Review: Superheaven at Magnet House

Superheaven at Magnet House
w/ Angel Du$t, Gloam
Wednesday, May 6, 2026

With US heavies Superheaven and Angel Du$t bringing their massive international double bill to Perth, a sold-out Magnet House was buzzing well before the first band took to the stage. Both upstairs and downstairs filled out quickly, and by the time the supports were underway the venue had the kind of atmosphere that usually surrounds the year’s most memorable shows.

Local band Gloam kicked things off early and set the tone in a way that felt far bigger than an opening slot. Opening with Eastbourne, the four-piece immediately leant into the sound they have quickly become known for since forming in 2022. Their music sits comfortably between atmosphere and weight, blending shoegaze-inspired moments with crunchy “wall of sound” guitars that filled the room without losing clarity. Tracks like Diving Heavy, alongside even heavier unreleased songs Marionette, Shoegazey and Tunnel, translated extremely well live, balancing haze and impact through fuzzy guitars, powerful drumming and strong vocals. It left the room in exactly the right place before the night shifted gears and reinforced that Gloam are a band worth catching well beyond a support slot.

Baltimore hardcore heroes Angel Du$t followed with a set that steadily pushed the room further and further into chaos. Opening with I’m The Outside, the first breakdown kicked off a small mosh that grew with every song that followed, fuelled in part by constant encouragement from vocalist Justice Tripp. By the time Stay, Toxic Boombox and Space Jam rolled around, the floor was in full motion.

What makes Angel Du$t so effective live is the way they blend hardcore intensity with groove. Tracks like Take My Love, Headstone, and The Beat bounced as much as they hit, keeping the crowd moving without ever losing weight. Even deeper into the set, songs like Cold 2 The Touch, Love Slam and Sippin’ Lysol kept the energy climbing before Stepping Stone closed things out with the room still surging.

Before leaving the stage, Tripp summed up the atmosphere perfectly, telling the crowd, “This is our last night with Superheaven. They’re the coolest band in the world.” It felt genuine, and after watching the chemistry between the bands and the crowd all night, it was hard to disagree.

When Superheaven took the stage, they kept things simple, going straight into Sponge with little build-up. What followed leant fully into their dense, grunge-soaked sound, with a thick low end and an immersive wall of guitar that filled the room.

Leach and Cruel Times carried that weight early, while Around the Railing and Numb to What Is Real stretched things into something more atmospheric without losing impact. The set flowed perfectly, with each track landing without needing much space around it.

That consistency worked heavily in their favour. Songs like Knew and No One’s Deserving had the crowd fully engaged, with choruses carried just as much by the room as the band themselves. There was a clear sense that this was a crowd deeply familiar with the material, and it translated into an energy that barely dipped across the entire set.

Mid-set, the band took a moment to shout out their “new friends”, Gloam and Angel Du$t, making it clear there was admiration between everyone on the lineup.

Room and Downswing pulled things back slightly before building again. Then, by the time Youngest Daughter came around, it clearly marked the peak of the night. The entire room erupted into the biggest singalong of the set, and the floor of Magnet House genuinely felt like it was bouncing beneath the crowd.

There was also plenty of back-and-forth between the band and the crowd throughout the night. After mentioning that Adelaide had been cool but that Perth may have topped it, the room erupted into a loud “f*** Adelaide” chant before naturally rolling into an equally passionate “West is best.” The exchange got a laugh out of the band, who were clearly feeding off the energy in the room as much as the crowd was feeding off them.

Later in the set, vocalist Taylor Madison paused to take it all in, telling the crowd, “This might be one of the best shows I’ve ever played in my life. I don’t think I’ve said that before.” He followed it with a story about getting in trouble for smoking weed behind the venue in Adelaide, joking that Perth seemed far more relaxed about it: “It’s 2026, who cares?”

Crawl deserves its own mention. It sparked one of the biggest moshes of the night, lifting the energy in the room another level entirely. The track absolutely rips live, driven by crushing instrumentation, massive vocals and a relentless pace that hit perfectly in a venue like Magnet House.

From there, Stare at the Void, Long Gone and In On It kept the momentum rolling with dense guitars and a constant sense of forward motion. Towards the end of the set, the band also took a moment to praise venue security, noting that guards at a previous show had been dropping crowd surfers, while the Perth security team seemed to genuinely be enjoying the music while still keeping everything under control.

Poor Aileen closed the night, and it landed exactly how it needed to. There is a heaviness to it live that does not fully come across on record, from the pacing to the drawn-out build and the way the entire room stayed locked into it from start to finish. It felt like the perfect ending to a set that never loosened its grip on the crowd for a second.

There was not much between songs, and there did not need to be. The focus stayed on the music, and the room did the rest. By the end of the night, Magnet House was a sea of sweat, ringing ears and massive smiles.

Given the turnout and response, it is hard to imagine Superheaven returning to a room this size next time around. Their trajectory has been steadily upward for years now, and a larger venue feels inevitable. That made this show feel especially memorable, like catching a band right before they outgrow rooms like this entirely.

HARRISON JONES

Photos by Linda Dunjey and Adrian Thomson