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TRIVIUM + BLEED FROM WITHIN + ORBIT CULTURE FOLKESTONE LEAS CLIFF HALL SEPTEMBER 6TH 2023

Laura DQ • Sep 14, 2023

Live Review

The heat in Folkestone’s Leas Cliff Hall is pretty unbearable this evening. The air feels thick; the perspiration shining on everyone’s skin feels like it’s seeping from the very walls. It’s not pleasant but hasn’t deterred a sizeable crowd from turning up for the penultimate date of Trivium’s Goblins and Wizards tour. It’s not surprising, given how rarely heavy metal descends upon the South East and, with three bludgeoning acts on the bill, might even be worth the sweat I can feel breaking from every pore. 


Swedish foursome Orbit Culture open proceedings with a pummelling assault on the ears. Silhouetted in semi-darkness, the brutal use of the double bass pedal married with strobe lighting means this band look almost as forbidding as they sound. The thrash fast ‘Alienated’ generates the first real circle pit of the evening; even those of us too sensible (or too boring?!) to participate turn around to watch. Surely metal is the only genre where the audience is almost as fascinating to watch as the band? The wall of death that accompanies the commanding ‘Vultures of North’ with its relentless rhythmic pulse is similarly a sight to behold.  


Bleed From Within produce a mighty racket shot through with moments of melody, courtesy of guitarist and clean vocalist Steven Jones. ‘Levitate’ even generates a bit of a singalong with something resembling a chorus. But it’s frontman Scott Kennedy I struggle to take my eyes from, his incredible energy not diminished by the rising temperature. He launches himself into the crowd as ‘The End of All We Know’ concludes and is held aloft by the worshipping throng. Judging by the number of t-shirts in the audience this evening, these Glaswegians have quite the following. Admittedly, I’m not sure metalcore is really for me but there’s no arguing with the performance. 

Following the support acts, Trivium seem positively melodic, though you wouldn’t necessarily get that impression from opener ‘In the Court of the Dragon’. Matt Heafy’s vocals are at their most aggressive here, the powerful, guttural noise that emerges from him seemingly at odds with his slender frame. Though ‘Dragon’ is taken from the band’s latest album of the same name and the stage is decked out to match, it’s ‘Shogun’ that provides the real focus of the evening. Fifteen years on from its original release, the album that might just be Trivium’s most consistent receives heavy representation. ‘Down from the Sky’ starts the anniversary celebrations in style, and demonstrates this band’s enviable ability for a hook, even where you might not expect one. ‘Kirisute Gomen’ is the perfect blend of light and shade, the confrontational chorus is one of the band’s best; “we’ll take their f***ing heads” indeed! 'Torn Between Scylla and Charybdis', 'The Calamity' and 'Of Prometheus and the Crucifix' follow, showcasing this band's incredible ability to update old school metal for the modern audience. The big riffs are present, and the virtuosic solos, but there's a unique, snarling edge that permeates Trivium's sound. 

With an ever-expanding catalogue, it must be increasingly difficult to put together a set. It’s therefore pleasing to hear ‘Becoming the Dragon’ deployed so early, given the criticism that ‘The Crusade’ has garnered over the years. As far as I’m concerned, sounding like Metallica isn’t something to be ashamed of, and this muscular metal has aged well. Similarly, ‘Strife’ from ‘Vengeance Falls’ translates particularly well live. Evidence that clean vocals are not necessarily something to fear! 


Of course, it’s the tracks from ‘Ascendancy’ that are still met with the most rapture. And with good reason, ‘Pull Harder on the Strings of Your Martyr’ remains a modern metal classic, the percussive introduction instantly recognisable. It's encouraging to hear Heafy mention possible 'Ascendancy' celebrations in the pipeline for 2025 and will surely be a tour not to miss. 'A Gunshot to the Head of Trepidation’ is, for me, the closest Trivium have ever got to perfection; the instrumental interludes even more startling to witness live. Corey Beaulieu and Matt Heafy beautifully recreate the wonderful twin guitar that so impressed me back in 2005. 


‘In Waves’ is the perfect way to close, a track that demonstrates what Trivium do so well. The absolute monstrous riff and Heafy’s agonised vocal giving way to verses that are unexpectedly catchy. Admittedly, it's a relief to get out in the fresh air and away from the mosh pit, but I think many would happily have stayed longer, risking dehydration for another incredible breakdown. 

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