Review: Trophy Eyes @ Hindley Street Music Hall
Trophy Eyes put on a show that “will be in the memories of many for years to come.”
Words by Will Oakeshott | Image by @dexamillian
“Music is a defence against the world.” – Ian Curtis, Joy Division.
The 18th of May 2024 marked the 44th anniversary of the post-punk icon Ian Curtis’ untimely passing. He left behind a luminous legacy with his band Joy Division which is still admired and alluded to today as a benchmark of alternative music. The Cure, Trent Reznor, Radiohead, Death Cab For Cutie and even hardcore outfits such as Carpathian have covered Joy Division, with countless others citing the Manchester quartet as immeasurably influential.
But why?
Famed British music journalist Jon Savage perhaps put it best in 2019 when he stated: “Most pop music is about distant emotion, but Ian (Curtis) wanted to go very deep, and the band went deep with him.”
It was this poetic depth Curtis tremendously transcribed to that has assuredly assisted in the four-piece’s art being so timeless. Joy Division’s “music is a defence against the world” ethos resonated with Trophy Eyes’ and their support, with each band delivering an impactful performance at Hindely Street Music Hall.
Local indie-pop-punk duo TOWNS were honoured with the invitation to open this monumental tour, and this being their hometown show, they were determined to make the most of it. Greeted by a modest yet growing crowd, the two-piece had plans to utilise the entirety of the grand stage and present their musical message. Their expression tends towards the important sentiments that include being proud of who you are, no matter how awkward, and using your happiness to work through the problems that present themselves. TOWNS’ infectious New Found Glory meets Kisschasy formula enrichens this exhibition remarkably.
‘Birthdays’ was astonishingly flashy and fun, provoking sing-alongs and dancing from the crowd that was bolstered by the running, spinning and fly-kicking antics of vocalist and guitarist Aston Valladares. ‘Season 5 (Break My Fall)’ recalled the delightful days of The Starting Line and ‘Speak For Myself’ gave a nod of respect to Cartel, but was undoubtedly still TOWNS with an incredible injection of liveliness, mostly thanks to drummer Daniel Steinert.
‘l8tely’ provided more edge with flirtations of popcore and heavier rhythm and riffage – the lyrical phrase of “But it’s all I need to get me through” was a triumph for the audience and the message was reinforced magnificently. ‘I Don’t Mind’ was the highlight with its explorations of shoegaze, indie and garage rock that built into a volatile grunge closing demanding the Adelaideans were heard by all in attendance.
A massive cheer erupted when the lights dimmed for Blackpool’s Boston Manor – the quintet were in Australia only 18 months ago, so their notoriety has understandably bellowed in equal volumes. ‘Container’ launched their showcase and there’s no denying the single is exceedingly catchy, with its Brit-pop post-hardcore fusion chorus beyond contagious. In terms of dynamism, it didn’t seem like quite the right song selection to really explode out of the gates.
‘Floodlights On The Square’ was a far more grand affair, with elements of latter-day Emarosa and some daring dalliances of Linkin Park filtered through. ‘Heat Me Up’ had the divinity of Deftones’ alt-metal with 30 Seconds To Mars arena emo-pop. Keep an eye and ear out for that track, it will rock stadiums in the near future.
‘Sliding Doors’ followed the alt-metal instruction sublimely and unveiled some required heavy moments that the five-piece flew with, especially with the nu-metalcore breakdown at the three-quarter mark of the track. Vocalist Henry Cox alternated between screams and melody effortlessly demonstrating his astonishing growth as the front-man of an escalating outfit.
‘Horses In A Dream’ was a funk-poptronica-rock number that was somewhat out of place, yet oddly engaging. ‘Halo’ was an enigmatic anthem that had the crowd in raptures, so much so Boston Manor may as well have left the chorus completely up to the audience to chant – they were deafening. The crowd surfers were soaring to the front in the dozens to be a part of the action. ‘Crocus’ was a dance-rock number that redefined metal-pop and had the venue moving.
‘Foxglove’ was a powerful closer intertwining elements of earlier Muse and recent releases by Our Last Night. Its eloquence, however, actually lies in Cox’s honesty within the chorus – “Maybe I’m the problem, maybe it’s me” he sings. Those familiar with Ian Curtis could see an affiliation here, with such deep and emotional honesty. It could be an analytical defence mechanism against what the world is throwing at him, or us. That is the beauty of art, it’s open to interpretation.
Luciano Pavarotti’s ‘Nessun Dorma’ is certainly an unusual and attention-grabbing walk-on soundtrack for an alternative punk band to utilise, but for Newcastle’s Trophy Eyes, it worked wonderfully. ‘Sydney’ and ‘Life In Slow Motion’ began their performance, but the crowd participation overtook the quartet, especially the three compelling words repeated throughout the track: “Everything is temporary”. Is the motif of this article becoming more transparent now?
‘Blue Eyed Boy’ was the synth-driven punk rock composition and it was electrifying. Although the four-piece have moved away from their hardcore beginnings to a degree, their roots in the genre prevail in the live scenario and it’s no secret that John Floreani can certainly move.
Mr Floreani has also crafted some truly outstanding poetry in his time with Trophy Eyes. ‘People Like You’ is arguably his best work with lines like, “Dying’s cheaper than growing older.” In our current existence, the global mental health struggle is at a point of devastation. Trophy Eyes’ music is becoming an immeasurably helpful defence for these terrifying issues.
‘Heaven Sent’ slowed the chaos down in a breathtaking ballad that Title Fight would have been envious of. ‘My Inheritance’ pulled at the heartstrings of the capacity audience and caused a tidal movement of dancing and swaying in thankful appreciation. ‘Figure Eight’ amplified this sentiment.
Floreani then took this moment to open up about the band’s hardships and his own. Breaking points were reached and Trophy Eyes were thought to have met their conclusion, but he had one compelling perspective to help us all: “Without art, there is no life.”
‘Friday Forever’ was modernised post-punk-pop and enthralling, guitarist Josh Campiao became so inspirited he decided to perform his instrument turned upside down, possibly to keep himself grounded, but more so in theatrical radiance. ‘Kill’ left all in Hindley Street Music Hall awestruck and then ‘Breathe You In’ took them all to an idyllic dreamscape.
‘Choke’ was a throwback to nearly a decade ago, then new song ‘Enmore’ blasted everyone with a melodic hardcore lightning strike. Eyes then slowed it down with the new wave pop rock blend ‘What Hurts Most’. ‘OMW’ prompted Floreani to box the air motivated by his hard-hitting lyricism and the groove of the tune – he was joined by countless others expressing their feelings in outbursts of their own articulation.
‘Epilogue’ was a surrender of poetic integrity. This is arguably the sincerest and most candid the quartet have sounded. Its emotional journey and narrative of growth are brash and honestly, brilliant. Tears were shared, as were hugs and the intoxicating lullaby unified everyone present. ‘You Can Count On Me’ is that Triple J chorale that is yelled wherever it is heard, especially at this event. Try to listen and not be drawn in by its magnetism to sing along.
To conclude the ceremony, ‘Chlorine’ was a flawless closer uniting all within for one final tune. John Floreani’s important words here read: “Did it cross your mind, That I’m alive because of you?” Is he singing it to his audience worldwide? Is he directing this at someone in particular? Is he leaving it open to interpretation for his listeners? Or is he using Trophy Eyes’ music as a defence against the harsh reality of the world?
John Floreani isn’t Ian Curtis and Trophy Eyes aren’t Joy Division. However, on this night, all the musicians utilised that statement at the beginning of this article, and that is why this show will be in the memories of many for years to come.
