Neck Deep - Gig Review & Photo Gallery 25th April @ Roundhouse, Sydney NSW

Neck Deep
Roundhouse, Sydney NSW
April 25, 2025
Supports: State Champs and LATE 90s

For many pop-punk Sydney-siders, a welcome and strong sense of deja vu encased the treacherous line of plaid-clad battlers and young groups of friends outside Sydney’s Roundhouse. Flashback to just 2023, many of us (including myself) lined up in this very position to see Neck Deep, perhaps the biggest pop-punk export from the UK. Fast forward to 2025, and this venue is completely sold out, with an everlasting demand that saw tickets begged for until the first utterances of Ben Barlow’s signature tone. Anticipation buzzed not just for the return of the punk pioneers, but with a thunderous appreciation for the amazing support in the form of scene staples, State Champs, and homegrown Perth talent, LATE 90s! 

After charging onto the floor, and a large wave also ascending the stairs for a crisp, birds-eye view, the venue was swiftly becoming engrossed in bodies. LATE 90s too suffered a similar fate of claustrophobia, trudging onto the stage that had been reduced to about 10% of its original size, weaving through the tiered setup, and multiple drum kits like landmines. Situating themselves in the centre, the four-piece exuded a confidence, heavily intertwined with their laid-back and nonchalant identity. Much to their namesake, the band channelled a feat of 90s alt-rock nostalgia; a sound laced in the familiarity of homegrown, but dazzling in the ambiguity of their heavily shifting skill set through their performance. Gliding through influences of grunge to nu-metal, alt-rock to punk, LATE 90s repertoire is bountiful and balanced, showcasing a band not bound to a particular movement, but to the sporadic feelings that arise from a moment in time, their fleetingness represented by the shifting sounds. 

While it was hard not to be distracted by the luxurious locks of the band, to which I’m sure six inches of mane is almost surely a necessity, I found myself captured by bassist Brody Morgan for the vast majority of the set. Consistently putting forward the energy, bouncing so hard his hair may have even touched the roof, his enthusiastic spirit was contagious, and was a reminder that if he was still jumping, you should be too.

Later in the night, Ben Barlow shared a sentiment that seems foolish not to echo. It was that, on this night, we got the privilege to see the talent fostered within our own shores, and to jump on the opportunity to watch them grow exponentially after this tour was over. It is evident that LATE 90s are swiftly on the rise, and we have a chance to propel this act even further. These guys are not a band you want to be sleeping on! 

The Roundhouse was now at a capacity I had not seen it reach this early on in the night for perhaps my entire career of attending shows here. Why is that, you ask? Only because New York noisemakers, State Champs, were about to take the stage. Marking their first return since their 2022 run of shows, it was safe to say the band drew in a crowd of pulsating and loyal followers. Now, with some more room on the stage, the outfit skipped out to applause only rivalled by the sheer screams coming from the centre of the room. 

Seeing Derek DiScanio stroll out with his signature cap floating upon his head was almost like seeing the Mona Lisa in real life- it was a moment to admire and take in art that had formed the backbone of a scene culture for years. Musically, State Champs have also fostered a culture, with a discography of staple hits emerging as early as 2011. It was this very mastery that broke Sydney’s notorious ‘too cool to move’ persona, and by song three (‘Mine Is Gold’), the entire venue surged in a wave of feeling, subconsciously tied by a strong sense of community that was now radiating through every body, all the way to the front. I found my sight constantly abducted by the mass of bodies flailing towards the middle on many occasions. The band’s performance twisted through the caverns of their impactful discography, balancing new material with solidified hits like ‘All You Are Is History’! 

It took mere songs for State Champs to proclaim that Sydney was the best show to date… and I refuse to believe this title was snatched at the remaining date of the tour. But it became clear that the energy poured into the stage was reciprocated, funnelling back out through a very much alive band, invigorated by screaming faces and soaring bodies. There is a necessary shoutout to be made to Ryan Scott Graham, who was entrancing for the entire night. From skidding throughout the stage with his crisp, white kicks, to crawling beyond the stage steps to get in everyone’s faces, his passion poured for the entire duration of the performance. Whilst effortlessly playing, he conjured so much spirit that would even get the biggest SC hater off their chair. 

‍‘Everybody But You’ saw fans get an early glimpse at Barlow’s lingering presence, ambushing the stage to collaborate with DiScanio in one of the most fun pop-punk sing-alongs I’ve witnessed to date. Hovering above the crowd, the two frontmen often fell into the same rhythmic movement- unrehearsed but soul-tied in their on-stage mannerisms. From matching hands in the air, to twists and crouches, they unified perfectly for this epic showcase of two of the powerhouses of the genre. Leading into the performance of ‘Secrets’, there was not a quiet voice in the room, hitting like a call to arms; this was the anthem many had been waiting for the entire set. Almost drowning out the band, it was a respectable way to finalise what was a punchy, quick, and powerful set. 

As the Champs departed, work was underway to prepare the theatrics of the event. Neck Deep’s stage set-up is perhaps one of the most fun and eclectic I have seen in quite some time. My favourite addition; the blow-up Neck Deep logo that emulates the same curvature as the new orange graffiti-like logo (the ‘Neck’ balloon needing a little extra help to blow up). Garnished in decaying bricks and the vibrant flowers, all homages to their self-titled body of work, the stage became another entity of the band itself, and tonight, it was a vessel of their performance they could truly claim as their own.

Now, here is the time where I will advise: if you were looking for an impartial, unbiased review, it may be best to click off now. I can proudly proclaim that Neck Deep have been, and will continue to be, one of my favoruite bands of all time. From sets at the Metro Theatre where I nearly flooded the place from my tears, to previous Roundhouse gigs where I crowd surfed so much I swear I blacked out, tonight would be nothing less than an emotional, full-circle moment for me. Comfortably situated upon the left-side barricade, tonight I would consume everything I possibly could, and the rest would come to me later. 

As the lights battled between shades of red, purple, and green, THE pop-punk band of all time made their way excitedly onto the stage. Transferring his running skills to the stage, Matt West scurried across to the furthest end of the stage, assuming his stability before strumming into ‘Heartbreak of the Century’. Lively and proud, the band reintroduced themselves to many familiar faces, putting their newest work forward. In an era of often unappreciated changes and stagnancy in a band’s movement, Neck Deep seemed to have a collective of people there who didn't just represent fandom, but became the very heart of the band. With the five-piece reclaiming their sound, and putting their most authentic foot forward, I have never seen a crowd so loud for newer tracks or isolated singles- this was not just a show for the hits or viral tunes (of course, they did not go astray) but a celebration of the band through its many diverse facets and changes. 

Now engulfed in a kooky green hue, Ben proceeded to make a speech that there were only two options for the future- world peace… or an alien abduction. An apt introduction for ‘Take Me With You’. Throughout the song, Barlow slipped into quirky tones, adopting the tongue-in-cheek vibe of this song to its very highest extent. Nothing short of a self-assured and unfazed performer, even his intentionally trivial ‘bits’ were laced in a lovable sound that made the performance so very Neck Deep. Quickly, the setlist took a few steps back, descending into the chaos of The Peace and The Panic in the form of ‘Motion Sickness’. It was at this point that the crowd managed to get even louder, a stunning and exponential growth that little did I know, would once again be beaten in mere moments. 

Donned in my “I’m A Lowlife” exclusive tee, I found myself getting laughed at by Matt and sang to by Ben, which I think is a worthy prize for the amount of stares I copped walking through the city with the shirt on. It was these very interactions that lasted all night- from people on the barricade, to crowd surfers getting high-fived and held by the band, there was a clear connection that penetrated the distinction between stage and pit, representing a united front and a genuine appreciation for what each party did for the other. 

I have always found it ironic that Neck Deep label themselves as ‘generic pop punk’, a contrasting statement when you unveil one of the greatest albums of all time, Life’s Not Out To Get You, made of course, by Neck Deep. Perhaps the pinnacle of the genre, this year, the album celebrates ten years of life. A decade fermenting in the very pits of the scene, of creating the now signature iconography of the band, and becoming a lifeline for many people from all walks of life. In my above interview with Ben, he said that although it is hard to celebrate an album globally, there would be allowances to have a small celebration of the album on the Australian Dumbstruck Dumbfuck Tour. And he did not lie. 

The middle section of the evening was curated to be a Life's fans' biggest fantasy. Pulling five songs from the album, my jaw drew more and more agape as the cuts kept getting deeper and more soul-churning. As my personal favourite, ‘Kali Ma’, already saw my vocal cords give out and mere shrieks exit my body, I suffered a full-body factory reset as the introduction to ‘The Beach Is For Lovers (Not Lonely Losers)’ began. Formulative and genre-defining, it was clear to see that the songs held sentiment for the bands and fans alike. The charmingness of ‘Can’t Kick Up The Roots’, the melancholy of ‘Lime St.’, each and every one of these songs touched everyone in the room in their own individual and unique way. For me, it meant hurling my body so far over the barricade that I had rib bruising, presenting a gravelly voice only more obstructed by the uncontrollable sobs exiting from the deepest part of my soul. For others, it was hearing their adolescence manifest into a setting where things were finally okay. And for others, the testament of a legacy well-asserted throughout the world. What is more universal than music? 

As my vision got clear again, I was blessed with the heartwarming sight of a girl's only mosh, celebrating the caring obsession, dedication, and elation found within the lyrics of ‘She’s A God’. Girls flew through the air with smiles on their faces, shining brighter than the lights of the venue itself. It was such a spectacular sight to see such a safe space found within the venue, even if for a moment. 

In a very cyclical nature, the setlist returned to the band’s newer songs. It was here in which the band used their platform heavily, using their enduring outspokenness and inability to conform to present one of the most endearing and refreshing closing speeches I’ve heard. In tune with the notions found within their lead single ‘We Need More Bricks’, the band questioned authority, freedoms, and allowances, elaborating that the enemy is not one another, but the men at the top of the high rise; the leader, the controller. Before screaming a final “Free Palestine” with an earth-shattering microphone drop, Neck Deep continues to assert that no matter what public discourse arises from their changing sound, their ethos and identity remains rooted in the realm of punk- messages by the people, for the people. 

With a total of zero audience members fooled, the band returned to the stage for one of the most epic sing-along encores I have had the pleasure of being a part of. With a double header of ‘December’ and ‘In Bloom’, if your throat was not already killing you, this was bound to make sure you couldn't talk the next day. Genuinely, I believe ‘In Bloom’ may be one of the best live closing songs of all time. Shrouded in retrospectiveness, longing, and emotional instability, but balanced with a hopefulness at the prosperity of what is to come, there is perhaps no better tone to leave your audience with. Beautifully performed and jarringly touching, Neck Deep departed the stage for the final time that evening. 

There I was, at the end of the show, tears streaming down my face and my lips trembling. This was pure happiness. 

Time and time again, Neck Deep continues to be a force to be reckoned with. Laced with legacy but brimming with the excitement of a band formed yesterday, Neck Deep are the pinnacle example of the rejuvenation creative freedom and self-assured creation can bring. With nothing to prove, the band still poured their heart and souls into the pit of adoring Sydney fans, expressing a gratitude that went beyond words, but seeped throughout every note. Some bands are meant to last forever, and I wholeheartedly believe Neck Deep will be one of those bands- physically, spiritually, and emotionally. 

Review by Georgia Haskins @ghaskins2002

Photo Gallery by Bree Vane. Insta: @mindtheweathervane. Please credit Wall of Sound and Bree Vane if you repost.