Review: Parkway Drive at RAC Arena

Parkway Drive at RAC Arena
w/ I Prevail, The Ghost Inside, Void of Vision
Monday, September 30, 2024

Parkway Drive’s 20th Anniversary Tour show at Perth’s RAC Arena was nothing short of a monumental celebration, blending the band’s raw metalcore roots with their evolution into a stadium-commanding powerhouse. With pyrotechnics, a rotating drum cage, orchestral strings, choreography, and even Winston McCall appearing on a makeshift stage in the middle of the crowd, this performance was pure theatrical brilliance. Fans were treated to an epic setlist spanning two decades, high-energy crowd participation, circle pits, and McCall’s signature charisma, keeping the audience entranced from start to finish. Parkway Drive not only delivered a show of technical prowess and intensity but also demonstrated their deep connection with fans, showing that after 20 years, they’re still on top of their game and more united than ever as Australia’s greatest metal export.

The night boasted a first-class line-up, with Void of Vision making a triumphant return to Perth, kicking off the evening with their infectious, groove-laden, synth-heavy metalcore. Given their familiarity with Perth stages, the band drew a solid early crowd, quickly setting the tone for the night. Frontman Jack Bergin made an eerie entrance, bathed in synths and donning a striking piece of headgear, which he soon swapped out for a black New York Yankees baseball cap. The band immediately launched into Oblivion from their recent full-length release What I’ll Leave Behind, effectively using the tour to showcase the new album. The track’s pounding electronic energy ignited the crowd right from the start, highlighting Void of Vision's evolving sound.

Despite their early 5:30pm slot, Void of Vision wasted no time in commanding the audience, proving their dedication to priming the crowd for Parkway Drive. With their signature three-to-four-minute sonic assaults, they delivered a tight, adrenaline-fuelled set. Blood for Blood offered up a feast of grooves, paired with an equally meaty guitar tone that cut through the mix all set. Some members of the crowd’s 'stink faces' were a fitting testament to the craft of guitarists James McKendrick and Mitch Fairlie, the latter whose presence as a left-hander added a unique visual dynamic to the stage, providing balance to the overall aesthetic.

As Parkway Drive's Winston McCall mentioned in his tour promotion interview with X-Press Magazine, Void of Vision’s name is far from indicative of their career path. The only thing they're missing is a bassist, but the band fills that gap with a low-end presence infused through their catchy synth and sound design. Tracks like Into the Dark highlighted the band’s talent for seamlessly blending melody with aggression, a hallmark of both Bergin’s and McKendrick’s vocal interplay and their overall songwriting prowess. Meanwhile, hard-hitting anthems like Gamma Knife, Empty, and the crowd favourite The Lonely People kept the energy surging throughout the set.

Drummer George Pfaendner was in fine form throughout, his technical proficiency on full display, particularly on tracks like Altar, where his snare-driven intro and ultra-tight double kick patterns anchored the band’s relentless energy. Bergin displayed a Trojan-like work ethic as frontman, delivering a performance packed with aggression, melody and charisma. He incited circle pits and, at one point, rallied the crowd with a bold command to “spin their dicks off” and “get the floor shuddering.”

Void of Vision, a band that continues to make Melbourne and Australia proud, once again proved why they’re a force to be reckoned with in the modern metalcore scene. With an upcoming US tour scheduled for November and December, the band is gearing up for even bigger things. Perth is already eagerly awaiting Void of Vision’s return, hopefully for a well-deserved headline tour. Fans of Northlane and Motionless in White should take note.

California’s The Ghost Inside stormed the stage to a backdrop of rhythmic, pulsing sound design, greeted by an enthusiastic crowd that had thickened considerably. Their long history with Parkway Drive, stretching back to their support on the Deep Blue album tour in 2010, made The Ghost Inside’s appearance even more significant. With limited stage space, the band slid into position before frontman Jonathan Vigil ignited the audience with his fierce, hardcore-style roar to kick off Death Grip. The crowd’s fiery response matched Vigil’s intensity, and a well-timed breakdown triggered a slam-dancing frenzy that ignited the set’s energy.

Earn It shifted gears, introducing vocal melody into the set as Vigil proudly declared, “I earned it, and you didn’t, if you want it, come get it!” before guitarists Zach Johnson and Chris Davis unleashed a colossal riff, widening the circle pit. The energy soared higher with Pressure Point as the crowd chanted along to the venomous chorus: “FUCK THIS! Fake sympathy, you're just a snake in disguise. FUCK THIS! Fake sympathy, you're everything I despise.” Drummer Andrew Tkaczyk’s impeccable rolls, footwork, and relentless rhythms powered the song forward, while Vigil moved effortlessly across the stage shouting his vocal lines, then instructing the crowd with ease. Johnson momentarily stepped away from his backing vocal duties to lock in with Davis and bassist Jim Riley for the heaviest breakdown of the set, punctuated by Vigil’s cutting lines: “I looked death in the eyes, I've come too far, so now I have to cut you out, like the leech that you are.” This sent the crowd into a wild uproar, with the band feeding off the refreshing energy of the Perth audience.

Sensing the momentum, the band launched into the crowd-pleaser Mercy, with Vigil seizing the moment, bellowing “For whom the bell tolls” before driving the audience to keep singing and keep the energy high. During the song’s climax, Vigil rallied the die-hard fans for a powerful sing-along: “I'd like to think I'll come out stronger. Life's swinging hard, BUT I’M SWINGING HARDER!” The synergy between band and audience reached its peak, lifting the performance to another level.

The inclusion of Wash It Away provided a much-needed melodic reprieve after the relentless aggression of the set’s earlier numbers. Its big, soaring choruses showcased Vigil’s impressive clean vocals, underscoring his versatility as a frontman. The emotional weight of the song prompted a moment of reflection as Vigil spoke openly about the tragic 2015 tour bus crash that claimed two lives and left band members, including himself, in a critical condition. In a raw and moving tribute, Vigil highlighted drummer Tkaczyk’s resilience after losing his leg in the accident, expressing deep gratitude for the band’s ability to return to touring and share the stage with Parkway Drive on their 20th-anniversary tour.

With Dark Horse, the intensity ramped back up as Tkaczyk’s thunderous drumming once again drove the band forward with unrelenting power. The song’s melodic hooks and trademark breakdowns kept the crowd locked in, while Avalanche delivered a more hardcore punch with its chant-along verses and choruses. The stoic high point came with Aftermath, a song that took the audience back to that fateful day in November 2015. As Vigil proclaimed, “Triumph over tragedy,” the crowd responded with a surge of energy, the circle pit transforming into a whirlwind of limbs. The chant “For all the demons that follow me around, it's time I put you six feet DEEP UNDERGROUND!” reverberated throughout the venue, with the audience fully in sync with Vigil’s impassioned delivery.

The Ghost Inside closed their set with the fan-favourite Engine 45, a final cathartic release for both band and crowd. As the audience belted out the emotional outro, “All my life I've been waiting for something, that never came. It never came. But I'm still saying. All my life I've been searching for something, to break these chains. To break these chains. But I'll keep swinging,” the band thanked the Perth crowd for their unwavering support. It was a powerful, triumphant performance from a band that has weathered unimaginable adversity and continues to stand tall, swinging harder than ever.

I Prevail's set began with an unexpected twist, as Nine Inch Nails’ Bite the Hand That Feeds filled the venue, only to glitch and slow down in its final stanzas, plunging RAC Arena into darkness. The jumbotrons flickered to life, revealing a menacing hooded figure whose cryptic, horror movie-esque monologue sent chills through the audience. “There's fear in letting go,” the figure intoned, just as the opening pulse of There’s Fear in Letting Go erupted across the venue, greeted by the loudest cheers of the night so far. Clean vocalist Brian Burkheiser’s haunting delivery of “I push myself a little closer to the edge…” laid the foundation, as growl vocalist Eric Vanlerberghe rallied the crowd: “Perth! Sing it with us!” igniting a surge of energy that rippled through the pit.

From there, the band unleashed their signature blend of metalcore, pop-punk and post-hardcore, with an immersive LCD animation show providing a visual feast to accompany the aural onslaught. Body Bag hit hard, with the crowd screaming along to Vanlerberghe’s venomous lines, “Don't let them save you from yourself,” before drummer Gabe Helguera laid down a brutal clinic of snare rolls and driving rhythms. The arena roared as Self-Destruction lit up the room, with Vanlerberghe's raw delivery of “If you don't know the Devil, then you don't know me” matching the fiery visuals flashing across the screens.

Bad Things gave Burkheiser the spotlight, his melodic vocals soaring through the venue. Vanlerberghe’s rapped verses added another layer of depth before the track took a darker turn, with guitarists Steve Menoian and Dylan Bowman delivering a gut-punching, drop-tuned beefy riff. The pit exploded as Vanlerberghe demanded, “Open those motherfucking circles out,” bodies moving in a chaotic swirl of energy. Bassist Jon Eberhard's low-end punch added even more weight to one of the heaviest riffs of the night.

After catching their breath, the band gave shoutouts to Void of Vision and The Ghost Inside, thanking them for their support and friendship on tours gone by. Vanlerberghe, with a grin, teased the crowd: “20 years of power, 20 years of dominance, the best metal band ever to come from Australia—make some noise for Parkway Fucken Drive!”

A cheeky nod to their viral past on social media came next, as I Prevail segued into their cover of Taylor Swift’s Blank Space, much to the delight of the crowd. Burkheiser’s pop-perfect delivery clashed brilliantly with Vanlerberghe’s gritty growls. The band paused three-quarters of the way through to poke fun at their love-hate relationship with the track before diving into a death metal-fuelled interlude, complete with otherworldly imagery of a horned beast on the LCD screens.

The intensity surged again with Visceral, its punishing riffs and relentless double-kick attack from Helguera driving the crowd into a frenzy. Judgement Day and Choke kept the adrenaline pumping, Vanlerberghe demanding, “I need to see some fucking heads roll!” a request gladly granted as the mosh pit hit its peak, bodies crashing together in time with the vicious guitar riffs.

The emotional high point came with Hurricane, an ode to I Prevail’s journey through personal and professional turmoil. Fans from all walks of life danced and moshed, the lyrics resonating deeply with those who’ve followed the band through their trials, including loss and hitting rock bottom. The heartfelt performance showcased the band’s vulnerability as they reflected on the challenges that have shaped their decade-long career.

As the arena plunged into darkness once more, the hooded figure returned for the fifth time, delivering a final ominous message: “Fear is the mind killer, and this is your funeral. If you seek forgiveness, you'll get nothing from me.” This led straight into Bow Down, a Grammy-nominated powerhouse of a track that had the entire venue throwing down, even fans in the stands moshing in their seats.

Vanlerberghe wasn’t done yet. “Can you handle one more?” he bellowed. With an official attendance well into six figures all screaming for more, I Prevail closed out with Gasoline, a fitting finale. “Burn it fucking down!” Vanlerberghe shouted, as flames on the LCDs engulfed the stage again and the crowd surged forward one last time, matching the band’s blistering energy as the arena erupted into chaos.

In a hilarious and unexpected turn, the set concluded with the whimsical tune of You’ve Got a Friend in Me from Toy Story, a humorous contrast to the raging inferno that had just consumed the stage. It was a performance that perfectly encapsulated I Prevail’s ability to blend brutal heaviness with infectious fun and left Perth with no doubt that the band is on an unstoppable rise.

Parkway Drive’s 20th anniversary tour stop at Perth’s RAC Arena was nothing short of monumental, and a night fans had waited six long years for. The energy was palpable, and the air was thick with anticipation as the band prepared to grace the stage once again. Perth, often the last leg of Australian tours, felt the full weight of Parkway’s history, and it was clear from the first moment that this was not just a gig; it was a celebration of two decades of metal mastery.

The atmosphere turned electric as thunderous drums reverberated through the pitch-black arena. But before the intensity peaked, the band took a moment to reflect. On the massive LCD screens, a montage of Parkway’s storied career played out, evoking emotion in fans. From grainy footage of their early days in Byron Bay, surfing and playing in school halls, to recording their breakout Killing with a Smile LP and eventually playing sold-out arenas, this was a visual testament to their resilience, work ethic, and global success. The emotional weight was undeniable, even bringing a tear to the eye of some in the crowd.

As the montage gave way to the pulsating rhythm of pipes and rototoms, the band made their grand entrance from the back of the venue, flanked by massive Parkway Drive flags. The feeling was less like a concert entrance and more like watching medieval warriors return from a victorious campaign. All clad in black except for frontman Winston McCall, whose white oversized pants and hoodie made a striking contrast. High-fives were doled out generously as the band made their way through the crowd, embodying the intimate connection with their fans that’s become a Parkway hallmark.

Finally reaching the small, central 'island' stage, in which the centre of rose hydraulically to reveal drummer Ben 'Gaz' Gordon atop his throne, the band members surveyed the crowd. McCall raised his arms, resembling a religious figure more than a frontman, before Jeff Ling struck the first notes of Carrion. The arena exploded with energy as the crowd sang along in full voice, “Tear me apart from the inside out!” If the pure ecstasy of this moment could be bottled, it’d be worth a fortune.

Without missing a beat, Parkway stormed into Prey, with the audience jumping as if the world depended on it. McCall’s vocals nearly drowned in the massive crowd's chorus, the passion from fans so intense it felt like an anthem of unity. The arena pulsed with energy, and McCall may have looked overwhelmed, momentarily silenced by the magnitude of it all.

Then, in a move of pure theatricality, the band turned their backs to the audience as strobe lights and music built up anticipation. With a resounding explosion, the main stage curtain dropped to reveal an astonishing stage design—a dystopian industrial wasteland that looked like the aftermath of a chaotic battle. A bridge descended between the island and main stage, and as the band crossed it like Sith inquisitors surveying their empire, they prepared to unleash the next chapter of their performance.

This was Parkway Drive in their element—commanding, theatrical, and intensely personal. And this was just the beginning.

The opening sound design of Glitch rang through the arena, with the atmospheric tension thickening. The band members took their positions, and as Winston McCall’s countdown chant of “3-2-1-GO” echoed, another deafening explosion shook the room, releasing the scent of gunpowder. The band launched into the track from 2022’s Darker Still, with choreographers on stage amplifying the intensity. Their jerky, almost violent movements synchronised with the crushing groove of the song, adding an extra layer of visuals to an already blistering performance. McCall prowled the bridge, delivering his fierce vocals, before returning to the island stage, where the choreographers, under the lead of a sadistic-looking conductor, seemed to be pushing their bodies to the brink. As McCall roared, “Let me the fuck… out!” pyrotechnics erupted in perfect timing with the pounding riffs, igniting the already phenomenal atmosphere.

As the band transitioned into Sleepwalker, a wash of blue hues flooded the arena, establishing a thematic backdrop for one of their most beloved tracks from 2010’s concept album, Deep Blue. The fiery opening riff kicked the separate mosh pits into overdrive, with circle pits threatening to tear the floor apart as the breakdown dropped like a hammer. Lead guitarist Jeff Ling took centre stage on the island for his blistering solo, a moment of pure ecstasy for the diehards, casual metal fans, and everyone in between. Ling’s shredding prowess and McCall’s fierce growls gave a taste of the relentless energy to come.

After the carnage of Sleepwalker, McCall paused to check in with the audience, his voice dripping with genuine enthusiasm. “How you doin’, Perth? You good?” The response was thunderous. McCall, ever the crowd pleaser, leaned into the city’s reputation for wild shows, proclaiming, “Every one of us in the band bet Perth would be the rowdiest of the tour!” The crowd roared in agreement, feeding off the frontman’s charisma. For a city often skipped by acts, Perth’s dedication to Parkway Drive was on full display. McCall rallied the fans once more, “Enjoy yourselves! Are you ready to dance and sing? Gimme a YEAH YEAH YEAH!” And with that, Ling launched into the opening notes of Vice Grip, one of the anthems from 2015’s Ire. McCall’s chants of “RISE, RISE, RISE!” resonated through the arena as bassist Jia 'Pie' O’Connor marched to the front of the stage, locking eyes with the crowd, urging them to throw their fists in the air. Rhythm guitarist Luke 'Pig' Kilpatrick followed suit, raising his fist in salute to the city that has always shown unwavering love for the band. With fists pumping and the crowd screaming, Ling capped off the track with a flurry of intricate finger tapping, while Gordon held down the rhythmic foundation, bringing the song to a powerful close.

Then came the promise of “older shit,” a statement that sent shockwaves through the audience. McCall announced they were diving into some of the heaviest material they’d ever written, much to the delight of the old-school fans. As the first chords of Boneyards rang out, the lighting bathed the stage in a green glow, highlighting the industrial dystopian wasteland set design that perfectly matched the theme of the music. Circle pits erupted on either side of the bridge, bodies colliding as McCall egged them on. “If this is the heaviest shit we’ve ever written, it’s time to ramp it up!” McCall teased, before dropping a bombshell, “I’m gonna bring a friend on stage. The best from the fucking west, from day fucking one. Give it up for Michael fucking Crafter!” For those unspoiled by earlier tour stops, this surprise appearance by the former I Killed the Prom Queen frontman was a massive treat. The crowd went ballistic as McCall and Crafter traded ferocious vocals on the classic lyrics of Boneyards, culminating in the explosive declaration, “There’s blood in the water!” The two legends barked out every word with ferocious intensity, the audience matching them line for line. The guest appearance was a heartfelt homage, paying tribute to Crafter’s unwavering support of Parkway Drive from the very beginning. Crafter, who had taken Parkway under his wing and included them on their first split EP and subsequent tour, was instrumental in their early success, and this moment felt like a full-circle acknowledgment of that.

Riding high on the wave of nostalgia, the band then launched into Horizons. Ling gently teased the opening notes on his guitar, building tension before the full force of the distorted chords hit. McCall, ever the commander, demanded, “Give me a circle pit; let’s go!” The crowd obliged, as Parkway Drive delivered a punishing performance of their early material, complete with down-tuned riffs that left the arena in metaphorical tatters. Ling stepped onto the bridge, which ascended into a cloud of purple mist, while a shower of spectacular sparks rained down over the sectioned-off area beside it. His intricate finger-tapping was on full display, captivating the crowd. As the bridge descended back into place, the lighting gradually faded to black, with Parkway Drive diehards showing their sheer appreciation through thunderous applause.

This was a set designed not just to entertain but to immerse the audience in the raw power and history of one of Australia’s greatest bands.

Eerie samples filled the air as anticipation swelled, while the choreographers performed what resembled a dark side ritual, an arcane act of sorcery straight from the Force. Rising from the depths of the sunken island stage on hydraulic lifts, they appeared to levitate while decoding an ancient holocron from aeons past. McCall reemerged after a perfectly timed costume change, now draped in a long, dark gown, resembling a Sith Lord in every way. A series of deep bass stabs and ominous synths enveloped the arena, sending shivers down every spine as McCall softly delivered the haunting opening lines of Cemetery Bloom. The entire crowd joined in chanting, “All hail my!” It was a moment that justified the ticket price alone. It was a masterclass in musical theatre without a hint of pretence.

As the choreographers circled McCall, kneeling and gesturing in response to his every move and word, the tension reached a fever pitch. With the hair standing up on the back of everyone’s neck, McCall asked, “Perth, can you feel it?” Teasing the audience with the opening riff, the band smoothly transitioned into The Void. The crowd, fists raised high, roared along with the rhythm, chanting “Hey! Hey! Hey!” before a deafening explosion triggered an eruption of sparks and pyro, launching the band into the heart of the song. The ominous red lighting, reminiscent of Vader’s lightsaber, paired with McCall’s dark, menacing voice and attire, cast him as a true Sith Lord, a look Kylo Ren could only dream of. As the audience regained their breath, they threw themselves back into the chorus, belting “Welcome to a world of PAIN!” in unison. Ling, stationed once again on the bridge, shredded through another intricate solo as the band and crowd united in a powerful surge of energy.

A thunderstorm rumbled ominously through the PA system, with rain pouring down on McCall from the island stage’s overhead fixtures. The band then gracefully eased into Wishing Wells. McCall delivered his most impassioned vocal of the night, with the audience screaming along to every word of the gut-wrenching chorus: “Burn your heaven, flood your hell. Drown you in your wishing wells. Damn you all, because tonight I’m killing gods.”

As the final notes echoed through the arena, silence descended, only to be filled with the unified chant of “PARKWAY DRIVE! PARKWAY DRIVE!” McCall, ever in tune with his audience, took a brief pause to check on a hurt crowd member, shedding his dark gown to reveal a fishnet shirt that showcased his shredded body underneath.

With the energy still buzzing, McCall took a moment to reflect, recalling a time twenty years ago when the band filmed a music video at Youth HQ Skate Park in Leederville. “Now, we’re going all the way back,” he announced. “We haven’t played this stuff in a long time, so if you came to pit, crowd surf, and if you’re possibly over 40… this is the Killing with a Medley or Mashup with a Smile! Bring the chaos!” Kilpatrick marched to centre stage, laying down the finger-tapping intro to Gimme A D, with Ling joining in. The crowd erupted as they were thrown into the album that defined the band’s early sound, recorded with Adam Dutkiewicz of Killswitch Engage fame back in 2005. Circle pits erupted as men with greying hair hurled themselves into the havoc, reliving the glory days of early Parkway. Some might say this medley alone was worth the price of admission, but without Parkway Drive’s evolution into a more stadium-worthy act, moments like these in massive arenas would never exist. “IYKYK!” McCall shouted as Ling struck the opening notes of Anasasis (Xenophontis). “Activate the pit!” commanded McCall as the crowd obeyed, with the band plunging into more chugging riffs and mayhem.

Seamlessly, the band flowed into Mutiny, keeping the energy high as circle pits tore open on the arena floor. The crowd joined McCall in a furious chant: “EVERYTHING YOU LOVE, FUCKING DIES!” From there, Ling’s delicate guitar intro signalled the beginning of It’s Hard to Speak Without a Tongue, with the entire crowd clapping in sync. The quintessential Parkway riff brought waves of nostalgia as diehards revelled in the moment, reminiscing about when these songs filled their old 128MB MP3 players. Just as Ling was about to dive into a solo, McCall’s declaration rang out: “Smoke ‘Em if You Got ‘Em!” The band then erupted into the relentless track, while the stage came alive with a barrage of strobe lights. “Straight into 2003, spirit fucking fingers!” McCall screamed as Ling’s finger-tapping mastery once again stole the spotlight, followed by the devastating closing riffs that left the crowd breathless.

With hardly a moment to recover, McCall raised the stakes with one final challenge: “Romance is Dead,” he announced, as the circle pits churned once again. Amid the anarchy, McCall found a moment to break into some playful skank dancing before setting the crowd up for the iconic and savage chant: “SO CRY ME A FUCKING RIVER, BITCH!” Even those in the stands couldn’t resist throwing down harder than some in the standing area, the band and McCall thanking Perth for nearly two decades of unforgettable memories, giving a nod to the legacy of Killing with a Smile.

McCall, sensing the crowd’s energy starting to wane, called on them once more. He urged them to take three deep breaths before the band steamrolled into Dedicated. This time, McCall altered the lyrics from the original version on Ire, passionately roaring, “Twenty years I’ve fought for this. Twenty years, my heart still beats. For the ones who’ve stood beside me. Still strong, YOU CAN’T BREAK ME!” A flurry of pyrotechnic bursts enveloped the stage as the energetic riffs and Gordon’s thunderous double-kick attack incited the crowd once again. Ling, Kilpatrick, and O’Connor marched out onto the bridge, while McCall, after chanting “UNBREAKABLE,” seemingly disappeared.

Then, out of nowhere, McCall reappeared on a makeshift stage in the middle of the mosh pit, just metres from ecstatic fans who reached out for high-fives and even hugs as McCall interacted with them. “FUCKING HELL! Perth, open up, open up! Come and sing! Come and sing! Are your voices warm? Give me the riff, Jeff, let’s go, brother-in-riff, let’s go!” The band then launched into Idols and Anchors from Horizons (2007). The mosh pit and the entire venue, now singing the melodic “oh waaah oh waaah ooooh,” reached peak levels of crowd participation. As the heavier riffs took over, McCall crowd-surfed his way back to the stage, embodying the intimacy Parkway Drive had promised for this tour—a deft touch from a band that has always prioritised its fans. Despite their stardom, Parkway Drive have remained grounded, staying true to themselves and those who’ve stood by them. Many bands could learn from their example.

During McCall’s time with the crowd, most of the audience was too distracted to notice the bridge rising once more. As if by magic, an orchestral string trio slowly descended on the bridge, enhancing the atmosphere with a hauntingly beautiful intro to Chronos, adding another deep cut to the night’s setlist. McCall, having donned a leather jacket in yet another costume change, returned to the stage. The string trio, deeply immersed in the music, matched the crowd’s intensity, showing they were as much a part of the show as anyone in the venue. Ling, too, moved into centre stage on the island, showcasing his virtuosity during a powerful solo, his guitar work shining under the spotlight like pure rock-God brilliance. A wah-wah pedal allowed Ling to jam with the electric cellist, whose talent only added to the euphoric masterpiece unfolding before us. This performance was a testament to Parkway Drive’s evolution as a band, proving they are no longer just about fast riffs. Parkway’s repertoire includes complete, epic compositions that stand the test of time.

As the lights dimmed, Ling and the cellist retreated, allowing Kilpatrick and McCall to step forward on the island stage to begin Darker Still, the title track from their monumental latest release. Ninety minutes into the set, McCall’s clean vocals took centre stage. Despite his humble claims of not being able to sing, his performance was spot-on, and clean vocals are a welcome addition to Parkway's arsenal. As he requested “stars in the night sky,” tens of thousands of phone torches filled the arena, creating a magical backdrop for Kilpatrick’s acoustic guitar work. In a goosebump-inducing moment, the lights dimmed again, revealing Ling back at centre stage, showing off his unparalleled lead guitar skills. The string trio and instrumentalists seamlessly flowed into the song’s instrumental passage, with McCall even joining in on the tambourine. Together, they crafted a breathtaking performance, culminating in McCall’s chilling declaration, “UNTIL I DIE.” Finally, the PWD logo, which had been teasingly suspended above the stage all night, lowered into place and burst into flames. Kilpatrick and McCall took centre stage one last time, joining the crowd to sing the final lines, “And the night grows darker still,” before the iconic whistling closed out the track.

With the crowd still buzzing, McCall addressed them once more, announcing that the band had a little bit left in the tank, warning the audience, “We’re going from zero to 100 really quick. If you can hear me, put your hand up. If you’ve got your hand up, I’ll count to three, and you’ve got to bring your feet up too! This one’s Bottom Feeder! One, two, three, GO!” And just like that, the energy surged through the arena once more as everyone, front to back and side to side, jumped in unison.

The band added a unique spin to Bottom Feeder, extending the triple-picking riff as McCall instructed the crowd to clap along, building anticipation. “Make… Perth… Fucking… Shake!” he yelled, crouching low before leaping up and commanding, “You can’t escape; now snap your neck to this!” The entire arena erupted, with circle pits reigniting and fireworks lighting up the night. McCall, now fully immersed in the moment, threw punches and swung like George Foreman at centre stage, while the crowd gave their all with a push of waning adrenaline.

The lights dimmed as the band retreated backstage, leaving an eerie drone reverberating through RAC Arena. A few stage crew members hurried on stage to remove the safety guards from each side of the bridge connecting the island to the main stage. Surprisingly, some fans began to leave, but 99.9% of the crowd knew the show wasn’t over yet. As a chant of “Parkway Drive” echoed throughout the arena, the lights slowly came back on, revealing Gordon, now visibly strapped into a harness, as he launched into a drum solo with a tribal feel. The talented percussionist commanded attention, executing incredible rolls as his drum kit began to rotate, flipping him upside down, a feat reminiscent of Tommy Lee from Mötley Crüe and Joey Jordison from Slipknot. Suspended in midair, Gordon paused before a choreographer threw a lit torch as the signal for him to recommence his thunderous assault. The spectacle was nothing short of jaw-dropping.

As Gordon’s solo concluded, a monk-like chant resonated through the arena, signalling the start of Crushed. It was a perfect choice for an encore, with its chaotic guitar riffs, rap-like high-energy vocals, and relentless double-kick drumming creating an adrenaline-fueled crescendo. Just when it seemed the show couldn’t get more intense, the pyrotechnics exploded, perfectly timed with the booming “BANG, BANG, BANG!” that replaced McCall’s vocals. As the drumming cage continued to rotate, the performance hit the upper echelon of metal shows. In another spine-tingling moment, McCall was elevated several metres in the air by the now-guardless bridge, and with each shout of “CRUSHED,” pyrotechnics fired in all directions from the structure. The pits of hell had truly opened up, marking the highlight of the night in a blaze of fury and fire!

As the bridge descended back to the main stage, McCall took a moment to reflect. The audience could feel the raw emotion as McCall tried to articulate what this 20-year anniversary meant to the band. He didn’t just thank the crowd; he acknowledged the long-time fans who had probably heard similar speeches over the years but confessed that a career like this and a show of this magnitude were far beyond anything they had ever imagined. McCall emphasised that moments like these don’t come often for bands, especially heavy ones like Parkway Drive, or Australian bands in general. His gratitude was genuine, not only for the night's success but for two decades of unwavering support. He admitted that even after 20 years, every day still feels like day one, and somehow, it’s better than ever.

By this point, all five band members had gathered at the front of the island stage to applaud the audience, expressing sincere thanks. McCall went on to insist that the crowd show love to the incredible strings section, whose contributions had added so much depth to the performance. The same recognition was given to the choreography team, whose energy kept the stage and the crowd electrifying all night. McCall saved the loudest cheer for the stage crew, praising them for the stunning setup that made all seven shows of the tour unforgettable.

Then, with a cheeky grin, McCall announced one more song. The crowd roared as the drum kit rose up on hydraulics from the base of the island stage, with Ling kicking into the iconic opening riff of Wild Eyes. The crowd, now fully synchronised with the band, sang the melody while phone screens lit up the arena. Gordon recommenced drumming duties as the rest of the band kicked in, delivering their most stadium-friendly anthem to date. Despite being deep into the set, McCall's energy was unwavering as he belted out the verses, and the circle pit fired up for one final round of pandemonium.

In a symbolic twist, the night ended as it began. Five mates playing on a stage, brothers in arms. The band paused the music, encouraging the audience to belt out the iconic chorus. The beauty of Wild Eyes lies in its universal nature; there are no lyrics to the chorus, and it doesn’t matter where in the world the song is played or which language is spoken. The music itself bonds Parkway Drive fans to each other and the band, transcending words. Ling hit the iconic riff once more, followed by a pause for the crowd to sing one last time, before McCall delivered a final bark of “Viva the underdogs!” Streamers burst from the stage, marking the end of an epic celebration.

“To another 20 years!” McCall shouted as the entire band bowed in sync to thunderous applause.

This was modern-day heavy metal theatre at its finest, done right, without any pretentious bullshit. You can’t deny the raw energy of Parkway Drive’s hardcore roots that defined their early career in metalcore, and you can’t deny the refined craftsmanship of their more stadium-friendly anthems. Parkway Drive embodies both worlds. Though their lyrics in Wild Eyes may sing of being underdogs, Parkway Drive haven’t belonged in that category for most of their existence. They are Australia’s most successful metal export, and they should wear that badge with pride as they continue to headline festivals on the world stage.

Thank you, Parkway Drive. Perth loves you!

ANDY JONES

Photos by Stu McKay