letlive. - Gig Review & Photo Gallery 9th September @ Lion Arts Factory Adel, SA

letlive.
Lion Arts Factory, Adelaide SA
September 9, 2025
Support: Stepson

“All our memories, all at discount (all my friends this is goodbye, all my friends this is goodbye).” – Jason Aalon Butler, letlive.,‘Day 54’, Fake History (2010).

It is arguably one of the hardest challenges humans encounter in their lives, the ritual of saying “goodbye”. Even at the most minute level, the acknowledgement of departure can be difficult. However, as the beloved Winnie The Pooh (via famed English writer A.A. Milne) is commonly quoted:

“How lucky I am to have something that makes saying goodbye so hard.”

This stirring sentiment is brilliantly befitting for the Australian alternative music devotees in saying “goodbye” to the immeasurably adored “soul punx” known as letlive.. These post hardcore icons have a long-standing relationship with our nation, dating back to the 2012 version of Soundwave Festival, and their bedazzling genre-bending discography is undeniably treasured in the hearts and minds of their Down Under fanbase; albeit followership worldwide.

How lucky WE ALL ARE to have experienced letlive..

(Interesting side note: The aforementioned Winne The Pooh quote is actually originally from the Award-winning 1975 film The Other Side Of The Mountain based on the true story of ski racing champion Jill Kinmont.)

On this night, Adelaide was to partake in the musical madness of these Californians one last time, and ReLive all our memories and create countless more.

Brisbane’s Stepson were above honoured to be invited along as the main support for this tour (with the exclusion of Perth), and the quintet were glimmering from the get go. Opener ‘Come With Me’ showcased a fast-paced and energised version of emotional hardcore that blended the brilliant brashness of Xerxes and Mikoto with The Color Morale. ‘Deeper Sleep’ embraced a more melodic approach, with a shimmery merriment that recalled Your Demise. Older track ‘This Is How It Feels’ instigated the moshpit deservedly, but this was temporarily paused when vocalist Brock Alan Conry unleashed a blood-curdling and time-freezing sensational scream for the lusciously literary testimonial: “I Can’t, I’ve Tried!”

‍‘The Entire History Of You’ was the song that For All Those Sleeping wish they wrote; the striking breakdown when Conry bellowed “Goodbye!” enhanced every aspect of the performance theatrically (and flawlessly suited this review’s theme). ‘Discover Lonely’ built from harmonious to heavy prodigiously, this introduced the five-piece’s newest incredibly imposing single ‘Venom’ sublimely. If this more modernised metallic approach to the outfit’s emotional hardcore is the direction Stepson are headed in, their following is assuredly going to rise exponentially. It must be acknowledged though, the quintet’s supporters are greatheartedly committed to the band, and it is remarkable to witness.

Closer ‘Eraser’ presented that last opportunity for mosh-ninjas to properly “limber up”, with glorious guitar-squeals accenting the beloved beatdowns. The chorale chant of ‘ERASE ME!’ was certainly infectious, and Brock stalked the stage like a Komodo dragon while the rest of ‘Sons whirled around in their limited stage space. The role of the support act is to warm up the audience, and there is no denying that this is what Stepson executed professionally. With the progression in sound of the newer music presented, the Brisbanians have an exciting next chapter ahead to really craft their artistic identity.

A singular wonderful word illuminated the backscreen that simply read: “ll.ove” as guitarist Jean Francisco Nascimento calmly strutted onto the Lion Arts Factory platform with immeasurable suave. Guitarist Jeff Sahyoun, bassist Skyler Acord, and percussionist Sage Weeber soon followed and gracefully gave life to a wall of noise in anticipation for the ever-enthralling frontman Jason Aalon Butler to make his entrance. The wait was thankfully brief; Butler was soon in his favourite place in the world, onstage (also frequently offstage, as part of his live character) demonstrating his soul punk driven artistry to hundreds of people – letlive. were here to fulfil every one of OUR dreams one more marvellous time.

For the long-time admirers of the quintet, the familiar percussive rattle leading into the thunderous tribal drums indicates only one possibility: ‘Le Prologue’, the powerful opening to the five-piece's sophomore studio album Fake History. Jason was instantly ravenous, swarming the stage as if possessed by a demonic punk presence as he began his spectacular poetic statement:

“There are no martyrs in resolution. If you remain still, don't expect restitution. Stand up!”

The enthusiastic crowd responded in surprising psychosis, moving, jumping, and barraging into each other, screaming back at the Californians that unbelievably uplifting duo of words: “STAND UP!’”  

One minute and 45 seconds later…

“I met a man at church on Saturday.
He said, 'I'm here because I'm sick,
And after sick I'll be dead,
And once I'm dead I'll be saved.'"

The first four lines of ‘The Sick, Sick, 6.8 Billion’ are screamed with such intensity, they are almost indecipherable, which is a pretty accurate way to describe Mr. Butler’s live antics: “Intense and indecipherable”. This ferocity radiates to the entirety of letlive. (and the audience), the band attack with an impassioned animalistic aura, soaring like Harris’s Hawks seeking out their prey. It is beyond engaging to witness, it is entirely enrapturing.

‍‘Renegade 86’ maintained this fantastic fierceness, with a quick interlude where Jason channelled and delivered a majestic Michael Jackson ‘Smooth Criminal’ cover reference mid-song, this fabulously fleeting presentation highlighted JB’s astonishing vocal prowess.

“We are a band of beautiful misfits, just like you.” Butler expressed, but was actually left speechless by the overwhelming cheers that drowned out his speech. ‘The Dope Beat’ then overtook the sound system, and the bonded revelry between the artists and audience escalated to monumental heights.

“This song goes out to indigenous people throughout the world!” ‘Casino Columbus’ was then carried out in an extreme exposé of political uproar, bolstered by a spasmodic soundtrack that fused hardcore, punk, and Rage Against The Machine. The track is understandably a cathartic articulation for Jason (as well as LL. And countless followers throughout the globe), that he wondrously lost himself and embraced the simple beautiful act of dancing in delightful detachment.

‍‘Banshee (Ghost Fame)’ was a crazed composition of hip-hop, post hardcore, tribal blues and funk punk that literally has no accurate description, it just needs to be experienced. At this point, JB had exceeded the status of “wild”, he was devilicious in his rockin’ retrospective. In that mindset, Mr. Butler gave a short speech about how he had to learn to love himself first, and he was only able to do that from learning about the love his FANmily gave him, and for that, he was eternally thankful.

“Women don’t owe men anything!” He exclaimed with a heart full of love, as the five-piece presented their anthemic single ‘Muther’ in a rhapsodic fusion of punkified jazz with rhythm and blues. Attendees linked arms and swayed together as the emotional magnitude of the song overwhelmed Adelaide with its elegance. Jason bewildered all with an acapella serenade that silenced the entire venue, it was unbelievably breath-taking.

“We found safety in rooms like this. We found love in community. All we need is each other. All power to all people.” ‘Good Mourning. America’ was so magically moving, that in its bouncing-protest-pop soundscape, a circle-pit managed to breakout. The passion escalated impossibly further, Butler then ended up with his singlet over his head and spraying water in a fit of punk vivacity that even he couldn’t control during ‘Dreamer’s Disease’. Unquestionably, the track has a deep meaning that moves the frontman to a hypnotised discordance that is above bewitching.

‍‘Pheromone Cvlt’ was delivered as a reimagined grungey ballad that left the crowd in awe. However, it acted as the calm before the storm which erupted as ‘27 Club’; all of Letlive. exploded in a heroic hysteria of maniacal musicianship. The exhibition became one of dreams, suddenly gravity did not exist, bodies were everywhere, yet each bump or knock had no real bearing. At one point, when this writer looked up, all he could see was Jason Butler swinging the microphone in front of him, at full focus on only his weapon of choice, completely mesmerised…

Boom!

“There were no martyrs until he gave himself away!”
That gloom-driven breakdown is so incredibly haunting, it is timeless.

What an epic conclusion, stamped by bassist Skyler Acord slamming his instrument down onto the stage floor, but was that all?

Remove ‘That Fear Fever’…

An encore featuring ‘I’ve Learned To Love Myself’ was presented as a cinematic anthem, with the guitarists and Jason beginning the musical score, before the colossal stadium finish with all players in full flight.

“We should play Adelaide one more time, what do you think?” Butler asked the crowd and then his band mates. In a historic moment, guitarist Jean Francisco Nascimento spoke into the microphone for the first time ever.
“Yeah” was his glorious show-stopping response.

“Watch this, it’s crazy!” Jason pointed to guitarist Jeff Sahyoun who enchantingly initiated ‘Empty Elvis’ that became a schizophrenic exhibition of deafeningly heavy post-hardcore and pop melody that was reckless beyond belief. JB’s singlet was ripped to shreds; he was left biting its remains and hooking Sahyoun with a loop to embrace his brother in a loving hug.

The conclusion, ‘Day 54’ – remember the opening lines to this article?

“All our memories, all at discount (all my friends this is goodbye, all my friends this is goodbye).”

It was goodbye, but the finale was astronomical. It harboured such strength, that Jason Butler finished the composition holding two PA speakers in his arms and screaming into the microphone held only by his teeth.

In closing:

letlive. is loud.
letlive. is love.
letlive. is OURS.

Long Live, LETLIVE.

Review by Will Oakeshott @TeenWolfWill

Setlist

Le Prologue
The Sick, Sick, 6.8 Billion
Renegade 86'
The Dope Beat
Casino Columbus
Banshee (Ghost Fame)
Muther
Good Mourning, America
Dreamer's Disease
Pheromone Cvlt
27 Club

Encore

I've Learned to Love Myself
Empty Elvis
Day 54

Photo Gallery by Daniel Hill @No.Quiet.Photography. Please credit Wall Of Sound and Daniel Hill if you repost photos.