No matter how often they play our city, no matter how many lineup changes they endure, Accept fits right in the conversation with that death and taxes thing. Because when it comes to the German metal band putting on more than a good show, you can book it.
The latest example came last Tuesday when Accept’s 19-song, 1-hour and 47-minute performance satisfied an intimate but enthusiastic weeknight crowd at a new venue that was just as much the story as were the five bands on the bill.
Narcotic Wasteland — a death-metal project fronted by singer/guitarist and longtime former Nile member Dallas Toler-Wade — provided direct support as a most peculiar choice given the contrast in styles with the headliners. Local support came courtesy of Resist Control and Even In Death, while Austin natives Black Thorn Halo kickstarted the show at 6:30 p.m.
The stylish and new 1902 Nightclub on the grounds of The Espee Pavilion, known to longtime residents as Sunset Station, provided the luxurious backdrop. The rectangular stage gave way to a slightly wider runway for the general-admission diehards. They in turn were surrounded on both sides of the club by merch and VIP booths. Directly across the stage, at the opposite end of the club, was a short stairwell that housed perhaps 10-15 standing fans who had the option of curving around either side upstairs and taking in the action from the balcony (see 60-photo gallery below).
Led by guitarist and lone remaining original member Wolf Hoffmann and fronted for the past 13 years by one-time TT Quick vocalist Mark Tornillo, Accept is touring in support of Too Mean To Die. The band came out blazing with that album’s first two tunes: “Zombie Apocalypse” and the rockin’ title track before offering up the title track to Restless and Wild, one day following that album’s 40th anniversary (see setlist in photos).
These days, Hoffmann and American singer Tornillo are accompanied by guitarists Philip Shouse and Uwe Lulis, bassist Martin Motnik and drummer Christopher Williams. Naturally, as the headliners, Accept was afforded the best lighting of the night. What was a bit surprising was the fact each of the four preceding bands were solely subjected to red lighting, a dreaded choice for photographers covering any show that chooses that type of backdrop and not exactly the best selection for fans and musicians to see one another.
Note to all promoters and venues: if you’re going for the hell or blood look, ditch the poor effects and enable all in attendance, including the performers, to be seen in the best light. Pun intended.
Moreover, Accept was the only band whose set allowed photographers to shoot from the balcony, both behind and above the stage, thanks to the graciousness of promoter J.T. Powers and the 1902 Nightclub staff.
While the size of the 1902’s stage may not have been too ideal for six band members to move around much, it didn’t deter Accept from kicking maximum ass and pleasing the fans. A good mix of 1980s classics from the Udo Dirkschneider era to Tornillo’s time on tracks such as “The Abyss” and “Hung Drawn & Quartered” satiated the appetites of those on hand.
Tornillo didn’t shy away from any high or difficult notes, particularly his patented pulsating pitch shortly into “Teutonic Terror” (ATM footage below). You can also watch Hoffmann and Crew shine via ATM Facebook Live clips of “Midnight Mover, “Princess of the Dawn” and “Fast As A Shark,” and closers “Son Of A Bitch,” “Balls to the Wall” and “I’m A Rebel” — the latter being their 1980 cover of the song written by Alex Young, the brother of AC/DC’s Angus and Malcolm Young.
Toler-Wade and Narcotic Wasteland were the aberration of subgenres on the program, but that didn’t sway the frontman from turning up his intensity. Toler-Wade brought the energy and angst both in song and in directing the soundman on multiple occasions to address an issue, going so far as to say, “Fix that fucking feedback, or I will kill you.”
He was kidding. I think. But you don’t mess with the man with the microphone. Especially a death-metal guy. Watch them in action on “Pharma Culture” and “Bleed and Swell” and below on finale and new single “Morality and the Wasp.”
Resist Control received top billing among the local and area bands. As vocalist Jerry Garcia said, his group is not one to play many shows — and certainly doesn’t perform as many as preceding group Even In Death — but it was nice to see the quartet receive a higher than usual status. Watch them on “Already Dead” and “End Of My Axe” and below on “Hell Is Not Real.”
Like Accept, locals Even In Death have undergone a slew of lineup changes over the recent years, with vocalist Sean Nations and guitarist Anthony Carrillo remaining the constants. They’ve been a fixture on the local scene, performing at virtually every existing venue in town and released full-length When Hell Freezes Over in 2020. Watch them in action here and below on finale “Fire All Your Guns.”
Black Thorn Halo made the 80-mile trek from Austin to kick things off. Four nights earlier at Bonds Rock Bar, drummer Eric Mulero and guitarist Craig Leach performed as part of female-fronted cover band Denim & Leather. Fronted by Rafa Lopez, the group’s set was abruptly cut short before professional video could be shot, but you can watch them via ATM Facebook Live footage of “Kill the Pain.”
All in all, there was one too many openers for a Tuesday night show. If you asked the youth who slept on his father’s shoulders in the balcony for the majority of Accept’s and Narcotic Wasteland’s sets, he might say two or three too many. But for those who stuck it out from beginning to end, there was plenty headbang for the buck.
Accept delivered the goods and played as pleasing a set as you could get over a nearly 45-year discography, while the support acts demonstrated what they’re made of as well.
If this was an indication of the type of shows the 1902 will host going forward, then the Alamo City has gained another worthy venue and promotion group to keep your eyes on.
Let’s hope the night wasn’t a one-hit wonder. The more teams behind the metal scene, the merrier.
