Live Review: Knotfest Australia 2025
28 February 2025 at Flemington Racecourse, Melbourne, Australia
Review by Jeana Thomas
Photography by Jeana Thomas Photography
SLIPKNOT
A Chaotic Symphony of Sound and Fury
Knotfest? It’s Slipknot’s baby, a festival where the heaviest of the heavy come together and I felt every note, every scream, resonate with me. It’s more than a concert; it’s where you go to lose yourself in music that’s as intense as life can get.
When Slipknot hit the stage, it was like they ripped open a portal to chaos city and I was right there for the ride. Their music, a blend of skull-crushing riffs and heart-wrenching screams, felt like a personal exorcism of everything I’d bottled up.
Formed back in ’95 in Iowa, these guys climbed from the underground scene with a sound so heavy it could shake the foundations of Melbourne. Their nine members, each with their own mask and madness, create this wild, anonymous vibe that lets you dive into the music without any pretence. Early on in their set, they announced that they will be performing without their founding member, Shawn ‘Clown’ Crahan, who was absent due to a family emergency, telling us “He told us to tell you guys that he will be back down here as soon as he can. I’m sure you will all keep him and his family in your thoughts and prayers.”
Their look, those eerie masks and matching jumpsuits, it’s like they’re from another dimension, blending horror with the raw power of metal. Over the years, albums like “Iowa” and “Vol. 3” showed me how they could push the envelope, mixing thrash, death metal and even some melodic twists that hit you right in the feels.
I was absolutely blown away when Slipknot opened their set with “(sic),” instantly setting the tone and to top it off, they gave us the live debut of “Gematria (The Killing Name)” from All Hope Is Gone, a rare treat that had the whole crowd going wild!
The energy during Slipknot’s set was absolutely amazing, even without Clown, especially as they powered through some of their most iconic tracks like “The Devil in I,” a track that hit deep, blending heavy riffs with haunting lyrics that left me mesmerised. After an unforgettable set, Slipknot came back for an epic encore, blasting through “Spit It Out,”, “Surfacing” and the rare “Scissors,” reminding us all just how wild their live shows can get. With huge hits like “Wait and Bleed,” “The Devil in I,” and “Psychosocial” already in the mix, it was the perfect way to end a night that was pure, unrelenting chaos.
One thing about Slipknot’s live shows that always hits me hard is how they juggle chaos with control. Their sound is this wild, untamed beast, yet there’s this meticulous precision in how they unleash it. It was all on display, especially during “Duality” and “Psychosocial.” These songs had the crowd losing it; “Duality” with its intense verses leading to that sing-along chorus, it was like a release of all the pent-up energy in the place. And “Psychosocial”? That song’s relentless rhythm had everyone in a frenzy, with Taylor’s iconic scream cutting through like a siren.
Slipknot has always been more than just a band for me; they’ve shaped the metal scene inspiring so many. Knotfest was a celebration of their journey, their influence and how they keep pushing the envelope and a testament to what they’ve built and how they continue to touch lives.
The whole experience by Slipknot was a perfect blend of their signature intensity, technical skill and emotional depth. It’s rare to find a band that can take you from the depths of chaos to moments of quiet reflection, all in one show. Slipknot does that and in doing so, they’ve created more than fans; they’ve built a community where we all find solace in the storm of their music.
BABY METAL
I was blown away by this incredible fusion of J-pop and heavy metal band, something I never knew I needed until that moment. Their performance was this wild, exhilarating clash of worlds, showcasing their unique blend of genres that had puzzled and amazed fans like me since they burst onto the scene.
I remember first hearing about Babymetal back when they started in 2010 in Tokyo, as part of Sakura Gakuin. The idea was genius in its simplicity: mix the upbeat, poppy sounds of J-pop with the hard, raw edge of metal. I was sceptical at first, thinking it might just be a gimmick, but from their debut album to “Metal Resistance,” they proved they were more than that. Tracks like “Gimme Chocolate!!” became my go-to for a mood lift, and “Karate” with its heavy riffs and catchy tunes was a perfect example of their genre-blending mastery.
Watching Su-metal and Moametal, with their mesmerising presence and the Kami Band’s technical prowess at Knotfest, was like stepping into a different dimension. They opened with “Babymetal Death,” and right away, the contrast between the heavy guitar work and the electronic, almost whimsical melodies set the tone for an unforgettable performance. Su-metal, in her iconic red/blue and black, seemed almost otherworldly, her voice piercing through the chaos with a clarity that was both beautiful and fierce.
The crowd’s reaction to “Gimme Chocolate!!” was wild; everyone was jumping, singing along, caught in this strange, but wonderful blend of innocence and intensity. It was bizarre seeing the dichotomy of Su-metal’s serene performance with the brutal metal instrumentation, but it worked so well.
“Karate” was another highlight, where the band showed off their ability to seamlessly switch between the structured pop elements and the chaotic metal breakdowns. The precision of their dance moves, combined with the Kami Band’s relentless energy, had everyone hooked, even those who might have come for more traditional metal bands.
Babymetal’s set was a cultural phenomenon. They’ve managed to bridge so many gaps between music genres, cultures and between fanbases. Their music appeals to such a wide audience and seeing that live, with everyone from metalheads to J-pop fans dancing together, was a testament to their universal appeal.
POLARIS
Seeing Polaris live, I could feel the energy they brought, embodying everything that’s made them such a powerhouse in the Australian metalcore scene. Having followed them since their rise from Sydney in 2012, I knew I was going to have a good time. Their performance wasn’t just about delivering heavy riffs; it was an emotional journey, showcasing why they’ve become one of the most revered bands in modern metalcore.
Starting with “Nightmare” the set kicked off with an intensity that was unmistakable. What really hit home for me was how Polaris wove personal struggle, mental health and societal issues into their music. Songs like “Hypermania” and “Masochist” aren’t just tracks; they’re anthems for those grappling with their demons. The way they blend their aggressive sound with these introspective lyrics is what drew me to them in the first place. “Hypermania” was a standout; its chorus was a beacon of light in the midst of chaos, showing their growth from “The Guilt & the Grief” to “The Death of Me.”
The technicality of their music was highlight. Daniel Furnari’s drumming was a backbone, shifting effortlessly between speeds to add this dynamic range. Jake Steinhauser’s bass was the unsung hero, grounding the complex layers of guitars from Rick. Their guitar work, full of intricate riffs and harmonic leads, was a masterclass in how to keep a crowd engaged through both the heavy and the melodic.
By the time they played “Inhumane” to close out, the energy was still sky-high, yet there was this shared exhaustion from giving it our all. They’ve grown, but their core, honest, powerful music that connects, remains the same. They’re not just another band in the metalcore scene, but a beacon for what metalcore can be.
SLAUGHTER TO PREVAIL
As soon as Slaughter to Prevail took the stage, I was immediately thrown into a maelstrom of sound that left no room for anything but pure, unadulterated metal. Coming from Russia, a place not typically known for deathcore, this band has been shaking up the global metal scene with their aggressive, guttural sound since their formation in 2014 by Alex Terrible. Their performance was a brutal testament to why they’re considered one of the heaviest bands in modern deathcore.
I remember first encountering them with their debut “Misery Sermon” in 2017, where tracks like “Agony” and “Demolisher” introduced me to their world of relentless aggression. Their music isn’t just heavy; it’s like an oppressive force designed to challenge you with every note. Their follow-up, “Kostolom” in 2020, took this to another level, cementing their status in the deathcore scene with its punishing breakdowns and chaotic rhythms.
What I noticed about their Knotfest set was the sheer force of their music. Alex Terrible’s vocals were beyond human – deep, guttural growls that felt like they came from the depths of chaos. Watching him command the stage, often in his trademark mask, was like witnessing a sermon of brutality. His presence alone was enough to draw you into their dark, intense world.
The rest of the band was equally formidable. The guitar work from Jack Simmons sliced through the air with precision, mixing rapid-fire riffs with breakdowns that felt like seismic events. Dummer, Evgeny Novikov, locked everything into place, with drum work hitting like a relentless machine, blending blast beats with grooves that kept the momentum going.
The way they built and released tension was masterful. Each song, especially “Demolisher” and “Conflict,” was like a journey into the heart of darkness, building up to these explosive moments where the energy in the crowd just erupted. People around me were headbanging with this shared, intense experience.
The set was paused for about 10 minutes after an incident in the crowd, with paramedics called in to assist and remove an injured fan, but thankfully, the show picked back up once everything was under control.
What’s great about Slaughter to Prevail is their technicality. Even amidst the brutality, there’s this intricate detail in their music. The guitars weren’t just about being loud; they were about complexity and speed and Evgemu’s drumming wasn’t just about keeping time; it was about driving the song into new realms of intensity. Their breakdowns weren’t just drops, they were carefully crafted moments of absolute terror that you could feel in your chest.
Their live sound was something else too. It was clear and powerful, allowing every element to shine through without losing the raw edge that defines their music. This clarity meant that even in the midst of their heaviest songs, you could appreciate the skill behind every note.
By the end of their set, particularly after “Demolisher,” it was clear that their influence in deathcore was undeniable and how they’re pushing the genre forward with their commitment to brutality, technicality and raw emotion.
WITHIN TEMPTATION
Seeing Within Temptation, I was swept into this beautiful, intense world where symphonic metal felt like both an epic movie and a raw concert experience. Being there was like witnessing why they’ve been such a pivotal part of the heavy music scene for over two decades now.
I encountered Within Temptation since they started in 1996 in the Netherlands and their ability to mix classical elements with metal has always been what drew me in. From “Enter” to “Mother Earth,” they’ve had this unique sound, combining the gothic with the symphonic, which only got richer and more diverse over time. Albums like “The Silent Force” with hits like “Ice Queen” and “Stand My Ground” showcase their ability to craft these deeply layered, cinematic sounds.
The moment they started with “We Go To War,” I knew this was going to be great. The atmosphere was charged with this anticipation and as soon as Sharon den Adel began to sing, her voice was like a beacon, guiding us through their realm of music. Her operatic vocals mixed with more emotive, raw tones created this dynamic performance that was both commanding and deeply personal. Her interaction with the crowd was genuine; you could feel the connection.
The momentum kept building with “Bleed Out,” a track that had the crowd singing along and really getting into the vibe. As the night went on, the band seamlessly blended powerful ballads with epic anthems, creating an unforgettable atmosphere. The highlight for me was the closing song, “Mother Earth” – it was the perfect way to end the set, bringing everything full circle with its hauntingly beautiful melody and emotional depth. It was a show that left me in awe of their ability to balance intensity and vulnerability so effortlessly.
The band’s musicianship was just top-notch. Ruud Jolie and Robert Westerholt on guitars were in perfect harmony, moving between heavy riffs and solos with ease.
Their performance at Knotfest was a clear indicator of why they’re still at the forefront of symphonic metal. They’ve evolved, but they’ve kept the heart of their music beating strong.
HATEBREED
Catching Hatebreed perform was like diving into a whirlwind of raw energy and defiance that only they could bring to the stage. Having followed them since they emerged in 1994 from Bridgeport, Connecticut, I knew what to expect, but experiencing it live was something else entirely. Their performance was a vivid reminder of why they’ve been at the heart of hardcore metal for over two decades.
Hatebreed’s sound, this perfect storm of hardcore punk, metalcore and thrash, has always been about speed, aggression and that unyielding hardcore attitude. As they’ve grown, albums like “Perseverance” and “The Rise of Brutality” have only deepened their message of resilience and personal strength.
Hatebreed’s set was an absolute blast. Jamey Jasta’s growl was like a battle cry, igniting the crowd into this frenzy of movement. The physicality of their performance, from Wayne Lozinak and Frank Novinec thrashing guitars to Jasta’s commanding presence, was palpable.
The precision of their music is what always knocks me out. Chris Beattie on bass and Matt Byrne on drums were a relentless force, driving the rhythm so hard and tight it felt like a heartbeat of defiance. And those breakdowns? They hit like a freight train, turning the crowd into a living, breathing entity of chaos and energy.
Wayne Lozinak and Frank Novinec’s guitar work was on point, blending thrash with hardcore grooves that felt both aggressive and rhythmically compelling. During “Perseverance” and “Before Dishonour,” the guitars were like a soundtrack to our collective struggle, perfectly complementing Jasta’s vocals and the band’s intense rhythm.
Their setlist was a journey through their legacy, mixing classics with newer tracks. “I Will Be Heard” and “A Call for Blood” had everyone singing, while “When the Blade Drops” and “Tear It Down” showed they haven’t lost a step. Each song was a punch to the gut, a reminder to keep pushing, keep fighting.
It was a testament to their enduring power in the hardcore and metal scenes. Their performance was a blend of aggression, empowerment and a connection with fans that felt almost sacred. They left an indelible mark on everyone there, proving once again why they’re not just a band but a movement.
A DAY TO REMEMBER
The moment those opening chords of “The Downfall of Us All” ripped through the speakers, it was game on. The crowd exploded, think circle pits and flying elbows. Jeremy McKinnon strutted out like he owned the place, his voice a glorious mash-up of sandpaper and honey. The guy’s got lungs and paired with the band’s tight-as-hell sound – Kevin Skaff and Neil Westfall shredding riffs, Alex Shelnutt pounding drums like they owed him money—it was pure chaos in the best way.
McKinnon’s energy was the real spectacle. He bounced around like a caffeinated kangaroo, grinning ear-to-ear and at one point yelled, “Melbourne, you’re bloody legends!” in a way that felt less rehearsed and more like he was genuinely stoked. During “All Signs Point to Lauderdale,” I caught myself laughing as a guy next to me attempted a backflip and ate dirt—peak festival vibes.
Their performance was a sweaty, singalong blast of nostalgia and adrenaline. They’ve still got that magic, bridging the gap between mosh pit warriors and melody lovers with a wink and a scream.
ENTER SHIKARI
I’ve been itching to see these British genre-benders live ever since I stumbled across “Sorry, You’re Not a Winner” and let me tell you, they didn’t just deliver, they detonated.
The set kicked off with “Bloodshot” melting into “The Dreamers Hotel” and it was like someone flipped a switch on the crowd. Rou Reynolds bounded onto the stage, all manic energy and wild hair, his voice zigzagging from guttural roars to soaring melodies. The synths hit like a rave had crashed a metal gig and Chris Batten’s basslines were so fat they practically vibrated the lens off my camera.
What I love about Enter Shikari is how they’re this glorious mess of sounds—punk, electronica, a dash of drum-and-bass – yet it all works. Rou Reynolds is a live wire, half frontman, half motivational speaker and it’s impossible not to get swept up. Then came “Mothership” and the breakdown felt like the earth cracked open; I swear I saw a dude in a Slipknot shirt lose his mind and his shoe in the chaos.
It was a perfect set for me because they played “Destabilise” and it was a sweaty, joyous riot.
IN HEARTS WAKE
In Hearts Wake tore up the stage at Knotfest. Hailing from Australia’s laid-back coast (Byron Bay), they’ve been churning out eco-conscious metalcore since 2010, blending heavy riffs with a save-the-planet vibe that’s as earnest as it is epic.
Frontman Jake Taylor was a force, his screams during “The Flood” felt like a rallying cry for Mother Earth, while the crowd moshed like they were shaking off years of pent-up energy. The band’s line-up – Kyle Erich on bass, Conor Ward and Eaven Dall on guitars and Ben Nairne on drums, locked in tight, delivering those chugging breakdowns I’ve loved since their debut Divination. They’ve evolved over five albums, weaving in melodic hooks and even guest vocalists like Winston McCall from Parkway Drive, but that raw, green-hearted spirit still shines.
Jamie Hails from Polaris made a surprise appearance on stage to deliver guest vocals during “Goldringer”, adding an extra layer of intensity to the already powerful performance.
MISS MAY I
Miss May I, the Ohio metalcore vets who’ve been shredding since my Myspace days. These guys have been riffing since 2007 and their set at Knotfest was a blast of nostalgia with a shiny new edge. Levi Benton’s growl roared through. With their signature blend of melodic metalcore and unrelenting energy, they proved once again why they’re a staple in the scene. They have the perfect mix of intensity and melody. They effortlessly moved between crushing breakdowns and soaring, sing-along choruses, creating a dynamic atmosphere that had fans roaring in unison. Their crowd interaction was on point and it was clear that the band thrives in front of a live audience.
They kicked off their set with a bang, jumping straight into “Hey Mister” and “Under Fire,” setting the stage for an intense and high-energy performance. The band delivered one powerhouse song after another and it all built up to an epic conclusion with “Deathless” and “Shadows Inside.” By the time they wrapped up, the energy of the crowd was off the charts and I couldn’t help but feel like I’d just experienced a whirlwind of pure metal greatness!
Celebrating 15 years of Apologies Are for the Weak with re-recorded tracks, they proved they’ve still got that gritty charm.
HEALTH
Oh man, these guys are a trip. I stumbled across their industrial noise vibes years ago while hunting for something weird to soundtrack my late-night work sessions. Hailing from LA’s underground scene, this industrial noise-rock trio, Jake Duzsik, John Famiglietti and BJ Miller hit Knotfest in Melbourne like a glitchy fever dream.
Health’s set was an absolute trip! They kicked things off with the aggressive energy of “Crack Metal”, setting the tone for a wild ride. “Hateful” followed and the crowd went absolutely wild. But the real punch came with “Feeling Nothing,” which had everyone lost in the heavy, chaotic vibes. It was one of those sets where you couldn’t help but get caught up in the energy, loud, powerful and unforgettable!
Jake’s haunting croon cut through the chaos, while John’s bass thumped so hard I’m pretty sure my sneakers vibrated. Fresh off their 2023 album RAT WARS, they’ve got this knack for balancing creepy vibes with hooks you can’t shake. The crowd didn’t know whether to headbang or trance out, so they did both. HEALTH was a sonic rollercoaster, strange, sweaty and stupidly fun. They’re the oddballs you didn’t know you needed in a sea of heavy riffs!
SUNAMI
Sunami crashed Knotfest Melbourne like a wrecking ball in a mosh pit. Hailing from San Jose, these hardcore bruisers brought their Bay Area swagger to Knotfest in Melbourne and delivered a beatdown vibe that felt like a street brawl set to music. “Sunami Style” dropped with riffs so low and heavy they could’ve cracked the ground, while Josef Alfonso barked lyrics like he was squaring up for a fight. Picture a gang of tough-as-nails punks with amps cranked to eleven, zero frills, all aggression. The pit turned into a blender of flying fists and wild grins. It was short, savage and stupidly fun – Sunami’s the real deal!
VENDED
Hailing from Des Moines, this young crew – fronted by Griffin Taylor, son of Slipknot’s Corey – brought a feral energy that felt both fresh and faintly familiar. Their sound? A snarling mix of nu-metal heft and punky snarl, with “The Far Side” unleashing riffs so thick they hit like a brick to the face. Griffin’s vocals were a wild ride, raspy, unhinged and dripping with attitude, while the band thrashed behind him like they’d been cooped up too long. The crowd went nuts, a sea of flailing limbs and giddy grins and I couldn’t help but bob along, half-laughing at how these kids already own a stage like seasoned pros. Sure, the Slipknot shadow looms large, but Vended’s carving their own gritty path, think less “heir apparent,” more “rowdy cousins crashing the party.” It was loud and a total blast – exactly what you want from a festival set.
Sheldon Ang Media would like to thank Dallas Does PR, Destroy All Lines and Knotfest for the Press Accreditation
About the Writer: Originally hailing from Western Australia, Jeana Thomas now thrives in the vibrant city of Melbourne. Amidst the hustle of her role in a prominent teaching hospital, she also navigates the dynamic world of entrepreneurship as the owner of a medical transcription company. Beyond her professional endeavours, Jeana finds solace and joy in the rhythm of music, the allure of travel and the artistry of photography, with a particular passion for wildlife photography.
About Sheldon Ang Media: Sheldon Ang Media (est. May 2022) have been accredited to more than 140 of the hottest acts including Coldplay (Perth), Taylor Swift (ERAS Tour in Sydney), KISS, Iron Maiden, RHCP, P!NK and The Kid LAROI with reviews shared by the likes of Belinda Carlisle, UB40, Delta Goodrem, The Wiggles and Toni Childs on social media. The founder has interviewed rockers Suzi Quatro, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 70 artists. SAM is also a music journalist on the Triple M Radio network.
