REVIEW: GREG PUCIATO @ LION ARTS FACTORY

People will talk about this show for many years to come and it will be known as exceptionally unforgettable.

Words by Will Oakeshott | Images by Samuel Phillips and Pani Nietoperz

“Sometimes memorable music doesn’t necessarily have to be a hit.” - Henry Mancini.

The two most significant words in the above quote from the Academy Award-winning composer for this article are: “memorable music”. Every touring outfit that performed at this extraordinary event were doing so without a mainstream ‘hit’ single to their name. However, their art was known, to a degree, worldwide. But the question is, when does music become exceptionally memorable?

Adelaide’s Lonelyspeck was the only local and Australian artist featured on this lineup and, in a display of otherworldly talent, the one-artist band warmed a small crowd with his multiple-instrument juggling act and loop pedal. Born Sione Teumohenga, the producer and musician combines an array of electronic-driven soundscapes to form a pop ambience that creates a ‘floating’ effect for those who devote their energy to him. ‘Brine’ was a standout, a magnetic fusion of an electronic-pop song with some industrial edge. There is an album set for release soon from Lonelyspeck and seeing as Bring Me The Horizon have utilised the artist for their talents (Teumohenga is credited on the runaway success that is ‘LosT’), this LP is undoubtedly one to be excited for.

Continuing the solo act theme, Brooklyn’s Trace Amount (Brandon Gallagher) was next to take to the stage and immediately added a darkened aura to Lion Arts Factory. A gloomy experimental synthesis of percussion, techno equipment and Gallagher groaning dreary poetry pulsated in a brilliantly bleak showcase. ‘Anxious Awakenings’ was wonderfully wicked with its variances of metallic outbursts and an Aphex Twin-inspired breakbeat. 

This intensity provoked Gallagher to practically dislocate his neck in head-banging euphoria and keen members of the audience followed suit in a hypnotised trance. He expressed his immeasurable thanks for Australia’s attention on this tour and even dedicated a song to the Port Adelaide Football Club, revealing his “lighter side”. 

King Yosef was up next, marking the trio’s first visit to Adelaide (they’ve previously played Hobart’s renowned Dark Mofo in 2022). “Adelaide is a country town?” asked producer-screamer Yosef Pelletier, a question answered by the crowd’s cheer. Pelletier then quickly explained that his hometown of Portland was extremely similar to our city and he already felt right at home here.

’The Dull Blade’ was an eruption of metallic-trance-hardcore, the frontman stalking the stage like a mountain lion from his home state. ‘110817’ included death-industrial elements and new song, ‘Cut The Cord’, involved a deafening mechanical-breakdown bombardment that overwhelmingly illuminated the emotional lyrics. The whole demonstration was beyond breathtaking, and the news that King Yosef might be returning as soon as the end of the year was information that would make many converts on this night ecstatic.

Greg Puciato is no stranger to Australia; he is even familiar with Adelaide. Arguably known best as the vivacious vocalist for trailblazing mathcore quintet The Dillinger Escape Plan, Puciato and his maniacal musician bandmates ravaged Fowler’s Live on their farewell tour in 2017. Seven years later, the metalcore master was back in Adelaide and ready to play the same stage.

Although, this gig was a different expression for Puciato. Since DEP’s demise, he has undertaken musician roles with The Black Queen, Killer Be Killed, Jerry Cantrell, Better Lovers and even released two solo LPs. On this night, however, he was here to celebrate his individual output and this became one of those shows that will live on in memories for lifetimes.

Even the Baltimore-born artist himself struggled to recall a show this intimate; the crowd number hovered just over 100. But every individual was captivated by the vocalist. ‘Reality Spiral’ harnessed a power that shook the venue -- Puciato’s iconic shriek put the world at a standstill. ’No More Lives To Go’ followed flawlessly, and then, ‘Deep Set’ merged the alt-rock-flirtations of DEP with Nine Inch Nails.

Code Orange’s guitarist/vocalist Reba Meyers joined the gig for a duet of ‘Lowered’, a heart-stirring performance of vocal prowess that seemed to defy human capability. Then, Puciato dove into his past with an acapella version of ‘One Of Us Is The Killer’ –- a rendition so beautiful it felt like time stopped. 

Multiple encores were then executed (possibly to the annoyance of the venue). ‘Evacuation’ created a whirlwind of psychosis in beloved bewilderment, and this conclusively felt like the most significant show that many in the room, including the performers, would have ever experienced. 

“Sometimes memorable music doesn’t necessarily have to be a hit.” - Doesn’t this statement sing so true? People will talk about this show for many years to come and it will be known as exceptionally unforgettable.