There was anything but ‘Silence’ at Trivium’s second, and sold out, Melbourne Show on Wednesday night. The Silence in the Snow tour brought two blistering local acts along for the ride in Orsome Welles and Orpheus Omega.
Trivium are no strangers in Melbourne, this tour being their 4th visit in 5 years. Having been to all of these gigs, I have seen it all. A Trivium crowdreaffirms all the aesthetic stereotypes of your typical metalheads. Standing a comfortable 6-foot from the ground, I was still one of the shortest in the room of 800-odd people, 90% of whom were colossal, bald, tattooed 25-45-year-old men decked out in all black. A complete surprise.
In what can only be described as jolly death metal, Orpheus Omega spliced melodic death metal music with grade-A on-stage banter and presence. The mix was highly unusual, yet oddly rewarding for the keen metallers in the room, with even the four women in the venue managed to get into the mosh. A small, yet vocal crowd of devotees led the way for fans to attempt to catch on to the songs, and the results were hilarious. The air was as electric as their guitars and left fans wanting more after also having only 30 minutes to blow minds.
The 45-minute wait between sets would, at any other gig, be a monstrous effort wherein anticipation quickly turns to impatience and finally boredom. It is my personal belief that venues try not to play the all-time classics in between sets as to not detract from the band’s performance. with fans belting out classic songs such as Metallica’s Welcome Home (Sanitarium) and Black Sabbath’s Paranoid to satisfy their hunger between sets.
The comradery amongst fans was completely, and utterly fucking heart-warming. This is such a unique characteristic of the metal community. In contrast to expectation that metalheads slouch their spine and complain about the world, people wrap their arms around strangers, unitingall sorts of people from all walks of life, and came together to sing the songs we have loved for as long as we can remember. The passion is unreal.
The lights dimmed and the speakers were turned into overdrive for Trivium’s signature show opener: a pitch black, face-melting communal rendition of Iron Maiden’s masterpiece Run to the Hills. Voices were gone before Trivium hit the stage.
Slated to perform only a one hour set, I was expecting to see wall-to-wall energy from Trivium, and that is exactly what they delivered. Opening with the Snøfall,which eerily sounds like a film soundtrack death scene, and Silence in the Snow combo. Trivium frontman Matt Heafy is a big proponent of singing the riffs as well as the lyrics, and as the first notes of Silence blared, the crowd was prompted to sing the riff of the new track and my god did we sing it. We drowned out the band.
Often when bands pass their prime, the forcing of fans to sing new songs,especially at the start,is a death sentence. But this could not have been further from reality for Trivium as fans gave the same treatment to Silence as they did to signature track Pull Harder on the Strings of Your Martyr at the near-end of the set. The band’s song writing has improved immeasurably and fans let them know.
Trivium are not a band to give fans a rest. The very few softies in their catalogue seldom make it to the stage show, with the exception of ballad Dying in Your Arms. I was actually surprised at how strong the response to this track was with it beingby far one of the biggest singalongs in all of the Trivium shows I have seen. Even Paolo Gregoletto, a bassist afflicted with perpetual resting bitch face syndrome (RBFS), cracked a smile during the bridge of this track.
“If you leave this venue with any shred of a voice left you have severely fucked up this Trivium show.”
–Heafy before he unveiled fan favourite Down From the Sky
Matt Heafy is one charismatic man. He is humble and joyous and never ceases to relent on his classic smile which infects the room. Always clad in his denim band patch vest, paying homage to his inspirations, Heafy commands jumping, headbanging and circle pits interchangeably and the congregation does his bidding.
The band delivered (head) bangers from every one of their 7 albums, with surprisingly only 4 tracks from the new album. Fans from all eras got what they came for. They even played Requiem, a track from their debut album, which Heafy wrote and recorded at the hardcore age of 14.
Comfortably defeating Perth for the title of best crowd of the tour, Trivium delivered the best set I have seen them play. Having seen Trivium at clubs and in paddocks at festivals, the band refuses to be complacent. Instead, this hard-working American 4-piece refuse to stop improving. They strive to continue to learn more about their instruments, they insist on spending huge amounts of time warming up and they emphasise a strong sense of brotherhood in the band and as fans, we feel all of that.
The bands new long-haired, headband-sporting drummer Paul Wandtke, their 4th drummer since 2009, rode an offensively good drum solo into the encore, where tape track Capsizing the Sea signalled to fans In Waves was coming. Fans sang the line over and over in anticipation and when the track kicked in, everybody in the room lost their fucking shit, myself included.
IIIIIIIIIIINNN WAAAAAAAAAAAAAAAAAAAVVVVEEEEESSS!!!! fans sang long into the 90th minute of the band’s much-appreciated over time set.
170 Russell played host to Trivium for it’s 4th time at this show. The sound system was impressively loud and well-mixed, and was clear on all three tiers of the venue which created a strong atmosphere for heavy music. The security guards at the venue were even thanked by the band on numerous occasions, proving how friendly this place can be.
As the show came to a close, a wayward horde of sweaty giants spilled out onto the streets of Melbourne satisfied in the knowledge that Trivium will probably be back within a year and we will be there for that one too.