯn’s ‘Blind’ is their pièce de resistance. An unnerving yet cataclysmic typhoon of destructive discordance that is all absorbing. One doesn’t simply undergo this single; they are enveloped by it. The tremendous transitions, the gothic undertones and devastating grit amongst swirling riveting soundscapes; infectious doesn’t begin to capture its impact. It’s practically ironic the key lyrical message is about becoming or “going blind”, as one can SEE how delightfully domineering the track is; better yet, they HEAR it more than the visual aspect.

It was at this juncture, Jonathan used this grand introduction to apologise for taking so many years to return, he screamed his happiness about being in Adelaide at this very moment, about 30 years of KoЯn, about selling out the venue in this city, he was in disbelief. The best quote to take from it: “I want to say ‘Hi’ to all the new-school fans, there is a lot of you! Funny thing is, motherfuckers, you weren’t even born when this album came out!”

Chaos ensued; the show could have ended then. It (thankfully) didn’t.

‘Clown’ had its own prodigious acts as if part of a theatrical exhibition, each new phase was entered with brilliant transitions and every member of KoЯn built on it. Escalating from captivating melody to devastating maliciousness with above memorable grace and intensity.

The bagpipes brilliantly bewildered all of South Australia (an undergarment may have been donated to the AEC platform aimed at Mr Davis during his solo) and ‘Shoots & Ladders’ became our nu-metal Back To The Future. ‘Make Me Bad’ was a powerful journey of excellence; the outfit somehow increased its wretchedness into an emotional pathway of beauty. The tender nearly-acoustic conclusion was vulnerable and breathtaking.

‘Y’All Want A Single’ *insert response here* was unbound and fantastic. In an effort to finally take a break, the five-piece departed for a teased conclusion.

The backdrop screen then read the following:

“Anybody Still Here?”
“Is That All You Got?”
“Come On.”
“Louder.”
“Is That Everything You Got?”
“Louder.”
“We Can’t Hear You.”

Return: ‘Falling Away From Me’ – marvellously monstrous! The phenomenal “sacrificed” pose Davis does at his microphone became his presentation of reverence to his fans for sharing his impactful art. ‘Oildale (Leave Me Alone)’ was the dark night of the soul for all five of the artists on stage. They didn’t just perform; they unleashed their own reckonings in a commanding expose.

To close, we are right back where we started: ‘Freak On A Leash’.
The flailing dreadlocks, thunderous bass, siren guitars with earthshattering down-tune movements, the hammering drums – THAT CHORUS! Throw in streamer-cannon explosions and Jonathan Davis silencing the world with Korn-Jabber.

“Something Takes A Part Of Me”.

On this night, KoЯn took EVERYTHING.

Gig Review by Will Oakeshott. Insta: @teenwolfwill

Setlist

Here to Stay
Dead Bodies Everywhere
Got the Life
A.D.I.D.A.S.
Hey Daddy
Good God
Start the Healing
Blind
Ball Tongue
Clown
Shoots and Ladders (With a snippet of Metallica’s “One”)
Twist
Make Me Bad
Y’All Want a Single

Encore

Falling Away From Me
Oildale (Leave Me Alone)
Freak on a Leash

Photo Gallery by Dave Rubinich Insta: @dave.rubinich
Please Credit & Tag Wall of Sound and Dave Rubinich if you repost photos.