Imminence - Gig Review & Photo Gallery 11th October @ Liberty Hall, Sydney NSW

Imminence
‍Liberty Hall, Sydney NSW
‍October 11th, 2025 
‍Supports: Inertia, Nath & Johnny 

It was not too long ago that Imminence graced our shores for their first-ever shows in Australia. Yet, the show itself remains trapped behind a foggy smoke, not so much from time passing, but from the haze created by the delusion and sheer amounts of sweat conjured by the blistering heat upon the band’s first Sydney appearance. This time, the Swedish soul-bearers brought with them some cooler temperatures, or at least those tolerable inside Sydney’s big black box, Liberty Hall. With a calmness draped over the crowd, it appeared no one was ready for the magnitude of the performance set to take place, and it is a jarring feat that still finds me shaken to the core. 

The stage welcomed homegrown heroes, Inertia, to open the musical proceedings. Inertia’s husky presence in the live scene cannot be understated, and they are a band I have now seen on countless occasions. Thus, the implications of this can start to settle in; is it something we've seen too much of? Will they stay stagnant or elevate their performance? How will this opening slot inform us of new knowledge about this band? My apprehensions crept in as the lights shifted their hue. 

Without a moment to formulate a wavering opinion, Inertia barged into the space with a confidence that flung at you. This reciprocated very clearly within the crowd, as the performance of their first song, ‘Dying To Let You Go’, already saw a monstrous pit circling beneath them. This movement itself is an inspiring feat early, especially at a Sydney show! From the guitars to the vocals, the night welcomed a completely different Inertia than what I am used to. I found myself on multiple occasions doing the “get a load of this guy” prompt, tied with the most stinking of faces, in utter shock at what band had come out in front of me. It was almost as though the stakes were higher, that there was something more to give- yet everything had been proved by them already. They were louder, stronger, and harder than usual, and it was a passion that left me convinced of their own conviction. Much of this radiated from their beacon of charisma, Julian Latouche, who compelled the audience with his soul-embedded charges and heartfelt sentiments. The swiftness with which he elegantly hypnotises the stage to the descent into a guttural bellow is a jarring and explosive statement. This was Sydney metalcore extravagance.

Traversing through moments of their history with an enriched new sense of self, it was ‘Parallels’ that took the cake for me. This performance was an assertion of Inertia revitalising their own light, and ensuring they are not to be forgotten in the cycles of being an opening band, but making sure they leave a thumping and hissing mark on the audience. Inertia is a band fueled by passion, igniting a spark I do not expect to see dwindle anytime soon. 

As Inertia departed the stage, roarings occurred as the main act’s instruments were brought to the foreground- none more signature than Eddie Berg’s iconic violin. There was a staticness to the anticipation starting to build, one that I believe is drawn by the nature of Imminence’s stature as a spectacle. From the early moments of the night, bodies piled upon the balcony, overlooking the entirety of the venue below them. It was the sought-after place to be. Patrons wanted every chance possible to indulge in the mystical musings that are so aesthetically and visually capturing, seeing most engage in a feat of spectatorship over participation. This feeling oozed down to the floor as people trampled over the staircases and flung their bodies upon bins and boxes, all to catch a glimpse of the dream-like trance taking place. 

As Imminence glided before the audience, it became evident that no matter where you were, your body was set to be infected by the captivating elegance and curated destruction, crafted with painstaking precision over time and experience. In its majority, the concert held The Black close to its heart, projecting moments from the original and continuation album beyond. The addition of the band’s on-stage personas creates a recipe for a haunting divineness; it is as though every member had graced us from above, twinkling with angelicness yet projecting an all-consuming hauntingness. Working in conjunction with their environment, the swaying lights lifted the guitars to heaven, whilst dense blocks of red spotlights saw the drums go back down to hell. There was an entire symbiotic biome here, and a world quickly adapting to Imminence’s heartline. 

The catalogue effortlessly showed off Imminence’s extensive skillset, from awe-inspiring guitar work to putridly outstanding vocal feats. The inclusion of some of their more popular tracks like ‘Heaven Shall Burn’ and ‘Death By A Thousand Cuts’ saw the crowd surge with arms outstretched, emulating a connection so strong, it could not be physically contained. With hearts in his hands, Eddie began his puppetry, swirling around his bow in a frenzy above his head with one clear indication- move. As the crowd obeyed, Berg continued to scream his sentiments, gnarlier and nastier, as bodies flew and thrashed. The juxtaposition of their charm against their destructiveness is truly astonishing. 

It is hard not to be captured by the enigmaticness of Harald Barrett as his silky long hair drapes before him, entangling in his dark cloak that almost sees him become consumed in this never-ending shroud of darkness. As he sneaks throughout the stage, his swiftness and silence leave you begging to trace his movements. Of course, this is until you're met with an offering- standing directly before a spotlight, he assumes his instrument, yet using a bow to play his chords. He continues to be veiled in darkness, only his silhouette hinting at the magic transpiring. This is the spectacle I have been talking about. 

This feeling transcends the entire night with the feat Imminence is now well known for: the inclusion of the violin. Aesthetics aside, it is the sound that makes this so special. The harshness of the metalcore brand, along with the fragility of the violin, expels a feeling from the music that is so violently sombre. There are tones of hope and frailness among the strength and grit, layers upon layers of fleeting and feeling. The visuality of this then takes place, as Berg traces the strings with his bow and screams into it as a vessel of projection, it almost seems as though man and instrument have never been so intrinsically connected, like a limb connected to his beating body.

The night concluded with an explosive performance of ‘The Black’, seeing the members pour the remainder of their souls into it. Thrashing and contorting themselves, it was at this moment that the music fully took over, leaving Imminence as mere victims of musical possession. As the lights began to settle and the other members stepped to the side, Eddie’s violin remained the only thing ringing out. A rendition of ‘Le Noir’ swallowed the entire venue- you could hear a pin drop. Looking around, I saw tears welling in the eyes of people around me, and the air became thick. My heart weighed heavily, and my chest felt tight. What a beautiful moment this was to witness. In silence, the bow made its final sling, and it took a moment for the audience to compose themselves to a state of thunderous applause. 

This was the loudest round of applause I have ever heard. 

Repositioning themselves on the stage, Imminence bowed three times to an audience that could not stop celebrating them and their creations. What we had just witnessed was nothing short of phenomenal and otherworldly. There is no band doing it like Imminence, and it was a privilege to bear witness to the spectacle. 

From Australia, with love. 

Review by Georgia Haskins @ghaskins2002

Photo Gallery by Jackson Saunders @jsaundersfilm. Please credit Wall Of Sound and Jackson Saunders if you repost photos.

Setlist

Temptation
Desolation
Heaven Shall Burn
Beyond the Pale
Death by a Thousand Cuts
Erase
Ghost
Infectious
Come What May
L'appel du Vide
Come Hell or High Water
Death Shall Have No Dominion
God Fearing Man
The Black
Le Noir

Last tickets here