Touché Amoré - Gig Review & Photo Gallery 18th July @ Lion Arts Factory, Adel SA

Touché Amoré
Lion Arts Factory, Adelaide SA
‍July 18, 2025
‍Support: Militarie Gun and Colourblind

 It is conceivable that a significant number of alternative music admirers may not be aware of a sub-genre (of sorts) that exists which is in the realm of the post-hardcore genre. Entitled “The Wave”, its simplistic description was to classify bands of that soundscape as “the new wave of post-hardcore” - hence “the wave”.

In 2012, Touché Amoré frontman Jeremy Bolm divulged to Alter The Press! that the classification was: “an inside joke that got taken too far… just an excuse to have a name for our group of friends, like a bullshit kind of crew name. It was us, Pianos Become The Teeth, La Dispute, Make Do And Mend, Defeater…but what I’ve said a bunch of times is if ‘The Wave’ were truly a thing, it would incorporate so many other bands, like Tigers Jaw, Title Fight, Balance And Composure, Former Thieves, Into It Over It… just every band that’s going on right now that’s exciting.”

‍As a long-time devotee to the genre, this writer has reinterpreted the definition of “the wave” to an arguably deeper meaning. The prior mentioned acts, almost countless others, and most importantly for this review, Touché Amoré exhibit an energised sincerity and heart-on-the-sleeve narrative lyrically when they perform and release their art. It is overwhelmingly empathetic, honest and connected with their spectators; it can actually feel like a wave of warmth and comfort that crashes over the witnesses inciting a charming comfort, and remarkable realisation that we are not alone. The artists we cherish feel and understand our issues, affections and thought processes because they too, undergo these exact sentiments.

On this night, Touché Amoré accomplished this sensational sincerity once again, as they have done night-after-night for 18 years. “The wave” was of its most grand presence, and hundreds of attendees were engulfed with an artistic illumination that will not be forgotten. Only 16 months ago the Californian quintet were touring Australia, and during the Adelaide stopover, local four-piece Colourblind were presented with the honour of one of the support roles which they executed exquisitely. Unsurprisingly, the quartet were invited back to warm up the growing audience, and they did so with delightful dynamism.

Opening with ‘Body Horror’, the Adelaideans quickly ignited into a fantastic frenzy that they have superbly refined in a very short amount of time. Channelling earlier Gyroscope with some dreamgaze moments, the rapid ascension Colourblind have undergone in their live performance is unquestionably inspiring. ‘Seatbelt’ was presented as an astonishing blend of Seahorse Divorce’s math-pop-rock with the gruff-punk bravado of Make Do & Mend. ‘Midnight’ showcased the tenderness and tenacity of Balance And Composure but with an incredible injection of Australian character. Newest single ‘Learn To Be’ brilliantly bolstered this with its coalescence of Polar Bear Club and Horror My Friend.

‍Vocalist/guitarist Finn Cameron then announced that Colourblind had ambitions to start writing “more rock music and less emo driven songs, although that is probably impossible” before launching into a charismatic cover of Royal Headache’s ‘Another World’. ‘Entice Me’ was initially a slower hypnotic burner of indie punk, but it quickly escalated into a rockin’ recklessness that Heart Attack Man would have swayed in appreciation to. Closer ‘Torched’ was a heavier affair, and astoundingly the tremendous tune motivated the crowd to sing-along wholeheartedly against the wondrous wall of noise emitting from the four-piece. Open your eyes (and ears) to Colourblind, they are worth your attention.

“We are Militaire Gun and there ain’t no flowers when you die!” Frontman Ian Shelton yelled at the excited South Australian audience. The liveliness of the room instantly heightened – these Californians were undeniably a favourite that many had waited quite some time to play their brand of pulverising alternative punk rock in a live format. The (live) five-piece were dead set on ensuring their ‘Very High’ energy will be remembered, as the band barely stopped in their demonstration to smell the roses. ‘Think Less’ would have had High Vis dancing in adoration, ‘Pressure Cooker’ was an anthemic fuzz-rock addiction that was impossible not to sing-along too. The aforementioned ‘Very High’ had the fun positivity of Turnstile, but with a Brit-Pop affluence that was beyond infectious; “this song is for anyone on drugs, or more importantly trying to get off drugs” the compelling vocalist communicated in regard to the single. Indisputably, the composition alone provoked a “high” that warmed the souls of all within the venue.

Mr Shelton then disclosed that MG have a new album coming out this year, and they were “annoyingly” going to unveil tracks from this extremely anticipated LP on this tour. ‘Throw Me Away’, ‘B A D I D EA’ and ‘God Owes Me Money’ were shared and delightfully delivered excitedly, and there was an astounding aura of compelling gratefulness for this exclusive insight to what has the potential of being an AOTY (Album Of The Year) contender.

‍‘Will Logic’ expressed moments of a punked up and modernised Joy Division, there were incredible instances where Ian Shelton neared Ian Curtis' intensity with his dancing presence. ‘My Friends Are Having A Hard Time’ was the highlight and the audience unified with Militarie Gun in a wondrous bond of immeasurable magnitude, especially with the song’s sensational poetry. ‘Big Disappointment’ navigated a powerful garage-core instruction that altered everyone’s heartbeat with its tremendous trouncing rhythm and divine dissonance. ‘Thought You Were Waving’ approached the other end of the spectrum and was an indie punk gem You Blew It! wish they had written. ‘Never Fucked Up Once’ brought Shelton to the barrier so THAT chorus could become all-powerful with an Adelaide crowd choir. Closer ‘Do It Faster’ was a happycore stunning shanty that everyone from a Rancid devotee, to an Oasis fan would enjoy, and did.

“The Wave” had been administered twice-fold, and the Lion Arts Factory was swimming in serene sanctity from the warmth and vivacious bliss of this musical magnificence. However, the tsunami was approaching, fast…

“I’m parting the sea between brightness and me. Before I drown myself and everyone and everything!”

Instantaneous exhilaration and infatuation were the (obvious) responses to these two hard-hitting and amazing admissions; Mr. Bolm was here, screaming his heart out to the largest Adelaide audience Touché Amoré had relayed their poetic virtuosity onto. The issues that surrounded us and the world, seemed to diminish, and the music became our ‘Home Away From Here’.

‍‘New Halloween’ embraced a connectivity regarding devastation; the track comes from the fourth full-length by TA entitled Stage Four. The record is a “goodbye letter”, to a degree, to Jeremy Bolm’s mother who passed away from cancer. Incredibly, hearing and feeling these truths when Bolm expresses that torment, transports the observers to a better place, as if it were not only therapeutic for himself, but for all those listening. That is “The Wave”.

‍‘Nobody’s’ explored post-punk territories sublimely, ‘Green’ emitted a stadium atmosphere with magical musicianship of both heavy and heavenly. ‘Amends’ then downscaled it to TA’s birthplace of basements and insanity, but with impeccable refinement. ‘Praise/Love’ was a minute-long emotional hardcore ballad of magnificent minimalism, ‘Reminders’ was practically the opposite as an indie-pop-hardcore love anthem. ‘And Now It’s Happening In Mine’ subtracted gravity astonishingly, which introduced ‘Uppers/Downers’ flawlessly.

‍‘Come Heroine’ reflected both the chapters of Touché Amoré’s sound and story-telling immaculately, and a big part of the quintet’s story is Australia. ‘Hal Ashby’ was their love letter to our nation, and that love is returned to the outfit infinitely.

‍‘Harbor’ incorporated a theatricore motif, ‘Rapture’ incited rhythmic applause and devoted besottedness. ‘Limelight’ transported all to a dream status, a fusion of indie music (Manchester Orchestra’s Andy Hull features on the recorded version) and emotional hardcore of this calibre is literally breathtaking. ‘Home Away From Here’ reversed the empathy to an extent, where the audience lived in TA’s shoes for two-minutes; however, this exposure empowered the love for what the Los Angelions strive to do, connect.

‍‘Just Exist’ and ‘Pathfinder’ furthered this message faultlessly. ‘Subversion (Brand New Love)’ was the show-stopper; Jeremy spoke of his song-writing for the band’s 2024 enthralling LP Spiral In A Straight Line, and how important Adelaide was in that album’s journey. After Touché’s last tour down under, the five-piece flew direct to the studio to record with Ross Robinson; part of Mr. Bolm’s lyrical enterprise for the album was that exact tour and his experience in Adelaide.

“‘Brand New Love’ plays, as I touch down in Adelaide.” He magnificently crooned.

Our city REJOICED!

‍‘Honest Sleep’ time travelled to decades prior and brought a psychosis of hardcore resplendence. It is difficult to imagine that some of the attendees were not even born when this spellbinding song was released, ultimately it proved how TIMELESS Touché Amoré are with their art. ‘Goodbye For Now’ silenced everyone dramatically, solely due to its atmospheric splendour. ‘Flowers And You’, sincerely this scribe has no description, just advises everyone to listen, YOUR HEART WILL BE FILLED.

And there is THE WAVE.

Review by Will Oakeshott @TeenWolfWill

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