I entered the Zoo just as local lads Dead Letter Circus took the stage, after missing the first support act, Bushido from Melbourne. DLC’s EP was released a couple of months ago and they’ve quickly established themselves as heavyweights on the Brisbane hard rock scene. I’d been enjoying their EP in the weeks prior to this show, and was keen to see how they translated to the live environment.

Frontman Kim Benzie was all smiles as the band got comfortable on stage. He stuck his tongue out the side of his mouth for the first of many times, and motioned for the crowd to make more noise, another gesture that would be repeated throughout their set. His requests were so frequent that I had to wonder if they were for his benefit, or whether he was trying to impress somebody…

The band raced through the six tracks from their only release and a couple of others; current Triple J favourite Disconnect And Apply was a highlight. I was surprised at the amount of people who knew all the words to the songs, and felt bad for not knowing myself. Bass player Stewart Hill showed impressive chops, rearing back and forth in the style of Mudvayne bassist Ryan Martinie.

As Dead Letter Circus’ set drew to a close, I couldn’t help but conclude that they are a direct cross between Karnivool and The Butterfly Effect, which is amusing since they’re supporting the former this month, and the latter next month. Don’t get me wrong, it’s great to see that the Australian hard rock scene is thriving, but DLC’s delivery seems almost forced in their imitation. Kim Benzie has modelled his stage performance so heavily on Ian Kenny that it almost feels like I was watching a younger Karnivool.

Nonetheless, the boys were impressive, and the Brisbane crowd showed their love as they departed the stage. During the lengthy wait, I took the opportunity to claim a prime spot leaning against the bar at the back of the Zoo. Eventually, the lights dimmed and Karnivool filed onto the stage to thunderous applause. The band opened with C.O.T.E., also the first track of their 2005 album Themata. Singer Ian Kenny was an absolute joy to watch as he reacted to the music played by his bandmates, clapping along like a child hearing his songs for the first time. After seeing him last month fronting his other band, light-rockers Birds Of Tokyo (who are impressive in their own style), I couldn’t help but grin: Kenny was overjoyed to be back with this band, and every person in the room knew it.

“Here’s an old one,” announced guitarist Drew Goddard, before Ian began the spoken introduction to Fade. I’m slightly disappointed that they still play this song, which has lost most of its appeal to me over the years. It reeks of the nu-metal stench that I’m glad the band has since cleansed themselves of. Nonetheless, the crowd lapped it up: I was distracted by drunken bogans down the back running into their mates and playing air guitar poorly.

A short way into their set, Karnivool debuted the first of three new tracks, each of them lengthy (in excess of eight minute) pieces that are equal parts hard-rock and atmospheric intermission. For mine, there were a few too many boring bits with widdly, delayed lead guitar and a soft backing drumbeat, but I generally restrain myself from judging new material played live. New Day is one that I’ve seen live before, and it’s the pick of the litter, up there with the best stuff that the band has written: a slow burner that climaxes midway through the song with an exceptional instrumental breakdown; look out for it on the follow up to Themata, which guitarist Mark Hosking informed us will be released early next year.

The band played tracks from the first half of their album as well as the heavy-as-shit Mauseum: cue more jumping up and down from the drunk cavemen down the back. Lifelike was absolutely nailed; Drew concluded it with a huge scream during the final breakdown. The predictable setlist was all but exhausted as the long intro to the album’s title track slowly unfurled before the crowd’s eyes and ears. I couldn’t wipe the smile from my face as they tore through one of my favourite songs of all time, concluding a great performance.

The band exited the stage as the crowd chanted for more, and before too long the band returned, having saved their last single, the Hottest 100 number 45-placing Roquefort, for last. I’m satisfied, the crowd is stoked; despite my reservations, the band played their best show of the three times I’ve seen them. I’ll be even happier if they knock off touring for another six months to complete their follow-up album, which sounds set to improve upon the unique brand of melodic hard rock that the band have produced thus far.