“Severing the serrated wings used to burden the bereaved.“
Photography by Konstancja Szwed, contact Kon prior to any image use, words by Joe Edwards & Dobbin T.
Counterparts shows have by now been thoroughly woven through the memories of melodic hardcore fans. At points, it seemed as if the Canadian unit were over the pond on a yearly basis, often with strong supporting line-ups. Names such as Knocked Loose, Static Dressed, Employed to Serve and Chamber opening for them in their decade plus time touring the UK. Then there were the appearances at festivals such as Outbreak, where Counterparts would be one of the standout moments of the weekend. Now as their stature as deservedly grown, so have the venues, seeing Counterparts embark on their largest tour this side of the Atlantic, with once again another impressive set of supporting bands.
An opener is the scene-setter for a show, especially when it’s a heavy one. For a line-up that includes the bluntness of Sunami’s sound and that landscapes of grief that Counterparts invoke, God Complex being a strong pick up to begin the journey with. Charging through “Death Trip” and “Deeper Form Of Sleep”, Harry Rule demanded that the London hardcore scene show their strength in the pit, to which they duly obliged. The early throwbacks from To Decay In A Deathless World showed that even with an audience from a wider base present, this is still a hardcore show at its core. The likes of “Red Chord” gave the two-steppers an opportunity to dance, while its gnarly breakdown once again allowed the spin-kickers to stretch their calves.
God Complex
Rule’s stage presence remains steadfast as ever, with their vocal range being shown as the set list kicked into material from He Watches In Silence. He pulled out death-metal style vocals on the likes of the “The Judge” and “Ba’al’s Trick”, backed by the wall of sound that the four guitars on stage bring. Before heading into “Flooded Lungs”, Harry Rule reminded the crowd of the venue’s alleged links to fascism in the 30s, which the suspicious look decor on either side of the stage does little to dispel. He spoke of how that fascism often comes as a wolf in sheep’s clothing, and warned the audience not to let current political parties trick them. While mic issues did haunt God Complex during “Flooded Lungs”, just as they did during their opening tracks in Glasgow, the instrumental prowess present in the closer still showed that God Complex remain on their throne; long may they reign.
One Step Closer were the most melodic entry to the line-up, a strong nod to Counterpart’s own extremely catchy qualities. They were also an excellent choice in this regard as they bring plenty of grit, and have truly found their own sound in the hardcore-adjacent space. As with the other openers, they were also slightly let down by the sound, but not at all by the audience, throwing themselves at each other with reckless abandon. One Step Closer are still heavily touring their All You Embrace material, with just one song on the list from This Place You Know (“I Feel So”), arguably their break out record. With several other tracks pulled from singles, it felt like a deliberate omission – perhaps the band are letting their most material sit for a while. Still, this setlist was a reward for all their most engaged fans, with “Jinx” being an especially lovely recent single to have included.
One Step Closer
In true ‘hardcore fest’ style, each band gathered onlookers from the other bands at the side of the stage. These bands are connected by genre, but clearly they are friends, first and foremost, delighted to be on the road together. For the final track they threw it all the way back to their debut EP with “The Reach”, where Ryan Savitski appealed to the London hardcore scene’s attendees for side-to-sides and proper mosh activity. It’s a great track, but for that response to be truly authentic to London’s sound, the band would really need to step off the jangly guitars for a moment. If our small shows are anything to go by, we’re simply too tuned into low tuned beatdown. Speaking of which…
As with the prior set, there was a swarm of onlookers at the side of the stage; One Step Closer’s singer Savitski could be seen air drumming to his favourite moments. As Sunami cut through the likes of “Fence Walker” and “Doubt”, it was time for London hardcore to fully show their style. An ever-increasing crowd leading to an ever-decreasing mosh pit size. While this led to the crowd leaning toward the more gridlocked side for a Sunami set – which are usually some of the fiercest – it did not take away from a hard-as-nails performance from the West Coast band. As the double kicks from Benny ripped through Kentish Town, they were accompanied by the ‘Sunami snare’ that always pops nicely on the ear. The guitars did seem slightly too low in the mix; this led to Alfonso’s vocals taking full command, which gave the likes of “Contempt of Cop” an extra fury for a crowd who barked along to much of it.
Sunami
As the candles and stained-glass windows filled the stage, it showed that Counterparts are now a different beast in live settings. The days of Strongbow Dark Fruits being spilled onto the stage and Murphy being swarmed during “The Disconnect” are now moments to be reminisced upon by those who likely find themselves further to the back at Counterparts shows these days. Yet, this doesn’t mean it was any less intense of a Counterparts show. The setlist pieced together Counterparts’ heaviest material, much of which has come from their recent EP, Heaven Let Them Die. The likes of “With Loving Arms Disfigured” and “To Hear of War” were threaded between Counterparts staples “Choke” and “Thieves,” which allowed the mosh pits to expend their remaining energy.
Those who were up for a bit more of a sing-along were treated to “Bound To The Burn,” as the chorus of “a casket calls my name” was belted out while Murphy pointed the mic in the crowd’s direction, soon followed by the call of “Will the ones I love / forgive me for leaving too soon?” in “Paradise and Plague.” On the heavier “Monument” and “Stranger” – which have often been favorites for those who fancy a mic-grab – the Kentish Town barrier held back a baying crowd shouting along to “I am a stranger when I look into the eyes of those I love” or “I have nothing left in me to give” from the former.
Counterparts
Sorry to all the bassists reading this, but the guitar-only approach works really well for Counterparts. They were extremely precise and clean, perhaps adding some subtle (but not braggadocious) bass stabs to critical breakdowns for variety. This strategy didn’t preclude masterful tightness in the mid-range; all the important “squealies” and fills were pulled off by both Jesse Doreen and Tyler Williams. Unlike the openers, Counterparts enjoyed a perfect audio mix.
As these hardcore bands, or those adjacent to the genre, continue to see their popularity rise, it brings into scope how fitting these O2 venues are for such shows. With those breaking through security to stage-dive during One Step Closer or – as was seen at Brixton – using the crush barriers to stage-dive, there is clearly an appetite for it. This is preferable to the tiresome nature of crowd-surfing over a barrier only to fall into the arms of a security member, which becomes ever more unappealing the more you think about it. For shows like Counterparts to truly thrive in these venues, the stage-diving and mic-grabs available in smaller venues must return, while still allowing bands to play larger venues to make a deserved living. There needs to be an examination as to why countries like Germany, Canada, and the USA make it possible for larger venues not to be stifled by barriers and security without needing a “mosh license” like at Outbreak Festival. The most likely answer is the health and safety regulations that strangle venues, likely supported by the current Mayoralty’s commitment to making London nightlife as dull as possible.
For many, this wouldn’t have been front of mind, as Counterparts delivered another mesmerising set. Those were there for the likes of “Unwavering Vow” or “Stranger” to bask and find catharsis in the rawness of emotion that Counterparts possess. With the stage as a chapter and the crowd as the choir, Counterparts will continue to be a vessel for people to process and release their anger, grief, and turmoil. When the next Counterparts chapter arrives, new veins will be opened for these emotions to flow through.