Nothing illegal about Philip H. Anselmo & The Illegals delivering Pantera goods

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Nothing illegal about Philip H. Anselmo & The Illegals delivering Pantera goods

Considering the heyday of his career resulted from fronting the heaviest and most well-known metal band to come out of Texas, Phil Anselmo doesn't have to be told it's mandatory to include his Pantera history in concert. Still, considering that band broke up in the early 2000s and that half of its quartet has passed on, Anselmo has no choice but to evolve as a musician.

So while Anselmo continued to make good on his mostly biannual visits to San Antonio last Friday night by headlining the Rock Box with Philip H. Anselmo & The Illegals, those in attendance were just going to have to wait patiently for what they came for. Touring in support of his second solo album Choosing Mental Illness as a Virtue, the singer from New Orleans who considers Texas more than a second home had business to take care of ahead of the really good stuff.

With Anselmo also having fronted post-Pantera band Down and continuing to lead Superjoint -- which headlined his own Housecore Horror Festival in 2015 at the Aztec Theatre (coverage here) -- fans who came out to his rescheduled show after a postponement in May due to recovery from another back surgery could feel fortunate Anselmo was touring as a solo artist given that he doesn't often play Pantera tracks with the other bands.

The Illegals, however, are another story. Anselmo, guitarists Stephen Taylor and Mike DeLeon, bassist Walter Howard and super drum beast Joey Gonzalez simply require a longer route to the old stuff.

So Anselmo and his mates tore through two albums’ worth of solo material first, including "Finger Me,” in which he acknowledged, “You probably won’t know this one” (ATM footage here). Also on the docket were “Little Fucking Heroes,” “Utopian,” "Bedridden" and the title track to his latest album and to 2013 solo debut Walk Through Exits Only. Though not exactly in the metalcore realm of heavy metal, Anselmo's solo material is a grinding assault that requires a lyric sheet to understand a bulk of what he's conveying more than Pantera offerings. But to illustrate the importance of something bigger, Anselmo utilized one of his breaks between tunes to inform the approximately 200 in attendance that September is Suicide National Prevention Month, in conjunction of sorts with his new album’s theme.

A larger turnout for the Pantera patrolman, particularly on a Friday, would've been automatic if not for another rescheduled show taking place down the street at Freeman Coliseum, as the Scorpions were making up a gig postponed 11 months earlier (coverage here). Anselmo could not ignore that fact, asking the audience prior to his first note, "Did anyone go check out the Scorpions? Did they play 'Another Piece of Meat' or 'Lovedrive?' "

Though the answer was no on both counts, it was a rhetorical question of sorts on Anselmo's part. All he cared about was unleashing his furious styles of metal on a crowd devoted to him. And even those who checked out the Scorpions in lieu of Anselmo's openers King Parrot and locals Cheese Grater Masturbation, Flesh Hoarder, X.I.L. and Wrathtongue were thankful he was mindful enough to go on after 11:45 p.m. to accommodate the late arrivals.

So after more solo offerings such as "Bedroom Destroyer" and "Mixed Lunatic Results," the latter resulting in Anselmo’s praising of X.I.L. (ATM footage here), the time had come for the nitty gritty.

Anselmo began his encore segment: "We're going to do a song that will probably sound familiar." And with that, he broke out the first track from Pantera's final album Reinventing the Steel, surprising his fans with "Hellbound." Although it would've been too predictable for Anselmo to adjust the "Helllbooouund in Fort Worth, Texas" part to "San Antonio," it was slightly disappointing he didn't choose to. Nevertheless, it was exciting to hear a song rarely played live given that Pantera’s existence ceased shortly following that record's tour, which included a 2000 Ozzfest appearance in West Palm Beach, Florida, in which that song wasn’t played.

Neither did that festival show include Anselmo's second Pantera offering, also from that album, "Death Rattle," which he performed during The Illegals' debut San Antonio gig in 2014 at Backstage Live. To his credit, Anselmo not only brought back deep Pantera cuts, he played them — period. While other artists attempting to evolve as solo musicians sometimes ponder whether to leave their more famous past out of their sets, Anselmo went the opposite route.

He played. He punished. He Pantera-ed. Thank goodness.

Ending with the pit-stirring combination of "Domination/Hollow," the tornado-like fury of the fans limited to tight space amidst a couple of poles still spun admirably. Watch ATM's footage of all of Anselmo's Pantera tracks below.

Anselmo, of course, was always outspoken about his relationship, or lack thereof, post-Pantera with the Abbott brothers, as can be seen during Part 2 of our three-part interview in 2011 (watch). But with "Dimebag" Darrell having taken his Flying-V to the heavens in 2004, it was more surprising Anselmo didn't mention nary a word about the death only 2 1/2 months ago of drummer Vinnie Paul Abbott.

Instead, Anselmo let his delving into the musical past speak for itself, giving the Rock Box’s patrons just enough of a taste and wanting more. Which, perhaps, will have to wait for another solo visit sometime down the road.

One thing’s for certain. The Alamo City will be here. Ready, willing and able to take it all in. Again and again.

SETLIST: Little Fucking Heroes, Utopian, Choosing Mental Illness, The Ignorant Point, Bedridden, Delinquent, Usurper’s Bastard Rant, Bedroom Destroyer, Finger Me, Walk Through Exits Only, Mixed Lunatic Results. Encores: Hellbound, Death Rattle, Domination/Hollow

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Scorpions' farewell keeps on rocking Alamo City with Queensryche like no other

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Scorpions' farewell keeps on rocking Alamo City with Queensryche like no other

It has to end sometime. Doesn’t it?

That’s the $64,000 question that befalls all musicians the deeper they delve into their career. In the hard rock and heavy metal landscape, a handful of artists have been fortunate to last three and four decades. For arguably the best musical export to come out of Germany, that stands at five.

And counting.

So when the Scorpions made their fourth Alamo City appearance on Friday night to their fourth different venue since announcing a three-year farewell tour in 2010, skeptics could be heard just about anywhere except within the friendly confines of Freeman Coliseum. For the estimated 5,000 inside, it was another chance to appreciate one of the city’s longtime favorite rock groups, thanks in large part to the late disc jockey Joe “The Godfather” Anthony, who gave many bands their first taste of American radio airplay in the early 1980s.

And as usual, they did not disappoint.

Rescheduled from last Oct. 11 after singer Klaus Meine came down with vocal problems, the Scorpions returned nearly a year later, with Meine apologizing in part: “Sorry it took so long to reschedule.”

No problem, Klaus. San Antonio had your back.

The original show was scheduled with Megadeth. This one yielded Queensryche as the lone opening act and while they more than held the fort down, it remained the Scorpions’ night (see 110-photo slideshow and video below).

The Scorpions’ sting appeared to tail off a bit, at least from the vantage point in the photo pit, on the first two tracks — “Going Out with a Bang” and 1980 classic “Make it Real” — as if the band was easing into the set and pacing itself. Meine in particular appeared more deliberate and careful in singing the lyrics. Perfectly understandable, of course, given the whole five-decade thing.

Then again, Rudolf Schenker proved how much of an ageless wonder he is. The energetic guitarist turned 70 seven days before the show — that’s right, 70 — yet was sprinting back and forth from the main stage to the runway portion that jutted out into the center of the crowd. While some older bands acquire a younger member to inject some energy and rejuvenation into its inspiration to carry on, the Scorpions’ sparkplug is a guitarist who frequently runs across all points of the stage, enthusiastically opens his mouth while riffing away and finds time to show he can rock you like a hurricane while wearing a cowboy hat — all as a septuagenarian.

So while Scorpions maintained the classic vibe with mainstays “Big City Nights,” “Wind of Change” and “The Zoo,” they also delightfully broke out 1979’s “Is There Anybody There” as their third offering. Schenker later unveiled an acoustic Flying-V as he joined Meine, Jabs bassist Pawel Maciwoda and all-world drummer Mikkey Dee on 1990’s “Send Me An Angel” (ATM footage here). But just when you thought “Holiday” would come next, it was shockingly left off the menu entirely.

Perhaps in an effort to make things different than their 2010 visit to the AT&T Center with Ratt, 2012 at the Alamodome with Tesla and performance during the 2015 River City Rockfest, the Scorps sacrificed one of their all-time classics for a Jabs guitar solo called “Delicate Dance” in which Dee eventually joined in on drums.

The group also honored the late Motorhead singer/bassist Lemmy Kilmister while honoring Dee’s 20 years in that group by covering “Overkill.” The Scorps’ hard-rock style doesn’t fully give Dee the chance to wield his chops as he did in Motorhead and, prior to that, King Diamond’s band. But with Motorhead no longer in existence, it’s good to see Dee — who also played on Don Dokken’s 1990 solo album Up From the Ashes — land with another prominent artist.

If you would have said prior to the show that Meine would sing a Motorhead track in lieu of “Holiday,” you’d have thought the Scorpions were taking their “Crazy World” tour theme to the extreme. Give ‘em a “B” for adding a unique touch, though Jabs’ solo was the equivalent of a song or song and a half that could’ve been added to the set.

One of the night’s highlights was the medley of ‘70s material. With so many of the Scorpions’ hits emanating from the ‘80s, the prior decade had been getting shut out of shows for many years, including the first two of these four “farewell” performances. But this time, the band busted out bits of “Top of the Bill,” “Steamrock Fever,” “Catch Your Train” and personal favorite “Speedy’s Coming” in a true celebration of all five decades.

Whether Queensryche lasts five decades remains to be seen. But they’re well on their way. Having debuted in 1983 with a self-titled EP, the group with vocalist Todd La Torre hasn’t forgotten about that record’s opening track “Queen of the Reich” (ATM footage here).

Unlike the band’s many prior visits, however, only bassist Eddie Jackson and guitarist Michael Wilton were on hand from the quintet that performed on 1990s’ Empire, which comprised nearly half of the group’s nine-song set. Drummer Scott Rockenfield has been absent for several months, replaced on tour by Casey Grillo. And Mike Stone, who performed on 2003’s Tribe and 2006’s Operation: Mindcrime II, finds himself filling in for Parker Lundgren. (Check out an exclusive chat with Wilton during Queensryche’s 2015 gig at the Rock Box here).

As is the case with bands that open for the Scorpions, Queensryche was not allowed to touch the runway portion of the stage with a 10-foot pole. My, how odd it is to see a band that’s been around for 35 years have restrictions placed upon it. But alas, the concert boiled down to the music. And no line or stretch of tape on stage could alter Queensryche’s solid renditions of “Best I Can,” “Damaged,” “Jet City Woman,” “Screaming in Digital” and closer “Eyes of a Stranger.” Yeah, it sucks that there continues to be two versions of the band playing this iconic material. But La Torre is more than a solid replacement for Geoff Tate. He has his own unique voice and sound and more than does the tunes justice.

Maybe it’s asking too much for Queensryche to pull a rabbit out of a hat a la Helloween and do a tour, live DVD and new studio album that unites its former and current singers and guitarists. But hey, one can dream, right?

With the Scorpions and Queensryche possessing a combined 81 years of recorded music, you’d be hard-pressed to find a combination of two bands turning back the clock and still going as strong as these two. So as long as they want to keep coming back, what’s the harm in continuing to do just that?

SCORPIONS SETLIST: Going Out With a Bang, Make it Real, Is There Anybody There, The Zoo, Coast to Coast, Top of the Bill/Steamrock Fever/Speedy’s Coming/Catch Your Train, We Built This House, Delicate Dance (Matthias Jabs solo), Send Me An Angel, Wind of Change, Tease Me Please Me, Overkill (Motorhead tribute), Mikkey Dee drum solo, Blackout, Big City Nights. ENCORE: No One Like You, Rock You Like a Hurricane

QUEENSRYCHE SETLIST: Best I Can, Damaged, Empire, Guardian, Silent Lucidity, Queen of the Reich, Jet City Woman, Screaming in Digital, Eyes of a Stranger

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Into the Pit: Craig Goldy

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Into the Pit: Craig Goldy

For a large part of his musical life, Craig Goldy was the late Ronnie James Dio's right-hand man on the guitar. So when the iconic singer of Rainbow, Black Sabbath, Heaven And Hell and his solo eponymous band died of stomach cancer May 16, 2010, Goldy was crushed perhaps more than most.

Even the subsequent formation of Dio Disciples to keep Dio's legacy alive, which included Goldy's other Dio mates Rudy Sarzo on bass and Simon Wright on drums, couldn't fill the void in Goldy's heart when Dio Disciples played the South Texas Rock Fest at Sunken Garden Theater in October 2011.

Dio Disciples returned to the Alamo City this summer by playing Quatermain's Pub in Live Oak on June 23 (coverage here). As time has passed, Goldy has been more reflective than sad regarding the time he spent traveling the globe and making music with his idol who rescued him from the streets, something he originally touched on with ATM in 2016 (listen here).

Goldy has again teamed up with Sarzo and Wright to form Dream Child, which will release 12-song debut album Until Death Do We Meet Again on Sept. 14 via Frontiers Records. Along with veteran Michael Schenker guitarist/keyboardist Wayne Findlay, Goldy -- who co-produced and co-mixed the record with Alessandro Del Vecchio -- found a gem on vocals in Argentina native Diego Valdez.

To say Valdez sounds a lot like Dio might instantly sound sacrilegious. But it's not as crazy as one might think according to Goldy, who has some strong yet unabashed feelings about the similarity of Valdez's voice to the legend on tunes such as the title track, "You Can't Take Me Down" and "Light of the Dark."

"It was soul-piercing," Goldy said of how he discovered Valdez covering a Dio song, which led to their initial contact. "It was scary. I thought, "God, it sounds like Ronnie had covered his own song. This is impossible!' "

Judge for yourself by watching "Under the Wire" below.

And that's just the beginning.

Listen to Goldy unveil more about Dio and Dream Child that will make you laugh and reflect right along by clicking "Download" on the sound widget below.

{Group photo courtesy Freeman Promotions, clockwise from rear left: Wayne Findlay (guitars/keys), Diego Valdez (vocals), Craig Goldy (guitars), Rudy Sarzo (bass), Simon Wright (drums)}

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Thrash titans Slayer take tour mates and S.A. to hell one last time

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Thrash titans Slayer take tour mates and S.A. to hell one last time

The kings of thrash metal took their South Texas fans on one allegedly final speed-of-light ride into hell. And they brought along a few friends capable of assuming the role atop the throne. 

Having announced a farewell tour eight months ago, Slayer finally made it back to the Alamo City on Wednesday night, unleashing a 90-minute sayonara to an estimated 3,000 fans at Freeman Coliseum. Spreading hate worldwide, condemning religion and musically commentating on topics such as terrorism from the perpetrators' perspective since 1983, Slayer has been responsible for breaking necks along its 35-year path of destruction -- even causing its singer/bassist, Texas resident Tom Araya, to cease headbanging several years ago.

But that didn't stop a swell of moshers, stationary-yet-appreciative onlookers and those witnessing the hellacious thrashers for the first (and final) time from being a part of history. 

Not to be outdone were Lamb Of God, Anthrax, Testament and the only non-American band on the bill Napalm Death from Birmingham, England. But as Lamb Of God frontman D. Randall Blythe appropriately announced, the reason everyone was there was Slaaaaaayer!

Playing nine years and a day to their Rockstar Energy Drink Mayhem Festival performance next door at the AT&T Center, Araya and his original remaining cohort, guitarist Kerry King, were again accompanied by longtime Slayer drummer Paul Bostaph and veteran shredder Gary Holt. With an inferno being lit even prior to the curtain dropping, Slayer burst onstage with the title track to its latest and final album, 2015's Repentless, as it has been doing since its release. 

Araya was adorned in a "Slayer vs. Slayer" shirt from the infamous Nov. 30, 1984, show here at The Villa Fontana. That evening marked the only time Slayer and San Antonio's version -- which included Riot bassist Don Van Stavern, guitarist Art Villareal and Machine Head drummer Dave McClain and was named S.A. Slayer -- shared a stage, when the "real" Slayer was touring in support of debut EP Haunting the Chapel.

Along with the usual staples "South of Heaven," "Chemical Warfare," "Disciple" and "Dead Skin Mask" (see setlist and 191-photo slideshow below), Slayer dusted off a pair of tracks it hadn't played in several years: "Payback" and "Dittohead." As one who goes nuts for rarely played tracks from an artist witnessed live many times, those two were arguably the highlights of the night.

While Araya's screams throughout several classics are bone-chilling, his barking of "Payback's a bitch . . . motherfucker!" is just as menacing. Especially considering the track closes God Hates Us All, which was released the morning of the Sept. 11, 2001, terrorist attacks, something ATM spoke about with Bostaph as Holt listened during the 2015 Mayhem Fest (watch here).

"Dittohead," meanwhile, was effectively the track that began Slayer's less-popular mid-'90s era, though it's just as punishing. Lasting less than two minutes with Araya tearing through King's lyrics such as "This fucking country's lost its grip, sub-conscious hold begins to slip, the scales of justice tend to tip," it's no wonder Slayer does thrash like no other. Even the lines, "Here in 1994, things no different than before, violence is what we adore" can hardly be argued are as relevant today, if not moreso.

Slayer has never compromised its sound or style, or catered to the critics -- reasons just as viable for its devoted following worldwide as for the music. Wednesday's show was another example, as the band eschewed the common encore and simply tore all the way through its 19-song performance that included flames shooting out in tune to the riffs, such as on "War Ensemble" (ATM footage below).

Perhaps a harbinger of things to come in all genres of music, two sign-language interpreters have been present throughout the tour. Perched atop their own mini-stage, they mouthed lyrics and expressed their air guitar, drums, and even cello intro on Anthrax's "Be All End All." Lindsay Richards-Cross could be seen screaming out to one of Araya's patented chills, the ending to "Mandatory Suicide," as flames burst around the band (see slideshow).

But it was Blythe who acknowledged the interpreters better, and more, than any other artist. Not only was he the only one to do so, the Lamb Of God frontman dedicated "Walk With Me in Hell" to them, pointing to Richards-Cross and saying, "This one's for you, sister!" Blythe added: "They made 'Good Morning America' the last time we did this shit," referring to a viral video from the tour's June 20 stop at the Austin 360 Amphitheater. Toward the song's end, the dreadlocked Blythe leaped off the stage and ran to the interpreters' set-up, joining his female friend in rocking out, her face lighting up in smiles as they did so.

Along with guitarists Willie Adler and Mark Morton and bassist John Campbell, Lamb Of God again was supporting Slayer at the Coliseum as it did in 2006. This time, they were joined on drums by Art Cruz, who's filling in for Chris Adler on this leg. Cruz was here in the spring behind the kit when Prong co-headlined Paper Tiger with Helmet (coverage here). The VIP section of fans flashed their horns at Willie Adler on occasion (see slideshow) as they rocked to brooding opener "Omerta" plus "Now You've Got Something to Die For" and "512."

Blythe wrote "512" about "a little shitty place I spent some time in" as he said on the band's live version of the track from Bonnaroo in reference to his Czech Republic jail sentence in 2013 for a manslaughter case stemming from a 2010 concert there. He dedicated it Wednesday to Anthrax, as Blythe was also the only frontman on the bill to ask for applause for each of the other openers (ATM footage here). Lamb Of God also dedicated closer "Redneck" to the late drummer Vinnie Paul of Pantera and Hellyeah because "he loved this song."

Speaking of Anthrax . . .

Vocalist Joey Belladonna, lead guitarist Jon Donais, rhythm guitarist Scott Ian and bassist Frank Bello were accompanied by their own fill-in drummer in Testament's Gene Hoglan, who pulled back-to-back double duty. Hoglan presumably was filling in for Charlie Benante due to his bouts with Carpel Tunnel Syndrome, which Benante addressed with ATM during the 2015 River City Rockfest (watch here). He also spoke with ATM for AXS.com during last year's 70000 Tons of Metal cruise (watch here) prior to coverage of the bands' two sets (here).

Though Anthrax was the middle band on this bill, it would've been nice to see them break out a different song or two. While "Caught in a Mosh" and "Indians" (ATM footage here) are mandatory at every gig, it's perfectly OK if they give covers "Got the Time" and "Antisocial" a rest for good in favor of others from its vast catalog, especially when they only have time for seven tunes. Anthrax, too, gave an ode to Paul and his late brother "Dimebag" Darrell Abbott by opening and ending the show with the "Cowboys From Hell" riff. No words were necessary. The riff spoke volumes.

But it would be nice if Ian stopped asking the crowd if it likes or loves thrash metal, given that he's been asking that for the better part of the past five years. Less talking more stomping from the band's co-founding rhythm guitarist would suffice. Regardless, Anthrax is always a treat to see live. Let's just hope they mix up the setlist next go-round (watch ATM's 2017 interview with Belladonna and Donais here and listen to a 2016 chat with Bello here).

Testament, the second band on the bill, had the largest mosh pits (see slideshow) thanks to staples "Practice What You Preach" and "The New Order." Like Anthrax, they performed seven songs, but Testament found time to dust one off like Anthrax should have, as Testament brought back 1994's "Dog-faced Gods." Vocalist Chuck Billy, guitarists Alex Skolnick and Eric Peterson, bassist Steve DiGiorgio and Hoglan always deliver no matter how much time they're allotted. Skolnick, in fact, will be delivering again in a different fashion when he brings his jazz fusion outfit, the Alex Skolnick Trio, to Fitzgerald's Bar on Thursday, Oct. 18 (tickets here). Peterson, meanwhile, is getting set for a Sept. 21 release of Dominion from his death-metal band Dragonlord.

Though Napalm Death had the unenviable task of a 4:30 set in the middle of the week, those who didn't have to work or simply blew it off caught the England deathcore band in fine form. Playing tracks such as "Standardization" and ending with an 80-second cover by The Dead Kennedys, Napalm Death picked up where Behemoth had left off on the first leg of this tour.

But in the end, it was all about Slayer's finality.

Though there was no mention, and none was expected, of original drummer Dave Lombardo -- who had several contentious back-and-forth dealings in his various stints but was no less of a contributor -- San Antonians will get their chance to see him with Suicidal Tendencies at the sixth annual River City Rockfest on Saturday, Sept. 22, outside the AT&T Center (tickets here). Original guitarist and chief songwriter Jeff Hanneman, however, received his tribute on closer "Angel of Death" with his name and "1964-2013" emblazoned on the logo in the shape of his favorite beer Heineken.

"Thank you. Thank you very much. We're going to miss you guys," Araya closed somewhat emotionally as he quickly walked off the stage. King took the opposite approach, triumphantly raising his arms and howling like a bear as Holt and Bostaph continued to toss out souvenirs. 

Considering Slayer's merch didn't make reference to this being a farewell tour, there's always hope for another visit. Or, more likely, some will end up joining the thrashiest band alive in the mosh pits of the abyss one day. Such folks can only hope they crank up the music down there, too.

SLAYER SETLIST: Repentless, Blood Red, Disciple, Mandatory Suicide, Hate Worldwide, War Ensemble, Jihad, When the Stillness Comes, Postmortem, Black Magic, Payback, Seasons in the Abyss, Dittohead, Dead Skin Mask, Hell Awaits, South of Heaven, Raining Blood, Chemical Warfare, Angel of Death

LAMB OF GOD SETLIST: Omerta, Ruin, Walk With Me In Hell, Now You've Got Something to Die For, 512, Engage the Fear Machine, Blacken the Cursed Sun, Laid to Rest, Redneck

ANTHRAX SETLIST: Cowboys From Hell riff/Caught in a Mosh, Got the Time, Madhouse, Be All End All, Evil Twin, Antisocial, Indians/Cowboys From Hell riff

TESTAMENT SETLIST: Brotherhood of the Snake, Rise Up, Dog-faced Gods, The Preacher, Practice What You Preach, The New Order, Over the Wall

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'Into the Pit:' Otep Shamaya

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'Into the Pit:' Otep Shamaya

Since making her way onto the metal scene as one of the first Ozzfest performers in the early 2000s after being discovered by Sharon Osbourne, vocalist Otep Shamaya hasn't been lacking on three forefronts:

  • Providing heavy, empowering music
  • Being outspoken about the world we live in
  • Thrusting herself into controversy

Otep's eighth studio album Kult 45 ratchets up the discussion points as she targets the current presidential administration in less-than-flattering terms, school shootings, family-dividing immigration policies and rape culture. Released on July 27, Shamaya brought her self-titled band nine days later to The Rock Box on Sunday to unleash a live version of her outspokenness.

Prior to the performance, Shamaya graciously went 1-on-1 with Alamo True Metal to discuss a variety of political topics plus her homosexuality within the confines of the metal scene and industry. Watch Part 1 of our discussion below and the brief Part 2 conclusion here.

Two days after the gig, Otep unveiled a video for "Shelter in Place," the new song that aims at gun violence in schools featuring the warcry, "Hey, hey, NRA. How many kids did you kill today?" (Watch here). As part of her one hour, 16-minute concert, she played it live, pointing a makeshift revolver at a toy doll with "Traitor" branded across its forehead and a "Where are the children" sign around its neck (ATM Facebook Live footage here). "As you can imagine," Shamaya said at the tune's end, "that song has caused quite a lot of controversy. They say I made the NRA's enemy list. Do you know how many fucks I give? Zero!"

And with that, Shamaya charged into the opening track off her 2016 album Generation Doom. 

Also offering up tunes such as "Battle Ready," "Lords of War," "Apex Predator" and new Rage Against The Machine cover "Wake Up," Shamaya and guitarist/bodyguard Aristotle, bassist Drewski Barnes and drummer Justin Kier performed 99 percent of their set in photographer-dreaded red stage lighting that nevertheless was apropos for the lyrical mood and imagery of blood and violence conjured up by their music and messages. 

During the interview, Shamaya recounted a tour Otep did with Judas Priest after Rob Halford came out as a gay man in the mid-'90s. Shamaya described how an encounter with a stranger questioning her lesbianism and gender in Hawaii influenced 2016 track "Equal Rights, Equal Lefts." Shamaya had a similar introduction when she played it Sunday: "This song is dedicated to all of those who believe in equality," she said. "It's also a big 'fuck you' to Vice President Mike Pence."

Frequently encouraging the crowd to "throw your fists high in the sky," Shamaya saved her most telling act for last. She placed a makeshift head of Donald Trump on a stump, its mouth covered with an "Impeach Trump" bumper sticker. Spinning it on a swivel, Shamaya introduced "Confrontation" by spitting on the head and flipping it off. She eventually smacked it off the stand and sent it flying (ATM footage here). 

All of that still may not be considered by some as volatile as Gwar literally ripping out Trump's heart at last year's Vans Warped Tour (coverage here). But her actions more than made their points. Like her or hate her, agree with her or not, Otep Shamaya is not one to shy away from controversy in the name of standing up for what she believes in while encouraging others to do the same. 

And that's what heavy metal is all about.

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Original Anthrax vocalist's return results in big night for Jessikill

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Original Anthrax vocalist's return results in big night for Jessikill

For a musician whose claim to fame occurred 3 1/2 decades ago, Neil Turbin demonstrated Friday night at Fitzgerald's he can still rock and sing like it's 1984. And he's not exactly opposed to allowing up-and-coming local artists join in on the fun.

Playing, ironically, 34 years to the day of his final performance with Anthrax in that band's native New York, the original vocalist of a group that went on to become one of thrash metal's Big 4 without him headlined the quaint San Antonio bar. And although he came to the Alamo City by his lonesome, Turbin's arrival and performance were made possible by Jessikill bassist Arturo "Knight" Alvarado, who served as the gig's promoter -- and much more.

Knight, guitar mate Jyro Alejo, vocalist Jessica Marie Espinoza Alejo and Jessikill in-transition drummer Marcel Biel served as Turbin's backing band, accompanied by rhythm guitarist Fernando Moreno. But that wasn't all.

In addition to Jessikill performing a 30-minute set of its own, Jyro Alejo, Knight and Biel joined Helstar vocalist James Rivera for a half hour of Dio and Judas Priest classics in a makeshift version of Rivera's Sabbath Judas Sabbath tribute act (see 116-photo slideshow below).

Local artists Target 7, Pup Zenabi Instrumental Project, solo guitarist Jose Shrederiffic and Aeternal Requiem also played along with Houston metallers Serpent Attack.

Though Turbin is said to be working on new material with Deathriders, his band named after the opening track on Fistful of Metal, he didn't mention any of his current activities on stage. Dressed in black top hat and black attire with "Deathriders" running nearly as long down his sleeves as his jet black hair was down his back, Turbin was content living off his past. He played a bulk of his Anthrax contributions such as "Metal Thrashing Mad" (ATM video below), "Death From Above" (ATM Facebook Live video here), "Soldiers of Metal" and even the album's Alice Cooper cover "I'm Eighteen."

Showing appreciation for Knight, Jessikill and the other "great bands" on the bill, Turbin also unveiled the two tracks from Anthrax's 1985 Spreading the Disease effort for which he wrote the lyrics and co-wrote the music but never received the opportunity to sing: "Armed and Dangerous" and "Gung-Ho." Turbin lamented the void left by that album's songwriting credits and the path his career -- and that of Anthrax's mega success -- took when introducing "Armed and Dangerous" by saying, "Well, you all know how that went."

Turbin introduced "Panic" by spotlighting Alejo, telling the intimate but enthusiastic audience witnessing the 12:34-1:33 a.m. set he and the local guitarist played the track with Michael Angelo Batio at a NAMM (National Association of Music Merchants) convention in California a couple years ago. Batio, incidentally, was another artist brought to town earlier this year by Knight (coverage here). Turbin appeared humbled by the fans who sang, headbanged and came to witness his set, taking it all in but barely fist-bumping or high-fiving those who were close enough to do so.

Rivera, on the contrary, preceded Turbin's set by saluting fans with beer and shots of Jagermeister and soaking in the adoration. Though Helstar was originally scheduled to be performing as a band, that changed in the days leading up to the show, with Rivera opting to keep his commitment in a different capacity. Performing Priest's "Electric Eye," "The Ripper" and "Beyond the Realms of Death" plus Black Sabbath's "Heaven and Hell," Rivera jammed enthusiastically with Knight, Jyro Alejo and Biel on drums.

Surprisingly, Turbin and Rivera did not jam together, though the former referenced the latter as a friend. It was similar to Rivera's appearance June 23 at the Dio Disciples concert at Quatermain's Pub in Live Oak when Tim "Ripper" Owens said he knew Rivera was in the house and wanted to say hi to him, but Rivera's efforts to take the stage were limited to helping himself to the mic between sets and singing along to the intermission music pumped throughout the bar (ATM coverage here).

Target 7 had the distinction of being the post-headlining act, taking the stage 25 minutes before closing time. Fronted by Chris Cronk -- who also sings in the local Monsters Of Rock tribute act and who also performed at the Dio Disciples gig -- Target 7 ended the night on a rocking note just prior to the new, lone police presence at the bar cracking the whip and telling patrons who had been searched prior to getting in to head home.

Cronk, like Turbin, has his own claim to fame of sorts with a prominent metal band. He sang with Fates Warning, but did not perform on any albums, in 1987 after original singer John Arch left and prior to fellow San Antonian and current vocalist Ray Alder (Balderamma) debuting in 1988.

Instrumentalists, meanwhile, also had their say on this night, both in group and individual form.

The Pup Zenabi Instrumental Project, which also opened for Batio at Bonds 007 Rock Bar on May 25, sounded tighter yet played more relaxed as they unveiled a few tracks. Guitarist/frontman Tony Astarita joked prior to the opening tune, "If you know the words, sing along." Backed by rhythm guitarist Andrew Goodine, bassist James Graham and drummer Kris Ardolino, PZIP ran the gamut of emotions through their non-lyrical content. Astarita dedicated a track to his late father before the band ended mightily with "Slaying the Dragon" (ATM footage here).

Although all support acts inside shared the same drum kit, Jose Shrederiffic needed no such tools. The solo artist took care of his guitar work with a 20-minute amazement of guitar precision accompanied by backing tracks of the other instruments. Jose never announced to the crowd who he was, perhaps simply relying on observers noticing his name on the back of his jacket as he walked throughout the bar. He ended by thanking Knight and the fans, saying, "It's been a long time since I've played."

Houston's Serpent Attack also performed inside, warming things up for Turbin with a 30-minute set, while locals Aeternal Requiem did the honors on the outside stage. Aeternal Requiem, which debuted its new lineup anchored by original singer/guitarist Austin Zettner during its first show since 2015 at the Memorial Day Metalfest (coverage here), also opened for Exmortus at Come And Take It Live last month in Austin. Aeternal Requiem returns to that venue this Tuesday to do the same for Powerglove (tickets here).

Not to be outdone was Jessikill. The do-everything band shined on opener "Metal Knights" plus "Save Me," "Another World" and "Run and Hide." Debut EP classic "The Beast" ended things with Knight and Jessica Alejo sharing lead-vocal duties and Jyro Alejo performing in your face on his 668-notes-per-minute solo (ATM footage here). Biel, who drums with the Alejos and Knight in the Yngwie Malmsteen/Dio tribute Sacred Star, was "temporarily" filling in for Alan Cisneros and could become a more permanent fixture in Jessikill, according to Knight.

With more programs such as Batio, Dio Disciples and Turbin that also place the spotlight on local artists possibly on the horizon, promotions put on by the 24-year-old Knight will only give the local scene the shot in the arm it has needed for some time. And no self-serving metal knight should find anything substantially wrong with that.

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Geoff Tate's rendition of 'Operation: Mindcrime' never gets old for San Antone

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Geoff Tate's rendition of 'Operation: Mindcrime' never gets old for San Antone

As long as there exists the original voice of one of rock's most iconic albums, and he's willing to sing it in its entirety, San Antonians will always turn out to hear it live. Even if the rest of the original band has dissolved.

Move over, death and taxes. You have company in the "guaranteed" department. The latest performance of Queensryche's Operation: Mindcrime came Friday night at the Aztec Theatre when Geoff Tate brought a mostly unheard-of version of his band of the same name to a packed-to-the-rafters Aztec Theatre.

Never mind that Queensryche said after the release of 1991's Operation: Livecrime that tour would be the only time fans would hear the album completely played. Or that the band played it in 2006 at the Majestic Theatre back-to-back with that year's Operation: Mindcrime II, complete with a theatrical representation of both. Or that the group released the 2007 double live Mindcrime at The Moore from its hometown of Seattle. Or even that Tate used an outdoor show at HemisFair Park in 2013 and one of his two Aztec visits in 2014 to celebrate the album's 25th anniversary. 

This time, the 30th-year commemoration came four years after Tate told ATM, and other outlets, "The past is over" and that he was not as enthused about playing Queensryche's older, seminal material because he was focused on evolving as an artist (watch here). Friday's show also came with Tate fielding an entirely different lineup of international musicians from those two Aztec concerts. 

But with Tate behind the mic, and singing as impressively as usual, none of that mattered. Neither did the fact that the previous Alamo City performance of Mindcrime came with the likes of Austin native John Moyer of Disturbed on bass, former Hurricane guitarist Robert Sarzo and drummer Brian Tichy (Whitesnake, The Dead Daisies). This time, a roster of 20-somethings such as guitarist Kieran Robertson of Scotland, bassist Jack Ross of Scotland and drummer Josh Watts of England joined keyboardist/guitarist Bruno Sa of Brazil and Canadian Scott Moughton on guitar. Moughton, in fact was the only member of Tate's band here for his previous visit Feb. 20, 2016, at Alamo City Music Hall. 

Despite the band being unknown, it was enthusiastically accepted by the Aztec's contingent. Even with Live Nation and the venue giving away its share of tickets, the turnout was just as impressive as the performance especially considering The Black Dahlia Murder and Whitechapel were co-headlining a two-stage concert at The Rock Box with Fleshgod Apocalypse.

And Tate wasn't the only member of his family on stage.

Emily Tate, who sang the father/daughter "Home Again" duet from the American Soldier album in 2007 at Sunken Garden Theater, now fronts Till Death Do Us Part. Wasting little time in telling the audience she is "Geoff's daughter" -- following opening track "Watch Me Burn" -- Emily Tate and her band were allotted a seven-song set after local openers Gandhi's Gun.

It may also have been one of the few times in rock history the opening act received the same amount of stage space as the headliners. Such affordability confused some in the audience, who were waiting for Geoff Tate's band to take the stage after 9 p.m., only to discover Till Death Do Us Part was going to take advantage of the wealth of room. The group also featured Ross and Robertson making their first appearances of the night before eventually pulling double duty in the latest rendition of the band Operation: Mindcrime. Robertson went so far as to sprint with his guitar from one side of the stage to the other twice over, propelling his leg off the wall before heading the other way. Robertson is also the boyfriend of Emily Tate, and the two joined together on third song "Cannon Ball."

After approximately a 30-minute break, Geoff Tate's band came out (55-photo slideshow below). The smooth-singing vocalist made his way onto the stage by strutting into "Revolution Calling." Tate and his new mates continued all the way through to the completion of Side 1 (yes, the album hearkens back memories of cassette days) and "Suite Sister Mary," with Emily playing the song's namesake (ATM footage below). Geoff Tate's first spoken words to the crowd came next to a roar of approval before he matter-of-factly asked, "Shall we continue?" 

With that, "The Needle Lies" provided Tate's shortest tune yet most splendid performance when he held the final "cries your naaaaaame" for roughly 20 seconds. Of course, "I Don't Believe in Love" and "Eyes of a Stranger" (ATM footage here) provided more highlights and satiated those stuck in the past of Queensryche's catalog. 

As he also did in 2014 and 2013, Tate ended the night with four tracks from Queensryche's biggest-selling album, 1990's Empire: "Best I Can," "Silent Lucidity" (ATM Facebook Live video here)," the title track and finale "Jet City Woman." The total package had the audience of mostly 40 and 50-year-olds enjoying their trip down Memory Lane. It was a far cry from Tate's Thanksgiving Eve solo gig in 2012 outside Backstage Live when fans walked out dissatisfied with his playing of solo material even though he played more Queensryche songs than solo ones. Fans were even leaving during "The Killing Words" from 1986's Rage for Order -- proof they weren't as knowledgeable of his complete material as they should've been.

That wasn't an issue Friday night. Considering one of rock's most influential records, one in which vocalist and most listeners can recite in their sleep, was performed, that was as much a given as death, taxes . . . and Dr. X telling Nikki to kill Mary.

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Dio Disciples, area bands, honor icons -- planned and unplanned

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Dio Disciples, area bands, honor icons -- planned and unplanned

On an evening set aside to celebrate one of metal's most renowned vocalists, another fallen member of the industry was unexpectedly thrown into the reminiscing mix. But it was hardly a somber atmosphere.

Dio Disciples, containing three-fifths of Ronnie James Dio's band, headlined a three-stage bill containing a whopping 15 artists Saturday night at Quatermain's Pub in Live Oak. The celebration of the iconic singer's timeless music, however, came less than 24 hours after the stunning passing of Pantera, Hellyeah, Damageplan and Rebel Meets Rebel drummer and Fort Worth native Vinnie Paul, who was said to have died in his sleep at his Las Vegas home. He was 54.

While Dio Disciples chose strictly to honor their own former member who died of stomach cancer May 16, 2010, some of the local bands on the bill couldn't let at least a mention of Paul's name slide past. The drummer, whose brother "Dimebag" Darrell Abbott was murdered on stage by a deranged fan in front of Paul during a 2004 Damageplan performance in Ohio, was remembered in the biggest way by local artists Even In Death, who were joined by Helstar vocalist James Rivera on a rendition of "Cowboys From Hell" (ATM Facebook Live video here).

Of the 15 bands, nine were local tribute artists to various acts such as Yngwie Malmsteen, Testament, System Of A Down, Metallica, Linkin Park, Korn and Deftones. But don't refer to Dio Disciples as a tribute. Still containing Dio's guitarist Craig Goldy, drummer Simon Wright and keyboardist Scott Warren along with Malmsteen's former bassist Bjorn Englen and one of his former vocalists in Tim "Ripper" Owens (also formerly of Iced Earth, Judas Priest and others), the Disciples tore through a small cache of Dio's catalog from his solo band, Rainbow and Black Sabbath on the main indoor stage.

Playing for an hour and 14 minutes, Dio Disciples opened with "Holy Diver" before upping the ante on "Stand Up and Shout" (ATM Facebook Live video here). The usual hits such as "Egypt (The Chains Are On)," "Catch the Rainbow" and "The Last in Line" filled the pub before the group delved into Dio's Black Sabbath career. But not before Owens took a dig at Dio's predecessor in Sabbath, Ozzy Osbourne.

"You guys like Black Sabbath?" Owens inquired, adding: "The good Black Sabbath. The one with Ronnie. It's nice when the singer writes the songs." That elicited a smile from Goldy, something the guitarist had difficulty doing when Dio Disciples played the South Texas Rockfest at Sunken Garden Theater in 2011, a year after Dio's death. That show was filmed for a DVD that was never released, something Goldy discussed with ATM when his new side-group Resurrection Kings released its self-titled debut in 2016 (listen here). Owens also spoke to ATM prior to that 2011 show (watch here).

With that, Dio Disciples opted for rarely played Black Sabbath tune "Falling Off the Edge of the World" as opposed to the more popular "Neon Knights" or "Children of the Sea," a daring but not unwelcome decision.

In honoring Dio's music, Owens also made clear to state it was his opinion Dio is "the best singer ever." Of course, Owens is known for having replaced Rob "The Metal God" Halford in 1996 with Judas Priest -- an event that spurred the making of 2001 movie "Rock Star," which starred Mark Wahlberg and current Alter Bridge frontman Myles Kennedy, who spoke about that with ATM last year (listen here). Owens also said of Dio: "Ronnie loved the fans more than anyone I've ever met in my life. Wendy Dio is the same way. She's raised more than $2 million for cancer research."

Having taken the stage 41 minutes past its originally scheduled time of 11 p.m., and 11 minutes after its adjusted time of 11:30, Dio Disciples relegated its encore to only "Rainbow in the Dark," omitting the originally scheduled second one, finale "We Rock" (setlist in 65-photo slideshow below). Afterwards, the group shook hands with the audience before departing through the bar's side door (ATM footage below).

Rivera was perched atop the side-stage stairwell at one point during Dio Disciples' set but was not called up by the band. Earlier in the set, Owens acknowledged Rivera's presence in the pub, asking where he was so he could say hi later. But that didn't stop Rivera from making his presence felt.

After Rivera accepted Even In Death's invitation for any and all band members on the bill, including Dio Disciples, to join them for their tribute to Paul, the Helstar frontman took it upon himself to grab a mic during the intermission playing of tunes throughout the bar. For approximately 15 minutes, Rivera showed off his high-pitched screams while repeatedly singing the chorus of Angel Witch's eponymous 1980 tune. When Metal Church's "Gods of Wrath" came on next, Rivera sang the whole song, with some in the crowd knowing who he was and some not. At one point, Rivera said "I sang for this band" before being joined by Even In Death singer Sean Nations and Jessikill vocalist Jessica Marie Espinoza. When Rivera finally departed the stage, Dio Disciples' tour manager motioned for the soundman to turn off the mic.

Rivera recently injected himself into some controversy locally. Megadeth bassist David Ellefson was scheduled to play Bonds 007 Rock Bar on Sept. 28 as part of his "Basstory" tour. That gig was announced to have a pair of local singers join Ellefson and a tribute act or two showing support. However, Rivera got involved and reportedly said he wanted to be the singer. The show has since switched promoters and been moved to Fitzgerald's Bar, with Rivera taking part, while the previously announced local vocalists and tribute bands have been booted from the bill.

Meanwhile, the original local acts on Saturday's program in addition to Even In Death included Target 7, Konvxtion and War On Sunday. The latter kicked off the festivities on the second stage outside under a crisp and muggy clear sky after patrons who had made it inside were told to go back in line outside and re-enter 15 minutes after the festivities were scheduled to begin. The fans finally made it through about another 15 minutes later -- or by the time Beachside Manor, a non-metal act of teenagers and 20-somethings, had played to just yours truly and a bouncer on the patio third stage. War On Sunday, formerly a female trio that now includes male bassist Vee Riot, nevertheless played a full set that concluded with "FTJ (Fuck This Job)." Watch ATM footage here.

Through the promotional efforts of Jessikill and Sacred Star (Malmsteen tribute) bassist Arturo Knight -- who also brought Michael Angelo Batio to Bonds on May 25 (coverage here) and was able to bring Dio Disciples to town due to Jessikill having shared the stage during Owens' solo performance in 2016 (coverage here) -- and local guitarist Richard Reyes, the rare metal night at Quatermain's brought out many fixtures within the local scene, fans and musicians alike. There may have been too many bands on the bill and cramped quarters with technical difficulties on the patio stage. But all in all, more such occasions in Live Oak would be a welcome sight to the area's metal efforts.

And music to everyone's ears. Including to those high above who were honored for their love of metal.

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Stryper's yellow and black attack damns evil in righteously rockin' fashion

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Stryper's yellow and black attack damns evil in righteously rockin' fashion

Having flown the flag for 35 years of a metal sub-genre other bands of the early 1980s did not dare tread, Stryper set the bar when it came to heavy Christian rock music. In 2018, the yellow and black attackers continue to add to their legacy.

The latest example came Tuesday night at an overflowing Sam's Burger Joint, as Stryper unveiled tunes throughout its unique career in a riveting 1-hour, 45-minute performance. Continuing to push boundaries, Stryper's latest album God Damn Evil produced mixed connotations regarding the meaning of its title and whether the band was using its acknowledged maker in vain. It was the latest form of backlash from a band that tosses bibles to its audiences yet has been criticized for three decades by members of its congregation -- musical and otherwise -- for capitalizing on His name.

At Sam's, it was all about the music as Stryper rocked the stage like no other Christian band that has attempted to follow in its footsteps.

One question coming in was whether the group would open with, or even play at all, the new album's first single, "Take it to the Cross," a tune that sees singer/guitarist Michael Sweet test his high-pitched vocals like no other Stryper song. The answer was no, given that it would likely wipe out even his sensational voice if he sang it every night live. Instead, Stryper opted to open with its previous album's first tune "Yahweh" (setlist below).

Peculiarly, however, Sweet mere hours after the show described "Take it to the Cross" on his Twitter account as "our heaviest and best song to date." The song features death-metal background-vocal growls from Act Of Defiance bassist Matt Bachand, whose band headlined The Rock Box on March 8 (coverage here). It's the same venue Stryper sold out to 1,000 fans July 2, 2016, on the final night of its Fallen tour (coverage here) prior to returning three months later to Alamo City Music Hall for the 30th anniversary of To Hell With the Devil (coverage here).

This time, Sam's crammed in about a third of that contingent, with some sticking their heads into the doorway from the patio separating the music hall from the restaurant -- though Sweet made sure to acknowledge those folks too.

In both 2016 visits, Stryper was one of the few '80s bands that still maintained its original lineup. However, internal strife was beginning to rear its head at the onset of the "To Hell With the Devil" anniversary tour, which Michael Sweet addressed with ATM at the time (listen here) and eventually led to the second departure of bassist Tim Gaines.

Consequently, former Firehouse bassist Perry Richardson filled the void at Sam's, joining Sweet's other original cohorts in his brother and drummer Robert Sweet and guitarist Oz Fox. It's going to take more than a week or two of touring for Richardson to be fully integrated and look comfortable with three members who have been there for 3 1/2 decades. In fact, his bright yellow bass was the only similarity he exhibited on stage with Fox and the Sweet brothers. He didn't speak at all to the crowd and even appeared dazed at times. He merely waved and smiled when band introductions were made. Even that moment proved funny, though, when Michael Sweet jokingly described his brother as "formerly of Roxx Regime," which of course was Stryper's original name.

While rocking out to classic favorites "Free," "Loud 'N' Clear" (ATM Facebook Live footage here) and "In God We Trust" along with new tracks "Sorry" (ATM footage here), "The Valley" and ballad "Can't Live Without Your Love," Stryper's most poignant moment came prior to 1990 ballad "Lady."

Fox dedicated the track to his wife because it was their anniversary. But for those who don't know, their story goes much beyond a dedication. Annie Lobert spent 16 years in the sex industry and wrote a book in 2015 called "Fallen: Out of the Sex Industry and Into the Arms of The Savior," coinciding with Stryper's album of the same name that year. Lobert now runs Hookers For Jesus, a ministry for prostitutes in Las Vegas. Fox asked those filming in the crowd to capture his dedication. ATM happily obliged (watch here).

It was also nice to see Stryper perform the track considering Michael Sweet did so during his solo acoustic show in 2015 at the now-defunct Korova, only to have unwanted feedback spoil the end of the song (coverage here).

"Big Screen Lies" (ATM Facebook Live footage here) from Fallen was the most surprising selection of the night, freezing many in the crowd. While it would've been nice to have Stryper bring back "Two-Time Woman" or even try their hand at "The Reign" from In God We Trust, the set did not disappoint. At one point, the group did a medley of short riffs of artists or songs inspired by their 2011 effort The Covering including Van Halen's "Ain't Talkin' Bout Love" (though they did "On Fire" on that album) and Iron Maiden's "The Trooper." Those came after Michael Sweet entertained with the riff from Ted Nugent's "Stranglehold" before declaring, "Robert doesn't know that one."

No Stryper concert would be complete without No. 1 MTV ballad "Honestly" and "To Hell With the Devil," the latter being the lone encore and ending the show at 10:01 p.m. In fact, Stryper performed 60 percent of its most successful album. Michael Sweet's vocals were arguably the most piercing they've been for any of the band's San Antonio performances, proving he's getting finer with age. And as usual, Robert Sweet and Fox were stellar even if they were said to be a bit under the weather. Once Richardson becomes fully acclimated, the sky's the limit for the band that honors a higher power.

Then again, it always has been.

SETLIST: Yahweh, The Valley, Calling On You, Free, More Than A Man, All For One, Lady, Revelation, In God We Trust, Sorry, Surrender, Soldiers Under Command, God Damn Evil, Big Screen Lies, Always There For You, Can't Live Without Your Love, Loud 'N' Clear, Honestly, The Way. Encore: Abyss/To Hell With the Devil

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Holiday Metalfest showcases desire of bands . . . and dearth of fans

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Holiday Metalfest showcases desire of bands . . . and dearth of fans

For all area fans of metal who shudder at the possibility of the Alamo City not being the Heavy Metal Capital it once was, look no further than the third annual Memorial Day Metalfest as the reason that debate exists in the first place.

And look not much beyond your own mirrors.

Because through no fault of the bands that hailed from all around Texas plus San Diego, Los Angeles, Phoenix, Tucson, Arizona, and Kenosha, Wisconsin -- and of course right here in their own backyard -- two days of unsigned heavy talent of various sub-genres went mostly unseen.

A paltry 100-150 people showed up last Saturday and Sunday combined at The Rock Box. Most of those were family members and friends of the artists who had driven hundreds of miles. Some of those rocking out at the barrier were the musicians themselves, taking time to enjoy the groups that came on before and after them. On the contrary, half of the small turnout spent a bulk of their time in the back of the venue checking out their gadgets.

And so it goes in 2018 when it comes to the social media and technological world in which metal is now forced to reside. At least one band had fun with that aspect of the fest (more on that later).

Local patrons don't entirely have the holiday weekend to blame for not making their presence known. At last check, the Comal and Guadalupe rivers weren't going anywhere, so tubing traditions could've taken a backseat for at least one day of the Metalfest. Even for just a couple of hours. Furthermore, the fest's first two years coincided with the city's biggest annual rock extravaganza, the River City Rockfest. But not this year. That has moved to Sept. 22.

You can't blame a lack of promotion. The Memorial Day Metalfest had been announced by FocusStar Media of San Antonio two-plus months prior, even offering free admission for active-duty military members and only a $5 charge for retired veterans on their holiday weekend. Non-military rockers could get a two-day pass for $15.

And you can't point fingers at the venue. The Rock Box's staff and management did what they could to ensure things ran smoothly and that the fest had a home after originally being scheduled for the smaller Fitzgerald's in anticipation of a much larger turnout. This time, it was the fans -- or lack thereof -- that let down all of the above.

Originally scheduled with a roster of 22 bands (11 each day), Stitched Up from Austin got lost finding the venue the first day, and San Antonio's Down Generation dropped out as the 1 a.m. band closing out the weekend. Alamo True Metal was the only photographic presence in the photo pit for 13 of the other 20 artists. In most cases regarding those taking offense to "the fall" of the heavy metal capital, that's 13 bands more than they accounted for in person.

A similar lackadaisical attitude toward concerts was exhibited when the Sons Of Apollo show May 7 was canceled due to low ticket sales but went off without a hitch the following nights in Houston and Dallas. That name may not be familiar to many fans, but that's because Sons Of Apollo is a new supergroup. At least four of its members -- vocalist Jeff Scott Soto, drummer Mike Portnoy, bassist Billy Sheehan and guitarist Ron "Bumblefoot" Thal -- should be familiar. Who cares if the show was scheduled for a Monday?

Alas, as with any concert or festival, the Memorial Day Metalfest should've been all about the bands and the music. This wasn't a festival with arena-type names. Rather, these were the bands that put out EPs and albums independently. The ones that sometimes scribble their setlists on a sheet of notebook paper. In other words, the ones with the hunger, passion and drive to busts their asses on stage because they're not only trying to "make it" but because they're always presenting themselves to first-time witnesses of their music no matter how many shows they play in the area.

So here's an alphabetical look at highlights of some of those 13 bands, with a mixed 125-photo slideshow of them below. Click the band's name to see ATM footage of them in action via Facebook Live videos:

AETERNAL REQUIEM

The local band appeared left for dead the past three years when singer/guitarist Austin Zettner saw the other members of his trio depart. Bassist Ozzy Alejo continued to play with Zettner for a time in Iron Maiden tribute band Seventh Son only, while drummer Alan Cisneros took his talent to Jessikill. But the fest saw the rebirth of Aeternal Requiem, with Zettner transforming it into a quartet. 

Semir Ozerkan, who gained U.S. citizenship recently from Turkey, is now on bass. John Catts has been added on guitar, and David Sanchez Jr. has replaced Cisneros behind the kit. Each of them joined the band this year.

Zettner, who is continually striving to evolve as a vocalist, is a guitarist first and foremost. He honed his skills on the axe in part due to an audition process in Finland with Wintersun, and he offers lessons locally at Alamo Music Center. Debuting a new tune "Rise" with older ones from the 2012 formation of the band such as "Invictus," Zettner meshed splendidly with his new mates as if he'd been on stage with them for much longer than one show.

If you missed their performance, shame on you. But you'll get a chance at a mulligan when Aeternal Requiem opens for Exmortus, Immortal Guardian and Hatchet on Tuesday, July 3, at Come and Take It Live in Austin.

A HOUSE DIVIDED

Bringing a hardcore style of metal to The Rock Box (and a Pinky & The Brain love of cartoon T-shirts), vocalist Paul Freedman and his group unveiled new track "Clarion Call" among their older tunes. But as the singer said in the ATM video clip above, if you were seeing the band for the first time, all the tunes were new to you. Not one to shy away from trying to get the most out of the audience, a less-than-satisfied Freedman at one time said, "Come on, guys, I'm up here screaming my fucking ass off" before the "crowd" became louder on the second chance. Look for the band to release a new EP this summer.

ARCHANGEL A.D.

Some of the festival's best talent came via groups whose members aren't of legal drinking age. But that didn't stop them from excelling on stage, and these thrashers from Edinburg, Texas, were no exception. They're fronted by bassist and singer Justin Lopez, who admitted to being incredibly tired after a show the previous night in Corpus Christi followed by an 8 a.m. wakeup call, the drive to San Antonio and a mid-afternoon set time at The Rock Box but looked and played no worse for the wear. Of course, when drummer Edward Vera Jr. pronounced himself un-tired and ready to thrash, Lopez gave him a friendly "Fuck you" for his efforts.

Promoter Matt Louderback, who had allotted all festival artists 40 minutes apiece, acknowledged that the band requested to go on a few minutes early because "they "have a lot of music to play." Check out original track "Blightning" in the ATM link above. Archangel A.D. also unveiled their Megadeth influence by impressively performing "Hangar 18" and "Killing is My Business . . .  and Business is Good" back-to-back. When a fan got carried away by offering "Mustaine don't play it that good" during the hear-a-pin-drop quiet between songs, a sheepish Lopez replied, "I'm not going to say anything."

IRONKILL

Another band of teens looking to defy what society wants teens to do, this hardcore female-fronted group from Phoenix would've woken the neighbors if there were houses next door to the venue instead of trains and a Dance Gavin Dance outdoor gig entertaining hundreds of other teens at the adjacent Alamo City Music Hall. Check out singer Ryann Spaulding, lead guitarist Reilly Mikus, rhythm guitarist Michael Montana and drummer Steven Montana in action at the above link on "Death Has Taken Its Toll."

KILLSTORM

It's a dirty job to close an all-day festival with a 1 a.m. set time, but somebody's gotta do it. These local rockers, who opened March 8 for Act Of Defiance and March 27 for Udo Dirkschneider on the same stage, did the honors with another 40-minute set. Click the link to watch singer Robb Steele, lead guitarist Scott Soto, rhythm guitarist Roger Resendez, bassist Steve Pena and drummer Ray Milbank in action on "Death of You." The group will play Fitzgerald's Bar this Friday.

LETHAL INJEKTION

Rap metal is a sub-genre that's not for everyone, but at least these guys from Tucson, Arizona, won't remind many of Limp Bizkit or Linkin Park. They have their own style, whether it's coming out blazing or slowing things down with dual vocalists/rappers. Get a taste of their music by clicking the band's name above.

SHADOW SPECTRUM

Founded 10 years ago by brothers David Webb (vocals/guitar) and Robert Webb (bass), these Austin metallers cranked out the metal on tunes such as opener "The Vril Society," eponymous "Shadow Spectrum," "Nocturnal Wolfpack" and closer "Perceptual Reality." Click the band's link to watch "Sea of Treachery." David Webb, he of the Tampa Bay Buccaneers fisherman's hat and loud Flying-V, was one of the musicians on hand at the barrier supporting the other acts.

THE SOUTHERN REVIVAL

Surprisingly the only festival act from just down Interstate-37 in Corpus Christi, these guys sounded as ferocious as singer Joe Wilmot's "Jaws" T-shirt looked. Click the link to watch "There Will Be Blood." They'll be back in town this Saturday, June 9, at Bonds 007 Rock Bar.

SYMBOLIC

Arguably the best band on hand in terms of the combination of musicianship, crowd interaction, quality of songs and heaviness, the San Diego natives displayed great heavy rock with a few melodies and dual guitars. Unveiling several songs from the May 11 release of fifth album 5ive such as "Alternate Breed," "Almost Human" (no, not the KISS classic) and "Absolute," singer Scott Bruce also mixed in the best bantering with those on hand, which included his sister and brother-in-law driving from Corpus Christi. Check out Bruce and cohorts Steve Potts and Louie Borja on guitar, Bobby Fernandez on bass and drummer Steven Elias above on newer non-album track "Every Time I Die." Bruce mixed in some humor, telling fans in the back to move up front with the disclaimer that while his band doesn't bite, Borja threatened to stab him on the bus (yes, he was kidding. We think). Bruce also referred to Borja and Fernandez as "ugly bastards." Symbolic is definitely a band that needs to be brought back to town as an opener for a more-established national act.

SYRUS

The local band that has undergone a variety of changes since its inception in the '80s underwent another prior to its fest performance at midnight. Veteran vocalist Rick Espinoza, last seen a couple years ago with now defunct Devilmaycare, has replaced Geoff Dee on the mic. Acknowledging to the audience after second song "The Hunt" that he was "nervous as shit" and "just trying to get the first one under my belt and move forward," Espinoza passed his test with flying colors. Espinoza has a peculiarly strange presence on stage, often bending down and meandering slowly around his bandmates as if he's disinterested. But as soon as he puts vocal cords to microphone, his high-pitched sounds pierce the air in an effortless way that's not far off from a young Rob Halford. Judge for yourself at the above link on "City of the Sky." Afterwards, guitarist John Castilleja confided in Alamo True Metal of his new singer: "He's a professional." Espinoza will test his nerves with the rest of his new mates next month in Germany when Syrus shares a festival stage with another San Antonian -- bassist Donnie Van Stavern and Riot V -- at the Headbangers Open Air Festival from July 26-28.

WRATHTONGUE

Fresh off opening for Soulfly and Nile on the exact same stage just four days earlier, this local quintet was arguably the heaviest band on the bill among the 13 witnessed. Click the link to watch "Feats of Strength" and "Blood Country."

XIII

This masked teen quartet fronted by ZekeXIII (Joseph) was hands down the most energetic of the artists ATM saw. Zeke headbanged his way across the platform, jumping up and down as if it was his group from Austin's first show in the Alamo City. Well, that's because it was. It was also the band's first with new drummer Psycho 95, a female behind the mask. Performing tunes such as "Blind," "Daddy Long Legs," "Asylum" and "Crazy," Zeke jumped off the stage and made a few friends while singing the finale. At one point, he saddled up next to a guy touting a shirt of local band Isolaydead (which wasn't on the fest, for the record) who was fiddling on his phone and unaware of the singer's presence for a few seconds. Zeke folded his arms and kept singing as he checked out the guy's phone screen while giving him a funny "OK, cool" thumbs-up.

The Memorial Day Metalfest may not have been an entirely typical representation of the local metal scene as far as the paying customer was concerned. But for one weekend, at a two-day event no less, San Antonio's display of the locals supporting all types of metal, from all around the country, was more fall than rise. Luckily, the bands on stage were just the opposite.

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Master of shred, slew of locals highlight fiery night of metal

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Master of shred, slew of locals highlight fiery night of metal

When a dose of flaming heavy metal is needed to kick off holiday festivities, you call on arguably the fastest guitarist on the planet. Go ahead and toss in another axeman who looks up to him and is following a similar path on the instrument. A fire breather doesn't hurt the cause. Neither does a vocalist whose name is Flame and boasts a "voice" from the Ukraine.

Add it up, and Friday night proved to shred in more ways than one as Michael Angelo Batio brought his double guitar concoction and lightning quick over/under ambidextrous technique to Bonds 007 Rock Bar for Memorial Day weekend.

The evening also served as a multi-faceted occasion for direct support local act Jessikill. Bassist Arturo Knight promoted the show, bringing Batio to town for the first time since he played the then-Tequila Rock Bar in 2015 and held an instructional clinic at Sam Ash Music store in 2014. Guitarist Jyro Alejo, who met Batio at that clinic shortly after having unleashed a YouTube video of himself covering Batio's "No Boundaries" instrumental, was also celebrating his birthday. And oh by the way, Jessikill unleashed debut full-length album Another World for its official CD release party (the album had been available on Spotify several weeks prior). Alejo's cake, presented by Bonds owners John and Dirce Eguia, was decorated in the album cover.

Proving the artists could have their cake and shred it too. But it wasn't the only presentation of the evening.

Knight and Batio raffled off an electric guitar to one lucky fan, who held it aloft while Batio autographed it (see 115-photo slideshow below), capping off an electric night in general. Opening acts Wulfholt, Trejo, Jason Kane & The Jive and Down Generation warmed things up for the first 3 1/2 hours (ATM Facebook Live videos of each available here), as did a fire-breathing female entertainer who could've literally burned the house down but thankfully didn't.

Down Generation, led as always by drummer and founder Jason "Shakes" West and vocalist Mauricio "Malls" Adan, revealed that new tracks would be coming this summer as they rocked Bonds to their mainstays such as "Down Generation," "Lose it All" and "Self-destruction." New guitarist Steven Bernal teamed with Kurt Thompson, Adan's bandmate in cover band Chill Factor, and they were joined by fill-in bassist Orry Zickefoose of Enceladus. Though the band was scheduled to end the two day Memorial Day Metalfest at 1 a.m. Sunday night at The Rock Box, Down Generation pulled out of that event, making the Bonds appearance the only chance to catch them over the holiday.

Jessikill, led by its namesake vocalist, along with Alejo, Knight and drummer Alan Cisneros performed one of its few shows that featured all-original tracks. Leaving the covers and tributes at home, this gig was all about taking that next step now that Jessikill is officially a recording artist after more than five years of putting together its material.

Newer tunes such as pulverizing album opener "Dead of Night," which follows keyboard intro "Evil's Warning," segued into "Save Me" and the title track to Another World. Knight took over lead duties as he always does on older offering "The Beast," which appears on the group's 2015 Metal Knights EP and whose songs have joined forces with the fresher ones to comprise the new album. The track also features Alejo's fastest solo, which he revealed is 658 notes in one minute.

Was 666 too much for "The Beast?"

Not to fret. It was time to shred. Over, under and upside down.

Batio began innocently enough, for him, with a few instrumentals on a "regular" guitar. Known for strictly instrumental performances and story-telling between songs, Batio somewhat surprisingly only shared one anecdote. But it was an extra meaningful one to Texas, as he recounted how he met the late "Dimebag" Darrell Abbott before dedicating a set of Pantera riffs to him.

Batio also churned out some Metallica, "especially the Cliff (Burton) era," though he also mixed in "Enter Sandman" among "For Whom the Bell Tolls," "(Welcome Home) Sanitarium" and "Master of Puppets" (ATM footage here). Batio went so far as to say the Bells riff "changed my life." Watch and listen to Batio tell more stories during our 2015 interview here.

Batio then took a seat for a couple of acoustic covers as he introduced Ukrainian vocalist Marsy Flame. With reality show "The Voice" to her credit, Batio revealed that Flame is on her first tour of the States. As the crowd welcomed Flame, and undoubtedly took note of her black leather "flaming" pants adorned with "69" and "2 hot" on either leg, she joined Batio for "Gotta Run" (ATM Facebook Live footage here), Jefferson Airplane's "Don't You Want Somebody to Love" and Blondie's "Call Me" as Batio demonstrated a more eclectic side. Ironically, Batio sang backup on the acoustic tracks after acknowledging during his previous visit that he's only cut out vocally in a backup sense while bashing Joe Satriani's decision to be a lead singer on his 1989 album Flying in a Blue Dream (coverage here and video here).

Of course, the former Nitro axeman saved his best for last, unveiling the double guitar and his simultaneous skills with both hands. Starting out low, Batio held the instrument upside down while fiddling away to famous riffs of Jimi Hendrix, Deep Purple, Led Zeppelin and Ozzy Osbourne before raising it slowly over his head as he kept pounding out the notes (ATM footage below). Flipping the conjoined guitars back to their original level, Batio closed out the night to a shredding version of cheers from his fans.

On a weekend that honored those who served past, present and future for Americans, Michael Angelo Batio and his guests served up a uniquely fun night of metal that was fiery in more ways than one.

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Prong, Helmet provide S.A. with double dose of underground NYC scene

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Prong, Helmet provide S.A. with double dose of underground NYC scene

As part of the New York City underground scene in the early 1990s, Prong and Helmet carved a niche of heavy metal that forged a path others tried to emulate but few could replicate. The Alamo City, and the White Rabbit in particular, created its own underground scene in the 1980s and '90s, one that definitely couldn't be copied.

After all, there can only be one Heavy Metal Capital.

Whether that moniker continues to be appropriate, or even accurate, in 2018 is always up for debate. But on Friday night, the two scenes joined forces when Prong and Helmet co-headlined San Antonio's most well-known underground venue.

The name may have changed to Paper Tiger in 2016. But the dark, dingy atmosphere and general-admission conglomeration of sweaty metalheads uniting for the love of their favorite bands remains the same. In essence, it's a venue Prong and Helmet could appreciate. And the New York duo expressed their gratitude by rocking the Tiger to its core.

Catching some off guard, the bill only featured those two acts. No local bands or support of any kind. And even though it was a Friday, Prong went on stage at a ghastly early 8:30 p.m. -- a half hour after the gates opened. It may not have been quite as early as Prong's 12:30 p.m. set four years ago at Knotfest in San Bernardino, California. But hey, that was a three-day festival of more than 50 bands. Somebody had to go on first.

In this case, Prong was rarin' to go from the start, even if fans were still arriving -- and paying the admission fee -- while Helmet was into its set. Taking pride in having released five albums in the past six years (though he told the crowd it was six for six), Prong singer/guitarist Tommy Victor, by far the only remaining original member of the trio, is touring in support of Zero Days. Mixing two new songs, including show opener "Forced Into Tolerance," with classic staples "Prove You Wrong" and "Beg to Differ," Victor joined bassist Jason Christopher and hair-whirling drummer (and Selena T-shirt wearing) Art Cruz into pulverizing the Paper Tiger with its East Coast brand of metal.

Victor, who told ATM in 2016 he preferred playing the older, more commonly known tunes because, "I don't like confusing people in a live situation" (listen to interview here), also had confided in ATM that he couldn't quite remember ever having had a great show in San Antonio. In 2014, Victor went so far as to say his most prominent memory of the Alamo City was "that bad barbecue pit by the White Rabbit."

Though Prong has visited a few more times since that recollection in large part to recent records X: No Absolutes, Ruining Lives and Carved Into Stone -- and even though the pit of a different kind is still there - Friday's gig was another chance for San Antonio to make amends in Victor's mind. At one point, he told the crowd to "Wake the fuck up" before adding with a smile, "Come on, this is San Antonio!" Surprisingly, multiple efforts to incite mosh pits yielded only slight activity on tracks such as "Unconditional" and "Cut and Dry" (ATM footage below), through no shortage of effort by Victor and Christopher. In the crowd's defense, that may have been partly due to the fact a flashlight would have better aided at times their view of the band in the dark confines of the Tiger, let alone to avoid blindly crashing into one another.

Recent tunes such as "Ultimate Authority" meshed with mainstays "Whose Fist is This Anyway?" and traditional finale "Snap Your Fingers, Snap Your Neck" (ATM Facebook Live footage of both available here). But before you knew it, the clock had struck 9:30 p.m. on a Friday night. And Prong was done.

That meant Helmet was going on as a 10 p.m. headliner. Like Victor, singer/guitarist Page Hamilton is the only remaining original member of his band. Though Helmet's style varies from Prong's, both bands influenced their city's scene in a big way.

Helmet, of course, broke out of the underground aura in 1990 thanks to its 1992 MTV smash video "Unsung." The slightly smaller, though no less significant, success of 1994 album Betty has also enabled Helmet to exist 25 years later, outlasting the video channel  -- at least in the form we all came to know and love before "Real World" and "Jersey Shore" -- that helped spawn the group's mainstream exposure.

Admittedly, a 10-hour-plus stint without food rendered one person to depart halfway through the set, prior to the scheduled penultimate performance of "Unsung" (setlists in slideshow). Helmet doesn't come around as often as Prong, which made that necessity unfortunate.

But for at least one night, two of New York's best from the subway level infiltrated South Texas' underground scene with a double jolt of metal. Who cares if it's "nu metal," "hardcore metal" or metal that melts your mother's face off? Just call it intense metal, any way you slice it. Even if it ended earlier than some headlining acts begin.

Who knew there was a curfew in the underground too?

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Metal gods fortify their fortitude via firepower of molten classics

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Metal gods fortify their fortitude via firepower of molten classics

Like a burst of firepower blazing through the Freeman Coliseum, Judas Priest made a resounding statement during the final stop of the first leg of its North American tour Tuesday night. No, it wasn't its traditional "The Priest is back!"

It was "The Priest Will Be Back."

But there was no sense in making such a bold declaration if Judas Priest hadn't spent the previous 1 hour and 45 minutes delivering the goods. Coming into a tour minus original guitarist Glenn Tipton due to Parkinson's Disease and with some fans the world over continuing to lament the 2011 retirement of cohort K.K. Downing that led to the inclusion of replacement Richie Faulkner on a tour billed as "Epitaph," fans could be excused for thinking Judas Priest was on the demise.

Around the Alamo City, that was even more so. The Priest skipped San Antonio on its last tour, opting instead for Austin's Fun Fun Fun Fest in November 2014 (coverage and interview with Tipton and Faulkner here) and the Cedar Park Center six months later (coverage here).

But there was one small problem with all of that. Someone forgot to inform Judas Priest its time was done. They're not called the metal gods for nothing, after all. Gods are immortal, aren't they?

And did someone say Tipton was MIA? Not so fast. Having skipped the tour other than a special appearance in New York, Tipton did a Texas three-step of cities and encores, performing a British Steel trifecta of "Metal Gods" (ATM footage below), "Breaking the Law" and "Living After Midnight" in Dallas, Houston, and the city in which Judas Priest received its first taste of American radio airplay in the early '80s.

Once the colorful curtain adorned with Priest lyrics dropped, Halford, Faulkner, Andy Sneap, bassist Ian Hill and drummer Scott Travis unveiled the title track to Firepower, with Halford's silver jacket to match (see 74-photo slideshow). A parade of classics followed with "Running Wild," "Grinder" and the surprising inclusion of "Sinner" beckoning an early case for a sore throat the next morning at work.

When Judas Priest headlined the Verizon Wireless Amphitheater in 2005, it occurred on the same night as the Spurs' championship River Walk parade and featured Halford -- a resident of Phoenix -- performing the encores in a Tim Duncan jersey. At the 2008 Metal Masters show with Heaven And Hell, Motorhead and Testament at the same venue, Halford celebrated his birthday by smashing the cake into his face himself.

On Oct. 12, 2011, the group kicked off the second leg of its U.S. "Epitaph" tour at the AT&T Center, marking Faulkner's North American debut with the band. Tuesday's show was its first visit since and resulted in arguably the most diverse setlist of the bunch. Although it was unconscionable Judas Priest omitted its best song "Victim of Changes," if you were to be told prior to the show that in its place you'd hear "Sinner," "Bloodstone" (ATM footage here), "Saints in Hell," "Running Wild" and "Freewheel Burning," you'd gladly take it. The fact Halford was in hellaciously rippin' form made it that much sweeter.

And that was before Judas Priest pleasantly spoiled the night for those who choose to look up setlists prior to a concert by unveiling a tune it hadn't performed since 1981. Halford introduced another song from "Victim of Changes' " 1974 effort Sad Wings of Destiny, revealing that "Tyrant" was about to be unleashed anywhere for the first time in 37 years. He was half right. Halford's eponymous solo band performed it at Rock In Rio on its 2001 double live Live Insurrection offering, which features San Antonio drummer Bobby Jarzombek -- who was looking on from the front of the Coliseum.

Sneap, a mega-producer who worked on Firepower, was brought out by direct support act Saxon prior to filling in for Tipton (coverage here). To show he wasn't chopped liver on stage, Sneap was given the lead extended solo, added to by Faulkner, on "Hell Bent For Leather" while Halford enjoyed himself on the Harley (ATM footage here). Other highlights included regular set finale "Painkiller," with Travis playing to the crowd as to where the band "chose" to end its tour (ATM footage here).

After Halford paid homage to the late San Antonio disc jockey Joe Anthony by declaring each of the band's visits is "special," there was only one thing left to do.

Without any fanfare or words, Tipton appeared on the big screen and in the flesh as he took in the roars of approval to begin the encores. Parkinson's couldn't keep the 70-year-old guitarist down for the entire tour, and the Alamo City reaped the benefits of his seemingly improving condition as well as the tour scheduling.

As the six -- yes, six -- members of Judas Priest held hands high following "Living After Midnight," Halford bellowed the words everyone wanted to hear but may have thought were too good to be true: "The Priest Will Be Back." If they weren't convinced hearing it from the Metal God himself, the big screens put it in writing as fans went home happy, some still singing "Bloodstone" in the hallways.

Those who skipped the evening over doubts about Priest's well-being are undoubtedly still kicking themselves. So consider the band's final declaration a spoiler alert and warning sign not to make the same mistake.

Judas Priest doesn't need a stinkin' Rock N' Roll Hall of Fame induction to cement its legacy. Its place was etched in stone long ago in helping to shape the Heavy Metal Capital in the '80s. So if indeed The Priest will be back, it's sure to bring plenty more firepower along. And that's not something you'll want to miss again.

SETLIST: Firepower, Running Wild, Grinder, Sinner, The Ripper, Lightning Strike, Bloodstone, Saints in Hell, Turbo Lover, Freewheel Burning, Evil Never Dies, Some Heads Are Gonna Roll, Tyrant, You've Got Another Thing Comin', (The Hellion)/Electric Eye, Hell Bent For Leather, Painkiller. Encores (with Glenn Tipton): Metal Gods, Breaking the Law, Living After Midnight

 

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Bolt of Saxon jolts heavy metal thunder into Freeman Coliseum

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Bolt of Saxon jolts heavy metal thunder into Freeman Coliseum

Throughout the 35-plus years San Antonio favorites Saxon have been making the journey via its British homeland, the band has performed at virtually every venue in town. Recent appearances, however, have taken place in parking lots, burger joints and dark halls with poles blocking views.

Hardly appropriate for New Wave of British Heavy Metal stalwarts. But not this time.

Providing direct support to British brethren Judas Priest on Tuesday night, Saxon finally received a chance to play before several thousand at the rarely used, not-a-bad-seat-in-the-Freeman Coliseum on the final night of their tour with opening act Black Star Riders. And as expected, Saxon made it count in a big way.

Touring to promote latest effort Thunderbolt, vocalist Biff Byford and Co. came out rocking on the title track. Alternating new and classic tunes for the first half of their 13-song set, Byford and guitarists Paul Quinn and Doug Scarratt, bassist Tim "Nibbs" Carter and drummer Nigel Glockler got the audience rockin' on favorites "Dallas 1 p.m." and "Crusader" (setlist below).

For Thunderbolt track "They Played Rock N' Roll," Byford explained it was written about their friends Motorhead (ATM footage here), hearkening memories of the late Lemmy Kilmister. Saxon and Motorhead will forever be linked in various ways, having toured together many times and with Byford and Kilmister having collaborated musically. As far as San Antonio is concerned, the tie-in goes deeper. Kilmister walked off stage at Emo's East in Austin in 2015 three songs in, citing his declining health while declaring, "I can't do it anymore." The next night's scheduled show at the Aztec Theatre was canceled that morning, and rather than head home or to the next city, Saxon headlined a makeshift yet successful Plan B show at Sam's Burger Joint (coverage here).

As is his custom, Byford, who spoke to ATM during last year's visit (watch here), referred to San Antonio as "the greatest metal city in the world." As if to prove it, he whipped out his phone, took a selfie video of the audience and declared, "Hey, Houston!" to show the H-town three hours to the east what it was missing.

Byford and Carter were whirling dervishes of headbanging throughout, aided largely by Glockler's thunderous work on the drums. Glockler, who overcame a brain aneurysm several years ago, moved to Austin in 2016 and joined Riot V on stage at The Rock Box that year to perform "Denim and Leather" (coverage here). On Tuesday, he expressed his affinity for South Texas by wearing a Buc-ee's T-shirt.

Quinn and Scarratt were joined on the axe by renowned producer Andy Sneap on "20,000 Feet," which Byford said hadn't been played up to that point on this tour. Sneap, of course, filled in for Judas Priest's Glenn Tipton, who missed most of the tour due to Parkinson's Disease but made a special three-encore appearance (stay tuned for coverage).

All in all, a Saxon appearance in San Antonio never gets tiring. Even in a non-headlining role, the latest showing was one to remember. In denim, leather or any other metal clothing of choice.

SETLIST: Thunderbolt, Power and the Glory, The Secret of Flight, Motorcycle Man, Nosferatu (The Vampire's Waltz), Crusader, They Played Rock N' Roll, Dallas 1 p.m., 20,000 Feet, This Town Rocks, Wheels of Steel, Denim and Leather, Princess of the Night. 

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Black Star Riders add fuel to heavy fire for Judas Priest tour finale

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Black Star Riders add fuel to heavy fire for Judas Priest tour finale

Opening a North American arena tour for British metal heavyweights Judas Priest and Saxon would seem a tall order for any artist. Particularly ending the trek in a city that reveres its classic metal.

Black Star Riders, however, can more than handle it. Some may think of the Irish/American concoction as a supergroup. Others may view BSR as a reincarnated Thin Lizzy. The truth is that with each album, Black Star Riders is forming its own sound and legacy while continuing to honor a taste of its Thin Lizzy past. Led by Thin Lizzy guitarist-since-1974 Scott Gorham and armed with Irish vocalist Ricky Warwick, Black Star Riders gave the Freeman Coliseum a dose of its music while supporting two of metal's giants Tuesday night on the tour finale.

For Black Star Riders, which is touring behind third BSR album Heavy Fire, it marked the second Alamo City visit under its newest moniker, which is meant to distance itself from its storied past out of respect for the late vocalist Phil Lynott. But Black Star Riders'/Thin Lizzy's previous visits were interesting in their own right.

BSR's first taste of San Antonio came in 2014 when it kicked off its U.S. tour at the Aztec Theatre. Prior to that in one of its final shows as Thin Lizzy, Warwick, Gorham and guitarist Damon Johnson kicked off Judas Priest's U.S. tour Oct. 12, 2011 at next door's AT&T Center -- which just happened to be Priest's previous San Antonio visit. This time, Robbie Crane, who spent time in Ratt, was on bass for BSR with Chad Szeliga -- formerly of Breaking  Benjamin and Black Label Society -- providing the drumwork.

Opening with the title track to BSR's 2013 debut All Hell Breaks Loose, BSR came out blazing. Second track and Thin Lizzy mainstay "Jailbreak" got things rolling further, and after the title track to Heavy Fire plus another classic in "Rosalie," Warwick demanded the seated onlookers simply waiting for Priest and Saxon get on their feet, reminding them they were at a rock show. Get a taste of BSR in action by watching ATM footage of another All Hell Breaks Loose track, "Bound for Glory" below, in which Warwick refers to Crane as "my favorite bass player in the whole fuckin' world" (sorry, previous BSR bassist Marco Mendoza).

Black Star Riders deserves credit for not performing predictable Thin Lizzy classics "The Boys Are Back in Town" or "Whiskey in the Jar." Both were inevitable. At least one would have appeared mandatory. But the band can be offered kudos for not using up its limited time on stage with two overplayed songs, opting instead to turn fans on to its modern sound without sacrificing all of its past.

Black Star Riders was more than a capable choice to set the stage for Judas Priest and Saxon. It was the correct one. And it's only going to get stronger as a unit the more it continues having as much fun playing live as it did at the very rarely utilized Freeman.

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Bret Michaels ensures Oyster Bake is nothin' but a good time

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Bret Michaels ensures Oyster Bake is nothin' but a good time

For all the critics and even fans who say artists from the '80s are no longer relevant or past their prime, one need look no further than the frontman of Poison to know why that era of rock and metal existed in the first place. That's because Bret Michaels sticks to a simple, but often unused, formula:

Good, fun songs + lively stage presence + honoring military veterans + "zero plugs" = nothin' but a good time.

Michaels was living proof as he headlined last Saturday's 102nd annual Fiesta Oyster Bake at St. Mary's University. From the moment he set foot on stage in front of thousands of food-on-a-stick and turkey-leg chewing, beer swilling, carnival riding fans of all ages, Michaels was hell bent on getting the party started.

He blazed through a trail of Poison classics. He vowed he would have "zero plugs" about his various projects. He concentrated on philanthropy, announcing he had helped build mortgage-free homes as part of Operation: Homefront before bringing up members of the Armed Forces to enjoy his performance of "Something to Believe In" (ATM footage here). Michaels also announced he'd be making a $10,000 donation to San Antonio charities. And after ending with KISS' "Rock and Roll All Nite," the band auctioned off Michaels' saliva-fueled harmonica and American-flag cowboy hat to more bidding fans.

Everything that happened in between wasn't exactly chopped liver either.

Tearing through Poison's smash "Talk Dirty to Me," the Bret Michaels Band hit the stage with fun ferocity that never let up. Michaels then declared that the fans requested him to reinsert the title track to Poison's 1986 debut into his set, as he rocked "Look What the Cat Dragged In."

For third song "Sweet Home Alabama," Michaels surprisingly dragged (or at least called up) Alamo True Metal and a pair of other photographers on stage. He pointed to the festival's patrons across the campus and instructed yours truly by saying, "This is what matters, right here" as cameras snapped away.

In introducing the Lynyrd Skynyrd cover, Michaels said it was off his "new album" True Grit -- which dropped in 2015. No matter. Michaels was having arguably more fun than anyone to remember the exact year at that precise moment. Well, guitarist Pete Evick may have given him a run for his "fun" money, rekindling Scorpions counterpart Rudolf Schenker with how wide, and often, Evick opened his mouth while jammin'.

In addition to drummer Mike Bailey, Michaels' most intriguing and recognizable bandmate was bassist Eric Brittingham, the original bassist of Cinderella whose former frontman Tom Keifer just happened to perform prior to Michaels with his own solo band (coverage here).

When all was said and done, fans relived "Every Rose Has Its Thorn" and another cover in "Your Mama Don't Dance" (setlist in slideshow). Although he left out other fun tracks such as "Back to the Rocking Horse," "I Want Action" and "Fallen Angel," Michaels probably would've required another 60-90 minutes from St. Mary's to truly span his musical career.

Michaels mentioned that he and his original Poison bandmates would be playing The Woodlands in June with Cheap Trick and Pop Evil, and that he was "working on San Antonio."

There was no mention of "Rock of Love," "Life As We Know It" or any of Michaels' reality TV shows. No wasted breath on Michaels once having been a winner of now-President Donald Trump's "The Apprentice." Not even a recollection of when an emergency appendectomy hours before he was to take the stage at SeaWorld San Antonio in 2010 forced Michaels to cancel a show he would make up six months later thanks to the doctors and nurses at Christus Santa Rosa.

Instead, the Fiesta Oyster Bake was "Nothin' But a Good Time." The way it was meant to be. Orchestrated by a guy who still knows how to rock any house with the best of them. And continues to party like it's 1986.

 

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Tom Keifer's modern Cinderella story on solid ground at Oyster Bake

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Tom Keifer's modern Cinderella story on solid ground at Oyster Bake

The more things change for Tom Keifer, the more they stay on solid ground. And every concert the Cinderella frontman and chief song writer plays marks a solid victory for a solid musician whose career has been derailed -- but not gone down for the count -- multiple times by a partially paralyzed vocal cord. 

The latest San Antonio example came at last Saturday's 102nd annual Fiesta Oyster Bake as Keifer brought his solo band to St. Mary's University accompanied by a plethora of classics, particularly from 1988 sophomore album Long Cold Winter. Keifer, who headlined The Rock Box last November (coverage here), returned five months later with a vastly different setlist while still supporting solo album The Way Life Goes.

Opening with 1991 Cinderella track "The More Things Change " -- which he didn't play at The Rock Box -- Keifer more than held his own vocally while of course displaying his skills on guitar and piano. The latter came during a duet of 1988 MTV hit ballad "Don't Know What You Got (Till It's Gone)" with wife Savannah Keifer (ATM footage here). Keifer brought back a slew of other tracks from Cinderella's most bluesy-sounding album, the follow-up to its 1986 metal debut Night Songs. The latter is what helped the band get discovered and taken on tour by Jon Bon Jovi, and the reason it accumulated fans in the first place. But the follow-up is where Keifer's musical heart has consistently been.

As further proof, "The Last Mile" and "Bad Seamstress Blues/Falling Apart at the Seams," two more Long Cold Winter tracks not played here last year, were music to the ears of Cinderella diehards.

Those among the thousands of the carnival and food festival-goers who only knew the hits were left to look on without much singing. Or perhaps they were simply gazing at Savannah Keifer and fellow backup vocalist Kendra Chantelle. The female presence crooned tunes throughout the set and broke out the maracas, while Chantelle -- a Season 10 contestant on "American Idol" -- had fun with her tambourine during finale "Gypsy Road" (watch below).

Not to be outdone were guitarist Tony Higbee, bassist/harmonica player Billy Mercer, drummer Jarred Pope and keyboardist Kory Myers. Officially comprising the Tom Keifer Band, the group also unveiled "Solid Ground" and the title track to Keifer's latest. Night Songs staples "Shake Me," "Somebody Save Me" and "Nobody's Fool" were mandatory, delighting the audience that was back-dropped by dizzying carnival rides.

Keifer also showed his voice was in fine shape when he barked, "What the fuck's up with that?" regarding the Oyster Bake's barrier that separated the fans from the stage by nearly another zip code. Or at least 15 feet. He had company, as Drowning Pool vocalist Jasen Moreno echoed similar sentiments earlier in the day (coverage here). 

Keifer and Co. delivered another strongly entertaining performance while benefiting from the fact Everclear, which was supposed to perform after Keifer and prior to headliner Bret Michaels, did not even show up. A St. Mary's spokesman told ATM that Everclear, which is scheduled to play New Braunfels on May 18, missed its flight from Tucson, Arizona, and could not make it to the Alamo City in time, bumping Keifer's set from 5:30 p.m. to 7. Ironically, Michaels' solo band includes bassist Eric Brittingham. That's right. Keifer's original bandmate in Cinderella who stands next to him on Night Songs' cover.

Keifer offered up the title track to Long Cold Winter, arguably Cinderella's bluesiest and slowest tune. Though it didn't jive on a humid spring day at a family-inspired festival, it was still nice to hear another classic that differed from The Rock Box show. Along with covers of the Rolling Stones' "Tumblin' Dice" and The Beatles' "With a Little Help From My Friends," Keifer and his band exhibited not only fun and entertainment at a festive setting.

Its leader also displayed the power of never giving up on achieving what you want to do. In Keifer's case, that's as good a Cinderella story as any.

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Drowning Pool shows fellow Lone Star metalheads how to rock Oyster Bake

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Drowning Pool shows fellow Lone Star metalheads how to rock Oyster Bake

Hailing from Dallas has afforded Drowning Pool the opportunity to visit San Antonio more often than many bands. From St. Patrick's Day parking lot gigs, to small bar shows such as Fitzgerald's two years ago (coverage here), to Saturday's performance before thousands at the 102nd annual Fiesta Oyster Bake, the Texas rockers have always marked their territory in the Alamo City with pride.

Even with the surprisingly early set time of 4 p.m. at St. Mary's University's annual Fiesta kickoff to raise money for scholarships, Drowning Pool came and rocked as it usually does. While led as always by original members C.J. Pierce on guitar, bassist Stevie Benton and drummer Mike Luce, frontman Jasen Moreno long ago reached no longer "the new guy" status. Moreno can pump up an audience with the best of them, and the Bake's outdoor festival setting that was back-dropped by dizzying carnival rides provided, well, the ideal backdrop. Get a taste of it with ATM Facebook Live footage of "Feel Like I Do" here.

Given the mainstream smash of inaugural single "Bodies" from 2001, it's easy to view the band as a victim of its own success. When an artist's debut yields a tune frequently played 17 years later during hockey fights and at other events, however, it's not exactly a bad problem to have in 2018. So even when Moreno introduced it with, "We're going to play 'that song,' " after the group had torn through second-most popular track "Tear Away," festival-goers were primed and ready. Though it seemed odd to hear a live version of "Bodies" without a mosh pit, that was easily the right call for the family-friendly Bake given the photo-pit presence of local and state law enforcement that has never taken too kindly to crowd surfing, or otherwise, on campus.

Nevertheless, Moreno made it fun by hopping off the stage, walking the 15 feet or so to the barrier, and sharing the song made famous by the late original vocalist Dave Williams with the fans (watch below). Ironically, the Oyster Bake was headlined by Poison's Bret Michaels, whose version of "Home" on the 2002 Hollyweird album sings in part, "Dave from Drowning Pool is here. He steals my women, and he drinks my beer."

So even though it would be an upset if Drowning Pool didn't end every concert for the remainder of its existence with the tune that made its career -- no matter how much new music it puts out henceforth -- there's another thing that likely won't change concerning its place in the metal game. 

The group's welcoming party in San Antonio will always be out in full force. As long as Drowning Pool feels just like its Texas brethren does.

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Powerman 5000 goes pop and 'New Wave' while rocking The Rock Box

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Powerman 5000 goes pop and 'New Wave' while rocking The Rock Box

It doesn't take long into a Powerman 5000 concert to know why vocalist Spider One has often said his veteran band has "more in common with Devo than Dio." Well, maybe minus the space hats. But that doesn't mean all three acts don't rock.

Only one of them was in attendance, though, last Thursday night. Powerman 5000 brought forth its own spacey outfits, hairstyles and robotic movements while entertaining a couple hundred dedicated fans inside The Rock Box.

Expanding on his quote when he spoke to Alamo True Metal for AXS.com last November upon the release of latest album New Wave (interview here), Spider One led the way as the band's only remaining original member -- by far. Filling a 65-minute set with songs spanning the group's nearly 30-year career, outlandish bassist Murv Douglas, lead guitarist Ty Oliver, brand new rhythm guitarist Erik Himel and drummer DJ Rattan played with laser-like focus.

Literally.

Taking the stage with glowing green lights affixed to their instruments, Powerman 5000 came out with "Nobody's Real" and "Invade, Destroy, Repeat" (setlist in photo gallery). "Super Villain" further got the crowd jumping along with the pogo stick-like antics of the band, and "How to Be a Human" rocked the house. New Wave's opening track, "Footsteps and Voices," received more than a sedentary reaction from the crowd, while "Free" (watch ATM Facebook Live footage here) earned its own level of audience participation. Crowd favorites "Supernova Goes Pop" and "When Worlds Collide" left those on hand on a high as well (ATM footage below).

Even when things bogged down outside of the band's control, Spider One and Co. took care of it. "Horror Show" nearly turned into the band's worst nightmare with about a 10-minute malfunction of Douglas' bass, forcing the group to keep the beat mid-song while Spider kept up the banter with the crowd. When the song got rolling again, Powerman 5000 injected "Sabotage" from the Beastie Boys and "Bulls on Parade" from Rage Against The Machine into the tune, as Spider told ATM in the interview five months earlier.

With New Wave being such a solid album, it was disappointing that "Footsteps and Voices" was the sole new track played, particularly given that "Cult Leader" and second scheduled encore "Sid Vicious in a Dress" were on the printed setlist. Even if Spider didn't come out wearing one, the latter track would have been entertaining in its own right. "David Fucking Bowie" could have found its way into the program too.

Playing its third gig out of six in as many nights in the Lone Star state -- after having played five Texas cities minus San Antonio last November -- Powerman 5000 did not lack for energy or enthusiasm. Perhaps their stamina is another space-like quality that has more in common with Devo.

Or maybe Powerman 5000 simply floats along weightless and timeless through the musical universe when theirs, and our, worlds collide.

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Feast of Michael Schenker Fest shreds through guitarist's career

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Feast of Michael Schenker Fest shreds through guitarist's career

When Michael Schenker renamed the latest incarnation of his solo band the Michael Schenker Fest, he wasn't kidding about the Fest part. But he could've also called it the Michael Schenker Feast.

Describing himself as a "trend-maker" when he spoke prior to the gig with Alamo True Metal (watch here), Schenker took to the stage last Saturday night at Vibes Event Center accompanied by seven other musicians. Celebrating his 40-year career that has spanned Scorpions, UFO and various factions of the Michael Schenker Group, the man behind the Flying-V guitar dazzled and delighted a packed house with a 30-song, 2-hour and 40-minute performance.

Playing chronologically with each of his solo vocalists over the years, Schenker opened with his traditional instrumental "Into the Arena" before welcoming the first of those singers, Gary Barden. From there, the assembly line of voices continued to churn out with Graham Bonnet, Robin McAuley and Doogie White. Also backed by bassist Chris Glen, keyboardist/guitarist Steve Mann and drummer Ted McKenna, the Michael Schenker Fest unloaded a slew of classics but also a good share of debut album Resurrection under the Fest moniker, which dropped March 2 via Nuclear Blast Records.

Barden, who was Schenker's original vocalist when the guitarist left Scorpions and UFO in 1980, and returned to MSG in 1983, danced and pranced his way through "Let Sleeping Dogs Lie" and the catchy "Cry for the Nations," plus "Attack of the Mad Axeman." 

Bonnet, McAuley and a very under-the-weather White graciously went "Into the Pit" with ATM before the concert on the third-to-last show of a month-plus tour. Bonnet, fired by Schenker after recording 1982 MSG album Assault Attack when he failed to make it through the first song of that tour's initial gig, reunited with Schenker in time for the Fest's DVD "Live Tokyo International Forum Hall" in 2017. A very candid Bonnet spoke about his past and present with Schenker during the interview, then went out and mesmerized vocally on three tracks from that album, particularly "Desert Song," which followed Schenker's lone Scorpions contribution of the evening, "Coast to Coast" (ATM footage of both here). Bonnet, also known for his time in Rainbow, Alcatrazz and Impellitteri, joined his vocal cohorts on new single "Warrior" (watch below).

McAuley had the best and most consistent pipes of the night, as well as the most diverse contributions. As the frontman of the late '80s and early '90s McAuley Schenker Group, his time with Schenker was known as the guitarist's most commercially MTV-driven portion of the mad axeman's career. But that doesn't mean they didn't have songs that rocked, particularly on the somewhat surprising inclusion of "Bad Boys" that kicked off McAuley's portion of the night. Following with "Save Yourself" and "Anytime," McAuley then let loose on the new album's opening track "Heart and Soul," the studio version of which includes a guest appearance from Metallica's Kirk Hammett, which Schenker also discussed pre-show. That segued into 1987 hit "Love is Not a Game."

From there, it was White's turn. Suffering immensely from a head cold that made him sound as if a pair of frogs were in his throat, White nevertheless gave it his all on new single "Take Me to the Church," which featured Mann's skills on the keys before Glen and McKenna began the rumbling on bass and drums, respectively. White, who also spoke of his time with Rainbow and Yngwie Malmsteen with ATM, offered up Schenker's dedication to Ronnie James Dio with "Before the Devil Knows You're Dead" from their Michael Schenker's Temple Of Rock band.

After the entire cast united for "Warrior," McAuley led the way on the part that always takes the audience back -- Schenker's slate of UFO songs. As usual, the highlight was Schenker's extended guitar solo on "Rock Bottom" (watch below), though McAuley's favorite "Shoot Shoot" wasn't far behind. The printed setlist actually had 32 songs on it, but the Fest ended with "Lights Out" and omitted the pre-planned "Only You Can Rock Me" and "Too Hot to Handle."

Schenker told ATM that San Antonio would be "one of the cities we would consider" shooting for his next DVD, given that his three most recent concert films were filmed overseas. In a classic rock city Schenker has revisited virtually every other year and throughout most of his career, that's about the only thing left for Schenker to accomplish as far as the Alamo City is concerned.

The only question remaining would be, who will be in Schenker's band by then?

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