Bloc Party – Gig Review & Photo Gallery 4th August @ Adelaide Entertainment Centre Theatre, Adel SA

Bloc Party
Adelaide Entertainment Centre Theatre, Adelaide SA
August 4, 2025
Support: Young The Giant

“I don't care if Monday's blue.” ‘Friday I’m In Love’, Wish, Robert Smith, The Cure 1992.

Monday’s reputation more than precedes itself. Generally, it marks the beginning of the working week, it is furthest point away from the weekend, and it typically feels longer and more challenging than any other weekday.

The notion of “Blue Monday” has multiple sources; arguably the title would be most recognised for the synthpop new wave smash hit by Manchester’s New Order. Rumour has it, the name is a reference to a book that drummer Stephen Morris was reading entitled Breakfast Of Champions or Goodbye Blue Monday released by science fiction author Kurt Vonnegut in 1973. As keyboardist Gillian Gilbert told The Guardian in 2013: “It's a reference to the invention of the washing machine, which improved housewives' lives.”

It is also claimed that the band were under the influence of LSD during the writing process of the tremendous tune. "How does it feel? To treat me like you do," has been thought to reflect possibly drug use by guitarist/vocalist Bernard Summer.

It has also been disputed that psychologist Cliff Arnall came up with the notion of “Blue Monday” being the third Monday of January every year, equating to the most depressing day of the year (the focal demographic being the Northern Hemisphere). This was also a strategized marketing tactic by travel agency SkyTravel and holds little scientific merit. Nevertheless, the day is actually utilised as an important “Mental Health Check In” date, which has immeasurable significance.

In any case, on this specific Monday, the “blue” aspect would only be a bedazzling colour from the lights at Adelaide Entertainment Centre Theatre. South Australia had to literally take upon Robert Smith’s amazing advice and infectious lyricism – to not “care if Monday's blue.” London’s indie-post-punk trailblazers Bloc Party had returned to our fine city, and what vocalist/guitarist/keys Kele Okereke, guitarist Russell Lissack, drummer Louise Bartle and bassist/synth Harry Deacon would showcase was to be, in-all-likelihood, a remarkable reminiscence demonstration for the ages.

“I had just finished our last tour and we headlined The Forum. As an LA kid, that was a huge milestone for me. I’m lucky to have a few South Asian mentors, like USC Dean Dr. Varun Soni, who came to the show and verbalized something I’ve been thinking about: that I was the first South Asian lead singer of a band to headline at The Forum and no one was talking about it.”

‍This was the response from indie-pop-rock group Young The Giant’s vocalist/multi-instrumentalist Sameer Gadhia to Brown Girl Magazine’s query about the “Point of Origin”, and how it unpacks identity and perception in the arts in 2021.

Perhaps no-one was really talking about it back then, now it’s a different story. On this night (and for this entire tour), thousands were listening to the Californians serenade Adelaide into a dreamy oblivion.

An all-encompassing darkness overwhelmed the theatre as a heavy synth line eerily encroached outwards, to a degree it recalled the 1982 version of the film Blade Runner. That eeriness soon became elegance, as Sameer, guitarists/keyboardists Eric Cannata and Jacob Tilley, bassist/keyboardist Payam Doostzadeh and drummer Francois Comtois marched onto the stage and begun their captivating exhibition.

‘The Walk Home’ was an incredible fusion of Tame Impala’s hypnotic musical reverie with the remarkable New Romantic soundscapes of the 80s, such as Spandau Ballet. ‘Cough Syrup’ was an instantaneous anthem, which had the growing audience enhance the choir effect of the ever infectious “Wo-Oh” spectacularly. In all honesty, any witness to this magically memorable single will have a snowball’s chance in hell of NOT singing along.

Mr. Gadhia then spoke of Young The Giant’s career in depth, discussing how they were “addicted to the feeling of being onstage” and after so many years of commitment to their craft (gratefully), they still had that desire to express their hearts and souls through their art. ‘Superposition’ captured this sentiment flawlessly, especially Eric Cannata’s tender tenor ukulele contribution and the electronic chamber-pop explorations.

Sameer also discussed how Kele Okereke was an immeasurable inspiration to himself as a musician of colour, and how that helped with his persistence of being a professional artist. Before launching into what now has become the quintet’s most streamed song, the ethereally luminous ‘Mind Over Matter’ indie-pop belter, Gadhia disclosed that the single was somewhat classified as not a success when it was released over a decade ago. His encouraging words promoting the notion that an “artist is never a failure” was impassioned and undeniably, heart-rendering.

New song ‘A Different Kind Of Love’ presented as a charismatic coalescence of The Killers with Jack’s Mannequin; the forthcoming sixth studio album is unquestionably one to be excited for. ‘Silvertongue’ recalled the powerfully primitive early days of MuteMath with a fantastic funk makeover. Then closer ‘My Body’ was THE power-pop-rock ballad that YTG cemented into the nearing capacity crowd. Countless arms were elevated and swaying in an ocean of admiration, guitarist Eric Cannata stomped around the stage as if possessed – considering the enchanting energy of the track, this was undoubtedly comprehensible.

Young The Giant had never performed in Adelaide before, assuredly their return will be welcomed and ‘Crystallized’.

9pm strikes….

The venue’s lighting was at a characterless brightened level, some form of rave dance music projected from the speakers, a vast confusion throughout the theatre was shared by thousands of indie rock enthusiasts. The suspense however, was palpable.

9:10pm

The suspense had become irritable tension; the mundane Monday effect had become a Monday madness. It must be acknowledged however, the excitement magnitudes were off the scale.

9:16pm

BOOM! Lights out, chaotic cheers are borderline deafening. Bloc Party enter the theatre, Kele approaches the microphone and simply states: “So, here we are.”

An eruption of noise….“Good evening RAdelaide, we are Bloc Party from London and tonight we are going to have some fun.”

Understandably, ‘So Here We Are’ was the opening to this 20-year celebration. A delicate yet delightfully dramatic emotional indie refinement that intensifies into that compelling dance beat that witnesses’ bodies are forced to move adoringly to.

‘She’s Hearing Voices’ upped the ante, the “HEY HEY” was shouted by thousands before Mr. Okereke could even prompt it. The Joy Division fondnesswith BP’s own spin on their revolutionary musical formula was brilliantlybewildering. ‘Mercury’ accelerated toward the dance punk experimentation that Fatboy Slim and The Prodigy would be envious of. ‘Price Of Gasoline’ expanded on the quartet’s vivacity and volatility; indie rock has certainly come along way in the last two decades, but the Bloc posses an exclusivity of timelessness with their phenomenal art.

“Yesterday, we were performing in Melbourne…” Kele was cut short by an edgy audience reaction, “but it is much brighter in here, and RAdelaide, you are certainly handsome!” he affectionately expressed as the four-piece propelled into the very apt ‘Blue Light’ (remember Robert Smith?). The sing-along to “That’s the way it is” will be heard differently in South Australia by thousands from this moment on.

A cover of Sneaker Pimps’ ‘Spin Spin Sugar’ was fantastically frenzied and unexpected. ‘Song For Clay (Disappear Here)’ was disorderly delivered as some form of MUSE mutant with an AC/DC meets Peaky Blinders soundtrack oddity; it was simply put, momentous.

“Did you like that? Plenty more where that came from!”

‍‘Banquet’, surprisingly the roof didn’t collapse.

‘Traps’ hosted a different integrity and almost aggression in its loving attitude with desert rock moments. ‘Only He Can Heal Me’ counteracted that rockin’ motif with a poetic electronic divinity that surpassed exquisiteness.

“This song is about letting a bitch know!” ‘Team A’ was terrifically transmitted with a stupendous snarl, punk vitality and guitar jangle that tremored the floor below. ‘The Love Within’ alleviated the precious track’s modus operandi with a near Happy Mondays (suiting, right?) inflection.

“Now Adelaide, I’ve got a little question for you – do you wanna get high?” Kele asked and then serenaded Adelaide with ‘Blue’ wonderfully whimsically. ‘Positive Tension’ was introduced as “a song about true love” and it faultlessly epitomised the world’s love for Bloc Party, especially with its astonishing chapters of alternative rock. ‘The Prayer’ amplified the rhythm and gave us all “dancing feet” without the lord, just through the majestic music. Speaking of majesty, ‘Like Eating Glass’ was embraced wholeheartedly, as it should, it is possibly one of the greatest album openers in indie rock’s history.

Theatrically, the Londoners exited the stage, then returned moments before puzzlement overtook the theatre.

“G’day, how we doing Adelaide?”

Clearly, Kele Okereke knew the answer, but we were eternally thankful he returned to ask it. The rarely played ‘Ion Square’ was indisputably a treat, ‘Little Thoughts’ exceeded that loveliness with a remarkable small-club rawness that would be implausible in a venue of this stature. ‘Helicopter’ soared as it perpetually and perfectly does in every aspect. “This Bad Boy!” ‘Flux’ electrified Adelaide in entirety to an overwhelming degree, matter-of-factly Kele mostly hugged his guitar during the song, knowing that this celebration was one of historic capacity.

In that state of emotional bewilderment, Mr. Okereke simply stated: “You Guys…”

Then, ‘This Modern Love’…

“Throw Your Arms Around Me.” Monday was far from blue, the love for Bloc Party after over 20 years, is unfathomably true.

Gig Review by Will Oakeshott. Insta: @teenwolfwill

Photo Gallery by Dave Rubinich Insta: @dave.rubinich
Please Credit & Tag Wall of Sound and Dave Rubinich if you repost photos.