The Australian media were universally positive about Faith No More’s headlining slots at the Adelaide and Melbourne Soundwave efstival shows last weekend.

Adelaide Now /Advertiser hit an understandably  elegiac tone as it reported on the final Adelaide Soundwave but that not prevent it from praising Faith No More: “Patton was as frantic as we’ve seen him with his spine tingling screams probably giving North Adelaide residents nightmares for the coming week. But there was one band who was genuinely scary on day one — a band whose guttural screams and powerful live show were matched by an equally menacing crowd.”

And The Music also had some high praise: “Patton, of course, was in full voice, as the band greeted its fans with Motherfucker. Hits like Evidence and the still-fittingly titled Epic came surprisingly early, but then, Faith No More have got more great songs than you might have remembered. From the thrash of Ashes To Ashes to their iconic cover of The Commodore’s Easy (still a staple on easy-listening stations the world over) this was undoubtedly the most varied and interesting set of the day. Unlike Cornell, Patton did submit to an encore, which included a treat for long-term fans in We Care A Lot.”

The Music review

The Music review

Metal Obsession give more of the same: “After opening with their new track, ‘Motherfucker’ the group blew the crowd away with an incredible one and half hour set. Mike Patton, though a man of few words had the audience hanging on to every note he sang. The man’s voice really is incredible and extremely diverse, he flawlessly nailed every note, scream and growl – much to audience’s appreciation. Everyone in the crowd sang along to the band’s staple tracks like ‘Epic’, ‘Easy Like Sunday Morning’ and ‘Ashes To Ashes’ and moshed, crowd surfed and danced to hard-hitting tracks like ‘We Care A Lot’ and their new song ‘Superhero’. All in all it was an amazing performance, marred only slightly, once again by sound problems.”

Glamadelaide, meanwhile, reported: “Mike Patton was brilliant as usual, and served up hits like Epic, Last Cup Of Sorrow, Midlife Crisis, and of course Easy to the by now rock-weary crowd. They were a standout and sounded as awesome as ever.”

Moving on to Melbourne and Metal Hammer give Faith No More at 10/10 review, stating: “Patton seems determined to play the class clown tonight, and the only thing matching his impish self-regard is his ability to vocally soar as easily as most of us draw breath. Epic, Last Cup Of Sorrow, and Midlife Crisis – during which he pauses mid-song to break into a rousing, field-wide singalong of The Lion Sleeps Tonight – pass by like a roll-call of hits, an unsubtle reminder of just how immense their back-catalogue really is, and just how ambitious an attempt to follow it up must be. But it’s really that playful command of Patton’s that makes this show really shine, the drum-tight unity of the band.”

Metal Hammer review

Metal Hammer review

Leading Aussie papers The Age/Sydney Morning Herald shared reviewer was obviously under deadline pressure when they filed with Faith No More getting a perfunctory two lines: “Despite a spirited and accomplished performance, Faith No More closed the festival to an exhausted crowd, barely managing to raise their devil horns.”

Faster Louder, though, anointed Faith No More as the kings of the weekend in their Soundwave listicle: “At his charismatic best Patton proved the consummate frontman/comedian, ridiculing the Aussie accent during the audience sing-a-long of ‘Midlife Crisis’, launching into an impromptu cover of ‘The Lion Sleeps Tonight’ and discussing AFL tactics. If witnessing Faith No More bust out classics such as ‘Evidence’ and ‘Epic’ with the same vitality as their younger selves wasn’t special enough then getting a sneak peek of their new material certainly was. The back end of their set featured new songs ‘Superhero’ and ‘Matador’.

And Australian Musician were also singing from the same hymn sheet: “On stage, white curtains flowed in the breeze as Patton and co casually strolled onto a scene resembling an exotic day spa. The crowd was quickly removed from any meditative state as the band tore into ‘Motherfucker’. The first thing which smacks you in the face with Mike Patton … he with eternally mischievous look in his eyes … is that voice. The man has lost none of his power, particularly evident on the iconic ‘Epic’. The warped mind of Patton had great joy in instigating the ‘wimmoway’ backing from the crowd for a verse of the ultra-daggy ‘Lion Sleeps Tonight’ before more FNM hits came.”

Heavy magazine captured the tone perfectly in their min-review: “Mike Patton and Co. were on point from the outset, mixing in both the old and the new. Opener ‘Motherfucker,’ the single from their upcoming album, played out like a mantra as 20,000 people chanted the chorus across the showgrounds. However, undoubtedly the greatest moments were when the crowd was able to almost drown out Patton, as was seen in ‘Epic’ and ‘Midlife Crisis.’ Soundwave has a knack for facilitating special moments when its headliners grace the stage and this year it was no different. Faith No More are in a league of their own.”

And something different from s blog we’ve featured before. Touring Tim, an associate of the band from back in the day, pens his unique take on Faith No More at Soundwave: “This is the first FNM show I’ve passively watched. I’ve mixed well over 1,000 of their shows and it’s a strange feeling, not unlike seeing that ex-girlfriend with her new boyfriend. Show over and I head to the backstage dressing room compound where some burly security guard grabs me and says, “no way mate”. Then I feel a kidney punch and before I know it I’m in a headlock; Patton has grabbed me and is dragging me into the dressing room while mocking the security guard.”