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Amon Amarth, Arch Enemy spearhead Swedish invasion of Aztec

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Amon Amarth, Arch Enemy spearhead Swedish invasion of Aztec

Of all the sub-genres that seem to grow by the day, the one that seems the most fictitious and improbable of all would arguably be Viking metal. Because after all, what exactly is Viking metal?

Songs strictly about vikings? Imagery on stage of vikings? Sure, that might all accompany a mostly viking-themed performance. But what does Viking metal sound like? In that sense, a more apropos label, if those even matter in heavy metal, might be Swedish metal. At least for one particular tour that made its mark last Sunday night at the Aztec Theatre.

Playing drums aboard oversized viking horns, drinking alcohol (presumably) out of viking horns, performing at times amidst two sword-dueling vikings and backed by a creature with green eyes that, you guessed it, was viking-like in stature, Amon Amarth brought its Berserker tour and three bands from its native homeland as part of a Swedish invasion including Arch Enemy, At The Gates and Grand Magus (132-photo slideshow with setlists & videos below).

Led as always by vocalist Johan Hegg, Amon Amarth had no problems ensuring its Texas faithful indeed went berserk. They mixed three new tracks, including “Fafner’s Gold” and “Crack the Sky” (ATM Facebook Live footage here) with the anthemic “Shield Wall” and a slew of old favorites such as “Deceiver of the Gods,” and finale “Twilight of the Thunder God” in which the album cover’s dragon came to life (ATM Facebook Live footage here).

Headliners in their own right more often than not, Arch Enemy intensely shook the Aztec to its core behind the growling vocals of Alissa White-Gluz, band leaders in guitarist MIchael Amott and bassist Sharlee D’Angelo, Seattle native and former Nevermore and Sanctuary guitarist Jeff Loomis and drummer Daniel Erlandsson. Unfortunately, Arch Enemy was limited to approximately 45 minutes but made the most of it on “My Apocalypse,” “First Day in Hell” (ATM Facebook Live footage here) and “As the Pages Burn” and “Nemesis” (videos below).

Arch Enemy, whose members discussed with a small handful of reporters including ATM the world premiere of their LIve at Wacken DVD “As the Stages Burn” aboard the 70000 Tons of Metal cruise in 2017 (coverage here and here), even showcased their generosity in multiple ways. Not only did White-Gluz find time to literally reach out to a young female fan in the front row while in the midst of her searing vocals, but Erlandsson allowed At The Gates to utilize his drum kit for their set, which included “Cold” (ATM Facebook Live clip here).

The international flair and flavor of the four Swedish acts proved to be more than an entertaining night of hearing non-English, non-Espanol accents speak to an Aztec Theatre crowd for a rare occasion. It even resulted in more than a glimpse into viking lore. More importantly, it yielded an evening of metal that was brutal in both heaviness and bang for the buck. By viking, Swedish or any other moniker you choose to label it.

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Victorious Sky tour features a bit of honey, trains & plenty of rock

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Victorious Sky tour features a bit of honey, trains & plenty of rock

When Skillet and Alter Bridge announced a co-headlining tour in June, the Alamo City was on the docket to receive a power-packed duo. Both bands have played the Fiesta Oyster Bake (with Skillet headlining it in 2017; coverage here). Both have made their mark over the years on the rock charts. And both know how to deliver the goods on stage.

Armed with a band headed in the same direction in its own right, Dirty Honey, the Victorious Sky tour made its way to the Vibes Event Center parking lot last Saturday night. Named as such as a combination of album titles for Skillet’s 10th release Victorious that dropped Aug. 2 and Alter Bridge’s Walk the Sky that came out the day before the show, each artist played 75 minutes with Skillet going on last. The length of time proved to be the only aspect that linked both bands as co-headliners.

Not used to playing as early as 7:50-9 p.m., Alter Bridge put on a methodical (for them) performance. They had lighting that was more befitting of an opening act than a band of their stature, zero production and played with less energy and fire than these eyes and ears are accustomed to seeing and hearing from them. Walk the Sky is not nearly as strong an album top to bottom as predecessor The Last Hero, starting with opening track “Wouldn’t You Rather.” That was one of three songs performed from the new album (setlist and 88-photo slideshow below), though Alter Bridge’s energy did pick up on older tracks “Come to Life,” “Metalingus” and “Rise Today.”

While supporting an album that was only 24 hours old in the public eye, vocalist/guitarist Myles Kennedy, guitarist Mark Tremonti, bassist Brian Marshall and drummer Scott Phillips left tracks from The Last Hero off the menu. Had they gone on last or been the true headliner, that likely would not have been the case.

By contrast, Skillet came out blazing, had its full use of production and lit up the night’s victorious sky with bright lights and its patented risers utilized by rhythm guitarist/keyboardist Korey Cooper, lead guitarist Seth Morrison and unofficial fifth member, cellist Jonathan Chu. But it was singer/bassist John Cooper who made the biggest impression.

John Cooper, spouse of Korey, was a man possessed from the get-go, headbanging and powerfully singing on opener “Feel Invincible.” Cooper’s mojo never let up as he donned a smoke-blowing contraption on new track “You Ain’t Ready.” He gave his patented description of Texas having way better Mexican food than California, saying the latter “pretends” to have a good palate while jokingly asking the crowd not to put his comments on YouTube. He also waxed poetic, as is his custom, about the Lone Star being his favorite state to play but this time left his impression of former Britny Fox vocalist “Dizzy” Dean Davidson screeching “Fun in Texas” at home. Or maybe on the tour bus.

Even when Cooper mellowed for just a bit, he did so with passion. Cooper dedicated the title track to Victorious to the late Chester Bennington of Linkin Park, saying in part: “He wasn’t a friend. I never met him, unfortunately. But that’s what his music and lyrics did for me. So I’d like to dedicate this song to Chester and to anyone struggling with depression and suicide.”

With Korey Cooper demonstrating her own spark and energy on guitar and keys, drummer Jen Ledger, who is embarking on a solo side project, also made her mark behind the kit and with her backup vocals as Skillet shined on “Hero,” “Undefeated” and crowd favorite “Monster.” Another new track, “Legendary,” is currently lighting up the WWE Universe as the theme song to World Wrestling Entertainment’s “Monday Night Raw.”

Skillet’s energetic performance, however, was missed by a quarter to one-third of the amount of people who came strictly to see Alter Bridge, according to two sources. The downsizing proved to be the loss of those who left early and didn’t get their full money’s worth. But that didn’t include the train conductors.

That’s right. Train conductors.

The Vibes parking lot sits adjacent to railroad tracks, an all-too-familiar fact for Kennedy, who tried to joke about it during Alter Bridge’s set. After giving props to Dirty Honey and the actual headliners, Kennedy said, “Speaking of friends . . . was anyone here the last time we played here? I think we were doing a sensitive ballad or something. Woo hoo . . . honk, honk,” he said of the trains’ frequent presence. “Anyways, it’s back. Great,” he added sarcastically. Perhaps unbeknownst to Alter Bridge, this concert came five years and one day to the day of Kennedy’s referenced Fall Ball festival, which he discussed exclusively with me in November 2017 here. Drummer Scott Phillips also engaged ATM in conversation shortly after the 2016 Houston Open Air (listen here).

John Cooper got into the railway act as well when he told fans, “I’ve never played a concert with a train going by. My ADD is kicking in. All I can think about is songs with ‘train’ in them.” He then began to sing Blackfoot’s “Train, Train,” which was also covered by Warrant on its Cherry Pie album, before asking, “You remember that one? No? Oh well.”

Not to be outdone was Los Angeles blues quartet Dirty Honey. Armed with the task of warming things up for Skillet and Alter Bridge, Dirty Honey didn’t lack for bravado or confidence on stage. And with good reason.

Dirty Honey is the first band in the history of mainstream rock charts to have a No. 1 song — “When I’m Gone” — without being signed to a label. They already had familiarity with Kennedy, having opened for Slash, as well as supporting some band called The Who plus Guns N’Roses on the final two dates of the “Not In This Lifetime Tour” in Las Vegas.

For those locally who debated whether Alter Bridge should’ve been the true headliner, the bottom line was that you couldn’t go wrong with either band. Skillet has four consecutive albums that have reached gold or platinum-plus status, no small feat in this day and age. Alter Bridge’s resume speaks for itself, with Kennedy holding down the fort as the frontman for Slash while Tremonti leads his own Tremonti Project — not to mention the Creed trifecta of Tremonti, Phillips and Marshall. But yes, it would’ve been nice if both groups had equal headlining characteristics and gave performances worthy of such rather than simply sharing the amount of time they were on stage.

But again, Alter Bridge was playing one day after its new album dropped. This was Skillet’s time. You can bet your bottom dollar, or at least your train train, that AB will be back before the touring cycle is done. And hopefully then, media video footage will be allowed to present to you all.

SKILLET SETLIST: Feel Invincible, Not Gonna Die, You Ain’t Ready, Whispers in the Dark, Legendary, Awake & Alive, Back From the Dead, Save Me, Hero, Undefeated, Victorious, Comatose, Monster, The Resistance

ALTER BRIDGE SETLIST: Wouldn’t You Rather, Isolation, Come to Life, Pay No Mind, Rise Today, Addicted to Pain, Waters Rising, Take the Crown, Cry of Achilles, Blackbird, Metalingus, Open Your Eyes

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UFO, Last In Line exhibit how rock should thrive & revive

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UFO, Last In Line exhibit how rock should thrive & revive

If this truly is the way Phil Mogg plans on going out as the original frontman of UFO celebrating five decades, he did so Thursday night at the Aztec Theatre with a bang. In various ways.

His style. His effervescent English humor that makes him arguably the funniest frontman in hard rock and metal. And of course that smooth, classic voice. Mogg, 71, and his original cohort, drummer Andy Parker, brought their timeless band to downtown San Antonio for what’s supposed to be one last time with the soon-to-be-retiring Mogg, if not for the final visit altogether. And UFO may have saved its best Alamo City performance for last (36-photo slideshow with setlist & videos below).

Along with Last In Line, comprised of half of the original members of Dio in guitarist Vivian Campbell and drummer Vinny Appice, the old-school vibes and energetic presentation flowed freely inside an appreciative Aztec. Considering UFO’s tour was in peril six months ago, it was definitely one for the memory banks.

Mogg, Parker and longtime guitarist Vinnie Moore and bassist Rob De Luca endured the death of veteran rhythm guitarist/keyboardist Paul Raymond to a heart attack in April. He was 73. His passing came just after the band had completed the first leg of its tour in the UK. They decided to carry on in the form of Neil Carter, a much more lively version of the reserved Raymond, with Carter — who played on four UFO albums from 1981-83 — patrolling his side of the stage while often encouraging interaction from the crowd.

Shockingly, nary a mention of, or tribute to Raymond, came. Perhaps UFO wanted to keep things lighthearted and not be Debbie Downers, and maybe band members felt it was addressed enough on their website where Parker wrote in April in part:

“I am still trying to come to terms with the fact that I will never again share a stage with him. I have known Paul for a good many years and it would be fair to say that over that time we have had our differences. But even if we didn’t see eye to eye, we still remained good friends. He was always one to make his opinions known and could be very stubborn at times, but that was only because he was so passionate about his craft. Even in recent years, while suffering from the ailments that come to us all with age, he never let them compromise his performance. . . . Rest in peace my friend, you have earned it.”

By contrast, Last In Line, of course, exists due to Campbell and Appice honoring the legacy of, and the music they made with, the late Ronnie James Dio. Campbell, also still in Def Leppard for many years, has caught a lot of flak since forming Last In Line in 2012 and been referred to as a “money grabber” given that Dio fired him in 1986. But along with bassist Jimmy Bain, Campbell and Appice carried on to commemorate the first three albums they made with Dio — 1983’s Holy Diver, 1984’s The Last in Line and 1985’s Sacred Heart. After Bain died aboard one of Def Leppard’s cruise excursions, Campbell and Appice recruited Phil Soussan, who made his mark on Ozzy Osbourne’s 1986 commercially successful The Ultimate Sin.

Armed with vocalist Andrew Freeman, the group shined at the Aztec playing a mix of Dio classics such as “Holy Diver,” “The Last in Line” and “Rainbow in the Dark” with Last In Line tunes “Devil in Me” and Soussan’s tribute to Bain with “Starmaker” (ATM footage below) from Heavy Crown and II. Freeman brings his own style and sound to Last In Line as the band looks to move into the future with a modern rock sound while never forgetting its past. Watch ATM Facebook Live footage of closer “We Rock.”

UFO also mixed in the tunes they’re known for with a dab here and there from their more recent albums such as “Run Boy Run” and “Burn Your House Down.” They never show a trace of tiring from playing mainstays such as “Only You Can Rock Me” (footage below), “Lights Out,” “Love to Love” and “Too Hot to Handle.”

Mogg’s uncanny ability to entertain between songs complements the music. In 2011 at the South Texas Rock Fest at Sunken Garden Theatre, he introduced “Rock Bottom” by saying UFO enjoyed the other bands on the bill “as I’m going to enjoy my ‘Hustler’ magazine later” (ATM footage here).

On Thursday, with Moore poised to continue the group’s long-standing tradition of an extended version of that song, Mogg presented this disclaimer: “If anyone needs to pee, Vinnie’s going to be doing a solo in a while. The solo’s so long, you could take a holiday or have a baby, meet the parents, do Christmas. It’s a long solo.” At least Moore can take solace in the fact some San Antonians also appreciated his guitar work 13 months earlier when he headlined an instrumental set at the Rock Box with former Osbourne guitarist Gus G. (coverage here). And even after the trifecta of “Rock Bottom,” “Fighting Man” and “Doctor Doctor,” UFO added another tradition to end the night that surprisingly wasn’t on the printed setlist: “Shoot Shoot” (watch below).

Although UFO hasn’t 100 percent committed to adding its name to the list of bands that have made their final visits within the past four years — Motley Crue, Slayer, KISS — Thursday did appear to be the swan song for Mogg in San Antonio even if there was no formal mention of “farewell” or “goodbye.” So, that door may remain slightly ajar, even if it would seem unfathomable to watch UFO on stage without the only vocalist it has had since 1969. Either way, the night’s performance of both bands aptly described their genre.

Classic, hard and rockin’.

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Attention shoppers: Mall moshing & dancing on blue-light special

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Attention shoppers: Mall moshing & dancing on blue-light special

Trips to the mall on Friday nights no longer are a popular choice for teens and 20-somethings merely intent on shopping or hanging out. Those who enjoy metal on their weekends have a new reason to shop — or mosh — till they drop thanks to a promotional company hoping to show there’s a new sheriff in town, even after the stores and food court have shut down.

A local metal shebang, featuring St. Louis natives Hallow Point touring in support of Blacklight, rang throughout the second level of Rolling Oaks Mall on Sept. 27 courtesy of Julian “J.C.” Cruz and Roland Torres. Collectively known as JC & RT Productions, the duo is bringing various acts to their Anthem Entertainment Center. The spacious hall, with an open bar in the middle, stage in the back and plenty of room for merch booths, hosted hometown bands Pigweed, Meridian, Ammo For My Arsenal and openers Lonestar Massacre in addition to Hallow Point. And even that came with a twist.

Between bands, local quintet ensemble Onyx Elite Dance performed silhouetted routines to various songs (see 71-photo slideshow below and ATM Facebook Live footage here). They raised the ante during Meridian’s set when brunette Courtney Garcia and blonde Breanna Huther joined the metalcore act for “The Way You Move” (ATM Facebook Live footage here) before the entire troupe posed for photos with the band.

As with most things in their infancy stages, not everything went smoothly.

Set times were pushed back 75 minutes from the original start time of 7 p.m. for Lonestar Massacre. As such, Hallow Point was moved up in the middle of the package to ensure that the only national band wouldn’t go on too late. That, combined with some drama within their camp, led to locals Cauterized dropping off the program. And by the time Pigweed wrapped up the night post-11 p.m., the number of members on stage equaled those remaining, which by that point was media, promoters and bartenders. Not to mention the fire alarm that sounded throughout the mall (though no evacuations were necessary).

But, too, as is the case with metal intentions, it’s all about the music. And while early bands Ammo For My Arsenal and Lonestar Massacre could count most of their supporters as school friends and those in other bands such as the guys from Send Help, each act had its own way of inspiring mall moshing and headbanging.

Watch Pigweed on “Needles” and “Eye of the Wasp” plus their cover of Sepultura’s “Roots,” along with Ammo For My Arsenal and Lonestar Massacre. Hallow Point can be seen below on “Acedia,” My Resistance,” here and doing a cover of Slipknot’s “Psychosocial.”

Other shows scheduled for Rolling Oaks Mall include:

  • From Graves, Shaping the Legacy, Snake Father from Austin, Life Eats Life, Forever For Now and Send Help on Friday, Nov. 1 for $8 (minors $10; (details here)

  • Lilac Kings, Marila Voe, So Soon The Truth, Buried Alike, War Within Dreams and Perfect Season on Saturday, Nov. 2 for $5 (minors $8; details here)

And if those don’t float your boat, Torres and Cruz are planning on bringing more local artists to the Alamo City Comic Con from Nov. 1-3 at Sunset Station, which will be highlighted by appearances from Batman’s Michael Keaton and Beetlejuice. Band submissions are being accepted by calling 210-367-3175.

And yes. Since you’re wondering. The Onyx Elite Dance girls will be there too.

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Concept of celebrating 'Operation: Mindcrime' still resonates with Geoff Tate & S.A.

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Concept of celebrating 'Operation: Mindcrime' still resonates with Geoff Tate & S.A.

When it comes to history’s most iconic albums, Queensryche’s Operation: Mindcrime has reigned supreme in the hard rock/heavy metal conscience for 31 years. It’s gotten to the point where both existing factions of the band — Queensryche featuring replacement vocalist Todd La Torre and Geoff Tate’s Operation: Mindcrime — could play it in its entirety whenever they visit San Antonio, and no one would cry themselves a river.

The original voice on that concept album, Tate returned to the Rock Box last Sunday night and played it all the way through for the fourth time since 2013, and second time in 14 months (last year’s coverage here). And while the performance was similar every time, save for a couple of rare instances on this night where Tate may not have sounded as clean as in previous performances (but is still better than 90 percent of the vocalists out there), the method to the madness was different.

Last weekend was supposed to see the seventh annual River City Rockfest turning the Alamo City and AT&T Center grounds into the mecca of metal for two days. Instead, the festival was canceled in early summer, of which Tate was supposed to be a part playing an approximately 45-minute set. That meant he wouldn’t have had time to play Mindcrime in its entirety. But when the festival got axed, and Tate was offered a chance to return on his own, he swept up the opportunity with Irish guitarist/singer Mark Daly and locals Gandhi’s Gun, Hellgrimm and The Steel Soldiers providing support (see 37-photo slideshow of the three main acts below).

In 2014, Tate told ATM “the past is over” and that he was “definitely ready to move on from” Mindcrime. But he also conceded Mindcrime is what promoters buy and, in perhaps the understatement of 2014 that still applies in 2019, “Mindcrime is a very successful tour” (watch below).

Once again, Tate was backed by Canadian guitarist Scott Moughton, Scottish guitarist Kieran Robertson — who’s also the boyfriend of Tate’s daughter Emily Tate, who fronts Till Death Do Us Part with Robertson on guitar — and bassist “Smilin’ “ Jack Ross while being joined for the first time by Brendan Bell on drums. Tate even had longtime guitarist Kelly Gray in the house watching as a fan. Tate whipped through Side 1 of the album before offering his patented, “Shall we continue” prior to “The Needle Lies,” “Breaking the Silence” and the rest of the record (ATM footage below).

Perhaps because it was a Sunday night, Tate limited his encore to just “Silent Lucidity.” But while he visits San Antonio on an annual basis and even sometimes multiple times in one year, a return next spring might be even more exciting given that Tate will be playing all of 1986’s Rage For Order and 1990’s Empire each evening. For the first time in ages, Tate will be performing tunes such as “Gonna Get Close to You,” “I Will Remember,” “Hand On Heart” and “Anybody Listening?”

Daly, a southpaw acoustic guitarist, and his band made their first visit from Ireland to a crowd that was on the verge of becoming restless after three local openers in waiting for Tate. But with the exception of a couple of sarcastic apples in the crowd, Daly seemed to please if not impress the majority of the roughly 500 in attendance with his brand of rock.

Gandhi’s Gun, meanwhile, has opened for Tate and the other version of Queensryche on multiple occasions. That included Saturday night’s show with Queensryche in Cedar Park six days after warming things up for Tate. These eyes and ears have seen and listened to Gandhi’s Gun play in front of 10 people on a Sunday night at Boozehounds and open for Tate at the Aztec Theatre, and of course Sunday at the Rock Box. They’ve also made San Antonio proud by playing the Whisky on Hollywood’s Sunset Strip and filming a video there, and the band lived up to its energy again (watch “Broken” below).

The night concluded a back-to-back exhibition of Rockfest spillovers, with Jinjer having headlined the Rock Box’s Vibes Event Center the night before (coverage here). The shows bookended a long and tiring, but fruitful, weekend for Rock Box owners Micaela and Steve Rodriguez and their staff, not only making sure things ran smoothly for both shows, but simply getting the venue ready for Tate after Jinjer and its support acts nearly sold out the Vibes.

It may not have been the weekend that could have been. But for new-schoolers and old-schoolers alike, it delivered what fans came to hear.

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International flair of females brings roaring Vibes to Alamo City

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International flair of females brings roaring Vibes to Alamo City

The seventh annual River City Rockfest was all set to feature one of the most sought-after and intriguing bands to hit the scene recently for the first two-day Rockfest in San Antonio history last weekend. Except for one problem.

The Rockfest was canceled. Which led to the search and effort by Din Productions to atone for the cancellation by bringing some of those scheduled bands here on their own tours.

Jinjer was happy to oblige.

The quartet from the Ukraine, led by the mesmerizing vocal style of Tatiana Shmailyuk, swept into town, and demand was palpable. In what may have been the first metal show designed to be on the Rock Box stage of the Rock Box building, only to be moved to the larger Vibes Event Center within the facility, roughly 1,100 fans turned out last Saturday to hear and witness the Ukranian wonders.

Kansas City natives The Browning provided direct support in a shroud of darkness (watch ATM footage of “Awaken the Omega below), but it was Toronto quintet Sumo Cyco that had the crowd jumping early. Fronted by Catwoman-suit wearing Skye “Sever” Sweetnam, who body surfed her way into the audience on more than one occasion (see 80-photo slideshow below), Sumo Cyco increased the energy after locals Wulfholt and Desolate A.D. warmed things up. Watch Sumo Cyco perform “Move the Mountains” below and click here for Facebook Live footage of “Run With the Giants.”

While Sumo Cyco easily won over new fans with their energetic performance and meet-and-greet afterwards, it was Jinjer that most came to see. Set to release Macro on Oct. 25, Shmailyuk lured listeners in with her girl-next-door pink jumpsuit, white sneakers and sweetened clean vocals before unleashing her patented roars that would shame many death-metal male vocalists on tracks such as “Ape,” new single “Judgement & Punishment” and finale “Pisces.” Judge for yourself on ATM Facebook Live footage of “Dreadful Moments” and see the setlist in the slideshow below.

Guitarist Roman Ibramkhalilov, bassist Eugene Abdukhanov and drummer Vladislav Ulasevish brought their own sense of metal fury as Shmailyuk roared to her heart’s content in a nearly two-hour set. While many bands these days incorporate two singers splitting the clean and metalcore styles, Shmailyuk’s ability to handle both distinctively with ease by herself is a large part of the lure for Jinjer fans, making the band different than most.

Wulfholt and Desolate A.D. brought riffs, drums and heavy vocals to the local portion of the night, with the former band generating a slew of flying panties that made their way into the photo pit (see slideshow). Watch both bands in action, respectively, via ATM Facebook Live footage of “Volatility Quotient” and “Fight For Another Day.”

While the first of back-to-back Rockfest spillover shows delighted a near sold-out crowd that flowed into a room not originally anticipated, the entire weekend would not have been possible without the tireless work of Rock Box owners Micaela & Steve Rodriguez and their staff. In addition to making adjustments on the fly within the facility and ensuring admission was run as smoothly as possible, they had to turn things over immediately after the Jinjer show cleared out for Sunday night’s second spillover appearance of Geoff Tate’s Operation: Mindcrime.

Stay tuned for coverage of that show. And keep in mind that with a little more demand from the fans, those two acts won’t be the only Rockfest 2019 alums to actually appear on stage rather than just on paper.

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L.A. Guns-led local showcase goes over the edge for all

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L.A. Guns-led local showcase goes over the edge for all

Anytime there are 10 bands on a one-night event, there’s bound to be a little of everything. Saturday night at Quatemain’s Pub was no exception. But not always for the right reasons.

It was L.A. Guns a blazin’. Emotions a flarin’. Electrical power a disobeyin’. And scheduled set times a goin’ up in smoke.

Sunset Strip veterans L.A. Guns headlined the two-story bar in Live Oak on a two-stage program (30-photo slideshow below). But things got interesting, and put out of whack, before the first band even took to the indoor and outdoor platforms.

Touring in support of The Devil You Know, the band featuring original vocalist Phil Lewis — listen to our interview below — and guitarist/founder Tracii Guns along with guitarist Ace Von Johnson, bassist Johnny Martin and drummer Scot Coogan was scheduled to go on at 11:45 p.m. But L.A. Guns wasn’t down with that.

According to a source, Martin told him the band insisted during the day to go on at 10 p.m. An announcement was not made via Quatemain’s or L.A. Guns’ social media outlets, so anyone planning on showing up just to hear hits such as “Sex Action,” “Never Enough” and “The Ballad of Jayne” close to 11:45 would’ve been out of luck. But as the concert began, a happy medium of sorts was reached for L.A. Guns to go on at 10:45 p.m. even though this was the last night of the current leg of its tour.

While L.A. Guns delivered the goods — watch ATM Facebook Live footage of first two songs “Over the Edge” and “No Mercy” here — the change in stage time continued a chain reaction of some of fhe locals being affected:

  • Hellfire Mafia, scheduled to kick off the night inside at 7 p.m., went on at approximately 8:30

  • Top Heavy, scheduled for 9 p.m., was scratched entirely

  • Dokken tribute Dream Warriors, featuring the debut of Jessikill wunder-guitarist Jyro Alejo, now had part of its 10 p.m. outdoor set conflicting with those wanting to get a good spot to watch L.A. Guns inside at 10:45

  • Outdoor headliners Budderside basically became a wash during its 11 p.m. set now that L.A. Guns was going on virtually at the same time inside

  • ‘80s cover band Big Bang, which went on nine minutes late at 10:09 p.m., found itself setting the table for L.A. Guns, a job originally relegated to Austin band Black Heart Saints’ scheduled time of 11 p.m. To allow for a 15-minute changeover, that meant Big Bang should’ve known it now only had till 10:30 p.m. But its suddenly shortened 21-minute set caught singer Sean Nations of Even In Death and his bandmates by surprise when, as Nations said to the crowd, “We promised you some Faster Pussycat,” his mic was shut off after three tunes and before he could say the name of the fourth

  • Black Heart Saints arguably was screwed the most, forced to be the only band to go on after the headliners after making the 75-mile drive from Austin

Promoter Richard Reyes lamented to the crowd that “L.A. Guns wanted to go on earlier” and asked fans to “stick around for one or two songs.”. To their credit, more than a handful of metalheads more than stuck around, rocking out to Black Heart Saints as Lewis and Guns headed offsite and Von Johnson and Coogan made their way to the merch area. However, Black Heart Saints should’ve been afforded similar or better lighting than L.A. Guns given the change they were forced to endure and the distance they drove. Instead, they received the same red, bleak lack of brightness as the support acts.

But the headliners weren’t immune from what some would refer to as cluster-fuck moments either.

During “Gone Honey,” the only track performed from the new album, the power went out on stage. Sure, those things happen, and it came back rather quickly as Lewis urged his band to resume from the second verse. But after adding “Some Lie 4 Love,” “I Wanna Be Your Man” and “Speed” to the set, Lewis was in the midst of spotlighting his mates during encore “Rip and Tear.” After calling on former Ace Frehley and Lita Ford drummer Coogan, Lewis had just introduced the Ramones-resembling Martin, who grabbed his mic and appeared set to address the crowd for the first time when the stage’s power failed again.

Martin simply flipped the mic to the ground and exited. Lewis and Guns, the only original members, didn’t get to give one another an intro but proved to be good sports about it by smiling and joining Von Johnson in acknowledging the cheers. On a side note, for those who rely on Setlist.FM, L.A. Guns did not perform “The Devil You Know” or “Kiss My Love Goodbye” as the Quatemain’s set on there would have you believe.

Reyes and Quatemain’s announced more ‘80s style shows coming, with BulletBoys on Oct. 18 and Enuff Z’Nuff — which recently had a show at Fitzgerald’s canceled due to low ticket sales — on Jan. 11. Fans can only hope, if those end up being more 10-band showcases, that lessons have been learned on the homefront so the performances, not the mishaps, become the story.

The vocalist of L.A. Guns goes "Into the Pit" and gets very candid while discussing the band's career, his involvement with both factions of the group, his first band Girl, an interesting tidbit about one of the group's videos that hits home with him, how long he went without talking to guitarist Tracii Guns before reuniting with him, the early days, new album "The Devil You Know" that comes out March 29 and more (ATM photo by Jay Nanda: December 2017).

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Zakk Wylde showcases wizardry of bloody Sabbath riffs

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Zakk Wylde showcases wizardry of bloody Sabbath riffs

From the precocious 19-year-old introduced to the world on a “Headbanger’s Ball” episode in 1988 as Ozzy Osbourne’s new guitarist, to a long-bearded, kilt-wearing, chest-pounding, six-string slinging maniac, Zakk Wylde has grown before our very eyes.

Wylde has played with The Ozzman Cometh for 20-plus years while fronting his own Black Label Society. Last Wednesday, however, he brought another faction to the Aztec Theatre — his tribute to Osbourne’s Black Sabbath days in the form of trio Zakk Sabbath.

Introduced by “That Metal Show” co-host Don Jamieson after part of the comedian’s opening monologue included the fact that Wylde once went 77 consecutive days without showering, the beast behind the axe took to the stage with his BLS bassist John “J.D.” DeServio and energetic drummer Joey C. In addition to the 2-hour plus performance of Sabbath tracks from the first four Osbourne-sung albums, Wylde gave fans a treat by including several rarities on the setlist while omitting entirely, or merely including a portion of riffs, of the likes of “Sabbath Bloody Sabbath,” “Black Sabbath,” “The Wizard,” “Symptom of the Universe” and “Sweet Leaf” — the latter revealed by Jamieson as his favorite Sabbath tune.

Opening with “Supernaut” (setlist in 30-photo slideshow below), Wylde often turned the Sabbath songs into his signature long but entertaining guitar jams and solos. Unlike with BLS, though, the more informal occasion of paying tribute to another band yielded the green kilt-wearing Wylde the freedom to play among the fans. And he liked it so much, he did it twice.

Wylde first went into the back of the general admission area during “Into the Void” and shredded away while fans encircled him while filming every note with their phones. As he walked back to the stage, Wylde played his axe behind his head the entire way. No professional media footage was allowed of the concert. But after rare track “Wicked World” and crowd favorite “Fairies Wear Boots” (ATM Facebook Live footage here), Wylde, who was often pegged as the favorite to replace the late “Dimebag” Darrell Abbott if Pantera had ever reunited, broke into a riff of “I’m Broken.” It was his only deviation from Sabbath material all night in a virtually non-stop exhibition of pure guitar madness.

DeServio, who was celebrating his birthday, became the recipient of a cake from Jamieson and crew members as he blew out the candles on stage. DeServio and Joey C., a wildman in his own right on the drums, were particularly impressive during finale “War Pigs.” That’s when Wylde left the stage again, this time using a security escort to visit the upper level of the Aztec, delighting fans up there. Wylde stood in the middle of the deck and riffed to his heart’s content before walking along the balcony railing and visiting those fans, security staff in hot pursuit. As Wylde eventually made his way out of the upper level, yours truly was the first to greet him in the hallway and received a sweaty fist-bump. Security continued to earn their keep as Wylde once again visited the center of the general-admission universe.

All told, the 15 to 20-minute solo had everyone fixated on Wylde to the point that some in attendance may not have realized DeServio and Joey C. never stopped playing throughout.

And with that, the Aztec Theatre was officially added to Zakk Sabbath’s San Antonio metal brotherhood chapter. And it was time for everyone to head home and hit the showers. Optional, however, for the man of the hour.

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Oft-maligned frontman leads charge as Muddfest brings back metal of 2000s

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Oft-maligned frontman leads charge as Muddfest brings back metal of 2000s

Perhaps more than any other act within the metal scene, it can be said that a Puddle Of Mudd concert can be intriguing as much for what could happen as for what actually does. That’s what comes with the track record of enigmatic singer, guitarist and band founder Wes Scantlin.

A frontman who has had more than his share of ups and downs, including bouts with the law and canceled shows, Scantlin has persevered through personal hard times and several lineup changes. He’s vowed that he has plenty more Rock N’ Roll to unleash, and the latest example will be the Friday the 13th release this month of Welcome to Galvania. But first, Puddle Of Mudd hosted its Muddfest last Tuesday night at the Aztec Theatre with Trapt, Saliva, Rehab and Tantric (see 45-photo slideshow below).

All eyes and ears were on Scantlin and his reputation for potentially being a ticking time bomb. For the most part, he passed with flying colors. Early on, Scantlin’s conversation with the venue that was more than two-thirds full on all levels seemed odd. At one point, he said San Antonio reminded him of Amsterdam and went on a brief diatribe while sticking out his blue tongue about how much he liked the latter city. That caused his bassist to give a look of bewilderment as he kept walking further back from his own mic until Scantlin was ready to begin the next song.

Other than that, Scantlin showed moments of gratitude and reflection. Oddly, during opening track and Puddle Of Mudd’s biggest hit “Control,” the band broke into Black Sabbath’s “War Pigs” just prior to “Control’s” signature “I love the way you smack my ass” part. The choice and timing — barely two minutes into the show — of Scantlin already deviating from his own song was cause to think, “Oh, boy, here he goes again.” But alas, it merely served as a detour from the rest of “Control’s” rock and angst that helped make it a No. 1 tune on MTV and the charts in 2001. Ironically, as Puddle Of Mudd’s set began with a trace of Black Sabbath, Zakk Wydle’s Zakk Sabbath ended their electric performance with a 15-plus-minute version of the same Sabbath track the following night on the same stage.

Scantlin and his bandmates broke out other signature hits such as “She Fuckin’ Hates Me,” “Stoned” and “Livin’ On Borrowed Time” (ATM Facebook Live footage of both here) and the trio of “Bring Me Down,” “Psycho” and “Spaceship” (watch all below; setlist in slideshow).

Scantlin has had a love/hate relationship with San Antonio over the years. He played a solid gig during the 2010 Fiesta Oyster Bake but canceled a headlining 2013 Siesta Fest performance the night before when his rebellious nature got the best of him in another city. Puddle Of Mudd was supposed to take part in this year’s Oyster Bake as well, but the band could not get out of snowy Iowa in time and never made it to San Antonio. That one was out of Scantlin’s “control.”

But they made it up to the Alamo City at Muddfest. Through it all, Scantlin endured needless heckling from rotten apples in the crowd, one of which along the barrier yelled “You’re a dick” while another in the middle of the Aztec called him a drunk. Whether Scantlin chose to ignore them or heard them at all is something only he knows for certain. But for the most part, Scantlin delivered the goods on additional tracks such as new single “Uh-Oh” (which was on the setlist third-to-last but was performed second overall after “Control), “Away From Me” and smash hit finale “Blurry.”

The bill as a whole consisted largely of bands that had their heyday in the 1990s and early 2000s, perhaps best exemplified by Trapt, Saliva and Tantric. Trapt vocalist Chris Taylor Brown attempted to make a dramatic entrance from an opening underground, but it didn’t have the desired effect on the performance or crowd reaction, and he merely launched into “Still Frame” just as he could’ve done walking onto the stage.

Although those bands mostly had one or two hits that made them famous, they deserve credit for continuing to put out new music. However, they do mostly live off their past live. Although Trapt has been around for 20-plus years, they still felt the need to do a cover in Audioslave’s “Like a Stone.”

Saliva, however, was arguably the best band on the program and without a doubt the most energetic. Vocalist Bobby Amaru was fired up throughout the set and took it upon himself to bring a young child on stage for their biggest hit “Click Click Boom.” The same child, incidentally, was also brought on stage earlier this year by Hatebreed at Vibes Event Center. Saliva could very well have headlined a five-band mini-fest, yet still only played six tracks this night, including “Always” and traditional opener “Ladies & Gentlemen.” Afterwards, drummer Paul Crosby was out and about meeting with city insiders about potentially returning later this year or next year at a new venue to be determined.

The funky rap/metal of Rehab preceded Savlia, while Tantric and lone remaining original member Hugo Ferreira kicked things off at 6:25 p.m. The bill was similar to the Make America Rock Again tour of 2016 at the Rock Box that included Trapt, Tantric, Alien Ant Farm, Saliva and Crazy Town.

But Muddfest was all about Scantlin. With cell phones at the ready among an audience set to pounce and film any erratic action, Scantlin more than got the last laugh. He even made the crowd feel as if it was coming along for the ride in his own special spaceship.

“A lot of these songs that we’re playing for you guys were (ones that) big record executives (thought) they were fucking shitty,” Scantlin says in ATM’s clip below. “Until they went No. 1 a bunch of times. Thanks to you guys.”

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Homegrown legends rekindle spark of scene that used to be

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Homegrown legends rekindle spark of scene that used to be

The Alamo City’s storied heavy metal scene, which once turned local and national bands’ careers on its collective heads resulting in the moniker Heavy Metal Capital, is so rich that rare is the night a bulk of it joins forces under one roof at the same time. But that’s what took place last Saturday when a contingent of San Antonio’s “Homegrown Heavy Metal Legends” descended on Fitzgerald’s for a collection of metal talent, knowledge, stories and history.

Some were on stage for roughly 7 1/2 hours of music, including the 30-year reunion show of Nutron, veteran classic Texas metallers Syrus, 32nd anniversary celebrators Byfist, 40th anniversary mainstays Seance, plus Zero The Hero and Baad Newz. And some of the oft-labeled royalty around these parts were on hand to sign classic autographs of themselves as unveiled in Juan Herrera’s book “As Viewed From the Pit: Photos of the South Texas Metal Scene 1978-89” including Fates Warning and Sebastian Bach drummer Bobby Jarzombek, Watchtower guitarist Ron Jarzombek, Militia vocalist Mike Soliz, Riot V bassist Don Van Stavern and vocalist Buster Grant (see 90-photo slideshow below).

The latest chapter that added to the San Antonio scene’s own voluminous book won’t soon be forgotten. Emilio Ledezma, who these days makes his mark in Ledezma Lethal Legends which will perform at 10 p.m. tonight at Fitzgerald’s, resurrected his former band Nutron with Danny Trejo of Trejo on vocals and the double-neck guitar. They were preceded by Syrus, whose revolving door of singers has currently landed on Alfred Pena. The group formed by guitarists John Castilleja and Al Berlanga unveiled forthcoming track “Last Warrior” (ATM footage below) among its Tales of War classics, although time constraints forced them to cut out a pair of other new tunes (setlist in slideshow).

Byfist, led by original rhythm guitarist Nacho Vara, had a telling set for a couple of reasons. First, it paid homage to another local outfit by playing Juggernaut’s “All Hallows Eve” before vocalist Raul Garcia called up Helstar veteran James Rivera to take his place and join Byfist’s instrumentalists on Helstar’s 1984 track “Burning Star” (ATM Facebook Live footage here).

Then an emotional Vara could barely get through his introduction of “Mary Celeste” given that it was the first song he wrote for Byfist with the late vocalist Vikk Real. Vara at one point turned away from the crowd and walked toward the drum set before he was comforted by bassist Stony Grantham. Vara, who also pulled double duty in Seance — giving him approximately 70 years of music between both artists — then summoned the strength not only to get through the song, but to put his foot down and play the entire tune front and center under the main spotlight, away from his usual dimly lit spot stage left, as Garcia wrapped his arm around him in smile and song. Watch the band culminate its set with “In the End” below.

With longtime local disc jockey Brian Kendall spinning tracks between bands, it was no rest for the weary as far as Vara was concerned as Seance preceded Byfist. “Woman,” “Should’ve Known” and “Heavy Metal” (below) highlighted the band’s set as vocalist Danny Fonseca, founder and lead guitarist Robert Perez, bassist Ruben Hernandez and young pup drummer Octavio de la Pena joined Vara in providing its usual fun and energetic set.

Zero The Hero and local trio Baad Newz got things warmed up prior to the bar filling at its peak. Watch Zero The Hero in action below on “You Bring Hate” and on “Valley of the Bones.”

Another book of the local metal scene could very well begin with what went down at Fitzgerald’s: the drinks were cold, the metal flowed, and the stories and history were told. All in a night’s work when it comes to San Antonio heavy metal. But even this evening was a bit more special than most.

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Static-X & friends' homage behind masked Xer0 rates No. 1 with fans

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Static-X & friends' homage behind masked Xer0 rates No. 1 with fans

The decision for bands to carry on, hang it up or split into various factions after their singer has passed on to the afterlife is a fragile one unique to each artist. Whatever the verdict, it’s often met with scorn, hesitation and critics volunteering their opinions to the nth degree.

There are the bands whose frontmen were so iconic that carrying on would have been sacrilegious. Think Nirvana and Motorhead. There are those who took several years to mourn, decide and eventually return as respectfully as possible such as Alice In Chains. Others enlisted guests vocalists to honor and memorialize their fallen leader such as Dio Disciples singers Tim “Ripper” Owens and Oni Logan, occasionally aided by Mark Boals and Toby Jepson, ensuring that the music of Ronnie James Dio lives on.

The most famous gamble of all also became the most historic, as AC/DC’s replacement of Brian Johnson for the late Bon Scott carried the band into another stratosphere of success it already enjoyed with Scott.

Then there’s the unprecedented method employed by Static-X. Honoring the legacy that ended in 2014 with the death of singer/guitarist Wayne Static, original members Tony Campos (bass), Koichi Fukuda (guitars) and Ken Jay (drums) resurrected the band this year to honor Static and celebrate 20 years of first album Wisconsin Death Trip. The catch is that not only has the touring vocalist remained unidentified, he is wearing a mask of Static’s facial likeness and patented spiked hair.

Static-X’s choice of how to proceed beyond Static has been much-maligned within the metal industry. But not on Sunday, June 23, at the Aztec Theatre. A nearly sold-out theatre jumped, pumped and rocked to the album’s complete performance plus songs from second effort Machine in welcoming the new masked vocalist/guitarist with open arms and loud crowd participation (see 107-photo slideshow and ATM video footage below). As Campos introduced the band, he labeled masked wonder Xer0 as hailing “from parts unknown.” What’s mainly a mystery, however, is whether the persistent rumors that Xer0 is Dope singer Edsel Dope are accurate.

It would make sense. Taking care to cover his likely tattooed arms with full-length sleeves, Xer0 could very well be Edsel Dope for a pair of reasons: both singers have similar tall, lanky frames. And Dope is already one of the four support acts on the bill, carefully placed in the middle of the program perhaps to allow DevilDriver’s 50-minute set after Dope and prior to Static-X ample time for Dope’s namesake to rest between double duty each night. And if those two reasons aren’t convincing enough, Edsel Dope cited multiple tours his band went on with Static-X, and how he considered Wayne Static a close friend, as Dope’s band celebrated 20 years too.

So while Xer0 and the rest of the original Static-X lineup partied like it was 1999 and 2001 to the Aztec’s content, Devildriver also hit hard as only frontman Dez Fafara can. Defending Static-X’s decision, Fafara shared that Back in Black is his favorite album front to back of all-time and that it wouldn’t have been possible if AC/DC had quit after Scott’s death. Fafara, whose band also includes one-time Static-X bassist Diego Ibarra, delivered hard-hitting tracks “I Could Care Less,” “Ruthless,” “Cry for Me Sky,” “Sail” and “Before the Hangman’s Noose” (ATM footage of the latter two below). The frontman then broke out a pair of tracks from his Coal Chamber days with “Loco” and “Fiend” (videos below).

Opening acts Wednesday 13 and Raven Black brought the theatrics to the Aztec in their own way. Wednesday 13 in particular had a variety of costume changes during a 30-minute set that featured “What the Night Brings” and closer “Keep Watching the Skies” (footage below). Watch ATM’s 2017 interview with frontman Joseph Poole and his San Antonio bandmates Roman Surman and Troy Doebbler here.

Static-X announced prior to the tour they’d have a new album this year called Project Regeneration that features the final recordings of Wayne Static. Fans can pre-order the album and get their name in the liner notes here. What’s unclear is whether Xer0 will carry on the legacy, whether he was merely a memorial touring replacement, or whether Static-X will enlist a completely new singer — masked with hair spiked from here to the gone or to be his own persona — to evil disco the group into a new era.

Either way, the band’s decision is sure to create a wave of controversy, bringing its share of critics, supporters and rockers. Which is to say Campos, Fukuda and Jay likely wouldn’t have it any other way.

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Return of Sacred Reich hits home for purveyors of S.A. Slayer

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Return of Sacred Reich hits home for purveyors of S.A. Slayer

When the discussion of thrash metal circulates at concerts, your local venue or maybe even around the barbecue pit, the usual suspects come to mind even beyond The BIg 4. Sacred Reich, however, often doesn’t even fall on the radar. Some of that may be due to its inactivity from 2000-06. But considering the band formed in the mid-’80s out of Arizona during arguably the peak of the metal scene, the biggest reason for Sacred Reich’s relative obscurity may remain the biggest mystery as well..

But it’s no time like the present for original vocalist/bassist Phil Rind to round up the gang again. And with a couple of twists. It was all on display last Saturday night at the Rock Box as Sacred Reich reminded an intimate crowd of maybe a couple hundred just how underrated it is. Get a taste by watching ATM’s footage of three songs below.

Even more relevant to many than the band’s return was who was playing the drums. Former S.A. Slayer — and, oh by the way, Machine Head — sticksman Dave McClain enjoyed a homecoming of sorts, returning to Sacred Reich last year for his second stint with the group. San Antonians, of course, remember McClain largely for his involvement with S.A. Slayer, which is widely known for the one “Slayer vs. Slayer” show in history it played on the same bill as The Big 4 version Nov. 30, 1984, at The Villa Fontana. McClain certainly didn’t forget, performing Saturday night in a Slayer — yes, his version — T-shirt. His former bassmate, Donnie Van Stavern of Riot V and S.A. Slayer, was on hand as well.

While McClain returned to Sacred Reich in 2018, rhythm guitarist Joey Radziwill is even newer — and much younger. Sacred Reich’s unique timeline as a band couldn’t have been put in much more perspective than when Rind announced the 22-year-old Radziwill hadn’t been born the last time they made an album — 1996’s Heal. But that’s about to change as Sacred Reich will release Awakening on Aug. 23. They unveiled the title track among other older favorites such as “Surf Nicaragua,” “Free” and “Ignorance” (watch ATM’s Facebook Live footage here; setlist in 45-photo slideshow below).

Sworn Enemy, out of New York, was the only other national act on the bill, and they hit hard. Touring in support of Gamechanger, released six weeks ago, Sworn Enemy can be seen in action here before ending its set with “We Hate” below.

Wulfholt and Beyond Black delivered the goods from a local standpoint. Wulfholt, which competed in March during the regional portion of the 2019 Wacken Metal Battle competition, will return to the Rock Box on Friday, June 21, opening for Nita Strauss and Kore Rozzik (tickets here). In the meantime, watch them perform “Truth Shrouded” here.

Beyond Black certainly didn’t mess around with easing into its set to kickstart the evening. Not when you only have 30 minutes to set the table for the featured acts. As an added bonus for Alamo True Metal, which was privileged to be the only publication on hand covering the show, Beyond Black performed in surprisingly bright lighting, mostly nixing the dreaded red display that virtually all opening acts — and even some recent headliners such as Hatebreed and Godsmack — utilize. Bassist Steve Pena acknowledged the group is working on new material, which they revealed here. You can also watch them close out with “Deviant Saint” below and check out their ReverbNation page here.

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Jake E. Lee leaves significant chunk of career off Red Dragon Cartel's return

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Jake E. Lee leaves significant chunk of career off Red Dragon Cartel's return

Considering he's a famed 62-year-old guitarist who stepped out of the metal scene for more than a dozen years between his time in Badlands and the 2014 self-titled debut of new band Red Dragon Cartel, you couldn't blame fans for salivating at the return to the Alamo City of Jake E. Lee on Friday night. 

Lee, who oh by the way replaced the late Randy Rhoads in Ozzy Osbourne's band on iconic releases Bark at the Moon in 1983 and The Ultimate Sin in 1986, co-writing several non-credited songs along the way, is the feature component of Red Dragon Cartel. Along with oft-maligned vocalist Darren James Smith, drummer Phil Varone and the bassist on Lynch Mob's inaugural and best album Wicked Sensation in 1990, Anthony Esposito, Lee's visit had the potential to be shattering in terms of volume and entertainment value. At least on paper. 

But it was another piece of paper where Red Dragon Cartel came up short. The choice of songs. 

Touring in support of sophomore release Patina, a more bluesy record than the first RDC album, Lee understandably set out to promote the latest effort. Unfortunately, he did so at the expense of the majority of his Badlands years, shunning his Osbourne material almost entirely and scaling back on Red Dragon Cartel's heavy debut.

Playing a 13-song set, Lee opted to perform 80 percent of his new album -- eight of its 10 tracks -- out of those 13 offerings. Lee waited too long to throw the audience a Badlands bone, saved his shockingly lone Osbourne offering for a Bark at the Moon 2002 re-issue bonus track that was truly just for the diehards in "Spiders" (ATM footage below), didn't realize that some fans departed following the fourth, fifth and sixth songs after hearing nothing but Red Dragon Cartel material and, in letting only his stellar guitar skills do the talking, said nary a word to the crowd. Other than a pair of male fans jumping up and down repeatedly, the audience spent more time wondering when a recognizable Osbourne or Badlands track was coming and filming with their phones instead of pumping fists or tossing up horns.

That Lee didn’t speak was perfectly fine. His absence from the metal scene rekindled desires to hear him play, not chat. And shred he did. But even that came with a caveat, as the somewhat reclusive axeman spent 99 percent of the 75-minute performance on the left side of the stage. Lee ventured just once to the right half to tell Esposito something before playing in the middle solely on finale "Feeder," one of only two tracks from the self-titled record. Even when Lee kept to his comfortable stage left, he often turned to the side, facing one or two crew members standing there, and the wall, rather than the people who paid to see him amaze them with his skills.

The formation of Red Dragon Cartel got off to an inauspicious start in 2013, and Smith will always be measured against that, as unfair as it may seem as time passes. During Red Dragon Cartel's inaugural concert at the Whisky a Go Go in Hollywood, an inebriated Smith jumbled lyrics to Osbourne songs in a less-than-solid performance. After Lee and Smith were said to have ironed out some issues, the guitarist took what many may have seen as a gamble by bringing Smith back for Patina. To his credit, Smith is more than credible on the album and carried it over to the Rock Box, though he admitted when the group finally got around to playing "3-Day Funk" by Badlands: “This song might truly kill me!” (ATM Facebook Live footage here; setlist in 57-photo slideshow below). 

While some may point out Red Dragon Cartel played the Rock Box on Nov. 18, 2014 (with a different bassist and drummer) and offered up some Osbourne tracks that night, the fact remains Lee's career, which also involved playing in Rough Cutt, is mostly known for being one of the madman's guitar sidekicks. Lee also would've been better served by keeping in mind that because of his lengthy sabbatical, Friday's concert was witnessed not only by those who brought his classic records to the meet-and-greet that he graciously autographed, but by many seeing him live for the first time. Even Michael Jordan played meaningless NBA preseason games that took place in cities without professional franchises because he was mindful many at those exhibitions were watching him play for the first, and perhaps only, time in their lives. 

Ironically, Lee’s bassmate on The Ultimate Sin, Phil Soussan, was scheduled to play the same stage three weeks earlier on Valentine's Day with Last In Line only to see that gig canceled, presumably due to low ticket sales. While Lee had no such issues, the approximately 150 fans who showed up, though paltry by "Heavy Metal Capital" standards, deserved to hear a couple of tracks from that classic record. Or at least more than a show dominated by Patina. Playing a set vastly different from his previous visit and dominating it with new material would’ve been fine if that previous visit occurred within the past two years rather than a 4 1/2-year gap.

That said, the only other Badlands offering was arguably the highlight of the night as Smith gutted out "High Wire" for the first of two encores after admitting he was “scared” to attempt the high-pitched sound of the late Ray Gillen (ATM Facebook Live footage here). Badlands' biggest hit "Dreams in the Dark" was performed in 2014 but not on this night. Nor were other favorites “Winter's Call," "Hard Driver" or "Rumblin' Train." It would've been nice to hear the band try.

It also was odd that in a group where a legendary guitarist is the featured member, the only solo belonged to Varone on drums. The fact that tracks from The Ultimate Sin such as the title track, "Killer of Giants," "Secret Loser" or even MTV smash "Shot in the Dark" were ignored and that Lee's mesmerizing ending to "Bark at the Moon" was omitted meant most fans did not get what they expected to see and hear. 

Five or six songs from Patina would have served Lee's purpose of promoting his new album and still satiated the crowd’s appetite. Eight new tunes at the expense of his more well-known eras, however, was like eating the Caesar salad only to find out the restaurant would have to close prior to receiving that fat juicy steak you looked forward to before leaving the house.

Hopefully one of rock and metal’s best guitarists ever will keep that in mind while remembering the Alamo City would love to see him return. With a better choice of his great music expressed for all to experience.

Click the links for ATM Facebook Live footage of local openers Wall Of Soul, Eden Burning and Dallas-based Rendered Heartless, and see them in action in the slideshow below.

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