Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 10/12/2019, I saw a trio of bands for the first time at a venue I had never visited before. Jinjer, The Browning, and Sumo Cyco performed at Riverfront Live in Cincinnati, Ohio.
Riverfront Live was pretty impressive, with great sound, lights, and overall visibility. It had a friendly atmosphere and provided a high level of intimacy between bands and patrons.
Sumo Cyco kicked things off with a high energy attack full of movement and punk/metal riffs. Led by the dynamic Skye “Sever” Sweetnam. The Canadian band utilized their limited stage space and set time to the fullest extent, opting to get the crowd participating early. Sweetnam went into the crowd several times and at one point got everyone in the pit area to get down on the floor and wait for her cue as the band vamped away on a mosh inducing riff. When she gave them the sign, the eager fans knew what to do and the singer was suddenly back on stage as the circle pit swirled in front of her.
On a critical level I felt that their guitar player had a tinny tone to his amp, but that may not have been his fault. The opening acts are sometimes prone to not getting the full use of the PA. I also got the impression that their stage moves were a little contrived at times, as if they had practiced hard to look spontaneous. At least they were constantly moving…the effort paid off as their crowd response testified.
Next up were The Browning, from Kansas City, Missouri. I had to do a little research on them to see what musical style they were described as playing. They are listed on Wikipedia as Metalcore, Electronicore, Deathcore, and Crunkcore. That’s a lot of cores, but I must admit I hated their sound within the first 20 seconds they were on stage. The EDM stuff just didn’t seem to fit with the metal stuff, and then there was the super annoying visual aspect of the spinning guitar player. I have to hand it to the guy; he had stellar equilibrium without a doubt. But his playing was monotonous and tedious. If he practiced his instrument as much as he practiced his stage moves, perhaps the band’s music would be more interesting. I found the singer’s constant hype attack pretty pointless, too. The crowd was into it, though, and they had some great pit action going.
I’ve been to enough shows to know that when an audience is in the mood they will mosh to Justin Bieber (just kidding…or am I?) so crowd response is not always synonymous with the quality of the music.
Speaking of quality music, Jinjer saved the night with an electrifying, outstanding display of talent, confidence, and inspired song craft. Jinjer hails from Donetsk, Ukraine, and features a blend of many different styles, making their music both progressive and unpredictable. Front woman Tatiana Shmailyuk possesses a set of seemingly indestructible vocal chords, and uses them to alternately sing beautiful melodies and switch to demonic gutturals in nearly the same breath. Jinjer’s musicians (guitarist, bassist, and drummer) all provide enormous amounts of dexterity on their respective instruments, weaving emotional landscapes that change in subtle and sometimes jarring combinations to suit Tatiana’s flights of vocal fancy.
From the opening blast of Teacher, Teacher to the final chords of Cloud Factory, Jinjer had the place bouncing.
They played a song called On The Top for the first time live and from the sounds of the response, it will become a regular fixture on their play list. Several other songs that really impressed me were Judgement (And Punishment), I Speak Astronomy, Retrospection, and Outlander. Jinjer returned for an encore, playing Pisces and Captain Clock, leaving the stage to a huge and well deserved ovation. Like the time I recently saw Avatar for the first time, I left this show feeling like I had just witnessed a band on the verge of blowing wide open.
Jinjer is poised on the brink of some huge success…mark my words!
Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 9/20/2019, Willie Nelson brought his Outlaw Music Festival to Deer Creek in Noblesville, IN for a diverse night of musical magic.
Nelson has used the Outlaw Music Festival format for the last couple of years, bringing a package of artists on tour that fluctuates from city to city. On the night of our show, the lineup included Katie Pruitt, Jamestown Revival, Allison Krauss, Robert Plant & The Sensational Space Shifters, and Willie Nelson And The Family.
By the time I arrived at the venue, Katie Pruitt had already finished her set, and I listened to only a small portion of the Jamestown Revival’s performance, which was pleasant sounding old fashioned country music.
Allison Krauss continued the laid back and stripped down approach during her time on stage. Her band all sounded fine, but Krauss herself sang like an angel; a really glorious voice that is undeniable. I make no claims to being any kind of expert on this more purified country music, and Krauss only performed one song that I recognized, “I’ll Fly Away” from the soundtrack to the film O Brother, Where Art Thou?, but I recognize quality in any style of music and I have to say that Willie Nelson had nothing but high quality acts on this tour.
I was thrilled that Indiana got the one tour date featuring Robert Plant, as it made our show even more special and unique, and because Plant fronted my favorite band of all time, the legendary Led Zeppelin.
Plant and his band (the aptly named Sensational Space Shifters) kicked off their set with Zeppelin’s What Is And What Should Never Be, but they tweaked the arrangement to make it more country influenced, and it was a spectacular effect. This rootsy gumbo approach found most of the songs crossing all sorts of genre boarders, including rock, blues, cajun, jazz, electronica, and of course, country.
Several other classics from the Zeppelin catalogue, including Black Dog, The Battle Of Evermore, and Gallow’s Pole, all were transformed into fascinating new shapes, and Plant’s vocals were simply incredible. Like a baseball pitcher who no longer has a reliable fastball, but has developed a wicked change-up and a deadly curveball, Plant has transformed his vocal style to match his age. The high notes are still within reach (as he dramatically proved conclusively on several key moments), but Plant is a cagey veteran who knows when to strike hard and when to remain subtle. Adding to the majestic vocals were his charming anecdotes and insights into the influence that country music had on his musical taste while growing up in Wales. The capacity crowd ate it all up and gave Plant and his band several thunderous ovations.
Willie Nelson is a national treasure, and so is his guitar, Trigger. This was my first time to witness these legends, and I was in awe of the man’s vitality at the venerable age of 86. Nelson’s singing voice literally sounds like it hasn’t changed or aged since the 1970’s…and that wonderful tone that Trigger produces when Willie plays it is magical and makes me smile just remembering how great it was to experience. I was thrilled that Willie paid tribute to some of his peers, fellow legends like Waylon Jennings, Merle Haggard, and Hank Williams during his set. All the iconic songs were played; On The Road Again, Roll Me Up And Smoke Me When I Die, Georgia On My Mind, and the Family played excellently throughout.
The shows at Deer Creek are supposed to end at 11:00 pm, but Willie played until 11:30, because although he is old, Willie Nelson is still a badass! In conclusion, I was thrilled to be at this show.
It was the first concert I’ve ever attended where there were not one, but two vendors selling cowboy hats, and for less than $30 I heard an angel (Krauss), a golden god (Plant), and a national treasure (Nelson)…not to mention witnessed the most legendary guitar outside of B.B. King’s Lucille. Thanks, Willie!
Written By Braddon S. Williams aka “The Concert Critic”
My ongoing series of concert reviews, or “On this date in history” as I like to think of them, have been relatively straightforward pieces of work so far…until now.
Over the course of 3 wonderful days, my girlfriend and I attended Riot Fest in Chicago, IL. This was the 15th anniversary of the annual explosion of musical diversity, reunions, guest performances, and full album showcases.
I have been pondering how to tackle this enormous task, and have decided that this piece will serve as the introduction, and each day of the festival will receive a separate write up in order to fully explore all that we saw and heard. Part of the beauty of Riot Fest is that no two attendees will experience the exact same things.
With 5 stages spread out in the expanses of Douglas Park, often with 2 or more bands playing at the same time (with sets staggered so that viewers can sample multiple bands in any given portion of the day), the possibilities are wide open, kind of a musical buffet.
Upon entering the main gates, a map of the park and listings of performers and set times is available for all attendees, and then the fun begins.
The performers for Riot Fest 2019:
Friday – Blink 182, Dashboard Confessional, Neck Deep, I Don’t Know How But They Found Me, Yours Truly, The Flaming Lips, Violent Femmes, Hot Snakes, Caroline Rose, The Garden, Jawbreaker, Descendents, Lucero, The Get Up Kids, Hot Water Music, No Parents, Rancid, Pennywise, Cock Sparrer, Senses Fail, Anti-Flag, Pkew Pkew Pkew, Glassjaw, H2O, Hot Mulligan, Angel Dust, Mat Kerekes, Thin Lips, Can’t Swim
Saturday – Slayer, Anthrax, Testament, GWAR, The HU, Rise Against, The Story So Far, Avail, Turnstile, Masked Intruder, Bloc Party, Manchester Orchestra, The Struts, Turnover, Cursive, Surfer Blood, Cherry, Glazerr, Wu-Tang Clan, Pyris, Grandson, The Selecter, Prof, Lando Chill, Andrew W.K., Senses Fail, Microwave, The Damned Things, Elder Brother, Drakulas, Cleopatrick, Monarchy Over Monday
Sunday – Bikini Kill, Patti Smith And Her Band, Against Me!, The Beaches, Skating Polly, The Raconteurs, Bob Mould, Ride, White Reaper, Dead Swords, Taking Back Sunday, The Starting Line, American Football, Streetlight Manifesto, Less Than Jake, Frank Iero And The Future Violents, Save Ferris, Ultra Q, Ween, The B-52s, Guided By Voices, Village People, Nick Lowe With Los Straitjackets, Ganser, The Ergs!, Teenage Bottlerocket, Dave Hause And The Mermaid, Sincere Engineer, This Wild Life, Kali Masi, Ramona
On this date in history, 9/13/2019, Riot Fest opened its annual run in Chicago’s Douglas Park to kick off the 15th anniversary of the 3 day music festival.
I must give total credit to my girlfriend for initiating the conversation which ultimately led to us attending this event (and entering into a romantic relationship…Thank you, Riot Fest!). We had met at a mutual friend’s party and started a discussion on Facebook in which she mentioned that Slayer would be performing on the 2nd night of the festival. Plans for a trip for just that day quickly blossomed into purchasing the 3 day passes and our excitement grew with our American love story.
When we arrived in Chicago (my first time driving in the Windy City) we quickly determined that finding a parking spot for this event was going to be quite tricky. Eventually we found a great lot (which we used for all 3 days…run by some really cool people) and started walking to the main gate.
I remember remarking that we would be doing this only once (a decision that was quickly replaced with “We need to make this our annual vacation spot”), and suddenly we were inside the park, exploring the grounds and locating the 5 stages.
It was mid afternoon by the time we got in, so we missed a bunch of the earliest performances, but we found our way to the Radicals Stage where Senses Fail were launching into a frenzied cover of Institutionalized by Suicidal Tendencies.
Next up was a punk band from England called Cock Sparrer. It was bizarre to me that these guys have been around since 1972 and I had somehow never heard of them…and they were great.
I realized that I have this weird irrational idea that punk bands are young and frozen in time. The reality is that they grow older just like any other band, so seeing these guys in their 60’s playing these rousing working class punk songs with drinking chants was pretty revolutionary for me.
Pennywise were next and it was more or less the same feeling. I knew the name, but had never taken the time to listen to them, and I fell instantly in love with their energy, their positivity, and their connection to their fans. Pennywise had converted me and made me realize I have been missing out on a lot of music.
We checked out about 20 minutes of the Descendents’ set, which amounted to around 9 songs…no lie, their songs are short and fast. Their singer mentioned that they have played at 11 of the 15 Riot Fests and it was apparent to me that their style really represents the core of the festival.
Flaming Lips were our unanimous choice for the Friday night headliners. They played the album Yoshimi Battles The Pink Robots in its entirety. Singer Wayne Coyne was mesmerizing throughout, just emanating warmth, eccentricity, and charm; looking dashing in his white suit and making his obligatory appearance in the plastic ball that rolls around in the audience. Near the end of their set, Coyne delivered a heartfelt tribute to troubled singer Daniel Johnston, who had passed away on September 11.
The Flaming Lips played one of Johnston’s songs, and it was lovely and touching, but Coyne brought a touch of humor into it at the perfect spot, saving the tune from becoming too maudlin. Coyne also talked about the importance of living in the moment, effectively uniting all of us and elevating an enormously entertaining set.
On our way out, we heard a bit of Jawbreaker’s performance, and they sounded fantastic, too. I read another review of the festival that mentioned some problems with the sound for some of the more acoustic based acts, but everyone we heard on the first day sounded phenomenal, mix wise…great bass, crisp drums, crunchy guitars, and vocals clear & loud. As the evening grew dark, the lights were excellent, too. The Flaming Lips, in particular, had a wonderfully trippy light show which totally enhanced the psychedelic nature of their music. Well, that wraps up the first day…to be continued!
On this date in history, 9/14/2019, Riot Fest entered its second day in Chicago’s Douglas Park with our most eagerly anticipated acts, culminating in the final Chicago appearance of thrash titans, Slayer. But first, I must backtrack slightly, because I failed to provide the names of all the stages in my initial report.
The 5 Riot Fest stages were the Rise, Radical, Rebel, Roots, and Riot stages. All of these stages had set times so that festival attendees could sample performances non stop throughout the day. Saturday was the one day that we actually planned out, and it worked to perfection. As luck would have it, the Roots and Riot stages were adjacent to each other, and all the bands we wanted to see were on those 2 stages.
The first band of the afternoon was Masked Intruder, and they were simply my favorite discovery of the entire festival. My girl had told me about them, having seen them previously. She was really excited to see them (and for me to see them, too) and I soon found out why. These guys have this underlying concept to their songs, their show, and their personas (all the band members wear color coded ski masks to match their respective instruments). There is a guy dressed as a policeman who plays an important role in the show and provides tons of energy and humor to the act. Masked Intruder has a pop/punk style and high energy songs played with hyper enthusiasm. My belief is that some bands are better studio bands while others are best experienced on stage, and Masked Intruder definitely needs to be seen live. Take my advice and go check them out!
Next up were an intriguing band called The Hu, a Mongolian Folk Metal band. Their debut album was released the day before we saw them, and their music and delivery was truly outstanding, original, and deeply moving. Along with electric guitar and bass, they also utilized the morin khuur (also known as the horsehead fiddle), a traditional Mongolian bowed stringed instrument.
The Hu spoke very little English and still managed to communicate with their American audience through Mongolian throat singing and hypnotic tribal drumming.
Another great discovery of a band I want to experience multiple times. While we waited for GWAR to set up, a band called Turnstile played on the Roots stage and failed to impress us too much.
I was stoked to see GWAR for the first time, but was caught a bit off guard by how physical the experience would become.
We were pretty close to the front of the stage, meaning we were in the “blood zone” and although the cold stage blood felt pretty good in the relentless heat of the sunny day, everyone behind us kept pushing forward and sideways in every direction in an attempt to get in on the action. It got a bit scary a few times as it felt like the entire crowd was going to collapse in upon itself. We survived and found ourselves grinning and covered in red at the end of GWAR’s onslaught. Their show is terrifically fun, but next year if they play Riot Fest again, we plan to observe from a bit further back from the stage.
As we recovered from the exertion of staying alive, Avail played an energetic and highly entertaining set from the adjacent Roots stage. I was impressed with them and look forward to seeing them again.
Next up on the Riot stage was the mighty Testament, and they delivered some old school, pulverizing thrash metal mastery, eliciting an utterly seismic circle pit from the moment they hit the stage. The entire band are like ninja assassins, with lead guitarist Alex Skolnick just burning down the place with insanely scorching feats of scalpel sharp lead guitar. I hadn’t seen Testament since 1990 and was utterly overjoyed to discover that they are better than ever.
The Story So Far followed on the neighbor stage and fell far short of Testament’s delivery.
We held our ground near the front as Anthrax brought their insane energy, good cheer, and Big 4 level thrash mastery with a set of songs voted on by their fans, so we heard a killer crop of Anthrax classics.
A personal highlight for me was a moment where lead singer Joey Belladonna and I made direct eye contact and he made sure I knew he was noticing my enthusiasm. In a pure moment of being in the right place at the right time, as Anthrax ended their fantastic performance, 2 people directly in front of us vacated their spot on the barricade and my girlfriend and I quickly secured our spots in the front row and began our wait for the band we planned our entire trip to see…the immortal Slayer! But first we had to wait through an admittedly pretty good set from Rise Against as they headlined the Roots stage.
Rise Against has had a 30 year career so far and they had a great crowd of their own. I gained a whole lot of respect for them when their singer took a couple of minutes to acknowledge the importance of Slayer and their rabid fan base. We collectively gave them a roaring sample of that power in response. Finally, Slayer took the stage and delivered a show for the ages. Standing directly in front of Gary Holt (the frenzied lead guitar player who has been on loan from Exodus since the death of original Slayer member Jeff Hanneman) was a dream come true.
Holt and Kerry King unleashed a furious barrage of vintage Slayer riffs and the psychotic back and forth lead guitar sorcery that is the band’s trademark. Throughout this magical set, Tom Araya was in the zone vocally, letting his mighty roar fill the air repeatedly on a set of all the iconic songs we have adored for decades.
The lights and flames were massively intense from the front row and we could feel that scorching heat from all that glorious fire every time it erupted from the stage. When it inevitably had to end, Tom Araya wandered from one end of the stage to the other, lingering a long time in several spots, obviously full of emotion as he absorbed the enormous outpouring of love directed at him and the others…but most of this is about him, because we all know it is Tom who is retiring. Holt, King, and drummer Paul Bostaph will carry on in other projects.
Tom eventually made his way to his microphone, thanked us briefly, and said he will miss us…then he said a simple goodbye.
I have now seen Slayer 3 times in 3 different states during this farewell tour, and Araya’s goodbye time grows longer at each show. It fills me with sadness, pride, love, and happiness that this iconic man (and band) have given us so much, and that they are leaving the game on their own terms, and as kings of their domain. Cheers, Slayer…I have one more show coming up, but nothing will ever top this one…thanks for everything, Tom!
On this date in history, 9/15/2019, Riot Fest returned for its final day of fun, sun, and musical exploration.
By the 3rd day we felt like Chicago’s Douglas Park was pretty familiar territory (although we never did find our way to the Rebel stage) and we took a little extra time to explore more of the vendor areas. Having survived the intensity of all our metal bands throughout Saturday, we made a mutual decision to begin Sunday with a much more laid back approach.
Save Ferris was the first band we checked out, and it was from a distance this time. We sat back in the shade and listened to the female fronted Ska band deliver quite an enjoyable set with a couple of surprises at the end. The singer talked to the crowd quite a bit and seemed to have a great rapport with the people up front. She informed us that they were going to play Too Drunk To Fuck by the Dead Kennedys and that was super entertaining to hear Save Ferris re-imagine that one. After that they launched into Come On, Eileen by Dexy’s Midnight Runners…needless to say, my Ilene was less than thrilled! It was still pretty funny and awesome in my opinion!
Moving on from the Rise stage where Save Ferris was winding down, we made our way to the Radicals stage to sample a bit of Nick Lowe With Los Straitjackets and determined that we weren’t quite feeling their style. Just a bit too mellow for us, although they sounded fine, so we wandered off again in search of the Village People. I never saw them, but there was another female fronted band playing on the Riot stage as we passed by. I just looked them up and it turns out the entire band was women. I wanted to mention them because I thought the singer sounded fantastic and well worth checking out later.
The illustrious Village People performed on the Radicals stage in front of a pretty impressive mid-afternoon crowd. We didn’t plan to stay long, lingering for one song and wondering if any of the costumed singers were original members. I’m guessing probably not too many, but not curious enough to research it at this time.
As fate would have it, near the end of their set, a spontaneous circle pit and Wall Of Death broke out as they played Macho Man and Y.M.C.A.! Classic stuff, and there is video of the event out there if you are interested in checking it out. We weren’t in attendance when that happened, but we were content to be seated again for a bit as Ride played a pleasantly hypnotic set on the Roots stage. Apparently they originally formed in 1988, but this was my first encounter with them. Their music reminded me of early U2 in a good way with its pulsating, driving, vaguely psychedelic rhythms and intensity. The vocalist didn’t sound anything like Bono, so it kept their sound in that cool spot where it sounds familiar, but still freshly unknown. As we wandered off in search of food and drink, we passed by the Rise stage as Streetlight Manifesto captivated a huge crowd with their high energy Ska sound. I loved their horn section, which stretched across the entire front of the stage. They sounded fantastic and fun was literally bursting out of their sound. I will hopefully catch a whole set from them in the future.
After we chowed down, it was time to prepare for the bigger names towards the late afternoon and early evening headliners.
We arrived back to the adjacent Roots and Riot stages where we had spent our day Saturday in time for the end of a rocking set by Against Me!, and they sounded fine, but nothing I would probably go out of my way to see, honestly. Next up was Bob Mould, performing as a power trio, and delivering a blistering set of punk energy and hard rocking songs. The former Hüsker Dü and Sugar singer, guitarist, and songwriter really impressed me on all levels, and as a bonus, his drummer looks like Peter Dinklage’s taller brother! Patti Smith And Her Band followed, and we truly should have stayed for more than the two songs we witnessed, because the legendary singer/poet just sounded amazing. Patti’s voice sounded exactly as it has since her ’70’s heyday; totally glorious and full of character. She looked fantastic, too…long white hair looking like the light was emanating directly from her spirit…and perhaps it was.
We had decided (on the advice of some friends) to go check out Ween, so we regretfully left Patti (sorry Patti…hope to rectify this grave error someday!) to go see the Ween show. I have to try to carefully explain my position on the Ween experience. Ween sounded great…sound was on point, lights were adequate, but nothing revolutionary. Our problem was the crowd. The best I can explain it is that it felt like being at a party where you don’t know anyone. It was like everyone had this secret language and knew the inside jokes and gestures they were not willing to share with us outsiders. 45 minutes into a 2 hour set we started to hear loud music coming from one of the other stages. Someone yelled out, “Damn you, Jack White!” and Ilene and I looked at each other and immediately decided to bale on Ween and go seek out The Raconteurs.
Jack and the boys saved us with a blistering set of raucous, blues drenched jams just as we had reached the edge of exhaustion after 3 days of glorious good times and vibes.
My girl wanted me to hear Bikini Kill, the final headliner on the Riot stage (perhaps to torture me? lol), but I apparently don’t have the ears or patience to endure the caterwauling garbage dump of the sound coming out of their singer’s mouth. Maybe it wasn’t their night (although they had and enormous crowd who may have more of a taste for what they were hearing), and maybe it was just time to make our exit, so we did.
All in all, Riot Fest has gained two new hardcore fans, and we plan to go back for more next year. Riot Fest Rules!
Written By Braddon S. Williams aka “The Concert Critic”
On this date in history, 8/31/2019, Kiss brought The End Of The Road Tour to Deer Creek, effectively completing a circle that began with my very first concert in 1976.
Kiss played the old Market Square Arena that long ago night (with support from Bob Seger & The Silver Bullet Band and Artful Dodger). Tickets for that first show were $6.50…yeah, you read that correctly! Times have changed quite a bit since then. Tickets for this one ran me considerably more than that, and to make matters worse, we didn’t even get an opening band this time. Instead, we got a painter. Yes, a freaking PAINTER! In his defense, David Garibaldi has talent with his brushes, but somehow a balding guy wearing a leather jacket and prancing around on stage while Guns ‘n Roses and Aerosmith songs are piped in over the PA is a pretty lame substitute for a live band. Enough about that guy…let’s talk about the main attraction.
Kiss delivered the goods and put on a pretty incredible display of an epic arena show. The staging was on a grand scale, the lighting was on par with a Hollywood blockbuster, the sound was suitably huge, and the band performed with admirable energy. Was it perfect? Of course not. Paul Stanley and Gene Simmons (the 2 remaining original members) both struggled vocally. Stanley, in particular, sounded ragged from the moment he delivered his first of many between-songs speeches very early in the show. To his credit, Paul never made excuses, nor seemed to back off at all in his delivery, which always seemed to be in a quest at 100% effort.
Luckily, the Kiss Army were there in force to lustily sing along with all those arena sized choruses. Yes, you can say what you will about Kiss, but Stanley and Simmons have crafted an arsenal of classic material that lies firmly in the pantheon of rock music that will endure for generations to come. These songs were born for the big stage and they shine brightly in that environment eternally.
Tommy Thayer, sporting the costume and signature face paint of Ace Frehley, possesses none of Ace’s originality as a guitarist, but is a solid player nonetheless. Thayer’s solo spot was fun, complete with the rocket shooting guitar shtick made famous by Frehley.
Eric Singer, on the other hand, is a far better drummer than Peter Criss, and played a crowd pleasing drum solo mid-set that undoubtedly bought Stanley and Simmons some much needed vocal rest. Singer also sang and played a piano with enough sparkle to make Elton John green with envy on Criss’s big hit, Beth, during the encore.
Was this truly the end of the road? I find it difficult to not be more than a little cynical regarding this question. It seems as if Kiss have been on their farewell tour for at least 20 years at this point, but if it is indeed the end, Kiss have gone out with dignity and pride.
I started playing guitar because of Kiss. Would I have found my desire to do so without them? Most likely, but I don’t ever have to answer that question, because there is zero doubt in my mind that Kiss were the ones who lit that spark within me.
Thank you, Kiss…for everything…Love & respect, gentlemen! You were glorious on August 31, 2019. I wanted the best, and I got the best!
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!”
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.
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!