Review: Yellowcard @ Hindley Street Music Hall 04/04/25
If you missed out on the stellar performances from Yellowcard, Motion City Soundtrack and Plain White T’s last Friday, here’s the lowdown on everything that happened on that magic night.
Words by Will Oakeshott // Images by Danny Wallace
Yellowcard w/Motion City Soundtrack & Plain White T’s @ Hindley Street Music Hall 04/04/25
“Music has a great power for bringing people together.” – Ted Turner.
Rod Stewart played in front of over 3.5 million people in Rio de Janeiro in 1994. AC/DC, Metallica and numerous other rock’n’roll outfits played in front of over 1.6 million music aficionados in Moscow at the Tushino Airfield for the Monsters Of Rock Festival; that concert became a symbol of newfound freedom in Russia after the fall of the Soviet Union.
Isn’t it phenomenal how a series of notes played by numerous musicians in charismatic cohesion, collaborating with (possibly) poetry from a wordsmith, can unify literally millions of individuals for just a few minutes?
This isn’t what transpired exactly on this night, but…
“Hey there, Delilah…” - Tom Higgenson, Plain White T’s, ‘Hey There Delilah’ (2006).
“Everything is alright…” – Justin Pierre, Motion City Soundtrack, ‘Everything Is Alright’ (2005).
“…off Ocean Avenue” – Ryan Key, Yellowcard, ‘Ocean Avenue’ (2003).
Three different lyrics, from three different vocalists, from three different pop-punk bands, from three different years, from three different states of the USA, unified thousands under the roof of the Hindley Street Music Hall at this event. Around two decades ago, they brought countless human beings together with these compositions – and they are still maintaining that power.
As the lyrics from ‘Miles Apart’, one of the tracks taken from Florida act Yellowcard's celebrated album, Ocean Avenue, reads: “Do all of this again”. South Australian pop-punk enthusiasts have never been so grateful to relive these anthems. If that is hard to believe, ask the majority of the attendees to “finish this line” using those lyrical excerpts above; then simply watch them smile.
A dramatic blast of classical music startled many of the capacity audience as the lights darkened, but the shrieks immediately turned to cheers of elation when drummer De'Mar Randell Hamilton, bassist Mike Retondo, guitarist Tim G. Lopez and vocalist/guitarist Tom Higgenson hopped onto the stage. This was to be only the second time that emo-pop-rockers Plain White T’s were to serenade Adelaide in 17 years, their last visit being part of the Soundwave Festival. Their objective, though, was to simply ‘Light Up The Room’ with their blissful ballads.
‘Feeling (More Like) Myself’ opened their long-awaited return, and it was near-impossible not to become intoxicated by the alluring charm of the quartet’s enamoured emo-pop. ‘Our Time Now’ featured Tom Higgenson without his guitar and just his voice as he danced and fluttered around the stage rather imperfectly; however, his infectious joy was undeniably magnetic. The likeness to John Cusack’s portrayal of Lloyd Dobler in the 1989 film Say Anything… was striking and wonderful (Higgenson even resembles a younger John Cusack rather uncannily).
‘1 2 3 4’ was a beautiful piece reminiscent of ‘This Boy’ by The Beatles, in reference to their multiple harmonies (Plain White T’s actually accomplished a breathtaking four-part harmony in the track), and the Tim G. Lopez led country driven breakup song, ‘The Giving Tree’, would have fit flawlessly on the Hell On Wheels’ soundtrack. ‘Would You Even’ had a grungy-angst riddled through its infectious pop that showcased an impressive vibrancy musically from the Illinoisians, and then this was counteracted with ‘Rhythm Of Love’, an endearing love song that fused Ed Sheeran with The Monkees remarkably.
There was only one song that could have concluded this exhibition, and truthfully, the four-piece was barely needed for it. That inevitably was the 2006 Grammy-nominated smash hit ‘Hey There Delilah’ – and the sold-out crowd were comprehensively starstruck in adoration. A clever lyrical alteration of the line: “Hey there, Delilah, here's to you, this one's for you” to “Hey there, Adelaide, here's to you, this one's for you” by Tom Higgenson caused many hearts to skip a beat. However, it was the invitation for the audience to join together and sing the final verse of the single that was unquestionably the tantalising trifle in the atomic cake of emo-pop Plain White T's delivered so wonderfully.
READ MORE: Review: Falling In Reverse @ Adelaide Entertainment Centre 13/03/25
Minnesota’s Motion City Soundtrack are emo-pop-punk’s crowned heads of geek chic, although with vocalist (and usual guitarist) Justin Pierre’s wild Robert Smith-inspired hairdo, he would probably require a custom crown built for that whacky mane. Nevertheless, these trailblazers of dork’n’roll were here to electrify their audience with their outstandingly odd quirks and memorable catchy synth-punk treasures.
The sextet’s energy was so contagious, it actually escalated the entire venue’s spirit. ‘My Favourite Accident’ exploded out of the Minnesotans’ entire beings, except for Mr Pierre, who was astonishing with his masterful vocal delivery, but struggled with the buttons on the wrist cuffs of his shirt. It was awkward, yet amazing.
‘Broken Heart’ enticed the real charismatic stage behaviour of JP, with bizarre dance moves, lunges with his walking cane as support, and even making “face melting” gestures when that guitar solo hit. Dare this writer say it, Justin Pierre is that nerdy uncle you do want to hang out with, no matter how embarrassing his behaviour may become.
‘Make Out Kids’ was the song that belonged on the Juno soundtrack, or at least an acoustic version with the necessary Moog keyboards. ‘A Lifeless Ordinary (Need a Little Help)’ was a mesmerising marcher, so much so that Justin began marching gracelessly during the song itself, on the spot. ‘Her Words Destroyed My Planet’ was a song Bayside would be envious that they never wrote. In saying that, JP executing a “horns” pose for an indie-pop number was perfectly peculiar. ‘If It Was You’ had the delightful “woo-woo” inclusion the devotees merrily shouted from the dance floor. ‘Point Of Execution’ inspired jazz fingers and Pierre to blow kisses to his bandmates, and ‘This Is For Real’ provoked that “uplifting” sensation so well, the crowd initiated the up-and-down moshing that was beyond gratifying.
“If you like this band, you must be fucked up, in the best way!” Justin yelled to his admiring supporters as the six gentlemen launched into ‘When “You’re” Around’ which features some rather dark anecdotes (Pierre’s history does involve some difficulties around anxiety, depression and substance abuse); however, this version was joyous in its zest.
‘Everything Is Alright’ was the highlight, and a deafening sing-along to that radiant chorus was above bewildering. Closer ‘The Future Freaks Me Out’ was a flawless following that elevated the sing-along to an entire venue karaoke, and thankfully, Justin Pierre administered his dorkiest dance moves for Adelaide to remember in daunting delight.
READ MORE: Review: Slipknot @ Adelaide Entertainment Centre 04/03/25
Essentially, South Australia had already experienced two headliners, but the power of the music on this night had brought us together for three. Florida’s Yellowcard were here to commemorate their 20th (+2) anniversary of their global phenomenon full-length Ocean Avenue, and they were here to “scream” their “lungs out” with us in celebration.
‘Way Away’ was a predictable starting track, although it was an eruption of pop-punk glee for all in the venue. Violinist Sean Mackin was instantly in his element, parading around the stage in ecstasy and even engaging the pogo-mosh-jumping movements with an irresistible grin. Vocalist/guitarist Ryan Key was faultless in his delivery; assuredly musical production has come a long way since 2003, but perhaps capturing his singing back then has enabled that magical delivery to be so excellently emulated for so many years, it has become prodigious. ‘Breathing’ justified this sentiment impeccably.
‘Lights & Sounds’ provoked an uninitiated clap-along and captivation that eclipsed anything that occurred prior to this moment. The violin introduction to ‘Believe’ was an adrenaline rush that was immeasurable; the to-and-fro between the band attacking the audience from the stage, and the crowd bouncing back with reverential energy was thrilling. “Let’s blow the roof off this place!” Ryan shouted in exhilaration before launching into ‘Fighting’ which harnessed the feelings of “hope” and “strength” that the world needs right now, arguably more than ever. The three-point harmony of ‘Rough Landing Holly’ incited a more festive revelry with the fantastically illustrious showcase.
READ MORE: Review: Jinjer @ Hindley Street Music Hall 26/02/25
‘One Year Six Months’ slowed the presentation down and tugged at the heartstrings of all the spectators, and the band members themselves. ‘Empty Apartment’ followed that pace trend, but with an immaculate inclusion of dramatic beauty and a message of “moving forwards” and escaping the pain in one’s life (a very relevant topic in the fragile existence many face). Then ‘Keeper’ moved in a slightly different direction, however, it demonstrated arguably some of Yellowcard’s best and most complete songwriting. It could very well be the song Goo Goo Dolls forgot to write.
‘Always Summer’ was essentially a lot of fun that encouraged dancing and twirling – of course, Adelaide obliged. ‘Awakening’ followed suit pristinely, with numerous chapters to the composition that unveiled superb musicianship. ‘Back Home’ worked hand-in-hand with the song ‘With You Around’, utilising the “California” theme (the quintet moved there just before they recorded Ocean Avenue), even though both singles are rather different in soundscape, they shimmer in their own rights - especially live.
An announcement that Yellowcard were assuredly back together was broadcast, as well as the disclosure that they had recorded a new LP due for release later this year with Travis Barker from Blink-182. The first single, ‘Better Days’, was premiered and Adelaide was left aghast in merriment. It is unquestionably Yellowcard, although a new dimension of refinement has been achieved – very exciting times ahead. ‘Only One’ was an anthem that induced the crowd members’ outstretched arms, the orchestral singing and devotion to the best violin-pop-punk band on planet Earth. Then the (non)encore, which could be assuredly only one song.
‘Ocean Avenue’ – what a timeless single.
Fascinatingly, Ryan Key spoke about his memories of their most successful full-length, how they ended up at the MTV awards receiving an award from the Beastie Boys. How Capitol Records underwent massive changes, leaving Yellowcard lost and forgotten. How there were negative times and bad break-ups, he revealed so much more to the story that the fans were unaware of. Mr Key’s main message, though, was that in the midst of the biggest Australian tour the quintet has done, they were endlessly thankful for their supporters and the powerful music they are able to create.
Ultimately, their art (and every other act that performed at this event) is still bringing people together.
Want more pics of the gig? Check out our full photo gallery here.
