LIVE FROM THE PIT: South Of Salem, In Search of Sun and High Parasite

By the time South of Salem brought their Death of the Party Tour to Manchester on April 2nd, Club Academy had been transformed into a gothic carnival of eyeliner, riffs, and dark theatrics. With a lineup featuring alt-prog veterans In Search of Sun and industrial upstarts High Parasite, this was less a gig and more a full-speed showcase of bands rejecting genre boundaries in favour of individuality.

High Parasite exploded onto the stage with intensity. Their industrial metal sound, filthy, sharp-edged, and aggressive, cut through the gloom like a warning siren. Their frontman stalked the stage with intent, drawing in even the early crowd with pulsing, distorted energy. Abrasive in all the right places, they’re an exciting new force on the UK circuit and the perfect band to set the night’s dystopian tone.

In Search of Sun followed with a set rich in melody and musicianship, offering a balance of soaring choruses and groove-laden hooks. Their versatility set them apart: one moment leaning into syncopated riffs and textured vocal harmonies, the next shifting effortlessly into a heavier, near-metalcore edge. Their chemistry was undeniable, elevating the energy without oversaturating the stage, a well-judged build-up for what was to follow.

And then came South of Salem. The mood shifted the moment they took to the stage to ‘Let Us Prey’. Drenched in ominous red and purple lights, the five-piece emerged like they’d stepped straight from a Hammer horror film into a sleaze rock fever dream. They didn’t just perform; they infiltrated.

South of Salem have built their reputation on a delicate balancing act: horror rock that nods to goth and glam without slipping into parody. And in Manchester, they proved they’re more than just theatrics. ‘Pretty Little Nightmare’ and ‘Jet Black Eyes’ detonated live with pinpoint precision, anchored by a rhythm section that refused to let up. ‘Stitch the Wound’ was equal parts cathartic and catchy, while ‘Vultures’ hissed with menace.

One of the night’s most surprising highlights came from their unexpected cover of Savage Garden’s ‘To the Moon & Back.’ On paper, it shouldn’t work, but twisted through Salem’s gothic filter, it became a haunting, brooding curveball that had even the cynics headbanging.

Frontman Joey Draper was in full control, growling and prowling the stage like a man who knows his band is standing on the threshold of something much bigger. Vocally, he moved fluidly between melody and grit, never missing a beat. As for rhythm? The full band were perfectly in sync, particularly on ‘Hellbound Heart’ and ‘A Life Worth Dying For’.

The 17-song set, complete with a drum solo and an encore of ‘Demons Are Forever’ and closer ‘Cold Day in Hell’ never once lost momentum. Even at the end of their set, it felt like they still had hours of performing left in them, and the crowd would’ve gladly stuck around.

More than anything, Manchester proved that South of Salem are fully in their element. The stagecraft is slick. The fanbase is growing. And the sound, equal parts heart, horror, and hellfire, is evolving without losing its bite.

Words: Vee Richardson

Photos: Izzy Sheldon