50 years as guitar stalwart just nifty for always-solid Michael Schenker

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50 years as guitar stalwart just nifty for always-solid Michael Schenker

Michael Schenker hasn’t been performing in San Antonio since he was 16 years old. It only feels that way.

But the guitar god has been playing since that tender age, and 2022 marks the 50th anniversary of his recording debut way back when on Scorpions’ Lonesome Crow album.

Schenker marked the milestone last Friday night while providing direct support to W.A.S.P. on the latter’s 40th anniversary headlining tour at Tech Port Center + Arena. This time, the veteran instrumentalist brought an all-new lineup of vocalist Ronnie Romero, guitarist/keyboardist Steve Mann, bassist Barend Courbois and drummer Bodo Schopf.

Although Schenker this time left all Scorpions offerings at home — unlike his two previous visits with vocalists Gary Barden, Graham Bonnet, Robin McAuley and Doogie White under the moniker Michael Schenker Fest — his band’s performance was no less one to appreciate.

Once again billed as Michael Schenker Group, it was proven long ago that no matter his band’s label, Schenker’s showings are always special. Performing 11 songs for approximately 70 minutes, Schenker featured six UFO classics intertwined with past and more recent MSG tunes. Watch ATM’s Facebook Live footage of “Lights Out” and the rarely played 1983 MSG song “Red Sky.”

Schenker’s patented Flying-V, which he discussed exclusively with ATM during his 2018 visit (watch here), was in full effect once again. However, the Tech Port Arena only has one side of the balcony that housed some of the approximately 1,300 fans on hand, and it was opposite of stage left, which is where Schenker chose to remain throughout his performance, including during his customary extended jam on UFO mainstay “Rock Bottom.” For those lucky enough to be closer to the man, Schenker’s skilled hands were also a sight to behold during “Let It Roll” and “Armed and Ready,” both of which can be viewed below the 25-photo gallery.

Schenker released Universal in May with Romero on most of the songs’ vocals, but none of those tunes were played. Rather, the set included “Sail the Darkness,” which Romero revealed was the first tune the pair wrote together on 2021 album Immortal.

Romero may have been making his live San Antonio debut, and he shined on vocals. It’s not easy to step in for a musician of Schenker’s stature, particularly given Schenker’s history with his aforementioned slew of more renowned singers, but Romero more than passed the test. Mann, Courbois and Schopf also were seamless additions to the latest reincarnation of MSG.

Schenker was only slated to join W.A.S.P. on five dates, with four of those happening in the Lone Star State. In some eyes (of Texas), that was perfectly appropriate given that Schenker is often in a class by himself — and demonstrated why once again in his latest Alamo City exhibition of excellence.

SETLIST: Into the Arena, Doctor Doctor, Looking For Love, Lights Out, Red Sky, Shoot Shoot, Sail the Darkness, Let It Roll, Armed and Ready, Rock Bottom, Only You Can Rock Me

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Armored Saint delivers opening punches on star-studded anniversary bill

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Armored Saint delivers opening punches on star-studded anniversary bill

Readers and followers of Alamo True Metal over the years have grown accustomed to concert coverage encapsulating each band on the bill in the same piece. But last Friday’s show at the new Tech Port Center + Arena staked claim to one of the rare exceptions of allotting each artist its own just due space.

After all, how can a guitarist celebrating his 50th anniversary such as Michael Schenker be limited to a few sentences buried within a report highlighting a headliner in W.A.S.P. not only marking its 40th anniversary but its first show in the Alamo City in more than a decade?

And for the purposes of this particular report, a more appropriate question would be: how can a blistering, heavy, veteran and talented-across-the-board group such as Armored Saint be treated as an “opening act” in writing given that its status as such on this bill was as much of a misnomer as misnomers can get?

So let the march of the review of the Saint begin.

You can’t open a three-act heavy metal concert with a song entitled “Reign of Fire” and not come out balls blazing, and that’s exactly what Armored Saint did. Thing is, vocalist John Bush, guitarists Phil Sandoval and Jeff Duncan, bassist Joey Vera and drummer Gonzo Sandoval sustained it throughout their 10-song, approximately 45-minute showing.

But should that really come as a surprise?

Not only has Armored Saint kept its original lineup with the exception of the 1990 passing of guitarist Dave Prichard due to leukemia resulting in Duncan’s addition to the band, but the strong and tight quintet is marking its own 40th anniversary this year. It showed on stage as Armored Saint displayed the crispest sound of all three acts and easily had the most energy. Watch them in action via ATM’s Facebook Live footage of personal favorite “Chemical Euphoria,” below on 1991’s “Symbol of Salvation” and 2015’s “Win Hands Down” and via the 27-photo gallery.

Phil Sandoval was a beast on guitar without demonstrating showmanship that was too flashy. He let his guitar skills and playing do the talking while striking brief poses that were appropriate for the parts of his riffs he wanted to emphasize without those poses distracting the audience from the sounds he was constructing.

There was no letup on the part of his brother Gonzo behind the kit either, as Armored Saint’s heaviness may have caught the roughly 1,300 in attendance off guard for anyone expecting the Saint to be a “warmup” act in every sense of the word.

Bush has always been one of metal’s most passionate vocalists, something we discussed in 2015 when Armored Saint opened for Saxon (watch here), and that was evident on old and new tunes alike such as classics “Long Before I Die” and “Last Train Home” plus 2020 Punching the Sky tracks “End of the Attention Span” and “Standing on the Shoulders of Giants.”

While most metalheads are familiar with Bush’s mid-’90s era as the vocalist of Anthrax that placed Armored Saint on an 8-year hiatus, fewer may know other interesting facts about him, some of which were discussed in the aforementioned video interview:

  • He appeared in the 1983 Huey Lewis & The News video “The Heart of Rock N’ Roll,” exiting the limo toward the end of the song. Bush told ATM his appearance came about because Armored Saint and Lewis’ band shared the same record label

  • Bush joined Metallica on “The Four Horsemen” during the latter’s 30th anniversary gigs in 2011 at The Fillmore in San Francisco, where Metallica went into detail about how Bush could’ve auditioned to be their vocalist in 1983 but turned it down

  • Bush used to do voiceovers in Burger King commercials

But on Friday night, Bush’s vocal cords did what they do best, and he and Armored Saint were still going strong on finale and 1984 title track “March of the Saint.”

The only complaint about Armored Saint’s set? It was too short. Somebody bring these guys back to the Alamo City as headliners, stat!

Can Armored Saint deliver?

Was there ever any doubt?

SETLIST: Reign of Fire, End of the Attention Span, Long Before I Die, Last Train Home, Chemical Euphoria, Standing on the Shoulders of Giants, Symbol of Salvation, Win Hands Down, Can U Deliver, March of the Saint

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Steve Vai's hydra-licks whet appetites of Aztec's guitar aficionados

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Steve Vai's hydra-licks whet appetites of Aztec's guitar aficionados

Considering he’s a guitarist who’s just a tad accomplished, Steve Vai doesn’t need any special gadgets or concoctions to draw attention to himself in concert.

But that’s the operative word: need.

Vai loves to play with toys, especially of the expensive and six-string electrical variety. His latest gadget — which might appear to some as if it came from a guitarist’s junkyard at the same time the instrument’s enthusiasts would classify it as a thing of beauty — simply added to his legacy and was on display last Sunday night during a 2-hour, 10-minute sans opening act performance at the Aztec Theatre. In support of Jan. 28 release Inviolate, Vai broke out his three-fretboard (acoustic, electric and bass) Hydra for new track “Teeth of the Hydra” (ATM footage below).

If only Vai had three hands to play each fret simultaneously.

It’s always a challenge for an instrumentalist to captivate an audience’s attention for an entire show, but the veteran musician made it look easy. Which came as no surprise.

After all, Vai began his recording career in 1980 with Frank Zappa. He’s won three Grammy Awards and released 10 studio solo albums. He appeared in the 1986 movie “Crossroads” with Ralph Macchio. And of course, there’s that whole David Lee Roth and Whitesnake thing.

Vai focuses strictly on his solo career on tour, and his bandmates not only help him do that, but they each get to enjoy a brief solo of their own time in the spotlight. Guitarist Dave Weiner, bassist Phlip Bynoe and drummer Jeremy Colson brought the rhythm, the rock and the “Greenish Blues” (ATM footage below) to the Aztec while Vai periodically interspersed dialogue with the appreciative two-level crowd. Watch him in further action via ATM Facebook Live footage of “Tender Surrender” and “Whispering A Prayer” and “Dyin’ Day.”

Vai at one point explained that he had to move his entire North American tour to the fall after injuring a shoulder while yanking some tough dough from his pizza oven while cooking for former Roth bandmates Billy Sheehan and Gregg Bissonette — a mishap that required surgery.

As if his virtuoso guitar playing and occasional story telling weren’t entertaining enough, Vai delivered variety to his show in other ways.

Prior to popular Passion and Warfare track “For the Love of God,” Vai forewarned he was about to oversee “something a little different.” He brought out a member of his European tour crew, a man named Dani G., who serves as Vai’s video editor but is also a chef, mixed martial arts fighter and opera singer. With that, Dani G. provided the only vocal accompaniment of the evening, opera style — and did so while wearing a Gojira shirt (ATM Facebook Live footage here).

On finale “Taurus Bulba,” Vai made the evening one not to forget for a young boy, bringing him on stage to jam on one of his many conventional guitars (see 25-picture photo gallery below). After he and his band acknowledged the final round of applause, Vai ended up posing for pics and signing autographs outside the Aztec, thereby making the night memorable for plenty of adults as well.

Variety. Multi-talented. Mega-accomplished.

Simply Vai.

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Accept & company rock balls and walls of new 1902 Nightclub

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Accept & company rock balls and walls of new 1902 Nightclub

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.

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'Badass bitches' strut their stuff with hale of riffage and talent

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'Badass bitches' strut their stuff with hale of riffage and talent

For all the array of colorful lasers and rocking songs on display last Thursday night at Tech Port Center + Arena when Halestorm, The Warning and New Years Day rolled into town, there was an interesting prop missing that would’ve set this tour apart from all others, and yet been perfectly appropriate.

A row of empty wine glasses.

When you have one of the premier voices in rock in the form of singer/guitarist Lzzy Hale — someone this writer could listen to sing all day — whose octaves could send wildlife scurrying for shelter, you can’t help but wonder how many glasses her vocal cords could shatter.

Well, maybe next tour.

The absence of said accompaniment certainly did not lessen the quality of show put on by the headliners and their support acts (see 55-photo gallery below). As Hale herself said prior to introducing “. . . Strange Girl” and invoking a piercing prelude scream on “I Miss the Misery” (ATM Facebook Live footage here) — “Gentlemen, I don’t know whether you’ve noticed, but you are surrounded by some badass bitches tonight.”

That point was certainly difficult to argue.

Hale’s emotion pours from her being into your soul when she sings, particularly on rockers such as personal favorite “Love Bites (So Do I)” and slower tunes such as the trio of songs she turned into a piano medley: “Break In,” “Dear Daughter” and new track “Raise Your Horns” (ATM footage below).

While Halestorm’s latest album is Back From the Dead, from which the group performed six of its 11 tracks, the all-original lineup of Hale, her brother drummer Arejay Hale, guitarist Joe Hottinger and bassist Josh Smith has hardly been dormant, particularly in Texas.

It’s been fun to watch the group grow and evolve from a 2008 performance opening for Staind at the Austin Music Hall, to supporting Alice In Chains in 2009 at the AT&T Center for Bone Bash, a 2010 stop in Corpus Christi on the Rockstar Energy Drink Uproar Festival (watch our bus interview from that show here), to the 2012 Mass Chaos Tour with Staind and Godsmack at the Alamodome, to the 2015 River City Rockfest to a headlining gig at the Aztec Theatre in December 2018.

At Tech Port, the band’s maturity, enthusiasm for playing alongside one another more than 14 years later, and musicianship were exhibited more than ever. Arejay Hale provided another riveting drum solo culminating with his patented oversized sticks (how the hell did he twirl one of them?), while Smith held down the low end and Hottinger traded riffs with Lzzy Hale, who saved her best vocal for last on “The Steeple” despite having sung for nearly 90 minutes by that point.

Had the wine glasses been on stage even before Halestorm hit the platform, it’s no stretch to say the crowd’s reaction to The Warning may have shattered them as well. Although the numbers may have approached 1,000 for this weeknight show in the 3,100 capacity indoor venue, the dedicated faithful were blown away by the three sisters from Monterrey, Mexico, who were making their San Antonio live debut, making one wonder when the last time was that a support act elicited that much excitement from an audience.

As Lzzy Hale eloquently referred to them, her “sisters from another mister” took the stage by storm and may have even stolen the show.

The Villarreal ladies — singer/guitarist Daniela, drummer Paulina and 17-year-old bassist Alejandra “Ale” — brought the heat and energy and kept the fans riled up with one energetic song after another. Most of the tunes came from new album Error, which dropped June 24, including “Disciple” and “Evolve” (ATM footage below).

Daniela’s own unique voice along with her electrifying guitar playing teamed with Paulina’s intensely upbeat drum playing and Ale’s bass thumping on other tracks such as “Z,” 2018 title track “Queen of the Murder Scene,” “Money” and their cover of Metallica’s “Enter Sandman.” It was the latter that spawned a following for the band in the first place in 2014 thanks to YouTube and the ability to go viral, in turn leading to a complimentary endorsement and reaction from none other than Kirk Hammett that enabled The Warning to take part in the Metallica Blacklist tribute album. Watch ATM Facebook Live footage here.

It would be a crime if The Warning wasn’t brought back to town sooner than later by local promoters. If any of them were on hand to see the band play on this night, it’s likely a safe bet they’re already working on it. Fingers crossed. The Warning’s overall performance needs to be seen to be believed.

New Years Day, meanwhile, opened the festivities, once again supporting Halestorm in the Alamo City as they did four years ago at the Aztec.

Fronted by original vocalist and band founder Ash Costello, the group from Anaheim, California, got things started with its bold, but mostly unrecognizable, version of Pantera’s “Fucking Hostile” and “I’m About To Break You” (ATM footage below) as well as new single “Hurts Like Hell.”

Costello also made a San Antonio appearance earlier this year with her side project The Haxans at Paper Tiger.

For at least one night, Lzzy Hale, The Warning, and Costello demonstrated that with every passing day, metalheads and music reviewers don’t need to distinguish musicians by gender anymore. In fact, there’s nothing wrong with retiring the term “female-fronted” for a more politically incorrect one.

Yep. “Badass bitches” works just fine.

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Tierra Sagrada fest takes S.A. on nostalgic ride down Memory Lane

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Tierra Sagrada fest takes S.A. on nostalgic ride down Memory Lane

It took three years and a brand new venue for the first installment of the Tierra Sagrada Festival to finally come to fruition last Saturday. So what was an extra hour and five minutes or so?

The return of two of San Antonio’s favorite classic rock and metal artists — Legs Diamond from California and Moxy of Canada — highlighted the gathering originally scheduled for the 5,200 capacity historic outdoor Sunken Garden Theater in the fall of 2020 pre-Covid-19 that found its way to the less than 5-month-old 3,100 indoor capacity of Tech Port Center + Arena.

The bill also featured nothing-to-sneeze-at acts Lita Ford and Jack Russell’s Great White, the reunion of Kingdom Come and local openers Jessikill, who were fresh off their first major national tour opening for Yngwie Malmsteen this past spring.

The influence of the late disc jockey Joe “The Godfather” Anthony was palpable, as he helped give many bands, including those from other countries, their first taste of American radio exposure in the 1970s and ‘80s. That included not only Legs Diamond and Moxy, but also the Scorpions, who just happened to be playing down the road at Freeman Coliseum.

In fact, Moxy’s lone remaining original member, guitarist Earl Johnson (see start of the 107-photo slideshow below) is quoted on Wikipedia as once saying: “We did an interview with a DJ in Texas. I asked him what songs of ours they were playing. He said, ‘First we play the first side, then we play the second side.’ I just about fell off my chair.”

Legs Diamond participated in a meet-and-greet the night before at Fitzgerald’s, which included an unexpected appearance from Scorpions drummer Mikkey Dee. They then hit the stage at 11:53 p.m. after technical issues at the Tech Port forced festivities to begin more than an hour late, cutting Jessikill’s scheduled six-song set in half and backlogging the rest of the night. By the time Legs Diamond performed San Antonio favorite “Woman,” it was after 1 a.m., and a fraction of the 1,500 on hand remained for a set that had been slated to end between 11:30 and midnight.

The view of a half-filled arena that’s mid-sized to begin with was disappointing given the stature of the six bands. However, given that the Scorpions were also in town along with Collective Soul and Switchfoot at the Majestic Theatre, promoters Din Productions were not complaining. And despite the lengthy delay at the start that, according to one source, was caused by Jack Russell’s Great White insisting on using their own soundman which led to backstage bickering, the difficulties and lateness failed to put a damper on the music.

Or the reaction to it.

Still featuring original members in lead guitarist Roger Romeo, rhythm guitarist and keyboardist Michael Prince and drummer Jeff Poole and fronted these days by Keith England, the West Coast outfit rocked the house with a bevy of classics from the ‘70s and a few tunes from the ‘90s. See Legs Diamond in action via ATM’s Facebook Live footage on “Rock Doktor” and “Remember My Name,” as well as below the slideshow via “Town Bad Girl” and “Pain Killer.”

Despite each band experiencing its own bout of technical issues, Moxy had the crispest sound of the evening. Led by Johnson, who promised that the band will return next year, the group from north of the border powered through its set to the delight of all on hand. Several songs were performed with an enlarged black-and-white photo of the late original vocalist Buzz Shearman serving as a backdrop. Johnson’s newly assembled band following Moxy’s 40th anniversary, featuring vocalist Nicholas Walsh, guitarist Rob Robbins and bassist Rod Aldon, demonstrated how tight of a unit they are on “Midnight Flight” and “Can’t You See I’m A Star” plus “Out of the Darkness,” “Fantasy” and “Sail On Sail Away,” each of which can be viewed below.

Lita Ford preceded Moxy, bringing tunes from her classic mid and late ’80s albums plus 1991 rocker “Larger Than Life” and 2012’s “Relentless” (see setlist in slideshow). Patrick Kennison of Heaven Below and formerly of The Union Underground once again returned to his hometown as Ford’s guitarist, while Bobby Rock provided the only drum solo on the entire night (ATM footage below), 36 years after he humorously destroyed his kit in Vinnie Vincent Invasion’s first video in 1986, “Boyz Are Gonna Rock.” Watch additional ATM footage of 1988 hit “Back to the Cave” that includes an extended jam session.

Once Russell’s band sorted out its technical issues and differences, the quintet rocked the house on a bevy of classics such as “All Over Now,” “Lady Red Light” and “Mista Bone.” Guitarist Robby Lochner won the unofficial award as the most energetic musician on the entire bill, constantly parading throughout the stage while rocking the axe, while former Alice Cooper drummer Ken Mary was behind the kit.

But yours truly was, well, truly disappointed to learn after the show that Russell’s other guitarist and keyboard player was original Leatherwolf vocalist and guitarist Michael Olivieri, whose latest beard style made him slightly unrecognizable to this dedicated and longtime Leatherwolf fan who was not expecting him to be performing Great White tunes.

Nevertheless, Russell demonstrated his voice is still in top shape even if his body continues to make things difficult for him. Fourteen years after performing while leaning on a cane at the now defunct Scout Bar following back surgery, Russell churned out other hits such as “Save Your Love” and "Desert Moon.” The latter sadly will always mark a controversial period in Great White’s existence given that Russell said he would never perform that tune again following the fire in 2003 that killed 100 people at their concert in Rhode Island. In fact, Great White would continue to open with that song for several years, including at the Scout Bar show.

An appreciative Russell told the crowd, “Thank you for not going to see the Scorpions” and that it was “pushing me to the limit, and I love it.” He then ended the set with Great White’s two biggest hits, “Rock Me” and “Once Bitten, Twice Shy” (footage below) before walking off with a cane and slight assistance from a staffer.

The first national act to hit the stage was the reunion of Kingdom Come. Featuring three-fifths original members in lead guitarist Danny Stag, rhythm guitarist and keyboardist Rick Steier and bassist Johnny B. Frank, the band was missing original vocalist Lenny Wolf and drummer James Kottak for vastly different reasons.

Wolf did not want to take part in any sort of reunion tour, necessitating the usage of Keith St. John to front the group the past four years. But it’s Kottak who has been much maligned since his drinking issues led to his dismissal from the Scorpions several years back and resulted in a pair of scathing reviews of Kingdom Come’s gigs in Sweden earlier this year. Kottak then reportedly told fans “Don’t waste your time” in announcing he would not be at Tech Port, which also begged the question of whether he would turn up at the Scorpions show and confront (or hang out with, depending on your perspective) his former mates.

Filling in for, or permanently replacing, Kottak was Slaughter drummer Blas Elias, who was performing for only the second time with Kingdom Come. Watch him and the band in action below on “Do You Like It” and one of the most emotional and best ballads ever recorded by anyone on the group’s 1988 self-titled debut album, “What Love Can Be,” below.

You can also check them out via ATM Facebook Live footage on finale “Get It On,” during which St. John successfully motivated the slow-starting faithful to rise to their feet and remain there for the rest of the night. Kingdom Come also used its biggest hit to toss in some Led Zeppelin crowd participation sing-alongs both as a show of influence from one of the all-time greats, but also likely as a middle finger to critics who incessantly labeled Wolf and the band as a Zeppelin clone dating back to its 1988 Monsters of Rock tour inclusion with Van Halen, Scorpions, Dokken and Metallica.

Jessikill bore the brunt of the delayed start with its scheduled six-song set slashed to three. But as the only hometown band on the program that was playing arguably for the first time ever with a gigantic version of its logo adding to the visuals, Jessica Alejo, Jyro Alejo and Arturo Knight kicked things off in a big way with “Dead of Night,” “Right Now” and “Lightning.” However, just as the keyboards to fourth song “The Beast” kicked in, their sound was halted. Thus, no video footage was able to be filmed.

But at long last, Tierra Sagrada’s initial showing was added to the history books. An extended night of classic Rock N’ Roll mixed with a small handful of more recent tunes could only be delayed, not canceled, by a global pandemic and overcame tech issues and the presence of other bands playing elsewhere in town.

If only San Antonians could teleport between shows.

Alas, fans experienced a night of rock that should tide them over until Tierra Sagrada’s second installment arrives Nov. 4 featuring W.A.S.P., Michael Schenker and Armored Saint, also at Tech Port.

So for those who made the choice to see six bands instead of two, it was clear the state-of-the-art building mere miles from Lackland Air Force Base may not have been the only place to rock out. But it was definitely a great place to be.

And to hold one’s horns high enough for The Godfather to take notice. And maybe even offer up a smile of his own.

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Germany's 'ramming stone' rams Alamodome with explosively fun Zeit

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Germany's 'ramming stone' rams Alamodome with explosively fun Zeit

Unlike other storied metal artists from their homeland, witnessing a Rammstein live-music spectacle can’t help but beg the question: what is the allure to American fans of a band that sings nearly all of its songs in German?

Popular sing-alongs such as “Du Hast” may have something to do with it. So too could be unorthodox costumes. How about a keyboardist who plays while walking on a treadmill?

The most explosive show in metal, complete with a flamethrower lighting up the stage triggered by a bloodied-chef vocalist, certainly plays a major part. It’s an attraction that must be seen to be believed from the group whose name translates to “ramming stone.”

But all of that combined still could thank Rammstein’s 2 1/2 decades of controversial yet catchy music for causing approximately 40,000 metalheads to partake in the group’s first San Antonio visit in 10 years last Saturday night at the Alamodome.

So what if the lyrics aren’t in English!

While this must be what it feels like for fans in other nations to sit through their favorite artists singing in a language secondary to their own, at least English is the universal language. Nevertheless, in metal speak, headbanging and tossing them thar horns skyward is as universal as it gets no matter the words on the other end.

That’s what helped make Rammstein’s latest visit one for the memory books.

Touring in support of Zeit — “time” — the German band that has not once altered its original six-pack lineup since forming in 1994 put on another dazzling display of part rock show, part apocalyptic meltdown (see 67-photo slideshow below).

Preceded by French pianists Duo Abelard performing Rammstein songs instrumentally (no media photography was approved for its performance), Rammstein would begin the show with an announcement prior to its entrance beckoning “the band respectfully asks that you do not film the show.” Of couse, that plea would fall mostly on deaf ears.

And so Rammstein began its fiery journey appearing one at a time. Drummer Christoph Schneider, bassist Oliver Riedel, keyboardist Christian “Flake” Lorenz and guitarists Paul Landers and Richard Kruspe set the stage for vocalist Till Lindemann. As the methodical proceedings of Zeit’s opening track “Armee der Tristen” filled the dome, a singular sound-off of pyro that could only be described as bombastic set its own stage for the next 2 1/2 hours.

Unfortunately, media members were forced to miss 5 1/2 songs beginning with third offering “Links 2 3 4” while sorting through instructions and waivers in the bowels of the Alamodome for the permitted photography that was to come halfway through the set. Thanks to some of those who ignored the no-video request, it was discovered post-show that some of the action missed included a baby carriage being set on fire and Lindemann donning a contraption that had flames bursting out of his chest.

And those were just appetizers. The largest fire of the night came courtesy of Lindemann’s flamethrower during “Mein Teil” as the singer dressed as a chef with a blood-soaked hat and apron who “cooked” Lorenz while the latter was standing in a pot.

Other fan favorites such as “Du Riechst So Gut,” “Engel,” “Sonne” and “Sehnsucht” helped soothe this writer’s brief disappointment in the band leaving out the 2002 Vin Diesel-led “XXX” movie hit “Feuer Frei,” “Amerika” and “Mutter” — though Rammstein did play four tunes from the album of the latter’s name. Considering this night marked the third consecutive September the band and the Alamo City attempted to make this show happen due to Covid-19, the third time was definitely the charm, particularly for those who’d been holding onto tickets since 2020. Heck, the occasion was so big, Landers and Kruspe even shared a kiss at one point, to loud approval.

With apologies to German brethren Scorpions (in town tonight at Freeman Coliseum), Accept (headlining the 1920 San Antonio nightclub at The Espee Pavilion on Tuesday, Oct. 4), Udo Dirkschneider, Kreator, Doro Pesch and Helloween, any video circulating from this show in spite of Rammstein’s pre-show request can be blamed on a simple formula: everything is bigger in Texas + Rammstein always puts on a huge production = one of the loudest gigs in recent memory.

It’s why some exited the dome claiming they couldn’t hear what their significant other was trying to tell them, even once outside in the quiet hazy summer night.

And it helped explain that the task of answering why American metalheads are fascinated by a band whose only usage of English was in the form of “San Antonio” and “you’ve got a pussy. I’ve got a dick. So what’s the problem? Let’s do it . . . quick” ultimately gave way to just going with the flow — and headbanging with the pyro.

Danke schon, Rammstein.

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Into the Pit: Kurt Deimer & Phil X

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Into the Pit: Kurt Deimer & Phil X

When it comes to touring the country, Kurt Deimer hasn’t exactly been playing hooky. Then again, that depends on your definition of the word.

No, Deimer and his band haven’t been calling in sick or choosing to do things other than what they’re supposed to be doing. Rather, the self-described “hooky rock band” has been hitting the road providing direct support to some of rock and metal’s best.

And the dates just keep on coming.

Deimer will return to the Aztec Theatre on Thursday, Sept. 15, as part of a string of Texas shows opening for Tesla (tickets here). The trek, with scheduled stops in Dallas, Houston, Midland and Lubbock, follows Deimer’s first major tour last year opening for original Queensryche voice Geoff Tate that included a performance at the Aztec (coverage here) plus a jaunt this past spring that found Deimer supporting Yngwie Malmsteen. The latter tour featured San Antonio’s Jessikill as the opening act.

Fresh off last November’s release of debut EP Work Hard, Rock Hard, Deimer and crew possess a sound different than the current state of rock music, in large part to Deimer’s deep voice that combines singing with telling stories through his lyrics in a talking state, as evidenced in videos such as “Hero,” “My Dad,” and the Pink Floyd cover “Have A Cigar” that can be seen below. In addition, not only did Tate provide Deimer with his first major touring opportunity, but he co-stars on Deimer’s tune “Burn Together” (also below).

Guitarist Phil Xenidis, affectionately known as Phil X, has teamed with Deimer to provide stellar licks throughout the EP and on stage. The Canadian guitarist sports his own band The Drills and took over in some group called Bon Jovi nearly a decade ago when Richie Sambora left that mega-successful band and, to the surprise of many, never returned. Phil also spent time in Triumph and with Aldo Nova.

Deimer and Phil X spoke with me exclusively on Tuesday to discuss these and other topics — not the least of which is Deimer’s forthcoming horror movie project, Hellbilly Hollow, and the two major American actors who paved the way for it.

Click on the video box below to watch and hear our entire conversation.

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'Into the Pit:' Mark Tremonti

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'Into the Pit:' Mark Tremonti

The latest project undertaken by a three-time Guitarist of the Year whose riffs have reverberated from Wembley Stadium to World Wrestling Entertainment is so far off base, you wouldn’t categorize it as “the last thing you’d expect” because it wouldn’t even land on the radar of what many would foresee from him.

But Mark Tremonti, guitarist of Alter Bridge and Creed, and lead vocalist/guitarist of solo band Tremonti that has produced five albums in the past 10 years, isn’t one to live life with regrets. Tremonti, who was honored by “Guitar World” as Guitarist of the Decade and named the fourth greatest heavy metal guitarist ever by “Total Guitar” magazine, is not interested in saying “could’ve, would’ve, should’ve” 20 years from now.

So Tremonti found something to more than tide himself, and fans, over prior to the Oct. 14 release of Alter Bridge’s forthcoming album Pawns & Kings. And the project is accompanied by a special purpose that hits close to home for him.

Tremonti put on a suit and tie, rounded up members of Frank Sinatra’s bluegrass popular singing band, and dropped Tremonti Sings Sinatra on May 27. It’s a complete album of Tremonti performing 14 of Sinatra’s classics — hits such as “Fly Me to the Moon” and “My Way” plus deep cuts like “Luck Be A Lady” — while teaming with an initiative called Take A Chance For Charity. All proceeds of the album’s sales benefit the National Down Syndrome Society after Tremonti and his wife discovered that their newborn daughter Stella was afflicted with Down Syndrome and needed open heart surgery, to boot, at 11 months.

In the trailer below, Tremonti discusses how the project came together following the approval of the Sinatra Estate. You can also watch a pair of his new videos below, then click on the SoundCloud widget at the bottom to hear our entire exclusive 1-on-1 conversation from Wednesday.

“Mark’s take on Sinatra is nothing short of uncanny,” Guns N’ Roses guitarist Slash, whose solo band features Alter Bridge vocalist/guitarist Myles Kennedy on lead vocals, said in a press release. “I could never have expected one of my fav metal guitarists to do such faithful renditions of Sinatra classics. Not only instrumentally, but vocally! And these recordings are for a cause near and dear to my heart; I was very close to an uncle who had Down Syndrome when I was growing up. I fully appreciate and support Mark’s commitment to NDSS.”

The likable and talented musician discusses the album in greater detail with ATM. Tremonti also names some of the celebrities he’s challenging to follow in his out-of-my-comfort-zone footsteps with Take A Chance For Charity, reveals which Sinatra tunes were his favorite and most challenging to record, whether he’ll be able to bring the act on the road and in particular to the Alamo City, and Tremonti also offers up a compliment of a lifetime he received from one of metal’s all-time greats.

But as is the case with all ATM interviews, there’s more to the conversation than meets the eye.

Click. Read. Watch. Listen. Learn. Enjoy.

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Asesino and locals rock Bonds - y tu mama tambien - to the core

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Asesino and locals rock Bonds - y tu mama tambien - to the core

For those who may have ventured upstairs inside Bonds Rock Bar a couple of Sundays ago unfamiliar with the headlining band on stage, the first question likely to come to mind might have been: Who are those masked men?

And there may have been a decent chance that any stragglers on this night would have been familiar with at least two-thirds of Spanish-singing Asesino via their unmasked, more well-known, bands. But in truth, the dedicated crowd of roughly 75 moshers and onlookers at the veteran downtown establishment knew who they came to see June 26.

Fronted by Tony Campos — bassist of Static-X, Ministry, Prong and Fear Factory among others — and led on guitar by Fear Factory co-founder Dino Cazares, Asesino blitzed through 20 songs en Espanol after locals Flesh Hoarder, Semper Acerbus and Outlook Grim warmed things up with a mostly metalcore style of heavy metal.

Cazares is known as Asesino’s namesake, which translates as “murderer.” Campos, who goes by Maldito X, gets to flaunt his sense of humor as frontman and take part in a band where he not only provides all vocals but does so in his native language. The trio is rounded out by drummer Emilio Marquez, who goes by Sadistico.

Although their masks made them look more like bank robbers than intimidating killers (maybe that’s a good thing given the state of the world today), Asesino brought the heaviness on several offerings including “Cyko Maton” and “La Ejecucion.”

Shortly after ripping through “Padre Pedofilio” (Pedophile Father), “Puta Con Pito” (various translations involving a whore are possible) and “Y Tu Mama Tambien” (And Your Mother As Well) — each of which can be viewed via ATM footage below — the trio went from would-be bank thieves to autograph signers and photograph subjects with their fans (see 37-photo slideshow including setlist below).

The trifecta of San Antonio artists setting the stage for Asesino brought it as well.

Flesh Hoarder features Flying-V lead guitarist Mike DeLeon, who provided the Pantera leads last Nov. 12 at Vibes Event Center as Philip H. Anselmo & The Illegals performed “A Vulgar Night of Pantera.” Watch them in action on this night via ATM’s Facebook Live footage of “Tortured Beyond the Grave” and “Necrotic Slut Chunks.”

Semper Acerbus can be viewed in similar fashion on “Daymare.” Ditto for openers Outlook Grim on “Power.”

The identities of the masked marauders with loaded musical pedigrees may not have been as mysterious, after all, as the identity of Cazares’ new vocalist in Fear Factory, which he has still not revealed following the late 2020 departure of his long-time friend Burton C. Bell. But as Asesino continued to parade through Texas and Mexico on this rarest of live occasions for the band, those on hand could appreciate the presence of established national musicians making themselves at home in the cozy downtown San Antonio rock bar owned by the Eguia family.

Score one for the underground scene — y tu mama tambien.

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Cavalera brothers revisit their roots times two

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Cavalera brothers revisit their roots times two

Max and Igor Cavalera have been coming to San Antonio and South Texas basically since the beginning of their seminal band Sepultura. In other words, longer than they once went without speaking to one another. And that was for a full decade.

The brothers who make up the first family of Brazilian heavy metal carved separate paths during those tumultuous years. Singer and rhythm guitarist Max, of course, went on to other bands and projects such as Cavalera Conspiracy, Soulfly, Nailbomb and Killer Be Killed. Igor remained in Sepultura through 2006 before departing. And as Max revealed here exclusively to Alamo True Metal six years ago during Soulfly’s United States tour kickoff at The Korova, the tragedy that struck the Abbott brothers of Pantera influenced him to bury the hatchet with his own sibling.

Nowadays, Max and Igor are using their pent-up energy more constructively — by making music together once again. But in 2022, they’ve gone back to their roots, as was the case last Thursday as Cavalera Conspiracy performed Sepultura’s 1989 and 1991 albums Beneath the Remains and Arise, respectively, to an enthusiastic and appreciative crowd of 700 reported as sold out at the Rock Box.

From the moment Max Cavalera bellowed, “We’re going old school on your ass,” the heads began banging and the bodies started surfing across the barrier following warmup acts Cephalic Carnage from Denver, Healing Magic of Phoenix and local thrashers Metalriser (see 53-photo slideshow and ATM video footage of each artist below).

Venue security was quickly put to work with every word of encouragement uttered by Max Cavalera, particularly when he ordered the crowd to “Destroy this fucking place!” Metalheads didn’t need to be told twice as the pits swirled virtually throughout the entirety of both albums. Watch bonus ATM Facebook Live footage of “Sarcastic Existence” and “Slaves of Pain” from the former record and “Arise” and “Dead Embryonic Cells” from the latter.

With former Havok bassist Mike Leon (who’s also in Soulfly) and lead guitarist Daniel Gonzalez providing the riffage, Cavalera Conspiracy / classic Sepultura, if you will, took names, took notice and conquered the Rock Box as expected. Following “Orgasmatron,” they even broke into a snippet of Slayer’s “Raining Blood” (ATM footage below). At one point, Max Cavalera couldn’t resist offering a bit of “Territory” from one of Sepultura’s albums not scheduled to be played — Chaos A.D. — though that seemed to make the complete exclusion of Sepultura’s most popular song “Roots Bloody Roots” that much more conspicuous by its absence.

The opening acts provided their own brand of metal. Whether it was everyone’s cup of tea would’ve been in the eyes and ears of the beholders.

Cephalic Carnage is a veteran group that has been around nearly as long (1992) as Sepultura. Fronted by lone remaining original member Lenzig Leal, who’s a grindcore version mostly in look and somewhat in sound of AC/DC’s Brian Johnson, the quintet displayed its humor among the distortion and carnage of its style by dedicating a song to masturbaters in the audience and having the crowd chant “Weed” and “Beer.” Metalcore and grindcore don’t do much for this writer, but Cephalic Carnage did win points by paying homage on “Sleeprace” (ATM footage below) to San Antonio’s own S.A. Slayer (for those reading this outside the Alamo City and Texas, Google ‘em). You can also watch them on “Piecemaker” and below after donning a few silly masks on finale “Black Metal Sabbath.”

Healing Magic, a singer/guitarist and drummer duo from Arizona, headbanged its way through a noisy yet appreciative and energetic set that included “Solar Valley” and “Leaving Ashes” (ATM footage below)

But it was veteran (yet still young) local thrashers Metalriser that stole the show among the three openers. Continuing to be led by founder, singer and rhythm guitarist Joel Estrada, Metalriser is always a treat to see in action not only because they’re one of the heaviest bands on the local scene, but because they bring the angst and energy every time out. Case in point is provided on "Hell’s Gates” and below on finale “D.I.Y.” Bassist Nick Gamboa has provided a shot in the arm to Estrada’s somewhat frequent lineup changes for the past three-plus years, while guitarist Mario Prz Jr. and new drummer Brandon Mascheo helped amp up the level of thrash more intensely than most openers do, but one that was worthy of setting the stage for the Cavaleras.

All in all, seeing the Cavaleras in action together never gets old and only reinforces their influence on many of metal’s bands from across the globe. To say that the crowd went home happy, sweaty and some maybe even a bit battered and bruised would be to underscore just how good of a time was had by all. Max Cavalera would likely be the first to tell you that’s what heavy metal is all about.

Well done, first family of Brazilian heavy metal.

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Hardworking men The Heroine celebrate new album with pair of novice brethren

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Hardworking men The Heroine celebrate new album with pair of novice brethren

For more than 15 years, The Heroine have been treading along the San Antonio music scene, aiming to garner recognition locally and nationally as one of the hardest working bands in this city.

The core of the group — vocalist Lynnwood King, bassist Wes “Guhly” Vargulish and drummer Johnny Lightning — made it to the final six out of thousands of national entries into a Guitar Center contest in 2008 to see which band would open the inaugural Cruefest, earning the right to strut their stuff in the finals before Motley Crue’s four revered members at The Whisky in Hollywood, California, before losing out to The Last Vegas.

The Heroine is also the only band — again, local or national — to play every single River City Rockfest in its hometown from 2013-18 before the festival’s eventual demise. During that time, The Heroine released Playing For Keeps in 2015 and toured relentlessly for years behind that record.

So excuse the core trio, along with guitarists David Arias and Joey Villalobos, if they were just a tad relieved, excited and grateful to finally see the fruits of the follow-up record, Out For Blood, come to life May 21 during a CD release show at 502 Bar. Fittingly, as frontrunners of the local scene, The Heroine brought along a pair of artists playing their debut gig that hope to achieve the career duration, and follow the roads paved by, The Heroine in Westcreek and Poets Of Propaganda.

According to King, there were a variety of factors in why seven years elapsed between albums. But that rough road made it all the more special on this night as The Heroine played eight of the new record’s 11 tracks, including opening intro “Let’s Go” and “Mamacita Por Vida” (ATM Facebook Live footage here). The group added older single “Who Do You Love” and 2015 track “Hardworking Man” (ATM footage of the latter below; see setlist in 34-photo slideshow).

“I think it’s more “Thank God,” you know,” King told ATM after the show about Out For Blood finally seeing the light of day. “It’s more relief because we’ve had so many obstacles we’ve had to overcome as a band. We had our super highs when we were signed to Universal, and then that whole deal broke us. Coming back and regrouping, and writing, we spent all of 2020 and ‘21 writing. We started recording about eight of the tracks that are on there with this lineup.”

For King, the CD release gig, and any other future performances, nearly didn’t come to fruition due to the global pandemic.

“Jay, I’m serious, I thought we were gonna break up. It just nailed us,” King said. “I was out for 10 days. The band didn’t really get a chance to talk. We knew we were finishing the record. But we didn’t hang out, we didn’t rehearse, we didn’t see each other for almost six months. And then we got together and played our first show together (since then), and it was like we didn’t miss a beat.”

With King slinging his mic stand in his patented way, Vargulish laying down the low end, Lightning pounding the drums with backup vocals, and Arias and Villalobos providing the licks, The Heroine gave newcomers to their live shows in attendance, and those who’ve been watching them perform for 15 years, a taste of what the band is all about on stage.

In addition to the high energy The Heroine is known for, King and Co. scaled back on the Christianity aspects that often dotted their gigs in the past, at times in favor of more humor. Case in point: King at one point joked that Vargulish was “single and ready to mingle,” adding, “Ladies, he has a 789 credit score!”

Meanwhile, Westcreek and Poets Of Propaganda were on the opposite end of the spectrum from The Heroine. Each band was making its live-performance debut and came through having gotten the first one out of the way.

Westcreek had to endure roughly 30 extra minutes of sound issues prior to eventually taking the stage but certainly didn’t lack for support from friends and family, particularly in the form of one female who pierced nearby ears with frequent screams of, “Wooo! Let’s go Westcreek” while the band was attempting to sort out the issues causing the delay.

Finally, Westcreek — which will play its second gig ever Saturday, June 25, at Bonds Rock Bar with Meridian, Skum and a few others ($10 cover) — got the music rolling and was the heaviest band of the three on the bill. Vocalist/guitarist Daniel Bas, guitarist John McKinnis, bassist Eddie Nava and drummer Rocko Cortez can be seen in action on “Take Control” via ATM footage here) and below on “This Life.”

Poets Of Propaganda, featuring vocalist Christopher DeLallo, King’s cousin on guitar Chris Gamez, bassist Terry Sleaze and drummer Dom Galindo, had the simultaneous honor yet nervous energetic task of kicking off the night for their inaugural gig in front of their respective friends and family. They settled in as a unit after a couple of songs and can be seen in action here and below on “Tread Depth.”

While those two bands will likely never forget their first, the evening was another notch in the roller coaster career of The Heroine as the group was able to unveil at last a new rocking album with short, hard-hitting songs that can finally accompany the tunes they’ve been playing live for years.

It also allowed King, at least after the gig, to reflect on how far his band has come — and what may lie ahead.

“I think that 2008 was a validation for the band,” King said of The Cruefest contest. “It validated that the band was good and had the potential to do whatever it wanted to. We were able to pick up endorsements and have some good brands that are still part of our lives. Gibson and Ernie Ball Strings, they give us guitars, they put us on winter and summer NAMM (National Association of Music Merchants).”

But with the steps forward come steps backward sometimes as well.

“It’s a struggle,” King said. “It takes a lot of faith, belief in yourself. We had a tour planned with Voivod in June that our agent submitted. And it just didn’t work out. That was supposed to be our CD release tour. We thought we had it, and it turned out it didn’t work out the way we thought. Stuff like that. Being in a band, there’s highs and lows. You get so stoked, then so down, it’s just one of those things. You have to stay positive.”

While the plan is to tour as much as possible behind the new record, which may feel like a rebirth of sorts thanks to the time off from Covid-19, King isn’t expecting more success to happen overnight.

“I think it’s going to be a struggle all the time,” he said. “It’s always been a battle, especially as you get older. There’s responsibilities and families. But I think that struggle gives us that edge, it makes us more passionate.”

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Rock Box becomes Appreciation Society for Fozzy, John 5 and upstart bands

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Rock Box becomes Appreciation Society for Fozzy, John 5 and upstart bands

The Jericho Appreciation Society was out in force last Saturday night at the Rock Box. And much like those who keep up with the current All Elite Wrestling weekly storyline and faction involving eccentric Fozzy frontman Chris Jericho, local patrons sang along to the group’s smash title track to 2017’s Judas (ATM footage below).

Unlike those who may strictly know of Jericho from his adventures inside the squared circle, however, San Antonians didn’t just appreciate one Fozzy song. Heck, they didn’t just show their approval of the headliners given that John 5 and The Creatures was also on the bill.

Support acts GFM, Krashkarma and The Nocturnal Affair weren’t exactly slouches either. In fact, other than Fozzy’s contagious energy and John 5’s wizardry on guitar, it was the Hollywood-based duo of Krashkarma — by way of New Jersey and Germany — that stole the show; something no band billed second out of five has any business of doing.

But more on that later.

Backed by longtime guitarists Rich Ward (ATM interview here) and Billy Grey, Jericho was also joined by bassist P.J. Farley of Trixter fame and new drummer Grant Brooks. The show took place six days prior to the newly released Boombox, but that didn’t stop Fozzy from playing four of the album’s singles including opening the show with “Sane.” Jericho & Crew also offered up “I Still Burn,” “Purifier” (ATM footage below), “Nowhere to Run” and a fifth album track in their cover of Frankie Goes To Hollywood’s “Relax.”

Fozzy has supported Saxon and Sevendust previously in the Alamo City, with one of those shows featuring a post-performance interview with Jericho in which he spoke about how the idea of forming Fozzy originated in San Antonio (watch here). The band has now been coming here for nine years and finds itself in headline mode, with Jericho intertwining tour dates with his ongoing AEW involvement throughout the country.

One thing the singer, wrestler, podcaster, author and Rock N’ Wrestling cruise voyage architect has always been gifted at is working up a crowd, and Saturday was no exception. At one point, Jericho told the Rock Box’s incessant chanters of “Fozzy, Fozzy” that they were the “craziest of the tour thus far.” Unlike every singer who says that to his or her audience, however, Jericho quickly invited fans to look up YouTube footage of Fozzy’s previous performance to prove he doesn’t say that at every gig before adding, “No, I’m serious, you guys are the craziest so far!”

Fozzy’s 75-minute showing also included older tracks “Do You Wanna Start A War,” “Lights Go Out” and “Sin and Bones” (ATM Facebook Live clip here) and an extended guitar jam during “Enemy” (ATM footage below). Whereas previous visits included their cover of Abba’s “S.O.S.,” this show ended with Fozzy’s version of AC/DC’s “Dirty Deeds Done Dirt Cheap.” With Ward and Grey commanding the stage from one side to the other and Jericho doing his usual thing, the Rock Box didn’t take long to “become, become, becoming” the place to rock.

Fans could also be grateful for the fact John 5 was back on stage because that nearly didn’t happen. Having postponed three shows the previous week due to a Covid-19 presence within the group, only to resume two days earlier with a headlining show in Austin, bassist Ian Ross fell ill, dropping The Creatures to just John 5 and drummer Alex Mercado. An announcement was made serving as a prelude to loud and encouraging applause since “the show must go on.”

A crew member took to the dark stage in a humongous John 5 head (see 111-photo slideshow below). Then the established solo guitarist and Rob Zombie axeman followed suit as a young girl at the front of the barrier repeatedly screamed, “Oh my God! It’s John 5!”

Concentrating on instrumentals from latest album Sinner and the records that recently preceded it, John 5 didn’t speak until he had performed seven tunes (ATM Facebook LIve footage of three tracks here), a bit of a solo and wowed the crowd with a portion of “The Star Spangled Banner” courtesy of his tongue.

“Good evening, motherfuckers,” was John 5’s greeting before he added, “Well, it won’t take long to introduce the band. Our only Creature, give it up for Alex on the drums. . . . I don’t know if it’s stupidity or ballsy to come up here with only guitar and drums, but I wouldn’t cancel on you guys. I love you too much!”

Though John 5 followed his printed setlist (see slideshow), he had to omit “The Black Grass Plague” saying that he was being cut short. In truth, he was allotted a 50-minute set in support of Fozzy and performed 52 minutes, making time for his patented medley of cover-song riffs (ATM footage below). Listen here to our prior interview in which John 5 addressed the inspiration for his instrumental titles, the album he made with David Lee Roth that still hasn’t been released and other topics.

The three bands setting the stage for the famous acts didn’t disappoint.

GFM (Gold, Frankincense & Myrrh) dub themselves “Beautycore.” The trio of ladies from Jacksonville, Florida, took to the stage with one of the members’ mother tossing out mini-gifts to the crowd. The band wore cheerleader outfits, provided a mix of melodic vocals with death-metal growls and proclaimed its love for Jesus. Watch ATM Facebook Live footage of “Taking Over” plus video below of their final two tracks as GFM prepares to release two-song EP Framing My Perception on May 27.

But it was the duo of Krashkarma that made the most impressive impression.

Comprised of Germany’s Ralf Dietel on lead vocals and guitar and New Jersey resident and band founder Niki Skistimas on drums and vocals, Krashkarma signaled right away that their performance would not be typical.

Skistimas and Dietel made their entrance from behind the crowd, with the former playing a marching-band style of snare and Dietel utilizing a bullhorn. Upon taking the stage, Skistimas’ kit was set up with a side view a la Robert Sweet of Stryper, but at the forefront of the stage. Dietel, sometimes utilizing a bow on his guitar as did John 5, informed the audience upon introducing “9Lives: 1, 2 Die” that his guitar was capable of playing bass as well, emphasizing that there were “no tricks” (ATM footage below).

Skistimas, who also played in The Blue Bonnets which included Kathy Valentine of The Go-Go’s, shared with ATM after her set that Krashkarma was originally a quartet and that she met Dietel several years ago at NAMM, the annual National Association of Music Merchants gathering in Anaheim, California. Skistimas and Dietel definitely kept the crowd’s attention throughout their set. As if their unique entrance and setup wasn’t enough, they played dueling harmonicas with each member taking turns standing atop the drums to give the fans a better look and to encourage participation. Skistimas even brought out a mallet as a prop on “Girl With A Hammer” prior to “Tears of Gasoline” (ATM Facebook Live footage here).

The Nocturnal Affair from Las Vegas kicked off the night with its five members stretched along the width of the stage in single file. Singer/keyboardist Brendan Shane was far stage right with the drums stage left. The group released debut full-length (Meta)morphosis on March 28, which was produced by Austin resident and Disturbed bassist John Moyer. Watch ATM footage of new single “Down” and below of “Ghosts on the Horizon.”

The mixture and variety of unfamiliar bands that rocked and proved to be unique in their own way, combined with the veteran musicianship of John 5 and Fozzy, made for a stellar and entertaining night of Rock N’ Roll. And it would be remiss not to say that a large reason for this was the tireless work of venue owners Micaela and Steve Rodriguez, their security and bar staff and Twin Productions Promotions.

Not only was that good news for the ultimate sports entertainer who sings heavy metal songs on a mic. But also for those on hand reaping some favorite bands while discovering a few new ones.

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Generations of classic power metal reign thanks to Riot and friends

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Generations of classic power metal reign thanks to Riot and friends

The greats of power metal from yesteryear joined forces Friday night at the Rock Box with South Texas legions of the early 2000s and the future of Alamo City metal to form a conglomeration of rock that many concert billings would be tough to match.

Led by Riot once again playing the hometown of bassist Don Van Stavern, but this time doing so 45 years after 1977 debut Rock City, the program also featured Austin’s Ignitor plus classic locals Byfist and the youth of Jessikill.

Playing their first show since late 2019 in Europe, Riot stormed out of the gates with an 18-song, 95-minute set covering a bulk of its career with some newly played tunes. With Hall informing Alamo True Metal that he landed in town from Michigan the day before, Riot held a two-hour rehearsal Thursday, according to a source. Then with Jessikill vocalist Jessica Alejo and guitarist Jyro Alejo donning Riot’s seal-head mascot masks preceding the group’s entrance, Riot treated dedicated South Texas fans — and even visitors from Virginia and Pennsylvania — to another reliably riveting set (setlists in 82-photo slideshow below).

Opening with “Victory” from 2018 and latest album Armor of Light, Riot unleashed a slew of tracks from 1988 powerhouse Thundersteel including second song “Flight of the Warrior.” Thundersteel is arguably Riot’s signature album, though you can’t go wrong with 1981’s Fire Down Under claiming such a moniker either, and you can watch ATM’s Facebook Live footage of more Thundersteel classics “Sign of the Crimson Storm” and “Johnny’s Back” sandwiched by “49er” here.

No one remains in Riot from the debut-album days, as Van Stavern is the longest reigning member, having joined for the 1988 Thundersteel era. He was followed the next year by current lead guitarist Mike Flyntz. Hall etched his place in Riot vocalist lore in 2013 joining drummer Frank Gilchriest, but Friday’s show — coming a day before Riot’s participation in the Hell’s Heroes Fest in Houston — included a new second guitarist, at least for these Texas shows.

Lance Barnewold exhibited his skills with Riot for the first time in the Alamo City, bringing a unique background. Barnewold is not only the drummer in the solo band of Manowar co-founder and former guitarist Ross “The Boss” Friedman but his nephew as well. Friedman played a guest solo on “Warning Fire” on Jack Starr’s Burning Starr’s 2011 powerhouse of an album Land of the Dead, a band fronted at the time by Hall.

For those unfamiliar with Hall’s background as a heavy metal singer in his current and former bands, as well the group Reverence once upon a time, they may likely recognize him from television. Hall was a contestant in early 2020 on “The Voice,” wowing mainstream fans and viewers with his rendition of Foreigner’s “Juke Box Hero,” which we discussed a year ago to the day of Friday’s show via Zoom (watch here). Hall also released solo effort Sonic Healing at the time of the interview in the vein of classic rock tunes after teaming with Metal Church guitarist Kurdt Vanderhoof on the album.

On a night Alice In Chains guitarist/vocalist Jerry Cantrell was playing the Aztec Theatre, Riot continued with the good vibes inside the Rock Box on other classics such as “Outlaw” and “On Your Knees.” Watch more ATM Facebook Live footage of “Altar of the King,” “Angel’s Thunder, Devil’s Reign” and “Road Racin’ “ and ATM videos below of six additional tracks.

Van Stavern and Flyntz took swigs of their patented tequila bottle while dedicating multiple moments to the late guitarist Mark Reale, who’s buried here in San Antonio, plus vocalists Guy Speranza and Rhett Forrester, rhythm guitarist Louie L.A. Kouvaris and famed local DJ Joe “The Godfather” Anthony. The band added a nice touch by inserting the Forrester-sung title track to Restless Breed (watch below), though Van Stavern inexplicably left Armor of Light track “San Antonio” off the set in the one city that deserved to hear his written homage to his hometown. But there was another hometown reference when it was revealed Gilchriest was playing the drum kit of former Riot backstopper and San Antonio’s own Bobby Jarzombek, incidentally with his guitarist brother Ron Jarzombek in attendance.

Ignitor provided direct support to Riot, and that meant the powerful demonic vocals of South Texas Music Walk of Fame star, Corpus Christi native and longtime Austin resident Jason McMaster. Ignitor guitarist Stuart Laurence remains the lone original member of the band that formed in 2003 and once had two women in the group, on vocals and guitar.

Backed by rhythm guitarist Robert Williams, bassist Billy Dansfiell and drummer Pat Doyle, you can watch them perform “Heavy Metal Holocaust” plus footage below of “Secrets of the Ram” and the title track to 2017’s Haunted By Rock N’ Roll.

McMaster has placed his stamp on a variety of original bands including Watchtower, Evil United, Broken Teeth and the group that introduced him to an MTV generation, Dangerous Toys. McMaster has even had Van Stavern as a guest on the podcast he conducts with a former colleague of yours truly, “Metal” Dave Glessner. So when’s the musical collaboration, boys?

Byfist continued its run of local shows since dropping In the End in September 2020. With original rhythm guitarist Nacho Vara once again accompanied by bassist Stony Grantham and drummer Scott Palmer, like Riot the group unveiled a new guitarist stage left.

Manny Santos made his live debut with Byfist on this night having replaced Ernie B. Fans may recognize Santos from Zero The Hero, but he’s also played the axe for 40 years, according to the band’s socials, which included being a 3-peat winner of San Antonio Guitar Wars. Watch Santos and his bandmates in action below on “Mary Celeste” and on finale “In the End.” You don’t even have to be a “worthless scum” to enjoy it.

Jessikill kicked off the night as a prelude to what figures to be the most important and rewarding stretch of its young career. The band embarks on a national tour supporting Yngwie Malmsteen starting this Sunday in Hartford, Connecticut, (ATM details here) But the first order of business was opening for Riot.

Taking the stage to latest video single “Lightning,” the Alejos joined bassist Arturo Knight and drummer Marcel Biel in giving a taste of what national fans about to watch them live for the first time can expect over the next six weeks. Witnessing Alejo on guitar never gets old, but it’s also a pleasant sight seeing the band grow and mature with every new song and performance. Watch them on “Save Me” and below on “Midnight Rush.”

If the presence, and performance, of Riot, Ignitor, Byfist and Jessikill indicated anything, it’s that South Texas heavy metal is in good hands and not going anywhere anytime soon. How lucky do you get to be living here when it comes to the heavy metal scene, San Antonians?

True, there could always have been a larger turnout. But for those who understood the special significance of it all, the Rock Box was the place to be Friday night.

And we could all share a toast of tequila to that.

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Arch Enemy, Behemoth bestow metal madness upon Aztec's patrons and heathens

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Arch Enemy, Behemoth bestow metal madness upon Aztec's patrons and heathens

During his band’s co-headlining performance Monday at the Aztec Theatre, Behemoth frontman Adam “Nergal” Darski instructed the locals not to take their freedom for granted while dedicating “Conquer All” to the people of Ukraine. Then as the group wound down “Chant For Ezkaton,” Nergal stated it was an honor to play for the crowd, urging fans to stay safe.

Those couldn’t possibly be the actions of a musician who had been banned from playing his native Poland once upon a time after tearing up a Bible on stage, could it?

Then the face-painted vocalist/guitarist bellowed two words that took the energy to a whole nother level (Alamo True Metal footage below) and indicated that this show with nightly alternating co-headliners Arch Enemy plus Napalm Death and Unto Others was unlike 99.9 percent of the concerts that come to the Aztec:

“Hail Satan!”

As the jam-packed lower level and half-filled balcony roared their approval, memories harkened back to why Nergal has often been regarded as one of metal’s most controversial figures.

But along with his emphatic religious statements, Nergal has persevered through personal adversity after having been diagnosed with leukemia and undergoing a bone marrow transplant. Those long-ago life-changing moments made the second night of this tour possible in the first place for Behemoth and its San Antonio fans.

Additional tracks such as “Bartzabel,” “Slaves Shall Serve” (ATM footage of both below), “Evoe” and the heartwarming “Christians to the Lions” (ATM Facebook Live clip here) cemented why it was good to see and hear Behemoth back on the scene post-pandemic and back in the States. And the group’s punishing and darkened hour-long showing set the stage for Arch Enemy to top with its own hour-long set.

Between all four bands, it was refreshing to see a concert devoid of exaggerated echoed vocals or longer-than-necessary “delay throws” meant for effect that instead served as a distraction by giving the impression backing tracks were used to assist actual singing efforts. Rather, this night was filled with pure molten metal singing and instrumentation that not only encouraged patrons to chant along but to keep up with the pros who led the way on stage.

Then it was Arch Enemy’s turn. Commence sore throats.

After kicking off two nights earlier in Tempe, Arizona, Arch Enemy unleashed its own brand of metal behind the sinister vocals of Alissa White-Gluz, dual shredding riffs of founder/songwriter Michael Amott and former Nevermore and Sanctuary guitarist Jeff Loomis, thumping bass of Sharlee D’Angelo and pounding drums of Daniel Erlandsson.

Whereas Behemoth’s anti-Christian dominated songs call for dark imagery throughout the stage show, Arch Enemy is a photographer’s delight by employing some of the best lighting in the business, as exemplified in the 145-photo slideshow below. The lavish scenery often belies the brutality of the band’s music, but it’s far better than the abhorred red and blue light most bands relegate themselves to.

You mean the audience can actually see the band play? What a concept!

Set to unleash new album Deceivers on July 29 via Century Media Records, Arch Enemy devoted one-fourth of its 12-song performance to the three singles that have been released: “House of Mirrors” (ATM Facebook Live clip here along with “My Apocalypse,”), “Handshake With Hell” (ATM footage below) and “Deceiver Deceiver.” Of course, the quintet didn’t forget their older tunes originally sung by Angela Gossow, who continues to be the group’s manager, such as “Dead Bury Their Dead” and “Nemesis” (ATM footage below; full setlist in slideshow). To tide fans over till then, Arch Enemy is releasing a fourth single, “Sunset Over the Empire,” on May 20 via 7-inch vinyl.

“I am thrilled that we are releasing our next single 'Sunset over the Empire' not only digitally everywhere as usual, but also as a physical 7-inch vinyl record,” Amott said in a press release. “I'm a big fan of the vinyl format myself, and I think this killer looking 7-inch will be a nice collector's item as it's a limited run. The B-side is an instrumental we've never released before on a record, and the A-side is one of my fave tracks off our new upcoming album Deceivers.”

As with any band that has replaced singers along the way, Arch Enemy was taking a big risk eight years ago when White-Gluz took over for Gossow. Unlike many that have failed doing so, however, Arch Enemy has continued to flourish if not expand on its horizons, in large part to the leadership of Amott and D’Angelo. One of those favorite personal moments in the band’s latter-era history came aboard the 70000 Tons of Metal cruise in 2017 when the group held a press conference to select media in world premiering the “As the Stages Burn” live at Wacken Open Air DVD. Watch ATM’s footage of that entire news gathering here and here.

Deceivers will mark the third album with White-Gluz on vocals, and with the band’s overall star continuing to rise and shine, it’s only a matter of time before Arch Enemy graduates from mid-level theaters and branches out into larger American venues. If any melodic death metal band is going to lead the way into such a scenario, it figures to be this metallic melting pot comprised of Swedes, Canadians and Americans.

Yet another part of the world was represented at the Aztec in the form of England’s Napalm Death. Visiting the Alamo City for the first time since supporting Slayer on their final tour in 2018 at the Freeman Coliseum (coverage here), the veteran outfit full of self-described “noise” unleashed a carnage of distortion and rage espousing socialism, pro-choice and other topics not for the faint of heart.

With longtime vocalist Mark “Barney” Greenway declaring his band’s hometown a “luxurious shithole,” Napalm Death provided the 30-second “The Kill” and backdrop of a Texas woman being arrested for attempted murder by virtue of an abortion on “Suffer the Children” (ATM footage of both below) as a small taste of its history. Minus the suit and tie, Greenway is reminiscent of Angus Young in his relentlessly bounding energy as he runs a marathon back and forth across the stage, a testament to his lanky English frame. Napalm Death performed tracks as far back as 1987, but you can also watch them via 2020 and 2021 offerings “Invigorating Clutch” and “Narcissus,” respectively, here.

The night began with the debut Alamo City showing of Portland, Oregon, natives Unto Others. Formerly known as Idle Hands, the group released Strength last September, its initial effort via Roadrunner Records, featuring video and Monday’s opening track “Heroin.”

On the one hand, vocalist/guitarist Gabriel Franco pulls you in with his eerily calm yet haunting vocals that made one wonder who the familiar sound resembled, only to revisit an earlier received press release that referred to The Cure’s Robert Smith, resulting in a “a-ha!” moment. And the next, Franco sucks you in with “Heroin’s” most telling line, the chilling “I swear to Godddd!”

Along with bassist Brandon Hill, guitarist Sebastian Silva and drummer Colin Vranizan — none of whom had any room whatsoever to maneuver around the stage amidst the gear and props of the forthcoming bands — Unto Others’ 30-minute set was built around the premise of turning fans onto its newest material. Watch them in action via ATM Facebook Live footage of “Nightfall” and below on closer “When Will God’s Work Be Done.” Unto Others is definitely a band that will hook listeners in the first time and, more importantly, keep them hooked and looking forward to future music and visits.

Arch Enemy, Behemoth, Napalm Death and Unto Others didn’t just kick the two-year Covid-19 layoff in the ass at long last. All four bands provided a much-needed respite from hell on earth due to the pandemic and daily grind we all go through, giving ticket-holders plenty of reason to cheer, sing and thrust their horns skyward.

The way metal was meant to be. Whether Satan was lurking or not.

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Oyster Bake returns with rockin' good time on a stick

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Oyster Bake returns with rockin' good time on a stick

After a two-year hiatus due to Covid-19, the Fiesta Oyster Bake returned last Saturday for the 106th rendition at St. Mary’s University and brought out all of its customary characteristics to first timers and festival veterans alike.

Rock music, country stylings, Tejano offerings, classic rock, R&B/rap and cover bands. Oyster shots, chicken and steak on a stick, chocolate covered strawberries, roasted corn, chalupas, burgers, $20 turkey legs.

There was no end in sight to the culinary and musical madness. And that’s just how everyone preferred it.

A perfectly sunny and comfortable day blanketed the campus throughout the 11 a.m.-11 p.m. Saturday night festivities accompanied by death-defying carnival rides that could only be washed down by fried twinkies and alcoholic suds (see 110-photo slideshow below).

On a night the Oyster Bake was also competing with the 100th Valero Texas Open golf tournament in town, Wrestlemania 38 in Dallas and the NCAA Men’s Final Four basketball games on television, the rock music came courtesy of headliners Pop Evil, Hinder, Puddle Of Mudd, and the Brett Scallions Band. Austin natives Black Heart Saints and Groove Monkey performed for the early afternoon revelers as well.

While Pop Evil played a bevy of tunes in the 9:15-10:30 p.m. slot, it was Hinder’s variety-filled performance and the continued road along the path of sobriety of Puddle Of Mudd frontman Wes Scantlin that were the most noteworthy storylines emanating from the rock stage.

Hinder, a replacement for originally scheduled Saint Asonia, also played a slew of its hits to the delight of the largest portion of the thousands in attendance. Hinder took advantage of the Bake’s ideal 7:30-8:30 p.m. time slot, which benefits bands even more than the headliner slot in terms of attendance due to the fact many families head home with their kiddos’ bedtime approaching as the final band is about to go on.

Hinder jacked up the energy, brought out the acoustic guitar and saw bassist Mike Rodden on several occasions jumping down from the stage to give fans a closeup look at his musicianship, including one jaw-dropping female who couldn’t believe she was inches from a rock star (see slideshow). Watch ATM footage below of the band performing “King of the Letdown.”

Scantlin, the only remaining original member of Puddle Of Mudd, has had his share of well-documented issues throughout the years. Arrests, alcoholism, bantering with fans on stage . . . you name it, Scantlin has probably done it. He has earned a reputation for often being a ticking time bomb waiting to happen to the point that if he makes it through an entire show without something going wrong, some may actually be disappointed by that.

Truth be told, with all the musicians we have lost in recent years — especially those who have purposely taken their own lives — music fans should be applauding Scantlin for the road to recovery he has taken. Scantlin and his band sounded great when they performed here in 2019 at the Aztec Theatre, and they continued again at the Bake. Scantlin brought the energy, the positive vibes and told the audience how much he loved them and San Antonio so often, you would’ve thought his life depended on it.

Perhaps it did. The fact that Scantlin is still performing “Control,” “Blurry,” “She Hates Me,” “Away From Me” and the group’s other hits rather than joining the suicidal or drug-riddled deaths that befell Chester Bennington, Chris Cornell, Scott Weiland, Mike Howe and, more recently, Foo Fighters drummer Taylor Hawkins is a victory for Scantlin more than anyone, of course. But it’s a triumph that should be celebrated by everyone who enjoys rock music in general and/or Puddle Of Mudd’s contributions to the scene. Watch ATM footage below of “Spaceship.”

It’s hard to believe Pop Evil opened for Judas Priest and Whitesnake on July 25, 2009, at Freeman Coliseum and has been making music since 2008. Truth be told, vocalist Leigh Kakaty founded the band in Michigan in 2001, so it’s even more mind blowing to realize Pop Evil is celebrating more than 20 years.

The group, like many others, has persevered through several lineup changes and had another temporary one at the Bake. England-based drummer Hayley Cramer was experiencing visa issues and could not make the trip to S.A., Kakaty told the crowd. Blake Allison of the group Egypt Central “learned the set in 24 hours,” Kakaty said.

Kakaty also shared a story of how he ventured to North Star Mall shortly after landing in town and came across a little girl who asked if he was the vocalist of Pop Evil. After confirming, she evidently requested to hear “Inferno.” Kakaty, admitting that he was in “dad mode,” told her, “I’m sorry, but we’re not playing that tonight.” So of course, while sharing that anecdote, the band performed it. Kakaty then dedicated the ironically titled “Monster You Made” to “that sweet little angel.”

Watch ATM footage below of “100 In A 55” and the festival’s final two tracks “Trenches” and “Waking Lions.” This writer would’ve loved to hear the always uplifting “Last Man Standing” as well, but Pop Evil put that tune aside on this night (see setlist in slideshow).

The eponymous Brett Scallions Band featured three former members of Fuel in singer/guitarist Scallions, guitarist Jason Womack and drummer Shannon Boone. They performed a slew of hits from that group including “Shimmer” and “Hemorrhage (In My Hands).” Watch ATM Facebook Live footage of “Innocent” and “Falls On Me” plus video below of “Sunburn,” and see setlist in the slideshow.

While the Oyster Bake often recycles the same style of rock bands each year due to it being sponsored by 99.5-KISS FM, this year’s version was a welcome sight back no matter who was on stage. With several of these artists making their first appearance at the Bake, it only made it that much more of a good time on a (drum) stick. And music to everyone’s ears thanks in large part to St. Mary’s, its staff and volunteers.

The way festivals should be.

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Metal gods Judas Priest deliver the goods on 50th anniversary tour

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Metal gods Judas Priest deliver the goods on 50th anniversary tour

It was last Monday night at Freeman Coliseum, and the Priest came back!

This time, the metal gods Judas Priest were celebrating their 50th anniversary of making molten metal for the masses with a mostly career-spanning setlist and Queensryche in tow as the opening act. Performing for an hour and 52 minutes, vocalist Rob Halford, bassist Ian Hill, drummer Scott Travis and guitarists Richie Faulkner and Andy Sneap reminded roughly 5,000-6,000 fans at the Coliseum why they’ll always be considered one of metal’s all-time influential artists (see 109-photo slideshow below; no professional video was allowed).

Not that San Antonians needed a reminder. After all, this is the city in which the late disc jockey Joe “The Godfather” Anthony gave Judas Priest and so many other artists their first taste of American radio airplay. That fact has never been lost on Priest, as Halford indicated by referencing Anthony prior to introducing arguably the night’s best stretch of music: a rare performance of the title track to Priest’s 1974 debut Rocka Rolla, which led into one writer’s favorite Priest jam “Victim of Changes,” into 1981 rocker “Desert Plains” and the ebbs and flows of 1988’s “Blood Red Skies.”

Each time Judas Priest visits, you have to wonder if it will be the group’s final San Antonio appearance. The same thing occurred May 1, 2018, the band’s previous stop at Freeman Coliseum with Saxon and Black Star Riders (coverage here). That night, much like this gig, guitarist and producer Andy Sneap filled in for original guitarist Glenn Tipton after the latter was diagnosed with Parkinson’s Disease. Tipton made an appearance for three British Steel encores four years ago, and San Antonians could count their lucky stars he was well enough to appear again in 2022 for “Metal Gods,” “Breaking the Law” and “Living After Midnight” for a couple of reasons.

Not only has Tipton’s health held up enough in those four years, but he’s not appearing in every city on this tour. Four nights earlier in Portland, Oregon, Tipton did not come out on stage. At that show, however, Priest played “Invader” from 1978’s Stained Class in lieu of “Metal Gods.” Although it would’ve been nice to hear any track from Stained Class, let alone a song that had never been played live prior to this tour, San Antonio won that trade-off.

The special occasion of Priest’s golden anniversary brought out the stars of the Alamo City as well. Mayor Ron Nirenberg was on hand, posing for pictures with several residents. John Araya, the brother of Slayer vocalist Tom Araya, rocked out in the front row. And of course, San Antonio musicians in Riot bassist Don Van Stavern as well as Bobby Jarzombek, the drummer for all of Halford’s solo-band studio and live albums, weren’t about to miss this show either.

Opening with a track that is making its debut on this trek, “One Shot At Glory” from 1990’s Painkiller, Judas Priest delivered the goods in music and elaborate stage setup that included a monstrous replica of the Painkiller symbol that virtually covered the width of the stage as it lay parallel to the ground prior to the band’s arrival.

The 70-year-old Halford, sporting a thick gray beard and four to five different black leather metal jackets throughout the evening, dripped with sweat as he belted out his signature vocals as live as could be. There were occasional echoes for effect, but otherwise, Halford demonstrated once again why he’s the metal god, particularly on “Freewheel Burning,” Diamonds and Rust,” and the aforementioned “Victim of Changes” (setlist below)

Initial reaction to some of the tracks was that Judas Priest should give “Turbo Lover” a rest in favor of something else from that album such as “Locked In,” “Rock You All Around the World” or “Reckless.” As enjoyable as it is to hear and see the musicianship on the seven-minute plus “Blood Red Skies,” that track along with “A Touch of Evil” and “Hell Patrol” has been heard before, so it would’ve been more special to hear other offerings from those respective albums.

Nevertheless, considering Halford was parading around the stage with the aid of a cane eight years ago, and taking into account the adversity within the band Judas Priest has faced prior to this tour, let’s just stress that any form of Judas Priest material emanating from the band live and in the flesh in 2022 is more than a sight to behold and music to these ears.

And what about those atypical situations?

First was the mere appearance of Faulkner.

Despite being the youngest member of the band who was credited with injecting energy into Judas Priest when he joined in 2011, Faulkner suffered a shocking ruptured aorta at the Louder Than Life festival last September in Louisville, Kentucky. While Faulkner was undergoing a 10-hour open heart surgery, many fans across social media clamored for the return of K.K. Downing.

For heaven’s sake, people, THE MAN NEARLY DIED!

So the fact Faulkner recovered fully and resumed playing guitar saved Judas Priest’s existence in another fashion and made last week’s show, which had already been rescheduled twice due to Covid-19 and Faulkner’s harrowing experience, possible in the first place.

Then there was the pre-tour controversy regarding Sneap’s appearance. Or not.

Judas Priest announced they would be undertaking this tour as a quartet with Faulkner as the lone full-time guitarist — an unimaginable scenario for a band that has prided itself on the twin-dual guitar attack over its five decades. Luckily, this was one instance in which fan backlash was put to good use, and the members of Judas Priest listened and invited Sneap to rejoin the group. Sneap, mostly known for his album production work with various artists, fortunately agreed — another turn of events that may not have made this show possible had he not said yes.

Imagine JP playing “The Sentinel” without Halford having two guitarists to turn his attention to during the alternating eight-sided solo. Why, that would make as much sense as the overabundance of backing tracks.

While Halford belted out his signature vocals for nearly two full hours at an age most people spend in retirement, Queensryche’s Todd La Torre frequently used the help of his pre-recorded voice.

It’s hard to believe La Torre is in his 10th year as the replacment for the original voice of Queensryche, Geoff Tate. La Torre, 48, is a talented singer, more than capable and good enough on his own vocally without needing assistance unless he’s under the weather.

But as Queensryche dedicated its set to classics from 1983-90, including the first four tracks of “Queen of the Reich,” “Warning,” “En Force” and “NM 156” (setlist below), La Torre could often be seen pulling the microphone away from his mouth and, in a couple of other instances, walking to the other side of the stage with his mic down while his voice reverberated throughout the venue.

More bands these days are utilizing backing tracks, but that doesn’t make it any more enjoyable by any stretch for fans who paid to hear their favorite vocalists do what they’re supposed to do best. It also detracts from the performance because for those observant enough to notice such a calamity, the show begins to become secondary in favor of watching to see how often — and how blatant — the act occurs.

As one could enjoy the variety of other classics Queensryche performed such as “The Needle Lies,” “Operation: Mindcrime” and “The Whisper,” the tunes became a sideshow of looking out for just how much of those songs La Torre was singing completely.

Along with original guitarist Michael Wilton, original bassist Eddie Jackson, guitarist Mike Stone and Kamelot drummer Casey Grillo, La Torre and Queensryche realized their place as an opening act on this tour by foregoing any material from the three albums La Torre has made with them. For the diehards, it would’ve been nice to hear one or two of those tracks. Still, one could respect Queensryche for knowing how their bread is buttered while serving as a warmup act to an iconic band. If anything, Queensryche should be applauded not only for leaving “SIlent Lucidity” at home and, somewhat surprisingly, “Jet City Woman,” but also for delivering their own goods for 39 years — even if it still sucks that there’s two versions of an incredible rock band.

But the alternative, of course, would be to have zero versions of Judas Priest or Queensryche, either due to a global pandemic that has lasted for 2 1/2 years or issues or health complications within the groups. And that again made Tipton’s appearance all the more satisfying.

Coming out with some assistance from Halford, the guitarist acknowledged the cheers from the Freeman faithful and added his stamp to three of British Steel’s staples. It left this writer in a satisfied and grateful state of mind, albeit with a suddenly sore throat that was more than worth it, and with the feeling that this indeed would mark Judas Priest’s final visit.

Until, of course, Priest unveiled their patented “The Priest Will Be Back” banner on the big screen as the guys handed out picks, tossed out drum sticks and waved goodbye — at least for now.

And just like that, another Judas Priest night had been etched into San Antonio lore. Maybe, just maybe, the Alamo City will have another Priest sighting comin’.

JUDAS PRIEST setlist: One Shot At Glory, Lightning Strike, You’ve Got Another Thing Comin’, Freewheel Burning, Turbo Lover, Hell Patrol, The Sentinel, A Touch of Evil, Rocka Rolla, Victim of Changes, Desert Plains, Blood Red Skies, Diamonds and Rust, Painkiller. Encores: Hellion/Electric Eye, Hell Bent For Leather; (Glenn Tipton joins band): Metal Gods, Breaking the Law, Living After Midnight

QUEENSRYCHE setlist: Queen of the Reich, Warning, En Force, NM 156, Empire, Walk In the Shadows, The Whisper, Operation: Mindcrime, The Needle Lies, Take Hold of the Flame, Screaming In Digital, Eyes of a Stranger

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Donella Drive heading to Hollywood after winning Wacken Metal Battle state final

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Donella Drive heading to Hollywood after winning Wacken Metal Battle state final

AUSTIN — Throughout their musical career and, presumably, their lives, Aidan Escalante and Andrew Salazar haven’t been unlike most brothers in that they have their share of disagreements. But there’s no arguing one simple fact: all the infighting they’ve done over their band Donella Drive is now worth it.

The San Antonio duo, along with new drummer Landis Chisenhall, are headed to The Viper Room on Hollywood’s famed Sunset Strip on Saturday, May 7, for the Wacken Metal Battle National Final after defeating nine other bands to win the Texas state final last Sunday at Come And Take It Live (watch Alamo True Metal’s Facebook Live footage of the winning announcement here). The winning artist at the nationals will represent the United States at the world’s most renowned heavy metal festival, the three-day Wacken Open Air before roughly 85,000 fans in August in Germany.

“We argue, we get in fights about the music, but we try to make the best music possible, and now it’s finally starting to pay off,” Salazar, the bassist and backup vocalist, told ATM in the euphoria of victory. “We’re very driven people. Me and my brother, we work our asses off. And we’re just gonna keep rehearsing. keep practicing and keep getting better. That’s all we can do.”

For emphasis, Escalante chimed in: “A lot of arguing.”

Each band throughout the Wacken regionals, state and national finals is allotted 15 minutes. The artists perform alphabetically (see 64-photo slideshow and ATM videos below). And that just happened to indicate Donella Drive would go on first at 5:30 p.m. With apologies to the winners, ATM arrived right after their performance of “Ozell,” “Golden” and “Keep You Waiting” / “Uncertainty Of Now” despite leaving San Antonio 2 1/2 hours before showtime with a quick bite to eat. So, of course, it stood to reason the only band missed would be revealed as the state champion five hours later.

“Keep You Waiting,” incidentally, recently peaked at No. 24 on The Billboard Rock Indicator Chart and No. 10 on The Foundations Chart.

But not even Chisenhall was around for the winning announcement. Salazar said Chisenhall, who joined Donella Drive two days after Steven Rodriguez quit in October and was only playing his sixth gig as a member Sunday, barely made it in time either.

“He was actually on tour with another project he was in, and he was coming in from Dallas when we were loading in,” Salazar said. “By the time we were done, he hung out for a bit and was dead tired. I just sent him a text that said, “Pack your bags, ‘cause we are going to L.A.”

Enjoying their 10th year as a band, Escalante and Salazar have persevered through ups and downs. Once having employed a female singer, Escalante ended up shifting to lead vocals along with guitar. The stepbrothers are the backbone of the band, original members and main songwriters. But their dream could’ve ended five months ago with the drummer switch.

“We had no idea what we were going to do,” Salazar said. “We just asked around, found Landis, and he’s in. And now look what’s happening.”

While Donella Drive’s devotion to its music is paying off, one need look no further than the other nine artists on the bill to see dedication exemplified. Not every state in the country held a Wacken regional, so bands in such a predicament had to travel to another state to begin their road to Wacken.

Among the bands advancing to Austin were two non-Texas groups: Eye from Albuquerque (ATM Facebook Live footage here plus video below) and Immortal Synn from Denver (watch here and below) — just to strut their stuff for 15 minutes. There was also intense Spanglish trio Psycho Pact from Houston with their bloody war paint and bongo drum, thrashers Sadistic Force from Austin, young thrashers Toxic Priest driving 9 1/2 hours from El Paso, metalcore act Trench Rat out of Amarillo and heavy rockers Wellborn Road also from Houston. Sadistic Force, incidentally, will be headlining Paper Tiger’s side room tonight (tickets here).

A pair of area bands that also took part had peculiar situations and circumstances surrounding their sets.

First, melodic rockers Hanna Barakat, performing on their home turf, were easily the sentimental favorites for a pair of reasons. The quartet won the 2020 Wacken Metal Battle at Come And Take It Live, only to have their trip to the nationals in Hollywood snatched away by the following week’s nationwide Covid-19 shutdown. On Sunday, the band’s namesake sang on one leg due to complications that arise periodically from a fracture she sustained at a gig seven years ago in Houston when a brick fell on her toe.

From the 2020 to 2022 event, Barakat enlisted a new bassist and lead guitarist. With her former bassist on hand to show support, as well as Disturbed bassist John Moyer — who produced the band’s 2019 album Siren — Hanna Barakat performed “In the Night” (ATM footage below), “Wanting to Go Home” and “Dangerous Game.” Hanna Barakat will headline Fitzgerald’s on Saturday, April 23 (tickets here).

Meanwhile, San Antonio’s other state-finals entrant Jessikill had a bit of a conundrum. In between the regional and state competitions, the band landed a monster national tour in the spring opening for Yngwie Malmsteen (details here). The trek conflicts with the May 7 nationals, as Jessikill is scheduled to support Malmsteen that night on the other side of the country at the famed Gramercy Theatre in New York. Jessikill bassist Arturo Knight told ATM prior to Sunday’s performance that should his band have emerged victorious in Austin, he and his mates would’ve tried to award the nationals berth to the runner-up.

While most of Sunday’s groups squeezed in three tunes, with a couple able to play four, Jessikill was the only one of the 10 to only play two. Watch them below on “Lightning” before they followed up with “Metal Knights.”

Some artists enter the Wacken Metal Battle without an emphasis on winning it. They may simply be trying to spread the word of their music, gain new fans and sell some merch along the way. Others are genuinely disappointed they didn’t make it all the way. And some, like Denver’s Immortal Synn, are good sports and come up to the winners with congratulations while graciously joking, “We shared the stage with Donella Drive!”

Alas, the night belonged to a set of brothers from San Antonio and their new drummer. Donella Drive will now follow in the footsteps of 2019 Texas state final winners Nahaya in representing the Alamo City at nationals. Nahaya lost out to San Diego, California, band Monarch for the right to play at Wacken during the inaugural battle.

“We’re always challenging ourselves,” Salazar concluded in exultation. “We don’t try and repeat the same things. We love all kinds of music. We love taking it all in in our filters and our minds. I can’t believe I’m here!”

And now Donella Drive will have the opportunity to write a Hollywood ending . . . with German subtitles.

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Immolation and friends provide unholy soundtrack to death metal

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Immolation and friends provide unholy soundtrack to death metal

From the moment a single foot was set inside Come And Take It Live in Austin on the night of Feb. 26, it was clear your standard heavy metal show was not about to unfold. That was confirmed from the first strains of the bands on the bill.

Immolation, Imperial Triumphant and Mortiferum made a packed venue feel like it had entered the bowels of hell via their respective soundtracks of death metal. But that wasn’t exactly a bad thing. As long as this version of hell included a few drinks and mosh pits accompanying the darkest sounds of death, ticket buyers in the house certainly didn’t mind.

Touring in support of the Feb. 18 release of Acts of God, Immolation brought three decades of death metal to downtown Austin and brutalized the cozy yet intimate venue with a mix of tunes from throughout its career. Led by original vocalist/ bassist Ross Dolan and original guitarist Bob Vigna, the New York band that often convenes for rehearsals at the Cleveland home of drummer Steve Shalaty had a tough act (of God, if you will) to follow after Imperial Triumphant and Mortiferum stoked the fires of hell in their own unique way (see 33-photo slideshow below).

Watch ATM’s Facebook Live footage of Immolation beginning its set here, then click ATM’s four videos below that included two songs from 1991 debut Dawn of Possession, the title track to 2013’s Kingdom of Conspiracy and “Rise the Heretics” from 2017’s Atonement. See an exclusive interview with Shalaty previewing the tour, discussing the latest album and other topics via the video box below.

Fellow New Yorkers Imperial Triumphant were easily the most unorthodox band on stage but certainly had its share of fans who came to see them most. Adorned in gold facemasks and black cloaks, vocalist / guitarist Zachary Ezrin, bassist / vocalist Steven Blanco and drummer Kenny Grohowski methodically made their way onstage before spending a large portion of their set prancing and dancing to fast and complicated, technical and abnormal bass-thumping and riffage not heard — or experienced — on a normal day. Ezrin at one point broke out a champagne bottle, using it on his instrument before popping it open and offering it up to the willing and waiting mouths of anyone who wanted a taste. Watch Imperial Triumphant begin their set via ATM’s Facebook Live footage here.

The night got off to a darkened, yet enlightening, start from Mortiferum. The band out of the Pacific Northwest set the tone with its intense brand of music, opening the fiery gateways to the abyss of the evening’s soundtrack. Mortiferum demonstrated it is a band on the rise within all subgenres of metal, and it would be nice to bring them to the Alamo City sometime in the near future.

After all, hell should be vast enough to cover Interstate-35 from one South Texas city to another.

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Sevendust honors 'Animosity'; Tetrarch makes its mark at Aztec

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Sevendust honors 'Animosity'; Tetrarch makes its mark at Aztec

Throughout their various visits to San Antonio over the years, Sevendust has delivered the goods as one of rock and metal’s most consistent live acts. Last Monday’s visit to the Aztec Theatre was similar . . . and different.

Similar in that Sevendust once again put on its stellar rockin’ show to an appreciative crowd. Slightly different in that this time, the Atlanta natives played an album in its entirety and brought along another Atlanta band that arguably stole the show.

Sevendust marched through 2001 album Animosity, playing it in full while changing the order of the songs a bit. Lajon Witherspoon belted out his stellar vocals, guitarists John Connolly and Clint Lowery provided the riffage, bassist Vince Hornsby handed out picks as if they were going out of style, and drummer Morgan Rose brought the intensity particularly on tracks such as “T.O.A.B. (Tits on a Boar),” “Praise” and “Crucified.”

No professional or Facebook Live video from professional photographers was allowed during the headliners’ set, but you can still access a taste of the bands, which also featured openers Dead Poet Society, in action via the 44-photo slideshow below.

Surprisingly, Sevendust appeared to utilize more recorded backing tracks for its vocals than ever before, particularly for Rose’s contributions. That was especially evident during the three encores of non-Animosity tracks “Bitch,” “Blood From a Stone” and traditional closer “Face to Face.” The latter is largely defined by Rose’s voice, particularly on the angst-ridden line “Fuck me for the last time!” But on this night, a crew member was adjusting Rose’s headset during the song, yet the drummer’s voice still boomed throughout the Aztec.

Nevertheless, Sevendust’s highlights included Witherspoon’s interactions with the crowd. No surprise given that the singer has been known to get emotional with a San Antonio audience. It was at the 2015 Fiesta Oyster Bake where he announced that after a 3-year attempt to become a parent, his wife had texted him prior to the show that she was pregnant, saying “I just felt I had to share that” before smiling and joking with the crowd, “Don’t tell nobody.”

At this show, Witherspoon was close to turning on the waterworks again while describing how fortunate he and the band felt playing a 20-year album in its entirety before a crowd that cared enough to hear it, especially after a global pandemic. The next moment, he turned serious when dedicating “Angel’s Son” to “all the beautiful people of Ukraine.”

Later, Witherspoon garnered a few laughs when he brought up Sevendust’s history with the Alamo City.

“Was there a place called the White Rabbit?” Witherspoon asked. Then, holding his fingers a couple inches apart, he said, “It was like, this big, and there was a Mexican restaurant across the street. The promoter was a bit shady, but he was cool. We have a lot of great memories, San Antonio!”

But not as many fans heard the banter as would normally have been the case for a Sevendust show. A portion of the Aztec’s first-level railing areas were not completely filled, and the balcony was roughly 50 percent empty for a couple of reasons:

  • Monday nights are the worst day for a concert

  • San Antonians had grown accustomed to the Aztec Theatre requiring proof of Covid-19 vaccination. Although that ended up being rescinded on this night with the virus situation improving everywhere, fans wouldn’t have known that would be the case until they were about to have their tickets scanned. Of course, they would’ve had to show up in the first place for that to happen

No matter what part of the venue from which fans may have been watching, those who showed up early enough were rewarded by Tetrarch, easily the most energetic and passionately fueled band on the bill. Playing with a chip on his shoulder, vocalist / rhythm guitarist Josh Fore fired up the Aztec by encouraging fans to live out their dreams no matter what type of negativity they encounter. As an example, Fore told a “true story” about how Tetrarch had played at the Rock Box on its previous San Antonio visit “to one person in the crowd.” He also recounted how his band was often told it wasn’t heavy enough.

Tetarch has taken those attempted roadblocks and had the last laugh. Finally able to release debut full-length Unstable last year, Tetrarch has seen single I’m Not Right” crack the Mediabase Active Rock Top 30 as one of the record’s three Top 40 Active Rock Radio hits. Watch ATM’s footage of “You Never Listen” and “Unstable” below plus Facebook Live footage of finale “Oddity,” during which Fore encouraged fans to tell any of their friends who may have planned to only arrive in time for Sevendust what they missed out on.

In addition to bassist Ryan Lerner and drummer Ruban Limas, Tetrarch is proud of the fact, and rightfully so, that Diamond Lowe is the first African-American female lead guitarist to be featured in major magazine publications. So proud, in fact, Tetrarch sold a T-shirt solely dedicated to her that said as much on the back of it.

Now she and her band can add Alamo True Metal to that list. And Tetrarch is sure to see much more than one singular fan on the rest of its subsequent visits to the Alamo City.

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