Knotfest, the destination festival brand curated by Slipknot, has continued its ever-expanding global domination by finally reaching the East Coast of Australia. We attended Sydneys Centennial Park on March 25th for what we hope to become an inaugural event on the Australian festival calendar.
This music and counterculture event was an experience I found unlike any other I had been to in Australia; created and headlined by Slipknot, the hugely stacked festival lineup included Aussie legends Parkway Drive & Northlane, as well as legendary metal favourites Megadeth, Trivium & Amon Amarth.
Throughout the day, we watched great sets by In Flames, Knocked Loose, Spiritbox, Story Of The Year, Alpha Wolf, Void of Vision, Bad Omens & Malevolence, and whilst that may seem a little on the light side for an Australian festival lineup, trust me when I say less is more. We even spotted members of up and coming Sydney bands Yours Truly and Redhook in the crowd and also Married At First Sight metal head Jesse Burford. With the sold out sign going up in all three cities clearly this was a festival knot to be missed.
Not only did a ticket get you entry to see some of the best bands in the world, but you have a wrestling tent for high-octane ring slams, a freakshow and a sensory overload of drums circles, pillars of fire, and fire-breathers. Also making its way down under the Knotfest Museum. This was a high-demand must-see for all fans. We were fortunate enough to get in early and see a jaw-dropping collection of items from the Slipknot’s history.
I started my day with Bad Omens and Spiritbox as I wanted to check these groups I had been yet to see on other tours. If these bands aren’t on your playlist or highlighted on your festival app, then I suggest you add them as I’m sure both will be back to Australia for more soon. Story of the Year knew how to deliver a set and even made fun of themselves for not being heavy enough for Knotfest. I and many others didn’t think so as we sang our hearts out till our dying day. Followed by Swedish metalcore pioneers In Flames who were welcomed back down under by the vocal crowd. What I can say about Amon Amarth is that they are a force of reckoning that has a stage show like nothing we see here in Aus, and of course, you got to row when you’re in the crowd; If you don’t know what I mean, google it.
Not even the rain could stop the show as hometown heroes Northlane kept the energy high as some punters took shelter. With the rain cleared in waves, we poured in to catch Trivium. Having only two stages, side by side made it an all-round awesome experience. Being able to see all the bands play without unnecessary moving around let us catch as much live music as our ears could take. Trips to the food vendors and bar all flowed with ease. It was like the event organisers saw every mistake a festival had made in the past and made sure Knotfest got it all right.
I got asked a lot which band was my highlight, and I had to say Megadeth. I have been doing this live music thing for quite some time, and somehow I have never seen them. When a band who is third last on the lineup gets an encore, you know they are legendary as they come.
Local legends Parkway Drive have been doing so much in the way of stunning, over-top live music performances over the last few years. Tonight was no exception, with flames shooting high into the night sky, heavy breakdowns and songs accompanied by violinists all made for one high-octane performance.
Slipknot creates the festival, so Slipknot closes the festival, and if you had never seen them live, then this was a fantastic place to start. This show was even more significant, more complex, better and faster than any other I have caught. The band has always been a group that pushes the limits of sound and performance, an absolute must-see live act. Knotfest takes its branding and delivers it in true Slipknot style; it is by far one of the best live music experiences Sydney has ever seen. I hope it’s here to stay and that they push it even further next visit.
Review: Chad Heard
(Photos by Christian Ross)
