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Judas Priest, Queensryche inject Alamo City with double dose of musical excellence

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Judas Priest, Queensryche inject Alamo City with double dose of musical excellence

It may not have been the month-long residency many artists have undertaken in Las Vegas the past several years. But when Judas Priest and Queensryche arrived last week in San Antonio, they packed their buses for more than a one-night stay.

Back-to-back performances at the new Tech Port Center + Arena last Tuesday and Wednesday prior to Thanksgiving before approximately 3,000 fans each night in the 3,100-capacity venue near Lackland Air Force Base saw a combined 90 years worth of molten metal take flight.

Could any other city the world over claim that?

It’s OK. We’ll wait for your answer.

Perhaps that was just part of the reason Judas Priest vocalist Rob Halford, while giving thanks to the late Joe Anthony for being the first disc jockey in the United States to expose Priest’s music in the 1970s and ‘80s to an American listening audience, said in part: “It feels so good to be back in San Antonio. It’s like home to me . . . the beloved Joe Anthony. Two nights here. It just goes to show that heavy metal is in the heart of San Antonio. It’s the heavy metal capital of Texas as far as I’m concerned.”

Queensryche vocalist Todd La Torre was not to be outdone on Night 2 when he said, “San Antonio is the most metal city.”

The dual nights followed a March 21 appearance by both artists at Freeman Coliseum. For non-math majors, that’s three visits to the Alamo City this year.

And it’s not like those on hand at Tech Port needed 50 years to realize Judas Priest is a special band. Nevertheless, the group’s reception of the Musical Excellence Award earlier in the month at the Rock N’ Roll Hall of Fame, which saw Halford and original bassist Ian Hill reunite (one night only, for now) with guitarist K.K. Downing and ‘70s drummer Les Binks, was the cherry on top of the Birmingham, England, natives’ latest stop. It’s also something Hill discussed with Alamo True Metal here.

Celebrating 50 years of heavy metal and the 40th year of seminal album Screaming for Vengeance, the mighty Priest displayed a vast selection of hits including “Hell Bent for Leather, “Breaking the Law” and “Living After Midnight,” deeper cuts “Between the Hammer and the Anvil” and “Judas Rising” along with the title track to its 2018 and most recent album Firepower, followed by that record’s “Never the Heroes.” Priest played the same identical set each night, but those who only attended Night 2 received an extra song in their classic cover of Joan Baez’s “Diamonds and Rust.”

While it’s easy to say it’s not a complete Judas Priest concert without staples “Victim of Changes,” “Painkiller,” and “Metal Gods,” it was refreshing to see the five-decade mainstays throw caution to the wind, while riding on it, and change things up from previous tours.

But you can also say it’s definitely not a complete Priest showing without guitarist Glenn Tipton, who had been appearing for the encores in recent visits dating back to 2018 but whose bout with Parkinson’s disease undoubtedly prevented an appearance this time around. T-shirts were selling at the merch booth with sales from one specialty top going toward Tipton’s Parkinson’s Foundation.

Guitarist Richie Faulkner, sporting a fresh scar from his ruptured aorta endured onstage in September 2021 in Louisville, Kentucky, and subsequent 10 1/2-hour emergency open heart surgery, demonstrated that every show he plays from here on out is a major miracle of life as he continued to do what he does best on stage.

Veteran producer and guitarist Andy Sneap returned as well, while drummer Scott Travis subbed out his usual introduction of “Painkiller” for the title track to Screaming for Vengeance (ATM Facebook Live footage here).

No professional video was allowed of Judas Priest, but you can watch them via more ATM Facebook Live footage from the first night on “Genocide,” “Steeler,” “Between the Hammer and the Anvil” and “Halls of Valhalla.” Also check out “Beyond the Realms of Death,” “Judas Rising” and “Devil’s Child.”

Recognition from the Rock N’ Roll Hall of Fame can be a funny thing. It obviously means a lot to the musicians who put in the work and longevity. From a fan standpoint, it only seems to matter when an artist that is long overdue to receive such status doesn’t, thus setting off a chain of rebellious emotions that serves as the basis of heavy metal music in the first place.

Enter bands such as Iron Maiden. Motorhead.

And Queensryche.

Perhaps the latter will get there one day. To its lifelong fans, however, the place among the Rock Hall’s elite doesn’t need to be solidified officially because it already began with the band’s 1983 self-titled EP and full-length follow-up The Warning in 1984.

Queensryche spotlighted those two records among their opening tracks each night (see setlists below and in photo gallery), as evidenced by ATM footage on Night 2 of “En Force.” La Torre, original guitarist Michael Wilton, guitarist Mike Stone, original bassist Eddie Jackson and drummer Casey Grillo kept the hits coming on “Take Hold of the Flame,” “Screaming In Digital” and finale “Eyes of a Stranger.”

Unlike the show in March, Queensryche also brought some terrific new music with them. Having released Digital Noise Alliance on Oct. 7, the band debuted “Behind the Walls” and “In Extremis” (ATM footage below photo gallery). The album marks the fourth already with La Torre on vocals, and fans should start getting used to hearing more of his material without the frontman almost apologetically telling an audience that the group is going to take a break from the classics and hits to unveil new tunes.

After all, La Torre is marking his own decade in Queensryche. So it’s about time fans more than simply try out his other albums The Verdict, Condition: Human and Queensryche and actually keep them in their own regular listening rotation.

At these Tech Port shows, La Torre’s delay throws were much less pronounced and shorter than the March concert at Freeman, mere mention of which in this space caused a seismic reaction among Internet trolls even though the words “lip syncing” were never uttered here. In fact, one of the few times the delay was especially recognizable this time came not via singing but rather when La Torre boasted at show’s end, “We are the one, the only Queensryche,” with the band’s name reverberating throughout the venue.

The Seattle veterans mixed things up both nights more than Priest. Having played “NM 156” and “Operation: Mindcrime” on the first night, Queensryche subbed out “Walk In the Shadows” and “The Needle Lies,” respectively, on Wednesday.

Here’s hoping they’ll go on a headlining tour next year that will feature even more of the past four albums — records yours truly had been listening to consistently long before Internet backlash spewed ATM’s way because Queensryche has always been a personal favorite no matter which of its vocalists is holding the mic.

How many haters could say that about their Queensryche fandom or say they’ve never missed a Queensryche visit to their town the past 17 years?

It’s OK. We’ll wait.

As the long-standing original members, Wilton and Jackson also shouldn’t have to apologize for making new music they should be proud of, nor in effect ask an audience to listen openly to new music. When fresh material mixes with the classic catalog the ‘Ryche possesses, there aren’t many bands that can say every album can hold a candle — or at least a flame — to its predecessor the way Queensryche can.

As if two consecutive shows by these heavyweights wasn’t enough, Night 2 brought out a who’s who of South Texas rockers that took in the action from the Tech Port’s lone suite.

Among the masses were Disturbed bassist John Moyer, Fates Warning/Sebastian Bach/Halford/ex-Riot drummer Bobby Jarzombek (who’s playing for country legend George Strait these days), Riot bassist Don Van Stavern, Heaven Below singer/guitarist and Lita Ford guitarist Patrick Kennison and Buckcherry drummer Francis Ruiz (see photo gallery).

What they heard — Priest’s Harley-Davidson on “Hell Bent for Leather” notwithstanding — was one of the loudest shows in recent memory. And that was before Priest unleashed its blowup Birmingham bull for finale “Living After Midnight.”

What several others heard were arguably the two loudest shows in the Alamo City since Covid-19.

Judas Priest and Queensryche were the right way to celebrate nine decades of music that will always stand the test of time. Not only were they the perfect antidote to drown out one’s annoying family members at Thanksgiving dinner since ears were still ringing 24 and 48 hours later. They were, and will always be, reasons to hold ‘em up high rather than hanging ‘em out to dry.

JUDAS PRIEST SETLIST: Hellion/Electric Eye, Riding on the Wind, You’ve Got Another Thing Comin’, Jawbreaker, Firepower, Never the Heroes, Beyond the Realms Of Death, Judas Rising, Devil’s Child, Genocide, Steeler, Between the Hammer and the Anvil, Halls of Valhalla, Diamonds and Rust (2nd night only), The Green Manalishi (With the Two-Pronged Crown), Screaming for Vengeance. Encores: Hell Bent for Leather, Breaking the Law, Living After Midnight

QUEENSRYCHE SETLIST (Night 1): Queen of the Reich, Warning, En Force, NM 156, Behind the Walls, Empire, Operation: Mindcrime, In Extremis, Take Hold of the Flame, Screaming In Digital, Eyes of a Stranger

QUEENSRYCHE SETLIST (Night 2): Queen of the Reich, Warning, En Force, Walk In the Shadows, Behind the Walls, Empire, The Needle Lies, In Extremis, Take Hold of the Flame, Screaming In Digital, Eyes of a Stranger

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Into the Pit: Judas Priest's Ian Hill

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Into the Pit: Judas Priest's Ian Hill

The mainstays of British heavy metal are coming back to the Alamo City next week. And this time, they’re bringing a newly minted status as official Rock N’ Roll Hall of Famers with them.

But unlike the other dates on the second leg of their 50th anniversary North American tour, Judas Priest will be playing multiple shows Thanksgiving week at the Tech Port Center + Arena on Nov. 22 and 23 with Queensryche (tickets here).

How lucky are you, San Antonio?

The concerts mark the 40th anniversary of seminal 1982 album Screaming For Vengeance. In addition to the gig Judas Priest played in March at Freeman Coliseum, next week’s shows will be the second and third performances here in 2022 by vocalist Rob Halford, bassist Ian Hill, drummer Scott Travis, and guitarists Glenn Tipton, Richie Faulkner and Andy Sneap.

Hill went Into the Pit with ATM yesterday to discuss it all, including the band’s Hall of Fame experience and one-night reunification with guitarist K.K. Downing and drummer Les Binks, as well as the group’s storied history with our city and what to expect on stage next week.

Click the video box below to hear our entire chat and the other videos from what transpired in Cleveland a week and a half ago.

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Return of W.A.S.P. leaves Tech Port blind in Texas, deaf to anti-censorship

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Return of W.A.S.P. leaves Tech Port blind in Texas, deaf to anti-censorship

For the past decade, iconic W.A.S.P. frontman Blackie Lawless spent most of his touring adventures in nations other than the good ol’ U.S.A. You’d have to go back even further since W.A.S.P. was last in the Alamo City.

Blind in Texas, indeed.

As such, local promoters Din Productions have been attempting to bring one of metal’s most don’t-give-a-bleep bands back to San Antonio the past eight years. That finally came to fruition last Friday night at Tech Port Center + Arena as W.A.S.P. headlined its 40th anniversary tour with Michael Schenker (celebrating his 50th year) and openers Armored Saint, who have also been around for four decades.

The rare appearance brought out South Texas metal royalty in the form of Dangerous Toys singer Jason McMaster — fresh off a stint filling in for Accept vocalist Mark Tornillo — Fates Warning and George Strait drummer Bobby Jarzombek and Riot bassist Don Van Stavern, along with musicians from local bands Jessikill, Even In Death and X.I.L. to name a few.

What they saw was a set comprised of W.A.S.P.’s good ol’ days. What they heard, but may not have immediately recognized, was a Lawless who shunned some of his most angst-ridden lyrics for PG-rated versions no one would have expected.

Lawless had billed the tour as going “back to the beginning” with an emphasis on the first few albums. He reportedly had also stated the stage would represent a carnival-like atmosphere.

Taking the platform at 9:51 p.m., the 76-minute performance that ended at 11:07 p.m. comprised nearly half of the 1984 self-titled debut album while most of the remainder spotlighted the 30th anniversary of fifth record The Crimson Idol.

Perched behind his mammoth and menacing skull-adorned mic stand, Lawless was joined by guitarist Doug Blair, bassist Mike Duda and drummer Aquiles Priester. W.A.S.P. took to the stage with a medley of first-album tracks starting with “On Your Knees.” The next two snippets in particular, “The Flame” and “The Torture Never Stops,” sounded eerily like the album versions of Lawless’ 1984 voice — at least while being witnessed from the photo pit in front of the stage. Even if that was the case, “The Flame” deserved a full-length performance not only for being one of the best tunes in W.A.S.P.’s arsenal but a track that’s rarely played live and doesn’t appear on either of the group’s live albums.

Lawless and Co. ended the medley with a portion of the title track to 1986’s Inside the Electric Circus. The carnival banners, one of which was titled “Arena of Pleasure,” would’ve led one to believe that most of the ‘86 album and/or the latter 1992 track would be played. But that was a smokescreen.

For Lawless, limiting some tracks to a medley is a good problem to have. W.A.S.P. has so many signature songs (no, they’re not going to be referred to as “hits” within this space), it’s impossible to leave dedicated fans who own every single album completely satisfied unless the band performed for three hours.

Given the decade-plus absence, three hours wouldn’t have been too much to ask for.

On the stage’s printed setlist (see 21-photo gallery below), Lawless scratched off previously played-in-Texas tracks “Crazy” and “Heaven’s Hung In Black” — from 2009 and 2007, respectively — along with a half-and-half of “Hellion” and “I Don’t Need No Doctor.” He made up for the pleasant surprises those would’ve been by inserting the 9 1/2-minute “The Great Misconceptions of Me,” although the timing was a bit off and the band didn’t appear in sync at the start of it.

But even more than the medley’s pros and cons, two other aspects of the night were the most glaring:

1) Lawless never addressed the crowd other than his customary, “All I need is my L.O.V.E. Machine” intro and at show’s conclusion with “Good night, San Antonio! We’ll see you next time” before he and the band abruptly left the stage. It was as if he had turned into Alice Cooper, playing a character rather than being a human who engages his audience. But even Cooper becomes human at the end of his gigs and fully introduces his band during a jam session after his theatrics have completed.

2) Lawless stunningly inserted cleaner lyrics during “Chainsaw Charlie (Murders in the New Morgue),” shunning the 1992 album version and demonstrating that he apparently no longer cusses, at least in concert.

When you’re listening to The Crimson Idol and hear Lawless bellow, “I’m a cocksucking asshole, that’s what they call me,” you can’t help but headbang and go bonkers while flipping a middle finger or two to Tipper Gore as if you were taking part in that mid-’80s PMRC (Parents Music Resource Center) hearing. However, not only did Lawless not utter those words true to his original lyrics, he changed them to omit the curse words.

Album version:

  • I’m the president of showbiz, my name is Charlie

    I’m a cocksucking asshole! That’s what they call me

    Here from my Hollywood tower I rule

    I’m a lying motherfucker

    The chainsaw’s my tool

Friday’s live version:

  • I’m the president of showbiz, my name is Charlie

    I’m a bloodsucking rat’s hole (or rascal)

    That’s what they call me

    Here from my Hollywood tower I rule

    I’m a lying little monster

    The chainsaw’s my tool

Lawless also changed “Don’t mind the faggots, and the ruthless scum” to “maggots.”

W.A.S.P. had given new meaning to “shock rock.”

Lawless in fact had done the very thing he stood against for all the prior decades while helping to fly the flag of heavy metal: he censored himself, in effect placing a parental advisory sticker over his own mouth.

At least it proved Lawless was really singing, erasing any blip of prior doubt that may have existed during the first 20 minutes of the gig spent in front of the stage. Watch it all unfold with ATM’s Facebook Live footage of “Chainsaw Charlie” here.

The first part of that footage is “The Idol,” which peculiarly saw Lawless and Duda leave the stage during an outstanding 3-minute solo by Blair. The vastly underrated guitarist also shines on other more recent, somewhat lengthy ballads such as “Miss You” on W.A.S.P.’s last album, 2015’s Golgotha.

A PG-rated W.A.S.P. is not the W.A.S.P. most in attendance grew up with and is not reminiscent of “back to the beginning.” Was this really the man who came up with an album called Kill. Fuck. Die? And what about the ultimate F.U. to Gore and Crew — “Animal (Fuck Like A Beast)?”

Glad you asked.

After much debate the past several years as to whether Lawless would ever perform that track again, the screen from behind some of the carnival banners that had showcased some of the group’s MTV videos spelled out the story behind the PMRC and its largest musical nightmare. W.A.S.P. would perform half of the track, allowing the roughly 1,300 in attendance to do the honors on the “Fuck Like A Beast” part before segueing into half of “The Real Me.”

The latter, W.A.S.P.’s intensely brilliant 1989 cover of The Who tune, was unfortunately the only taste of personal favorite album The Headless Children. But Lawless demonstrated an awesomely nice touch by giving thanks, via the big screen, to every past and present member of his band over the past 40 years by name and in photos where possible.

W.A.S.P. closed with “I Wanna Be Somebody,” a tune the vocalist revealed during a nationally syndicated 1987 radio interview with Z-Rock had been inspired after he heard the line uttered on an episode of TV classic “Barney Miller.” Watch ATM footage of the evening’s finale below right.

Meanwhile, the need-no-introduction “Blind In Texas” was played but came across as just another song (ATM footage below). How great would it have been to receive an extended version during which staples of the city would be shown on the screen as the band jammed during the “Hey dude, let’s party” part? “San Antonio” would’ve been a perfect spot for this given that its mention comes at the beginning of a verse.

Still, those on hand should’ve been grateful they got to witness Lawless and his band once again at last, especially given the alternatives that occurred prior to and after the Tech Port concert. For instance, “Blind In Texas” was not performed in Corpus Christi, according to those who attended that show. And, the next night in Dallas, W.A.S.P. did not play at Amplified Live after the gig was halted by the fire marshal following Schenker’s and Armored Saint’s performances.

Yours truly has always considered Lawless and Megadeth’s Dave Mustaine two of metal’s brightest lyricists — a pair of men you’d want to go to battle with should anyone ever try to bring down the music millions of us worldwide hold so dearly.

And W.A.S.P. will always be one of this writer’s favorite bands whose songs will never grow tired or old to these ears.

But while there was nothing wrong with Lawless toning down his angst and language compared to the past, there was also nothing wrong with wanting a Blackie filled with the seduction of silver and Lawless greed we’d grown accustomed to love. The Lawless who was ruthless and stuck to his principles.

I wanted my Blackie live . . . in the raw. Only the former occurred. A future visit, without waiting another decade for it, would be most welcome for another chance at the latter.

SETLIST: Medley (On Your Knees, The Flame, The Torture Never Stops, Inside the Electric Circus), L.O.V.E. Machine, The Great Misconceptions of Me, Wild Child, The Idol, Chainsaw Charlie (Murders in the New Morgue), Blind In Texas: ENCORES: Animal (Fuck Like A Beast)/The Real Me, I Wanna Be Somebody

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50 years as guitar stalwart just nifty for always-solid Michael Schenker

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50 years as guitar stalwart just nifty for always-solid Michael Schenker

Michael Schenker hasn’t been performing in San Antonio since he was 16 years old. It only feels that way.

But the guitar god has been playing since that tender age, and 2022 marks the 50th anniversary of his recording debut way back when on Scorpions’ Lonesome Crow album.

Schenker marked the milestone last Friday night while providing direct support to W.A.S.P. on the latter’s 40th anniversary headlining tour at Tech Port Center + Arena. This time, the veteran instrumentalist brought an all-new lineup of vocalist Ronnie Romero, guitarist/keyboardist Steve Mann, bassist Barend Courbois and drummer Bodo Schopf.

Although Schenker this time left all Scorpions offerings at home — unlike his two previous visits with vocalists Gary Barden, Graham Bonnet, Robin McAuley and Doogie White under the moniker Michael Schenker Fest — his band’s performance was no less one to appreciate.

Once again billed as Michael Schenker Group, it was proven long ago that no matter his band’s label, Schenker’s showings are always special. Performing 11 songs for approximately 70 minutes, Schenker featured six UFO classics intertwined with past and more recent MSG tunes. Watch ATM’s Facebook Live footage of “Lights Out” and the rarely played 1983 MSG song “Red Sky.”

Schenker’s patented Flying-V, which he discussed exclusively with ATM during his 2018 visit (watch here), was in full effect once again. However, the Tech Port Arena only has one side of the balcony that housed some of the approximately 1,300 fans on hand, and it was opposite of stage left, which is where Schenker chose to remain throughout his performance, including during his customary extended jam on UFO mainstay “Rock Bottom.” For those lucky enough to be closer to the man, Schenker’s skilled hands were also a sight to behold during “Let It Roll” and “Armed and Ready,” both of which can be viewed below the 25-photo gallery.

Schenker released Universal in May with Romero on most of the songs’ vocals, but none of those tunes were played. Rather, the set included “Sail the Darkness,” which Romero revealed was the first tune the pair wrote together on 2021 album Immortal.

Romero may have been making his live San Antonio debut, and he shined on vocals. It’s not easy to step in for a musician of Schenker’s stature, particularly given Schenker’s history with his aforementioned slew of more renowned singers, but Romero more than passed the test. Mann, Courbois and Schopf also were seamless additions to the latest reincarnation of MSG.

Schenker was only slated to join W.A.S.P. on five dates, with four of those happening in the Lone Star State. In some eyes (of Texas), that was perfectly appropriate given that Schenker is often in a class by himself — and demonstrated why once again in his latest Alamo City exhibition of excellence.

SETLIST: Into the Arena, Doctor Doctor, Looking For Love, Lights Out, Red Sky, Shoot Shoot, Sail the Darkness, Let It Roll, Armed and Ready, Rock Bottom, Only You Can Rock Me

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Armored Saint delivers opening punches on star-studded anniversary bill

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Armored Saint delivers opening punches on star-studded anniversary bill

Readers and followers of Alamo True Metal over the years have grown accustomed to concert coverage encapsulating each band on the bill in the same piece. But last Friday’s show at the new Tech Port Center + Arena staked claim to one of the rare exceptions of allotting each artist its own just due space.

After all, how can a guitarist celebrating his 50th anniversary such as Michael Schenker be limited to a few sentences buried within a report highlighting a headliner in W.A.S.P. not only marking its 40th anniversary but its first show in the Alamo City in more than a decade?

And for the purposes of this particular report, a more appropriate question would be: how can a blistering, heavy, veteran and talented-across-the-board group such as Armored Saint be treated as an “opening act” in writing given that its status as such on this bill was as much of a misnomer as misnomers can get?

So let the march of the review of the Saint begin.

You can’t open a three-act heavy metal concert with a song entitled “Reign of Fire” and not come out balls blazing, and that’s exactly what Armored Saint did. Thing is, vocalist John Bush, guitarists Phil Sandoval and Jeff Duncan, bassist Joey Vera and drummer Gonzo Sandoval sustained it throughout their 10-song, approximately 45-minute showing.

But should that really come as a surprise?

Not only has Armored Saint kept its original lineup with the exception of the 1990 passing of guitarist Dave Prichard due to leukemia resulting in Duncan’s addition to the band, but the strong and tight quintet is marking its own 40th anniversary this year. It showed on stage as Armored Saint displayed the crispest sound of all three acts and easily had the most energy. Watch them in action via ATM’s Facebook Live footage of personal favorite “Chemical Euphoria,” below on 1991’s “Symbol of Salvation” and 2015’s “Win Hands Down” and via the 27-photo gallery.

Phil Sandoval was a beast on guitar without demonstrating showmanship that was too flashy. He let his guitar skills and playing do the talking while striking brief poses that were appropriate for the parts of his riffs he wanted to emphasize without those poses distracting the audience from the sounds he was constructing.

There was no letup on the part of his brother Gonzo behind the kit either, as Armored Saint’s heaviness may have caught the roughly 1,300 in attendance off guard for anyone expecting the Saint to be a “warmup” act in every sense of the word.

Bush has always been one of metal’s most passionate vocalists, something we discussed in 2015 when Armored Saint opened for Saxon (watch here), and that was evident on old and new tunes alike such as classics “Long Before I Die” and “Last Train Home” plus 2020 Punching the Sky tracks “End of the Attention Span” and “Standing on the Shoulders of Giants.”

While most metalheads are familiar with Bush’s mid-’90s era as the vocalist of Anthrax that placed Armored Saint on an 8-year hiatus, fewer may know other interesting facts about him, some of which were discussed in the aforementioned video interview:

  • He appeared in the 1983 Huey Lewis & The News video “The Heart of Rock N’ Roll,” exiting the limo toward the end of the song. Bush told ATM his appearance came about because Armored Saint and Lewis’ band shared the same record label

  • Bush joined Metallica on “The Four Horsemen” during the latter’s 30th anniversary gigs in 2011 at The Fillmore in San Francisco, where Metallica went into detail about how Bush could’ve auditioned to be their vocalist in 1983 but turned it down

  • Bush used to do voiceovers in Burger King commercials

But on Friday night, Bush’s vocal cords did what they do best, and he and Armored Saint were still going strong on finale and 1984 title track “March of the Saint.”

The only complaint about Armored Saint’s set? It was too short. Somebody bring these guys back to the Alamo City as headliners, stat!

Can Armored Saint deliver?

Was there ever any doubt?

SETLIST: Reign of Fire, End of the Attention Span, Long Before I Die, Last Train Home, Chemical Euphoria, Standing on the Shoulders of Giants, Symbol of Salvation, Win Hands Down, Can U Deliver, March of the Saint

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'Badass bitches' strut their stuff with hale of riffage and talent

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'Badass bitches' strut their stuff with hale of riffage and talent

For all the array of colorful lasers and rocking songs on display last Thursday night at Tech Port Center + Arena when Halestorm, The Warning and New Years Day rolled into town, there was an interesting prop missing that would’ve set this tour apart from all others, and yet been perfectly appropriate.

A row of empty wine glasses.

When you have one of the premier voices in rock in the form of singer/guitarist Lzzy Hale — someone this writer could listen to sing all day — whose octaves could send wildlife scurrying for shelter, you can’t help but wonder how many glasses her vocal cords could shatter.

Well, maybe next tour.

The absence of said accompaniment certainly did not lessen the quality of show put on by the headliners and their support acts (see 55-photo gallery below). As Hale herself said prior to introducing “. . . Strange Girl” and invoking a piercing prelude scream on “I Miss the Misery” (ATM Facebook Live footage here) — “Gentlemen, I don’t know whether you’ve noticed, but you are surrounded by some badass bitches tonight.”

That point was certainly difficult to argue.

Hale’s emotion pours from her being into your soul when she sings, particularly on rockers such as personal favorite “Love Bites (So Do I)” and slower tunes such as the trio of songs she turned into a piano medley: “Break In,” “Dear Daughter” and new track “Raise Your Horns” (ATM footage below).

While Halestorm’s latest album is Back From the Dead, from which the group performed six of its 11 tracks, the all-original lineup of Hale, her brother drummer Arejay Hale, guitarist Joe Hottinger and bassist Josh Smith has hardly been dormant, particularly in Texas.

It’s been fun to watch the group grow and evolve from a 2008 performance opening for Staind at the Austin Music Hall, to supporting Alice In Chains in 2009 at the AT&T Center for Bone Bash, a 2010 stop in Corpus Christi on the Rockstar Energy Drink Uproar Festival (watch our bus interview from that show here), to the 2012 Mass Chaos Tour with Staind and Godsmack at the Alamodome, to the 2015 River City Rockfest to a headlining gig at the Aztec Theatre in December 2018.

At Tech Port, the band’s maturity, enthusiasm for playing alongside one another more than 14 years later, and musicianship were exhibited more than ever. Arejay Hale provided another riveting drum solo culminating with his patented oversized sticks (how the hell did he twirl one of them?), while Smith held down the low end and Hottinger traded riffs with Lzzy Hale, who saved her best vocal for last on “The Steeple” despite having sung for nearly 90 minutes by that point.

Had the wine glasses been on stage even before Halestorm hit the platform, it’s no stretch to say the crowd’s reaction to The Warning may have shattered them as well. Although the numbers may have approached 1,000 for this weeknight show in the 3,100 capacity indoor venue, the dedicated faithful were blown away by the three sisters from Monterrey, Mexico, who were making their San Antonio live debut, making one wonder when the last time was that a support act elicited that much excitement from an audience.

As Lzzy Hale eloquently referred to them, her “sisters from another mister” took the stage by storm and may have even stolen the show.

The Villarreal ladies — singer/guitarist Daniela, drummer Paulina and 17-year-old bassist Alejandra “Ale” — brought the heat and energy and kept the fans riled up with one energetic song after another. Most of the tunes came from new album Error, which dropped June 24, including “Disciple” and “Evolve” (ATM footage below).

Daniela’s own unique voice along with her electrifying guitar playing teamed with Paulina’s intensely upbeat drum playing and Ale’s bass thumping on other tracks such as “Z,” 2018 title track “Queen of the Murder Scene,” “Money” and their cover of Metallica’s “Enter Sandman.” It was the latter that spawned a following for the band in the first place in 2014 thanks to YouTube and the ability to go viral, in turn leading to a complimentary endorsement and reaction from none other than Kirk Hammett that enabled The Warning to take part in the Metallica Blacklist tribute album. Watch ATM Facebook Live footage here.

It would be a crime if The Warning wasn’t brought back to town sooner than later by local promoters. If any of them were on hand to see the band play on this night, it’s likely a safe bet they’re already working on it. Fingers crossed. The Warning’s overall performance needs to be seen to be believed.

New Years Day, meanwhile, opened the festivities, once again supporting Halestorm in the Alamo City as they did four years ago at the Aztec.

Fronted by original vocalist and band founder Ash Costello, the group from Anaheim, California, got things started with its bold, but mostly unrecognizable, version of Pantera’s “Fucking Hostile” and “I’m About To Break You” (ATM footage below) as well as new single “Hurts Like Hell.”

Costello also made a San Antonio appearance earlier this year with her side project The Haxans at Paper Tiger.

For at least one night, Lzzy Hale, The Warning, and Costello demonstrated that with every passing day, metalheads and music reviewers don’t need to distinguish musicians by gender anymore. In fact, there’s nothing wrong with retiring the term “female-fronted” for a more politically incorrect one.

Yep. “Badass bitches” works just fine.

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Tierra Sagrada fest takes S.A. on nostalgic ride down Memory Lane

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Tierra Sagrada fest takes S.A. on nostalgic ride down Memory Lane

It took three years and a brand new venue for the first installment of the Tierra Sagrada Festival to finally come to fruition last Saturday. So what was an extra hour and five minutes or so?

The return of two of San Antonio’s favorite classic rock and metal artists — Legs Diamond from California and Moxy of Canada — highlighted the gathering originally scheduled for the 5,200 capacity historic outdoor Sunken Garden Theater in the fall of 2020 pre-Covid-19 that found its way to the less than 5-month-old 3,100 indoor capacity of Tech Port Center + Arena.

The bill also featured nothing-to-sneeze-at acts Lita Ford and Jack Russell’s Great White, the reunion of Kingdom Come and local openers Jessikill, who were fresh off their first major national tour opening for Yngwie Malmsteen this past spring.

The influence of the late disc jockey Joe “The Godfather” Anthony was palpable, as he helped give many bands, including those from other countries, their first taste of American radio exposure in the 1970s and ‘80s. That included not only Legs Diamond and Moxy, but also the Scorpions, who just happened to be playing down the road at Freeman Coliseum.

In fact, Moxy’s lone remaining original member, guitarist Earl Johnson (see start of the 107-photo slideshow below) is quoted on Wikipedia as once saying: “We did an interview with a DJ in Texas. I asked him what songs of ours they were playing. He said, ‘First we play the first side, then we play the second side.’ I just about fell off my chair.”

Legs Diamond participated in a meet-and-greet the night before at Fitzgerald’s, which included an unexpected appearance from Scorpions drummer Mikkey Dee. They then hit the stage at 11:53 p.m. after technical issues at the Tech Port forced festivities to begin more than an hour late, cutting Jessikill’s scheduled six-song set in half and backlogging the rest of the night. By the time Legs Diamond performed San Antonio favorite “Woman,” it was after 1 a.m., and a fraction of the 1,500 on hand remained for a set that had been slated to end between 11:30 and midnight.

The view of a half-filled arena that’s mid-sized to begin with was disappointing given the stature of the six bands. However, given that the Scorpions were also in town along with Collective Soul and Switchfoot at the Majestic Theatre, promoters Din Productions were not complaining. And despite the lengthy delay at the start that, according to one source, was caused by Jack Russell’s Great White insisting on using their own soundman which led to backstage bickering, the difficulties and lateness failed to put a damper on the music.

Or the reaction to it.

Still featuring original members in lead guitarist Roger Romeo, rhythm guitarist and keyboardist Michael Prince and drummer Jeff Poole and fronted these days by Keith England, the West Coast outfit rocked the house with a bevy of classics from the ‘70s and a few tunes from the ‘90s. See Legs Diamond in action via ATM’s Facebook Live footage on “Rock Doktor” and “Remember My Name,” as well as below the slideshow via “Town Bad Girl” and “Pain Killer.”

Despite each band experiencing its own bout of technical issues, Moxy had the crispest sound of the evening. Led by Johnson, who promised that the band will return next year, the group from north of the border powered through its set to the delight of all on hand. Several songs were performed with an enlarged black-and-white photo of the late original vocalist Buzz Shearman serving as a backdrop. Johnson’s newly assembled band following Moxy’s 40th anniversary, featuring vocalist Nicholas Walsh, guitarist Rob Robbins and bassist Rod Aldon, demonstrated how tight of a unit they are on “Midnight Flight” and “Can’t You See I’m A Star” plus “Out of the Darkness,” “Fantasy” and “Sail On Sail Away,” each of which can be viewed below.

Lita Ford preceded Moxy, bringing tunes from her classic mid and late ’80s albums plus 1991 rocker “Larger Than Life” and 2012’s “Relentless” (see setlist in slideshow). Patrick Kennison of Heaven Below and formerly of The Union Underground once again returned to his hometown as Ford’s guitarist, while Bobby Rock provided the only drum solo on the entire night (ATM footage below), 36 years after he humorously destroyed his kit in Vinnie Vincent Invasion’s first video in 1986, “Boyz Are Gonna Rock.” Watch additional ATM footage of 1988 hit “Back to the Cave” that includes an extended jam session.

Once Russell’s band sorted out its technical issues and differences, the quintet rocked the house on a bevy of classics such as “All Over Now,” “Lady Red Light” and “Mista Bone.” Guitarist Robby Lochner won the unofficial award as the most energetic musician on the entire bill, constantly parading throughout the stage while rocking the axe, while former Alice Cooper drummer Ken Mary was behind the kit.

But yours truly was, well, truly disappointed to learn after the show that Russell’s other guitarist and keyboard player was original Leatherwolf vocalist and guitarist Michael Olivieri, whose latest beard style made him slightly unrecognizable to this dedicated and longtime Leatherwolf fan who was not expecting him to be performing Great White tunes.

Nevertheless, Russell demonstrated his voice is still in top shape even if his body continues to make things difficult for him. Fourteen years after performing while leaning on a cane at the now defunct Scout Bar following back surgery, Russell churned out other hits such as “Save Your Love” and "Desert Moon.” The latter sadly will always mark a controversial period in Great White’s existence given that Russell said he would never perform that tune again following the fire in 2003 that killed 100 people at their concert in Rhode Island. In fact, Great White would continue to open with that song for several years, including at the Scout Bar show.

An appreciative Russell told the crowd, “Thank you for not going to see the Scorpions” and that it was “pushing me to the limit, and I love it.” He then ended the set with Great White’s two biggest hits, “Rock Me” and “Once Bitten, Twice Shy” (footage below) before walking off with a cane and slight assistance from a staffer.

The first national act to hit the stage was the reunion of Kingdom Come. Featuring three-fifths original members in lead guitarist Danny Stag, rhythm guitarist and keyboardist Rick Steier and bassist Johnny B. Frank, the band was missing original vocalist Lenny Wolf and drummer James Kottak for vastly different reasons.

Wolf did not want to take part in any sort of reunion tour, necessitating the usage of Keith St. John to front the group the past four years. But it’s Kottak who has been much maligned since his drinking issues led to his dismissal from the Scorpions several years back and resulted in a pair of scathing reviews of Kingdom Come’s gigs in Sweden earlier this year. Kottak then reportedly told fans “Don’t waste your time” in announcing he would not be at Tech Port, which also begged the question of whether he would turn up at the Scorpions show and confront (or hang out with, depending on your perspective) his former mates.

Filling in for, or permanently replacing, Kottak was Slaughter drummer Blas Elias, who was performing for only the second time with Kingdom Come. Watch him and the band in action below on “Do You Like It” and one of the most emotional and best ballads ever recorded by anyone on the group’s 1988 self-titled debut album, “What Love Can Be,” below.

You can also check them out via ATM Facebook Live footage on finale “Get It On,” during which St. John successfully motivated the slow-starting faithful to rise to their feet and remain there for the rest of the night. Kingdom Come also used its biggest hit to toss in some Led Zeppelin crowd participation sing-alongs both as a show of influence from one of the all-time greats, but also likely as a middle finger to critics who incessantly labeled Wolf and the band as a Zeppelin clone dating back to its 1988 Monsters of Rock tour inclusion with Van Halen, Scorpions, Dokken and Metallica.

Jessikill bore the brunt of the delayed start with its scheduled six-song set slashed to three. But as the only hometown band on the program that was playing arguably for the first time ever with a gigantic version of its logo adding to the visuals, Jessica Alejo, Jyro Alejo and Arturo Knight kicked things off in a big way with “Dead of Night,” “Right Now” and “Lightning.” However, just as the keyboards to fourth song “The Beast” kicked in, their sound was halted. Thus, no video footage was able to be filmed.

But at long last, Tierra Sagrada’s initial showing was added to the history books. An extended night of classic Rock N’ Roll mixed with a small handful of more recent tunes could only be delayed, not canceled, by a global pandemic and overcame tech issues and the presence of other bands playing elsewhere in town.

If only San Antonians could teleport between shows.

Alas, fans experienced a night of rock that should tide them over until Tierra Sagrada’s second installment arrives Nov. 4 featuring W.A.S.P., Michael Schenker and Armored Saint, also at Tech Port.

So for those who made the choice to see six bands instead of two, it was clear the state-of-the-art building mere miles from Lackland Air Force Base may not have been the only place to rock out. But it was definitely a great place to be.

And to hold one’s horns high enough for The Godfather to take notice. And maybe even offer up a smile of his own.

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