Last night, Sydney’s Manning Bar hosted an evening of electrifying and diverse musicianship. The audience was in for a musical journey filled with unexpected twists and turns, all guaranteed to deliver a fantastic time.
The night commenced with Germany’s The Ocean, who immediately captivated the crowd with blazing riffs, machine-like drums, and earth-shattering bass tones. Vocalist Loïc Rossetti was a constant bolt of energy throughout their set, engaging the audience who reciprocated with enthusiasm. Rossetti even ventured into the crowd while still belting out his powerful screams, held aloft by metal fans who screamed along with him.
What struck me was the considerable portion of the audience intimately familiar with The Ocean’s material, a rarity for a support act but a pleasant surprise. During their closing track “Jurassic | Cretaceous,” a few lucky fans got to join in and sing a few lines, much to everyone’s delight.
Overall, nothing could deter The Ocean, not even an early technical hiccup with the drums that had Rossetti lending a hand to his brother. The band truly lived up to their name. I walked into the show as an unfamiliar spectator and left as a fan!
The second act, hailing from Pennsylvania, was Rivers of Nihil. They wasted no time making their presence known, commanding the stage with relentless energy throughout their 50-minute set. Physically, all four band members looked like they’d just descended from the mountains, with a distinct ’70s vibe.
However, musically, they delivered some of the most diverse and brutal technical death metal I’ve ever heard. With three tracks from their remarkable 2021 album “The Work,” the band truly put in the work. Guitarist Andy Thomas and drummer Jared Klein provided harmonized vocals throughout the show, while guitarist Brody Uttley showcased dynamic versatility, effortlessly transitioning from blues-jazz fusion solos to thunderous riffs.
The standout performer was bassist Adam Biggs, who took on lead vocal duties after a member’s departure last year. Witnessing this imposing figure deliver vocals that closely resembled the album, coupled with his mind-bending technical bass work (including two-handed polyrhythmic tapping while singing), was a sight to behold.
Once again, it was heartening to see so many fans of the support band in the audience. A particular highlight was the penultimate track “Episode,” which had the entire crowd chanting “Do The Work.” Rivers of Nihil were a mesmerizing live experience, and I hope they return to Australia soon to captivate even more fans.
After a brief interlude and stage setup change, the lights dimmed as the haunting sounds of Sleep Token’s “Chokehold” echoed through the venue. After four long years, the anticipation was over for the eager crowd of prog-tech-death enthusiasts, as Australia’s own Ne Obliviscaris finally took the stage.
Starting with a nine-song set, the ethereal opening of “Intra Venus” set the stage for a nearly two-hour journey filled with astonishingly diverse musicianship. The entire six-piece band fed off the crowd’s energy, infusing the set with delightful dynamism.
What followed were three consecutive songs from their recent album “Exul,” which the crowd devoured. It was truly remarkable to witness vocalists Xenoyr and Tim Charles, the former exuding a vampire-like presence and the latter a whimsical bard, seamlessly intertwine their unique vocal styles.
The live violin, positioned curiously near the drum kit, was swiftly picked up and masterfully played by Tim, creating an unforgettable fusion with the heavy music. Classical influences merged with technical riffs, flamenco guitar elements, and rapid-fire drumming.
Bassist Martino Garattoni moved across the stage with an almost possessed fervor, producing a thunderous bass tone that stood out. Guitarists Matt Klavins and Benjamin Baret remained in perfect sync, transitioning from tremolo-picked riffs to mind-bending solos. Benjamin, in particular, at times seemed transported to another plane while delivering some of the most incredible live solos I’ve witnessed.
This remarkable performance was anchored by the rock-solid percussion of Kevin Paradis, who had only joined the band earlier in the year but played as if he were born for the role.
Ne Obliviscaris was an absolute delight to watch live, with the track “Forget Not” earning a thunderous ovation from the crowd. Considering most of their songs exceed the 12-minute mark, the pacing of the set was impeccable, aided by Tim’s playful banter. I couldn’t help but chuckle when, towards the end of the set, a fan requested five more songs, to which Tim humorously replied, “…but that’s like another hour!”
After leaving the stage for what felt like a mere moment, they returned with an encore performance of “And Plague Flowers the Kaleidoscope,” sending the audience home exhausted yet elated. After four hours and three bands, each with its unique presence, I was left with one burning question: When can I witness them all again?
PHOTOS & REVIEW BY DREW FULTON
