2022’s Omens is the Richmond Virginia Metal stars, Lamb Of God’s ninth full-length studio album (not counting releases under the Burn The Priest moniker). Much like their previous record, it was released on Nuclear Blast, Produced by Josh Wilbur and features Art Cruz on the drums.
Going into the album, a lot of fans online, on podcasts and in print seemed a bit disinterested in the band, and there was a bit of talk about how the band were past their best, which I didn’t personally get, because I felt their previous album was quite good, they’ve still been good live and they are mostly beloved personalities in the metal media. Anyway, many people are going to talk about going into this with low expectations and being pleasantly surprised… I just say its good, period, just like I expected.
The musical direction and the production style is quite similar to the previous album, sort of leaning into the more groovey and accessible parts of their sound, rather than being technical or angular or abrasive like the early days. If your favourite Lamb Of God song is “ODHGABFE” or “Blood Junkie” this album might be a bit tame for your tastes, but for everyone who fell in love with the band for the likes of “Redneck” and “Set To Fail” this will be right up your street.
Highlights include the catchy “To The Grave,” the speedy “Denial Mechanism” the memorable closer “September Song” and the grower of a title track, which I initially didn’t gel with the very first time I heard it, but you can’t deny that chorus and now its become one of my favourites upon repeat listening.
Is this the single greatest achievement Lamb Of God have ever made? Of course not, but is it some kind of lesser album or boring late career filler with only a few good songs? Not at all! This is a worthy edition to the LOG cannon, solid all the way through, nothing I’d skip, nothing I’d remove from a playlist and nothing I wouldn’t want to see live. Better even than the previous record, much better than the one before that, overall another enjoyable and entertaining southern groover made for big stages. Recommended.
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 LondonDVD 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.
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.
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 Slayerat 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.
[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.
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.
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.
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.
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.
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).
If their astoundingly good breakthrough album New Wave was called a sell out, then than was nothing compared to its follow-up, 2011’s White Crosses album. Singer Laura Jane Grace describes the backlash brilliantly in the autobiography Tranny: Confessions Of Punk Rock’s Most Infamous Anarchist Sellout.
It was the band’s last album before their seminal, momentous, once-in-a-generation masterpiece Transgender Dysphoria Blues. In the band’s catalogue it has a really distinctive style. I mean, no two Against Me! albums sound much alike anyway, but even taking that into account, this is even more different yet again. Its unarguably their most commercial release to date. Its unarguably their cleanest album to date. It is their most radio friendly effort to date. Its kind of a grower in places. But don’t ever let anyone tell you that it isn’t fantastic.
One of the best songs I think I’ve ever heard by any artist comes from this record (‘Because Of The Shame’ …a really touching and emotional songs in the band’s already weighty cannon, describing coming back to town for the funeral of someone you slept with, and all the difficult emotions seeing them and their family). As well as being interesting lyrically however; it is outrageously catchy and memorable musically. It has that same mega-anthemic feel as someone like The Foo Fighter’s biggest songs but with so much more oomph and edge.
Not that the album is a one trick pony either. Single ‘I Was
A Teenage Anarchist’ is a real ballsy ode to the bands oh-so-punk past, and how
they aren’t that band anymore much to the chagrin of the punker-than-thou original
fans. Lines like ‘’I was a teenage Anarchist but the politics were too convenient’’
and ‘’the revolution was a lie’’ are so refreshing to hear in music’s don’t-you-dare-sell-out
culture. Once again, I’m talking a bit
too much about the lyrics, but it is one real bad ass rock song that you can
hum all day long and gets stuck in your head for days. The fun surf-rock tone
of the guitar solo and the breathy opening non-lyrical ‘ah ha ha ah ah, ha haha’
noises are real highlights.
Its not all anthemic rockers either, there’s the harmonica
and acoustic guitar woozy vibes of ‘Bob Dylan Dream’ (a song about exactly what
you think its about) that to me is as infinitely sing-able as something like
Country Roads or Dirty Old Town are to the drunken masses. ‘Ache With Me’ is similarly
quiet but more contemplative and sad sounding.
The rhythmic ‘Bamboo Bones’ is so bouncy and fun, with
excellent drumming and a bigger chorus than any of the genre’s biggest bands.
When the singer lets out the wounded bellow of ‘’What God doesn’t give to you,
you’ve got to go and get for yourself’’ you can hear so many different shades
of emotion I want to give it some kind of award. How the hell this song isn’t a
global mega hit like Queen’s ‘Somebody To Love’ I’ll never know.
Its pointless sitting here pointing out highlights, because
every song is great. Rapid Decompression and One By One and Bitter Divisions
are all melodic but up tempos rockers that would all be the best song on a lesser
band’s album. Suffocation, Spanish Moss and Lehigh Acres are all catchy as hell
with interesting lyrics. The only song I didn’t love right away was the title
track, but that’s grown on me a lot over time too.
Overall; a superb album, as chocked full of memorable moments as an average band’s greatest hits collection. Its their least punk and their most commercial release. But as long as the songs are this catchy, then who the hell cares? (Well, the punker than thou crowd cared, as we discussed above, but for everyone else, just lay back and let the good tunes wash over you).
I remember when Baroness first broke out, they were quite sludgy and while not inaccessible, certainly not quite radio-friendly either. Early albums like Red Album and Blue Record mixed Thin Lizzy clean guitar with thick stoner-sludge and swampy vocals. I remember also, when they dropped their double album ‘Yellow And Green’ and they went from a band I liked a bit due to a slight Mastodon similarity, to a band I really cared about and actively followed.
To date, I still think of Yellow & Green as an utter masterpiece and that it was one of the best albums by anyone I care about to be released that year. Its when the band really stepped out of any other band’s shadows or any one subgenre’s constraints and just went everywhere they wanted all at once…. The follow up Purple was near as good, trying (and succeeding) to condense the sprawling mix of styles, tempos and timbres of the very diverse double album into one single straight-up rock record with flavours from everything the band had done before but a focus on being succinct and accessible (without sounding too far from their more metallic roots of course).
With their new album, Gold & Grey, the band are leaning a bit back more into Yellow & Green’s experimental territories. There is a focus on diversity here. Succinct is not a word I’d use to describe this. This album seems to be reveling in the freedom to do everything and anything. ‘Seasons’ for example has spidery guitar lines that wouldn’t feel out of place on a King Crimson album, mixed with a strange lo-fi noisy production job that makes it sound like some Sonic Youth style art rock piece, but then there are also blast-beats in their briefly to bring back the metal. Sometimes it goes full prog, with ‘Sevens’ sounding like mid period Camel. ‘Broken Halo’ has some lovely bridges that I can see crowds loving when this material is toured live, but goes a bit Yes during the solo.
There are also quite a few brief quiet, sombre, slow numbers across the album’s 17-track duration. ‘Blankets of Ash’ for example is a nice sounding acoustic guitar interlude over some creepy foreboding soundscape. ‘Crooked Mile’ is a jangly acoustic number that sounds more like an intro than a full blown tune of its own. ‘Assault On East Falls’ sounds like the music from a dream sequence in a Japanse videogame.
You can hear a bit more Radiohead and a bit less Red Fang in the DNA at times I guess (the intro to ‘Tourniquet’ or for example), but that being said there are still enough big fat choruses and catchy hooks to keep the sing-along feel of Purple. The album opener ‘Front Toward Enemy’ for example is just a foot down melodic rocker to get the blood pumping. The chorus to the single ‘Throw Me An Anchor’ is almost as catchy as something like ‘Take My Bones Away’ or ‘Shock Me’ from previous albums. ‘I’ll Do Anything’ sounds like it could be used to advertise the Olympics. Its like if Bon Iver took happy pills and wanted to inspire people to action.
Singer John Dyer Baizley’s rich voice really sets this band apart from the crowd, and when he really leans into the big melodies, it is proper 360 degree helicopter shots on a cliffside stuff. He has such a powerful and evocative voice that can make any line sound immensely meaningful and majestic.
Considering the line-up change between albums, it still
sounds totally like Baroness. You may not have had female backing vocals back
on Blue Record but the way John and Gina’s vocals blend and mesh
together just sound right.
The album isn’t without its flaws however. The production seems to be quite controversial based on all people I’ve seen complaining on social media. It is also a bit tough to swallow in one go, sitting somewhere between standard and double album length. (Its only an hour, but with 17 tracks there is a lot of different moods, directions and sounds to digest and so it takes up more brainpower than your typical 10-14 track album. If you just wanted an album of ‘Shock Me’ clones, something like ‘Can Oscura’ might be a bit off-putting for example). You couldn’t just slap this on in the background once and love it forever, it’s a grower that you’ve got to give a lot of attention to. That being said, these are minor flaws at the most. I didn’t really consider the production notable until it was pointed out to me by others, and usually an album being a grower at the start leads to an album you’re still loving years later rather than an album that would lose its flavour as fast as chewing gum if it popped right away.
Maybe if you were only into the band for the heaviness of
the early days, this album won’t suit you. If you liked the last two albums
though, this album is very much going to be right up your street. Its softer,
proggier and more considered than it is bludgeoning and meaty. It’s a bit more
ponderous than direct and rocking. But it is definitely worth checking out,
sticking on repeat and loosing yourself in. It’s an odyssey of new worlds to
glimpse, it’s a journey to get lost on. You might not want to head-bang, but
you’ll never be bored.
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.
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.
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.
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.
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
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.
The first few songs
they played in a tasteful white lighting set up. But it just got
bigger and bigger.
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 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.
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.’
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.
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!
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.
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.
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.
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.
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.
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!
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?
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…
After listening to a podcast a few years ago before heading out to buy the new Kreator album, I was reminded of the hosts’ deep approval of The Weird and Wonderful Marmozets, the debut full length album from 2014 by the unique British Rock band, Marmozets.
I’m sure if you’ve read anything I’ve written before, you’ll remember that I was gushingly enthusiastic about it. It was a refreshing and semi-bizarre mixture of ’90s sounding Rock, with Punk and Hardcore influences, sprinkled with jagged math-rock leanings and even boasting the odd moment that you could compare to Mastodon for a few seconds if you closed your eyes. I have fond memories of listening to it on my bachelor party, but that is besides the point.
I was a bit late to the party with Marmozets, but that album is an utter gem. Now in 2018 it is time for a follow up. I caught them at Download Festival and the performance there (especially from the drummer, Josh) was great and that inspired me to stop dawdling and get my hands on the new album.
There has been a slight stylistic shift since the debut album. The band seem to have filed down some of the more jagged edges, removed those sparse but welcome metallic sections and dialed up the melody massively. Its a much more commercial record. Its a much easier-to-listen-to album. Its much more radio friendly.
Now; stop. Clean up the drink you just spat out. Take a deep breath. Yes; it is less heavy, see it is cleaner and less technical and yes, usually when a band pulls that kind of shift, the words ‘sell’ and ‘out’ are hurled at them by the public and generally, the album is a disappointment.
Not the case here. This is a fabulous album, chocked full to the brim with catchy choruses, memorable hooks and sing-along sections. Its the kind of album you can listen to on repeat over and over again and not get sick of. Over half the album sounds like a lead single. You ever hear the common saying that Appetite For Destruction and Permission To Land sound like a Greatest Hits album? Well so does this…
There are songs on here that once you hear them, just can’t imagine Marmozets ever playing a single concert or releasing any playlist or compilation at any stage in the future without. Opener ‘Play’ for example. The jaunty single ‘Major System Error’ is another. I think my favourite track personally is the immensely catchy ‘Lost In Translation.’ If you haven’t heard the band but wonder after reading this if you should, then try any of those three songs.
Also, while it is true that it is a lot less quirky, technical and heavy than the debut, there are still flashes of that side of the band. ‘Suffocation’ gets interrupted by awkward noisy sections, ‘Habbits’ has harsh screaming and dark lyrics and ‘Like A Battery’ has a reccuring obnoxious sting that you could just imagine Becca doing strange jerky movements to on stage. Its not exactly an Atomic Kitten record now is it?
Overall; this is a fantastic, catchy and memorable record. It is more commercial than the debut but none-the-worse for it. I hope this expands the band’s audience and gets them some of the pop and indie fans as well as the punk and metal fans. Based on this quality of songwriting they really deserve to be massive. Check em out if you like good, catchy Rock and aren’t too snobby to accept that they toned down the math side of things.
For their sixth studio album, Parkway Drive had a hell of a lot to live up to. After absolutely perfecting their formula with the popular Horizons and Deep Blue albums, and utterly reinventing themselves on the astounding Ire album, the Australians would have a hard time releasing anything that good. What should they do? Return to the old formula? Try and repeat the triumph of Ire?
What they decided to do was a bit different. On Atlas, the great but less-popular follow up to Deep Blue they decided to try and balance their formula with new ideas like choirs, strings and DJ scratching with more variety of fasts and slows. The band weren’t going to limit themselves or stay in their own little box, they already did the perfect version, so its time to try some new ideas.
Reverence, to me, feels to Ire as Atlas did to Deep Blue. Its not a rehash of the past formula but a pushing of the envelope. Its taking that general idea but broadening it. There’s some pretty inventive and new sounds for Parkway on this album, from quiet spoken word bits, no almost Ghost-eque latin sounding chants (‘I Hope You Rot’), and film-score sounding orchestration. And while Atlas all sounded cataclysmic like a disaster movie, Reverence sounds epic and biblical.
Musical direction is one thing, but of course its all for nothing if the quality isn’t there. Fortunately Revereance is not only interesting, but it is also excellent. There are some absoltuely fantastic songs, amazingly catchy choruses and damn enjoyable guitar lines. There’s parts that’ll stick in your head for days (‘I’ve got the whole world swinging from the end of a chain,’ gets me every time). Some of those drum fills and leads are demading of a good air-instrumenting. Some of these songs will utterly crush live!
If you only want Parkway at their absolute heaviest and don’t want any clean singing, or any atypical instrumentation, then maybe chose a different album as your first. If you like the band, especially the shift in direction that started with Ire, then you don’t want to be missing out on Reverance. It is one hell of a record, strong all the way through, creative, interesting and thoroughly entertaining.
Highlights include the single ‘Wishing Wells’ as well as ‘Shadow Boxing’ and the dark ‘The Colour Of Leaving’
Its too early yet to rank it in their discography, but I can tell you right away from first impressions it certainly aint in trouble of being in the bottom half. I got this on release day (for some reason it was signed, which didn’t cost any extra, hooray!) and have absolutely pasted it every since. I can listen to this five times in a row and not be sick of it. It is a truly joyous album. If you are a fan don’t hesitate, get in on this ASAP.
Sepultura have a good few options if you are into live material. There is the Chaos DVD with the Under Siege video on it with the band touring Arise and playing all their Thrash era songs. There is the Under A Pale Grey Sky cd with the last ever gig of the Max Cavelera line-up on it, playing a lot of material off of Roots and Chaos AD. There is the newer Rock In Rio DVD with the Les Tambors Du Bronx percussion group augmenting them. There’s also plenty of live material on bonus tracks and compilations.
Best of all however, is Sepultura Live In Sao Paulo. It was the first video album with the Derick Green line-up, the first time you got to see and not just hear live versions of material from Roots and Chaos AD and its the only place to hear straight up unaltered versions of material off the Derick Green albums. It was released in 2005 when they were touring Roorback, back when they were still a Gold-selling band.
You get to hear an amazing blend (21 songs!) of material all the way from their earliest EPs and albums with early material like ‘Necromancer’ and ‘Troops Of Doom’ beside the mega-hits from the ’90s like ‘Territory’ and ‘Roots Bloody Roots’ mixed in with more modern gems like ‘Choke’ and what has to be one of the band’s best ever songs in ‘Sepulnation.’ (For me, its in the top 5 songs they ever recorded, any era).
Visually, the album is great. Its really well shot and edited, with no fancy distracting weird camera angels or lenses and no too-fast music video style choppy cuts. The stage set up and tasteful circle of lighting around their tribal ‘S’ logo banner looks really great, and the soundjob and mix are perfect. Sometimes the guitars or the vocals can be too quiet in a live recording, or some times the drums have way too much reverb, or sometimes you can’t hear the crowd’s energy; but here everything is perfectly balanced hear and it all sounds thick and chunky.
The band’s performances are excellent and it really shows off what great musicians they are. I never ‘got’ how good a drummer Igor is until I saw this! I didn’t much care for Derrick Green as a frontman before I saw this an it utterly changed my mind.
It looks great, it sounds great, the tracklist is great and the band play great. What more could you possibly want? Oh well, if you still do want more there is an absolute tonne of extras, with music videos, more live songs, a short making of documentary and biography, a bigger documentary about the band from 1998–2005 and other stuff as well (photogalleries etc.)
Overall; this is a damn strong release from a very important band, and there’s so much on it its great value for money. If like me you were skeptical on them without Max in the band, go on youtube and check out live versions of tracks like ‘Chaos AD’ and especially ‘Sepulnation’ off of this and just try not to be converted! If you are new to the band altogether this is a great starting point blending the best parts of all the eras together.
I went to go see the mighty Saxon last Friday in Cardiff; this was my third time catching the NWOBHM legends live and my second ever concert in Wales. (It would have been my fourth time seeing Saxon but I’ve already written before about the time I had tickets and it got cancelled due to Lemmy from Motorhead getting diabetes.)
The trip to the venue was great, now that I know the way it was a lot less stressful to find than the time I went to see Mastodon and this time the city centre was a lot quieter and less full of boozed-up thugs. I got there a bit late and missed all but the last minute of the opening act, Rock Goddess, so just got to hear them chant ‘Heavy metal – rock and roll’ about six times and take a bow. I remembered the really good comfortable spot from the Mastodon concert – behind the sound/lighting desk, so I headed there and remained there for the rest of the show, great sound, great view and no people bustling you around.
I caught the Metallica-inspiring also-NWOBHM legends Diamond Head next. It was kind of strange to see them be their own roadies. Usually you get excited when the band but I saw Brian Tattler for like 15 minutes before the band were ready just setting up the guitar, I can see why roadies get hired and how annoying it must be nowadays when records aren’t selling as much. They were a man down due to a serious hospital operation but they soldiered on regardless, dropping all the best and heaviest songs from Lightening To The Nations and Borrowed Time. They also dropped one new song from their self titled album (‘Bones’). I didn’t know this beforehand; but they have a younger guy on vocals (Rasmus Bom Andersen). He was a very good frontman, jumping in the air, pumping up the crowd, trying to get people enthusiastic and doing a very good job of mimicking the original vocals. I’ve been listening ‘In The Heat Of The Night’ a lot recently so I really enjoyed it live – he did it justice. The crowd were into it, but not so into it. The band were pretty good; not so tight, but that’s obviously due to the man-down situation and totally understandable. Hey, I’m just happy to be seeing songs like ‘Its Electric’ and ‘Lightning To The Nations’ live.
When they dropped ‘Am I Evil?’ though…the whole atmosphere changed. The crowd sang almost every word, the room warmed up, the band looked five-times as confident and all the energy that was sort of missing before came into the room. It felt like a real heroic moment. Previously the crowd seemed to view them as a bit of a ropey pub band based on how they reacted, but for that last song they treated them how they deserved, like stars.
After a wait, the mighty Saxon took the stage, opening up with the intro and title track of the new album. I had been a bit cold on ‘Thunderbolt’ when it was the previw single but when I heard the album and listened to it on repeat it fell in to place for me. Seeing it live made it even better. Its a really strong tune. Biff mentioned we were the first audience to ever see it live, which got a big cheer. They also dropped some other fairly recent material such as ‘Sacrifice’ and ‘Battering Ram’ (also so good live!). Its nice to see them not just being a nostalgia act.
There was also all the big classic songs you’d expect such as ‘And The Bands Played On,’ (Side note – I never think about how short that song is!) ‘Strong Arm Of The Law,’ ‘Crusader,’ ‘747 (Strangers In The Night),’ ‘The Power And The Glory’ etc.
They also played a good four-six tracks off the new album overall, such as ‘Sniper’ ‘The Secret Of Flight’ ‘Predator’ and ‘They Played Rock And Roll.’ Nibbs did the backing parts that Amon Amarth’s singer Johan Hegg does on the album, which was quite fun. My favorite moment was hearing ‘Nosferatu’ live.
They mentioned that they had filmed their next music video in the venue the previous night and also that the students were filming the concert (maybe that will be their next concert film or maybe just on youtube later, I’m not sure).
They did two encores. They ended the main set with ‘Princess Of The Night,’ and then they came back and did ‘Heavy Metal Thunder’ and ‘Wheels Of Steel’ then they went off again and came back once more and did ‘Denim And Leather.’
The band were absolutely phenomenal. I’ve seen Saxon three times so far and this was unquestionably the best. They were absolutely on fire. The power and confidence and audience reaction was really special. The band seemed really taken aback and grateful and Biff kept commenting on what a great crowd it was that night (which I do agree with, I’ve seen a lot of concerts but its rare to get such good applause and sing-alongs and fans demanding you come back again after you’ve already done an encore).
It appears the band are on an upswing; Biff mentioned the new album was their first to enter the UK Top 30 albums chart since the mid-80s and joked that he ‘almost chocked on my cornflakes when I heard that!’ which was very amusing. He was quite amusing all night to be honest. Someone suggested they play ‘Crusader’ early on in the set and he started doing the ‘Who dares battle the Saracen?’ voice from its intro but said ‘Its not time for Crusader, that comes later’ which was pretty funny in context and got a good crowd reaction.
The band were stunning too. As well as Biff’s excellent stage presence and banter, the guitar solos were so good. Doug and Paul were so impressive – they really are absolute guitar heroes. Nibbs is the rowdy guy with all the energy and gets the crowd going. Best of all of course, as if I would say anyone else, (how many times have I banged on and on about my drummer-crush on his skills?) was the incomparable ‘Engine Room’ – Nigel Glockler! I’ve already written at length about how he elevates the songs with the extra cymbal catches and well timed extra double kicks on the old stuff before he was the drummer and his own stuff is badass to begin with. He has a star power and talent level that really lifts Saxon above so many of their NWOBHM peers and shows you why they are not only relevant now when so many of their peers fell by the wayside but arguably better now than even in their classic period.
The whole concert was an absolute triumph, the old stuff, the new stuff, the stage presence and the performances. Scorching solos and powerful fills. I had an absolutely great night. I really recommend you catch Saxon live if you haven’t already and if this turns out to be available now the students have filmed it, check the video out.