I Went To Go See Anthrax (With Municipal Waste & Sworn Enemy) Live Last Night In Bristol At The O2 Academy On Thursday 06/10/2022

I went to go see Anthrax (With Municipal Waste & Sworn Enemy) live last night in Bristol at the O2 Academy on Thursday 06/10/2022. I am always a bit dodgy about going to concerts in Bristol. I utterly hate driving there, the roads are very illogical, poorly laid out, change suddenly with little warning and generally difficult to drive on, but the drivers are incredibly competitive and aggressive, a toxic combination. It is nowhere near as pleasant to drive as Cardiff by comparison. The 02 Academy as a venue is also not as nice as the Student’s Union Great Hall / Y Plas in Cardiff, it’s a kind of weird shape and layout, the sound isn’t as good, it gets too hot and generally isn’t as good.

However, Anthrax have been one of (and sometimes even the number one) my absolute life-long favourite bands since I was old enough to shave, and yet I had never managed to catch them on a headline show yet for various financial or scheduling or logistical conflicts over the years (although did finally get to see them supporting Slayer a few years ago).

Now, I am quite reticent about going to concerts nowadays, and have skipped a great many due to the pandemic, even ones I had tickets for. However, after going to see Rammstein and not getting sick or making my family or anyone else sick, I have softened my stance a little bit. I still don’t feel comfortable going to as many as before (eg. I love Saxon live, but have recently skipped two really close and easy to get to Saxon concerts just in case, I’m not going to see Napalm Death, I’ve given BFMV a pass etc) but if it is something I feel will be special (eg. Parkway Drive) my new attitude is I will sometimes risk it. For me, a headline Anthrax show, celebrating the band’s 40th Anniversary, that has been getting rave reviews and the setlist for which is nothing but the absolute best songs, more than qualifies as something special.

After navigating through the stressful streets of Bristol, panic-stricken and on the verge of pissing myself, I finally made it to the venue. Hmm… strange. I arrived late after doors were open and it sounded like the first band were already on, and there was still a 20 minute queue to get in. At Parkway I arrived earlier, at a bigger venue, I still waltzed right in in one fluid motion without queuing. This time it was busy. Well, it turns out the show completely sold out. I thought shows don’t sell out anymore, ever since the pandemic, but apparently things are getting more back to normal now.

I found a relatively nice spot to stand where I could see well enough and wasn’t in too many people’s way and settled in for the night. I caught a few songs from Sworn Enemy. They were quite enjoyable, it was quite aggressive beatdown-heavy metalcore. They were like a heavier, more blunt Hatebreed. The final song was a bit too repetitive for my tastes, but they made up for that by splicing in parts of Pantera’s Domination (or at least I think they spliced in parts, maybe they just wrote a similar part and ripped them off?). A nice little warm up.

The next band up were Richmond Virgina’s Crossover Thrash revivalists, Municipal Waste. I am a fan of Muni-Waste. I own about three quarters of their albums and do enjoy them quite a bit, but I am not a diehard fan where I know every word to every song. Before tonight, I’d probably say “I wouldn’t go to see them on their own, but I like them” but it was an absolutely great set and I might revise that idea now. They played a lot from their The Art Of Partying album which is probably their most famous and definitely the one I know the best, so I could sing along with quite a few choruses etc and join in with the chanting sections without feeling disingenuous. They were really energetic and attention grabbing, they commanded a lot of crowd-surfing and circle pits (although old man at heart that I am, I was glad to be standing out of range of any of it – nice to see, but please don’t touch me!). The singer was quite humorous on stage, but without being gimmicky. The real star of the show however was their drummer. I never realised on record just how incredibly tight and precise he is, nor how complex some of the songs are. I mean, Municipal Waste largely have a set style, and stick to it relatively closely most of the time, and I am not trying to make it sound like they are Dream Theater or something, but for a band who make their name on party-Thrash anthems or Crossover blasts of 1-2 minute rage, there is a surprising amount of depth and nuance to the drumming and song structures, and the speed he can play at whilst maintaining control of every stick-hit is very impressive when you see it with your own eyes from just a few meters’ distance.

The highlight of their set was the closer, arguably their most popular song, and the track I would recommend to any newcomer: “Born To Party” – it’s the one that has that super-catchy “Municipal Waste are gonna fuck you up! Municipal Waste are gonna fuck you up! Municipal Waste are gonna fuck you up!” hook in it. (Alright, that might sound dumb out of context, but on the album its so much fun). When that hook came in live, it seemed to me as though everyone in the building was smiling like it was their birthday. Joyous. For such a stupid sentence, it is such a killer hook. On the record it comes in alongside the sound of a beer can opening and if that doesn’t tell you everything you need to know about how it is meant to make you feel, nothing will.

After a very enjoyable set from the modern Thrash band, it was time for one of the true forefathers of the genre. When Anthrax took the stage, in this ludicrously packed sweatbox, a wave of euphoria came over me. There was a short video before they actually came on, where various celebrities praised them on making it to 40 years or explained why they were important / influential / good etc, then they appeared in silhouette backlit against the video screen and it was so fucking cool. Sometimes you don’t need a 20 foot sea-serpent or a metric tonne of pyro – sometimes you just have to look fucking cool, and Anthrax looked like legends.

The setlist was nothing short of giving the people exactly what they wanted. No real surprises so to speak. All the best songs (more or less) off the 80s albums. The only deviation from that was the sing-along generator “Only” from the Bush era and the fallen-rockstar (eg. Dio) tribute song “In The End” from Joey Belladonna’s reunion album Worship Music. A huge part of it was just the most memorable songs from Among The Living and Spreading The Disease… and since they are two of my favourite albums of all time, you’ll hear no complaints from me. They also did the first half of “Bring The Noise” before transitioning into a storming rendition of “Indians” with a massive crowd-participatory “woah, woah, woah-ah-oh” singalong.

Well, I say a massive crowd singalong, but to be honest, apart from maybe “In The End” not much of the evening wasn’t a massive crowd singalong. I have rarely seen a concert where such a high percentage of the crowd sang for such a high percentage of the evening. Not just choruses, but verses, bridges, obscure 2nd/3rd verses, singing along to the guitar parts etc. Nothing you don’t see a bit at every concert, but like… more, more often, and more intensely. It was like being part of a thousand-member Anthrax-themed choir.

The main members Scott, Charlie, Frankie and Joey were so full of charisma it felt like a privilege to be allowed to be there. Dan Spitz or Rob Caggiano aren’t in the band anymore, so filling that spot was ex-Shadow’s Fall guitarist Jon Donais. I always liked Shadow’s Fall, and he can play the songs, but he is not an icon like the other members, and he just stayed in place for most of the evening, quietly getting the job done without taking up much limelight, possibly out of respect for the whole 40-year celebration thing. As an audience member, I spent about 90% of the evening just fixedly staring at drummer Charlie Benante. Anyone who knows me in person has been subjected to me mooning over Charlie Benante with hearts in my eyes, and I am sure anyone reading this blog more than once has probably read it at least 5 times too, but just to reiterate – that man is one of the best drummers in the game. I utterly love the way he plays.

Last time I saw them, I was lower down and further away, so this time I could really see every hit of every single drum or cymbal, and to me that is worth the price of the ticket, worth the stressful commute, worth being absolutely shattered at work all day today, and moreso than “worth it” – it is a memory I’ll take to my grave.

There’s been a lot of shit-talking on the internet and social media in the last 15-years with people poo-pooing Joey Belladonna and his legacy, but to me he is one of Metal’s most memorable vocalists, and I’ve never agreed with the anti-Joey sentiment out there online. However, I had heard on a few podcasts I trust who like him on records, that he wasn’t always good live, especially in the modern era – but I can happily confirm he was utterly excellent live in my opinion. Not all singers can still pull it off live when they reach a certain vintage, but I thought Joey was the absolute business last night!

Scott Ian as always is just spellbinding. I’ve talked at length before about “Scott Ian’s Wrist” and it was out in full force last night.

The sound was pretty good (painfully loud, but I guess that’s a redundant complaint at a Thrash show) and the stage was presented well with various banners etc. The light show was well designed, and various spots or strobes highlighted specific memorable moments (like a key drumfill, for example that weird super quick bit in “Caught In A Mosh” before the “Why don’t you listen when I try to talk to you” verse comes in). Visually, it looks pretty similar to their XL 40 Years livestream.

Luckily, due to the specifics of the one-way-system and the lateness of the hour resulting in much fewer cars on the road, the drive back home was about 40-minutes quicker and immeasurably less complicated, so that was nice too when I was tired, sweaty, hoarse-throated and ready for bed.

I had an absolute whale of a time, the band where on tip-top form (as a comparison point, they were better here in 2022 than they were on either the “Alive 2” DVD or on the “Big Four” DVD) and if you in anyway like the band, I really urge you to check them out on this tour.

I went to go see Parkway Drive (with While She Sleeps and Lorna Shore supporting) in Cardiff last night, at the Motorpoint Arena, on Monday 3rd October 2022.

I went to go see Parkway Drive (with While She Sleeps and Lorna Shore supporting) in Cardiff last night, at the Motorpoint Arena, on Monday 3rd October 2022. To say I was hyped up for this would be an understatement. Parkway Drive are routinely called on podcasts and magazines and websites etc “the best live band of their generation” and the last time I saw them is pretty much the single best concert I’ve ever been to. One of their albums (Ire) was my album of the decade (the entire decade) and we are fresh in the hype cycle for their new record so I had Parkway on the brain this month anyway so excellent timing.

After work, travel, parking and finding a bathroom, I got to the gig in time for the opening band, Lorna Shore’s first song. I had heard good things about them online, but after this concert I can safely say they are not my cup of tea. Their singer has an excellent voice (very Randy Blythe live) but they have no memorable songs. It was technical, impressive, but utterly unmoving.

A band to appreciate rather than enjoy. It didn’t help that their music is a bit too extreme for a big echoey arena, they would have sounded much better on a club stage. They also didn’t have the stage presence or show for a big stage and the sound mix was utterly terrible (curse of the opening act). I did see quite a few people in their merch, so they must have their own fans, but I wasn’t converted tonight.

Next came the British Melodic Metalcore band While She Sleeps. I had heard of this band for years and years, ever since The North Stands For Nothing was raved about on the old Metal Hammer Podcast many years ago, and have heard hype for all their album releases and major UK festival appearances and steps up in size over the years, but never actually heard a second of their music myself until tonight. It was very entertaining. If you like Architects, Enter Shikari or BMTH you’d probably enjoy them. They don’t sound exactly like any of those bands, but I think their audience would cross over quite a bit. They were very bouncy, energetic, poppy in places, there was a lot of electronics, and their light show was very colourful.

It was a bright, loud, youthful, party, with electronics and lots of clapping and singing along. The singer got in the crowd and sang a song whilst crowd-surfing. Even though I didn’t really know their music, and am not sure if I would buy any, I had a good time and can recognise that objectively they are a very good live band. If you do like them and yet haven’t seen them live yet, you’re definitely missing out.

Finally, the main even took the stage. They didn’t just repeat the same stage set up and spectacle as last time. The stage was covered in spikes (Maybe military “dragon’s teeth” ?), there was a big screen at the back that projected cool imagery like rotting trees, creepy bell towers and a mountain pass “opening,” on top of some of the cool stuff they did last time like the robed figures carrying torches, the boatloads of pyro, the sparks and explosions etc. (Shame about no flaming spinning drumkit though, that is entertainment gold).   

As a spectacle, Parkway Drive do live concerts as well as any major “must see” live band. I’ve seen Rammstein now and didn’t think they did “show” as well as Parkway. Slipknot, Tool, Ghost, Alice Cooper, none of them were as well-designed, aesthetically pleasing and sheer smile-inducing as Parkway. (To get an idea, go on youtube and look up “Parkway Drive – Crushed Live at Bloodstock 2019” – and that’s only the flames not even the rest of it). They just look incredible on stage.

But, even on an empty, unlit, no-spectacle stage, Parkway Drive would still have been one of the best live bands I’ve ever seen due to the sheer power, presence and character of the performance. Winston McCall is the absolute best frontman in music right now in my personal opinion. No one is more commanding, endearing and captivating on a stage. He has such a gravitas, class and spirit that is utterly spell binding. Other people can hammer their arms or punch the floor, or stand in silhouette, but when Winston does it, you feel like something important and life changing is happening. He is just utterly magnetic and incandescent.

The band also all get spotlights for key guitar solos (that massive November Rain style mountain top guitar solo I mentioned on the title track for the new album for example) or drum fills or bass grooves. On a few songs a string section came out and really rocked out, thrashing around, headbanging and getting really into it. The energy was electric, the magic was palpable. Jeff is an absolute guitar hero nowadays and Ben’s drums are utterly thunderous (especially when he rides the floor tom, like the verses to “Prey”), you feel like you are watching absolute masters of the craft.

The setlist was great, four songs each from the three newest albums (meaning four songs from the peerless Ire album) plus a song each from the three albums before that. The songs chosen were the ones that demand the most crowd singalong or clapping or jumping. It was very cleverly chosen to make the most audience participation possible. Looking at the setlist, there may be songs you like more on record, but they clearly know what they need to get a crowd in a frenzy, singing along to every guitar line like south American Iron Maiden fans. There were so many little memorable moments I wouldn’t even want to write them all down, but one of my favourites the guitarists running around Winston in a circle when he was asking the crowd for circle pits.  

The sound/mix was great, the heavy parts sounding massive and the guitar leads were clear, the drums were prominent and you could hear every word of the vocals. It felt bigger than a typical concert, it was mixed to feel cinematic, which I guess aligns with the dark arty video screens and hooded monks on stage etc.

Great sound, great songs, great performance, great spectacle, absolutely great all around. “I recommend you go see them” is the understatement of the year. If I could only see one band live ever again, I’d pick Parkway Drive. Big words, but not hyperbole. I’m dead level-headed serious!

I Went to see Rammstein at Cardiff Principality Stadium on Thursday 30th June 2022

This was my first concert, gig or night out at all since the pandemic. I actually got the tickthts for this as a birthday gift in 2019! 

Other bands who I had tickets for pre-pandemic, like WASP castagencelled their gigs, some postponed theirs until it wasn't possible for me to go anymore, with work or around the birth of my second son. One, I was just straight up was too anxious to go, having been stuck inside too long and I eneded up chickening-out and just giving the tickets away for free to a random fan on the internet. 

I still didn't really feel ready for this gig yet either, and thought about cancelling many times... but the idea of it being a birthday gift, and of having the tickets for basically three years now, kind of made me feel obliged to go. 

In the run up to the event, I had seen news peices about how Cardiff wasn't a good city for stadium gigs, with travel chaos and inadequate infastructure, people missing gigs due to being stuck in the car etc, which didn't help my trepidation any. 

Despite me only living a 25 minute drive from Cardiff (35 until parked and out of the car), I only arrived at the stadium exactly 40 seconds before the band played their first song, having had a ridiculous commute with lots of shenanigans, including taking of 40 minutes to drive down a road no longer than 200m that I drive through in mere seconds any other time I visit the city, then getting to my usual car park to find it full (but the "full" sign is not visible until you already enter the building, thus being totally pointless, and condeming you to a 5 minute loop de loop to get back to the very start of the road, and thus sufffer another 40 minutes again to get down the same 200m you just drove). 

After accidentally going down a one way street, missing my correct turn due to a psychotic taxi driver tailgaiting me too aggressively for me to safely turn, I then proceeded to get stuck in a residential street whilst trying to lose the taxi guy as any more beeping of his horn and I would probably get out of the car, murder him and end up in prison. After deciding prison didn't seem like the best option,  I trued to do a 3 point turn in about 18 turns, then finally make my way to an alternative car park after some more shenanigans involving a train track, and finally hoof it across the city to the stadium.  
The Welsh flag, as the intro music played

After a quick trip to the bathroom, I walked out onto the stadium floor, and 40 seconds later, the band started playing.

The band taking the stage, hard to see because the ground had adverse camber

The setlist was mostly drawn from their first 3 albums and their newest 2 albums, with approximately 3-4 songs from each, and then just 1 song each from LIFAD and Reise Reise, plus nothing from Rosenrot at all. Mostly hits and fan favourites, maybe 1-2 unexpected songs, but with a crowd this size that’s exactly the right call.

Pyro

This was the first gig I had ever attended at the stadium, and I am not too impressed with it as a music venue. It is clearly a sports venue, and the flooring they put into it to protect the grass was weird, at the wrong angel, slippery, and made it hard to see the band as it felt like you were downhill, and hard to keep your footing (I saw so many people fall over compared to normal gigs in clubs and theaters, or even arenas). It definitely wasn’t the ideal place for a rowdy metal crowd who need firm footing.

That being said, the venue wasn’t all bad – the staff were very friendly and trained, the bathrooms were good, and best of all the sound was very good, probably the best thing about the stadium experience.

Rammstein’s pounding, simplsitic, mostly mid-tempo industrial style suits a big arena sound, its not too busy for the sound system. Big gigs often have poor sound, but I was very happy with this, I could hear every thing – every drum, every bass line, every guitar chord, every word.

Light show

As you have no doubt heard if you pay any attention to metal music, Rammstein put on a good stage show.

There were all sorts of things to make the show visually interesting. Lights, lazers, confetti, foam, explosions, sparks, flames, fireworks, a flamethrower-guitar, band members using different parts of the stage or an alternative stage at times, lots of props, an elevator, a treadmill, musicians going out into the crowd. Basically, it wasn’t low-effort.

Sparks shower
Keyboardist Flake ascending into the sky on an elevator for a DJ set.

Of course other bands do big shows too, in the last few years I’ve seen Alice Cooper and Ghost do props and confetti, Slayer‘s final tour did pretty good pyro, and Parkway Drive do the flames and sparks and elevator plus going out to a second stage and going in the crowd, Slipknot do the cool stage set and treadmill. I didn’t see it with my own eyes because I didn’t want to spend the money at the time with Vince Neil’s voice being bad and with me not having time off work, but I know Motley Crue do the flame-thrower (bass) guitar thing, you can see it on their The End DVD.

Rammstein was kind of like seeing all of that in one show. It didn’t quite seem like it was living up to the hype for the first few songs, they started off without much spectacle, but they built more and more over the course of the show, and by the time it went dark outside, and they played “Sonne” I was starting to think maybe this was at least bigger than anything I’ve seen.

The band on an alternate stage in the middle of the crowd doing a piano ballad reimagining of early hit Engel.

The crowd were pretty decent where I was standing, no crowd-killing, everyone respecting eachother’s space, drunks and pot smokers just merry – not falling down or vommiting or fighting. Quite respectful of wheelchairs and mobility scooters too, which wasn’t always the case in previous gigs I’ve been to. The crowd didn’t seem full or sold-out, but there is a pandemic and the show was rescheduled twice, so they did well to have it quite full.

Because I was deliberately trying to hang back at a quite spot with lots of breathing room and space for pandemic reasons, and not getting up and sweaty, I didn’t really buy into the atmosphere of the gig, and it was mostly just an “ok” gig for me, rather than something amazing or life-changing, but the music was good, the sound was good, the stage show (if not something I’ve never seen before) was still good, and the band’s performance was pretty decent. They definitely put a lot of thought, planning and effort into it, and they did well to fill the size of the venue.

Was this the best show I have ever been to? No. Was it nice to be back at a concert after two years? Yeah, kind of, but I just worry I’ve contracted Covid after being so careful and avoidant for such a long time (time will tell). Would I go back to this stadium for any other band? Probably not, unless it was something really special that I couldn’t see anywhere else, like AC/DC maybe. Would I see Rammsteing again? Definitely, but only if it was in a better venue, in a city with better infastructure. If this same show was in the same place at the same time next year, I’d give it a miss (and I wouldn’t say that for Slipknot at the Motorpoint Arena for example).

The way home was luckily much less eventful and chaotic – just a nice orderly queue for a very long time, then a clear shot home. Once I got out of the city centre, I was arguably home faster than during my normal work day commute.

Had this have been in the Motorpoint Arena instead, or had it been in a pre-pandemic world, I probably would give it an absolutely gushing rave review, but all the stress and the feelings or risk and the subpar venue took a little bit of the rose tint away for me personally.

Don’t get me wrong though, great band and I’m glad I went, I’ll probably just not be in the mood for this sort of thing the same sort of way I used to be for another year or two. I’m currently debating whether to go to any gigs at all this year (there are some tempting ones, like Machine Head, Parkway Drive and Volbeat coming to Cardiff at various points this year) but I’m still a bit uncomfortable being outdoors or in crowds at present.

Parkway Drive – Viva The Underdogs CD Review

Viva The Underdogs is the first live album from the Australian metalcore band, Parkway Drive. It was recorded at Wacken Open Air festival in Germany, 2019, while the band were supporting their superb sixth album Reverence. It is the soundtrack to their 2020 documentary film of the same name, which I haven’t seen yet so cannot comment on at this time.

I’ve seen the band live twice on this album cycle (once at a festival show like this, and once as a headliner in an arena) and utterly loved them both times, going so far as to say they were some of the best concerts I’ve ever been to in my life. As you can imagine, when I saw this live album was coming out, I snapped it up.

This is a damn fine live album, showcasing a significant performance in the career of one of the most important bands in the subgenre, while they are riding the crest of a wave of momentum and at the point of winning over a whole new demographic of potential fans.

The performance here is beyond energetic, singer Winston McCall seems to be having a whale of a time and is absolutely laying into the crowd, demanding movement, commanding attention. At one point he comments it’s the best show he’s played in his life and it doesn’t feel like a typical Rockstar line said in every city, you can tell he means it.

The guitar, bass and drum performances are even better than the vocals, treading the perfect line between precision and energetic, not afraid to hit harder or lean into it, but never risking sloppiness for the sake of showing off. The energy coming off the crowd is joyous and when you hear them sing along to tracks like ‘Wild Eyes’ you almost feel like you are there.

The track listing features a mixture of material from most of their albums, with only the debut not represented, and focuses most heavily on their newest two albums. It also chooses tracks from the previous albums with the most festival-friendly sing along parts or traditionally metal lead guitar moments. Some metal fans can be sceptical of anything with the word ‘core’ within a mile of it, so it seems a deliberately curated set to win over more traditional metal fans.

As this is a festival slot; it is slightly shorter than most live albums (11 tracks, only three of which are longer than 5 minutes), so they add three bonus tracks to compensate, re-recordings of recent songs in German, one of which features a guest rapper, which are ultimately inessential, but appreciated nonetheless as it does add some extra value for money.

Now, I am beyond biased as this is not only some new product from a band who released my album-of-the-decade, but is also in effect a time capsule close enough to my festival memories that I can use it to sort of relive them when I listen to it. However, I think I am rational and experienced enough that I can be objective too.

If you like the band already, don’t hesitate to pick up a copy, there’s not even a chance you’ll be disappointed. If you aren’t a fan, it’s a pretty good starting point, with an easily digestible and newcomer-friendly track list that covers at least one song from most of their albums. Its well recorded, well played, and its aforementioned well balanced career retrospective setlist is friendly enough that Machine Head, Pantera & Slipknot fans can be converted easily, and Priest and Maiden fans can be converted too if they’re in the right mood.

I went to go see Testament, Exodus and Death Angel live last night, on The Bay Strikes Back Tour at Bristol 02 Academy, on Tuesday 02.03.2020

I went to go see Testament, Exodus and Death Angel live last night, on The Bay Strikes Back Tour at Bristol 02 Academy, on Tuesday 02.03.2020.

As you probably know if you read this blog, I really, really like Thrash – it is my unquestionably favourite type of music.

Boy, I was so pleased when I saw this concert bill advertised. This is one hell of a concert line up! Three bands that I’ve been listening to since my teens, together on one bill, all playing Bay Area Thrash Metal, my favourite type of music bar none.

The media always likes to talk about the Big Four of Thrash Metal, (all of whom I’ve been lucky enough to seen live before!), but for me it has always been the Big 6 with Exodus and Testament in there too.

Exodus and Testament are so representative of everything good about Thrash. I can never decide which one is my favourite and it can change on any given day. In fact, Exodus and Testament logos occupy both the left and right shoulder positions on my patch jacket, equal in size and position. I’m also quite partial to early Death Angel and their Act III album in particular is one of my favourite Thrash albums.

[Trivia fans may also be aware that there are a few other connections between these three bands. I’ll type just a few here now – Death Angel’s demo was produced by Kirk Hammet, who was in Exodus, and Exodus’ singer Steve Souza was the singer of Testament before their debut album, back when they were called Legacy. Nice connections there].


I’ve been lucky enough to see Exodus before, back in 2016, when I lived in Manchester, on a bill with Prong and Obituary. That gig that got me into Obituary and properly into Prong where before I was just a causal fan. This is my first time seeing the mighty Testament live though, and I couldn’t be more excited. (Crazy as it sounds, sometimes I almost feel like I’ve seen them before though, as I have watched their Live In London DVD more than 50 times, to the point where reality blurs and my memories of it almost feel like I real memories and like I was there). Its also my first time seeing Death Angel live who are a perfect opener for such a bill.

As has become a habit of mine in recent years, I have been listening to these bands constantly in the weeks leading up to the concert, building anticipation. I also listened to them all on shuffle on the drive to the concert, which was in Bristol. This is only my second ever concert in Bristol, as I fear the unfamiliar and large city and much prefer the convenience and familiarity of Cardiff for concerts most of the time – but this line up is too good not to travel for!

I thought since it’s a bit of a stressful drive, I’d book the day afterwards off work, so I don’t go to work on less sleep than usual. Turns out I’m an idiot though, as I booked the day of the concert off rather than the day after! Woops! Oh well, at least I wasn’t in a rush to get there after work then. I tried to get some sleep beforehand to balance it out.

It was much less stressful navigating my way there this time as I made no wrong turns and I was familiar with the parking lot (which is down a weird cobbled side street that looks like you aren’t allowed to drive down) so everything went smoothly. After I queued up and got in, I was just in time to catch Death Angel’s first song. Somehow, I managed to get a good spot with a good view, only a few places from the stage slightly to the left of the venue, stage right.

Death Angel’s setlist was mostly a mix of tunes from their modern post-reunion albums. I only own one studio and one live album from the modern era so far, so it was a bit unfamiliar with the material they chose. They only played two and a half songs from the classic first three albums (‘Voracious Souls’  and a little bit of the title track from their debut album The Ultra-Violence and then the classic opener ‘Seemingly Endless Time’ from their masterpiece Act III). Nevertheless I had a great time.

Death Angel call for blood, and you’ve not spilled enough!

Their performance was great. Tracks like ‘Thrown To The Wolves’ and especially ‘The Dream Calls For Blood’ sounded really powerful and energetic live. There wasn’t much of a stage show, but they really didn’t need it. They really got the crowd gonig with their enthusiasm and crowd ineraction.

I was quite happy with how into it the crowd were. Sometimes the crowd doesn’t go for the opening act. When I saw Diamond Head support Saxon, the vibe was utterly dead for Diamond Head until their last song, but here, people treated Death Angel like a headliner. There were sections of people throughout the room singing every word and most of the crowd were thrashing like a maniac, so to speak. It was a perfect way to start the evening.

Death Angel

The sound was really well mixed. It was a thousand times better than Megadeth had been recently. You could hear everything perfectly but it still had a real crunchy, aggressive power. The vocals soared, the leads were clear and the drums hammered at you. The rhythm guitars hit that sweet crunch spot that makes Thrash so perfect.

In the gap between bands I managed to get closer to the stage still as people went off to find drinks and toilets. I’m not a push to the front kind of guy and am allways mindful of people behind or beside me’s personal space, so sometimes you can’t get the best view, but I got a pretty great view through sheer luck.

Next came Exodus. Steve ‘Zetro’ Souza is still fronting the band. Its nice to see some line-up stability, as there was a lot of upheaval over the years. Tonight was my first time seeing them with main guitarist Gary Holt in the band. Last time I saw them, Garry wasn’t there as he was busy touring with Slayer at the time, following the untimely passing of Slayer’s Jeff Hanneman. Tonight he played a little snippet of ‘Raining Blood’ and Zetro quipped about how he could do it legally now due to having been in Slayer.

Holt and Altus

[Trivia fans may also be aware, just for more Thrash connections, that Exodus’ current line-up featurs Heathen’s Lee Altus. Heathen have also previously had Exodus’ first singer Paul Baloff in their line-up briefly and they currently feature former Slayer drummer Jon Dette.

There are innumerable other trivia links between these bands. If you want to get on with the review, skip to after these brackets. Otherwise; strap in guys, this is a convoluted one…

Also worth mentioning since we’ve brought up Slayer, is that both Testament and Exodus have had Slayer’s second drummer Paul Bostaph behind the kit, and Testament have also had Slayer’s first drummer Dave Lombardo, and while we’re talking about shared drummers – both Testament and Exodus have both had John Tempesta on drums!

The aforementioned Paul Bostaph used to be in Forbidden, who have also had Glen Alvelais, and Glen was in Testament in the ‘90s and has been in Tenent alongside Exodus’ singer and Steve Souza. Testament’s current drummer is former Dark Angel drummer Gene Hoglan. Hoglan has also been in Forbidden briefly and done backing vocals and drum teching for Slayer in the early days.

Speaking of Hoglan, this not strictly Thrash, but he has been in Death with Steve DiGorgio, but it loops back around to Thrash, as DiGorgio is Testament’s current bassist – Its like musical chairs in the Trash Metal world!

I haven’t even gotten into all the Machine Head links yet. Don’t get me started. I had a whole blog about this stuff in my teens called The Thrashagram. Its proably kid’s stuff looknig back at it now, but at the time I was pretty proud of it].

Anyway… When I saw Exodus last time, their performance was great live. I remember writing at the time that if you get the chance to see them, no matter how high up or low down on the bill they are, you really must take it. They aren’t a nostalgia act, they’ve still got the fire in their eyes. This time however, they were even bloody better! They were utterly amazing. On fire. In the zone. Blistering. Whatever you want to call it, they tore the venue a new one. What a difference a Holt makes, am I right?

Zetro made a big speech about how Holt was back and how we were all lucky to catch him on his first UK date back in the fold, and by god was he right. The energy, chemistry and indescribable x-factor going on made the performance utterly captivating. Zetro made a few speechs that night, including one about Bay Area Thrash that really locked into my old teenage love of Thrash and made me smile like a goon.

Exodus’ set was more balanced between their modern and classic material than Death Angel’s had been. They didn’t have enoguh time to cover ever single album, but they hit all the key periods. There were a few tracks from their Paul Baloff-fronted debut Bonded By Blood, a few from the Souza-fronted ‘80s albums (my favourite era of the band), a few from the Souza-fronted modern albums and even one from the Rob Dukes era.

It is nice that they mix the setlist up. Last time I saw them, they didn’t play ‘Deliver Us To Evil’ or ‘Fabulous Disaster’ for example. Last time I saw them, they played ‘The Ballad Of Leonard And Charles’ from the Dukes era, and this time they played the cleverly titled ‘Deathamphetamine.’ I love how this band play material from all eras. It’s a lot better for us fans than situations where some bands have a line-up change or reunion and the returning old guy refuses to play material from his former-replacement’s era. Most fans want to hear it all.

Murder in the front row, crowd begins to bang!

The band were tight, the sound was great again and they played some of my favourite songs (I was so happy to hear ‘Fabulous Disaster’ and ‘Black List’). What a brilliant time. If the night ended here, I would have been utterly satisfied.


Finally came the headliner, Testament. This band’s first four albums absolutely defined my teens and their mighty comeback album The Formation Of Damnation was the metal oasis in my otherwise prog-centric first year of university.

Testament were great live too. Their sound was a bit more restrained and less savage than it had been for Death Angel or especially Exodus. Furthermore; Gene ‘The Atomic Clock’ Hoglan’s drumming is mechanical and perfect, compared to Tom Hunting’s crazed and exciting beast-man drumming style. This made for a nice contrast, and was suited for Testament’s more melodic parts, even if it was a little less pulverising in the heavy parts than Exodus had been.

Atomic Clock

What they lost in savagery however, they made up for in professionalism. Compared to the other two bands, Testament got more time and more of a stage show, with an hour-and-a-half set. Clearly the headliners then!

They had banners, smoke cannons, lazers and a much more colourful light show. The banners changed depending on what album they were focusing on. They had raised points for the guitarists to climb on during solos. Eric Peterson in particular was really impressive. Many of the solos I always thought were Alex from the newer records, were actually Eric. Live, he delivers them with such flare and precision it was a joy to watch.

Peterson slays!

Speaking of joy, after all those years of watching Live In London on repeat, my brother and I always talked about how much fun singer Chuck Billy has. The man looks like being in Testament is his dream come true and that he’s having the best time in the world. His huge smiles as he plays air guitar on his mic stand, and air drums in sync with all the cymbal catches are so infectious. I feel like he is Testament’s number one fan and his joyous enthusiasm is such fun to behold.

Native Blood

No setlist at any concert ever satisfies everything I want to see, and tonight I’d love to have seen the title track from Souls Of Black or something like ‘Alone In The Dark’ or ‘Apocalyptic City’ from their debut. Most of all, I would have really loved to have heard ‘More Than Meets The Eye,’ from Formation Of Damnation which I think may be the band’s finest hour, but overall I was really satisfied with Testament’s choices tonight. Their set list was a real mix as well, not just all old not all new. They covered early stuff, mid-period-stuff, and even a brand-new song from the as yet unreleased next album.

They also played a few songs from their most recent album, The Brotherhood Of The Snake which I’ve been meaning to review for ages now, but spoilers, they managed to play the best two songs from it! Huzzah! Combined with many of my favourite tunes like ‘Practice What You Preach,’ ‘Over The Wall,’ ‘The Preacher’ and ‘Into The Pit’ I was pretty chuffed.

Disciples Of The Watch

Overall, this night was a thrash fan’s dream night if ever there was one. Once again, if it had just been Testament and Death Angel, I would have been wholly satisfied. However; given the utterly perfect set from Exodus, this was a whole other level of good. (And to cap it all off, the traffic and roads were so good, I managed to get home in time to get a fair amount of sleep for work next day! Bonus!).

Next on my concert schedule: Rammstein in Cardiff this Summer, Helloween in Manchester around Halloween, and then WASP doing only tunes from the first four albums in Cardiff a few days after Helloween. (Possibly Sepultura too, depending on money, work and tickets – I’m thinking about it).


 


King Diamond – Songs For The Dead Live CD/DVD Review

Songs For The Dead Live is the new live album/DVD by classic Danish heavy metal band, King Diamond. It features live footage from two different shows in 2016, one indoor show and one festival show from Philadelphia and Graspop Metal Meeting respectively.

The lengthy and value-for-money setlist features the classic Abigail album from 1987 played in its entirety, plus a selection of songs from the debut, Them, Conspiracy and The Eye as well as a couple of Mercyful Fate covers (King Diamond himself’s other band). Basically if you are interested in early King Diamond material, this is the record for you.

The show is quite theatrical, with actors, an elaborate stage setup with steps and stained glass and upside-down crosses and pentagrams. There are even a fake babies and grandma to match the stories in the lyrics.

Most importantly of all, for a concert DVD, the performance of the concert from the band is excellent, and the audio-visual quality of the DVD is brilliant. King Diamond has always been a guitar fan’s paradise and watching Andy La Roque blast through the superb solos is wonderful. King himself does a great job of replicating his bizarre and unique vocals live and the rest of the band hammer it home perfectly. It feels ‘live’ and not too clinical, but at the same time very faithfully replicate the album tracks.  The seamless editing, sound and camera work are well balanced and everything just looks and sounds right.

If like me, you are a casual fan of the band, with a few of the early records but don’t know every twist and turn of his lengthy discography, this would be a fine starting point (just be aware it might take a while to get used to the vocal style).

Judas Priest – Priest… Live! Review

Judas Priest’s first live album, Unleashed In The East, is considered an unquestionable classic by all and sundry. It is one of the premiere live albums in the whole genre. Less well regarded however, is their next live album 1987’s Priest… Live!

The first live album covered their ‘70s material. However; some of the band’s most memorable albums like British Steel and Screaming For Vengeance were made after Unleashed In The East and thus could not be represented on it. Priest fans then needed a live album for the ‘80s too. Hey, Kiss had Alive and Alive II. It should be possible to have another utterly classic live album. Somehow however the history books haven’t been too kind on this one. Alive II it ‘aint. You don’t find this in every list of best ever live albums.

For me; I both think that’s a shame. But I also get it. There are some things working against it. For example, the running order. They open the album up with a track that is not fast, not a classic and not very Priest sounding. ‘Out In The Cold’ is a mid-paced, non-single from the band’s unpopular Turbo album.  Think of all the great live albums. How many of them open up with a mid paced non-single from the band’s unpopular album? Not many. Next up is even the fact that it is from the tour for Turbo, which may put some people off. I’m sure if they had released a live album touring a more well received album like Screaming For Vengeance or Painkiller, then more people would have given it a chance. (And to be fair, its only three tracks from Turbo, two of which are buried among popular classics and both of which are great live anyway). Finally; a little petty, but there’s also the artwork. Unleashed In The East has an iconic and exciting live shot bursting with energy. Priest… Live! Has a janky drawing of some hands on a mud coloured background. It just doesn’t look like a classic.

That being said, there’s a lot of good to be found here. Tracks from three tracks from British Steel and two from Screaming For Vengeance. Four from Defenders of the Faith. (More if you get the remastered version).Good stage banter from Halford. A decent production job. No repetition from their previous live album’s track list. Good guitar and vocal performances.  Highlights include the evergreen ‘Electric Eye’ and ‘Breaking The Law’ as a better-than-the-album version of ‘Heading Out To The Highway.’ The bonus tracks from the remaster also help boost the record. A bit of ‘Hell Bent For Leather’ never did anyone any harm. Overall; Not the band’s most famous live album. Still worth owning. (Also, a personal tip… the record flows better if you swap ‘Out In The Cold’ and ‘Electric Eye’ in the running order).

I went to go see Parkway Drive with Killswitch Engage live in Cardiff Motorpoint Arena tonight, (February 1st 2019).

I went to go see Parkway Drive with Killswitch Engage live in Cardiff Motorpoint Arena tonight, (February 1st 2019). It was my second time seeing Parkway, after they decimated Download Festival and were so powerful that they made Guns N’ Roses, even with all their money and with Slash and Duff back in the band, still pale in comparison. It was my third time seeing Killswitch, who I had seen supporting Bullet For My Valentine on Incarnate and Headlining over Trivium on Disarm The Descent.

I wasn’t sure if the gig was going to go ahead though, as it had been snowing prior and I was afraid (given that we live in Britain and they close down all the schools if a snowflake looks at them funny) that it might be called off, but luckily by the time I needed to leave, the roads were clear. (This must sound funny to my Canadian readers, but seriously, google ‘frozen Britain’ and see what the British reaction to snow is like).

Rather than arrive late and hang at the back like I did for Architects a few weeks ago, I new I had to be in the front row. Parkway at Download had whetted my appetite, and I needed more.

So I got there just as doors opened and didn’t have to queue in the post snow chill, but got to walk right to the front without any trouble at all.

The speakers usually play the same few songs at all the gigs I go to. Walk by Pantera, Snap Your Finger Snap Your Neck by Prong, Sad But True by Metallica, Psychosocial by Slipknot.

Not this time. They played some obscure hardcore punk. I couldn’t pin point anything I recognized from my meager 20-30 album Hardcore punk collection. I am not an expert, but I heard something that sounded like or was early Suicidal Tendencies (pre-Thrash) and something that sounded like but probably wasn’t Black Flag.

Not important, but just, different that basically every concert I’ve went to since 2012.

To open the evening where Deathcore lads, Thy Art Is Murder. Their front-man announced he regretted eating fruit around the start, and ended up barfing on stage around the end. He was a weirdly unprofessional burping, farting lads lad who was very charming, like how Orange Goblin‘s singer won me over with his topless enthusiasm a few months ago. Their music was Deathcore, which I am not too familiar with, but I know Metalcore, and I know Death metal, and its basically a mixture of that. There were death growls and blast beats, but there were beat downs and grooves. They were fun enough, and their guitarist has a fun sweeping style of leads/solos that reminded me more of Periphery or Dream Theater (or the Periphery song with John Petrucci from Dream Theater guesting on it). The drummer was very fun to watch, he was very inventive as a blast beater, and did it in more ways than I knew existed, and alternated hands and speeds and cymbals the way Tommy Lee would for a rock beat. They even had a catchy bit in ‘Puppet Master’ where the intro sounded a bit like Lamb Of God‘s ‘Redneck’ gone evil.

I enjoyed them. A much better support band than Beartooth had been last time. I’d be happy to see them again. A heck of a lot more than Asking Alexandria had been at Download. Generally, one of the better modern bands I’ve seen supporting people I like, but whom I didn’t know the support act beforehand.

It takes strength of the mind

Then the room got a bit fuller. After a Thin Lizzy ‘Boys ‘Back In Town intro; metalcore legends Killswitch Engage took to the stage. I have written before about how utterly majestic KSE are live, and how captivating it is when a whole room full of people sing ‘The End Of Heart Ache’, with its big long…

”This distance
This disillusion
I cling to memories
While falling
Sleep brings release
And the hope of a new day
Waking the misery
Of being without you”

…all done in perfect time, in its entirety. As a music fan it is one of the purest joys you can experience. Its crazy how good it makes you feel. And the band are always such fun, with Adam D clowning around like a hyperactive toddler making better masturbation jokes than Blink 182 ever did and brightening up the room with his infectious sense of fun and his big smile.

You knooooooooow me, you knooow me all too well!

I’ve also said before that Jesse is one of the, if not the, greatest live singers in the genre. Almost no-one can sing cleans that well live. He is a master of this type of music. Sam Carter, Ashe O’Harra and Jesse Leech are probably the best clean singers I’ve ever seen with my own two eye. Up there with Maynard incomparable James Keenan.

They played a set-list that was mostly greatest hits (Rose Of Sharyn, My Curse, End Of Heart Ache, All In Due Time, My Last Serenade) with a few early numbers (Fixation On The Darkness, Breathe Life) and it was more compact than any other time I’d seen them but no less potent.

The crowd seemed to really, really love ‘Always’ too, and Jesse doing the very last line while the band were all silent was some Freddie Mercury level skills. They played the two best songs off the new album too, (‘Hate By Design’ and ‘Strength Of The Mind’) which are even better live than on record, with more of a crushing Pantera groove to them.

Darkness will give way to light

Speaking of better live; ‘My Last Serenade’ is so, so good live. Joint with ‘End Of Heartache’ for the most audience participation (and augmented by all the fun guitar squeals and extra shenanigans) it is just excellent live in every way. And of course, they finished on my favourite Killswitch song, the fantastic ‘All In Due Time’ which turned me from a Jesse-reunion skeptic into the kinda guy who goes and sees em three times even though I don’t go to that many gigs.

Building a revolution to heal nations

If it was over then, it would’ve been enough. A solid opener, and mighty Killswitch doing themselves proud with a perfect set-list, excellent performance and decent sound & lighting. That would’ve done me nicely as a gig.

But I wasn’t ready for what happened next.

Now, I’ve banged on and on in this blog numerous times about how good Parkway were at download festival, and if you’ve met me in real life I’ve probably talked about how Ire is a modern classic that deserves to have the reputation sort of The Blackening has. You’ll have noticed the new album Reverence was high in my most played albums and highly ranked in my end of year list for this year just gone.

Well, that’s about to get a whole to more, because I have just seen. The. Best. Show. Of my whole life. No qualifications. No caveats. No exceptions.

I am not been hyperbolic. I am not exagerating. This was the best concert I have ever seen in every way. Visually, muscially, sonically, intangiable x-factor magiaclly. It was absolute bliss.

The set-list leaned heavily on the newest two albums, with just one song from Atlas and Deep Blue each, and two songs from Horizons, but otherwise all newer stuff since the change in direction.

The sound was immense, and the cruch and chug of big riffs like ‘Absolute Power’ or ‘Crushed’ was immense and made you pull that satisfied ”riff face” even harder than usualy. My view was perfect for most of the show, with a spot where I could see every member and even every cymbal on the drum kit. And the band’s performance was so bombastic, confident and commanding that it felt like witnessing something truly extraordinary.

The way Winston would sweep his hands or stomp his feet, or when he got topless and the end and would throw fists, always timed to some musical highlight like a conductor or film director was so entertaining. He is such a fucking golden rock star like we were back in the 1980s again. Having only been born as the ’80s died, its great someone is that for this generation and I don’t just have to read about it in old books.

The crowd were so into it, doing a gigantic circle pit during ‘Idols and Anchors’ and clapping along to the drumbeat in ‘Writings On The Wall’ like it was ‘We Will Rock You’ by Queen. They sang out not one or two but five or six songs guitar lines like when you see footage of Maiden or Megadeth playing South America. It was a brilliant vibe.

And that’s all without mentioning the fucking sheer spectacle of it all. If you haven’t been paying attention, it might be surprising to learn that Parkway Drive have become one of the most explosive live bands of the modern era. (Or any era).

The evening started with a dubstep or electronic noise while various lights were going off on the empty stage, with crazily loud concussion bombs going off to match the ‘the truth drops like a bomb’ lyrical theme.

Behind use, we could feel heat. Then in unsion we turned and saw that the mixing desk behind the crowd had pyro on it. And then the band, marched through the middle of the crowd, carrying flaming torches like a strange religious ceremony until they got up on stage. Then, wearing matching black outfits like some kind of Apple technology expo, they moved in choreographed and weirdly alien or robotic unison until the music really kicked in after the intro.

Crushed by the fist of god

Attention, attention, welcome to the stage

The first few songs they played in a tasteful white lighting set up. But it just got bigger and bigger.


You never miss your shadow
Till you’re alone, alone in the dark

There were various lights. And then there was smoke. And then there were fire balls. And then there were towers of fire. And then there were rows of fire. And then there were hydrolic platforms going up and down. And then there was a string quartet.

And we all go to heaven in a little row boat

Let’s get this straight, while you’re listening


And then there was an acoustic moment somehow behind the audience again. Then there was mini fire works. Then lights, lasers and fire together. Then well timed concussion bombs, like literally going ‘bang bang bang’ when Winston sang ‘bang bang bang’ in ‘Absolute Power.’ There was a Kiss-esque shower of sparks from the ceiling bouncing off their heads.

We’ve been waiting for the sky to fall!

At one point he came out with a bottle, and a rag in it, and set it on fire for real with a real lighter, and tossed it onto a big floating PWD shield, and there was really well timed explosives that made it look like he blew it up. And they just kept adding in more and more pyro and explosives until it looked like the whole building was on fire, and Winston would sweep his hands and flames would match the directions, such as during ‘Crushed.’

The truth drops like a bomb
Bang, Bang, Bang, drop the hammer of conscience


Between the spark and the ember
You are smoke threading the wind

Messages written within our columns of fire
No life blooms from the ashes of ire

Slayer had more pyro than I expected on their Farewell tour, but this made them look like a bar band with a packet of sparklers. It was almost Rammstein levels. At one point they had everything going off all at once in complete strobe light sensory overload destined to trigger epilepsy and PTSD sufferers in a way I would genuinely advise them not to attend due to. Absolute bloody war. I’m surprised health and safety let them get away with it to be honest.


Burn your heaven, flood your hell

Bombastic doesn’t do it justice. It was so well thought out and planned, cribbing all the best ideas from Motley Crue and Kiss and updating them with touches of Maiden and Rammstein and Tool but somehow feeling like a really cohesive and excellently orchestrated performance piece than a cobbled together greatest hits of concert ideas, the spectacle side of things was off the charts.

And all that being said, if they had have came out in day clothes and played the same set in an empty room with not so much as dry ice or a single light, it would’ve still been the best concert I saw in the last decade purely on the utter majesty and perfection of the performance. Songs like ‘Vice Grip’ are so goddamn triumphant sounding that when you see it live you feel like your team won the world cup. Songs like ‘Wishing Wells’ and ‘Chronos’ are so well constructed that you feel like a tween discovering the love of music for the first time. Songs like ‘Wild Eyes’ and ‘Karma’ are sing along fun that you just don’t have enough of as an adult. And best of all, ‘Bottom Feeder’ and ‘Crushed’ just level the place. When he sang ‘Now snap your neck to this’ and the payoff riff after the build up came in I got the kind of euphoric rush normally exclusive to a wedding day or the birth of a child. Ok, that’s a bit of an exaggeration, but the best part is…not by much!

Speaking of the birth of children. This will probably be my last concert for a while. Ozzy with Judas Priest got cancelled due to Ozzy’s ill health (just like my first ever Ozzfest, Ozzy didn’t play due to a quad bike accident.). My son is going to be born just a few months before Kiss say farewell and Download rolls around again so as much as I love music I’m not traveling for any of that this year, and so far nobody seems to be playing in between now and then.

As a last concert for a while, possibly of the year, I could not have asked for a better one. Hands sown the best concert of my life so far. If you ever get the chance to see Parkway live I advise and border on demand that you go. I hope to high heaven that they release a live DVD from this tour. This is how live music is done!

Until next time…

I went to go see Architects at the Cardiff Motorpoint Arena last night (Friday 18th January 2019) with support from BearTooth.

I went to go see Architects at the Cardiff Motorpoint Arena last night (Friday 18th January 2019) with support from BearTooth.

I had to work so didn’t get there in time for the opening act, Polaris. I’ve never been into Polaris though, so it wasn’t too much of a disappointment (even if that sounds a bit rude). I had heard of BearTooth before, and had checked out a few of their songs on Spotify/Amazon Music over the years due to a podcast I like talking about them a few times, but wasn’t really familiar with them overall.

I decided, due to late arrival and back ache, not to bother getting right up to the front, and stood as close to the back as was possible. No moshing and crowd surfing for me. I had loads of space and wasn’t bustled around too much. It was nice being right up near the front for Slayer and Anthrax, but I wasn’t in the mood to be smashed around tonight and just wan’t to look at and listen to the live band.

BearTooth sounded a lot more raw and natural live than of what I vaugley remember about their recorded output, from what I sort of remember they were a bit wet and overproduced and a bit electronic. Live it was less wet and more natural, but still generic melodic metalcore. I feel they’re a little late for me to really fall in love with them.

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All the metalcore slots in my brain are taken up by the likes of Shadows Fall and Chimaira and Killswitch Engage and don’t really feel like there’s that much more I can get into. When I saw a few more modern melodic metalcore bands at Download Festival, like the forgettable Black Veil Brides and  Asking Alexandria or even the quite good Bury Tomorrow, I felt like I’ve had my fill already. Beartooth similarly offer nothing new, and didn’t win me over enough to go buy any of their albums, but where pleasant enough while they were on.

Their singer was very enthusiastic and called out specific riffs to pay attention to and seemed to be enjoying it. The sound for them wasn’t so good though, and you couldn’t really make out the vocals.

Then after a brief interlude with bands like Limp Bizkit and Rammstein played over the sound system, the main event, Architects took to the stage.

I’d seen them live before, back when I lived in Manchester, on the Lost Forever // Lost Together cycle. I really wanted to see them on the All Our Gods Have Abandoned Us cycle too but it was sold out when I got to the counter to buy tickets (should’ve bloody done it online in hindsight!).

I got into Architects when Hollow Crown was their newest album, but I feel like they’ve been getting better over time, and I’d take albums like Daybreaker, All Our Gods’ and even the controversial The Hear And Now over earlier albums like Ruin or Hollow Crown. Lucky for me, the set-list last night was almost entirely off their new album Holy Hell, and the previous two albums Lost’ and Gods’ (as well as one single track off of Daybreaker), which made it quite a different set-list than the last time I saw them, with 12 songs tonight I didn’t see last time (I quite like it when bands do that).

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Last night’s setlist was:

  1. Death Is Not Defeat

  2. Modern Misery

  3. Nihilist

  4. Broken Cross

  5. Holy Hell

  6. Royal Beggars

  7. Gravedigger

  8. Mortal After All

  9. Downfall

  10. Naysayer

  11. These Colours Don’t Run

  12. A Match Made In Heaven

  13. Hereafter

  14. A Wasted Hymn

  15. Memento Mori

  16. Gone With The Wind

  17. Doomsday

I really, really enjoyed ‘Gone With The Wind,’ ‘Downfall’ and ‘Doomsday’ especially, they worked so well live. If you haven’t heard of the band before and you wanted to check them out, they would be good tracks to try out.

Some people online have said the sound wasn’t good, but from where I stood last night, it sounded pretty good to me. A lot better than BearTooth. You could hear everything, each cymbal, all the vocals, every riff was clear (Except in the really heavy parts, like the start of ‘Nay Sayer’).

Sam was very grateful in the stage banter, repeatedly thanking the crowd and pointing out how they used to be in smaller venues and how cool it was to get to play somewhere this big. (He thanked the crowd so much, he ironically called himself a broken record numerous times, so that shows you how much it was!).

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Performance wise, they were top notch. Flawless. Can’t say enough good things about them. Sam’s clean vocals are almost record-perfect live which is impressive as hell and something his peers aren’t half as good at.

The production was really good too. Fire balls. Steam cannons. Confetti Cannons. Confetti from the roof. Lights. Lazers. Video footage of trippy wolves and falling bodies and mountain-scapes. A lot of variety and really well sequenced and well timed. There were lazers coming out above the crowd as well as strobes on stage and interestingly laid out lights and beams on stage. Sometimes all of it was going off at the same time, Very entertaining. It was halfway between the time I saw Tool in Dublin and the time I saw Killswitch in Manchester.

 

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There was also a bit where they had a bit paying tribute to late guitarist Tom Searle, and had a nice speech about how his brother, drummer Dan Searle got the band back together when they were all bereaved. It was really nice, and the had a ‘T // S’ in a heart up on the screen.

It was a very good evening, which is good, because I almost didn’t go. I had a difficult day at work, had a massive headache, had just got new glasses and hadn’t got used to driving in them yet, and a bunch of other lame-o excuses, but the gist of it is I wasn’t in the mood. I was very tempted to just skip it, but I remember how good Architects were last time, and I’d heard they had a really good production this time around, and I really like their newer three albums. Getting in and out of Cardiff was nice and easy too, even though it was a Friday night, the streets were quiet and the roads were pretty empty and it was no hassal with the travel.

Good night. Next up for me concert-wise; is also an evening of Metalcore: Killswtich Engage and Parkway Drive at the venue is February, and that’s going to be madness, if tonight’s production was good, I can’t wait to see the upside down flaming drum-kit like at Download Festival, but at their own show, in a more controlled environment than a festival. Can’t wait.

I went to go and see Corrosion Of Conformity live in Cardiff Uni Great Hall last night (Saturday 03.11.18)

I went to go and see Corrosion Of Conformity live in Cardiff Uni Great Hall last night (Saturday 03.11.18), supported by Orange Goblin and Fireball Ministry. A pretty good bill for Stoner Rock fans. I’ve been having a wall-punchingly, burst out in tears, sleeplessly dreadful week at work even though this should be one of the best weeks of my life due to a pregnancy scan earlier in the week, and getting to go see C.O.C seems like the perfect stress release. I’ve been playing Live Volume repeatedly all week in anticipation.

C.O.C have over the years become one of my absolute favourite bands. There’s always certain bands at the start of your musical life, in your teens and such, that get stuck and become a favourite forever by default, but C.O.C, along with Queensryche, Helloween and Manowar have been absolutely defining my musical landscape as an adult. If I picture in my mind’s eye the best albums of all time or albums I want on my wall as decoration Deliverance and Wiseblood and America’s Volume Dealer are always there. One of my favourite photos of me and my wife together has me in a C.O.C shirt. My metal jacket has a C.O.C patch right on the front in one of the three most important spots (the back is Helloween and the other prime spot is Pantera in case you were wondering).

I have seen C.O.C twice before, once this year at Download Festival 2018 (quite a short set) and once before in Manchester Academy on their
Deliverance Revival
shows where Pepper returned to the band (one of the best concerts in recent memory). I remember thinking after Download when they’d only played one new song, that I would really love to see a concert as long as the reunion one, but with more songs from their real grower of a new album, No Cross No Crown.

Always one for a good spoiler, I’ve been looking up the band’s recent setlists online on Setlsit FM and was glad to see they are mixing it up. One night there’ll be more songs from ‘Volume Dealer, One night there’ll be more songs from In The Arms Of God and then one night there’ll be more songs from No Cross No Crown. Exciting stuff. For example, Dublin got ‘It Is That Way’ and Nottingham got ‘The Door’ and Houston Texas got ‘Long Whip Big America.’ Just like Clutch, you never know what you’re going to get.

Speaking of Clutch, they played some Clutch over the PA in between bands. Good taste.

Anyway; I also saw Orange Goblin once before supporting Down in 2012. I remember thinking they were good but hadn’t totally won me over. I never did get around to checking a full album out. Fireball Ministry are new for me.

So now onto the evening itself; I turn up to the gig, que for about 10 minutes and then doors open. There’s only about 15 people in the que. We get in. The merch stand isn’t there like it has been for the past few gigs I’ve been to at this venue. Hmmm, surely they sell merch right? Oh ok, they put it right in the hall with the band. Previously it had its own dedicated area outside. The merch is crazy cheap. I think my Guns N Roses t-shirt from Download cost me about 30 quid. The C.O.C merch was so low priced I got 2 t-shirts for £25. Bloody bargin! I got a No Cross No Crown one and a general C.O.C skull logo one. I wanted a new C.O.C shirt to replace my Deliverance Revival one which had been my favourite shirt for about 3 years but now has the deadly combination of being shrunk in the wash and me haven gotten too fat, so it just looks ridiculous on me. I’ve still got a trio-lineup C.O.C shirt that fits though, wore that to gig tonight actually. (Oh, and I got to wear my jacket, which I am always excited about, and no one even stole any of the patches because they’re a lot better secured after the last incident).

Anyway, while I was getting the merch, a familiar sound was playing in the background. Was that Fireball Ministry? I thought I didn’t know any of their songs?

Oh. Would you look at that. Actually; Black Moth are on the bill and I didn’t even know. I like a bit of Black Moth. I haven’t thought about them in a few years, but I remember liking their debut album  back in 2012. (2012 was the first year I saw Pepper Keenan live actually, in Down, back when C.O.C were still doing the trio line-up without him.)

Black Moth were pretty cracking tonight. They played nice Sabbathy groovey Stoner Metal with clean vocals and a very enthusiastic drummer. The drummer looked like he has having great fun and I really dig that. He also looked very similar to C.O.C’s fill-in drummer John Green (to the point where I had to google if they weren’t the same person). I have nothing but good things to say about them. Their singer seemed really grateful and she kept thanking everyone.

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Black Moth

Next up after a pleasantly short wait, were Fireball Ministry. Man. Their drummer hits hard. He is a big bouncer looking Kirk Weinstein kind of guy and he beats the absolute shite out of his drums! The man hits hard. The singer kept trying to get everyone energy up but the thin crowd didn’t seem to want to move or make much noise. Also, what was up with this tiny crowd. C.O.C got a tiny crowd at Download un-befitting of their status and quality. Was it happening here again tonight?

The Fireball Ministry guy kept telling everyone to be louder but it wasn’t really happening much. By the end of their set though, they won me over with their melodic choruses and they said it was the best night of the tour for em, so maybe the audiences have all been this sleepy.

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Fireball Ministry

Then came Orange Goblin. Or ‘Orange-Fucking-Goblin, baby!’ to give them their preferred title. Their singer burst on to stage like an affable hurricane. He was full of grins and cheeky expressions but an absolute presence on stage, swinging fists and spitting clouds of water and using the mic stand as a pretend guitar and actually getting the crowd riled up this time. He really pumped the energy in the room up 200%.

I remember that the last time I saw this band it was ok, but didn’t make me want to explore further. Not so this time. They were a bloody revelation this time. So powerful, so much energy, such a good vibe off of them. Their friendly but intense singer just absolutely commanded the room, and they have a speed (which he said on stage was influenced by Motorhead) that a lot of Stoner bands are missing. Some Stoner bands worship Sabbath and only Sabbath, but hearing Sabbath through a Motorhead filter was a lot of fun tonight. There was also an amusingly British moment when the singer announced that the next song was ‘The Wolf Bites Back’ and the lead guitarist said ‘Not yet he don’t’ at which point the singer realized he had missed a song. He then made a joke about it when it was time to actually play that song, and got a better laugh out of the crowd than a lot of comedians I’ve seen live. Orange Goblin definitely made a very good impression on me and I think I’ll definitely be getting some of their albums in the future.

 

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Orange Fucking Goblin, Baby

Anyway; that was the warm up. Time for the main event. Yes. It was time for C.O.C. Now; as I’ve said before, C.O.C are one of the most important and favourite bands of my adult life, and the first time I saw them live was a religious experience that few gigs could rival. Them only playing about 4 songs at Download to an unenthusiastic crowd of Babymetal fans was a pretty different gig experience. But hey; its their own gig this time. With people who know the score. Some woman ran up to the barrier and started screeching hysterically in a Beatlemania kind of way, for like the first four whole songs. And hey, it had filled up a lot since Fireball Ministry were on. It almost looked as full as when I saw Saxon or Mastodon here. Thank goodness it was so quiet at the start actually, because I was able at the start to just walk right up and stand immediately at the barrier and wait for this moment. Unlike the screeching woman who had to fight tooth and claw to get a good view. Man. This was a goooood view.

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Up close and personal 

I was right in from of Woody Weatherman (a brilliant showman with all his gesturing and stage moves) with a perfect diagonal view of John the drummer and Mike Dean and Pepper Keenan. I could literally see every hit of every drum and every note of Woody’s guitar, and a pretty excellent view of the bass and vocals. I think this is one of the best views I’ve had at a gig ever. Maybe its because the stage is low to the ground? (Orange Goblin’s singer was able to touch a crowdsurfer from the stage and rustle his hair up). Also maybe it was because all the crowd-surfing happening stage left and me sat at stage right was unmolested all evening. Man I love comfortable gigs. You can keep your 1980s hardcore punk face punching gigs, give me a good view and a good sound any day, especially if it is with no one hitting you in the head.

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C.O.C – Houselights down.

The set-list was pretty great. The hits from Deliverance. Vote With A Bullet from Blind. Wise Blood‘s title track. 3 new songs off of No Cross No Crown (which were absolutely savage live by the way, they sound even better and rawer and heavier live! – ‘The Luddite’ was crushing and ‘Forgive Me’ was even more energetic than the studio version) and hey, 3 songs from my favourite C.O.C record, the immensely underrated America’s Volume Dealer. I guess I chose the right night to see ’em. ‘Diablo BLVD’ was such a top of the lungs sing-along for me, as was ‘Who’s Got The Fire?’ – I think the only thing I would change about the first time I saw this band was that there was not enough Volume Dealer. Now I’ve had my fair share. Bloody loved it too!

 

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I feel like they maybe played less than Orange Goblin, but maybe ‘Goblin have shorter songs. Or maybe time flies when you’re having fun. Or maybe they ran out of time. The houselights after-all did come up and they almost didn’t play an encore but then people chanted and they did the last one (‘Clean My Wounds’ – with extra jamming) with the house lights up, after asking if the power would not be cut from the amps. It actually looked really cool with the lights up. I wonder if they did it on purpose actually?

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C.O.C – Houselights up.

Anyway. That was my lot. What a concert. Bonus Black Moth I didn’t expect. Cheap merch prices. A very entertaining Fireball Ministry first timer and a strong new interest in Orange Goblin. And best of all; C.O.C played an utterly fantastic gig and reaffirmed themselves as one of my favourite bands of all time. They are just such a really special band, and its great to have them deliver so well live. I just had a brilliant time.

I won’t have to wait long for another gig. Monday night sees the mightly Slayer rolling into town for the last ever time. I’ll let you know how that turns out too. ‘Til we meet again…