Testament - Gig Review 22nd June @ The Gov, Adelaide SA

Testament
The Gov, Adelaide SA
‍June 22, 2025
‍Support: Hidden Intent

"The secret of genius is to carry the spirit of the child into old age, which means never losing your enthusiasm.” – Alduous Huxley.

Thrillingly thrashing about for approximately four decades, the Bay Area thrash titans Testament (and formerly, Legacy [arguably that name is also immeasurably suiting]) finally returned to Australia for a headline tour for the first time since 2010. This arrival back was undeniably beyond thirsted for, as the quoted Nobel-prize nominated English writer and philosopher faultlessly expressed above: “…never losing your enthusiasm.” This is precisely the magnificent motif that was transpiring at an above sold-out Governor Hindmarsh on this evening. Age did not necessarily have a “quantity” in numerical value, it had a “quality”; abandon the figures, embrace the history and carry the spirit of the earlier marvellous memories (or child’s) of when a devotee experienced a Testament song. Better yet, that “enthusiasm” was shared, and to be honest, exceeded by the Californian metal trailblazers when navigating a setlist of their entire discography to their adorers. The quintet’s infectious energy and beaming delight brought us all ‘Together As One’.

Adelaide’s own thrash specialists Hidden Intent had the repeated honour of the support role for this outstanding occasion, the night before they had triumphantly undertaken the same remarkable responsibility at Melbourne’s Northcote Theatre. However, this time their showcase was to their own home crowd, which unquestionably added an additional thrashtastic texture to their performance. Opening with ‘The Ruins’ from the trio’s recently released Terrorform LP, it was clearly evident that the songwriting of bassist/vocalist Chris “McThrashy” McEwen, guitarist Phil Bennett and drummer Paul Lewis has escalated into a brutiful refinement on their fourth full-length. Elements of death metal and groove have been incredibly infused into the three-piece’s formula spectacularly, and it is a wondrous amalgamation to witness.

‍‘Breaking Point’ featured a stomping groove that led into circle-pit inciting thrash, epic Phil Bennett guitar solos and neck-dislocating headbanging. ‘Terrorform’ featured a cinematic guitar intro that At The Gates would have revelled in, and an intensity that might inspire Chimaira to reunite, again. ‘Drop Bears Are Real’ was indisputably a crowd favourite, the under-two-minute metallic sprint assuredly elevated the engulfment of beers (and maybe Bundy) by the eager spectators to a “Sunday Funday” party inclination. The very theatrical and heavy ‘Reaper’ was the highlight, with an eerie bass-driven induction, the composition built to a deathened thrash psychosis featuring a classical rock inclination of The Ventures’ ‘Pipeline’ outstandingly interweaved within the track’s ferocity.

Closer ‘Addicted To Thrash’ was understandably a requirement and properly provoked the moshpit to erupt. This was instigated in part by McEwen’s gravelly vocals and circle-pit demands with his devilish eyes, while guitarist Phil Bennett stomped around in a circle onstage of his own making in thrash euphoria.

The “enthusiasm” for what was to come next was in all honesty, boundless.

‍Metallica’s ‘For Whom The Bell Tolls’ and Beastie Boys’ ‘(You Gotta) Fight for Your Right (To Party!)’ furthered the enthusiasm with audience sing-alongs, but the tension from the anticipation was becoming inconceivable. It was a winter’s night, but the room was a melting pot of body heat and metallic tenacity. Drummer Chris Dovas attempted to sneak on and ascend onto his escalated drum platform, but was soon spotted to an outburst of cheers – guitarists Eric Peterson, Alex Skolnick, bassist Steve Di Giorgio and the birthday boy, vocalist Chuck Billy soon followed. Then one simple question was presented by the dynamic frontman:

“Are you guys ready?!”

‍‘Practice What You Preach’ was a riot; the Testament congregation’s horns were pumping into the air, Mr. Billy was quick to high-five as many people in the front-row as he could reach, between bouts of air-drumming and air-guitaring, and the most infectious smile thrash metal has ever had the honour of upholding.

“Then you lose control.”  -Adelaide sure did.

‍‘Sins Of Omission’ heightened the liveliness of the extravaganza, bassist Steve Di Giorgio was in paroxysms of delight, shaking his hips and shoulders in varying accelerated rhythms (he would continue to do this the entire night). ‘The Pale King’ was aggressively radiant, similar to repetitive lightning that possesses more illuminating power than the sun itself. ‘The Haunting’ wound the clock back, but the thrash vivacity pushed forwards to insanity. The solos interchanging between Alex Skolnick and Eric Peterson were breath-taking and faultless, as if part of their DNA. Which was the exact metaphor Peterson used to explain the callout “Aussie Aussie Aussie!” and our instantaneous response: “Oi Oi Oi!” – it’s part of our DNA.

Chuck announced the next track as a tribute to his father for when he passed away in hospital, then the delightfully deranged ‘DNR’ brilliantly boomed from the quintet, possibly disrupting Disney On Ice occurring just across the road at the Adelaide Entertainment Centre. If the Beast character was performing, his growls would have been drowned out by Charles’ mammoth bellow.

‍‘Low’ and ‘Native Blood’ enhanced this thunderous bombardment, especially with the significance of Chuck Billy’s Native American ancestry which he spoke proudly of, and gratefully, added a profound idyllic sentimentality to the charismatic composition. The blastbeats from percussionist Chris Dovas trembled the Earth’s crust below heightening Testament’s tenacity exquisitely. The five-piece then slowed the thrash onslaught down, with the ballad ‘Trail Of Tears’ that eventually enlarged into a monument of anthemic metal. It must be stated that even Slash himself would have been enraptured by the enthralling guitar solos that were exhibited.

“Are you guys feeling it out there? You never know how a metal crowd will take that one (laughs).” Chuck joked – the answer was with unbridled “enthusiasm”, obviously.

It had been announced this very day that TACO POTUS Donald Trump had ordered air strikes on three Iranian nuclear sites; Testament had witnessed this frightening ordeal from the other side of the world through the news. As worrisome as this event had become, the quintet used their virtue, musicianship and eloquence to include ‘WWIII’ in their performance, for the "first time in an Australian setlist" as they expressed. It was an above powerful statement, and thankfully for almost five-minutes, Adelaide was more-than-likely distracted from what might still terrifyingly eventuate.

‍‘The Formation Of Damnation’ was a heavier sequel with a pulsating breakdown that turned the aforementioned Earth crust trembling, into Earth shattering convulsions. “Are you ready to bang your fucking head?” Chuck asked spiritedly. If not, the groove of ‘Souls Of Black’ forced the spectators to through its addictive rhythm stupendously. ‘Return To Serenity’ was another slower-yet-grander masterpiece that even the security guard next to the stage jived along to with its cinematic aura; file this next to Led Zeppelin’s ‘Stairway To Heaven’ in the playlist, after that bottle of Pinot Noir has been emptied.

Perhaps though, bring out the Jack Daniels for another thrashing blast of metal afterwards – that seemed to be Testament’s plan with ‘First Strike Is Deadly’, ‘Electric Crown’ and ‘More Than Meets The Eye’. The audience then became a backing choir, contributing the “Wo-Ohs’’ which had every member of the Bay Area Thrash legendary group smiling in gratitude.

Mr. Billy then admitted it was his birthday the following day while taking swigs from a crowd member’s hip flask. At 63-years old, he undeniably lives the Alduous Huxley statement: "The secret of genius is to carry the spirit of the child into old age, which means never losing your enthusiasm.”

‍‘Dog Faced God’ was blasted as a surprise closing chapter. An encore was a necessity to prevent audience anarchy, and ‘Into The Pit’ transformed that disquieting disorder into fantastic frenzy. This was assuredly, a showcase for the ages.

Never. Losing. Enthusiasm.

Album number 14 cannot come soon enough.

Review by Will Oakeshott @teenwolfwill