Knotfest Australia 2023

Setting the standard for how festivals should be done.

Photos & review by James Gough

Attention all metalheads! Brace yourselves for the most epic metal festival in Australia. Knotfest, the iconic event that has rocked crowds worldwide, is finally making its mark down under. The anticipation among us devoted fans is reaching unparalleled heights as we prepare to immerse ourselves in a dedicated metal extravaganza.

Personally, my festival experiences have been somewhat tarnished since the early days of Soundwave. Who could forget that scorching summer day at Eastern Creek, where the lack of water, shade, and food left us all yearning for something better? However, in December of last year, I decided to take a chance on Good Things festival, and was it a game-changer. As a mere attendee, I marveled at its flawless organization and seamless execution. Apart from a few minor sound issues between the main stages, it was a day of pure greatness. It was at that moment I realized that anything orchestrated by Destroy All Lines could be trusted. Their involvement in countless tours speaks volumes about their expertise and makes them the undeniable leaders for an event of this magnitude.

Now, fast forward to March 2023, and we find ourselves at the inaugural Knotfest Australia. Personally, I was lucky enough to experience the Brisbane leg of this momentous event. Running on fumes and adrenaline after photographing three consecutive weddings in Sydney, I hopped on an early morning flight, fueled by excitement and anticipation.

Upon arrival, I joined what seemed like the longest line in the known universe, filled with kindred spirits, my fellow metal enthusiasts. Despite missing out on catching Malevolence, who have practically become locals due to their frequent tours in Australia, I remained optimistic. This UK five-piece has been delivering mind-blowing performances, seamlessly blending hardcore and metal in a way that surpasses all other acts in the genre. Hopefully, their current trend of touring will continue, and we'll be blessed with their return in no time. If you haven't yet given them a listen, consider this your wake-up call!

Next up, we had Bad Omens, who unfortunately had a closed photo pit, so I was unable to shoot them. However, it gave me a moment to grab some water and get a lay of the land for how Knotfest was set up – more on that shortly.

You may have heard of Bad Omens in recent times, and for good reason. They slither through boundaries, only to ultimately choose convention in the process. The quartet materializes with striking hooks and the tingles of sensual high-register harmonies uplifted by cinematic production. With tens of millions of streams and critical acclaim, the band presents an uncompromising and undeniable vision on their third full-length album, "THE DEATH OF PEACE OF MIND."

During their Sydney side show on March 22nd, the band had to cut their performance short due to some vocal issues incurred by vocalist Noah Sebastian. According to a statement by Sebastian, the decision to end the show early was made to prevent further damage to his voice. It's a smart move because while canceling one show is disappointing, canceling an entire tour can be devastating.

Now, let's talk about the layout of Knotfest. One word: perfection! With only two main stages hosting all the bands, there were no issues with set crossovers or missing out on performances, and the lines for food and drinks were never too long. There were plenty of bars, food trucks, merch tents, and toilets strategically placed near the main stages, ensuring you were never far from the action. Festival sound quality is often questionable, but I was blown away by how clear the sound was for literally every single band. The staff and security (except for one power-tripping individual before Parkway's set) were incredible. A special shout-out to the woman on side stage left who tirelessly provided water throughout the entire day – she was an absolute machine. Destroy All Lines has set the standard for how festivals should be organized.

Moving forward, Melbourne's Void of Vision continued the onslaught with their blend of metalcore-infused nu-metal anthems, captivating the now-packed arena. While many bands are revisiting the mid-2000s sound, Void of Vision not only hits the mark musically but also brings back the visual appeal that made nu-metal cool back in the day. Singer Jack Bergin's menacing figure commands the crowd's attention. Although their sound is undeniable, I can't help but feel that they would truly shine at a headline show, where their element and vibe can be fully embraced, rather than performing in daylight during the mid-afternoon.

And just when you thought it couldn't get any better, Melbourne's powerhouse, Alpha Wolf, takes the stage, igniting the crowd with their latest single, '60cm of Steel'—a music video I had the privilege of working on. Check out the behind-the-scenes stills here. Despite their concise set, the band delivers an explosive 'best of' performance, featuring standout tracks like 'Hotel Underground,' 'Sub Zero,' and the fan favorite, 'Akudama.' Alpha Wolf effortlessly showcases why they belong on this lineup, leaving no doubt that they are currently one of the most exceptional heavy bands in the country.

The scorching Queensland sun beat down as the clouds scattered, making way for Knocked Loose to unleash their blistering performance. With a relentless energy, this band proved that hardcore can thrive on the grand stage of a festival like Knotfest. Their meteoric rise has been undeniable, earning them coveted spots at renowned events such as Coachella and Bonnaroo, where they stand out as one of the few metal/hardcore acts.

The day was already jam-packed with incredible performances, but the lineup was truly a spoiling for us. And then came Spiritbox —an amazing band that I hadn't known much about or given a solid listen to before. But let me tell you, they blew me away! For me personally, they were one of the absolute highlights of the day. It reminded me of those teenage years when I started going to shows, and even now in my late 30s, that feeling of discovering a band you know little about and leaving the venue knowing you witnessed something truly special—that's what keeps me coming back.

Spiritbox, a Canadian four-piece, burst onto the scene in 2017. Husband and wife duo, guitarist Mike Stringer and vocalist Courtney LaPlante, had spent several years crafting demos and their self-titled EP before releasing their first full-length record, 'Eternal Blue,' in 2020. It was evident that they were a major draw for many at the Brisbane Showgrounds that day, as even the stands were now filled with eager fans. Their setlist was a powerhouse, featuring all the crowd-favorites like 'Holy Roller,' 'Hurt You,' and 'Yellowjacket,' culminating in an epic finale with 'Rotoscope,' released in 2022. The sight of the entire venue bouncing in unison was awe-inspiring, and as they belted out the final lines to 'Hysteria,' the crowd was electrified. "What I've created as violent delights in my head will have a violent end. A broken violent end." The energy was palpable, and it seemed like everyone was on their feet, completely captivated by Spiritbox's performance.

If you've been following my journey for any length of time, you're well aware that In Flames are my all-time favorite band. This love affair began during my high school days, when I stumbled upon the "Swedish Death Metal" section at my beloved local HMV (RIP). It was there that I eagerly splurged a week's worth of McDonald's wages on two albums: the timeless masterpiece known as "Colony" (which recently celebrated its glorious 20th anniversary) and "Steelbath Suicide" by the equally legendary Gothenburg icons, Soilwork. Ever since that fateful day, the term "melodeath" has been imprinted in my very DNA.

Prior to this, I had only seen In Flames once before when I embarked on a three-hour drive to Canberra to catch them openinging for Lamb of God. That night, they graced the stage for a mere half-hour set before I hastily jumped back into my car and embarked on the three-plus hour drive back home. Was it worth it? Abso-fucking-lutley! Fueled by countless cups of water and a few choice beers, I found myself standing dead center, camera in hand. Strangely enough, I felt an unexpected surge of nervousness and anxiety, emotions that rarely accompany me during my photography endeavors.

And then, it happened. The familiar introductory notes of "The Beginning of All Things That Will End," the opening track from their latest album, "Foregone," echoed through the air. In that moment, there wasn't a soul around me who could have possibly matched my level of excitement. As I quickly glanced around, I was met with the sight of metalheads losing their minds. I wasn't alone in my fervor; this is what it's all about!

With unwavering intensity, the Swedish legends launched into "The Great Deceiver," another track from their latest record. Perhaps it was the scorching afternoon sun, but the entire showgrounds came alive in that moment. Without skipping a beat, they seamlessly transitioned into another crowd and personal favorite, "Cloud Connected." At this point, I couldn't resist the urge to put my cameras down and indulge in my own personal air guitar session, passionately belting out every single word. "I've come to realize with every little glimpse you fade" — I don't think I've ever sung lyrics so loudly. As I glanced up, I was met with a warm smile from guitarist Björn Gelotte. The band continued to captivate us with a flurry of older favorites like "Behind Space" and "Only for the Weak" before delving back into their latest album with "Foregone pt 1." The seamless integration of the new songs into the set was evident, as bodies flew around in the mosh pit, fueled by sheer adrenaline.

Taking a much-needed break to rehydrate, founding member Anders Fridén expressed his gratitude to the crowd and acknowledged that this may very well be the hottest show they've ever played, it’s at this point the sun is at Mordor-like levels. With two more recent tracks, "A State of Slow Decay" and "I Am Above" from their 2019 album, "I, the Mask," In Flames brought this incredible set to a climactic close with their timeless anthem since its release in 2006, "Take This Life."

Honestly, I could call it a night right now. It's a monumental tick off my bucket list, and my voice has been reduced to a mere whisper. Here's to hoping that In Flames get back for a overdue headline tour in the near future.

Pulsating with adrenaline and fueled by water, and maybe a few vodka Red Bulls, we embark on an electrifying journey as the mighty viking warriors Amon Amarth command the stage. The opening riff and thunderous toms of 'Guardians of Asgard' reverberate through Brisbane, igniting the crowd's anticipation. Frontman Johan Hegg, wearing an infectious grin, wielded his microphone like a weapon, barely setting it down throughout the entire song. It was a personal highlight for me as well, belting out the pre-chorus originally sung by the late L.G. Petrov of Entombed & Firespawn at the top of my lungs: "Marching down the left-hand path, spawned by Asagods, for we are..." In that moment, I locked eyes with Johan, who pointed at me with a smile, as together we roared the chorus, "We're the guardians, guardians of Asgaard!" It was an epic day, to say the least.

Amon Amarth unleashed an awe-inspiring setlist, including crowd favorites like 'First Kill' and 'Raven's Flight.' However, the standout moment came during 'Put Your Back into the Oar,' as thousands of fervent fans hit the ground, rowing in perfect synchronization to the song's rhythm. The band briefly exited the stage, only to return and deliver a final thunderous blow with 'Twilight of the Thunder Gods.' Are we due for an Amon Amarth tour? The answer is obvious! Outsiders Journal will happily invest!

Next up was Northlane, who undoubtedly delivered the most captivating light show of the day. With mesmerizing digital backdrops created by Ben from Third Eye Visuals and the backdrop of a setting sun, it was nearly impossible not to capture an incredible photo. Following the insane performances of In Flames and Amon Amarth was no easy feat, but these Sydney boys rose to the challenge and delivered an unforgettable performance.

While Northlane has been making waves in the music scene for quite some time, it's their latest two records that have truly showcased their artistic growth. This was evident from their setlist, which exclusively featured songs from these records. Kicking off with the explosive track 'Clarity,' it served as the perfect opener with its rare faster tempo, EDM-infused bridge, and a massive breakdown to conclude. Seamlessly transitioning into 'Plenty' and 'Echo Chamber,' those who may have questioned their high placement on the bill were swiftly silenced by Northlane's impeccable performance.

The grand finale came with the two singles 'Bloodline' and 'Talking Heads,' both taken from their critically acclaimed 2019 album 'Alien.' Northlane left nothing behind on the stage, delivering a crushing set that left the crowd in awe. This show marked the end of an epic world tour for the band, making it an even more special and memorable moment for everyone in attendance.

I'm exhausted just writing this review. On the day when I was running on fumes, it was time for everyone's favorite Twitch overlords, Trivium, to take the stage.

From the moment guitarist and lead singer Matt Heafy hit the stage, it was hard not to smile. The man exudes charisma, and his musical talent matches it perfectly. If anyone in the audience was feeling tired, they were instantly rejuvenated with the electrifying intro to 'Rain', followed by 'Amongst the Shadows & the Stone' and 'Strife'. The crowd participation reached an all-time high as Trivium poured their heart and soul into the performance. This band is renowned for their incredible live shows, and they did not disappoint today.

The only downside to their set was that it didn't last another hour or two. The crowd was left screaming for "one more song" after the final chorus of 'Pull Harder on the Strings of Your Martyr'. It was yet another unforgettable set where I found myself engaging with the crowd, turning towards them to sing along during the choruses.

I'd go as far as to say that Trivium is the Metallica of my generation. I've been a devoted fan since day one, and they have consistently released one incredible record after another, with their last three albums arguably being their best. With these guys nowhere close to reaching their prime, I have no doubt that we'll be seeing them back here in no time. Or maybe I'm just wishing that into existence, as I've already mentioned a few times in this review.

Is it dinner time yet? Is what I’m certain most of Brisbane said prior to Trivium finishing. For the first time today lines for bars, food & toilet’s were jam packed across the showgrounds with everyone no doubt getting ready for Parkway Drive & Slipknot.

Megadeath somehow slotting into this behemoth of a bill. Filled their career spanning setlist filled with all the tracks everyone would want to hear ‘Hanger 18’ ‘Peace Sells’ & finishing with ‘Holy Wars’. They deserve to be this high on the bill but probably caught everyone including myself taking a much needed break. Nevertheless were a tight as ever with thrash legend Dave Mustaine leading the charge.

The only place to be right now is the main arena. It’s time for what would be Parkway Drives homecoming of sorts. However, amidst the anticipation a certain power-tripping security guard seemed determined to make our job, and even his own staff's, needlessly challenging. Despite the initial hurdles, we persevered. Although being firmly pinned at the front of the stage made capturing the shots and immersing ourselves in the experience a daunting task, we soldiered on.

After the first three songs, the crowd dispersed, creating a more relaxed atmosphere. It was then that I found a comfortable spot to settle in and truly appreciate the spectacle that was unfolding before me.

Remarkably, it had been sixteen years since I last witnessed Parkway Drive live. Back in 2007, during the release of "Horizons," I had the privilege of seeing them regularly, often as openers for bands that have since faded into obscurity. From the humblest of Sydney venues, such as 'The Annandale Hotel' and 'The Embassy Hotel' in Penrith, I watched their journey unfold. Experiencing a band's evolution from its inception to the pinnacle of their success is a profound joy I wish upon every generation.

Unfortunately, Winston's voice began to fail him a few tracks into the set, forcing the boys from Byron to cut their performance short. Despite Winston's obvious discomfort, they soldiered on, appealing to the crowd for support, and the fans willingly answered the call. They chanted and sang along, amplifying the impact of anthems like "Prey," "Vice Grip," and "Carrion" to a level never heard before. Parkway Drive, undeterred by the setback, delivered a headline-worthy performance.

One cannot help but wonder if there were any older gems that had to be sacrificed due to the circumstances.

Perhaps tracks like "Smoke 'em If Ya Got 'em" or "Gimme AD" could have elevated the set to legendary heights. Nevertheless, witnessing Parkway Drive's evolution, from their early days of intense hardcore shows to reigning as arena kings, was nothing short of extraordinary.

As the set reached its climax, the stage transformed into an inferno for the encore, creating an ambiance reminiscent of hell itself, all for the exhilarating rendition of "Crushed." And finally, the night concluded with yet another unforgettable moment, as the crowd joined forces for a resounding sing-along of the timeless anthem, "Wild Eyes."

Parkway Drive's performance was a testament to their resilience and their unwavering connection with their dedicated fanbase. It marked a triumphant milestone in their journey, solidifying their status as icons of modern metal.

This is it. We’re here. We’ve arrived!

A sold out Brisbane Showgrounds waits ready for the onslaught that’s about to come.

Just like many devoted fans, my journey with Slipknot began in the early days. I vividly recall the release day of 'Iowa' when a fellow metalhead at school brought in a copy, and we huddled in the music room, immersing ourselves in what has now become one of the most revered metal albums of all time. My first live encounter with Slipknot was at the Big Day Out in 2005, where amidst the scorching heat and the mesmerizing performance unfolding on stage, I realized that this was something truly extraordinary. Over the years, Slipknot has defied the constraints of time, aging like a fine wine. They have grown tighter, more aggressive, heavier, and exponentially more entertaining. When I received the opportunity to shoot Knotfest, it was a dream come true. Sadly, as fate would have it, I discovered later on that I wouldn't be able to capture their set (insert tears here). It was beyond the organizers' control, so I can only hope for another chance in the future.

As the speakers reverberate with the anthems of rock, ACDC's "For Those About to Rock" and Billie Jo Spears' "Get Behind Me Satan and Push," the members of Slipknot emerge from the shadows, silhouetted behind a colossal banner. They charge headlong into their epic setlist, kicking off with "Disasterpiece," an explosion of pure chaos. The intensity doesn't wane as they launch into "Wait & Bleed" early on, followed by "All Out Life," giving the crowd a moment to catch their breath before diving back into the sonic assault of "Sulphur."

There are no lulls in this set; Slipknot demonstrates precisely why they are hailed as one of the greatest metal bands of all time. The relentless barrage of songs continues with "Before I Forget," "Unsainted," and "The Heretic Anthem." At one point, a reckless individual decides to scale one of the stadium's towers, bringing the entire show to a halt. Understandably, no one is impressed, but the situation is swiftly resolved, allowing the band to unleash the fury of "Psychosocial" once again.

Corey Taylor, a man normally with plenty to say, breaks character for this night of chaos. He simply pauses, screams the next song title, and plunges the audience into the heart of the madness. Slipknot concludes with a concise two-song encore, commanding everyone to get down on the ground during "Spit It Out." This ritual has become somewhat of a trend lately, but we all know this is where it originated. The grand finale arrives with the epic anthem "Surfacing," etching this performance into the annals of history.

Knotfest Australia has been an epic triumph, and it gives us hope that we will have at least one dedicated metal festival each year moving forward. We eagerly anticipate the expansion of dates, reaching further west to embrace our brothers and sisters in SA and WA.

Thank you Slipknot & thank you Destroy All Lines.