Tools new album Fear Inoculum is out today and the band has released Tour dates on their social media pages.

Tickets are on-sale Sept. 6 at 10 am local time, with a limited number of tickets will be available to Tool Army members on Sept. 4. Tool Army information, as well as VIP package details, can be found via

October 13 Sacramento, CA Aftershock Festival

October 15 Denver, CO Pepsi Center

October 18 Salt Lake City, UT Vivint Smart Home Arena

October 20 Los Angeles, CA Staples Center

October 21 Los Angeles, CA Staples Center

October 23 Glendale, AZ Gila River Arena

October 25 San Antonio, TX AT&T Center

October 27 Houston, TX Toyota Center

October 29 Tulsa, OK BOK Center

October 31 Milwaukee, WI Fiserv Forum

November 2 Indianapolis, IN Banker’s Life Fieldhouse

November 3 Chicago, IL United Center

November 5 Cincinnati, OH US Bank Arena

November 6 Cleveland, OH Rocket Mortgage Fieldhouse

November 8 Pittsburgh, PA PPG Paints Arena

November 9 Detroit, MI Little Caesars Arena

November 11 Toronto, ON Scotiabank Arena

November 12 Toronto, ON Scotiabank Arena

November 14 Boston, MA TD Garden

November 16 Newark, NJ Prudential Center

November 18 Philadelphia, PA Wells Fargo Center

November 19 Brooklyn, NY Barclay’s Center

November 21 Uncasville, CT Mohegan Sun Casino Arena

November 22 Atlantic City, NJ Boardwalk Hall

November 24 Raleigh, NC PNC Arena

November 25 Washington, DC Capitol One Arena

Tool Album Fear Inoculum Released Today, Tour-dates Announced

Written By Braddon S. Williams aka “The Concert Critic

On this date in history, 8/24/2019, Iron Maiden brought their Legacy Of The Beast Tour to Deer Creek in Noblesville, IN, and what a magnificent show it was!

The Raven Age were the warmup act, and the London based melodic metalcore band seemed to be well received by the early crowd. I didn’t really connect with their style, but have to acknowledge that they had a good mix and professional staging and lights.

I’m sure that one of their guitarists being the son of Iron Maiden’s Steve Harris probably has a lot to do with them being on this prestigious tour. Nonetheless, they played with enthusiasm and youthful energy, and are undoubtedly having the time of their lives on that stage.

After a quick set change, Iron Maiden hit the ground running, unveiling a replica of a World War II Spitfire plane suspended above them as they played a thrilling full throttle aural assault on their classic opener, Aces High.

From the get go, Bruce Dickinson was in perpetual motion, exhorting the capacity crowd of diehard Maiden fans to sing along and share in this larger than life experience.

Dickinson’s voice was a razor edged wonder that night; powerful and still capable of hitting the highest notes of his considerable vocal range.

After Aces High, with the plane being manipulated to appear as if it were in flight and looking at times as if it were about to dive into the crowd, Maiden immediately launched into Where Eagles Dare and then 2 Minutes To Midnight.

Dickinson made a speech and informed us that there would be no new material and that we were basically being treated to a “best of” Maiden set. He said they were originally going to end the show with the plane, but then decided to open with it, and then make everything else better. This drew a roar of approval from the faithful, and it turned out to be a true statement, as the band just kept adding song after song to this incredible display of how to stage an epic heavy metal show.

As a guitarist, I have to say that the triple threat of Dave Murray, Adrian Smith, and Janick Gers were just phenomenal. All three contributed stunning solo work and blended together with harmony lines and the chugging, galloping rhythms that are the hallmark of the Iron Maiden sound.

Steve Harris (bass) and Nicko McBrain (drums) propelled everything with that relentless precision that everything else is built on top of.

Some of the later highlights for me were The Evil That Men Do, Fear Of The Dark, The Number Of The Beast, The Trooper, Flight Of Icarus,and Hallowed Be Thy Name.

Honestly, there wasn’t a weak moment in Maiden’s entire time on stage.

Kudos to the sound man for keeping Dickinson’s voice on top of everything else, for spotlighting each guitarist and making the solos stand out, and for keeping the bottom end full and bright at the same time.

The lights, staging, props, and of course Eddie, were all fantastic as well. All that is left to say is “Up The Irons!”

On This Date in History

Written By Tito Vespasiani

This smashes. Gohrgone from France! Thick, super groovy death metal reminding me a bit of Dyscarnate, early Decapitated or even Dying Fetus (less techy, but that’s the overall vibe). Check it out!

Fantastic album. Sounds like “Gateways” from Morbid Angel and Altar’s Paramnesia meeting very early Portal. The results is a more accessible and catchy than the last band to be mentioned yet dark as fuck. Very interesting mix. The Ominous Circle.

This album was just great!

Always had a soft spot for this track. So soothing in a way. Hey, I’m a sensitive boy sometimes.

Gorefest – False

FILTH! New LORD GORE Band out now via Everlasting Spew Records. Old school death gore metal w/ members of Ritual Necromancy, Torture Rack, Ascended Dead.


CDs and shirts available at

Selvans, Black Metal from Italy. This is horror in music. One of the most interesting things I came across to in recent times. This album is all over the place, gathering vibes from Kampfar, very early Cradle Of Filth, even The Visions Bleak to an extent. Neofolk interludes, organs and even some kind of a Morricone feeling on one of the tracks which could bring stuff in the vein of Volahn to mind. Give this a try. You’ll most likely think it’s strange as fuck at first, and then you’ll love it. Trust me.

My dudes in Nothingness have dropped a GREAT death metal album today. Dark, sinister, old schoolish. Check out these dudes from Minneapolis, same place who recently gave birth to Void Rot as well. Something dark is going on there. And I like it.

Another great tour confirmed for Vitriol , these guys are on a roll and hitting Europe again next Spring with Krisiun and Gruesome! Are you going to attend any of these shows?

Vitriol’s debut “Pain will define their death” is still available in the Everlasting Spew Records shop!

New Insomnium track! This will be a strong Autumn for Century Media Records, this album drops on October 4th while new Hideous Divinity drops on November 8th.

#CenturyMedia #DeathMetal

Giuseppe Di Giorgio Phillip Sanio Sara Stellacci Ryan Wills Travis Macleod

“Desecrator. Violator. Devastator. Messenger of Death!”

This is just SHARP and deadly. TheCrownOfficial

My friends Dictated dropped a new vid! Sick dutch death metal featuring also Julien of Benighted on this track. This is gross, twisted, disgusting… and I LOVE IT. Great job Yessica Netto!

New track from my brothers Vacivus! This is top quality obscure Death Metal from the UK. Jam it right now!


“Ladies and Gentlemen,

The cathartic hunt of “Unsettling Whispers” still pumps in the veins of the Lost Society and we can now announce a long awaited Grand European Raid this coming fall, through some familiar and some unknown cities alongside people we respect and praise, Numenorean from Canada. We now invite you to a Massive march in Catharsis that shall make its way from North to South of Europe, marking the glorious arrival of the coldest breeze this Winter will ever feel.

We’re looking forward to visit Denmark, Germany, Austria, Slovenia, France, Netherlands and UK. It’s been a long wait. General Tickets and Exclusive tour Items to be posted soon.


05.12 Copenhagen (DK) – Spillestedet Stengade

06.12 Aarlborg (DK) – 1000Fryd

07.12 Münster (GER) – Wintermelodei 2019

08.12 Hamburg (GER) – Hafenklang

09.12 Berlin (GER) – Badehaus Berlin

10.12 Cologne (GER) – Helios

11.12 Mainz (GER) – Schön Schön

12.12 Münich (GER) – Backstage München

14.12 Graz (AT) – Club Q

15.12 Vienna (AT) – Viper Room Vienna

16.12 Koper (SI) – Center mladih Koper

18.12 Colmar (FR) – Le Grillen

19.12 Haarlem (NL) – Patronaat Haarlem

20.12 Terneuzen (NL) – Podium In Terneuzen

21.12 London (UK) – Boston Music Room

Management and Booking: Tito Vespasiani |

Doomstar Bookings | Transcending Obscurity Records | Season of Mist | Legacy – The Voice From The Dark Side | Metalleux de France | Zware Metalen | Soultone Cymbals

Blasting the FORBIDDEN TUNES. … I like this track 👀

Listening to this SepticFlesh album again after ages today. My taste has changed since 2011 and I don’t listen to much stuff like this anymore, but this aged greatly. The symphonic work is simply outstanding and still strong. Majestic album.

“Simulacrum” out on November 8th via Century Media Records. First track and preorders in two weeks.

Booking and management: Tito Vespasiani

Everlasting Spew Records update: Memento Mori titles now in the shop! These are absolutely great. Top quality old school death and death doom! Find them at

-Ataraxy “Curse Of The Requiem Mass + Rotten Shit” (CD) 7.99€

-Atavisma “The Chthonic Rituals” (CD) 7.99€

-Barús “Drowned” (CD) 7.99€

-Damnatory “The Complete Disgoregraphy 1991-2003” (CD) 7.99€

-Dead Conspiracy “Dead Conspiracy” (CD) 7.99€

-Filtheater “Blight Of Sempiternal Putrefaction” (CD) 7.99€

-Funeralopolis “…Of Death / …Of Prevailing Chaos” (CD) 7.99€

-Horrisonous “A Culinary Cacophony” (CD) 7.99€

-Infamovs “Under The Seals Of Death” (CD) 7.99€

-Morbid Messiah “Demoniac Paroxysm” (CD) 7.99€

-Morbo “Addiction To Musickal Dissection” (CD) 7.99€

-Petrification “Hollow Of The Void” (CD) 7.99€

-Pile Of Excrements “Escatology” (CD) 7.99€

-Ravenous Death “Chapters Of An Evil Transition” (CD) 7.99€

-Ruin “Human Annihilation” (CD) 7.99€

-Shrine Of The Serpent “Entropic Disillusion” (CD) 7.99€

-Thanatos “Thanatology: Terror From The Vault” (2CD) 11.99€

-Vile Apparition “Depravity Ordained” (CD) 7.99€

-War Possession “Doomed To Chaos” (CD) 7.99€

Huge GAEREA announcement coming.

Prayers have been heard. The Vortex Society is coming for you.

Hideous Divinity’s brand new logo designed by the Belgian master Bram Bruyneel! The lettering is fully reshaped to perfectly represent the rawer, wicked current dentity of Hideous Divinity while keeping our Hideousgram sigil. Renovation and tradition. Check it out on the cover art for the brand new album “Simulacrum” out on November 8th via Century Media Records:

New Hideous Divinity album out on November 8th via Century Media Records!

Italian Death Metal force HIDEOUS DIVINITY will release their fourth full-length album “Simulacrum” on November 8th via Century Media Records.

Enrico S states:

“As we step into our biggest chapter to date starting our adventure with Century Media Records, we push our boundaries not by changing our music but by offering a new distorted shape of the HIDEOUS DIVINITY you already know. That’s the entire concept behind “Simulacrum”: with the outstanding excuse given by David Lynch’s “Lost Highways”, a universe made of non-linear, surrealistic visions, HIDEOUS DIVINITY become a new creature, its dirtiness enhanced by an aura of static permeating our music. We embrace this static, and the change it brings.

The production level achieved with “Adveniens” is now gifted with the wildest dynamic range achievable. Each instrument cutting through the mix when required by the song. As it should be. Stefano “Saul” Morabito is once again the unmatchable alchemist, and his 16th Cellar Studios the forge we’d never give up.

Just like the new, superb cover artwork by Vladimir “Smerdulak” Chebakov, we tear up our mask and subvert the rules. From Cronenberg’s metamorphosis to Lynch’s anamorphosis we re-compose the body of our music itself, like an electrical seizure we live over and over again. This is “Simulacrum”.”

The album will feature ten original songs delivered with jaw-dropping technical finesse, as well as two covers, Machine Head’s “Blood Of The Zodiac” and Mayhem’s classic “Cursed In Eternity”, as bonus tracks on the digipack CD (which will also be included in the LP edition).

Recorded, mixed and mastered once again by Stefano Morabito at 16th Cellar Studio

The impressive artwork was again created by Vladimir Chebakov who also did the cover for Hideous Divinity’’s last album “Adveniens”. Digipack features 5 more stunning paintings by Vladimir.

New logo by Bram Bruyneel

Keep your eyes peeled for the astonishing video clip for the first single “The Embalmer” that’s supposed to premiere in early September along with the pre-order start!


01. Deleuzean Centuries

02. The Embalmer

03. Condense

04. Anamorphia Atto III

05. The Deaden Room

06. Actaeon

07. Bent Until Fracture

08. Seed of Future Horror

09. Prey to a Vision

10. Implemini Exitio


11. Blood of the Zodiac (Machine Head Cover)

12. Cursed in Eternity (Mayhem Cover)

Next shows:

November 2 nd , 2019 – Masters Of Grind (Belgium)


Enrico H. Di Lorenzo (vocals)

Enrico Schettino (guitars)

Riccardo Benedini (guitars)

Stefano Franceschini (bass)

Giulio Galati (drums)

HIDEOUS DIVINITY online (EU Merch Store)

Management and EU/Rest of the World booking:

Tito Vespasiani –

Booking for North America:

Stephan Mellul @ Continental Concerts USA –

#HideousDivinity #Simulacrum #Metal #DeathMetal

Toxic Metal By Tito

Written By Braddon S. Williams aka “The Concert Critic”

On this this date in history, 8/16/2019, Slipknot brought their Knotfest roadshow to Deer Creek in Noblesville, IN. Although the masked marauders hail from Iowa in the USA, the other 3 bands brought international diversity to the heavy music showcase.

Behemoth, from Poland, began the proceedings with a ferocious display of Black Metal mastery. The corpse painted band’s dark theatricality and Satanic imagery probably didn’t win over too many of the Slipknot faithful, but I thought they were the best of all the bands that day.

Behemoth are playing for keeps, and that emotional approach always finds its crowd.

Gojira, hailing originally from France, were barely below Behemoth in my estimation, and they played a fantastic set, too. In particular, Mario Duplantier’s drumming is beyond amazing. That guy simply plays patterns that seemingly no-one else has thought of, and he is a lot of fun to watch while he is up there slaughtering his drum kit.

Up next were Denmark’s Volbeat, and they were definitely the least metal of all the bands, but they were quite well received.

A friend remarked that their singer’s voice reminded him of the Swedish chef from The Muppets, and now I simply can’t “un-hear” that comparison!

Rob Caggiano (who previously played lead guitar in Anthrax) played some solid guitar solos and they sounded great mix-wise, but I think overall that Volbeat would be better on a tour more suited to their musical style.

Slipknot did what Slipknot does, which is to say that everything was bigger, brighter, and louder than everyone else. One small complaint for me personally was that one of the utility guys seemed to spend way too much of his time playing around on the treadmill up on the second level of the stage. It was pretty distracting, to say the least. Okay, it was downright annoying! Oh, yes…and Corey Taylor’s vocals were often too low in the mix. With all that is going on in Slipknot’s music, it can’t be easy to give everyone equal attention, but in general, vocals are supposed to be audible in the mix, and the sound guy wasn’t getting it done.

This was my 9th time seeing Slipknot, the 4th seeing Behemoth, the 2nd seeing Gojira, and the first time for Volbeat. All in all, I had a fantastic time, but I stand by my original reason to attend this show. I was there for Behemoth and Gojira, and for my money, those were the best 2 bands on that stage.

Kudos to Slipknot for their generosity towards the support bands.

Everyone had excellent sound, lights and backdrops…all 3 of the openers actually had better mixes than the headliners, but Slipknot is a cottage industry at this stage in their career, and like Metallica, they kind of play by their own rules.

As long as they take this approach to touring, I imagine I will be seeing them several more times before they hang up their masks.

On This Day in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 8/11/2019, my girlfriend and I traveled to Ft. Wayne, IN to witness the Twins Of Evil: Hell Never Dies Tour, featuring Rob Zombie and Marilyn Manson (with Palaye Royale in support).

The concert took place at Memorial Coliseum, a cozy little arena with great visibility and sound. Palaye Royale began the proceedings with a high energy set of raw, glam rock with plenty of attitude. Originally from Toronto, Canada, but currently residing in Las Vegas, the Sin City vibe definitely suits this band. I would love to see them in a club setting sometime.

They suffered somewhat from a lack of brightness in their light show, but the music and enthusiasm with which they performed was absolutely top notch.

Palaye Royale were much better than the opening band from last year’s Twins Of Evil tour. Yes, this was my second time seeing the Zombie/Manson combo, and much of both artist’s sets remained the same for both concerts. However, I was front and center last year in Noblesville, and this time our seats were a higher elevation looking nearly directly down on the stage, which gave me a new perspective…quite enjoyable.

Marilyn Manson remains problematic as a live performer. Having seen him in his prime, I am perhaps expecting too much at this stage of his career, but it just seems like his heart isn’t in the live performing as it once was. Manson is erratic, to put it delicately, and kindly. His live vocals are pretty rough, and his energy is sporadic at best. When he went down into the area in front of the stage and interacted with the fans in the front rows, he was electrifying, delivering a 9 minute version of The Beautiful People that was pure Manson at his best.

On the plus side, he now has a fantastic drummer, and several times the thunderous performance from that guy seemed to light up sparks with the goth icon.

I just long for the days when Manson put as much into his live act as he does in his studio efforts, The man is hilarious when he talks to the crowd, too. I really appreciate that he seemingly says whatever floats into his mind at any given moment….definitely not reading off a script!

As long as he keeps putting out great albums, I will keep supporting the live shows, because when he tries, Marilyn Manson is still capable of rock theater on a grand scale. Speaking of grand scale, Rob Zombie is the textbook definition of over the top spectacle. His light show, back screen projections, and sound are consistently cutting edge, and his band is a lethal machine.

One of the highlights for me was John 5’s ripping showcase of his incendiary guitar technique. He blazed away for nearly 5 minutes, covering several styles at dangerous levels of speed, but with a surgical precision.

Piggie D supplied the booming bottom end and contributed key backing vocals, while Ginger Fish supplied the blasting beats that provide that signature Zombie swing.

Zombie himself is perpetual motion, and totally committed to involving his audience in the experience of full immersion into the BIG SHOW. As I mentioned before, there weren’t a lot of changes in either headliners song lists this time around, but Zombie and band did throw in a scalding version of Blitzkrieg Bop by Ramones in the middle of Thunderkiss ’65, and that was a huge highlight for me. Near the end of the show, Manson and Zombie teamed up on The Beatles’ classic, Helter Skelter, completed with images of the infamous Manson Family on the assorted screens. Zombie pointed out that the 50th anniversary of the Tate/LaBianca murders had happened just a couple of days prior to our show…”Better late than never,” he said. Even after seeing this show twice, I am pretty confident I would go back for more next year. That’s how much fun the Twins Of Evil are!

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 8/7/2019, Heart brought the Love Alive

Tour to Deer Creek in Noblesville, IN. Along with the Wilson sisters, we were rocked by stellar sets from Joan Jett & The Blackhearts and Elle King.

It was a smart move by the veterans to bring fresh new talent along for this all female front line tour, because Elle King got that crowd pumped up from the very beginning.

I hadn’t heard much of her music prior to this show, but I was impressed with her powerful vocals, her energy, her easy rapport with the audience, and her musical diversity. Elements of rock, blues, country, and pop all weaved in and out of her songs that were born for the stage.

Her song Ex’s & Oh’s is an anthem for certain. That one had the crowd in the palm of her sassy hands! I was an immediate fan watching her play a Flying V guitar that was nearly as big as she was…and handling it like a boss.

Speaking of bosses, Joan Jett & The Blackhearts wasted no time in asserting their badass brand of punk tinged hard rock. Jett is beloved nearly universally, and she effortlessly exudes cool confidence and sexy swagger.

Even on the big screens, one can see that glint of playful excitement in her eyes, and it is as contagious as a rock ‘n roll epidemic. When she lights into Bad Reputation, Do You Wanna Touch Me (Oh Yeah), and I Love Rock ‘n Roll, everyone in the venue feels like they are 16 again, at least in spirit.

Heart proved beyond a doubt their legendary status with a sterling selection of their career spanning deep treasure chest of classic songs.

Not content to just play their own stuff, Heart tossed in some absolute gems of cover songs, including Your Move by Yes, The Boxer by Simon & Garfunkel, and an absolutely breathtaking tour de force rendition of Stairway To Heaven by Led Zeppelin. Ann Wilson’s voice was a force of nature throughout, and younger sister Nancy played electric and acoustic guitars and mandolin with masterful intensity, contributing some lovely lead vocals and harmonizing beautifully with her sibling.

All 3 bands were comprised of men playing their roles with anonymous but fierce contributions; content to let the legendary ladies claim the spotlight. My only complaints about this show were that it was too quiet (crank it up!), and that the crowd on the lawn were too lazy to get off their lazy asses and feed these amazing artists with some well earned energy. Everyone sounded great, but it was almost like someone has decided that the audience is old and tired and might want to just sit in their trendy little lawn chairs and not have to deal with that loud rock music.

I sure hope that doesn’t become the norm, because these artists deserve a better fate than that.

On This Date in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 8/4/2019, a group of friends and I attended The Night Running Tour, featuring co-headliners Beck and Cage The Elephant, with support from Spoon and Wild Belle. This diverse lineup hit the stage at Deer Creek (Ruoff blah, blah, blah) in Noblesville, IN on a picture perfect Midwest sunny day.

Wild Belle kicked things off with a set of mellow electronica, psychedelic pop, and soulful grooves. I enjoyed the first 2 or 3 songs, but ultimately felt Wild Belle were a little bland for my taste. They had a great sound mix (as did every band on the bill) and looked sharp in their fashionable white outfits, but I just felt they stuck around a little too long.

Up next was Spoon, who I just discovered are from Texas. This kind of surprised me, as I found their sound to be kind of British pop influenced, and very smoothly executed. I enjoyed Spoon a lot more than the opening band, likely due to much stronger songs and more of a rock band vibe.

Cage The Elephant delivered a fantastic set filled with the antics of the wildly entertaining lead vocalist, Matt Shultz. In no way do I want to imply that Mr. Shultz was under the influence of any drugs or alcohol, but that would certainly go a long way towards explaining his choice of stage clothing, unorthodox physical movements, and cryptic speeches between songs.

Vocally he was on point, delivering his songs with loads of passion and consistency, on pitch throughout Cage’s long set. The band played with fiery intensity and all seemed to be having a lot of fun (and a shared amusement at their singer’s actions). When the final song began, Shultz headed into the pavilion seating area (where he had previously serenaded audience members for an entire song earlier in the set) and then out into the lawn, where excited crowd members thronged around the security guards who tried to shield the fearless singer. Eventually the song ended, and Shultz was lifted into the air by the wildly enthusiastic fans. He wound up crowd surfing all the way to the back fence of the venue, where he then climbed onto the roof of the gazebo in back, striking a victorious pose on the peak of the building, soaking up the thunderous ovation!

Beck closed the concert with a phenomenal light show, an incredible band, and his own quirky and funky delivery of his many hits. The years have been quite kind to Beck, because he still looks the same as he did back in the early 90’s, and he was equally effective with a few songs performed solo on guitar as he was with the full force of that airtight band.

A long final song that also featured the return of Matt Shultz and Natalie Bergman from Wild Belle, plus loads of confetti and a great atmosphere of pure party time fun, was the perfect ending to a diverse and massively entertaining concert.

This one was outside of my comfort zone and I have to admit I should venture there more often!

On This Day in History

Written By Braddon S. Williams aka “The Concert Critic”

On this date in history, 7/21/2019, I entered into uncharted territory by attending a superb show featuring Baroness and Torche, 2 bands I knew very little about. This wonderful event took place at Deluxe, the downstairs room at Old National Centre in Indianapolis. I have been to several shows at both The Egyptian Room and The Murat Theatre, but this was my first time at the Deluxe, and I was quite impressed by the sound and visual aspect of the room.

Torche kicked things off with a lethal barrage of stoner rock riffage that pummeled the crowd relentlessly throughout their energetic set. The only complaints I had were that the vocals were too low in the mix, and that there were literally no dynamics in Torche’s music. Otherwise, what they did, they did exceptionally well, and the instrumental mix was on point…crushing guitars, deep and bone rattling bass, and concussion level drumming, all played with tons of energy.

I will have to check out some of their studio stuff to get a better idea of their vocals and lyrics, though.

Baroness is an intriguing band, and although I had only heard a small selection of songs on YouTube about a year ago, I knew enough that I wanted to see this band on stage.

Nothing could have prepared me for how monumentally satisfying this music would affect me. From the moment they took the stage, Baroness was electrifying; with lead singer John Dyer Baizley running to the edge of the crowd with a beaming, nearly maniacal grin on his face.

Lead guitarist Gina Gleason was visibly excited, too, frequently making eye contact and headbanging gleefully whenever she wasn’t providing spellbinding harmony vocals to Baizley’s fantastic voice.

The guitar work that those two graced the boisterous crowd with was a tapestry of richly haunting tones, mixed with savage power, and consummate tasteful elegance.

Vocally, Baizley and Gleason blended together into something truly magical.

Nick Jost provided excellent bass and keyboard work, while Sebastian Thomson held it all together with rock solid drums and percussion.

Baroness made a huge impression on me that night, and I realized that by having virtually no knowledge of their music and no preconceived notions, I was able to have a purely musical experience, taking the show completely at face value. What a glorious concert…what a beautiful band!

On This Date in History