Oceans Ate Alaska raining down all hell on the Mama Roux on their latest tour with supports Elate, Shields and Kingdom of Giants that reminded us all why we really really love metalcore.
Kicking off the night was Birmingham’s own Elate, who carried through with respectable performance for a band of their sizing. Eagerly pouncing onto the stage with a lively energy paired with a phenomenal vocal range, the four-piece progressive metal band brought a refreshing taste of the best of Birmingham’s local scene to the stage as fans excitedly flooded through the doors of the Mama Roux.
Swooping onto the lineup with a hint of American Charm, Kingdom Of Giants captivated the audience with their ecstatic presence and good ol’ fashioned American Metalcore. Bringing the house down in star-spangled glory with mouthwatering heavy riffs that pounded into the ground and sensational vocals that were crisp enough to cut through the thin air, I was nothing short of completely astounded by Kingdom Of Giants.
Supports acts can often become the powerhouse of shows, unintentionally stealing the limelight with their kinetic energy and outrageous performances that you can’t help but bang your head along to. Support act Shields did just that and more with a high energy, of the wall set that had fans flooding onto the barrier-less stage. Although they began with rocky vocals and questionable screams, after they’d hurdled the first song it was a sky-high set. Good breakdowns can’t go unappreciated and Shields know just when to drop an intense, drawn-out and truly gnarly breakdown onto the crowd to really kick the room energy up, with vocalist Joe Edwards screams soaring across the room and drummer Alex Rayner thudding with every bone in his body I almost thought his hands might fall off.
They’re not just your everyday metal band who hop onto a stage, play some songs, then leave, Shields make every performance as raw and emotional as possible with powerful messages conveyed through their lyrics that speak to fans paired with catchy riffs and a playful beat that newcomers can get into. What reignited with me the most was the connection the band had with the fans, you could feel the authentic connection between the band and the audience floating in the room, as with every hair flip that Edward’s whipped across the stage, fans headbanged along with him and screaming the lyrics right back at him but even louder. With a surprise appearance from Joey Hayward of Silence Screams I thought it couldn’t get any better, then Edwards jumps into the crowd to surf across the sea of fans, plotting himself in the centre of the pit with fans wrapping their arms around him as they all screamed to their heart’s content. Drawing an end to their performance was bittersweet, whilst it was a mind-blowing performance that could put huge bands to shame, sadly this was Shields farewell tour as the band have decided to take a pause of making music while they grieve the loss of their late guitarist.
As a storm of excitement brewed over the stage, it was finally time for Oceans Ate Alaska to bring the thunder. Leading in with an ominous soundtrack that interludes into the first song, the Birmingham based band dived in with coursing screams and a pounding drum beat that surged through the crowd, electrifying the room and hailing all attention to the stage.
Drawing from a variety of old classics and newer hits such as “Clocks” and “Floorboards” that highlight the berst of their career, which included their Pop goes Punk cover of “Drunk In Love” originally by Beyoncé Oceans Ate Alaska blew fans away, who were practically pouring onto the stage before the second song had even kicked in
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Always expect the unexpected at an Oceans Ate Alaska show, this 5-piece group of misfits have carefully crafted the art of sending a packed room of fans into enthralling pandemonium. Let’s set the scene; it’s hot, sweaty and everyone’s shirtless. Yep, you’re in the boiling pot of every concert, the moshpit! One moment there’s a slow, heavy, thudding breakdown with death growls and squeals and people are just flying everywhere, then the next minute the genre has been turned on its head completely and the verse leads in with a fast tempo, fast rhythm, searing guitar solos and circle pits begin to break out all around you; in other words, complete and utter insanity. I’ve never seen a band sandwich that many breakdowns into the first 10 minutes of their show. Whilst some have said that their sound is misguided in its genre, I’d argue it’s nothing short of artistic metal genius. Their playful style takes a bite from every apple on the tree and truly highlights the best aspects and techniques metal music which fans seem to love.
Honest, humble and entertaining best summaries Ocean Ate Alaska’s charming stage presence. As well as leaping into the crowd to sing along with fans and simultaneously headbanging in sync that oddly reminisces back to the forgotten 2009 crabcore days, I felt a genuine passion performing through their music. Whether it was Vocalist Jake Noakes pouring his every ounce of dignity and soul into his lyrics or the way Guitarist James Kennedy burnt through his finger-tips with his scorching guitar solos and even just the band bouncing around the stage and having a good time, every single aspect of their performance felt like the genuinely have a passion for their art and truly love their supportive fanbase.
Although the only minor setback to their performance, which has also become an annoying habit in the metal music scene. When singing clean verses, Noakes would often pull away from the microphone mid-note as if to make it sound like he’d held the note longer then he really did which was plainly obvious. Whether it was down to sheer laziness or building anxieties, this left their songs feeling slightly disjointed or cut up and made them lose their gravitas.
Overall, Oceans Ate Alaska tore the roof off the Mama Roux and rained hellfire with a show-stopping lineup and a breathtaking performance that left fans speechless.
Have you seen our interview with Oceans Ate Alaska? If not, check it out below
