Words and Photography: Louie Mosscrop
The night had finally arrived – Falling In Reverse’s Popular MonsTOUR in Melbourne. With a sold-out show at Rod Laver Arena, right in the middle of the F1 weekend and competing with a multitude of other artists performing across the city, selling out an arena was no small feat. It was a true testament to the dedication of Melbourne’s music fans.
Upon arrival, the lines surrounding Rod Laver Arena were unlike anything I had witnessed in a long time. There was no option for a fashionably late entrance if you wanted to get through the doors in time to catch the unique musical stylings and high-energy live performance of Hollywood Undead.
Hollywood Undead kicked off the night with their signature blend of hip-hop and rock, immediately energizing the crowd and setting the tone for the evening. Their stage presence added a theatrical element, making their performance as visually captivating as it was sonically dynamic. Their setlist, packed with fan favorites, showcased their ability to merge party anthems with heavier rock elements—a perfect way to start the show.
This was my second time seeing them live outside of a festival setting, my first being at The Rosemount Hotel in Perth around 2013 (if I remember correctly). The transition from an intimate venue to the grand Rod Laver stage was a significant leap, and they made sure to use every inch to their advantage. Their setlist featured hits from across their discography, including California Dreaming, Comin’ In Hot, Hollywood Forever, Bullet, and Undead. Whether it was your first time seeing them or you were a long-time fan, their performance was the perfect way to kickstart the night.
Next up, Black Veil Brides transformed the arena into a gothic spectacle, complete with dramatic lighting and their signature dark aesthetic. Andy Biersack’s commanding vocals, combined with the band’s intricate musicianship, demonstrated both technical skill and artistic vision. His ability to seamlessly switch between clean vocals and powerful screams is a testament to his two decades of experience on stage.
With their last visit to Melbourne being in 2020, it was clear fans had been eagerly awaiting their return. In the general admission section, nearly everyone was dancing or singing along to fan-favorite tracks. Their setlist spanned from their latest release Bleeders to older classics like Devil, Knives and Pens, Perfect Weapon, and In The End, to name a few. The band’s stage presence, combined with an impressive light show, provided not just a treat for the ears but a visual spectacle as well.
As the support acts wrapped up and anticipation for the headliner reached its peak, I want to take a moment to acknowledge the often-overlooked touring crews, venue staff, and behind-the-scenes teams. Seeing the seamless stage transformation between Black Veil Brides and Falling In Reverse, the well-managed GA sections, and the overall smooth execution of the night was a testament to the dedication and hard work of those in the live music and entertainment industries.
Then, it was time for Falling In Reverse. With their popularity only growing year after year—and Ronnie Radke ensuring everyone knows it—they were always going to deliver a visually intense performance.
As Highway to Hell played through the speakers, the lights dimmed, and the band made their way to the stage, led by Ronnie walking through the underground halls of Rod Laver Arena, playing up to the camera and exciting the crowd before finally emerging.
Known for their elaborate productions, Falling In Reverse incorporated striking visuals, pyrotechnics, and dynamic lighting to enhance Ronnie’s commanding performance. Their video clips played in sync with the music on the screens behind them, adding another layer to the experience and creating a multi-sensory spectacle that heightened the emotional impact of each song.
Ronnie wasted no time engaging with the audience, pacing across the front of the stage while pyrotechnics exploded not just behind the band, but in front, between, and even above them—yes, if you looked up, flames were shooting from the roof.
Never one to shy away from controversy, Ronnie introduced the infamous “Asshole Cam,” openly embracing the label and humorously extending it to the crowd. In true Radke fashion, he abruptly left the stage, declaring, “Let’s go to F1,” implying that, as fellow “assholes,” we would follow suit.
The band returned after a backstage skit featuring Steve Irwin, though Ronnie remained offstage for a while. This seemed to be an intentional move, allowing their live video feed to add another dynamic element to the performance—possibly also giving him a moment to cool down.
Despite his self-proclaimed “asshole” persona, Ronnie appeared genuinely appreciative and in awe of the massive turnout Melbourne had given him.
The setlist was stacked, featuring Zombified, I’m Not A Vampire, The Drug In Me Is You, All My Life, Popular Monster, and their collaborations with Tech N9NE and Alex Terrible of Slaughter To Prevail—Ronald and Watch The World Burn. No one in attendance could have left disappointed.
Beyond the technical aspects, the emotional connection between the bands and the audience was electric. The crowd—a diverse mix of ages and backgrounds—shared a collective passion for the music. The energy remained high throughout the night, with fans singing every word, raising their fists in unison, and moving as one across the arena floor, thanks to Ronnie’s direction.
The sheer diversity of the lineup—from the rap-rock fusion of Hollywood Undead to the theatrical metal of Black Veil Brides and the genre-bending style of Falling In Reverse—made for an unforgettable night that catered to a broad spectrum of Melbourne’s music lovers.
