Review: Ellie Robinson (The Forum, Melbourne // 17.05.2026)
Photos: Britt Andrews (Enmore Theatre, Sydney // 22.05.2026)
Just over a month ago, Enter Shikari released their eighth studio album, Lose Your Self, entirely by surprise. For band that had always been so meticulous and complete about their release campaigns, the move felt entirely unpredictable – a welcomed shake-up, even if the album itself treaded almost too-familiar ground. The band’s current Australian tour had already been announced by the album’s April 10 release, but in the wake of it was rebranded as the first leg of the Lose Your Self world tour.
For some fans, this would have been a disappointment – it was to be the first time since 2019 that Enter Shikari toured Australia without a new album to promote, and as such could use their time onstage to tap equally into each of their eras. Those fans were surely delighted, then, when the band ended up playing only four songs from Lose Your Self. I personally am in two minds about it: while I did like that set as a whole felt like rollercoaster ride through Enter Shikari’s sprawling discography, there are so many cuts on LP8 that feel tailored for the live stage, but were neglected tonight. ‘demons’, for example, is such a triumphantly energised protest song that would’ve gone down a treat with this riled-up, mosh-starved crowd. And the epic ‘Spaceship Earth’ trilogy would’ve made for the encore to end all encores.
Alas, Enter Shikari only had an hour and 15 minutes to plot out, so there were sacrifices to be made. The band expertly navigated the peaks and valleys of their catalogue’s tonal expanse, using some more lowkey tracks like ‘Undercover Agents’ and ‘the pressure’s on.’ to bring moments of reprieve between belters like ‘Labyrinth’, ‘The Void Stares Back’ and ‘Quelle Surprise’. Even the new album’s equally groovy and dour ‘it’s OK’ (which is also, arguably, the best track on it) served as a simmering fold to the rip-roaring classic ‘The Paddington Frisk’.
The setlist as a whole made for an engaging play of colours and contrasts – but it also felt a little… Safe. Sandwiched between ‘(pls) set me on fire’ and ‘The Void Stares Back’, ‘Undercover Agents’ felt like an uninspired choice to achieve the same effect a more exciting cut like ‘Search Party’ or ‘Constellations’ would’ve. To that end, ‘Rabble Rouser’ has duly worn out its welcome as the track played to rile up the mosh pit – a classic cut like ‘Zzzonked’, ‘Step Up’ or ‘Tribalism’ would serve the same effort with much, much more impact.
“But Ellie,” you cry, “Enter Shikari simply wanted to show some love to their under-appreciated 2017 album, The Spark!” Sure, but then why not play either of that album’s two explosive hits, ‘Live Outside’ and ‘The Sights’? or the incisive ‘Take My Country Back’ or delightfully campy ‘Revolt Of The Atoms’? Ditto for cuts from 2023’s ‘A Kiss For The Whole World’ – ‘(pls) set me on fire’ and ‘Bloodshot’ did make sense to be included as two of that album’s singles, but enough time has passed that we can accept they’re some of its weaker tracks; where was ‘Leap into the Lightning’, ‘goldfísh ~’ or ‘Jailbreak’? Even one of the more unconventional tracks like ‘Dead Wood’ could’ve added an additional pop of colour.
I think the main argument I want to be making here isn’t necessarily that Enter Shikari should overhaul their setlist, but rather extend their set time altogether. After all, their catalogue encompasses eight full-length albums and enough standalone singles for at least two more – why, at this point in their tenure, are they still playing for just an hour and 15 minutes? The band are well overdue for their leap up to the two-hour standard.
Nevertheless, the set they did perform was delivered with all the moxie and flair Enter Shikari have come to be known for, with frontman Rou Reynolds on his absolute A-game throughout the night. He was sparse on banter and held back on speeches, saving his voice to master every pummelling growl on pit-splitting classics like ‘Juggernauts’ and ‘Sorry You’re Not A Winner’, and all the vocal gymnastics he has to pull on the more tonally diverse cuts from the newer albums. His prowess was matched by his bandmates, with bassist Chris Batten especially crushing it as an occasional co-vocalist.
