Review: Windwaker at Amplifier Bar

Windwaker at Amplifier Bar
w/ Thousand Below, Gloam, Heaven // Alone
Saturday, February 8, 2025

Windwaker, Melbourne’s genre-bending metalcore force, have been on a meteoric rise since the release of their groundbreaking 2024 album, Hyperviolence. Their fusion of blistering riffs, electronic elements, and razor-sharp lyricism has cemented them as one of Australia’s most exciting heavy acts. To mark this defining chapter, the band embarked on their first-ever headline tour, delivering a high-energy spectacle that left audiences in awe. The tour’s Perth stop at Amplifier Bar was no exception. Fans were treated to an electrifying night where die-hards and newcomers alike witnessed Windwaker at the peak of their powers.

Despite a half-hour delay, anticipation ran high as an eerie intro signalled the start of the night. A growing crowd descended upon the stuffy Amplifier Bar, eager to support Heaven // Alone and their distinctive blend of heavy alternative rock, rich with atmosphere and intensity.

From the first notes, the band showcased a sound both immersive and dynamic, with frontman Jayden King’s ethereal yet commanding vocals cutting through layers of soaring guitars from Eric Stewart and Jon Flynn. Their intricate, textured progressions carried echoes of shoegaze, at times reminiscent of Around the Fur-era Deftones, yet firmly rooted in their own identity.

Despite being an opening act, Heaven // Alone exuded confidence, each member sporting their latest merchandise as they took the stage with purpose. King’s laid-back yet blistering presence led the band through a powerful set, setting a high standard for the acts to follow.

Even with past line-up changes, the band has continued to evolve, crafting compelling new material. Standout moments included their latest single, Exonerate, while drummer Nathan Wolfenden delivered a particularly tight performance, expertly backed by bassist Callen Vandenhelm. A cover of Linkin Park’s One Step Closer paid tribute to an era of music that undoubtedly influenced Heaven // Alone without overshadowing their own distinct approach.

Though their set was brief, it built to an impactful crescendo. Heaven // Alone may have opened the night, but with an audience fully engaged from the outset, it’s clear they’re a band deserving of adoration.

Gloam took the stage with a fitting Acknowledgment of Country, setting the tone for an immersive and genre-defying performance. Their mesmerising brand of post-shoegaze transported the audience, blending ethereal soundscapes with powerful, driving instrumentation.

Led by Rowan Hardy on guitar and vocals, the band’s dreamy, reverb-drenched melodies were elevated by lead guitarist Oli Booth’s shimmering layers of sound. Vocal harmonies added an extra dimension, creating a hypnotic atmosphere that invited the audience to simply close their eyes and let the music wash over them.

One of the rare left-handed drummers on the circuit, George Blacklock, kept the set tight, locking in seamlessly with bassist Oakie Diggins. Their rhythm section provided a steady pulse beneath the band’s expansive, chord-driven shoegaze textures.

The LED screen behind them projected a serene animation of a Canadian train winding through snowy mountains, a perfect visual complement to Gloam’s cinematic, transportive sound. Their songwriting prowess was on full display, offering a masterclass in atmosphere and emotion.

A sizeable early crowd, spanning multiple generations, highlighted the band’s broad appeal, including Diggins’ own father, who fully embraced the spirit of the evening. “The music scene is back!” was the clear message from the band, which was a sentiment that rang true throughout their set. With a sound that feels both refreshing and nurturing, Gloam delivered an experience that was as much felt as it was heard.

An unexpected blast of Travis Scott’s Playboy through the house PA caught the crowd off guard but was quickly replaced by the intro of Shake. The pre-recorded, distorted guitars slowly built tension with James Deberg’s pop-punk-infused clean vocals and Max Santoro’s precise percussive flair.

As Deberg cried, “I dread it every time, but I beg for the punishment!” the Amplifier mosh pit erupted. Josh Thomas’ signature riffs evoked utter chaos, while couples caught in the friendly fire of the pit checked in on each other, ensuring everyone was safe amid the mayhem.

Thomas’ curly-haired presence even bore a striking resemblance to Perth’s own Simon Mitchell, with his fretboard mastery just as impressive. The energy in the room made it clear that Perth had been eager to welcome Thousand Below back to Australian shores, and the love was mutual as the band fed off the crowd’s infectious energy.

Standout moments included Face to Face, which ignited another surge of unrelenting movement, with drinks precariously held by punters on the edges of the pit not standing a chance and a few flying out of grip. The crowd erupted into a massive sing-along for fan-favourite Silent Season before Venenosa injected fresh chaos back into the set.

By this point, Amplifier was almost at full capacity, thick with both stage smoke and vape haze. Deberg commanded the stage, captivating the audience with his vocal mastery in Wrong Again and getting hands swaying side to side during Hell Finds You Everywhere. His charismatic energy never wavered, taking a moment to voice his appreciation for the crowd and offer an ode to Windwaker, encouraging everyone to embrace their home country and celebrate the night.

Closing on an emotional note, Deberg dedicated Sabotage to his friend Jasper, who hadn’t been himself lately, which was a heartfelt moment that resonated with the crowd. As a final thank you to the fans, Deberg took the energy one step further, leaping into the pit to join them for one last mosh. Perth looks forward to Thousand Below returning soon.

Continuing the now-established tradition of juxtaposing house music, Creed’s One Last Breath blasted through the PA, which was an odd precursor to the arrival of tour headliners Windwaker.

One of the quirks (or perils) of Amplifier is that the band room sits at the back of the venue, meaning any attempt at a dramatic stage entrance is inevitably undercut by the band having to wade through the crowd to get there. But as Windwaker made their way through the packed house, high-fiving fans along the way, their commanding presence was undeniable. The anticipation only grew as their pre-set intro set the scene.

“Are we gonna fuck some shit up tonight, Perth? Or what? Show me what you’re made of!” commanded frontman Liam Guinane. The crowd ignited as the anthemic opener Infinity from 2024’s Hyperviolence launched the set, the entire floor bouncing like kids on red cordial at a four-year-old’s bouncy castle birthday party. Chants of “Wah oh wah oh!” rang out in unison. Bassist Indey Salvestro’s backup vocals helped carry the layered approach to the song, both singers sounding as fresh as if this were the first night of the tour. Meanwhile, the mix settled with Justin Keurntjes’ neon-orange, seven-string Ibanez sounding just as incredible as it looked, with the mosh pit lifting during Guinane’s growled stanzas.

Without skipping a beat, the band tore into Tabula Rasa, with Guinane stringing syllables together like he was shelling peas. The energy didn’t let up, as Get Out’s impassioned vocals saw the crowd screaming every word back at the stage, followed by the groove-heavy Dopamine Freestyle from full-length release Love Language (2022). “ALRIGHT, SHUT THE FUCK UP!” Guinane bellowed as the song came to a close, met with an equally rowdy response.

Melodic yet aggressive, Fractured State of Mind and Vertigo were welcomed with open arms before the night took an unexpected turn. What followed could only be described as The Prodigy and Knife Party performing aural coitus, with a full-blown percussive and electronic showcase courtesy of drummer Chris Lalic and synth-master Connor Robins transforming Amplifier into a rave. Robins’ addition to the band has been a game-changer, elevating Windwaker’s sound to new heights.

With the crowd locked in, the band dove into Villain, their take on a ballad, though the crushing guitars and guttural vocals in the middle section said otherwise. Windwaker then hit full throttle, seamlessly weaving between old and new. Beautiful, the opening track off Love Language, ignited an epic circle pit, before Apathy, the first cut of the night from the Hyperviolence Expansion Pack, had the room moving as one. Much like the set’s opener, Infinity, Apathy also feels stadium-ready.

Diving back into Love Language, the genre-blending Superstitious Fantasy, complete with blast beats, rap growling, and incredible melody, catered to the diehards in the front row. Guinane then delivered a flawless performance of Haunting Me, holding the crowd in the palm of his hand. Arcane, another Expansion Pack highlight, sustained the relentless energy levels leading into the home stretch.

It was a masterstroke to bookend the set with four of the band’s more notable tracks. “This is for my badass motherfuckers who don’t give no shits, who don’t take no fucking crap from nobody. Let’s spit some Venom!” exclaimed Guinane, before the pit erupted once again. The song’s massive hooks, with chants of “I DON’T THINK SO!” and “I’M THE REAL SHIT!”, turned the venue into a warzone. Windwaker bend genres, and Venom is no exception. At Guinane’s request, the crowd took over singing the interlude backing vocals, allowing his lead vocal to soar high. This moment of pure melody soon made way for the biggest breakdown of the night, a circle pit erupting and continuing, as a particularly animated Guinane concluded his lyrical tirade.

With energy levels peaking, Robins and Lalic pulled out the electronica equivalent of a Black Hawk landing on the Amplifier roof, with effects that would have had the members of Chase & Status creaming their pants. The opening grooves of Break the Rules then hit, treating the audience with its sickly-sweet pop chorus and rap-heavy verses, proving why it was very fucking unlucky to miss out on triple j’s Hottest 100.

Then came the heavy artillery in the form of an encore. “Enter The Wall!” Guinane declared, leading the charge into Hyperviolence’s most brutal track. With one final surge of seemingly boundless energy, the crowd went all-in with their headbanging, moshing, circle pitting, and ultimately sending the set into pure chaos.

As the dust settled, Guinane took a moment to pause and thank the crowd for what he called “the biggest fucking 12 months the band had ever experienced,” conveying love to Perth fans for the unwavering support. Those who had been at Windwaker’s last WA show at Lynott’s Lounge in July 2023 couldn’t help but reflect on how far the band had come.

With one last encore, featuring metaphoric girls on white horses with angelic voices from the hit single Sirens, the night came to a close with the loudest singalong of the night. Windwaker wrapping up not just a set, but a career-defining first headline tour.

As fans poured out onto Murray Street, one thing was clear: Windwaker had just solidified their place as a new favourite Aussie band. Their devoted following is a testament to their ability to fuse diverse elements into a cohesive sound, a skill masterfully displayed on Hyperviolence.

Windwaker’s rise shows no signs of slowing down, fuelled by a palpable sense of Australian pride following them wherever they go. With a U.S. tour supporting Perth’s own Make Them Suffer on the horizon, Windwaker’s trajectory only continues to soar. The past year has been monumental, but as for the next 12 months, the sky is now the fucking limit for Windwaker.

 

ANDY “ANDO” JONES

Photos by Muhammad Imran