Gig review: Skillet + Bad Moon Born at Enmore Theatre, Sydney

Live review: Skille and Bad Moon Born at the Enmore Theatre, Sydney, Tuesday April 4 2024

By PAUL SOUTHWELL

AMERICAN Christian hard rock band Skillet last played Sydney in November 2018, at the Big Top, Luna Park. That was a huge show, full of rock bombast, and attended by a sea of eager fans. Now, to kick off the tour of their latest visit to Australia, they had virtually sold out the Enmore Theatre and other venues on the upcoming jaunt look set to follow suit, if they are not already sold out. Touring in support of their most recent album, Dominion, Skillet are a band that shows no signs of slowing down, with an upwards career trajectory that is well deserved.

Sydney based five-piece rock Bad Moon Born kicked off tonight’s proceedings, with sunglasses-sporting new front man Jordan Von Grae’s vocals exhibiting more than a passing resemblance to the late, great Chris Cornell. The band’s riff-based, down-tuned catalogue also borrows heavily stylistically from Soundgarden, which is not a bad thing.

Opening with the wah pedal-infused “Promised Land” from the Chemical Lullabies EP saw guitarists Voya Miluinovic and Ned Koncar working together to deliver solid riffs, with expressive soloing from the former. As Von Grae beat his chest and whipped his hair around, the rhythm section of drummer John Ezilmez and bassist Nick Allen were locked in from the start and subsequently gave the third track of their set, “Witch Trials”, a fine delivery amongst the percussive aspects of the song. Wide cymbal hits and big snare cracks, alongside bursts of falsetto vocals, unleashed with precision within song structures, gave Bad Moon Born an immediate stage presence.

During their 2018 single of “Alive?”, Von Grae walked the stage with a camera fixed on the crowd, as the song used dynamics and guitar effects to build into the chorus. After some amusing banter between Von Grae and Miluinovic, the following track saw Koncar leaning into his fast guitar soloing with a sense of urgency and attitude. “Carry On” was the final song of the set, inducing a chorus singalong and a dropped tuning guitar tone that echoed throughout the venue against arpeggiated chordal parts. As opening support acts go, Bad Moon Born went over a treat and had no doubt won over a stack of new fans.

The low-tuned hammering of “Feel Invincible” opened the show, with the audience singing along in synchronisation with five string bass playing vocalist John Cooper. His wife, Korey Cooper, was on rhythm guitar and the sound from her down-tuned PRS guitar had beautiful sustain, as she added in some embellished high end guitar lines near the end of the sing. The title track from Rise followed, with the stage backlit by light beams, and young female drummer Jen Ledger, who also took on co-singing duties, attacking her drum kit with utmost timed precision.

“Surviving the Game” from Dominion saw Cooper hand his bass to his instrument technician, to move around the stage more freely. The use of production techniques clearly didn’t have an effect on the bass mix dropping out. As the heavier rhythm figure of the track kicked in, Cooper utilised forearm attached fog machine accessories. Soon enough, crew collected the armbands, and he took back this bass, swinging it around his neck to an audience who’ve probably never heard of Yngwie Malmsteen. The tail end of the track then took a turn for much heavier territory, which was borderline thrash metal for a few bars. Skillet’s hard rock attire and adornments look isn’t just for show. They do have some bite.

Backed by some keyboard washes adding some depth to the music, “Legendary” from Victorious had the crowd jumping, singing along with the simple chorus line, which had elements of Marilyn Manson’s percussive musical approach. Offloading the bass again, this time for “Lions” (another track form Unleashed, and a song clearly not delving into Roman history), electric cello played by Tate Olsen joined the set and violin samples were added for dramatic effect. Ledger added vocals at front of stage briefly. 

More cello, keyboards and female vocals ensued during “Awake and Alive”, plus lead guitarist Seth Morrison provided some fiery leads on one of his many PRS guitars. His second solo was more expressive and looser but overall, the music of Skillet is driven by the rhythm section and the catchy melody lines, leading the audience to the chorus. The crowd all raised their hands to the air in unison as John Cooper’s infectious energy took them away whilst Ledger’s cymbal work, snare hammering, whip fast fills and good technique was captivating to watch. 

After the bombast of “Back from the Dead”, the big Skillet hit “Hero” from Awake, provided more vocals from Ledger, as she again briefly stepped to the front of stage from her drum position, as an instrument technician temporarily took on drum duties. Some tasty harmony guitar lines saw Korey Cooper and Morrison centre stage before resuming stage positions to reprise the chorus. 

Rise track “Not Gonna Die” had more cello, keyboard flourishes and a guitar soloing highlight with Morrison stretching out and playing with passion, peeling off a dash of harmonic minor scale runs. “Whispers in the Dark” from Comatose started with some drone-like, swirling guitar lines from Korey Cooper, as the band arrangements soon filled out to a full sound, a bouncing rhythm feel reminiscent of Linkin Park, and tight drum fills amongst the grooving rhythm figures. 

Letting the younger band members off the chain for bit started with a blast of drumming prowess from Ledger full of cymbal gymnastics, rolls and hi-hat work, segued to Morrison’s quick solo spot, with wah pedal-affected descending chords and tapped harmonics. It ushered in the powering “Psycho in My Head” from Dominion, followed by the mid paced, rhythm section driven “Anchor” from Victorious, with additional cello, keyboards and a blue lit stage set.

A rock music interpretation of a portion of traditional hymn “Be Thou My Vision” was unique, combining aforementioned instrumentation. The title track from Comatose, with sustained rhythm guitar chords and keyboards, had the crowd singing the chorus back to the band, whilst “Undefeated”, again from Unleashed, commenced with a brittle, droning rhythm guitar line, as the full band kicked into full momentum, with the muted verse guitar rhythm driving the song’s pace. The outro part saw Morrison climb the fretboard as the rhythm section threw in some time signature changes, clearly well-rehearsed as they continued through their blistering set. 

Some of the banter from John Cooper had a feel of spontaneity by adding in anecdotes from people he had met before the show. Huge hit “Monster” provided a boost for final stretch of the set, with Morrison starting the song’s slicing riff, on a red lit stage. As the intensity of the song increased and the audience joined in repeating the chorus, the band were not missing a beat in jumping, singing, and simply playing with precision. The main set-closing track of “Rebirthing” from Comatose had a rambling, “Kashmir”-styled Zeppelin feel to it, enhanced by John Cooper providing a passionate kiss to Korey, to much applause, and, funnily enough, a catchy pop metal chorus.

The encore track of “The Resistance” from Unleashed saw John Cooper return to the stage with a black bass, hitting the vocal delivery with great projection and a sense of melody, as Ledger added in backing vocals, and solid snare hits that increased to quick groups of five hits, adding to the riffage accents and Morrison’s ferocious, wah pedal-drenched, howling guitar lines. 

Skillet killed it live, with impeccable stagecraft, and it’s very likely they will return to Australia, based on the success of this tour. You may not agree with their beliefs but they do deliver a cracking live show.