The Dillinger Escape Plan in Sydney – review and photos
New Jersey experimental hardcore duo Ho99o9 exploded onto the stage and instantly made the half-full Enmore Theatre feel like it was packed to the roof. Their set was a whirlwind of pounding percussion, wild vocals, and a fearless mash-up of punk, industrial, and hip-hop that hit hard with a Sydney crowd who, at first, weren’t sure what they were in for.
They tore through the first three songs without even pausing to breathe, only stopping once they’d already won the room over. Between tracks, an eclectic mix of samples spilled through the PA, showing off the band’s appreciation for various other genres, and sometimes their chaotic sense of humour. By the halfway point, the energy had spilled into the audience, with a small but fiery circle pit opening up near the front. By the time they finished, Ho99o9 had rallied a much bigger crowd for the headliners and proved they could whip up chaos wherever they go.
Then The Dillinger Escape Plan hit, and hard.
Back with original vocalist Dimitri Minakakis and marking 25 years since Calculating Infinity, the band came out swinging harder than anyone expected. The Enmore was now completely jammed, with no space left, as the five-piece ripped through “Destro’s Secret,” “The Running Board,” and “The Mullet Burden” without so much as a pause. Even after Ho99o9’s frenzied warm-up, Dillinger’s opening blast still knocked the crowd back a step.
Ben Weinman and James Love shredded through jagged riffs while Liam Wilson’s bass snarled underneath. Drummer Billy Rymer drove the whole set like a runaway train. But it was Minakakis who owned the night. His voice cut through sharp and brutal, and his energy never let up. One moment he was screaming into the barricade, the next he was prowling the stage or throwing himself into the crowd. He felt unstoppable, like he’d never left.
The setlist was a gift for the diehards. They mixed in deep cuts like “Sandbox Magician” and “4th Grade Dropout” with crushing staples like “Calculating Infinity” and “Sugar Coated Sour.” The only real breather came when they surprised everyone with a cover of Crowded House’s “Don’t Dream It’s Over.” It was a nod to Australia and a rare chance for the audience to catch their breath. After that, it was right back into the fire with covers of Ministry’s “Just One Fix” and Aphex Twin’s “Come to Daddy,” both adding new twists of menace and chaos.
The closing stretch of “Monticello,” “Jim Fear,” and a scorching “43% Burnt” was pure catharsis. Even when the band left the stage, Minakakis kept coming back out to greet fans. He climbed up again and again to connect with people who clearly still hold him and the band in such high esteem.
This wasn’t just another gig. It was a celebration of 25 years of madness, delivered by a lineup many thought they’d never see again, if ever. For the fans crammed into the Enmore, it was one of those rare shows that sticks with you long after the ringing in your ears fades.
Review by Andy Lovell. Photos by Adam Davis-Powell.
