Thornhill - Gig Review & Photo Gallery 30th March @ Oxford Arts Factory, Sydney NSW

Thornhill
Oxford Arts Factory, Sydney NSW
March 30, 2025
Supports: Signals and Melting

Watch the BODIES drop… but a little bit early! 

In the lead up to the release of their grungy and grimy new album, BODIES, Melbourne based game changers, Thornhill, gave fans an opportunity to hear the release early and as it was intended to be heard - in a live setting. One of the most anticipated events of the year, the exclusive gig sold out in all three states, with a select few fans now having something to gloat about. Intimate, special, and refined, the night was not merely a showcase of the new body of work, but an exhibition of the band’s drastic development from Heroine to now.

Employing the aid of the gutturally ferocious Melting and Signals, the bill turned the Oxford Arts Factory into a human sweat box and a maze of intensity. Followed up by a surprise Q+A, the night was the pinnacle fan experience for anyone who has ever tuned into Thornhill!

Opening was Melbourne’s Melting. Approaching the stage under a murderous red blanket and shrouded in the opening track's ominous whispers, the band crawled on stage quietly but with unmistakable prominence. It took mere seconds for frontman Xavier Morris to launch himself into a tirade of powerful and inhumane screams, propelling the band into another dimension of anger, rage, and unbridled feeling. On the small stage, there was a possession of every man standing on the front line, with tool wielders Alex and Tom conjuring their expression through powerful thrashing and intimidating stances, dominating their portion of the field with confidence and strength. There is also much to be said about the band's powerful backline, with both Johnny’s hair and drumsticks launching up and down thunderously, leaving a reverberating wake in his trail. With their rampage, Melting conducted a small but passionate entourage who obeyed the calls for a two step, looking to pulse into anyone who had reservations about joining in.

There is such a haunting facade that engulfs Melting’s set. As instruments wail and Morris digs into the most hellish growls that dwell within his soul, there is a palpable ritual taking place in front of your very eyes. Matched with the now stark white lights that are seeking to abduct the lead singer, every element worked perfectly together to make the show itself, a little more theatrical. Grasping at the microphone chord as a lifeline, like a yearnful man not ready to say goodbye, the sheer weight of the performance took over, making it hard to look away. End to end, Melting meant business. Clawing at the eyes and forcing their way in like a parasite, the band’s expressive and savage presence now has me hooked. 

Next on the bill were Signals! If anything, tonight was a night of outstanding confidence, and Signals were there to keep the theme on trend, coming on aggressively with a deep snare as their roaring entry theme. Their stage presence was haphazard, with four people at the front fighting for an ounce of the tiny stage’s unforgiving space allowance. Yet, the band harmoniously appeared to make it work, weaving in and out of each other, bouncing frantically but respecting the necks of their guitar or chord of the microphone as if it was now an extension of their body itself. Signals’ erratic tone had grimaces and lips pursing around the room, it was perhaps the most reactive I have ever seen a crowd reacting purely to the onslaught of noises infiltrating their ears. With a light show like a meteor shower, and energy pulsating through the speakers, Signals held the recipe for chaos… and all they needed was a martyr. As one brave soul swung his arms frantically, each touch to the next person spread the infection further. It was not before long that bodies upon bodies were aggressively throwing fists, with rogue hands flying into anyone that dared stood too close. The mosh was sweaty, with a humid mist of body heat now engulfing the room. This plume clearly flew to the stage, with the lead singer bearing his complaints about the heat on multiple occasions. 

Signals erupted in the room with a strong following. The third song was met with the most thunderous applause yet of the evening; a note of approval that was only further emphasized with a large group of fans screaming the words back furiously in a passionate case of call and response. There was one notable fan in the pit, who for the duration of their set, was jumping as high as he possibly could- the bounce of his hair was enough to reach the roof. To say this band bought the energy would be a heinous understatement- instead, they captured the crowd with a rusted and unrelenting hook, gutting them before swinging them around in a careless display of power and showmanship. 

Of course, it was now time for the main event. The room was now at capacity, and in my honest opinion, when full, the Oxford Arts Factory is perhaps the closest thing to hell you can witness without being dead. If you're not within the middle of the pit, your movement will be disabled for the duration of the show, and if you happen to be a poor unfortunate soul stuck behind one of the ENORMOUS poles… Well, good luck to you! 

Crammed but buzzing, the room descended into a dark shade of blue taken directly from the album cover itself. As the energy now bubbled over, a slew of phones ascended to the sky- with the premiere of ‘DIESEL’ just seconds away. At the start, I saw this show potentially being an odd one. There was a conflict in the air- a palpable battle in which people wanted to stand and absorb all the new content and appreciate the album as it was designed to be heard, versus going completely feral for a band that is now producing some of their most grotesque sounds to date. However, it took only until song two, the much talked about, ‘Revolver’ for this choice to be made. The result; a room spinning, pushing, punching and lunging- the sitting and bobbing along can wait until the physical release. 

It became clear that some of the sentiments of the Hollywood-esque era of Heroine were now gone. The band themselves were more subdued in their style, taking a grungy and at times Matrix-style reflection in their look, replacing the silk shirts and lace from the era previous. Another noticeable change was found within vocalist Jacob Charlton. There is no argument that he has improved upon each release, but this was a particular showcase of exceptional growth. In between album cycles, his screams have grown to new proportions- high, visceral, and vocally show stopping. Yet, in the same breath, he hunkers down on the melodic flair with a honey-like touch. BODIES is a vocally demanding album, with many tracks shifting tones and styles multiple times within the single song. There has been spectacular growth to make sure this translates live in a roaring fashion, and had longtime listeners, like myself, in awe of the growth endured in such a short period of time. 

One of the most unique experiences of the evening was the nature of the crowd and the exclusivity of the event. I found myself enthralled by examining the crowd, rather than the band at times. This was particularly notable within the debut of ‘Revolver’. From the beginning people were reacting, but as the breakdown hit - that is when the real show began. I was surrounded by grown men biting their arms, gasping before frowning their face forcefully, and pushing over their mates at the sheer bewilderment at what was happening in front of them. This was real, raw, and a rejuvenating sight to bear witness to within this era of live music. These were the faces of affirmation for the new era and a band unapologetically changing their sound in an era of criticism and noise- and it was a risk that will be rewarded in the highest regard. 

There was a slight shift in energy for the songs we have already heard, including a massive crowd surge and cheer when ‘Silver Swarm’ began to play. These songs were a great excuse for patrons to let their hair down just a little more, and fully indulge in the songs they have grown to love within the past few months. 

Most songs received a reception that was immediately warm, especially ‘Only Ever You’. As Jacob came back out on stage with his shimmering guitar, hiding his eyes behind his sleek shades, he emulated the look of a worldwide rockstar, and this air of self confidence penetrated everyone in the room. With the developments in their sound, as well as the change in their looks that have been made to suit their style and their form as of now, a higher and palpable level of confidence has infected the band. This is perhaps the most comfortable they have looked in themselves, and these feelings get ignited in a live setting. It elevates the album in ways beyond making sure the guitar is tuned and the drums are loud, but dedicates every movement of their being and every ounce of feeling on stage to the final product heard by everyone. It becomes a feeling that is all-consuming. 

From ‘nerv’ onward, the room became a mess, cycling between massive pits to tornado-inducing circles - the biggest nod of approval a crowd could possibly give to a band on stage. There were subtle notes to pick up on too during this night, the most paramount to me being how much of a foundation both the bass and drums are to this album. Whilst the flair breathes life, these features give a structure, a body if you will. Much to the band’s usual framework, Thornhill finishes with yet another dazzling closer in the form of ‘For Now’. However, it doesn't end here. Some issues in the last few songs saw an offer from Jacob extended to the room; 

“You get to choose one song for us to play…” 

Roars of song titles from Butterfly filled the room, as well as requests for tracks from The Dark Pool. 

“Off THIS album you idiots”! 

With a short moment for sighs, the screams once again started. “Track two!!!!”

‘Revolver’ it was. 

This time, the delivery seemed to have even more passion and energy, ignited by the fact that in one performance, it has already asserted itself as a crowd favourite. With more punch and more bite, the show ended on a dramatic note, and left the crowds mouths agape from the sheer ferocity and savagery within the album. 

Track by track, minute by minute, Thornhill had a room of people under their hypnotising power. Tangling them into an album with perfectly constructed chaos and an enormously enhanced skillset, there was perhaps no better real-life demonstration of exceeding expectations that has ever taken place. With mouths agape and hands on heads, there was a physical demonstration of mystification that had engulfed the room. The show was also an assertion that BODIES is a live album, conjuring an energy like no other within people sharing sweat and diving their limbs between one another. Dirty, raw, and hard, BODIES is not merely an album, but an experience- and this was the time to see it. 

Words by Georgia Haskins @ghaskins2002

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