The Dillinger Escape Plan - Gig Review & Photo Gallery 12th August @ The Gov, Adel SA

The Dillinger Escape Plan
The Gov, Adelaide SA
‍August 12, 2025
‍Support: Ho99o9

“The return makes one love the farewell.” – Alfred de Musset.

‍It is bizarrely befitting to utilise a quote from a famed French poet, dramatist and novelist whose works explored themes of the human condition, gloom, passion, and most significantly love.

For this writer, that is what this article has become, a “farewell love letter” to the magical mathcore maniacs known as The Dillinger Escape Plan. From recollection, this closing showcase in Adelaide was the ninth live TDEP experience for this scribe, and the second time the exhibition was to be their last. Every psychotic performance has been engraved into my being, as if part of my DNA, soul and “life movie”.

Adelaide had essentially already bid adieu to the New Jerseyans on October 17^th 2017; Australia did on the 22^nd of the same month. The world officially farewelled The Dillinger Escape Plan in the truest sentiment of ‘Endless Endings’ – with a trilogy of departure demonstrations on the 27^th, 28^th and 29^th of December 2017 at Terminal 5 in New York City. The career concluding and defining concerts were simply, historic.

“The return makes one love the farewell.”

Rumours became reality – as is well known, to celebrate the 25^th Anniversary of The Dillinger Escape Plan’s debut album Calculating Infinity, the five-piece were to play a reunion show on June 21^st, 2024 at Brooklyn Paramount Theatre with original vocalist, the debonair Dimitri Minakakis (after a lot of speculations and hearsay). History repeated itself to a degree, as this reunion also became a threepeat. The quintet then went onto attack more of the USA, as well as Europe, and in August 2025, Dillinger returned to Australia where the marvellously malevolent Mr. Minakakis would be making his powerful premiere.

Those seven recited words above from the Légion d'honneur Award winner (the highest and most prestigious French national order of merit) undeniably promotes the intrinsic inclination that ‘Happiness Is A Smile’ when it comes to the final return of the Dillinger Escape Plan.

A sensational spectacle of this nature requires an opening act of charismatic calibre and tumultuous temperament – enter New Jersey’s death industrial rapcore punks Ho99o9 (pronounced “Horror”).

To an extent, a significant portion of the building crowd missed theOGM’s stage entrance, but this acted as a spectacular shock awakening for the audience, quite similar to a jolt-scare for cinemagoers in a thriller film when a blast of sound erupts. Understandably, attention was instantaneously focused upon the enigmatic musician as he started his DJ undertakings, and a spellbound aura overtook all within the venue.

Dillinger’s prodigious percussionist Billy Rymer was managing double duties for this tremendous tour, and once his drumming onslaught surged, vocalist Eaddy bounced onto the stage and instantly the trio erupted. A mesmerising amalgamation of Death Grips’s experimental punk-rap intensity, with breakbeat explorations, and even hardcore intensity that LA’s Zulu would admire; the three-piece were unquestionably a trance-inducing mecca that magnetised, and outstandingly oozed energy.

‍Ho99o9 would transform in soundscape and delightful devastation in a split second; ‘Incline’ brilliantly broadcasted the earlier dance-punk severity of The Prodigy that mutated with trapcore and incredible industrial blares. ‘LIMITS’ was a death industrial nightmare that clipping. could only wish they could execute.

Earth-shattering breakdowns pulsated strikingly which bit Adelaide’s face off, ironically the track is called ‘BITE MY FACE’, and also in ‘A Machine Of’. The latter would have caught Trent Reznor’s interest wholeheartedly with its Pretty Hate Machine vehemence.

An intermission of Frank Sinatra’s ‘My Way’ was welcomed before ‘Sub-zer0’ brutifully boosted the vivacity of the entire room, this was also provoked by vocalist Eaddy launching himself into the crowd, providing the catalyst for the moshpit to ignite.

Screaming through a vintage phone handset modified into a microphone, climbing atop speakers, dancing to levels of amorousness, which in an instant, propelled into borderline violence. This wasn’t a horror, this was immensely HYPNOTIC. There’s a reason why the world is now taking PROPER notice. Bring back Ho99o9 for a headlining tour, not now, yesterday. Even theOGM stated: “Y’all guys are our homies and cool”, and what is undoubtedly cooler than that, is the release of the duo’s new LP Tomorrow We Escape on September 9^th, 2025.

At 9:15pm red lasers emitted downwards toward the stage, strobe lights fluttered in blinding ecstasy, a bursting of cheers overtook all senses as Dimitri Minakakis, guitarist Ben Weinman, guitarist James Love, bassist Liam Wilson and Billy Rymer transformed the Governor Hindmarsh into a home of havoc. The eerie ‘*#..’ was the thrilling thunderclap to initiate the exhilarating exhibition, but before the Dillinger Escape Plan could embark on destruction, Dimitri simply expressed the “shush” gesture to the audience brimming with anticipation.

This was to be the only moment of calm for the entire demonstration.

‍‘Destro’s Secret’ convulsed compellingly in a cacophonous chaos of extreme mathcore mastery. Ben Weinman was swiftly frenzied, throwing his guitar around in axe-wielding murderer derangement, screaming into the microphone, and stomping the stage as if trying to shift the tectonic plates below the earth’s crust. Minakakis, in all honesty, probably didn’t need his microphone at all, his above human stark roar was not just heard, but felt in every word he passionately shrieked. He outstretched his arms and embraced South Australia as his family during this astounding anthem – believe it or not, this was his first time performing here.

‍‘The Running Board’ maintained the mystifying madness, the moments of jazz-industrial-fluttering was the only offer of reprise from the derangement, not that anyone present actually sought out that solace. The momentous oddly-timed breakdown moved witnesses’ bodies in tidal entrancement; Adelaide was mesmurderised.

‍‘The Mullet Burden’ was as monstrous, if not more, than when it was released in 1998. Truthfully, it was arguably the most unhinged version delivered in a live setting - in the best way possible. ‘Clip The Apex… Accept Instruction’ was a polyrhythmic party, the prolific front-man even pointing out crowd members who “knew how to party” in excitement. An enacted "pick of the nose" was more oddly charming, while Mr. Weinman turned speakers, and even the zoned off music equipment sections, into gymnastic apparatus.

“Who listens to Calculating Infinity on Spotify?” Dimitri asked.

“Boo!” Adelaide excitedly responded. Why? Just do some research into the borderline criminal financial management of the streaming service.

“You ALL know how to party!” Mr. Minakakis celebrated.

A very subtle cover inclusion of Crowded House’s ‘Don’t Dream It’s Over’ led into the celebrated full-length’s title track ‘Calculating Infinity’, and Dimitri became the conductor of mayhem. Encouraging clap-alongs, sharing the microphone, kneeling to the front-row and fist-bumps. This was a 25(+1) anniversary, it required hysteria.

Who better to deliver such rockin’ recklessness?

‍‘Sugar Coated Sour’ escalated every element of enthrallment and disorder poetically. ‘Sandbox Magician’ was not of this world (can we have a vinyl rerelease again of Under The Running Board please?). ‘4^th Grade Dropout’ was heroically harrowing and consequently, outdone by ‘Abe The Cop’.

Gratefully ‘Weekend Sex Change’ allowed for some breathing space for the entirety of the Adelaide CBD; however the Billy Rymer drum solo that was unequivocally superhuman, adrenalized the capacity audience to take on the Dillinger avalanche of savagery once again, which was to be ‘Variations On A Cocktail Dress’, and amazing absurdity ensued.

The first self-titled EP was revisited with ‘Monticello’ in a very unexpected and tantalising twist. ‘Jim Fear’ dizzied all into oblivion with its wondrous wildness and for a moment, gravity seemed to escape the building.

“This song goes out to Richard James, does anyone know who that is?” – Dimitri enquired.

Silence.

Two courageous millennials yell out: “Aphex Twin!”

“You guys party!”

An adored and wonderfully wicked interpretation of Aphex Twin’s ‘Come To Daddy’ was frankly, beyond this universe.

“We played some songs that came out 25 years ago, everyone is a part of this band, forever.” Ben Weinman stated, exhausted from his astounding antics and most-likely, emotional attachment to DEP, Dimitri, James, Liam and Billy; but most importantly, the fans who supported and were enraptured by The Greatest Live Band Of All Time.

‍‘43% Burnt’ required no description, it shrieks louder than words – just listen. To be frank, the Governor Hindmarsh was lucky to still have a stage.

“The return makes one love the farewell.”

Adelaide, Australia, Europe and the USA ADORED the farewell.

There are very few musical outfits who can deliver unbridled lunacy every night they profoundly present their art. More importantly, there is perchance, only one band who WILL articulate their farewell to their devotees twice in such enthralling virtuosity.

That band is The Dillinger Escape Plan.

For this writer (and countless others who adore the heavy music universe), WE LOVE THE RETURN AND THE FAREWELL.

Infinity, calculated.

Get your tickets to the remaining dates here.

Review by Will Oakeshott @TeenWolfWill

Setlist

Destro's Secret
The Running Board
The Mullet Burden
Clip The Apex...Accept Instruction
Calculating Infinity
Sugar Coated Sour
Sandbox Magician
4th Grade Dropout
Abe The Cop
Weekend Sex Change
Variations On A Cocktail Dress
Monticello
Jim Fear
Come To Daddy (Aphex Twin cover)
43% Burnt

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