CRYSTAL LAKE + MISS MAY I + GREAT AMERICAN GHOST + DIESECT @ O2 ISLINGTON ACADEMY – 19TH MARCH 2025

Metalcore titans Crystal Lake and Miss May I bring their co-headlining tour to London. The ground shakes, the crowd roars, and eardrums are very likely put in danger. It’s going to be epic. Both bands have albums to promote: in Crystal Lake’s case, The Weight Of Sound, whilst Miss May I arrive with Die On The Vine.

Before we get to the co-headliners, there are two support acts to enjoy. First up are Diesect, a four-piece from Australia. Their music has something of a heavy rap feel and features both electronic and acoustic drums. Unfortunately, although guitarist Gary Handelaar and bassist Jordy Bennet are clearly playing some interesting parts, it’s largely inaudible, lost in a sonic mush of distortion. All that really cuts through is drummer Jake Camilleri and vocalist Damien Bigara. It’s a shame, especially considering this is the band’s first gig outside Australia after a 28-hour journey. Hopefully, it won’t put them off returning to the UK.

Diesect are followed by Great American Ghost, who hail from Boston, Massachusetts. Tempo-wise, their sound is more straight-ahead and immediately more impactful. Vocalist Ethan Harrison wears a jacket emblazoned with “This machine kills fascists”, the slogan that once decorated Woody Guthrie’s guitar in the 1930s. Sadly, it feels more relevant now than it has for decades.

Bassist Tron contributes tremor-inducing growled backing vocals, whilst the drummer’s playing is superb. Any earlier sound issues are gone, and it’s now possible to properly hear what the band are doing. Before Kerosene, Ethan tells us that the Academy stage is the furthest he’s ever been from an audience — “for your own safety,” perhaps. He’s clearly politically aware, leading a shout of “Free Palestine”, which draws a strong cheer from the crowd. He also dedicates Kingmaker to Prince Harry “and his kind”, followed by a yell of “string ’em all up!” — a bit harsh, perhaps. Apparently born in England, there’s a sense he still has a connection here.

Before Ride, Ethan tells us that Tron is unwell tonight, having been sick backstage, but is still sitting on stage and playing. A real trooper. The song sparks the night’s second crowd surfer — and then a wave of them. It quickly escalates into a full-on surge. For the final song, Ethan joins the circle pit while still singing. It’s a seriously impressive set — intense, committed, and a strong indicator of what’s still to come.

Next up are co-headliners Miss May I, a four-piece from Troy, Ohio. Opener Shadow Inside features some cool guitar work from Elisha Mullins, whilst most of the backing vocals come from bassist Ryan Neff. Pray For Silence (though there’s absolutely no point in doing that here) is taken from the new album Die On The Vine. It has a rap feel in the choruses and more melodic verses — and despite being new, the crowd already knows it.

Vocalist Levi Benton tells us the band have been going for nearly twenty years. That might seem surprising at first, until you remember they released their debut while still in high school. To mark that longevity, they play A Dance With Aera Cura, the opening track from their first album. It’s faster and heavier than much of their newer material, with some interesting tempo changes, almost edging into prog-metal territory.

Architect triggers a large circle pit, complete with a cracking closing riff, while I Hate Everything takes things even further, opening up a massive pit that leaves those on the edges clinging to the walls. The title track Die On The Vine carries something of an Iron Maiden feel. Forgive and Forget is dedicated to those “who’ve been there since the beginning”, and by the end of Hey Mister, Levi declares that London feels like home. On tonight’s evidence, he’s not wrong.

Finally, it’s time for Crystal Lake. It’s my first time seeing them with their relatively new vocalist, John Robert Centorrino, and there’s a slight sense of curiosity going in. Will they be as good? Will they have the same fire? The short answer is yes — on both counts.

Drummer Gaku Taura takes to the stage theatrically before the rest of the band walk on and launch straight into Neversleep from the new album. Instantly, there’s a fresh wave of crowd surfers, and John encourages the chaos, telling the audience to “do whatever the fuck you want.” Potentially dangerous words, but ones the crowd embraces wholeheartedly.

Crystal Lake’s sound is best described as a sonic maelstrom. A huge amount is going on, even if some of it — like the excellent guitar solo in Everblack — is only just audible. John quickly establishes an easy rapport with the crowd. When he tells them to jump, they jump. When he calls for more moshing and crowd surfing, it happens.

At one point, the band are forced to stop as it appears someone has gone down in the pit. The music cuts, the crowd pauses, and thankfully, everything seems to be okay before the set resumes.

Open Water from Into The Great Beyond is blisteringly fast, packed with sharp tempo changes, while Apollo showcases excellent interplay between the two guitarists. The set closes with the title track The Weight Of Sound, which already feels like a future classic — complete with dual guitars, tapping sections, and a truly cataclysmic drum ending.

All four bands deserve huge credit for tonight’s show. There’s a real sense of community, a shared experience between band and audience that runs through the entire evening. At times, the crowd is almost as entertaining as the bands themselves — not to diminish the performances, but because they’re feeding directly off the energy coming from the stage.

It’s been a truly awesome evening.

WORDS: MARK KELLY PHOTOS: CRIS WATKINS