Live Review: The Ghost Inside/Bring Me the Horizon
Chicago’s Metro was set for mayhem this past Thursday evening, with young British deathcore group Bring Me the Horizon headlining and set to share the stage with the face-melting, awe-inspiring power of metalcore veterans Misery Signals.
Eager young fans donning oversized devilocks, uber-tight, obscurely-referenced band t-shirts, and enormous gages or other forms of bodily piercing were to be sorely disappointed when they reached the venue’s entrance; a small sign posted on the doorframe explained that Misery Signals would not be performing due to illness.
Regardless, the Ghost Inside took the stage with confidence, shredding their unique brand of melodic metalcore. The LA-based four-piece brought an entire metal sound-scape to the venue and thrashed their shiny metal hearts out, exploding onstage like a ghastly whirlwind of pure energy. Lead vocalist Jonathan Vigil was perched on top of speakers, flying across the stage at breakneck speeds, bouncing on an invisible pogo stick, and screaming bloody murder into the microphone, energizing a crowd that had lost a little steam from the now-inconspicuous absence of Misery Signals.
Deep, commanding growls, hooky lead guitar licks, tight double-bass drums, and an authoritative stage presence all contributed to an overall face-melting set, led by a mature metalcore group that – barring death or dismemberment – have the potential to be a memorable part of the contemporary core scene.
Bring Me the Horizon (affectionately labeled BMTH by fans) took the stage amidst a chorus of screams and cheers, introduced by a dropping banner that depicted a young girl holding her own entrails (modeled from the cover of the quintet’s most recent album, Suicide Season). The crowd responded most enthusiastically to 22 year-old lead singer Oliver Sykes, who has already made a considerable name for himself through numerous side projects, a start-up clothing business, and at least one noteworthy legal run-in of R. Kelly caliber.
BMTH opened strong with “Diamonds Aren’t Forever,” a tune that begins with Sykes’ dominant vocal anthem (“We will never sleep / cause sleep is for the weak / and we will never rest / till we’re all fucking dead”). Although the song choice was powerful, the group began the track slovenly, seemingly a dead give-away that the band’s youth and immaturity were destined to get the better of their live performance. But with each song, the cohesiveness grew, until the group was simultaneously dominating and working with the young audience. The crowd exploded into mosh-pits and hardcore dancing, fueling the raw energy onstage.
BMTH flaunted both new and old tunes, showcasing the ease with which their music bridges the borders between deathcore and metalcore. Like a lot of young bands, BMTH played each song just a hair faster than the actual album recording, raising the bar and challenging the audience to keep up. By the end of the show, the crowd dripped sweat but still cried for more. BMTH didn’t appear for an encore, but it was clear that the UK natives have staked an unflinching claim within the US metal scene.
Mark Sherbin
