Into the Pit: Metal Church guitarist Kurdt Vanderhoof

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Into the Pit: Metal Church guitarist Kurdt Vanderhoof

Although our world has, for all intents and purposes, shut down from outside activity in unprecedented fashion due to the Coronavirus, it’s what you make of this newfound extra free time at home that could pave the way to a brighter future. For musicians, that means extra time to write new material, record songs, or just play around with a bevy of riff ideas. 

Kurdt Vanderhoof is the lone remaining original member of one of metal’s longstanding influential and heavy bands, Metal Church. Vanderhoof founded the group, is its chief songwriter, and has weathered various lineup changes that has included three singers since 1984, with current vocalist Mike Howe on his second stint after debuting on 1989’s Blessing in Disguise. 

While Metal Church has long called Washington state home – the first state believed to have contracted the Covid-19 pandemic – Vanderhoof has relocated to the band’s original upbringing of California, which has thousands of citizens under a stay-at-home order. But while the concert scene has come to a halt worldwide, albums are still being released on Fridays. Metal Church gets into the act next Friday, April 10, with compilation effort From The Vault on Rat Pak Records. The album features new tracks, B-sides from the 2018 Damned If You Do sessions, somewhat unexpected cover selections and a pair of live songs from Japan. The bonus version of From the Vault also includes a pair of remixes from XI, the first album since Howe’s return in 2016. 

Vanderhoof spoke with me before a visit to Backstage Live on Feb. 20, 2014, when Ronny Munroe was the group’s vocalist (watch here). But now, with all the world’s a stage under our own roofs, Vanderhoof also used some of his extra downtime to speak with Alamo True Metal.

Click the widget below to hear our conversation. To watch my 2017 AXS with Howe, click here.

The band's founder, guitarist, songwriter and lone remaining original member goes "Into the Pit" to discuss next week's release of compilation album "From the Vault," how the Coronavirus pandemic is affecting his band and down time, memories of the late original singer "Reverend" David Wayne and much more (photo Feb. 20, 2014)

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Austin quartet Hanna Barakat wins Wacken Battle state final, heads to nationals

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Austin quartet Hanna Barakat wins Wacken Battle state final, heads to nationals

The search throughout Texas to discover the band that could possibly perform at heavy metal’s largest annual festival this summer finally yielded its Lone Star on Saturday night.

Hanna Barakat, a melodic metal quartet from Austin, reigned supreme at the Wacken Metal Battle state final inside its home venue Come And Take It Live, edging five candidates to advance to the national final Saturday, May 9, at The Viper Room in Los Angeles. The winner of that event will play Wacken Open Air from July 31-Aug. 2 in Germany.

Valkyrie was the lone Alamo City band represented in Austin after advancing, along with El Paso natives Texas Voodoo Stomp, out of the San Antonio regional Feb. 8 at Fitzgerald’s (coverage here). They were joined by Houston regional winners Gran Andes (who sing in Spanish) and metalcore act Of The Fallen, plus the other band to join Hanna Barakat out of the Austin regional, death-metal act Scrap Pile from Eagle Lake.

But ultimately, Hanna Barakat impressed the three judges the most (watch ATM Facebook Live footage of the announcement here and 58-photo slideshow below). Fueled by the group’s namesake and vocalist, Hanna Barakat released its debut album Siren last August and gained nearly a six-figure following on Facebook on the strength of the record being produced by Disturbed bassist and Austin native John Moyer.

Barakat, who graduated from the Berklee College of Music and spent time performing and honing her craft in Lebanon, joined guitarist Anthony Basini, bassist Ali Martin and drummer Lisa Fazenbaker in putting forth their best effort as each band was allotted 20 minutes to strut its stuff. Judge for yourself with ATM Facebook Live video of the title track here and below of “Wanting to go Home.”

The evening was already crazy enough given the ongoing fears of the global Coronavirus, which kept the turnout to 45-50 people at its peak. As if the dearth of humanity for this special event wasn’t enough, the worldwide issue’s staggering impact wasn’t lost on whoever was in charge of playing music between each band’s set, which included “Pandemic” by Accept, “The Virus of Life” by Slipknot, “Sick as a Dog” by Aerosmith and Disturbed’s “The Infection” (conspicuous by its absence was “Down With the Sickness”).

Bands performed alphabetically, so the crowd was even smaller when Gran Andes went on at 7 p.m. sharp. The Espanol-singing quartet was only able to fit in three songs during its veinte minutos, but got the evening off to a fine start on “Tu Mentira” and below on “Muriendo por Dentro.”

The night’s crunchier sounds were provided by Of The Fallen and the Pantera-influenced death-metal offerings of Scrap Pile. Meanwhile, the 10-band San Antonio regional, which was originally scheduled with 15 bands, had one of the largest regional contingents, and Texas Voodoo Stomp and Valkyrie demonstrated again how they earned their advancement to Austin.

The former group, easily the loudest band at Fitzgerald’s during the regional, vied for the same unofficial honor at Come And Take It Live behind tracks such as “Muddy Banks” and “Release Me” and the finale below of “The Walking Dead.” The group is fronted by singer/bassist Joe “Razor” Rodriguez of an even more well-known El Paso outfit Pissing Razors. Texas Voodoo Stomp literally stomped its way to deserved consideration of advancing to nationals with its raw, thunderous sound and musicianship. Hell, at the very least, the guys deserved a medal for making the 16-hour round trip on two separate occasions just to play 20 minutes apiece.

Valkyrie, of course, was not to be outdone in terms of storyline and ability to impress. The San Antonio natives struck gold at the regional by not only winning it but doing so despite that gig being the first time in 33 years vocalist Joe Gregory and guitarist Scott Stine shared the stage. Having recruited Under No one members in bassist Al Kelly and drummer Rich Gomez a little more than a year ago, Valkyrie gave Wacken a shot and advanced to state. The shrill of Stine’s guitar licks coupled with Gregory’s high-pitched screams can be seen on first three songs “Valkyrie, “Screams of the Aggressor” and “Reign of Violence” plus fourth song and finale “Choosers of the Slain” below. Valkryie is scheduled to play a regular set Friday, June 12 when it returns to Fitzgerald’s — epidemic notwithstanding (tickets here).

Had the state final, like the regionals, selected two bands to advance to the next round, Texas Voodoo Stomp and Valkyrie would’ve been hard pressed to beat in joining the eventual victors. But it doesn’t work that way. Each round of competition gets more difficult, and that’s when it’s time for each artist to let its allotted 20 minutes be the best set of its lives given what’s at stake.

While a little home cooking certainly didn’t hurt, Hanna Barakat proved to be the band that reaped the reward of its hard work. Their Wacken Metal Battle may only be half done. But in a contest that has seen most if not all of the state’s bands support one another in the midst of competition, Hanna Barakat can always claim bragging rights throughout Texas for 2020. And perhaps the chance to bring it on home — all the way to and from Deutschland.

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Wings of thrash soar throughout Aztec with Overkill & Exhorder

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Wings of thrash soar throughout Aztec with Overkill & Exhorder

Flagbearers of East Coast thrash metal that they are, Overkill has set itself apart for 35 years from virtually every band of any metal genre in one respect: hiatuses. More appropriately, lack thereof.  

While many artists who’ve been servicing metalheads over that span have taken multi-year breaks consisting of at least five years between albums, Overkill has set the unthinkable standard of releasing records every 1-3 years. In doing so, the brethren from New Jersey have managed to maintain original members in vocalist Bobby “Blitz” Ellsworth and bassist D.D. Verni, helping to explain recent album titles such as The Grinding Wheel and Ironbound (which Blitz spoke of exclusively with ATM aboard the 70000 Tons of Metal cruises in 2017 and 2012) as a testament to their fortitude and longevity. 

As if releasing 19 original studio albums (plus a covers effort and a few live offerings) between 1985-2019 isn’t enough, Overkill has done so while resisting temptation of dropping a greatest-hits record. Then again, maybe that’s because Overkill defines the true measure of the underground scene even in their 50s and 60s given that arguably their biggest “hit” is a profanity-laced cover by The Subhumans (not to be confused with The Subhumans coming to the Rock Box on April 18) or that their second biggest – “Hello From the Gutter” – gained notoriety only because Beavis & Butt-head made fun of it (heh heh, heh heh!).

Overkill, like many artists, spent the majority of its career without the benefit of radio or MTV mainstream airplay. But they’ve survived and persevered thanks to the undying dedication of Ellsworth and Verni plus longtime veteran lead guitarist Dave Linsk and rhythm guitarist Derek “Skull” Tailer. Add former Shadows Fall drummer Jason Bittner to the mix, and you have the unified team that brought its act, along with New Orleans’ Exhorder and Hydraform, to the Aztec Theatre last Wednesday night in support of 19th album The Wings of War. 

As evidenced by ATM’s footage below, plus Facebook Live clips of “Bring Me the Night,” new track “Distortion” and “Necroshine” here, Overkill was on fire once again. Playing, almost appropriately, to a lower-bowl filled/balcony-closed Aztec of approximately 600 fans (per a venue staffer), Overkill represented 10 of those 19 albums with thrash-pounding fury for those lucky enough to witness them, which included the band’s longtime drum tech Eddy Garcia of El Paso’s Pissing Razors. 

To their credit, Overkill switched things up a bit from recent tours in which their habit was to open with the first song off their newest album before diving head first into “Rotten to the Core” off 1985 debut Feel the Fire. This time, after upholding the first part of that tradition with punishing new opener “Last Man Standing,” Ellsworth and Co. blitzed into “Electric Rattlesnake” off 2012’s The Electric Age, saving “Rotten to the Core” for one of the encores (watch below). Likewise, “Elimination”, normally relegated toward the end, was the fourth song of the night before vastly underrated “Bring Me the Night” unleashed Overkill’s power surge. 

But speaking of one of Overkill’s best songs, off one of the genre’s most classic albums in 1987’s Taking Over, the group inexplicably left all tunes from that record off the menu. It would’ve been a blast to hear “Powersurge” or “Electro-Violence,” and at the very least “Wrecking Crew,” which has served as Overkill’s mantra for so long, it continued to brand one of the T-shirts at the merch booth (see 43-photo slideshow below). It also would’ve been great to hear something from 1988 follow-up Under the Influence besides “Hello From the Gutter” such as “Shred,” “Never Say Never” or “Drunken Wisdom.”

Bittner’s prowess on the drums rarely let up both with his arms and feet that pounded the double-bass unit. Somewhat ironically, one of his other former Shadows Fall mates – guitarist Jon Donais – has plied his trade for several years in the other most well-known East Coast thrash outfit — Anthrax. 

Exhorder, meanwhile, delivered the goods as the middle band on the bill. Hailing from New Orleans, vocalist Kyle Thomas was joined by former Superjoint Ritual and Phil Anselmo solo-band guitarist Marzi Montazeri plus bassist Jason VieBrooks and drummer Sasha Horn. Watch ATM’s Facebook Live footage of “Slaughter in The Vatican” and “Cadence of the Dirge” below, which was dedicated in part to drummer Reed Mullin of Corrosion Of Conformity, who died Jan. 27.

The pedigree of Exhorder’s members is just as credible and fierce as their music, serving notice they’re a force to be reckoned with. Thomas and Montazeri, for starters, comprise half of the Houston-based outfit Heavy As Texas, while Horn was part of Forbidden’s final lineup that parted ways in 2012. Not to be outdone, Montazeri was in Superjoint with Anselmo as well as Phil Anselmo & The Illegals, and his own solo record featured the vocals of Tim “Ripper” Owens, all of which Montazeri discussed in 2017 with yours truly (listen here).

The debate often rages: if there was a Big 5, which band would join Metallica, Slayer, Megadeth and Anthrax — Overkill, Exodus, Testament or Death Angel? Such a conversation is virtually pointless, other than to have fun arguing with your friends, given that each of those bands is deserving and there isn’t a Big 5, period. And there’s no denying they each perform gigs as if their lives depend on it. Because their way of making a living actually does. Three of those so-called secondary thrash bands hail from the West Coast. The mighty Overkill represents the Garden State. And for one night in the Alamo City, that became the Lone Star State because Blitz said so (watch below). And he’s been doing so for 35 years.

That’s a big (5) enough cause to rally around.

SETLIST: Last Man Standing, Electric Rattlesnake, Hello From the Gutter, Elimination, Bring Me the Night, Distortion, Necroshine, Under One, Bastard Nation, Mean Green Killing Machine, Feel the Fire, Ironbound. Encores: Coma, Rotten to the Core, Fuck You, Welcome to the Garden State/Fuck You ending

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Higher power reigns over lesser evils behind Stryper and local classic rockers

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Higher power reigns over lesser evils behind Stryper and local classic rockers

Stryper’s mission ever since it has been touring Texas from the mid-1980s has been as clear cut, and as opposite, as any band around: to spread the gospel of Christ in rocking fashion. Adorned with its customary yellow and black attire and instruments, that message has usually come in the form of a new album or, as in the case of its October 2016 visit to the now-defunct Alamo City Music Hall, a 30th anniversary celebration of its most successful album To Hell With the Devil.

This time, Stryper expressed its colors with a greatest hits tour.

For the second consecutive visit, last Sunday’s concert at Vibes Event Center performed by original members in vocalist/guitarist Michael Sweet, his brother and drummer Robert Sweet and lead guitarist Oz Fox was accompanied by new bassist Perry Richardson, who used to be in Firehouse. Richardson made his San Antonio debut with Stryper in June 2018 at Sam’s Burger Joint as the band toured behind God Damn Evil (coverage here).

But it nearly got off to an ominous start.

The band was three hours late to the venue, according to Rock Box/Vibes Event Center co-owner Steve Rodriguez, due to having witnessed the aftermath of a horrific motorcycle accident between Austin and San Marcos en route to the Alamo City from Dallas. Stryper understandably was shaken up upon its arrival, Rodriguez said, eventually going through a brief soundcheck after ensuring the concert would be switched from the originally scheduled Rock Box stage — where a sold-out Stryper performance in July 2016 minus air conditioning had band and patrons sweating profusely, as Michael Sweet recalled in our interview shortly thereafter (listen here) — to the larger Vibes stage.

Fortunately, the band had a few hours to gather its bearings before going on at 10 p.m. and made no mention of its travails during a rockin’ 85-minute showing before approximately 500 fans (as revealed by Din Productions promoter Alfred Mejia). Richardson, too, looked more comfortable a little less than two years into being a member than at the Sam’s show that was one of his first in yellow and black. Seven of the 16 tunes performed (setlist in 52-photo slideshow below) were from To Hell With the Devil, including “Free” and “More Than a Man” (ATM Facebook Live footage here) and the double encore of “Sing-Along Song” and “To Hell With the Devil” (watch here). Watch ATM footage of three other classics below.

While Stryper was ending the Texas and American portion of its greatest hits tour on the eve of the inaugural performances of its 37-year existence in Mexico, the stage was set for them by a pair of local bands that formed in 1987, the year after To Hell With the Devil’s release. Direct support act Byfist and openers Wicked Angel have carved their own niche in San Antonio metal history.

Byfist’s lineup path has been well documented, but for those not in the know . . . rhythm guitarist Nacho Vara, who also plays in local classic rockers Seance, remains the lone original member. The band lost original vocalist Vikk Real and guitarist Dave Lee but persevered through the inevitable uncertainty of what the future might hold. Byfist’s 1989 EP Adrenalin was produced by the late Metal Church and Reverend vocalist “Reverend” David Wayne. As such, Vara tends to get emotional while dedicating “Mary Celeste” to the former two, and vocalist Raul Garcia pays homage to Wayne on traditional finale “Scattered Wits” (ATM footage of both below).

As is the group’s custom, it opened with the up-tempo of “Universal Metal,” which features a portion of Ernie B.’s guitar solo that reminds one verbatim of George Lynch’s solo in Dokken’s “Tooth and Nail.” Another standout was “In the End,” as bassist Stony Grantham and drummer Scott Palmer’s efforts were not to be outdone. New music is definitely being looked forward to regarding Byfist.

Wicked Angel is planning on having its own new tunes in the not-too-distant future. Though the band doesn’t play nearly as many shows as other local acts in the scene, that could change this year. Wicked Angel’s presence opening this night was a welcome sight, and quickly served notice as drummer Ernie Chavarria took to the stage by lighting his China Boy cymbals on fire. It was also music to the ears for those longing to hear 1987 tracks such as opener “Realms of Chaos.” Afterwards, vocalist Dave Caballero set the tone for the evening’s theme by describing how it was necessary to root out all evil. When some in the crowd laughed thinking he was just playing, Caballero replied, “No, really!” Watch ATM Facebook Live footage of “Stealer of Souls” and below of closer “Lucifer’s Hammer.”

So whether being healed by yellow and black stripes, the memory of band members who have moved on or an inspirational look to what lies ahead, Stryper, Byfist and Wicked Angel demonstrated in their own way that the rock remains strong within them. Righteously speaking.

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Into the Pit III: Robin McAuley

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Into the Pit III: Robin McAuley

Although he’s known for his two stints — 1987-92 and currently — fronting the bands of legendary guitarist Michael Schenker, vocalist Robin McAuley has shown he’s not a one-trick pony. Even while he enjoys wearing a cowboy hat.

McAuley spent several years singing in Survivor and has played hundreds of shows with the Las Vegas All-Star covers band Raiding The Rock Vault. His latest venture may be McAuley’s most ambitious.

Today marks the release of Shake the World, the debut album of supergroup Black Swan on Frontiers Music. The band features McAuley’s vocals plus guitarist Reb Beach of Winger, Whitesnake and formerly of Dokken, longtime Dokken and Foreigner bassist Jeff Pilson and drummer Matt Starr. The album includes nine hard-hitting tunes such as the first two videos for the title track and “Big Disaster” (watch both below), a power ballad and a closer that’s a little of both.

McAuley spoke with Alamo True Metal as a member of Michael Schenker’s Temple Of Rock in March 2012 (watch here and here) and the Michael Schenker Fest in March 2018 (watch here). But our phone chat 48 hours before Black Swan’s release demonstrated that McAuley also has a slew of humorous personal-experience stories to share in and out of the musical realm.

Click the sound widget below to hear our entire conversation from Wednesday. And to learn why “there’s no B.S. in Black Swan.”

Shake the World track listing:

Shake the World

Big Disaster

Johnny Came Marching

Immortal Souls

Make It There

She's On To Us

The Rock That Rolled Away

Long Road To Nowhere

Sacred Place

Unless We Change

Divided/United

The renowned vocalist goes "Into the Pit" with me for the 3rd time, this time to discuss his new supergroup Black Swan 48 hours before they drop their debut album "Shake the World." We also discuss the Michael Schenker Fest/MSG portion of his career, and he has some great stories to tell about other artists and experiences (ATM photo March 2018).

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Texas two-step of bands inch closer to prestigious Wacken festival in Germany

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Texas two-step of bands inch closer to prestigious Wacken festival in Germany

Ask many musicians who pick up a guitar, bang the drums or belt out vocals to their heart’s content why they do so, and they’ll tell you they have one thing in mind: making it big someday.

For 10 bands from the Lone Star State, the vision of living large for at least one day emanated Saturday night at a quaint San Antonio bar known as Fitzgerald’s. And two of those artists kept that mindset alive for another month by traveling from afar in vastly different ways.

Texas Voodoo Stomp and Valkyrie, the last two groups to perform, made the biggest impression on the three-judge panel to advance from the San Antonio Regional of the second annual Wacken Metal Battle. With artists from across the nation vying to become the sole band representing the United States among winners from 29 other nations at the world’s largest annual metal festival — Wacken Open Air from July 30-Aug. 1 in Germany among headliners Judas Priest, Slipknot and Amon Amarth — Texas Voodoo Stomp and Valkryie stood out the most. As such, they earned a berth in the state final Saturday, March 14, at Come and Take It Live in Austin.

Their chances to advance further increase because the competition dwindles with each round. The opposition in Austin will be Houston Regional winners Scrap Pile and Of The Fallen plus Austin Regional victors Hanna Barakat and Gran Andes. The victor of the state final advances to the national round May 9 at The Viper Room in Los Angeles, with that winner advancing to Deutschland.

Texas Voodoo Stomp and Valkryie’s paths covered a wide swath of terrain — literally and figuratively.

The former quintet, easily the loudest of the 10 bands at Fitzgerald’s, made the 800-plus mile trek from El Paso just to play a 20-minute set. It paid off with the help of the most vocal and largest contingent of crowd support that put to shame those who turned out — or didn’t — for the hometown groups. Click here to watch ATM Facebook Live footage of Texas Voodoo Stomp performing “Killing Time” and “Resurrect Me” plus the clip below of “The Walking Dead.”

The latter, San Antonio’s Valkyrie, easily qualified as the sentimental favorite among judges Brian Keith (The Edge Rock Radio), Jacob Sendejo (KYSM-FM DJ) and Herb Rockman (Herb’s Hut Record Store). High-pitched vocalist Joe Gregory and guitarist Scott Stine hadn’t played on stage in 33 years but took a leap of faith by reuniting for the chance to possibly perform at Wacken. They re-recorded some of their classics for an EP last month after having recruited bassist Al Kelly and drummer Rich Gomez, both of local group Under No One, a little more than a year ago. Lo and behold, the quartet pulled a rabbit out of its hat and, along with Texas Voodoo Stomp, had just enough to edge third-place Cauterized. Watch Valkyrie in action on “Valkyre” and “Screams of the Aggressor.”

With each band having to adjust to a mere 20-minute set and playing in alphabetical order, time was of the essence to make an impression. While being graded on categories such as originality, energy, image and musicianship, each group was challenged to come across as the band that would rock the judges’ socks off. Instead, some fell into the trap of treating it like another Saturday night at Fitzgerald’s of playing to friends and family rather than performing as if their lives depended on it and envisioning themselves in front of 80,000 German maniacs — as 2019 national winners, San Diego thrashers Monarch, ended up doing here.

Gregory, in fact, was the only musician of the 10 artists to even mention Wacken (as viewed in Valkyrie’s aforementioned ATM clip). That reference undoubtedly earned his band extra points that helped put it over the top. Other groups, while shining in their own way musically, may have lost out by plugging their merch and social media pages — things that can be done any day of the week but shouldn’t have been wasted with only 20 minutes allotted and considering what was at stake. Other than the victorious bands, the musician who appeared to understand the importance of laying it all on the line and playing to the judges and crowd with the utmost passion and energy the most was vocalist Alex Carabajal of Cauterized (see 46-photo slideshow below). His local band’s efforts nearly put it in the final two, with only half a point separating Cauterized from a trip to Austin.

That fact exemplified the stiff competition as the bands brought various styles from all over the state to Fitzgerald’s. Click the links to watch ATM Facebook Live footage of them in action. The San Antonio contingent included Aeternal Requiem, which kicked off the night at 6:30 p.m., then had to wait six hours for the results, Beauty School Massacre, Bridge 13, Cauterized, Send Help and Syrus, which played in Germany two years ago at Headbangers Open Air.

Industrial act Akardia also made the long haul from El Paso with its Rammstein influence ever apparent. TBA TX Noise, a Corpus Christi band partially abbreviated as Tits, Beer and Ass, reminded one of early ‘90s comical band Scatterbrain (minus the pajamas and pigtails).

See more exclusive ATM footage of the groups below from the regional that was supposed to consist of 15 bands only to have Black Jackal, Burning Circle, Pigweed, Saving Jackie and Semper Acerbus withdraw.

Purchase tickets for the March 14 state final in Austin here. May the best band go to Hollywood. And possibly to Germany.

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Beast of the bass roars in and out of Rock Box with British Lion

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Beast of the bass roars in and out of Rock Box with British Lion

To many metal aficionados, assessing the decision of one of the most well-known musicians — from one of the industry’s most iconic bands — to temporarily surrender 35 years of headlining stadiums worldwide might yield one word: ludicrous.

It might seem ludicrous Iron Maiden bassist Steve Harris would return to his English band’s roots playing in bars. It could be oh so crazy he would give up being piloted across the globe in a 777 — by his own vocalist, no less.

But for Harris, it’s always been about the music. And for the first time, the ageless wonder has crafted songs outside of the Iron Maiden moniker. Which means an outlet needed to be created to give those tunes a breath of fresh air, to be unleashed upon anyone willing to listen to them. Harris brought that team effort known as British Lion to the Rock Box last Friday night marking only the fifth North American show ever for his first venture outside of Iron Maiden.

Although the group released its self-titled debut in 2012, it is strong sophomore effort The Burning, which dropped only seven days before the show, that spurred Harris and vocalist Richard Taylor, guitarists David Hawkins and Grahame Leslie and drummer Simon Dawson to hit the States for the first time as a quintet.

But along with a new band and fresh songs, Harris is as good as anyone at making statements clear regarding those things without saying a single word. Though he mouthed nearly every syllable to every song as is his wont, Harris didn’t speak anything to the intimate crowd of roughly 220 that showed their devotion to his Maiden stature, supported by German duo The Picturebooks and locals S.A. Territories, on a night Queensryche, John 5 and Eve To Adam were playing the Aztec Theatre. That was just one indication, lest anyone have doubts, that the band is British Lion — not Steve Harris & Friends (see 52-photo slideshow with setlist & ATM footage of “Us Against the World” and “Lightning” below).

Not since Megadeth bassist David Ellefson in September 2018 at Fitzgerald’s (coverage here) had a musician of Harris’ might played a San Antonio bar. Unlike the former’s self-described “basstory” setup and promotion of his new coffee, Harris stuck to the script of spreading exposure of his new bandmates’ talents. They did not treat anyone to bonus Maiden material, and yet no one in the crowd was disappointed hearing nothing but two albums worth of British Lion material as evidenced by ATM Facebook Live footage of “Legend” and “Spit Fire.”

Taylor engaged the crowd while introducing the latter tune, saying he wished the band could remain in San Antonio. But he also showed a polite yet no-nonsense side exemplifying the concert experience in the 21st century by calling out the “fan who’s been filming the shole show. If you could not film the last two songs, it would be appreciated. I mean, we are putting on a live show. It just kind of ruins things.”

The Picturebooks, meanwhile, have the honor of opening the tour on what has to be a dream experience for them. They took to the stage with an immediate thunderous sound that would’ve turned heads during intermission of the simultaneous death-metal show happening in the Vibes Underground portion of the Rock Box for two reasons:

  • The band is made up of only two members (singer/guitarist Fynn Grabke and drummer Philipp Mirtschink)

  • The drums are devoid of cymbals

Touring in support of 2019’s The Hands of Time, which includes a guest appearance by Chrissie Hynde of The Pretenders, the German duo sizzled on their first visit to the Alamo City, exhibiting a bombastic nature more telling than some trios and quartets as shown via ATM Facebook Live footage of “Electric Nights.”

Despite the Friday night vibe, British Lion’s 90-minute set ended at 11 p.m., paving the way for an early start to a meet-and-greet with Harris. The bassist came out 63 minutes later after it was announced he would sign two items per person. The picture taking and subsequent signings were rushed along as the band was preparing to head to Dallas in the middle of the night. But not before albums, shirts, arms that would be tattooed the next day, and the instrument of Iron Maiden local tribute Seventh Son bassist Daniel Morrison were stamped with Harris’ Sharpie penmanship.

Contributing to the humorous portion of the after party was a couple being rushed through the line, with the woman frantically telling her retreating better half to hurry up and take her pic with Harris. The man came back to the line, took out his phone and said, “Well, I didn’t know you wanted one” before telling the band’s tour manager, “She was all about the singer.” The woman replied, “Ooh, yeah, he’s sexy.” As her pic with Harris became a moment to treasure forever, she looked at the man no one else in the venue viewed as an afterthought and assured him, “Oh, you are too.”

Such is the life of mega rock stars playing in bars.

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Enuff Z'Nuff flies high into Fitzgerald's for 30th anniversary

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Enuff Z'Nuff flies high into Fitzgerald's for 30th anniversary

As the lone remaining original member of a band pigeonholed for one huge MTV hit back in the day, Chip Z'Nuff gladly continues to ride the wave of "Fly High Michelle" 20 albums and 30 years later. And although Enuff Z’Nuff’s legacy technically spans 14 original studio albums and a pair of live efforts (the rest being greatest hits and covers), that’s still an archive of material more vast than the average Enuff Z’Nuff fan who only knows the band by way of that tune is likely aware of.

So as Enuff Z’Nuff headlined Fitzgerald’s on Saturday night for what was billed as a 30th anniversary tour, at least one aficionado was hopeful Chip Z’Nuff would run the gamut of the group’s incredibly underrated albums — especially after demonstrating appreciation for his music during a 2011 interview (watch here).

But Enuff Z’Nuff is also touring behind the 2018 release of Diamond Boy. So the bassist, who also took over lead-vocal duties when co-founding cohort and exceptional singer Donnie Vie left in 2013 to clean up his addictions, spotlighted three tracks from the latest effort, and of course a bulk from the first three records, as part of a 90-minute set.

Hitting the ground running with “The World is a Gutter,” a song that had the majority of the crowd frozen but is one of the standouts on 1991 second album Strength, Enuff Z’Nuff showcased a sliver of the Beatles, Cheap Trick and Jane’s Addiction-influenced music that had shock jock Howard Stern singing its praises 25 years before he became a judge of talent.

But if “Fly High Michelle” — ATM Facebook Live footage here with new track “We’re All the Same” and “Dog On a Bone” — put the band on “Letterman,” as Chip Z’Nuff revealed to me in 2016 (listen here), “Baby Loves You” (watch here) and closer “New Thing” weren’t too far behind as MTV staples.

And speaking of influenced . . .

Chip Z’Nuff mentioned one of his previous visits being with Ace Frehley (coverage here) and that while the KISS icon and Aerosmith frontman Steven Tyler have been sober for many years, he “could look every one of them in the face and go, ‘I am higher than fuck right now!’ ” Z’Nuff promptly described the turnout as a “sausage fest” and said “the trim has slim pickings” (ATM footage below).

As lasers from The Bilo Effect meshed with Z’Nuff’s multi-colored bass strings, one of which he broke and handed to a fan, Z’Nuff demonstrated he has fun no matter how high he may be. He hid behind Tory Stoffregen, playing the lead guitarist’s instrument bass style while Stoffregen enjoyed a brew with his left hand and wrapped his right hand behind his back strumming Z’Nuff’s bass. And as demonstrated in the clip below, Z’Nuff shared the spotlight with his national support act, Thomas Weeks & Force Of Nature, during a jam session that included some recognizable cover riffs.

Rhythm guitarist Alex Kane pulled double duty in Z’Nuff’s and Weeks’ respective bands, but unbeknownst to just about everyone, Kane was Enuff Z’Nuff’s lead guitarist in 1987-88 just prior to the self-titled debut album’s 1989 release. He reunited with Z’Nuff last year.

Considering that Z’Nuff has also played in front of roughly 40 people at the former Tequila Rock Bar next to Backstage Live/Alamo City Music Hall, the singer/bassist nevertheless was appreciative of the enthusiastic humans perhaps tripling that inside Fitzgerald’s. He met with them afterward, kissing females and signing autographs — though he was taken aback by the same slew of 11 Enuff Z’Nuff CDs he was shown by yours truly in the aforementioned interview eight years earlier. Z’Nuff held off on signing them for several minutes, acknowledging he would get to them later, then quickly autographed the covers as patrons were being kicked out for closing time. He then sarcastically added his John Hancock to a flyer for good measure, sliding it in my direction without looking up at arguably the only fan on hand who sang every song and undoubtedly the only one who recognized when he teased with his bass intro riff to “Stoned” and suggested he play the entire thing, to no avail.

Enuff Z’Nuff, in one humbled opinion, is one of those bands that should’ve been bigger than they became. A group that has at least 50 songs better — such as “These Daze,” “Master of Pain,” “I Could Never Be Without You,” “Catholic Girls,” “Ain’t It Funny,” “Believe In Love,” “Holly Wood Ya,” “In Crowd,” “Innocence,” “Goodbye,” “It’s No Good,” “Top of the Hill,” “Rollaway” and on and on — than the one that gave it stardom. But it’s because of that one tune that Enuff Z’Nuff has carried on and toured even without its original voice. Which is why Saturday’s show, originally scheduled for Quatemain’s Pub in Live Oak, occurred in the first place.

The only question on this night was who flew higher indeed: Michelle or the “higher-than-fuck” Z’Nuff.

SETLIST: The World is a Gutter, Heaven or Hell, Metalheart, Baby Loves You, Kiss the Clown, Diamond Boy, In the Groove, guitar solo, The Love Train, medley jam, Wheels, Fly High Michelle, We’re All the Same, Dog On a Bone, New Thing

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Dirty rotten moshin' good time with D.R.I. & Co. at Bonds

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Dirty rotten moshin' good time with D.R.I. & Co. at Bonds

The anticpation was building, the bodies were banging, the pits began swirling. And the band was simply doing some last-minute tuning.

Welcome to a D.R.I. show. Where the music doesn’t have to officially begin before things get crazy.

So naturally, the calm before the storm last Friday night at Bonds 007 Rock Bar resulted in another tornado-like fury of pits and thrash as the three-decade-plus veterans from Houston made their mark again in the Alamo City. By show’s end, one burly patron was bleeding senselessly, holding a white towel to his shut right eye while streams poured down the left side of his bald head. In between, a sold-out crowd of roughly 300 on Bonds’ upper level enjoyed an intense night of Dirty Rotten Imbeciles, Wartorn and locals Metalriser and Isolaydead (see 74-photo slideshow below).

Although scheduled openers Cheesegrater Masturbation had to drop off the bill due to illness, there was plenty of pent-up energy to go around. A no-camera policy instilled by the headliners led to yours truly graciously being the only photographic access granted (though no video of D.R.I. songs was permitted). And neither the bands nor fans disappointed.

All four groups incited a wave of whirling dervishes, with one young male fan landing some unwanted exclusive dancing with a bouncer after bringing in his own can of beer. Aside from that, it was business as usual for the artists. D.R.I. vocalist Kurt Brecht on two occasions remarked how “this place has come a long way,” citing the band’s storied history with San Antonio, and Bonds in particular, since the late ‘80s. Favorites such as “Do the Dream,” “Who Am I (D.R.I.),” “Acid Rain,” “Slumlord,” “Dead in a Ditch” and 1989 MTV video “Suit and Tie Guy” warmed the cockles of fans’ hearts as only D.R.I. could muster.

The founding duo of guitarist Spike Cassidy and Brecht teamed with longtime drummer Rob Rampy, who’s on his second stint with the group, and bassist Greg Orr who replaced Harald Oimoen in 2017, on other classics such as “Abduction",” “I Don’t Need Society” and the once Slayer-covered “Violent Pacification.” And even though it’s been 24 years since D.R.I. has put out a full-length album, they also played tracks from 2016 EP But wait. . . There’s More including “Against Me,” “Anonymity” and “As Seen On TV” — which total 6 1/2 minutes of thrash combined.

Wartorn, the lone national group on the program out of Wisconsin, brought its politically infused Iconic Nightmare to Bonds for the first time (setlist in slideshow). Though the band’s intensity was no less than the rest, the crowd by that point was mainly salivating over the impending arrival of D.R.I. after the brutality brought on by locals Metalriser and Isolaydead.

Metalriser, led by founder and lone remaining original member in singer/rhythm guitarist Joel Estrada, lit up Bonds with several tracks from Demise including “D.I.Y.” (ATM footage below). The band also amazed with a stirring rendition of Metallica’s “Disposable Heroes” to close its set as Estrada has surrounded himself with a new lineup of lead guitarist Mario Prz Jr., bassist Nick Gamboa and drummer David Sanchez Jr.

Isolaydead, featuring singer/bassist Ricky Vela, guitarist Louis Cervantes and drummer Alex Carillo, got things started at 9:15 p.m. Although Isolaydead is certainly no stranger to Bonds, this night’s set spawned a rare display of moshing — in large part due to the removal of the bench tables to make way for D.R.I.’s infestation of stage diving and circular action — to tracks such as “No Blood Left” that undoubtedly made the local trio eager to set up on Bonds’ stage once again sooner than later.

As always, the professionalism and generosity of bar owners Dirce and John Eguia coupled with their staff made for another night to remember within the cozy walls of Bonds. Keep checking the Concert Listings of AlamoTrueMetal.com for more upcoming shows there and within surrounding areas as San Antonio readies to ring in 2020 with resounding beats of metal.

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'Bastard Child of NYC' casts spell on Alamo City with help from local Killswitch supergroup

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'Bastard Child of NYC' casts spell on Alamo City with help from local Killswitch supergroup

When Kore Rozzik led his band into the Alamo City for the first time in June, he came bearing an energetic, theatrical and entertaining show as a support act for Alice Cooper guitarist Nita Strauss’ mostly instrumental headlining set. Four and a half months later, “The Bastard Child of New York City” descended upon Fitzgerald’s Bar on Thursday night as a headlining act himself and demonstrated why this band should be trending upward nationally.

Still riding the wave of 2018 debut concept album Vengeance Overdrive, a record Rozzik shared with Alamo True Metal afterwards is “more of a New York record” compared to what he intends the follow-up to be, the quartet of Rozzik, guitarists Alex Gil and Andrei Patorski and Louie on drums played to a somewhat typical intimate mid-week bar crowd. Backed by local supergroup Killswitch Incorporated and War On Sunday — a last-minute replacement for originally scheduled locals Pup Zenabi Instrumental Project and Bridge 13 — Kore Rozzik delivered the goods again.

Although Rozzik acknowledged to ATM after the gig “we were on fire that night; last night of the tour” in reference to the Strauss gig at the Rock Box (coverage here), his group made the most of an opportunity to shine as the featured act despite the sparse attendance. Like the Strauss gig, Rozzik opened with the album’s title track before launching into a cover of Rockwell’s ‘80s pop hit that featured Michael Jackson on the chorus, “Somebody’s Watching Me,” with the original video playing on a monitor next to Louie’s drums (footage with 52-photo slideshow below). Unlike the former performance, when Rozzik also played Megadeth’s “Hangar 18,” his second cover choice this time was Eurythmics’ “Sweet Dreams (Are Made of This),” with Marilyn Manson’s version playing on the monitor.

But as should be the case, it was the original tunes that struck a chord thanks to a strong debut concept record Rozzik told ATM is approximately 50 percent personal experience regarding those in New York who tried to slander him. In addition to the blistering title track, Rozzik and his mates, who don’t utilize a bassist on stage, rocked out on “Bitter Rat,” “Can’t Stop Won’t Stop,” “Mistress” (watch below) and finale “Spellbound.” Strauss and her band punked Rozzik during the previous performance of “Spellbound” (ATM footage contained within the aforementioned coverage link), but Rozzik came through unscathed this time.

Killswitch Inc., founded in 1997, consists of members of local groups Even In Death and Minister Fiend. Fronted by the former’s Sean Nations and featuring the latter’s David Arriola on guitars along with fellow guitarist and 46th birthday boy Johnny Quattlebaum, bassist Anthony Aleman and drummer George Hamilton, the group made a rare appearance and didn’t disappoint. Watch ATM Facebook Live footage of “Such a God” and see below for “Suckpump,” which Nations introduced by thanking War On Sunday for filling in as openers by saying, “It’s good to deal with some professionals.”

With Even In Death at a bit of a crossroads, Nations has been singing more often with ‘80s cover band Big Bang, which could pave the way for more Killswitch Inc. shows as well depending on the rest of the members’ schedules with their respective groups.

As for Kore Rozzik, they left San Antonio and drove straight to their home state, reaching the next gig in Rochester, New York, in 33 hours and 11 minutes. For those who missed both of their initial two visits, they’d be wise to make the third time the charm — and let Rozzik cast his spell upon thee whenever that may be.

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Allure of Tool mystifies, opens eyes, satisfies

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Allure of Tool mystifies, opens eyes, satisfies

Virtually everything about Tool suggests how not to have a successful career: taking 13 years between albums. Stationing its singer at the back of the stage throughout performances. Video imagery of human/alien hybrids and insects accompanied by lyrics often left open to interpretation, which can be risky when dealing with socially conscious issues and the state of the world. Not to mention, in this day and age, mostly forbidding your fans from capturing memories with their hand-held devices.

Not only does Tool have more than a knack for making it all work. But the spell by which the Los Angeles band binds its audience is more than welcome by the masses, which included last Friday’s sold-out 19,000-plus throng at the AT&T Center.

With veteran English supporters Killing Joke in tow, Tool returned to town on the strength of Aug. 30 release Fear Inoculum, its first album since 2006 and fifth overall spanning a 29-year career (see 48-photo slideshow below).

And things would be much different than most gigs before the first note was even played.

Patrons were advised a “no-camera” policy would be in full effect and violators would be expelled from the venue with no refund. Surprisingly, most everyone conformed, Refreshingly, when was the last time you attended a concert without someone blocking your view with their phone raised high — your childhood? Sadly, it had to be specially requested by the artist in the first place. Happily, the fans’ acceptance netted a reward at show’s end (more on that later).

And with that, a chime-like curtain with threaded openings surrounded the stage as drummer Danny Carey took his spot behind the kit sporting a Spurs uniform. The loud seal of approval came with fans not knowing, or caring, that an AT&T Center staff member had been summoned to grab a uniform from the gift shop, or that Carey has demonstrated the same fan-friendly gesture in other NBA cities on the tour. Moments later, guitarist Adam Jones and bassist Justin Chancellor began the first strums of the nearly 10 1/2-minute “Fear Inoculum.”

A spike Mohawked, leather jacket and plaid pants wearing vocalist Maynard James Keenan soon joined the fray, completing the band’s heavily regarded quartet as the arena erupted. Following the new title track, Keenan simply stated, “Texas,” and the crowd answered. Keenan followed up with, “That sounded more like Oklahoma. . . Texas!” The simplicity in crowd management combined with the complexity of his music captivated an audience glad to be swept under the hypnotic trance of the singer who also fronts A Perfect Circle and side project Puscifer.

Mixing in other new lengthy tracks “Pneuma” and “Invincible” with crowd favorites “Aenema,” “Schism” and “Intolerance,” Tool didn’t take nearly as long as the duration of its songs to cement its welcomed return to San Antonio. While Carey, Jones and Chancellor expertly kept things flowing with mesmerizing instrumental stretches during most tunes, Keenan would spend three or four songs at a time on one side of the stage across from Carey’s kit before making a slow, methodical walk to the other mic to benefit that side of the arena. The only time Keenan stepped down to the forefront was to playfully take a back-and-forth joyride on one of the equipment cases.

The big screen lit up the arena with Tool’s patented yet often impossible to explain video visuals, which properly served as a backdrop to the musicians more than as a distraction. A little more than two-thirds of the way through the show, rather than halfway, Tool went on a 12-minute intermission, communicated simply by way of a large countdown clock rather than by Keenan. Afterwards, Carey emerged in his Spurs uniform and banged a gong while embarking on his new instrumental “Chocolate Chip Trip.”

That paved the way for another new tune, “Invincible,” which left the standing crowd in anticipation of how the night would end. Keenan chose that moment to speak for only the second time of the two-hour, seven-minute performance: “Always a pleasure, Texas. Because you’ve been very good, you may now take out your phones. Check your email, Twitter, take photos. You kids and your phones.”

And with that, Tool unleashed classic “Stinkfist,” the AT&T Center lighting up in phone cameras and onlookers enraptured by the musical and visual exhibition. Again, the crowd roared as Tool’s members concluded their spectacle. Keenan matter-of-factly waved and departed by himself, but not before giving his bassist a slap on his rump.

As Chancellor,Jones and Carey tossed out picks and sticks, no one cared that Tool omitted its two biggest hits “Sober” and “Prison Sex,” or arguably the best song on the new album “7empest.” No one seemed to mind the test of how long they could go without using their phones. Instead, a crowd that was larger than even Iron Maiden’s “Legacy of the Beast” tour at the same venue exactly one month earlier could all agree: when it comes to Tool and its mystifying methods, the pieces fit.

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Youth of yester decades goes wild with original Skid Row frontman

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Youth of yester decades goes wild with original Skid Row frontman

The majority of approximately 400 fans comprising the lower levels of the Aztec Theatre last Wednesday night were either in the midst of, or fresh out of, their high school years in 1989. As for what Sebastian Bach was doing back then?

The original voice of Skid Row unleashed a breakthrough self-titled debut album with his band discovered and taken out on the road by Bon Jovi. One of those first shows, a gig at the Rosemont Horizon in suburban Chicago, yielded a rebellious Bach telling the crowd “critics claim my mouth is corrupting the youth of America.”

Now a svelte 51 years old, Bach demonstrated he hasn’t changed much while celebrating the entirety of that album with his solo band, which has featured San Antonio’s Bobby Jarzombek on drums ever since Bach’s first solo album Angel Down dropped in 2007 (see 36-photo slideshow below):

  • Bach referred to fans who got in a fight as “assholes” and made sure security showed them the door (though he missed a gold opportunity to perform “Get the Fuck Out”)

  • He repeatedly engaged the portion of the crowd that wasn’t taking “Youth Gone Wild” too literally

  • He coughed Nikki Sixx’s name while going on a brief rant about musicians who forget that “Rock N’ Roll is supposed to be fun,” unaware perhaps that moments later, a photo from his yesteryears showed Bach and the Motley Crue bassist side by side

  • He reminded fans that he played Jesus Christ Superstar at the Majestic Theatre as part of his stint on Broadway

  • He brought out a turntable after accepting an album cover from a fan of the debut record

  • He found time to wax poetic on the theme song to “WKRP in Cincinnati,” again appealing to the crowd’s adolescent period

  • He demonstrated his humor while turning the hometown spotlight over to Jarzombek, telling the crowd the San Antonian is the drummer for Judas Priest’s “Metal God, which means he’s the drummer for the greatest singer of all time . . . and Rob Halford”

  • More importantly, Bach showed he’s still got it as a vocalist. And he didn’t shy away from his pride, telling the audience that his vocal range was “not a problem”

So Wednesday’s retrospective concert, unlike most of that variety, was not meant to be a stroll down Memory Lane as much as it was a celebration of fun, hard-hitting songs that started it all for Bach. And though he now has spent much longer as a solo artist than making three albums with Skid Row, Bach gave the filled lower level and the ghosts of the historic venue’s closed-off balcony what they came to hear with “Big Guns,” “Piece of Me,” and even the song Bach often put down during the group’s heyday, “Can’t Stand the Heartache” — a tune Jarzombek needed to familiarize himself with from scratch at the tour’s start due to it not being one of Skid Row’s major hits.

But the hits kept coming with “I Remember You” (ATM Facebook Live footage here), “Midnight/Tornado” and bonus tracks from the heavier sophomore effort with “Slave to the Grind,” Psycho Love” and “In a Darkened Room.”

While Jarzombek was a stick-twirling dervish frequently bashing the cymbals behind his head, Brent Woods handled all the guitar duties. Kevin Chown, meanwhile, was recruited on bass for the tour while regular bassist Rob De Luca continues to tour with UFO, which played the same stage nine days earlier. Chown used to back former Nightwish vocalist Tarja Turunen.

Calgary, Alberta, natives Kobra And The Lotus had the distinct honor of being the only support act on the bill. Led by founder and lone remaining original member in singer Kobra Paige, who was barely an infant when Skid Row hit the scene, the group’s hard rock style on “Burn,” “Velvet Roses” and “Liar” kicked into gear on finale “Get the Fuck Out Of Here” (not to be confused with Skid Row’s aforementioned “anthem”).

Unlike many ‘80s bands whose second albums didn’t stray too far from the sound of their successful debuts, Skid Row turned it up several notches on the lengthier Slave to the Grind — which featured Wednesday’s closer “Monkey Business,” preceded by Jarzombek introducing “Sebastian fucking Bach!” (watch here).

So if Bach and Jarzombek return to play that masterpiece all the way through in two years, the question won’t be whether Park Avenue will still lead to Skid Row. It’ll be, will Bach be just as intensely entertaining then as he was in 1989 — and 2019? Don’t bet against it.

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Amon Amarth, Arch Enemy spearhead Swedish invasion of Aztec

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Amon Amarth, Arch Enemy spearhead Swedish invasion of Aztec

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

That’s right. Train conductors.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Classic, hard and rockin’.

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

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

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

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

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

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

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

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

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

Other shows scheduled for Rolling Oaks Mall include:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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International flair of females brings roaring Vibes to Alamo City

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International flair of females brings roaring Vibes to Alamo City

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

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

Jinjer was happy to oblige.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Zakk Wylde showcases wizardry of bloody Sabbath riffs

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Zakk Wylde showcases wizardry of bloody Sabbath riffs

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

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

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

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

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

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

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

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

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