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Bodysurfers go loko and take the bullet in name of metal dedication

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Bodysurfers go loko and take the bullet in name of metal dedication

Given that his band from Wales hadn’t performed in the Alamo City in five years, one could understand Bullet For My Valentine vocalist and rhythm guitarist Matt Tuck for thanking the nearly sold-out crowd of just under 3,000 fans on Saturday, Nov. 4, at the Boeing Center at Tech Port for not forgetting about them.

Not to worry, Mr. Tuck. There was no chance of that happening. And even if there was a remote one, support acts Of Mice & Men and Vended weren’t about to let that occur.

The dedicated faithful expressed their love for all three acts in true metal fashion, riding a wave of bodysurfers and not one but two mosh pits almost from the opening note of the evening.

Touring in support of their latest and self-titled album, Bullet For My Valentine also marked 20 years as a band by tilting its 15-song setlist heavily toward first two albums The Poison from 2005 and 2008 masterpiece Scream Aim Fire.

Make that a 16-song setlist (more on that soon).

Referring to the Boeing Center as “an incredible venue,” Tuck joined lead guitarist Michael Paget, bassist and scream vocalist Jamie Mathias and drummer Jason Bowld in shredding the audience into two pits with one heavy track after another. Watch them in action via ATM’s Facebook Live footage of “4 Words (To Choke Upon)” and “The Last Fight” here and view the printed setlist in 40-photo gallery (no professional video was allowed).

After “The Last Fight,” Tuck had another label for the venue’s patrons: “Fuckin’ hell, you guys are psychos,” he said. “We love it!”

Bullet’s five-year visits to San Antonio date back to the inaugural River City Rockfest in 2013 before the previous stop in 2018 at the Aztec Theatre. This time, Tuck told the crowd that the band would spend next year “writing the best album” and “the earliest we’ll see you again is 2025.”

But it’ll be tough to top the Scream Aim Fire record. B4MV could’ve performed that album in its entirety and would’ve received no bothersome feedback from this writer. Alas, they spread the set among several records, as evidenced by final two songs “Suffocating Under Words of Sorrow” and “Waking the Demon.” But the crowd didn’t exactly want to stop moshing and rocking, so a funny thing happened after the band had waved goodbye and walked off. Chants of “one more song” echoed throughout the Boeing, and the Welsh boys happily obliged, adding unplanned (at least from the printed setlist) “Hearts Burst Into Fire” (watch all three songs here).

Despite being the Jan Brady of the three-pronged dose of metal, Of Mice & Men was not to be outdone when it came to eliciting its own crazies in the crowd.

Just call ‘em lokos.

Highlighted by the first song on second album The Flood from 2011 in “O.G. Loko” and new track “Into the Sun” (watch both here), vocalist Aaron Pauley and his mates had also previously performed in S.A. at the Aztec Theatre, though their show came in March 2019 opening for hometown heroes Nothing More (coverage here).

On this night, the band had the bass pumped in to accompany Pauley’s vocals, lead guitarist Phil Manansala, rhythm guitarist Alan Ashby and drummer David Valentino Arteaga.

Pauley showcased his range of stage presence throughout the group’s set that also included “Castaway,” “Obsolete,” and “Warpaint.” He encouraged the audience to give security a hand for the job it was doing handling the influx of bodysurfers and dedicated “Bloom” to those who’ve lost a loved one by stating, “If you’re walking around with the crushing weight of grief. . . . “

Pauley also expressed his gratitude with, “We’re not rock stars. We’re just people like you who love music, and the only reason we get to do this is because of people like you.”

Then there was Vended. Or, rather, Vended was first. But definitely not least.

Having opened for Punjabi metallers Bloodywood on May 15 at Vibes Event Center (coverage here), the boys from Des Moines were even more ferocious this time around.

A buzzcut Griffin Taylor shed his curly locks from the prior visit and moreso demonstrated that the apple doesn’t fall far from the studio, rehearsal space or stage. Hell, Taylor even says “Good. Fucking. Night!” identically to his famous father who fronts Slipknot and Stone Sour.

Watch Taylor and guitarists Cole Espeland, Connor Grodzicki, bass player Jeremiah Pugh and another Slipknot offspring — drummer Simon Crahan — in action via ATM’s Facebook Live footage of “The Far Side” just prior to the band ending with “Asylum.”

On this night, the inmates definitely ran it. Not casually, and not just for one band.

The bands killed it, and San Antonio repped it — demonstrating that the heavy metal capital is going to do just fine with the current, and perhaps future, generations of metal concertgoers.

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Skillet epitomizes true live performance on Rock Resurrection tour

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Skillet epitomizes true live performance on Rock Resurrection tour

When those in the professional wrestling or weightlifting industries speak of athletes who are the strongest pound for pound, it means they can lift more than those with more menacing muscle girth. In other words, those who should be able to lift more than them but can’t.

That’s Skillet on stage.

A band that personifies what a live rock show should be by erupting with energy and fury every time it steps in front of the curtain and never lets up despite not receiving the same type of notoriety as a Metallica or an Iron Maiden.

Skillet’s latest display in the Alamo City came Sunday night as co-headliners with Theory Of A Deadman, plus openers Saint Asonia, on the Rock Resurrection Tour at the Boeing Center at Tech Port (see 80-photo gallery).

Touring in support of February’s release of Dominion, Skillet’s quartet of vocalist/bassist John Cooper, his wife, rhythm guitarist and keyboardist Korey Cooper, lead guitarist Seth Morrison and uber-talented British drummer/vocalist Jen Ledger rocked everyone’s socks off in an energetic, smoky and inspiring 70-minute set. And let’s not forget cellist Tate Olsen, who’s been rocking with Skillet for roughly 15 years.

On this night, Skillet was the middle band on the bill as Theory Of A Deadman closed out the night with its own 70-minute set. But Skillet’s undeniable and invincible energy was not even close to being matched.

Theory Of A Deadman and Skillet partnered with Plus 1 to ensure $1 from each ticket would go toward the Alzheimer’s Association, yet that’s where the similarities between the two performances ended.

Skillet stormed to the stage with “Feel Invincible” off 2017’s Unleashed. The band kept the intensity up on “Rise” and former World Wrestling Entertainment “Monday Night Raw” theme song “Legendary.”

Watch them in action via ATM’s Facebook Live footage of 2009 tracks “Awake and Alive” and “Hero,” which bookended John Cooper’s version of a State of the Union address. Not only are Ledger’s vocals on display during these tracks, but you’ve gotta give props to the band for allowing Olsen to not only play his cello in front of the stage, but to run across the podium mid-song and hop on board one of the two risers that Korey Cooper and Morrison were utilizing as well.

Skillet was especially cooking (sorry, couldn’t resist) on all cylinders during “Whispers in the Dark” and new tune “Psycho In My Head.” They also gave fans a treat by having Saint Asonia’s Adam Gontier join them on “Finish Line” as he does on the latest album. The rest of Gontier’s band was in the back of the GA section looking on while chatting with Kingdom Collapse vocalist Jonathan Norris.

Casual Skillet fans — or at least the many who raised their hand when John Cooper asked how many were watching them live for the first time — might have difficulty distinguishing songs when an artist has tunes called “Rise” and “Rise Up” plus “Invincible” and “Feel Invincible.”

But there was no double-take necessary when Skillet pulled out the menacing podium that possessed glaring eyes and blew smoke for another 2009 hit: “Monster.” Skillet ended its powerful set with “The Resistance” before quickly paving way for Theory Of A Deadman.

TOAD definitely had a tough act to follow, and many artists would’ve been hard pressed to match Skillet’s energy and intensity. Just so happened that TOAD was the final band to perform on this night, and in comparison, yes, they unfortunately fell flat overall.

TOAD’s music is always entertaining to listen to and rock out to, particularly the tracks that deal with the perils of relationships. Vocalist/guitarist Tyler Connolly has a talent for weaving his anti-relationship lyrics into ways that can make listeners simultaneously relate to, laugh along with and throw one’s horns up at while enjoying those songs.

With Skillet having just upped the ante during its 70-minute showing, TOAD could’ve only approached the same type of performance if it had come out blazing with the heaviest song in its arsenal and smashed its guitars on stage. Alas, that didn’t happen, and it shouldn’t have either given that such an act is not in the band’s character.

However, TOAD compounded the difficulty of keeping the crowd’s attention and enthusiasm throughout its own 1 hour, 10-minute stanza by playing long parts of, or the entirety of, a slew of cover songs. And they came after nearly each one of their own tunes.

For example, after opening with the title track to latest album Dinosaur and one of Connolly’s fun masterpieces in “Bitch Came Back,” the frontman told the crowd that he and his mates wanted to play another song from the new album — only to have it be their cover of “Two of Us (Stuck)” by Grover Washington Jr. and Bill Withers.

Normally at this point you’d say the hits kept comin’. In TOAD’s case, you’d have to say the covers kept comin’ in the form of Chris Isaak’s “Wicked Game,” a sing-along to “Friends In Low Places” and a brief “Paradise City” jam.

The only cover that mattered was an instrumental version of Alice In Chains’ “Nutshell” inserted between “Lowlife” and “Santa Monica” (ATM Facebook Live footage of all three here). The band performed an acoustic version of the 1993 Jar of Flies EP hit during the 2013 Fiesta Oyster Bake, an occasion during which Connolly sat down with yours truly for a preshow interview (watch here).

Connolly, guitarist Dave Brenner, bassist Dean Back and drummer Joey Dandeneau finally turned it up a notch during seventh song and new track “Ambulance”. But the bevy of covers and non-TOAD moments was a bit too much and unexpected on the wrong side of the ledger.

Connolly catered to the fans by tossing out four T-shirts and a koozie before the group played two of its mainstays to end the show: “Hate My Life” and the song that arguably helps fans identify with this band: “Bad Girlfriend.” Surprisingly and disappointingly, they left off one of their first smash hits in “So Happy,” and when you consider the number of covers played, omitting that tune was definitely a no-no.

The show kicked off with Saint Asonia, and first things first: referring to this band as a supergroup would be a misnomer.

Saint Asonia is a kickass rock band through and through. It has gone through a few lineup changes since debuting in San Antonio in 2015 at the Aztec Theater, a gig in which vocalist Adam Gontier and then-rhythm guitarist Corey Lowery sat down with ATM for a fun chat (watch here).

These days, Gontier has enlisted 75 percent of Art Of Dying to round out the band — including his cousin. Cale Gontier plays bass, Tavis Stanley handles lead guitar, and Cody Watkins takes care of the skins. Adam Gontier has taken on guitar duties as well with Lowery having moved on to Seether and Mike Mushok returning to the road with Staind, and the result Sunday night was a rockin’ start to the evening. Click here to watch ATM’s interview with Cale Gontier and Stanley from 2016, along with Art Of Dying vocalist Jonny Hetherington.

After opening with “Better Place” and following with “Above It All” and forthcoming single “Wolf,” it was nice to see Adam Gontier embrace, rather than shy away from, his Three Days Grace past. He performed “Never Too Late” by himself on guitar, then the rest of the guys joined in on “I Hate Everything About You.” Watch the group via ATM Facebook Live footage of the track Gontier did originally with Apocalyptica: “I Don’t Care.”

Saint Asonia also played “Devastate” before ending the set with the best song from its self-titled debut album, “Let Me Live My Life.” As exhibited in the aforementioned interview clip, even eight years later, Gontier’s bellowing of “I can go get my knife, or I can pull out the one that you stuck in my back” still resonates.

Afterwards, Saint Asonia spent the rest of the evening in the balcony watching Theory Of A Deadman’s set — mostly undisturbed. That is, until the show concluded, and the guys graciously turned it into a small meet-and-greet with those upstairs who had left them alone, at least until the final note had sounded.

But this particular evening was mostly about Skillet.

Whether they’ve played the inaugural River City Rockfest in 2013, the Fiesta Oyster Bake in 2017, opened for Alter Bridge in 2019 or this show, Skillet continuously sets the bar high for many artists by putting the studio version of its songs on steroids with props, risers, icy smoke blowing out from John Cooper’s arms, and bringing their songs to life energetically — some of which feature Cooper and Ledger trading their contrasting voices symmetrically.

If only the Boeing Center allowed pyro. Because that was about the only thing missing from a mostly riveting night of rock. Resurrection style.

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Connections come to life as trio of mainstays rocks Boeing Center

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Connections come to life as trio of mainstays rocks Boeing Center

The longstanding friendships, musical similarities and collaborative connections between and among the trifecta of bands that rocked the Boeing Center At Tech Port on Sunday night were so abundant, it would’ve been easy to get so caught up in them that the performances became secondary.

OK, let’s be honest. Most in attendance were fixated on what was happening on stage. And with good reason.

Alter Bridge was headlining in support of last October’s seventh studio album Pawns & Kings. Sevendust was the middle band after releasing Truth Killer just four weeks earlier. Then there was Mammoth WVH, the concoction of Wolfgang Van Halen, opening up the evening in support of their sophomore album Mammoth II released only 16 days before the show and serving as their final night touring with the two veteran bands.

A crowd of approximately 1,500 in the 3,100 capacity Boeing would normally be considered a disappointing turnout. But those on hand chose this trifecta over some of metal’s heavyweights. After all, Pantera was headlining the Germania Insurance Amphitheater in Austin, while Metallica was on its second night in Arlington and being broadcast in movie theaters. For those so inclined, Trapt was headlining The Rec Room with local and tribute acts to boot.

So while all three bands delivered the goods for those concentrating on the music, some of the obvious, and not so obvious, degrees of separation on stage couldn’t help but not go unnoticed. At least by Alamo True Metal.

Such as (take a deep breath . . . ):

Wolfgang Van Halen played bass in Van Halen from 2008 until his legendary father’s death in 2020 with, of course, David Lee Roth as vocalist. Roth covered on 1986 solo album Eat ‘Em and Smile a cover song made famous by Frank Sinatra: “That’s Life.” . . . Alter Bridge guitarist Mark Tremonti released last year Mark Tremonti Sings Frank Sinatra, which includes his version of that tune, and he spoke about the album with ATM here. . . . Wolfie and his Mammoth WVH drummer Garrett Whitlock each spent time in Tremonti’s solo band Tremonti Project . . . Wolfie performed bass on the solo album of Sevendust guitarist Clint Lowery. . . . Tremonti and Alter Bridge frontman Myles Kennedy appear on Sevendust’s Chapter VII: Hope & Sorrow, the former on “Hope” and the latter on “Sorrow.” . . . Tremonti also once shared with ATM that due to his friendship with a young Wolfie, he was invited to the 5150 Van Halen studio and was one of the first persons to hear Van Halen’s last studio album A Different Kind of Truth prior to its 2012 release.

You may exhale now.

There’s not much to be said about Alter Bridge and Sevendust that hasn’t been said in this space over the years, having covered many of their San Antonio visits. Both bands keep getting better and bringing it on each subsequent tour.

Sevendust was particularly loaded with energy as vocalist Lajon Witherspoon, guitarists John Connolly and Lowery, bassist Vince Hornsby and drummer Morgan Rose opened with traditional closer “Face to Face,” melting the faces of those up front in the process. The energy was so palpable, yours truly wiped out in the photo pit (albeit on a wet spot that was quickly mopped up by security). Watch the band in action via ATM’s Facebook Live footage of new track “Fence” and 2003 tune “Disgrace” here (no professional video was allowed of either artist; see setlist in 71-photo gallery).

Alter Bridge opened with new track “Silver Tongue” before rocking into older songs “Addicted to Pain” and “Ghosts of Days Gone By” (see setlist in photo gallery). Kennedy even acknowledged the preceding bands were tough acts to follow (not something most headliners would admit regardless of the openers), forcing Alter Bridge to step up its game every night.

Truthfully, Alter Bridge did that during the rocking tunes, but some of their mandatory songs to be played live are of the acoustic variety, such as “In Loving Memory” and “Watch Over You.”

But Alter Bridge dusted off debut-album track “Broken Wings” to go with One Day Remains mainstays such as “Metalingus.” Watch them in action via ATM Facebook Live footage of new tune “Sin After Sin” and first-album track “Burn It Down” here plus “Come to Life” and new song “Fable of the Silent Son” here. Listen to prior ATM interviews with Kennedy and drummer Scott Phillips here and here.

Alter Bridge was scheduled to end with traditional closer “Rise Today” by 11:05 p.m., but an 11 p.m. Sunday night curfew forced them to omit the track and end the show with “Open Your Eyes.” Then the quartet took a bow with picks being tossed and Phillips autographing items for fans up front (see photo gallery).

Due to their freshness as a band, Mammoth WVH was arguably the most intriguing artist to check out. Kennedy and Witherspoon each told their respective audiences that even though it was bittersweet to bid farewell to Mammoth on this night from the tour, they couldn’t be prouder of the fact Wolfie’s crew was about to embark on a trek with the aforementioned mighty Metallica.

If anyone showed up to the Boeing Center expecting WVH to wail on some riffs like his legendary father or to mention him by name after every other song, they would’ve been disappointed.

Wolfgang is respectfully doing his own thing. He played all of the instruments on the band’s self-titled debut album and is his band’s vocalist/guitarist. Along with Galveston native and guitarist Jon Jourdan, guitarist Frank Sidoris, bassist Ronnie Ficcaro and Whitlock on drums, Mammoth can be seen in action via ATM Facebook Live footage of “Distance” and “You’re To Blame.”

Wolfgang could’ve introduced the former with a lengthy diatribe about his father, and it all would’ve been justified. Instead, the more-than-budding musician deserves mad props for allowing the audience to listen to the lyrics carefully in a live setting and letting the music speak for itself.

Which is what Rock N’ Roll boils down to in the first place. And these three artists proved they’re as good as it gets to doing that — even when they don’t have much to prove anymore at all.

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Anthrax & friends mosh it up on 40th anniversary tour

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Anthrax & friends mosh it up on 40th anniversary tour

Considering that Anthrax hadn’t been to the Alamo City in nearly five years and had to scrap gigs in Austin and Dallas last year due to bouts with Covid-19, anyone who prides themselves on the glass being half empty could’ve been excused for holding their collective breath last Friday night.

But really, there was no need to worry that Anthrax’s show would carry on at the newly renamed Boeing Center at Tech Port. The glass was more than half full.

That’s because Anthrax was alive and well. And they had plenty of music to bring along.

Try 40 years’ worth.

Headlining their 40th anniversary tour, Anthrax also brought cohorts Black Label Society and Exodus for a night of thrash and loud guitars to the delight of a nearly packed 3,100 capacity venue.

A video featuring many metal (and some non-metal) luminaries proclaiming their love and admiration for the band not only served as the introduction to Anthrax’s set on the stage’s curtain. It nearly threatened to last as long as Anthrax’s career.

OK, not really. But the lengthy clip merely whet the appetites of the audience that much more for what was to come. And lest anyone begrudge the “I’m Lady Gaga, and I LOVE Anthrax” inclusion, she has a Grammy performance with Metallica on her resume. Not to mention, one of San Antonio’s favorites — Saxon vocalist Biff Byford — has gone on record verifying that she knows the words to “Princess of the Night.”

And with that, Anthrax stormed out of the gates with the title track to 1987’s seminal Among the Living and “Caught In A Mosh.”

The pits didn’t take long to circle, and from there, the hits kept coming with “Madhouse,” “Antisocial” and “I Am the Law” (complete setlist at bottom).

No professional video was allowed, but you can watch ATM’s in-the-pit Facebook Live footage of vocalist Joey Belladonna, guitarists Scott Ian and Jon Donais, bassist Frankie Bello and drummer Charlie Benante in action on the Joe Jackson cover “Got the Time.”

Anthrax played its entire set with the album cover to last year’s XL livestream effort serving as a huge backdrop. That banner in its own right features the covers of each of the band’s records throughout its history that began in 1981.

The one-hour and 20-minue set predictably focused on the Belladonna era of the band, mostly from the ‘80s. Anthrax did break out one John Bush-era song, the first single of his stint with the band in “Only” from 1993.

The unexpected, and arguably most powerful, song of the night was “Keep It In the Family” from 1990’s Persistence of Time. The 7 1/2-minute anti-racism track has always been a personal favorite and remains so, even though Anthrax made the most impactful lyric of the song family friendly on this night. As they do on the livestream album, one verse went from “Don’t even try to tell me what you think is right, when to you blacks are niggers, and Jews are kikes” to “blacks are targets” (and the word Jews wasn’t even mentioned).

Just as surprising, Anthrax only played 11 songs.

Well, 11 1/4 if you count Ian singing the first verse of “Bring the Noise” prior to launching into the evening’s finale “Indians.”

That classic tune prompted this 52-year-old writer to jump into his first mosh pit in a decade but may have given him a false sense of security of being in better shape than he thought, because once the moshing stopped, it felt like his stomach was going to run up through his chest and out of his throat.

But it was oh so worth it. Back to the gym the next day.

The show marked the return of Benante after he had missed a couple of gigs earlier in the tour. And since the band was marking four decades to be proud of, part of that milestone included several interviews with ATM. Click here for a conversation with Benante aboard the 70000 Tons of Metal cruise in 2017, here to watch an ATM chat with Belladonna and Donais in Austin in 2016, here to listen to a funny chat with Bello, Benante again here from the 2015 River City Rockfest, and Ian with his wife Pearl Aday here.

XL (the Roman numeral for 40, if you didn’t know by now) was the theme not only for Anthrax’s milestone, but for the price of the T-shirts that many fans swept up.

But not to be outdone in the merch line, or on stage, were Black Label Society and Exodus.

BLS allowed photographers to shoot their entire performance rather than the standard first three songs that accompanies most concerts, and that rare opportunity came in handy midway through when frontman Zakk Wylde took a break from his frenetic guitar work and perched himself in front of a piano.

The ensuing tribute to Pantera’s late “Dimebag” Darrell Abbott and his drummer brother Vinnie Paul, “In This River,” highlighted BLS’ hour-long showing. It also carried a bit deeper meaning than prior performances of that song given that Wylde, along with Benante, have replaced the Abbott brothers in the reunited Pantera that will headline the Germania Insurance Amphitheater in Austin on Aug. 20 (tickets here).

But there was no time for tears to be shed. Several montages of Wylde partying with Dimebag and Paul took over the big screen, then Wylde and his Doom Crew were back at it.

Bassist John “J.D.” DeServio, fellow guitarist Dario Lorina and original In This Moment drummer Jeff Fabb performed tracks from various albums including Grimmest Hits, Mafia and of course The Blessed Hellride. Personal favorites “Godspeed Hellbound” and “Overlord,” both from 2010’s Order of the Black, were nowhere to be found, however (see setlist in photo gallery). Watch BLS in action on new album opener “Set You Free.”

At many concerts, even of the metal variety, it takes awhile for the crowd to warm up and become active.

Not so when Exodus is setting the table.

The Bay Area thrashers tore into “The Beatings Will Continue (Until Morale Improves” from latest album Persona Non Grata, and fortunately, their set — for an opener — was nearly as long as that title.

Vocalist Steve “Zetro” Souza, guitarists Gary Holt and Lee Altus, bassist Jack Gibson and drummer Tom Hunting then taught the Boeing Center “A Lesson In Violence” and brought along other classics such as the mandatory “Toxic Waltz” and “Strike of the Beast.”

Prior to “Toxic Waltz,” Exodus teased the crowd with the iconic intro to “Raining Blood” as an ode to Holt’s time in Slayer. So allow ATM to indulge in its own tribute to the same by enabling you to watch our interview with Holt and drummer Paul Bostaph from the 2015 Mayhem Festival here.

Like Benante, the show marked a momentous return for Hunting, who has been dealing with stomach cancer. Also like his drumming cohort, Hunting provided ATM with a memorable occurrence aboard 70000 Tons, this one coming on the inaugural voyage in 2011.

The two of us happened to be next to each other in the buffet line on the top deck of the cruise liner when Hunting shared with yours truly that he had recently spoken with Kreator vocalist Mille Petrozza and that the latter had turned down an invitation to play on the cruise because he was skeptical about what the voyage would turn out to be in terms of an experience and/or vacation.

“I guess they’d rather be in 4-degree weather,” Hunting shared about Kreator turning down Miami and Cozumel to remain in Germany. But of course, Kreator has been on a few cruises since then, and in fact will be in S.A. on May 23 headlining the Aztec Theatre with Sepultura and Death Angel.

But that anecdote wasn’t the only memorable run-in with Exodus on the ship. Altus and Holt introduced several of us to the face-rearranging taste of vodka and tobasco sauce.

Although ATM footage of “Toxic Waltz” on this night cannot be shared here, take in Exodus’ performance via Facebook Live clip of “Piranha” and new track “Prescribing Horror.”

The throng at Boeing Center came together, literally, when Exodus initiated their patented wall of death, culminating a scintillating thrashy beginning to the night’s festivities.

Several hours later, by night’s end, Ian informed that same throng that Anthrax plans to spend the majority of the rest of this year working on a new album before touring again in 2024.

All we can say to that is: bring it on. And continue bringing the noise.

ANTHRAX setlist: Among the Living, Caught In A Mosh, Madhouse, Metal Thrashing Mad, Keep It In the Family, Antisocial, I Am the Law, In the End, Only, Got the Time, Bring the Noise/Indians

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