'80s bands turn back the clock & rock the halls

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'80s bands turn back the clock & rock the halls

The holidays got off to an earlier than normal loud and fun start Friday, Dec. 15, when four of the ‘80s’ mainstay artists rocked the pavilion of The Espee downtown to show their fans they’ve still got it.

Warrant, Winger, Lita Ford and Steelheart teamed to take part in the inaugural 106.7-FM The Eagle’s Rock the Halls before an estimated crowd of 500 enthusiastic fans of what, for many, is the best era of hard rock and heavy metal music to have partaken in.

But before things could get rockin’, they got a bit rocky. Doors were supposed to open at 5:30, but Steelheart was doing a lengthy soundcheck that resulted in the band starting promptly at the scheduled 6:30 while many patrons were still in line outside the entrance. Sound issues continued to plague theirs and Ford’s sets until eventually, the rock, and the celebrating, went on without further annoyances.

Ford played the exact same seven songs, in order, that she performed Sept. 24, 2022, at the Boeing Center at Tech Port when she was part of the several support acts opening for Legs Diamond. That show actually saw Ford play eight tunes, with “Back to the Cave” drawing the short end this time.

Warrant was making its first appearance in San Antonio since a 2017 showing at the Tobin Center. Winger and Steelheart, meanwhile, hadn’t been in S.A. in seemingly forever. And Winger stole the show.

Believed to be the only rock band out there still going strong with all original members, singer/bassist Kip Winger and crew were proud of that distinction in marking 35 years as a band and its smash self-titled debut album. But Winger, guitarists Reb Beach and John Roth, guitarist/keyboardist Paul Taylor and drummer Rod Morgenstein also dropped Seven in May and showed they’re not resting on their laurels by opening with new tune “Stick the Knife in and Twist” and unveiling the album’s first single “Proud Desperado” (ATM footage below).

To be technical, Winger took their member milestone a bit further in 1992 when Roth was initially added to the original quartet. And they demonstrated in 2023 that their musicianship is as tight as ever. Watch them further in action via Facebook Live footage as they ended their set with first two album hits “Easy Come Easy Go,” “Madalaine” and even a brief instrumental jam of “You Are the Saint, I Am the Sinner” here.

With so many hits to play in a 50-minute stanza coupled with the fact they weren’t headlining, Winger cut out second verses of several tunes, including its biggest smash “Seventeen,” which was quickly inserted as the set’s second track.

Morgenstein was having a blast throughout the show, Winger sang and talked through his patented drive-thru styled mic, and Beach and Roth were steady as usual (see setlist in 72-photo gallery). Taylor received a bit of the spotlight as Winger introduced him on “Miles Away” while explaining Taylor wrote the song by himself after the two had initially come together in Alice Cooper’s band (watch below). For those remembering Taylor as he appeared in the group’s hit videos with curly long hair and a beard, you wouldn’t have recognized him on this night if he was standing next to you as he sported a baseball hat and clean shaven cut.

And for those who only know Winger songs from the first two or three albums, do yourself a favor and check out 2009’s Karma, which is right up there with the first two records if not better. It would’ve been great to hear “Stone Cold Killer,” “Supernova” or arguably their heaviest tune recorded in “Pull Me Under,” so hopefully Winger will return in headlining mode and play a few of those songs.

The Eagle’s “Crash,” Joe Calguero and Joe Rock told the crowd that “Rock the Halls” will become an annual event. But before that can happen, the inaugural one had to commence and end, and Steelheart etched its name into "Rock the Halls” trivia lore by becoming the first band to perform.

Vocalist and band founder Miljenko Matijevic, backed by guitarist Joe Pessia, bassist James Ward and drummer Mike Humbert, spotlighted his 2001 “Rock Star” movie contributions with second song “Livin’ the Life” — a track that also opens Jeff Scott Soto’s 2021 album The Duets Collection: Vol. 1. Matijevic, who lent his voice to Mark Wahlberg’s character Chris Cole and the fictional band Steel Dragon, will always be known for his incredible high-pitched range on smash ballad “I’ll Never Let You Go (Angel Eyes).”

Stunningly, however, the band was unable to play it when Matijevic was informed by Calguero that their 30-minute set only had time for one more tune. The unhappy vocalist had the crooning hit and one more track planned but was suddenly forced to only choose one. He began to give the option to the fans before declaring he would go back to “Rock Star” and closed with “We All Die Young.” Watch ATM’s Facebook Live footage of it here as Matijevic inserted himself into the middle of the crowd for part of the song.

The fact that the Croatian native, who moved to America when he was 6, and Steelheart were even able to play the Alamo City was a victory of major proportions. Matijevic was severely injured during a gig in 1992 when he climbed a lighting truss that wasn’t completely secure and suffered a twisted spine and broken nose, cheekbone and jaw.

So now that Steelheart, like Winger, has a solid reason to return to the Alamo City . . .

Calguero tried to lighten the programming blunder by telling the crowd, “Maybe we’ll sing ‘I’ll Never Let You Go’ “ as he began to introduce Ford’s band. In case you were wondering: no, that didn’t happen.

The 65-year-old Ford, accompanied as usual by San Antonio native Patrick Kennison on guitar, drummer Bobby Rock and bassist Marten Andersson, was solid again and engaging with the audience. She told a sentimental story about how her B.C. Rich guitar was made out of a tree trunk she found with her father on a fishing trip in 1980 prior to performing her hit with The Runaways, “Cherry Bomb,” and “Close My Eyes Forever” (ATM footage of both below). Watch the group in further action on the song Ford and the late Lemmy Kilmister co-wrote, “Can’t Catch Me.”

Warrant’s headlining set, naturally, was filled with hits from the first three albums: Dirty Rotten Filthy Stinking Rich, Cherry Pie and “Machine Gun” from 1992’s vastly underrated Dog Eat Dog (watch here and see setlist in photo gallery).

Although accomplished vocalist Robert Mason has been in the group for 15 years following the departure, return, and eventual death of brilliant songwriter and vocalist Jani Lane, he has the difficult task of knowing the band is always going to have to fill its shows with Lane’s songs no matter how much new music the group chooses to make in the future with his voice. Still, Mason always puts his balls into his performances whether the songs are originally his or not, and he’s a big reason Warrant is always worth the price of admission.

On this night, original guitarist Joey Allen and drummer Steven Sweet did their thing as usual, but original guitarist Erik Turner and bassist Jerry Dixon, while still members, were nowhere to be found. A date with paying the bills necessitated an early departure halfway through the group’s set, so if an explanation of their absence was given, it wasn’t heard by these ears. But a familiar face filled in on bass in the form of Robbie Crane of Ratt, Lynch Mob and now Black Star Riders fame. Watch the group in further action below on “32 Pennies” and the ballad “Blind Faith.”

So there was no snow, and there were intermittent moments of audio and technical difficulties. But the first “Rock the Halls” had a slew of memorable hits from the past, plenty of energy and was a rockin’ good time. The way it was intended to be. And it gave future installments something to live up to.

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

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

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

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

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

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

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

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

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

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

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

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

Just call ‘em lokos.

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

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

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

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

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

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

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

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

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

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

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Skillet epitomizes true live performance on Rock Resurrection tour

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Skillet epitomizes true live performance on Rock Resurrection tour

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

That’s Skillet on stage.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But this particular evening was mostly about Skillet.

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

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

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State of Minds & Rock Come to Life on Revolutions Live Tour

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State of Minds & Rock Come to Life on Revolutions Live Tour

For years, it was trendy for rockers to address their fans one of two ways when taking a break between songs during their concerts:

1) Spew some political vitriol in an attempt to sway their ticket-buying faithful to think just like they do

2) Forego messages altogether by reminding fans they came to the show to forget the world’s issues, and their own, for a couple of hours in the name of entertainment

But what if musical artists entertained and made those spoken words count by eliciting inspiration and hope?

Welcome to Planet Zero. And welcome to the Revolutions Live tour.

Headlined by Shinedown, kicked in by Papa Roach and jumpstarted by Spiritbox, the Revolutions Live tour visited Freeman Coliseum this past Monday night and treated just under 5,000 fans to headbanging Rock N’ Roll, pyro displays that could’ve taken the hair off your arms several rows deep and yes, dialogue that intended to make a difference.

Shinedown isn’t exactly the first, and won’t be the last, band to emphasize the importance of mental-health awareness. For San Antonians in particular, think back to Disturbed’s concert in January 2019 at the Illusions Theater inside the Alamodome.

But as vocalist Brent Smith told the coliseum’s patrons, Shinedown has been talking about mental health “since before it was in the news.” To wit, a majority of the group’s songs more than shed light on the subject. That’s saying something given that not only is Shinedown touring in support of a bitchin’ album released July 2022 entitled Planet Zero that is heavily laden with slow and heavy mental-health tracks, but because this tour is also celebrating 20 years of the band’s debut effort Leave A Whisper.

Following a series of big-screen photos that showed what Shinedown likes to do behind the scenes and on the road, the band took to the stage that jutted out into the general-admission portion of the crowd by opening with “Diamond Eyes” (Boom-Lay Boom-Lay Boom) — a 2010 non-album track (sans deluxe edition, that is) written for Sylvester Stallone film “The Expendables.”

For yours truly’s first time experiencing Shinedown live, the only appropriate way to open the show would’ve been to come out guns blazing with Planet Zero kickstarter “No Sleep Tonight.” Instead, it was a trip to Bummer City having to endure the entire night without hearing the 2 1/2-minute track that could give any top thrash song of 2023 a run for its money.

And while Planet Zero is arguably Shinedown’s best album (give it time, old-schoolers), mohawked vocalist Brent Smith, guitarist Zach Myers, bassist/pianist Eric Bass and drummer Barry Kerch did perform four new tracks, including “Dead Don’t Die” and “A Symptom of Being Human.”

It was Smith’s introduction to the latter that emphasized the theme of the evening. He gave a somewhat long, but more importantly moving, speech about mental-health awareness, suicide prevention and the importance for people to accept themselves for who they are. The group then performed its latest single with many in the coliseum belting out every word as if they had their own invitation to the lunatic ball.

But Shinedown’s 1-hour, 50-minute performance wasn’t limited to waxing poetic or urging fans to ask for help if they needed it. There was plenty of rock to be had too.

Shinedown delivered the goods with a mixture of songs from the old and the new and 2008 hit album The Sound of Madness.

The hits were there in “45,” “The Sound of Madness” and “Second Chance” — the latter preceded by an introduction from the late radio legend Casey Kasem on “America’s Top 40.”

So was somewhat surprising finale “Cut the Cord.” And of course there was the mandatory cover of Lynyrd Skynyrd’s “Simple Man” (during which Smith had the crowd hold the first six instances of “Simplllllllllle kind of man”). There was even an unexpected cover of Jimmy Eat World’s “The Middle,” with Myers taking over lead vocal and acoustic guitar duties before Shinedown crew members received their moment in the sun by joining in on guitar and drums.

And the flying piano was not to be outdone.

Yes, out of the ceiling emanated a grand instrument illuminated in purple and white light that Bass played on “I’ll Follow You.” Myers stood on top of it for his guitar solo while Smith paraded around the stage and eventually sat next to Bass on the piano. Later in the Columbus Day evening, Myers told the crowd, “Give it up for the flying piano. We know everyone’s come through San Antonio. We know Elton John and Billy Joel have come through San Antonio. But none of those sons of bitches had a flying piano!”

Although professional video was not allowed — and thus, no evidence here of the piano’s ability to spread its wings — you can watch a sampling of Shinedown’s performance via ATM’s Facebook Live footage of “Devil,” “Unity” and “45.”

Papa Roach has fought for world hunger among its causes, and the Revolutions Live tour, in conjunction with latest album Ego Trip, enabled the band to get into the mental health awareness act.

Acknowledging “we never normally break it down like that,” vocalist Jacoby Shaddix and company did their own acoustic jam with “Leave A Light On.” The band accentuated the track by declaring it was donating proceeds from the gig to the American Foundation for Suicide Prevention.

But of course, Papa Roach has had too much of a history with the Alamo City to let down its guard. Whether it’s been Siesta Fest in 2013, the River City Rockfest in 2017 or any gig prior or since, Papa Roach has built a cult following in San Antonio. On its latest visit, it also gave the fans what they wanted on “Getting Away With Murder,” and ATM’s Facebook Live footage of “Forever” and “Scars.”

During its longtime smash World Wrestling Entertainment “Monday Night Raw” theme song “. . . To Be Loved,” Shaddix made his way through the GA crowd and into sections 22-24 before emanating down the steps and coming face to face with Alamo True Metal (see photo gallery). Shaddix spoke with ATM in 2014, prior to the release of F.E.A.R., about the massive exposure that song received (listen here).

Spiritbox opened the show as the newcoming band to many in the audience. But fans may not have realized they’ve probably seen at least three quarters of the quartet by other means.

Vocalist Courtney LaPlante and guitarist Mike Stringer are not only married to one another, but they were both in now-defunct Vans Warped Tour metalcore act Iwrestledabearonce. Bassist Josh Gilbert, meanwhile, was in As I Lay Dying and that band’s spinoff group Wovenwar.

LaPlante was the only female on stage among these three artists — and the only one providing metalcore angst, which can be heard via ATM Facebook Live footage of closer “Holy Roller” from 2021 album Eternal Blue and on the band’s forthcoming EP The Fear of Fear on Nov. 3.

Although Shinedown’s preferred way to open the show wasn’t what this writer had in mind, yours truly entered the coliseum believing the only appropriate way to end it would be to hear Planet Zero finale “What You Wanted” performed live or blaring from the P.A. system as the lights came on. The latter is exactly what happened as the studio-version lyrics bellowed, “So long, we hope you enjoyed the ride. Did you get what you wanted? Is this what you wanted?”

For the most part, the answer was yes. All three groups made their performances — and non-singing words — matter. They demonstrated that in the name of entertainment and heavy metal, words and lyrics don’t have to preach to get the message across in useful fashion.

Maybe even useful enough to save a life. A life that matters to you.

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Watchtower reunion show resurrects legion of South Texas metal memories

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Watchtower reunion show resurrects legion of South Texas metal memories

The Sunset Strip in Hollywood had its hairday in the ‘80s. The New Wave of British Metal enjoyed its influx of influential bands that went on to carve their own niche in history.

San Antonio and South Texas? Well, the Heavy Metal Capital was building its scene during that same time frame with a horde of bands mostly unique to its geographical mecca.

South Texas metal four decades ago was comprised of artists filled with precocious teenagers and 20-somethings unleashing their brand of angst, riffs and high-pitched screams yearning to be heard by the world. As the NWOBHM and Los Angeles scenes exploded with legendary artists that produced album after album after album, a bulk of San Antonio’s early ‘80s artists put out an album or EP here and there before branching out into other projects.

Or coming to a halt altogether.

But that turn of events for artists such as Watchtower, Militia, Karion, Juggernaut, S.A. Slayer and Wicked Angel resulted in a more close-knit scene than those other two more famous factions could claim. That camaraderie has enabled many involved with those bands to reunite on occasion decades later and join forces to show they’ve still got it.

Collectively calling their all-star formation the South Texas Legion, the latest special occasion occurred Friday night at Fitzgerald’s for a $20 sold-out gig dubbed The Masters of Chaos highlighted by Watchtower’s first show with vocalist Jason McMaster in 19 years. Helstar vocalist James Rivera brought his James Rivera’s Metal Asylum bandmates to provide support and played a special set of classic Helstar tracks before spearheading the South Texas Legion jams. And Wicked Angel began the festivities with another riveting and fiery (literally) set.

First, Watchtower: The Austin-based progessive and technically refined metal act fronted by the Dangerous Toys, Broken Teeth, Ignitor and Evil United vocalist specializes in out-of-this-world time signature changes and unpredictable directions in its riffage courtesy of San Antonio guitarist Ron Jarzombek, bassist Doug Keyser and drummer Rick Colaluca.

Jarzombek and Keyser were a whirling dervish of musicians encircling McMaster around the stage frequently while playing a slew of songs from its lone two full-length albums: 1985’s Energetic Disassembly and 1989’s Control and Resistance (see setlist in 60-photo gallery).

Watch ATM’s Facebook Live footage of the first two songs Watchtower played on stage since 2004 — “Asylum” and “The Eldritch” — here.

McMaster joked after one song to Keyser and Jarzombek, “Why don’t you guys put a few more notes in that song? You probably need to add a thousand more notes to that one.” That’s because the duo’s technical mastery was on full display as if they had been playing together continuously the past 40 years. Further evidence can be seen below via ATM footage on the title track to Control and Resistance plus “The Fall of Reason” and “Tyrants in Distress.”

As if that wasn’t enough, Watchtower ended a set that lasted from 11:41 p.m.-1:07 a.m. by playing the first half of Rush’s 1975 epic tune “By-tor and the Snow Dog,” a complicated track Jarzombek can perform in his sleep largely due to his inclusion in Rush tribute band Exit Stage Left (ATM footage below).

The middle of the evening was set aside for James Rivera’s Metal Asylum transitioning into Rivera and Militia vocalist Mike Soliz bringing the South Texas Legion to fruition.

The South Texas Legion appeared five years ago on the same stage (ATM coverage here) for an evening that was half Q&A, half feelgood jam session.

This time, the entire night was concert oriented. Rivera’s Metal Asylum focused on a classic early ‘80s set of his Houston band Helstar backed by San Antonio’s Ozzy Espinoza and Craig Leach on guitars, Blood Moon frontman Michael Canales on bass and drummer Miguel Morales of Megadeth tribute Rust In Peace. Watch them in action via ATM Facebook Live footage of Helstar’s “The King Is Dead” and “Bitter End.”

Soliz helped the Metal Asylum end its set with Helstar’s “Run With the Pack,” a perfect segue into Soliz leading an onslaught of early South Texas metal brethren hitting the stage as South Texas Legion. But first, Soliz joked: “This is how I got in for free tonight to see Watchtower.”

And with that, it was time for Militia, Karion, S.A. Slayer and Juggernaut songs and personnel to take center stage. Guitarists Tony Smith, Scott Womack and Art Villareal, bassist Pete Perez and drummers Chip Alexander and Bobby Jarzombek teamed up to play Militia’s “Metal Axe,” Karion’s “Panzer” and Juggernaut’s “All Hallows Eve,” all of which can be viewed via ATM Facebook Live footage here.

There were several references to old-school venues such as The Cameo Theatre and Villa Fontana. The latter, of course, featured the Nov. 30, 1984, “Slayer vs. Slayer” gig of San Antonio Slayer and Los Angeles’ Slayer on the same stage when the thrash band that eventually became part of the Big 4 toured in support of its 1983 EP Haunting the Chapel. Former S.A. Slayer guitarist Villareal gave a shout-out to the late S.A. Slayer vocalist Steve Cooper as Rivera and Co. took the reins on “Final Holocaust” (ATM footage below).

S.A. Slayer was one of those bands that only released one full-length album and one EP. But its roster was a who’s-who of San Antonio metal including Villareal, Cooper, longtime and current Riot bassist Don Van Stavern, former Machine Head drummer Dave McClain, Ron Jarzombek replacing Villareal in 1984, guitarist Bob “Bob Dog” Catlin (who was part of the 2018 South Texas Legion at Fitzgerald’s) and one-time Fates Warning vocalist Chris Cronk. Van Stavern was unable to make Friday’s conglomeration of San Antonio metal because Riot is playing in Germany.

For those reading this outside of Texas wondering how San Antonio could be dubbed the Heavy Metal Capital given the aforementioned, more publicized, metal movements — it’s a combination of this storied San Antonio scene and the fact renowned late disc jockey Joe “The Godfather” Anthony gave numerous European, German and Canadian bands their first taste of American radio airplay in the late ‘70s and early ‘80s: Scorpions, Rush, Triumph, Killer Dwarfs, Judas Priest . . . the list goes on.

Wicked Angel’s 45-minute opening performance, meanwhile, set the tone splendidly for Fitzgerald’s filled house.

Vocalist Dave Caballero, guitarists Joseph Valdez and Roland Casias, bassist Raymond Castaneda and drummer Ernest Chavarria brought a slew of fans to their warm-up show two days prior. Technical difficulties and a damaged double-bass drum pedal threatened to spoil Friday’s party, but that was not an option for Wicked Angel.

Chavarria engulfed his set in flames as is the band’s traditional way of starting. Cloaked in his patented black robe, Caballero’s high-pitched vocals and melodies helped kick off “Legions of the Dead” and “Black Mass.”

Valdez began the mentions of the Cameo Theatre and other now-defunct San Antonio metal venues while introducing Wicked Angel’s version of “Breaking the Spell” (ATM footage below), originally done by San Antonio’s Wyzard.

Wyzard featured 18-and-19 year olds such as Gilbert “Buster” Grant on vocals, guitarist Mike Valenzuela, bassist John Alvarado and the late drummer Rene Cox. Alvarado was in attendance Friday, while Grant nowadays fronts Livin’ Dark Daze.

Barely getting a chance to digest Watchtower’s first onstage appearance in nearly two decades, McMaster mentioned he was about to get on a plane to Denver to perform with Dangerous Toys.

However, Watchtower is also headed to Germany on Oct. 7 before kicking off 2024 on Jan. 5 in its hometown of Austin’s Come And Take It Live (tickets here). McMaster plugged that show by saying, “Lots of cool air conditioning. No offense. I like sweaty shows.”

Many would-be concertgoers who slacked on buying tickets were left watching social media for footage rather than being at Fitzgerald’s live and in the flesh. And yes, there were some technical difficulties and lukewarm temperatures in the venue on another muggy 100-degree night — a dilemma that has plagued various San Antonio bars in the past when they’re hosting some of their biggest shows of the year.

But none of that could stifle San Antonians’ dedication to a 40th anniversary of sorts for a burgeoning host of South Texas metal mainstays.

The legion is alive and well. And its legacy will only continue to live on and grow in the heavy metal capital. And beyond.

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Skid Row, Buckcherry grind out good time for dedicated slaves to rock

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Skid Row, Buckcherry grind out good time for dedicated slaves to rock

On paper, a tour pairing Skid Row and Buckcherry would have “fun-filled night of rock and debauchery” written all over it. And Saturday night’s gig at the Aztec Theatre certainly delivered. But it was more.

Headlined by a mostly ‘80s band that’s still putting out new music in the past year, directly supported by an early 2000s artist that’s also continuing to put out killer fresh material and opened by a frontman who only hit the music scene in the past couple of years but was already making his third appearance at the Aztec in 22 months begged the question: why don’t more tours combine bands from various eras who are still going strong?

In other words, there was something for everyone, or at least for the approximate 1,200 in the 1,600-capacity historic downtown venue (according to a staffer).

Skid Row’s visit was especially long-awaited since, well, who remembers when? You could make the joke that the band has had nearly as many vocalists (five) as full-length albums (six) since its smash 1989 self-titled debut — only surpassed by last year’s release of The Gang’s All Here — but the New Jersey outfit’s timeless music is nothing to sniff at.

While “Youth Gone Wild” still resonates as the FU anthem to corporate America 34 years after its unveiling on MTV, it’s the kick-in-the-crotch heaviness of 1991 follow-up Slave to the Grind that cemented Skid Row’s place in rock after only two albums.

So it should come as little surprise that 11 of the 13 songs performed were from those two mainstay efforts combined, even with new vocalist Erik Gronwall making his live San Antonio debut. Following in the footsteps of former Dragonforce vocalist ZP Theart, TNT singer Tony Harnell, the late Johnny Solinger and of course original voice Sebastian Bach, Gronwall endeared himself to the Aztec audience with his stellar mix of vocal prowess and crowd banter.

Backed by the original trio of guitarists Dave “Snake” Sabo and Scotti Hill plus bassist Rachel Bolan, along with drummer Rob Hammersmith, Gronwall packed his own punch to Skid Row’s classics. It would’ve been nice to hear at least one track from vastly underrated third album Subhuman Race from 1995 such as “Bonehead,” “Frozen” or the title track, because it’s a record that’s not solely appreciated by a famous rock DJ and journalist.

The new album can also stand on its own, though the group only performed two new tracks including “Time Bomb” (ATM footage below) and the title tune. But considering how many popular songs reside on those first two albums, you can’t argue with the group giving the people what they wanted, again taking into account the fact Skid Row doesn’t come around to the Alamo City as often as its support acts on this night.

Gronwall was a particular force when he held the “I’m so far awaaaaaay” part on 1991’s “Quicksand Jesus” in admirable fashion. He also proved he could multi-task without issues when he borrowed not one, not two but three fans’ phones and filmed himself and the crowd singing the new album’s title track 12 songs into the 13-track performance (see setlist in 65-photo gallery). It was also nice to see generations older and newer getting into Skid Row’s two new songs, something practically unheard of at concerts in a city that worships its classic rock. Watch the band via ATM Facebook Live footage of “Piece of Me'“ and “Livin’ On A Chain Gang.”

On a night in which Skid Row had plenty of competition for fans’ adoration given that Glenn Danzig was playing his 1988 self-titled solo debut in its entirety at the Boeing Center at Tech Port, Yngwie Malmsteen and Glenn Hughes joined forces at the Tobin Center and Texas wrestling legend Kevin Von Erich was hosting a story-telling show next door at the Charline McCombs Empire Theatre, the fact Sabo and Skid Row were on stage at all cannot be taken for granted.

Sabo, who’s also the tour manager for Down — the New Orleans outfit fronted by Pantera’s Philip H. Anselmo — recently spoke with RockCelebrities.net about his multiple suicide attempts. Anytime a musician perseveres through never-ending struggles such as mental illness, depression and suicidal thoughts and comes out the other end playing live on stage, well, he or she deserves ultimate props, applause and support.

Unlike Skid Row, Buckcherry has been a live staple in San Antonio for many years. This time, vocalist Josh Todd and guitarist Stevie D. and their newest bandmates are touring in support of June’s release of Vol. 10. Like Skid Row, the band only performed two new songs — one of them being its cover of Bryan Adams’ “Summer of ‘69” — due to the bevy of hits it needed to squeeze in for what amounted to a 53-minute showing. Watch them via ATM Facebook Live footage of “Ridin’ “ and “Hellbound.”

Buckcherry is shake-your-head amazing in that here’s a band whose biggest hit is “Crazy Bitch,” has the balls to release an entire EP entitled Fuck in which every song burns the magic word into your brain cells — yet can also write a song raising awareness about child abuse (“Rescue Me”; not performed on this night, however) or hit you with its soft side on 2005 ballad “Sorry” (ATM footage below).

And Buckcherry carried the fun oxymorons a step further at the Aztec. Todd, who spoke exclusively with ATM in 2017 about his side band Josh Todd & The Conflict (listen here), might be the only vocalist who could interject a “Rolling On A River” ode to the late Tina Turner in the middle of “Crazy Bitch” and still have it ring out as the ultimate compliment.

Along with bassist Kelly Lemieux and recent guitarist and Jetboy co-founder Billy Rowe, it’s the 2019 addition of drummer Francis Ruiz that may be rock’s best-kept secret, at least to the general public and fans if not those on the inside of the industry.

A native of Albuquerque, Ruiz has been known to appear at shows in South Texas when he’s not on stage, such as checking out Judas Priest last Thanksgiving Eve at the Boeing Center. More importantly and incredibly, Ruiz has served as the drum tech for legends and standouts such as Tommy Aldridge (Ozzy Osbourne, Whitesnake), Mikkey Dee (King Diamond, Don Dokken, Motorhead, Scorpions), Charlie Benante (Anthrax), Paul Bostaph (Slayer), “Wild” Mick Brown (Dokken, Ted Nugent) and Jeff Fabb (Black Label Society, In This Moment).

For good measure, Ruiz has also been a member of Great White and Samantha 7, the latter the side band of Poison guitarist C.C. Deville. Moments after getting off stage, Ruiz patrolled the VIP section of the Aztec and wished fellow drummer, friend, San Antonio native and — ironically — longtime drummer for Bach’s solo band Bobby Jarzombek a happy 60th birthday (see photos).

Opening up the evening was Cincinnati native Kurt Deimer, who was making his third Aztec Theatre appearance after opening for Geoff Tate in November 2021 and Tesla in September 2022. On this night, Deimer was accompanied behind the scenes by Tesla bassist Brian Wheat, who took photos of Deimer’s performance from the soundboard.

Deimer and guitarist Phil X spoke with ATM prior to the Tesla concert (watch here). With the latter just coming off a tour of Indonesia with Sons Of Apollo keyboardist Derek Sherinian, Deimer this time was backed by guitarists Brandon Paul and Sammy Boller, bassist Brendan Hengle and drummer Dango Cellan.

Much like Deimer’s appearance with Tate was mostly unbeknownst to the crowd that would show up at the Aztec, so too was the third time around. Deimer has been doing his own self-promotion for this tour with scant mention by Live Nation or the main acts. In fact, the show began at 7 p.m. — 20 minutes prior to the official start time that had been given to media and venue personnel by Live Nation.

Nevertheless, Deimer and his band got things going with the crowd-pleasing sing-along and message-inspiring “Hero,” the Pink Floyd cover “Have A Cigar” and forthcoming album track “Live or Die.”

Many may have wished they could’ve been in three venues at the same time on this particular evening. But for those on hand at the Aztec, a chance to see these three staples of the rock scene past and present was too good to pass up.

After Skid Row took its well-deserved bow and exited the stage, “Margaritaville” graced the P.A. as an ode to the man who passed earlier in the day. It was a classy touch and end to a show that will go down as one of the best 2023 has offered up in this neck of the woods — and one those in attendance would certainly pay to see again.

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Shock rock maestro Alice Cooper makes nightmares fun at Tobin Center

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Shock rock maestro Alice Cooper makes nightmares fun at Tobin Center

He’s the man behind the mask, he knows when you’re hungry — and at 75 years young, Vincent Furnier continues to parade around the world as the king of horror rock known as Alice Cooper.

So after the children had been put to bed — well, except for the 3-4-year-old boy wearing oversized headphones — parents ventured to the Tobin Center on Tuesday night to make up a crowd of 1,200 in the 1,600 capacity Performing Arts Hall and watch Cooper unveil his traditional bevy of rock, theatrics and nightmares in the name of fun.

Backed again by the triple guitar attack of Ryan Roxie, Tommy Henriksen and “Hurricane” Nita Strauss (the latter returning to Cooper’s band after playing with Demi Lovato earlier this year), drummer Glen Sobel and bassist Chuck Garric, Cooper took to the stage at 8:18 p.m. behind an enlarged newspaper banner declaring him “Banned in Texas.”

Oddly enough, the opening track “Lock Me Up” from 1987’s Raise Your Fist and Yell only featured the first verse and chorus before Cooper unleashed elder classics “No More Mr. Nice Guy,” “I’m Eighteen” and “Under My Wheels.”

Surprisingly, Cooper remained in the same long-sleeved black shirt and black leather pants ensemble for the first half of the 95-minute performance before exhibiting the props he’s known for. And boy, did they come in bunches after that.

First, however, Cooper delved into “Billion Dollar Babies,” “Fallen In Love” and “Snakebite” (watch ATM’s Facebook Live footage of all three here). The first of those tracks is another Cooper staple from the 1970s. The second is a 2017 tune on which he collaborated with ZZ Top’s Billy Gibbons. And the third. Well, that one made the guys eat their hearts out.

That’s because when Cooper brought out his traditional snake friend, the constrictor wrapped around his neck nearly fulfilled many fantasies by coming this close to kissing the recently engaged Strauss on the lips faster than you could say, “Ewwwwww!”

If the slithering animal wasn’t your cup of tea, Cooper’s other two main highlights from a visual sense continued to be the namesake monster on another 1991 Hey Stoopid track “Feed My Frankenstein,” whose larger-than-life appearance left this writer wishing to witness a face-off with Iron Maiden mascot Eddie.

Unofficial seventh member Cheryl Cooper danced around the stage on a few tunes as well, but her main duty was to work Cooper’s third main prop — the guillotine. After chopping off Alice’s head and displaying it proudly for the audience, the slew of ‘70s and ‘80s hits kept coming. Watch ATM footage of seven more songs and jams in the YouTube clips below.

Cooper dropped new album Road on Friday, three days after the show, but nary a mention of it came even when “Alice finally speaks” during band intros on traditional closer “School’s Out” (watch below).

When an artist such as the long-standing Cooper comes out with new music, it’s a bonus of extra material that adds to an artist’s legacy rather than anything that’s going to be spotlighted in concert.

Cooper hooked up on tour with Rob Zombie two days later in Dallas, a trek that isn’t scheduled to come to San Antonio. But for one night only, Cooper was “too close for comfort” in headlining mode. And as he so eloquently put it at the end, he could only hope that everyone’s nightmares going forward be “horrific.”

As long as Furnier carries a ghoulish Cooper side to himself, he might make the top of any mythical most-likely-to-keep-rocking-live-at-100 list.

Perhaps therein lies the secret to living well at his age: a heaping of bad dreams tossed with a side of snake and Frankenstein — and a desire to keep making new music while giving fans a heavy dose of the classics they’ll always crave to hear.

The way only Alice can.

SETLIST: Lock Me Up (first verse), No More Mr. Nice Guy, I’m Eighteen, Under My Wheels, Billion Dollar Babies, Fallen In Love, Snakebite, Be My Lover, Lost In America, Hey Stoopid, Glen Sobel drum solo, Welcome To My Nightmare, Cold Ethyl, Only Women Bleed, Poison, Feed My Frankenstein, Black Widow (jam), Ballad of Dwight Fry, I Love the Dead, Escape, Elected. ENCORE: School’s Out (with Another Brick In the Wall section)

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Connections come to life as trio of mainstays rocks Boeing Center

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Connections come to life as trio of mainstays rocks Boeing Center

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

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

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

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

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

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

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

You may exhale now.

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

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

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

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

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

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

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

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

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

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

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

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Resurrection of The Espee: Stryper, Vixen righteously rev up long-idled venue

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Resurrection of The Espee: Stryper, Vixen righteously rev up long-idled venue

It may not have been Easter weekend. The 100-degree sauna enveloping all of San Antonio for the past two months staunchly indicated that.

And there may not have been any churches nearby or religious symbols adorning the picturesque The Espee Pavilion this past Thursday night.

But there were multiple resurrections nevertheless.

The flag-bearers of Christian metal, Stryper, brought their yellow and black attack to the Alamo City’s downtown venue formerly known as Sunset Station accompanied by late ‘80s female heartthrobs Vixen and rocked a dedicated and faithful few hundred who came, saw and knew what to do.

An indoor show last Oct. 4 headlined by Accept notwithstanding, the Stryper/Vixen package is believed to be the first outdoor metal concert at the railroad pavilion in nearly 12 years when Hatebreed and Cannibal Corpse played a 35-degree November night in 2011.

Triple digits reigned this time, but not even unbearable humidity could halt a celebration of two long-standing Sunset Strip bands — one that delivered on all counts.

The return of Stryper could be viewed as a resurrection all unto its own, too.

Vocalist/guitarist Michael Sweet has overcome multiple retina detachments in his right eye, and lead guitarist Oz Fox has had multiple tumors removed from his brain since 2018. So any show Stryper puts on going forward is a blessing to its fans in more ways than one.

Along with fellow original member Robert Sweet on drums and former Firehouse bassist Perry Richardson, Stryper performed two 40-minute sets separated by a 10-minute break because “we felt it was the safest thing to do,” as Michael Sweet told the crowd.

Although they’re touring in support of last October’s The Final Battle, Stryper omitted the lone new-album tune on its printed setlist “No Rest For the Wicked” (setlist in 87-photo gallery) and stuck to mostly classics. Four of the first five tracks came from Stryper’s biggest album, 1986’s To Hell With the Devil, a taste of which can be viewed here via ATM’s Facebook Live footage of “Free” and two more tracks.

And while Michael Sweet showed no visionary ill effects, his voice continues to be one of the most heralded yet underappreciated ones in rock. Although Sweet has long scaled back on the patented high-pitched wails that adorn many Stryper songs, and despite the fact he didn’t attempt to hit them on classics such as the always jammin’ “More Than A Man” or “To Hell with the Devil,” his best note of the night was the long-held effort on 2020 track “Divider” after Stryper returned from the short break.

Despite stating on 2003 live album 7 Weeks In America that “Honestly” was the song that took Stryper out of clubs and put the band into arenas, Sweet and his mates did not perform it this evening. In fact, all ballads were left at home. Although Stryper has produced some of the best ballads in the business such as “First Love,” “Together As One” and "Alive,” the band deserves mad respect for simply going balls-out with every song performed on this steambath of an evening.

The hits kept coming with “In God We Trust,” “Calling on You” and “Always There for You,” and you can watch more ATM footage below of the final three tracks of the show. That included 2018’s “The Valley,” which Michael Sweet preceded by revealing Stryper plans on recording a new album next year before embarking on a 40th anniversary tour that will include a classic and modern era set each night.

“I’ll be praying that we come back here on a 75-degree night,” Sweet added.

The appearance of Vixen was an added bonus given that the lone ‘80s female hard rock band to sell more than one million albums hadn’t performed here in more than two decades.

Nowadays, Vixen features drummer Roxy Petrucci as its lone remaining original member helping to keep the songs alive following the 2013 death due to cancer of guitarist and founder Jan Kuehnemund.

But if you’re not familiar with the other members, well, that’s what Alamo True Metal is here for.

Other than Lita Ford’s “Kiss Me Deadly” video, the sex symbol of 1988 was easily vocalist Lorraine Lewis. Like Vixen, Lewis’ group Femme Fatale debuted in 1988 with a self-titled album. For those who don’t remember, look up the videos of “Waiting For the Big One” and “Falling In and Out of Love.” The former was performed after opener “Rev It Up” as an ode to Lewis’ former band.

Meanwhile, guitarist Britt Lightning may be recognizable in some circles from the all-female Guns N’ Roses tribute Paradise Kitty.

Julia Lage joined Vixen last year after original bassist Share Ross (formerly Share Pedersen) announced a hiatus from the group. Lage, a native of Brazil, is not only the wife of The Winery Dogs singer/guitarist Richie Kotzen but also the bassist in Smith/Kotzen, the side project her husband shares with Iron Maiden guitarist Adrian Smith.

And in case you were at The Espee but didn’t recognize him perched as far back stage left as a keyboard player could be, the forgotten fifth member of Vixen is, alas, a man. Tyson Leslie may not be familiar to many rockers, but he has performed with everyone from Slipknot and Stone Sour’s Corey Taylor to country star Tracy Lawrence as well as Faster Pussycat, former Megadeth bassist David Ellefson and Enuff Z’Nuff.

Watch Vixen in action via ATM Facebook Live footage of “Hellraisers” and “I Want You To Rock Me” — the latter featuring a jam of famous guitar riffs — and below on the evening’s final two tracks.

Stryper performed here twice in 2016 at The Rock Box and the now-defunct Backstage Live/Alamo City Music Hall, the former show being another 100-plus degree one indoors when the air conditioning malfunctioned. Listen here as Sweet recalled that night with yours truly.

Stryper’s inadvertent knack for returning on triple-digit nights to one of the states that held its first tour in 1984 wasn’t lost on Michael Sweet when he concluded, “This is one of the hottest shows we’ve ever done. Literally. But you guys stayed, and you prayed, and you made it all happen.”

Perseverance. Resurrection.

Whatever you want to call it, it was in full force Thursday night accompanied by several Stryper-styled Bibles tossed into the crowd.

By the strength and glory of God, no one passed out. Nobody required medical attention. The only fever present was a bevy of ‘80s metal mainstay songs that all in attendance enjoyed reliving live with a pair of their favorite bands. At a venue that many are glad to see back on the Alamo City metal map.

STRYPER SETLIST Part 1: Sing-Along Song, More Than A Man, Surrender, Calling On You, Free, In God We Trust, Revelation, All For One, Always There For You

10-minute break

STRYPER SETLIST Part 2: Divider, No More Hell To Pay, The Valley, Soldiers Under Command, To Hell With the Devil

VIXEN SETLIST: Rev It Up, Waiting For the Big One, How Much Love, Cruisin’, Cryin’, Hellraisers, I Want You To Rock Me, Streets In Paradise, Love Made Me, Edge Of A Broken Heart

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Underappreciated bands put the jam in underground Glam Slam metal tour

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Underappreciated bands put the jam in underground Glam Slam metal tour

For nearly 35 years, Chip Z’Nuff has comprised one half of one of the most overlooked rock duos in Glam Slam history.

Along with original and longtime vocalist Donnie Vie, Chicago-area band Enuff Z’Nuff has stockpiled 17 studio albums that have rocked diehards to their core.

But that boatload of stellar Rock N’ Roll came with one double-edged sword: although it may not even be one of the top 50 songs Enuff Z’Nuff has ever recorded, 1989 MTV hit in “Fly High Michelle” filled the band’s pocketbooks higher than most of us will ever see, yet still has the group pigeonholed for that one song 3 1/2 decades later.

So while Z’Nuff has been bringing his group to San Antonio regularly since assuming lead-vocal duties in 2016 following Vie’s departure, including Friday, July 21, at Vibes Underground, you can excuse the vastly underrated songwriter if he sounds bitter for playing such an intimate venue.

“My father said it best,” Z’Nuff told a travesty of a turnout of 50-ish fans prior to introducing 1989 single “New Thing” and Beatles cover “With A Little Help From My Friends” (ATM footage below). “Enuff Z’Nuff is an arena band playing clubs all around the country.”

Earlier in the evening of the Glam Slam Metal tour that included The Quireboys, Bad Marriage and local openers Eden Burning, Z’Nuff said, “We should be playing arenas. But we came to play for you guys!”

It may have sounded like a backhanded compliment, but it was anything but. Z’Nuff was merely speaking the truth. In fact, you could argue that Enuff Z’Nuff would’ve fit right in on last year’s stadium tour featuring Def Leppard, Motley Crue, Poison and Joan Jett — and would’ve been more appropriate than the latter.

And if San Antonio wants to reclaim its place atop the Heavy Metal Capital perch, a paltry turnout in the double digits for an artist that has graced the landscape with heavy Beatles influenced Rock N’ Roll for as long as it has is unacceptable.

But that sentiment, naturally, didn’t apply to those in attendance. Nor did it fit yours truly, who showed Z’Nuff several years ago just how much the musician’s musical brilliance means to him (watch here).

Despite the concert being switched at the last minute from the more spacious Rock Box within the same venue next door to Vibes Underground, giving way in the process to younger bands Thousand Below, Until I Wake, A Tragic Setback and Kill Lonely, those who wanted a little glam with their slam weren’t disappointed.

Z’Nuff, guitarist Tory Stoffregen, new guitarist Jason Camino and drummer Daniel B. Hill pulled a pleasant surprise by opening with “Rock N World,” the final track on third album Animals With Human Intelligence from 1993. Hits such as “Baby Loves You,” the aforementioned “Fly High Michelle” and 1989 single “New Thing” (ATM footage below) were interspersed with four Beatles covers from the group’s 2021 album of The Fab Four’s hits Hardrock Nite.

There was nary a mention of last year’s release of new studio effort Finer Than Sin, let alone any tunes performed from that record. It was as if Enuff Z’Nuff was touring in support of The Beatles covers rather than a new record of its own (see setlist in 75-photo gallery).

Either way, it’s a blessing that Z’Nuff chose to continue with EZN after parting with Vie, although the two are still said to remain in touch and occasionally collaborating on songs together, including the 2021 release of Never Enuff: Rarities & Demos featuring a slew of songs recorded from their early days that never made it onto those 17 albums.

Watch the group in action here on the opening two tracks and below on “New Thing” and Beatles tune “WIth A Little Help From My Friends.” The latter included appearances from members of The Quireboys and Bad Marriage.

As if Z’Nuff didn’t have enuff on his plate these days, he officially became the bassist in The Quireboys earlier this year and is pulling double duty throughout the tour.

Formerly known as The London Quireboys, this version of the two-outfit band is continuing on after parting ways with original singer Spike last year. Longtime guitarist Guy Griffin, like Z’Nuff with EZN, has assumed lead-vocal duties and is carrying on the group’s similarly lengthy yet somewhat underappreciated career with guitarist Paul Guerin, keyboardist/pianist Keith Weir and drummer Pip Mailing. Check them out below via ATM footage of brand new track “Lie to Me” and via Facebook Live footage of “Misled” and “Gracie B.” plus “7 O’Clock.”

Opening more than a few eyes on this night, for multiple reasons, was Boston band Bad Marriage.

Despite having only formed in 2015 and possessing just two albums and an EP under its belt, the band played like seasoned veterans mixing a bluesy Zeppelin-eque swagger with in-your-face heavy rock.

Fronted by Jonny Paquin and under the leadership of lead guitarist Mike Fitz along with rhythm guitarist Ian Haggerty, bassist Todd Boisvert and drummer Michael Delaney, Bad Marriage scored a major coup earlier this month by snagging Tesla co-founder and original guitarist Tommy Skeoch.

Incidentally, Skeoch was in town March 3 playing with his previous band Resist & Bite at Fitzgerald’s. This gig marked one of his first with Bad Marriage, and lest ye think the members of the latter would try to tone down Skeoch’s presence for fear of having the audience’s focus turn to him for his Tesla pedigree, you’d be mistaken.

Fitz proudly recalled that Bad Marriage’s previous San Antonio visit was at the Aztec Theatre opening for Tesla (sans Skeoch, of course) and that now Skeoch’s presence added a well-known axe to a triple-guitar attack that shone through rockers “Ready, Aim, Fire” and “Second Hand Smoke” plus yet-to-be-released track “Match Made In Hell” and “Victory Is My Name” (ATM footage of both below).

Ironically enough, the group’s Artificial Mind EP was produced by Tesla bassist/pianist Brian Wheat.

The evening started with the lone local flavor in the form of Eden Burning.

Led by singer/band founder/guitarist Phil Salazar, Eden Burning is another example of a talented and rocking San Antonio quartet that finds it difficult to carve a strong niche in its hometown despite having rocked local bars and theaters, not to mention the famed Whisky-A-Gogo and Rainbow Bar N Grill in Hollywood, since 2007.

Whether it’s performing at Vibes Underground in front of a double-digit crowd or mere feet away at the Vibes Event Center with Enuff Z’Nuff, Ace Frehley, Dokken, L.A. Guns and the Graham Bonnet Band as it did in 2017 (coverage here and here), Eden Burning and its Sunset Strip sleaze band influence deserves to be catching more eyes and turning more heads locally.

With Shane Breon on bass, Jarred Burns on guitar and the recent addition of former Wednesday 13, Evil United and Down Generation drummer Jason “Shakes” West on the kit, Eden Burning is an act that needs to be witnessed more regularly if you call yourself a metalhead in San Antonio.

Luckily for you if you were one of the folks who chose not to make this gig’s turnout a triple-digit affair like the temperatures outside, ATM has you covered. Watch Eden Burning in action below on “Glitter Girl” and via ATM Facebook Live footage of “Let’s Have A Good Time.”

The days of groupies backstage and on tour buses may be few and far between in 2023, but Z’Nuff proudly recalled the glam and sleaze Enuff Z’Nuff partook in when he talked about “shoving my tongue down your throat” as he referenced a female in the back of the bar before proclaiming, “This isn’t milk and cookies! This is Rock N’ Roll!”

He also relayed his love for the Alamo City before bashing San Antonio’s ordinance and curfew in the next breath, stating, “Don’t you want Rock N’ Roll all day long? I know I do!”

Another reference that touched closer came when Z’Nuff brought up his band’s days of opening for Urge Overkill at The Thirsty Whale in Chicago (suburban River Grove, Illinois, to be technical). That now-defunct venue is where yours truly was one of 200-250 fans recorded chanting “Kick your ass! Manowar kills” on the 1988 title track to Manowar’s "Kings of Metal.”

So yes, the sex and drugs portion of sex, drugs and Rock N’ Roll may not be what it used to be when these bands formed. Some of the cities hosting their gigs in 2023 may be a shell of their former selves as well.

But when these bands continue to put out stellar music combined with playing their old hits live while they’re still alive — albeit for 50, 500 or 5,000 — it’s up to the patrons to reciprocate with as much appreciation as possible.

For those in attendance on this night: give yourselves a round of applause.

And for all others: where you at, San Antonio? Your favorite artists ain’t gonna be ‘round forever.

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Desi Indian Boys Bloodywood & Iowa moshers Vended bring gift of diversity to Vibes Event Center

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Desi Indian Boys Bloodywood & Iowa moshers Vended bring gift of diversity to Vibes Event Center

For all the higher-profile, money-making, stadium-filling tours going on at the moment, one need look no further than an under-the-radar trek involving three bands with a combined total of one full-length album that are more aptly exemplifying what metal is supposed to be all about.

Teaming together from various parts of the world, the trifecta of Bloodywood, Vended and Wargasm electrified a dedicated Monday night crowd last week at Vibes Event Center with diversified messages of hope and inspiration blended with mosh pits.

Well, two-thirds of them did anyway. Wargasm had set up its gear in preparation to open the show, only to have its guitarist ask the early arrivals, “Are you ready for Wargasm?” After receiving a round of cheers, he continued, “Well, that’s unfortunate because our lead singer (Milkie Way) has fallen sick, and we cannot perform. You can watch us unpack, and we will be back soon.”

So that left matters to headliners Bloodywood and direct supporters Vended.

Hailing from New Delhi, India, the Desi quintet known as Bloodywood — a metal take on India’s movie, television and pop culture scene known as Bollywood — garnered enough of a following to comprise half of the Vibes’ spacious room on a rare Monday night show, treating a few hundred to a unique combination of dhol Bhangra drums, flutes and Hindi/Punjabi lyrics with folk metal, guitars and inspirational American rap.

Touring in support of debut full-length Rakshak (Hindi for “Protector”), Bloodywood has taken the underground metal world by storm on the strength of videos that portray a series of Bhangra dancers melding with the band much like human accessories accentuate the acts of Pitbull, Janet Jackson, Madonna, Kylie Minogue and the like.

The Vibes stage only adorned the kit of drummer Vishesh Singh, leaving plenty of room for the other four members and a few dancers and dhol players. Unfortunately, the dancers did not make the trip from New Delhi, most likely due to the cost logistics and/or visa issues that have plagued international artists’ travel plans since the Covid-19 pandemic.

But that didn’t stop Bloodywood from providing several inspirational messages to the Vibes faithful of hope and fulfilling one’s dreams. Rapper Raoul Kerr and lead Hindi/Punjabi singer Jayant Bhadula also sang of the perils of sexual assault and depression, mixing in a host of themes for an uplifting 61-minute Bhangra metal performance that riveted unlike any show San Antonio figures to see the rest of this year.

Watch a small sample of it via ATM’s video footage below of “Machi Bhasad” (“Expect A Riot”) and the diversity-is-a-gift mantra “Ari Ari.” The footage includes Bhadula’s humorous introductions of not only bandmates such as band founder/flutist/guitarist Karan Katiyar, bassist Roshan Roy and dhol player Sarthak Pawha but a few crew members as well. And the band wasn’t exactly shy about joining the masses in the pit either.

Also dotting the I’s on this night — as in India for Bloodywood and Iowa — was Des Moines natives Vended.

Featuring Slipknot kin Griffin Taylor on vocals, much like his dad Corey Taylor, and Simon Crahan on drums, the son of Slipknot percussionist Shawn “Clown” Crahan, Vended annihilated the Vibes unlike many headliners, let alone support acts.

Touring on the strength of several singles that will eventually give way to a debut EP in the coming months, Vended also features lead guitarist Cole Espeland, rhythm guitarist Connor Grodzicki and bassist Jeremiah Pugh.

Vended has served notice of its potential by virtue of impressionable performances at Germany’s famed Wacken Open Air festival and of course one of Slipknot’s Knotfest gatherings. The showing at Vibes was no different as Vended moshed its way to several new fans thanks to stepping on the gas from the get-go and never letting up. Watch ATM’s footage below of “Burn My Misery” and Facebook Live clip of finales “The Far Side” and “Asylum.”

An unlikely pairing at first, Bloodywood and Vended meshed seamlessly to exemplify more of what’s needed in music today: inspirational, non-discriminatory metal for the masses that brings fans and musicians of diverse backgrounds together for not only the greater good.

But for awareness of various societal issues plaguing the world today — and messages of methods to combat those demons — without losing an affinity for releasing pent-up emotions while engulfed in a sea of mosh pit-swirling humanity.

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Till death metal do bands, fans part at S.A.'s newest concert venue

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Till death metal do bands, fans part at S.A.'s newest concert venue

Since 1947, San Antonians have strolled the Woodlawn Theatre District able to choose among restaurants and shops. Nestled within has been a venue primarily focused on weddings, recitals and other formal events.

In 2023, the love that brides and grooms share still exists at 1906 Fredericksburg Road. But now, so does an extreme love for metal. Death metal.

The Deco Ballroom & Events Center, San Antonio’s newest concert venue, staged its third metal performance event of the year last Saturday, hosting six death-metal acts that covered five cities and four states.

As part of their “Identity Crisis” tour, there was Baltimore natives For Fear Itself and Brooklyn, N.Y., outfit Court Order.

Texas was represented by a pair of Austin bands — Living Hollow and openers Azathoth, The Blind — plus Houston natives The Xebellian Triangle.

Then there was Bay Area, California, quintet Cyborg Octopus, easily the most unique artist on the bill after mixing keytars and tenor saxophone with their brand of death metal.

But the fans were not to be outdone in the “unique” department. Many of them were 7-10-year olds who stayed well past their bedtime at the barrier, checking out family members in Living Hollow and the other bands.

Considering that the spacious Deco isn’t exactly a hole-in-the wall bar, the ballroom that will house three stages of more than 70 bands at this weekend’s eighth annual three-day Memorial Day Metalfest (tickets and VIP options here) might be the last place in San Antonio one would expect to see an underground metal event.

The bands teamed with ballroom personnel, promoter Matt Louderback of Focus Star Media and sound gurus Wavstream Live for bonding on-stage photos between sets and plenty of getting-to-know you moments during breaks in the metal.

As word gets out, particularly with the forthcoming Metalfest, last Saturday’s turnout of fewer than 100 people for a free six-band concert will be a distant memory and can be chalked up to the fact the ballroom is still a work-in-quick progress given that the other stages were still being constructed while the artists were performing.

Included in the expansion will be the spacious disco/psychedlic vibe of the Atmosphere Theatre as well as the Aurora Theatre.

But before those venues within the venue can be completed, Saturday was all about death music.

Check out ATM’s exclusive Facebook Live clips of each band via the bold links plus additional full-length videos below:

So have no fear, traditionalists of the Woodlawn Theatre District and fans of the Deco Ballroom.

Love is still in the air. It just comes now occasionally with guitars, drums . . . and death-metal growls.

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Heed The Warning: Trio of female rocking bands are here to stay

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Heed The Warning: Trio of female rocking bands are here to stay

When three siblings from Monterrey, Mexico, opened for Halestorm last Sept. 29 at the now renamed Boeing Center at Tech Port, frontwoman Lzzy Hale referred to them as “my sisters from another mister” (coverage here).

That evening, the Villareal sisters — singer/guitarist Daniela, drummer Paulina and 17-year-old bassist Alejanda “Ale” — served notice that headlining status for their group The Warning wouldn’t be far away.

As it relates to the Alamo City, that evening came this past Thursday at the Aztec Theatre. And much like the position they were in that rocking night, this bill’s support acts — Plush and Holy Wars — weren’t exactly slouches either, showcasing musicianship and/or personality that keeps them true to themselves and that should serve them well for years to come.

The Warning’s hour and 17-minute set thrilled many dedicated fans who sang practically every word to most of their songs, even in the balcony on a weeknight at a venue in which bands with bigger names have found the upper level closed off.

Making waves with last summer’s release of third full-length album Error, the Villareals dominated their set with 10 of their 17 tracks performed coming via that effort (see setlist in 50-photo gallery).

While Daniela fluidly orchestrates the audience with her banter and sheer focus on simultaneous guitar playing and vocals, Paulina — or Pau to her siblings and closest fans — delivers the infectious enthusiasm of woman-handling the kit with bubbly backup and sometimes lead vocals. Alejandra — or Ale — is easily the most laid back of the three, at least on stage, as she provides the low end of the rhythm section.

Watch the sisters in action via Alamo True Metal’s Facebook Live footage of Error tracks “Choke” and “Amour” and below on “Dull Knives (Cut Better)” and “Kool Aid Kids.”

It was The Warning’s unique take on Metallica’s “Enter Sandman” in 2014 that earned the attention of Kirk Hammett himself and garnered the band a spot on the Metallica Blacklist tribute album. Naturally, that monumental feat opened doors like no other for The Warning. Watch ATM’s footage of Thursday’s version below.

Continuing the entertaining set with the likes of the title track, Spanish-sung “Martirio,” new non-album single “More,” the story behind “Ugh” (ATM footage below) and finale “Evolve,” The Warning demonstrated how far they’ve come since 2017 independent full-length debut XXI Century Blood (which did not feature any songs played on this night).

Boasting musical maturity beyond their years, The Warning will undoubtedly be a major player in the rock and metal scene for as long as they choose. If they’re already headlining theaters now, think of the possibilities that lie ahead.

And speaking of maturity . . .

Middle band Plush showcased a heavy dose of lyrics serving as middle fingers to relationships gone sour led by the Ann Wilson-esque sound and vocals of singer/rhythm guitarist Moriah Formica.

Along with lead guitarist Bella Perron, bassist Ashley Suppa and drummer Faith Powell, the group ranges in age from 18-22.

Formica, however, was carving a niche long before, having shared the stage with Stryper’s Michael Sweet on his solo tour seven years ago when she was only 15. They performed Heart’s “Crazy On You” together — did we mention Formica’s resemblance in sound to Ann Wilson? — and Plush did the honors at the Aztec following Billboard Top 40 charting original “Better Off Alone” with Heart’s “Barracuda” (ATM footage of both here). Formica also guested on Sweet’s “Can’t Take This Life” from his 2016 solo effort One-Sided War.

Suppa is not to be outdone when it comes to her own solo material that can be checked out via YouTube and her socials.

Other standout tracks at the Aztec included “Sober” and a non-fanfare but riveting cover of KISS’ “Heaven’s On Fire” with Paul Stanley’s famous intro tailor-made for Formica’s chilling vocals.

Watch Plush shine below on “Hate” and new single “Left Behind.” The latter was “written for anyone who has ever felt like an outcast or a misfit,” Formica said in a press release. Plush is celebrating the new track with a limited edition “Left Behind” bundle that features a signed CD single and a T-shirt. It’s available for pre-order here and will begin shipping next month.

The evening began with Holy Wars from Los Angeles. Megadeth references and influence not included.

The three-pronged attack is actually a full-time duo featuring vocalist Kat Leon and her guitarist/boyfriend Nick Perez.

Bringing the heat and energy with her fiery redheaded 5-foot-1 frame, Leon and Co. played several songs from last year’s release Eat It Up, Spit It Out including “1% Milk” and “Suck It Up” with “Little Godz” (ATM footage of the latter two below).

Leon informed the audience that she got bullied a lot when younger and that she learned to combat it with “Invisible Dick Syndrome.”

What she didn’t reveal was the fact Holy Wars was birthed out of tragedy from 2015.

“The Holy Wars project was born out of my personal story of losing my parents,” Leon told “High Times” in 2021. “It was never even meant to be a band at that time.”

After her mother and father died six months apart eight years ago, reportedly from a heart attack and non-smoking lung disease, respectively, Leon carved a musical path prior to Holy Wars that is virtually completely opposite of what she exhibited at the Aztec.

Leon’s solo career includes emotional ballads and music that has been featured on Fox, Fox Sports, ESPN, Amazon Prime and more as part of special-event theme songs, TV show trailers and commercials.

With Holy Wars, however, Leon turns her personal heartache into pent-up angst and metal excitement on stage. Watch her and the band in further action via ATM Facebook Live footage of new single “Deus Ex Machina.”

Females may have been the dominant factor on this night at the Aztec, but each band brought its unique style, personality and showmanship to the forefront. Whether you only liked one, two or all three wasn’t as significant as simply seeing them and knowing that if their performances were any indication, the hard rock and metal landscape will thrive so long as bands such as these stay together and continue to grace us with their sound — and vision for what the future of their groups may hold.

In the cases of Plush and Holy Wars, they are prime examples something major and positive can result from life-altering experiences and bad relationships.

And in the case of the headliners — a little sisterly love can go a long way when families stick together.

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Inaugural Chancla Rock Fest shines spotlight on city's artists

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Inaugural Chancla Rock Fest shines spotlight on city's artists

It’s one thing to have a vision for undertaking a festival featuring nothing but musicians from your city. It’s another to put it on for free.

But to declare plans for a second and third annual installment before the first note of the inaugural event has even been played?

Well, that takes some major cajones. A few cascarones on Easter weekend didn’t hurt either.

Welcome to the first Chancla Academy Rock Fest.

Featuring 20 all-San Antonio artists and headlined by national homegrown metalcore quartet Upon A Burning Body, the Chancla Academy Rock Fest also invited 30-plus vendors and any metalhead who dared have a good time, and possibly discover bands with whom they may not have been familiar, upon the grounds of Alamo Beer Company on Saturday, April 8.

The brainchild of Joe Cordero of Chancla Academy and Julian “JC” Cruz of JC Productions, the festival was a rousing, nearly perfect success.

Prior to the big day, Cordero and UABB guitarist Ruben Alvarez told local Fox affiliate KABB-29 that next year’s event has already been scheduled for the Boeing Center at Tech Port. Cordero added he has aspirations to stage the 2025 fest at the Alamodome.

As he prepared to introduce UABB to culminate the noon-midnight event — did we mention it was free? — Cordero boldly told the packed crowd, “If we’re lucky, all of us Latinos will invade the Alamodome in 2025!”

Cordero was even more specific with Alamo True Metal, saying next year’s fest will be held over two days and that 162 bands have already requested to be a part of it. That’s right: 162.

But first things first.

As with any concert festival, a little luck is needed to make it a good one, and everyone benefited from a perfectly sunny day following two days of torrential downpours.

Two stages adorned the Alamo Beer Company with each band having its own merch booth spaced out among the vendors on artificial turf grounds stationed next to railroad tracks. Heck, even the train conductors slowed down and periodically checked out the festivities. Several four-legged friends, including an adorable large husky on hand as part of Horizon Dog Training, enjoyed the surroundings as well.

Some concert festivals are about specific songs and performances. This one was not only about having a good time in a large setting post-Covid but merely showcasing the musical talent.

Aztec Eagles got things rolling at 1 p.m. on the main stage. With UABB ending at 11 p.m., that marked 10 solid hours of actual live metal, San Antonio style (see 210-photo gallery to the right) and ATM videos below).

In between, the festival included Above My Enemy, Perfect Season, PRSNT, 40% Dolomite, The Broken Page, Forever For Now, Makaria, Eyes Like Fire, Skum, Grieved, The Heroine, Silent Minority, Recreating Eden, Westcreek, Cauterized, Any Color You Like, Raven’s Banquet (formerly Quaranteen) and In Balance. Click on the bold links to watch ATM’s Facebook Live footage of that band plus “King of Diamonds” and “Built From War” by Upon A Burning Body here.

A few highlights that deserve shout-outs:

— Recreating Eden vocalist Andrew Douglas has some serious pipes and clearly sings from the heart, while his bandmates created a lasting impression for this viewer witnessing them on stage for the first time

— The second stage in the parking lot was where the serious action was, highlighted by Cauterized allowing fans to come onto the platform and partake in singing

— Skum brought the energy to the main stage and arguably had the largest pits. It was the only band to attempt a Wall of Death, so that earned bonus points

— The Heroine’s longevity cannot be ignored. The group has been flying the flag for San Antonio hard rock and metal for more than 15 years — or as long as most of the Chancla Academy Rock Fest’s roster of mostly up-and-coming bands combined. Vocalist Lynnwood King, guitarist David Arias, bassist Wes “Guhlie” Vargulish and drummer Johnny Lightning bring it every time out

— Security and staff deserved major props. As is the case with most UABB shows, the barrier began to shake, rattle and roll even before the band was about to hit the stage upon P.A. completion of Bon Jovi’s “Livin’ On A Prayer.” But the guards had the scene under control and guided all body surfers to safety without incident

— Moshers helped fallen brethren to their feet. No fights or out-of-hand situations were to be found. And the music and beer flowed freely. Literally

Sure, the festival could have kept fans up to date with set times posted the week of, or at the very least day of the show on its own Facebook events page rather than forcing patrons to ask about them or only obtain them on site for a 12-hour event. And it would’ve been great to have food-truck options rather than be relegated to Alamo Beer Company’s limited (though delicious) menu.

But for a city that was forced to bid farewell to the River City Rockfest after the sixth annual rendition in 2018, it appears the Chancla Academy Rock Fest may just be San Antonio’s saving grace for metalheads to unite on a yearly festival basis.

Its free status is sure to say goodbye at next year’s cashless Boeing Center. And the fest most certainly figures to expand well beyond the exclusively local-band flavor of this year’s showing. But those are signs of growth sorely needed for our metal scene.

So what’s the best way to sum up the inaugural Chancla Academy Rock Fest? It was a prime example of the metal community coming together.

The way it should be. In the 2-1-0.

Chanclas optional.

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Anthrax & friends mosh it up on 40th anniversary tour

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Anthrax & friends mosh it up on 40th anniversary tour

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

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

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

Try 40 years’ worth.

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

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

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

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

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

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

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

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

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

Just as surprising, Anthrax only played 11 songs.

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

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

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

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

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

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

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

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

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

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

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

Not so when Exodus is setting the table.

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

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

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

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

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

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

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

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

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

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

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

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

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Local thrash guitarist soars with Soulfly in hometown birthday show

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Local thrash guitarist soars with Soulfly in hometown birthday show

There’s little doubt that Max Cavalera is regarded within the heavy metal community as being at the forefront of Brazilian metal. And just in case anyone would think his co-founding of Sepultura with his brother Igor wouldn’t justify that on its own, Cavalera has graced the industry with other outfits such as Soulfly, Cavalera Conspiracy, Killer Be Killed and Nailbomb.

Yet somehow, Cavalera may have been upstaged as far as “the story” goes when Soulfly returned Feb. 3 to the Rock Box. And he certainly didn’t seem to mind.

With Cavalera recently recruiting San Antonio / San Marcos native Mike DeLeon as Soulfly’s touring guitarist for the next nine weeks, the show marked the latter’s homecoming — on his birthday no less.

A member of Pantera vocalist Philip H. Anselmo’s solo band Philip H. Anselmo & The Illegals as well as guitarist in San Antonio death-metal band Flesh Hoarder, DeLeon had the time of his life in one of his first gigs with Soulfly. And that was long before Cavalera introduced the band prior to encores “Eye For An Eye” and “Jumpdafuckup.”

Cavalera had the packed Rock Box serenade DeLeon with “Happy Birthday” and chants of “Metal Mike, Metal Mike!” as the man of the hour headbanged his mane. Then, after pointing to DeLeon and saying, “This guy is the fucking best,” Cavalera inexplicably twice called him Mike DeLeTron, although he may have been trying to make a play on words for the Soulfly tribe by calling him DeLeTribe.

Another possibility is that Cavalera confused DeLeon with the man to Cavalera’s immediate right — bassist Mike Leon.

That was a joke, folks.

But seriously, the former Havok bass player and Texas guitarist differ in first and last names by only two letters.

Soulfly thrashed and “destroyed this fucking place,” as is Cavalera’s wont. Also accompanied by his son Zyon on drums (click here to watch ATM’s interview with Max and his two sons from Soulfly’s 2016 tour kickoff at the now-defunct Korova), the band emphasized Soulfly’s first four albums dating back to the 1998 self-titled debut with several Totem tracks mixed in.

That included “Filth Upon Filth,” which blended with older tunes “Prophecy,” “Fire,” “Porrada” and “Bleed,” all of which can be viewed below.

It wouldn’t be a Cavalera show regardless of the band name on stage without some Sepultura, so the fired-up frontman pulled out “Refuse/Resist” before offering up the lone Nailbomb tune of the night, both of which can be viewed below.

The nine weeks are sure to fly by for DeLeon, a man who last fall was actually filling in for Zakk Wylde at the initial rehearsals for the reunited Pantera and informed this writer of that fact at a Steve Vai concert Oct. 9, roughly three months before it became national news.

And while Cavalera has made it clear that it’s been his intent to have revolving members on tour in Soulfly, DeLeon may in fact wake up several weeks from now and wonder if the whole journey has been a dream.

If that’s the case, he’ll have some photos and videos to look back on and perhaps one day tell his kids he didn’t just share the stage with the Ayatollah of Rock N’ Rolla for nine weeks. He’ll be able to say he shredded it and killed it.

And flew the flag for South Texas in the process.

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Geoff Tate unwraps classics and rarities with melting pot of musicians

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Geoff Tate unwraps classics and rarities with melting pot of musicians

Geoff Tate’s love affair with San Antonio, and in particular the Aztec Theatre, continued last Saturday night before a devoted, sometimes raucous crowd of approximately 1,000 fans.

But unlike Tate’s three prior Aztec stops, the Dec. 17 show with special guest Mark Daly spanned most of his iconic 30-year stint as Queensryche’s vocalist rather than singling out albums performed in their entirety. No, Tate’s sixth Aztec visit since 2014 in his last seven San Antonio stops — a 2019 trip to the Rock Box being the exception — featured a cornucopia of hits from various albums during a rocking, and Christmas-y, 1-hour and 39-minute showing.

Eleven months removed from performing Rage for Order and Empire from beginning to end last November (coverage here), and only half a year since requiring open-heart surgery as we discussed in our pre-show interview below, Tate continued to amaze as only he can.

Opening with the title track to 1990’s Empire (setlist in photo gallery), the former Queensryche vocalist dug into his vault on seldom-played tracks “Desert Dance” from 2003’s Tribe, “Sacred Ground” off of 1999’s Q2K (ATM Facebook Live footage here) plus “Cold” from 2013’s Frequency Unknown and the emotionally moving "Bridge” courtesy of 1994’s Promised Land (watch both here).

Other than omitting the entire introductory buildup on 1984 classic “Take Hold of the Flame,” to the point where the start of Saturday’s version was nearly unrecognizable, Tate’s and his band’s performance was nearly flawless. The inclusion of deep cuts mixed with Operation: Mindcrime standouts “Breaking the Silence” and “I Don’t Believe in Love” (ATM footage of both below) plus Empire staples “Jet City Woman” and “Silent Lucidity” made the evening as well-rounded as it could be.

And before one reads this and thinks they don’t need to hear the latter ballad anymore and be perfectly fine with that, let it be known that the best note emanating from Tate’s oft-imitated never duplicated voice came when he sang the “will protect you in the night” part. The last word of that stretch wasn’t held. It wasn’t screamed. It just sounded as perfect as it could get, enough to raise these eyebrows as the ears perked up. It was one of those moments where you just had to be there to see and hear it.

With the exception of a slight backing track on opener “Empire” — a song that calls for it given the abundance of mixes of Tate’s vocals particularly during the chorus — and a brief echo on finale “Queen of the Reich,” the entire show was devoid of distracting, lengthy delays.

In fact, Tate’s reinsertion of “Queen of the Reich,” a tune he had said he couldn’t relate to lyrically anymore — necessitating an elaboration on his part during our interview below — was a pleasant surprise given that he had insinuated fans would never hear him sing that tune again. Donning a Christmas hat and handing out more to his bandmates, Tate and his crew played a metal version of “Silver Bells” prior to ending the night with that first track from the 1983 self-titled debut EP (ATM footage of both below).

The fact that he not only played the song but attempted the patented opening scream on “Queen of the Reich” especially since he no longer tries it on “Take Hold of the Flame,” and specifically at that point in the show and given his open-heart surgery reeked of Tate sending the message to critics: “Yep, you bet your sweet ass I can still do it if I want to.”

And speaking of Tate’s band . . .

Guitarists Kieran Robertson of Scotland, Alex Hart from Boston and James Brown of Ireland, bassist “Smilin’ “ Jack Ross of Scotland, keyboardist Bruno Sa of Brazil and drummer Daniel Laverde from Cincinnati have also been coming to San Antonio with Tate the past several years. Sa, in fact, played guitar during the 2018 Operation: Mindcrime band performance.

On this night, all but Sa and Robertson pulled double duty as Ross, Brown, Hart and Laverde played with opening act Daly.

The Irish singer and guitarist released four-song EP Nothing to Lose two weeks earlier and hooked up with Tate for this tour thanks in large part to having songwriting credits on Tate’s trilogy of Operation: Mindcrime band albums from 2015-17.

In addition to putting on a stellar showing, Daly impressed perhaps even more with his sense of humor and banter with the crowd. Most of it can be seen via ATM’s footage of his Highly Suspect cover of “Lydia” and the EP title track below, so we won’t give it away. But another non-filmed dose of funny came when he introduced the band and got to Brown.

Referring to him as The James Brown, Daly asked his fellow Irishman how he felt. When Brown shrugged and said, “I feel alright,” the crowd serenaded him with tongue-in-cheek boos.

There’s not much left to say when it comes to Tate performing in San Antonio that hasn’t been mentioned in this space previously. He’s a model of consistency that always gives the crowd what it wants yet still has the gumption to mix things up with obscure tracks when he’s already performed the same classic albums repeatedly.

The fact that Daly opened up the audience’s eyes and ears to his talented musicianship as well made the evening a double whammy of fun and entertainment for those who continue to be dedicated to one of the Alamo City’s virtual adopted sons. And it appears musician and fans wouldn’t have it any other way.

GEOFF TATE SETLIST: Empire, Another Rainy Night (Without You), Desert Dance, I Am I, Sacred Ground, Best I Can, Real World, Breaking the Silence, I Don’t Believe in Love, Cold, Bridge, Screaming in Digital, Walk in the Shadows, Take Hold of the Flame, Jet City Woman, Silent Lucidity. Encores: Silver Bells, Queen of the Reich

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

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

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

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

Could any other city the world over claim that?

It’s OK. We’ll wait for your answer.

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

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

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

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

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

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

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

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

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

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

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

Enter bands such as Iron Maiden. Motorhead.

And Queensryche.

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

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

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

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

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

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

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

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

It’s OK. We’ll wait.

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

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

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

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

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

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

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

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

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

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Into the Pit: Judas Priest's Ian Hill

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Into the Pit: Judas Priest's Ian Hill

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

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

How lucky are you, San Antonio?

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

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

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

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

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

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

Blind in Texas, indeed.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Album version:

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

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

    Here from my Hollywood tower I rule

    I’m a lying motherfucker

    The chainsaw’s my tool

Friday’s live version:

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

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

    That’s what they call me

    Here from my Hollywood tower I rule

    I’m a lying little monster

    The chainsaw’s my tool

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

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

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

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

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

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

Glad you asked.

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

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

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

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

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

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

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

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

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

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

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