Ocean Sleeper, Nevertel, Vana, Outloved @ Hindley Street Music Hall, Adelaide 11/9/2026
To witness the chaotic scenes as Ocean Sleeper storm through the finale of their set, vocalist Karl Spiessl stood atop the barrier while surfers glide past him, crowd chanting, brings a little tear to the eye.
This is a band that have just quietly gone about their business, hustling, sharpening, refining their craft and each and every time I’ve seen them, they have stepped forward. Tonight, at HSMH is the recognition of all that hard work.
Arguably, and I’ve felt this for some time, in terms of full package of talent on record as well on stage, there is probably no more rounded and solid Aussie band out there. Every song is a banger, every performance more memorable than the last.
No fancy fireworks, streamers (although there is giant Tequila bottles) when the bands music is this solid, and in vocalist Karl Spiessl you have a multifaceted, multi talented frontman who can make girls swoon and men push out their chest.
Their set even has a celebratory feel, supports acts including Vana and Nevertel join on stage during Punishment and Lonely Love and it doesn’t look contrived, it’s wonderful.
Ah yes, the support acts. A international smorgasbord with Americans Nevertel, New Zealand’s Vana and our own Outloved, all put in headline level performances.
Outloved have anthems. Big, bold anthems that channel emo choruses with metalcore breaks. They even throw in cheeky melodic solos complete with rampant circle pits, that have Adelaide already disengaging from the merch line to get involved with the crowd.
Meanwhile Vana arrive, the red lights symbolising passion and rage, the music and performance matching the cinematic theatrics of vocalist Yvonne Winckel. In a world where music can come from any source, such as Twitch, there is creativity that births there which is unique. That power of matching visual with music. Vana have that, when they need to be heavy, their ambience is sinister, confronting, even threatening. When they need to be light, Winckel can be lighthearted and charming. When you need to bark like a dog, well, everyone barks like a dog. Vana can scream and sing, the band mix styles however I won’t suggest they are like anybody else, I would suggest you check them out instead.
I’m loathe to categorise audiences however tonight does heavily lean into the opposite demographic to myself. A horror queen symbolising power and symbol to girls everywhere in Vana, now we have Nevertel, a band that make metalcore sugary with catchy hooks, cherry flavoured harmonies and riffs that hit all the right spots.
Despite the initial sound issues, they start again and sprinkle their stardust on the crowd that stay locked in. Sacrifice and Losing Faith may sound like church song titles however tonight the mass is at Nevertel’s altar to worship them in song while lighting candles.
However, each bands gratefulness to be on stage leads back to Ocean Sleeper. They’ve harnessed the power of dynamics and display this when opening with Every Part Of Me and the rapid fire of Break The Cycle.
Tequila bottles and screens demanding a wall of death follow. Peace When I’m Dead the motto for all the crashing bruised bodies down front scrambling for more.
A nice touch mentioning playing at Enigma Bar simultaneously makes me feel proud and old as I remember that show. At the time, I felt they were another metalcore band with little substance. All these years later watching the beautiful led a capella version of Light In My Dark, I’m more than happy to be proved wrong. They’ve got that special mix.
The second half of the set, Vana and Nevertel pop in to lend their talents, the party feeling infusing with each moment. Never The One crowds’ performance is almost gospel, My Forever Drug epic and King Of Nothing blissful anarchy.
Ocean Sleeper have come a long way, trodded the beaten path and for it, they are the Australia’s most indomitable band. They are our next biggest export and what a thrill it was to see them before they launch into the stratosphere.
Live Review By Iain McCallum