Newcastle Metro Radio Arena
14th December 2010
In a sold out arena there is much excitement amongst the crowd as Meat Loaf takes to the stage in Newcastle for the first time since his ill-fated concert in 2007 which saw him leave the gig less than half way through. Kicking off with the much loved 'Hot Patootie' from the Rocky Horror Picture Show it is clear that not only is Meat Loaf back, but his voice is still capable of holding thousands of people completely captive.
While this tour is to promote his new album "Hang Cool Teddy Bear", which all members of the audience were given a free copy of on arrival, the set is full of his biggest hits and when 'Bat Out of Hell' starts up only 3 songs in the noise from the crowd is completely deafening.
With a fairly simple stage set up; a couple of skulls, inflatable bat and an inflatable woman the focus is purely on the music and with one of his strongest backing bands in years, Meat Loaf has never sounded better. The only criticism would be that at times the band seem to drown out the singer and it is clear that at some points they are carrying him through songs. However, for a man of 63 (or sexty-three as long-time backing vocalist Patti Russo puts it) to deliver a show where a good portion of the songs last for at least 10 minutes, it can be excused if he needs a breather.
30 minutes into the show Meat Loaf jokes about the fact that he is still on stage and promises to still be there until the very end of the show. After 2 hours and 10 minutes, as the last strains of 'Dead Ringer' die out, his promise is fulfilled. The show packs in all of his biggest songs and during a medley of cover songs the big man takes up a Union Jack guitar to play a blinding version of Free Bird with the rest of his band.
A spirited version of 'Paradise by the Dashboard Light'...with an inflatable woman, a t-shirt cannon shaped like Meat's "Big Surprise" and some hilarious banter between Meat Loaf and Patti Russo has the audience dancing in their rows and the beautiful "Two out of three ain't bad" is a mass sing-a-long.
His voice isn't the same as it used to be and a few of the songs, especially "I Would Do Anything For Love" do suffer from it but as a whole performance you could not ask for better. He engages the audience with self-depracating humour and delivers a performance which puts a smile on the face of the 11,000 people in attendance.
3 years ago it seemed unlikely that Meat Loaf would ever record another album or tour again. On the basis of last nights performance it's safe to say that he is good for a few years yet. (8/10)
Jakk Knox
Wednesday, 15 December 2010
Thursday, 23 September 2010
OZZFEST
London o2 Arena
18th September 2010
After more than five years, Ozzfest finally returned to the UK and on a sunny autumn afternoon 20,000 black clad metal fans descended on North Greenwich to take over the o2 Arena.
Organisation issues meant that the doors didn't open at the scheduled time and there was some concern that the majority of the crowd would miss the opening bands. The announcement that the start time would be delayed to let everyone inside was greeted with audible sighs of relief and the crowd relaxed.
While there had been some effort to create a festival feel inside the o2, the funfair consisted of some dodgems and there were about 3 stalls and a massive bar; while this is more than you'd get at your average gig, the fact that it had been billed as "The Village of the Damned" left it feeling a bit tired and deflated.
However, once inside the main arena it was clear that this was going to be special and by the time Skindred (7/10) took to the stage the crowd was huge. The welsh reggae metallers bounced their way through a solid 45 min set including crowd favourites 'Destroy the Dancefloor' and 'Pressure', during the latter of which, the band launched into the instantly recognisable riff from 'Back in Black'. Benji Webbe's immense stage presence and his natural ability to entertain meant that even the older fans purely there to see Ozzy were grooving with the bands infectious music.
Steel Panther (6/10) seem to be on a mission to find out just how long they can tour using the same songs and judging by the reaction of the crowd when they took to the stage they'll be able to keep going for a good while longer. All the favourites from their album 'Feel The Steel' were in the setlist along with the usual cock and titties jokes but with no amusing cover songs and no special guests it did fall somewhat flat. The redeeming feature was the debut of new song "Critter" which while along the lines of their old material managed to be even more controversial and had the crowd visibly shaking with laughter and disbelief.
With the lighter entertainment out of the way the excitement was building for the return of a band which after having one successful album seemed to dissapear with a whimper. The Murderdolls (8/10) are well and truly back with a heavier, darker sound that has less of the joke feel of their 2003 release 'Beyond the Valley of the Murderdolls'. This new found maturity suits the band well and with new additions Roman Surman, Jack Tankersley and Racci Shay they seem to have found a good solid lineup. The new members compliment the demented guitar playing of SlipKnoT drummer Joey Jordison and the raspy vocals of Wednesday 13 as they lead the crowd through a lot of their old material but it's the songs from brand new album 'Women & Children Last' which really shine. 'Summertime Suicide' has the crowd pumping their fists and screaming along with the oddly attired frontman and the menace of 'My Dark Place Alone' has everyone whipped up into a frenzy. As with every Murderdolls show they finish with the outrageous 'I Love to say Fuck' with Wednesday 13 proudly displaying his FUCK Umbrella for all to see.
KoЯn (10/10) have gone from strength to strength in the last few months and for a band that had been written off as bland, jaded and boring in recent times they took to the arena as if it was 1993 all over again. The set is full of the hits that prove why the Bakersfield boys are so important to the world of metal and the new material fits in well with their back catalogue. With the backdrop of a futuristic city behind them and an impressive pyrotechnics display this isn't just a run through their greatest hits, this is a band back from the dead; Jon Davis even re-introduced the bagpipes to the show when they tore through the creepy 'Shoots and Ladders'. New song 'Let the Guilt Go' showcases how powerful the new material is and a mass sing-a-long to 'Blind' re-iterates just how important KoЯn are to metal. The band are tight and while the line up has changed somewhat over the years everything has clicked into place. Ray Luzier may still be seen by some as the new guy but alongside bassist Fieldy, he provides the backbone to what is one of the most dominating rhythm sections in music. KoЯn felt like headliners and in one hour they proved that they are not to be written off.
At 9pm on the dot the lights dimmed and the entrance video for Ozzy Osbourne (9/10) was played on the big screens. It's the same video that had been used on the US Ozzfest and while most of the parodies were understood by the crowd, his take on Twilight and Lady Gaga causing ripples of laughter, some of the pop culture references were a little lost in translation. As the show started with 'Bark at the Moon', Ozzy's voice sounded very strained and combined with the video there was a moment where you wondered whether this was going to be one big joke but as each song began Ozzy seemed to get more lively and his voice got stronger. An impressive rendition of new track 'Let me hear you scream' had the crowd going wild as Ozzy delighted in covering the audience and most of the photographers and security in foam from a gun and throwing buckets of water round. He wisely stuck to his older material and included impressive versions of a number of Sabbath songs including 'Fairies wear boots' and 'Into the Void' as well as the customary 'Paranoid' and 'Iron Man'. New guitarist Gus G excelled infront of a UK audience for the first time and a blistering rendition of Van Halen's 'Eruption' ensured he won over even the most die-hard of Zakk Wylde fans.
Dedicating 'Road to Nowhere' to the late great Ronnie James Dio was a nice touch which was received well by the fans who responded with a sea of cigarette lighters and while Sabbath may have replaced him with Dio there is a genuine sadness in Ozzy's voice as he talks about his death.
As the last strains of 'Paranoid' echoed around the arena and Ozzy took his bow, the love and appreciation he has for his audience is clear. He may not be the greatest singer in the world but the Prince of Darkness is most definitley the world's greatest showman and he ensured that everyone left with a smile on their face.
Jakk Knox
18th September 2010
After more than five years, Ozzfest finally returned to the UK and on a sunny autumn afternoon 20,000 black clad metal fans descended on North Greenwich to take over the o2 Arena.
Organisation issues meant that the doors didn't open at the scheduled time and there was some concern that the majority of the crowd would miss the opening bands. The announcement that the start time would be delayed to let everyone inside was greeted with audible sighs of relief and the crowd relaxed.
While there had been some effort to create a festival feel inside the o2, the funfair consisted of some dodgems and there were about 3 stalls and a massive bar; while this is more than you'd get at your average gig, the fact that it had been billed as "The Village of the Damned" left it feeling a bit tired and deflated.
However, once inside the main arena it was clear that this was going to be special and by the time Skindred (7/10) took to the stage the crowd was huge. The welsh reggae metallers bounced their way through a solid 45 min set including crowd favourites 'Destroy the Dancefloor' and 'Pressure', during the latter of which, the band launched into the instantly recognisable riff from 'Back in Black'. Benji Webbe's immense stage presence and his natural ability to entertain meant that even the older fans purely there to see Ozzy were grooving with the bands infectious music.
Steel Panther (6/10) seem to be on a mission to find out just how long they can tour using the same songs and judging by the reaction of the crowd when they took to the stage they'll be able to keep going for a good while longer. All the favourites from their album 'Feel The Steel' were in the setlist along with the usual cock and titties jokes but with no amusing cover songs and no special guests it did fall somewhat flat. The redeeming feature was the debut of new song "Critter" which while along the lines of their old material managed to be even more controversial and had the crowd visibly shaking with laughter and disbelief.
With the lighter entertainment out of the way the excitement was building for the return of a band which after having one successful album seemed to dissapear with a whimper. The Murderdolls (8/10) are well and truly back with a heavier, darker sound that has less of the joke feel of their 2003 release 'Beyond the Valley of the Murderdolls'. This new found maturity suits the band well and with new additions Roman Surman, Jack Tankersley and Racci Shay they seem to have found a good solid lineup. The new members compliment the demented guitar playing of SlipKnoT drummer Joey Jordison and the raspy vocals of Wednesday 13 as they lead the crowd through a lot of their old material but it's the songs from brand new album 'Women & Children Last' which really shine. 'Summertime Suicide' has the crowd pumping their fists and screaming along with the oddly attired frontman and the menace of 'My Dark Place Alone' has everyone whipped up into a frenzy. As with every Murderdolls show they finish with the outrageous 'I Love to say Fuck' with Wednesday 13 proudly displaying his FUCK Umbrella for all to see.
KoЯn (10/10) have gone from strength to strength in the last few months and for a band that had been written off as bland, jaded and boring in recent times they took to the arena as if it was 1993 all over again. The set is full of the hits that prove why the Bakersfield boys are so important to the world of metal and the new material fits in well with their back catalogue. With the backdrop of a futuristic city behind them and an impressive pyrotechnics display this isn't just a run through their greatest hits, this is a band back from the dead; Jon Davis even re-introduced the bagpipes to the show when they tore through the creepy 'Shoots and Ladders'. New song 'Let the Guilt Go' showcases how powerful the new material is and a mass sing-a-long to 'Blind' re-iterates just how important KoЯn are to metal. The band are tight and while the line up has changed somewhat over the years everything has clicked into place. Ray Luzier may still be seen by some as the new guy but alongside bassist Fieldy, he provides the backbone to what is one of the most dominating rhythm sections in music. KoЯn felt like headliners and in one hour they proved that they are not to be written off.
At 9pm on the dot the lights dimmed and the entrance video for Ozzy Osbourne (9/10) was played on the big screens. It's the same video that had been used on the US Ozzfest and while most of the parodies were understood by the crowd, his take on Twilight and Lady Gaga causing ripples of laughter, some of the pop culture references were a little lost in translation. As the show started with 'Bark at the Moon', Ozzy's voice sounded very strained and combined with the video there was a moment where you wondered whether this was going to be one big joke but as each song began Ozzy seemed to get more lively and his voice got stronger. An impressive rendition of new track 'Let me hear you scream' had the crowd going wild as Ozzy delighted in covering the audience and most of the photographers and security in foam from a gun and throwing buckets of water round. He wisely stuck to his older material and included impressive versions of a number of Sabbath songs including 'Fairies wear boots' and 'Into the Void' as well as the customary 'Paranoid' and 'Iron Man'. New guitarist Gus G excelled infront of a UK audience for the first time and a blistering rendition of Van Halen's 'Eruption' ensured he won over even the most die-hard of Zakk Wylde fans.
Dedicating 'Road to Nowhere' to the late great Ronnie James Dio was a nice touch which was received well by the fans who responded with a sea of cigarette lighters and while Sabbath may have replaced him with Dio there is a genuine sadness in Ozzy's voice as he talks about his death.
As the last strains of 'Paranoid' echoed around the arena and Ozzy took his bow, the love and appreciation he has for his audience is clear. He may not be the greatest singer in the world but the Prince of Darkness is most definitley the world's greatest showman and he ensured that everyone left with a smile on their face.
Jakk Knox
Thursday, 24 June 2010
DANZIG - DETH RED SABAOTH
The End Records
Release Date: Out Now
While the first three Danzig albums were, and still are, considered to be an essential part of any true metalheads music collection it is fair to say that the band, fronted by ex-Misfits frontman Glenn Danzig, faded into relative obscurity; still releasing fairly solid albums but appearing to have peaked with the 1992 release "Danzig III: How The Gods Kill"; this latest effort sees the New Jersey band back on form with somewhat of a return to their original 70s rock influences.
The first thing that hits you about the sound of this record is that it could easily have been plucked out of the late 1980s. It sounds like a classic Danzig album with bone shaking bass lines which tear right through you and fuzzy down-tuned guitars chug through a set of songs which reflect the dark lyrics from Danzig's warped mind; his trademark low, threatening voice complimenting perfectly the heaviness of the music. Particular highlights include album opener "Hammer of the Gods", "Rebel Spirit" which features some impressive solo-ing from guitarist Tommy Victor and "Black Candy" with its delibrately slow moving riff. The absolute pinnacle of this album however is "On a Wicked Night" which showcases just how good Glenn Danzig's singing really is. His voice rings out above an acoustic riff which conjures up nightmares before the pounding rhythm section kicks in; it is as close to a ballad as this band will get and proves that you can still be evil while showing off a sensitive side.
With it's exploration into the dark, demonic side of life, 70s influenced guitar riffs and low fuzzy sound this is essentially a classic Danzig album for the new era. While the band does not quite reach the levels of their self-titled 1988 release this is a fully enjoyable effort; proving that even after more than two decades, Glenn Danzig can still reach into the dark recesses of your mind and create nightmares. (8/10)
Jack Knox
Release Date: Out Now
While the first three Danzig albums were, and still are, considered to be an essential part of any true metalheads music collection it is fair to say that the band, fronted by ex-Misfits frontman Glenn Danzig, faded into relative obscurity; still releasing fairly solid albums but appearing to have peaked with the 1992 release "Danzig III: How The Gods Kill"; this latest effort sees the New Jersey band back on form with somewhat of a return to their original 70s rock influences.
The first thing that hits you about the sound of this record is that it could easily have been plucked out of the late 1980s. It sounds like a classic Danzig album with bone shaking bass lines which tear right through you and fuzzy down-tuned guitars chug through a set of songs which reflect the dark lyrics from Danzig's warped mind; his trademark low, threatening voice complimenting perfectly the heaviness of the music. Particular highlights include album opener "Hammer of the Gods", "Rebel Spirit" which features some impressive solo-ing from guitarist Tommy Victor and "Black Candy" with its delibrately slow moving riff. The absolute pinnacle of this album however is "On a Wicked Night" which showcases just how good Glenn Danzig's singing really is. His voice rings out above an acoustic riff which conjures up nightmares before the pounding rhythm section kicks in; it is as close to a ballad as this band will get and proves that you can still be evil while showing off a sensitive side.
With it's exploration into the dark, demonic side of life, 70s influenced guitar riffs and low fuzzy sound this is essentially a classic Danzig album for the new era. While the band does not quite reach the levels of their self-titled 1988 release this is a fully enjoyable effort; proving that even after more than two decades, Glenn Danzig can still reach into the dark recesses of your mind and create nightmares. (8/10)
Jack Knox
Saturday, 19 June 2010
OZZY OSBOURNE - SCREAM
Epic Records
Release Date: 21st June 2010
With the long term musical partnership of Ozzy and Zakk Wylde splitting up in July 2009 and the introduction of Gus G (Firewind, ex-Dream Evil) at BlizzCon the following month there was an air of palatable excitement from Ozzy fans who felt that the previous records with Wylde were sounding more and more like a side-project of Zakk's own band Black Label Society.
The first thing you notice about "Scream" is the power metal influences of Gus G. Opening track "Let It Die" is a powerful, churning heavy metal song which immediately catches your attention before throwing you full tilt into first single "Let Me Hear You Scream" which really is Ozzy at his very best for many years. As with almost every Ozzy record there is a ballad and in this case it is no different; "Time" is a typical lighters in the air tune with a sweet solo from Gus G who although at times seems rather repressed has moments of sheer genius. Unlike his previous effort (2007's "Black Rain"), each track feels like it has it's place and is not simply filler around a few singles; Songs like "Life Won't Wait" and "Diggin' Me Down" have pounding acoustic sections which build up into slices of pure metal while "Crucify" and "Fearless" are a headbangers dream.
Everybody around the world regardless of music preference knows the sound of Ozzy's voice and there is no surprise that he tries nothing new on this record. His trademark haunting drone weaves in amongst the fresh guitar playing and chugging rhythm section to create a quintessential heavy metal record. With Bass and Drums provided by two former members of Rob Zombies backing band there is no surprise that there is an almost industrial feel to the music but this only enhances the power metal influences of Gus G who does a good job establishing himself as Ozzy's new right hand man.
Coming in at just under 45 minutes the album does feel a little short but at 61, the former Black Sabbath frontman can be excused for this. Backed by a new guitarist and drummer, Ozzy seems rejuvenated and ready once again to prove that he is still one of the most iconic figures in heavy metal today. A solid new record and Ozzfest returning to the UK for the first time in 5 years means that life is looking up for Ozzy & co. (8/10)
Jakk Knox
Release Date: 21st June 2010
With the long term musical partnership of Ozzy and Zakk Wylde splitting up in July 2009 and the introduction of Gus G (Firewind, ex-Dream Evil) at BlizzCon the following month there was an air of palatable excitement from Ozzy fans who felt that the previous records with Wylde were sounding more and more like a side-project of Zakk's own band Black Label Society.
The first thing you notice about "Scream" is the power metal influences of Gus G. Opening track "Let It Die" is a powerful, churning heavy metal song which immediately catches your attention before throwing you full tilt into first single "Let Me Hear You Scream" which really is Ozzy at his very best for many years. As with almost every Ozzy record there is a ballad and in this case it is no different; "Time" is a typical lighters in the air tune with a sweet solo from Gus G who although at times seems rather repressed has moments of sheer genius. Unlike his previous effort (2007's "Black Rain"), each track feels like it has it's place and is not simply filler around a few singles; Songs like "Life Won't Wait" and "Diggin' Me Down" have pounding acoustic sections which build up into slices of pure metal while "Crucify" and "Fearless" are a headbangers dream.
Everybody around the world regardless of music preference knows the sound of Ozzy's voice and there is no surprise that he tries nothing new on this record. His trademark haunting drone weaves in amongst the fresh guitar playing and chugging rhythm section to create a quintessential heavy metal record. With Bass and Drums provided by two former members of Rob Zombies backing band there is no surprise that there is an almost industrial feel to the music but this only enhances the power metal influences of Gus G who does a good job establishing himself as Ozzy's new right hand man.
Coming in at just under 45 minutes the album does feel a little short but at 61, the former Black Sabbath frontman can be excused for this. Backed by a new guitarist and drummer, Ozzy seems rejuvenated and ready once again to prove that he is still one of the most iconic figures in heavy metal today. A solid new record and Ozzfest returning to the UK for the first time in 5 years means that life is looking up for Ozzy & co. (8/10)
Jakk Knox
Friday, 18 June 2010
GREEN DAY
Lancashire County Cricket Ground
16th June 2010
There is an ever increasing list of bands that have had video games made in their honour. Aerosmith, Metallica, Van Halen, The Beatles and now Green Day. It seems to be a mark of legendary status these days if the younger generation wish to mimic you on screen but to the 50,000 fans packed into Old Trafford on this warm summer evening, a little plastic guitar was the last thing on their minds.
The sheer talent and energy posessed by the infamous trio; Billie Joe Armstrong, Mike Dirnt and Tre Cool meant that from the minute they walked triumphantly onto the stage to the strains of "Song Of The Century" to the moment that Armstrong strummed his guitar for the last time, the crowd were held totally spellbound.
It would be easy to accuse Green Day of being sell outs. After all were they not the snotty pop punk trio who only sang songs about girls, drugs and masturbation for much of the 1990s? With the release of American Idiot in 2004 the group showed they had a certain maturity behind them, a theme further explored by most recent offering "21st Century Breakdown" but the night was more of a celebration of their 23 year career. There was, naturally, plenty of songs from the new album which despite getting mixed reviews on its release has become their best performing album in music charts worldwide and for older fans there was a refreshing medley of songs which were dragged from the murky depths of the 90s.
Billie Joe Armstrong is arguably the worlds greatest showman and infront of an adoring crowd he did not fail to live up to expectations. A T-Shirt cannon, water pistols and toilet roll guns all played a part and he made sure he tried on every hat or pair of novelty glasses that was flung onto the stage. Kids were dragged out of the audience to sing with the band before diving off the stage and during the "King For A Day/Shout Medley" Armstrong and Tre Cool traded instruments during a medley which had the audience crying with laughter. For almost 3 hours Green Day ensured that their fans fell in love with them just a little bit more.
Aside from the slapstick comedy and general goofy behaviour Green Day are a complete rock band no matter which era you discovered them. Backed by a strong rhythm section the band weaved through the fast paced songs of their youth to the powerful anthems and heartbreaking ballads of their maturity; while the music itself may have changed over the years all of the songs still seem to fit together telling stories of teen angst, frustration with life in a small town and disgust with the world. The powerful music is further enhanced by an incredible LED light show which projects images of a crumbling America to the crowd who have their minds stretched to capacity by the audio/visual assault on their senses.
The final encore to this emotional roller coaster is made up of latest single "When It's Time", "Wake Me Up When September Ends" and a phenomenal rendition of "Good Riddance (Time Of Your Life". Looking around it is hard to find someone in the crowd whose eyes have not welled up at the sheer beauty of Armstrong's voice.
Green Day lead Old Trafford through what was possibly the greatest Stadium show they have ever played. Balancing their hyperactivity and clowning with moments of shocking sincerity they hold all 50,000 people captive for the time they are on stage. The small town punks from Oakland, California have taken on the world and become one of the most powerful and thrilling rock bands on this planet. Their live show is second to none and really needs to be seen to be believed. (10/10)
Jakk Knox
16th June 2010
There is an ever increasing list of bands that have had video games made in their honour. Aerosmith, Metallica, Van Halen, The Beatles and now Green Day. It seems to be a mark of legendary status these days if the younger generation wish to mimic you on screen but to the 50,000 fans packed into Old Trafford on this warm summer evening, a little plastic guitar was the last thing on their minds.
The sheer talent and energy posessed by the infamous trio; Billie Joe Armstrong, Mike Dirnt and Tre Cool meant that from the minute they walked triumphantly onto the stage to the strains of "Song Of The Century" to the moment that Armstrong strummed his guitar for the last time, the crowd were held totally spellbound.
It would be easy to accuse Green Day of being sell outs. After all were they not the snotty pop punk trio who only sang songs about girls, drugs and masturbation for much of the 1990s? With the release of American Idiot in 2004 the group showed they had a certain maturity behind them, a theme further explored by most recent offering "21st Century Breakdown" but the night was more of a celebration of their 23 year career. There was, naturally, plenty of songs from the new album which despite getting mixed reviews on its release has become their best performing album in music charts worldwide and for older fans there was a refreshing medley of songs which were dragged from the murky depths of the 90s.
Billie Joe Armstrong is arguably the worlds greatest showman and infront of an adoring crowd he did not fail to live up to expectations. A T-Shirt cannon, water pistols and toilet roll guns all played a part and he made sure he tried on every hat or pair of novelty glasses that was flung onto the stage. Kids were dragged out of the audience to sing with the band before diving off the stage and during the "King For A Day/Shout Medley" Armstrong and Tre Cool traded instruments during a medley which had the audience crying with laughter. For almost 3 hours Green Day ensured that their fans fell in love with them just a little bit more.
Aside from the slapstick comedy and general goofy behaviour Green Day are a complete rock band no matter which era you discovered them. Backed by a strong rhythm section the band weaved through the fast paced songs of their youth to the powerful anthems and heartbreaking ballads of their maturity; while the music itself may have changed over the years all of the songs still seem to fit together telling stories of teen angst, frustration with life in a small town and disgust with the world. The powerful music is further enhanced by an incredible LED light show which projects images of a crumbling America to the crowd who have their minds stretched to capacity by the audio/visual assault on their senses.
The final encore to this emotional roller coaster is made up of latest single "When It's Time", "Wake Me Up When September Ends" and a phenomenal rendition of "Good Riddance (Time Of Your Life". Looking around it is hard to find someone in the crowd whose eyes have not welled up at the sheer beauty of Armstrong's voice.
Green Day lead Old Trafford through what was possibly the greatest Stadium show they have ever played. Balancing their hyperactivity and clowning with moments of shocking sincerity they hold all 50,000 people captive for the time they are on stage. The small town punks from Oakland, California have taken on the world and become one of the most powerful and thrilling rock bands on this planet. Their live show is second to none and really needs to be seen to be believed. (10/10)
Jakk Knox
Thursday, 17 June 2010
DOWNLOAD FESTIVAL 2010
Donington Park
11th - 13th June 2010
An increased capacity of 110,000 and three of the biggest headliners seen at the festival in it's 8 year history meant that Download 2010 had some massive expectations to live up to and under the blazing sun on Friday afternoon the anticipation finally ended as Massachussets metalcore outfit Unearth (6/10) opened the main stage with a set that drew heavily from 2004's "The Oncoming Storm" and latest album "The March". Frontman Trevor Phipps' voice was sometimes lost in the fairly sludgy mix but as openers on a day when everyone was waiting for the headliner it was a solid effort.
Up next were 36 Crazyfists (6/10) who again suffered due to the bad mix from the sound desk. Despite having barely audible vocals the four-piece ploughed through a set of their best known songs including "Elysium" with a special early appearance from Killswitch Engage vocalist Howard Jones.
Over on the 2nd Stage, Post-Hardcore loons A Day To Remember (8/10) brought their infectious riffs and catchy melodies to the eagerly waiting audience. With songs such as "The Downfall Of Us All" and "The Plot To Bomb The Panhandle" being sung back at the stage with so much enthusiasm I would not be surprised to see the band invited back in a much higher position in a few years.
Killswitch Engage (5/10) really struggled due to the sound issues. While playing a set which contained all of their strongest material, the band were drowned out by the drums. However, a rousing encore of Holy Diver dedicated to the late great Ronnie James Dio brought the entire arena to its feet.
2nd Stage headliners Bullet For My Valentine (9/10) were easily one of the best bands of the weekend. New album "Fever" despite receiving mixed reviews came across well live and fit in with a set which strongly suggests that the boys from Bridgend will be future Download headliners. A rousing rendition of "Tears Don't Fall" prompted a mass sing-a-long and while the choice of final song, the relatively obscure "Alone", dampened the ending somewhat Bullet have proved that they are ready to step up to the next level.
With 100,000 people moving into position around the specially constructed stage the atmosphere in the air was electric as the entrance video for the world's biggest rock n' roll band began to play. AC/DC (11/10) storm on to the stage to the tune of "Rock N' Roll Train" and deliver a show packed with hits from their illustrious 37 year career. With the stage production from the Black Ice tour we were treated to a train crashing through the stage, a giant inflatable Rosie, a somewhat worrying striptease from Angus and of course the cannons during the thunderous "For Those About To Rock". Exhausted, sunburnt and in disbelief at what had just been witnessed the arena emptied and the massive crowd dispersed back to the campsite to drink themselves into a stupor and wait for Saturday.
Awaking to another clear blue sky we headed over to the 2nd stage to catch Sonic Syndicate (8/10) who made of the most of their short set demonstrating the talents of new vocalist Nathan J. Biggs and showcasing the songs from their upcoming album "We Rule The Night" which is set to be released on July 30th of this year.
Reckless Love (9/10) playing inside a packed 3rd stage tent proved that the demand for cheesy glam metal did not die in the 1980s and their big riffs, shameless posing and showmanship worked the crowd into a frenzy. Frontman H. Olliver Twisted seemed genuinely taken aback by the reception the band received.
In complete contrast, over on mainstage, Lamb Of God (7/10) provided a slice of sheer brutality on the main stage as Randy Blythe drove the crowd into a swirling frenzy of limbs as fans charged down the hill to join in the giant circle pits which opened up all over the arena.
With the crowd baying for more of the heavy stuff, Thrash Metal giants Megadeth (4/10) took to the stage but were wholly disappoining. Despite including all the favourites they were, simply put, boring. On record Megadeth are amazing but their sound did not transfer well in the outdoor arena.
As the mainstage sound had been pretty poor all weekend I was worried that the next band was really going to suffer but there was no need. Deftones (10/10) sounded perfect from the beginning, packing their set with tracks from their phenomenal new album "Diamond Eyes" along with old favourites "Knife Party", "My Own Summer (Shove It)" and "Change (In The House Of Flies)" the experimental metal veterans had many of the crowd, myself included, watching in complete awe.
While many of this years Downloaders hung around the mainstage for Rage Against The Machine, I headed over to the 3rd stage to catch former Hanoi Rocks vocalist Michael Monroe (8/10) who with his new band including Hanoi bandmate Sami Yaffa and Ginger from the Wildhearts, put on one of the most entertaining shows of the festival. With songs from his solo albums stretching back as far as 1987 and a handful of Hanoi Rocks songs, the wild-eyed Finn was in fine form, at one point scaling the stage and serenading the crowd from on high. It was a successful end to Saturday and everyone left that tent with huge smiles on their faces.
Sunday began with NWOBHM stalwarts Saxon (7/10) who celebrated the 30th Anniversary of their "Wheels Of Steel" album by playing it in its entirety for crowd more than double the usual amount for that time in the day.
Up next were Glam Metal band Cinderella (7/10) who stuck to their best known hits including "Don't Know What You've Got (Till It's Gone). Frontman Tom Keifer in good form considering that he suffered hemorrhaged vocal chords in 2008.
The biggest mid-afternoon crowd seen at Download (an estimated 90,000) gathered around the mainstage for what was to be one of the highlights of the festival. Slash (10/10) with Myles Kennedy (Alterbridge) on vocals showed off his new album interspersed with Guns N' Roses favourites including "Sweet Child O' Mine" and "Paradise City". Myles Kennedy was more than up to the task and his voice echoed that of Axl Rose. Myles showed his prowess as a singer throughout the set particularly on "Starlight" and at times outshone Slash himself. A guest appearance from Lemmy on "Doctor Alibi" only added to the party atmosphere of the set. Slash revelled in his position as one of the most loved men in rock and the audience seemed genuinely sad when it came to an end.
As Billy Idol (6/10) took to the stage to the strains of "Ready Steady Go", the heavens decided to open. Most of the crowd stuck with it to dance their way through his collection of hits but with spirits (and clothes) slowly dampening he seemed to lose momentum.
Steel Panther (8/10) came on during the worst of the rain and soon had the crowd howling in laughter and singing along to their lewd, crude brand of 1980s parody metal. A particular highlight was new single "I Want It That Way" which proves that metal even makes the Backstreet Boys sound good. All the favourites were in there and despite having toured their album extensively (and appearing at Download last year) their material still does not seem jaded.
It has been almost a decade since Stone Temple Pilots (7/10) played on UK shores and as the rain eased off Scott Weiland and co. led the very soggy audience through their great history as well as treating us to songs from new album "Stone Temple Pilots". Despite almost falling over once or twice Weiland persevered, finishing on a high with a superb performance of "Trippin' On A Hole In A Paper Heart"
As Darkness descended, Aerosmith (10/10) launched into their show with the energetic "Love In An Elevator". The Boston bad boys had the crowd eating out of their hands as the double team of Steven Tyler and Joe Perry assaulted the audience with their unique brand of blues rock. An acapella intro to "What It Takes" and the sight of 100,000 lighters being waved during #1 hit "Don't Wanna Miss A Thing" were particular highlights and it was a delight to see Joe Perry taking vocals during what he called "A lot of blues in not a lot of time". With the usual ending of "Toys In The Attic" Download Festival 2010 came to a close, leaving 100,000 fans sunburnt, soaked to the skin and yet totally amazed at what they had just witnessed. Festival booker Andy Copping brought three of the biggest bands on the planet to Donington and despite much scepticism over the decision to have fewer bands playing on the Friday he has once again been proved ultimately correct. Roll on 2011!
Jakk Knox
Photo taken by Jessica Gilbert (Originally From www.downloadfestival.co.uk)
11th - 13th June 2010
An increased capacity of 110,000 and three of the biggest headliners seen at the festival in it's 8 year history meant that Download 2010 had some massive expectations to live up to and under the blazing sun on Friday afternoon the anticipation finally ended as Massachussets metalcore outfit Unearth (6/10) opened the main stage with a set that drew heavily from 2004's "The Oncoming Storm" and latest album "The March". Frontman Trevor Phipps' voice was sometimes lost in the fairly sludgy mix but as openers on a day when everyone was waiting for the headliner it was a solid effort.
Up next were 36 Crazyfists (6/10) who again suffered due to the bad mix from the sound desk. Despite having barely audible vocals the four-piece ploughed through a set of their best known songs including "Elysium" with a special early appearance from Killswitch Engage vocalist Howard Jones.
Over on the 2nd Stage, Post-Hardcore loons A Day To Remember (8/10) brought their infectious riffs and catchy melodies to the eagerly waiting audience. With songs such as "The Downfall Of Us All" and "The Plot To Bomb The Panhandle" being sung back at the stage with so much enthusiasm I would not be surprised to see the band invited back in a much higher position in a few years.
Killswitch Engage (5/10) really struggled due to the sound issues. While playing a set which contained all of their strongest material, the band were drowned out by the drums. However, a rousing encore of Holy Diver dedicated to the late great Ronnie James Dio brought the entire arena to its feet.
2nd Stage headliners Bullet For My Valentine (9/10) were easily one of the best bands of the weekend. New album "Fever" despite receiving mixed reviews came across well live and fit in with a set which strongly suggests that the boys from Bridgend will be future Download headliners. A rousing rendition of "Tears Don't Fall" prompted a mass sing-a-long and while the choice of final song, the relatively obscure "Alone", dampened the ending somewhat Bullet have proved that they are ready to step up to the next level.
With 100,000 people moving into position around the specially constructed stage the atmosphere in the air was electric as the entrance video for the world's biggest rock n' roll band began to play. AC/DC (11/10) storm on to the stage to the tune of "Rock N' Roll Train" and deliver a show packed with hits from their illustrious 37 year career. With the stage production from the Black Ice tour we were treated to a train crashing through the stage, a giant inflatable Rosie, a somewhat worrying striptease from Angus and of course the cannons during the thunderous "For Those About To Rock". Exhausted, sunburnt and in disbelief at what had just been witnessed the arena emptied and the massive crowd dispersed back to the campsite to drink themselves into a stupor and wait for Saturday.
Awaking to another clear blue sky we headed over to the 2nd stage to catch Sonic Syndicate (8/10) who made of the most of their short set demonstrating the talents of new vocalist Nathan J. Biggs and showcasing the songs from their upcoming album "We Rule The Night" which is set to be released on July 30th of this year.
Reckless Love (9/10) playing inside a packed 3rd stage tent proved that the demand for cheesy glam metal did not die in the 1980s and their big riffs, shameless posing and showmanship worked the crowd into a frenzy. Frontman H. Olliver Twisted seemed genuinely taken aback by the reception the band received.
In complete contrast, over on mainstage, Lamb Of God (7/10) provided a slice of sheer brutality on the main stage as Randy Blythe drove the crowd into a swirling frenzy of limbs as fans charged down the hill to join in the giant circle pits which opened up all over the arena.
With the crowd baying for more of the heavy stuff, Thrash Metal giants Megadeth (4/10) took to the stage but were wholly disappoining. Despite including all the favourites they were, simply put, boring. On record Megadeth are amazing but their sound did not transfer well in the outdoor arena.
As the mainstage sound had been pretty poor all weekend I was worried that the next band was really going to suffer but there was no need. Deftones (10/10) sounded perfect from the beginning, packing their set with tracks from their phenomenal new album "Diamond Eyes" along with old favourites "Knife Party", "My Own Summer (Shove It)" and "Change (In The House Of Flies)" the experimental metal veterans had many of the crowd, myself included, watching in complete awe.
While many of this years Downloaders hung around the mainstage for Rage Against The Machine, I headed over to the 3rd stage to catch former Hanoi Rocks vocalist Michael Monroe (8/10) who with his new band including Hanoi bandmate Sami Yaffa and Ginger from the Wildhearts, put on one of the most entertaining shows of the festival. With songs from his solo albums stretching back as far as 1987 and a handful of Hanoi Rocks songs, the wild-eyed Finn was in fine form, at one point scaling the stage and serenading the crowd from on high. It was a successful end to Saturday and everyone left that tent with huge smiles on their faces.
Sunday began with NWOBHM stalwarts Saxon (7/10) who celebrated the 30th Anniversary of their "Wheels Of Steel" album by playing it in its entirety for crowd more than double the usual amount for that time in the day.
Up next were Glam Metal band Cinderella (7/10) who stuck to their best known hits including "Don't Know What You've Got (Till It's Gone). Frontman Tom Keifer in good form considering that he suffered hemorrhaged vocal chords in 2008.
The biggest mid-afternoon crowd seen at Download (an estimated 90,000) gathered around the mainstage for what was to be one of the highlights of the festival. Slash (10/10) with Myles Kennedy (Alterbridge) on vocals showed off his new album interspersed with Guns N' Roses favourites including "Sweet Child O' Mine" and "Paradise City". Myles Kennedy was more than up to the task and his voice echoed that of Axl Rose. Myles showed his prowess as a singer throughout the set particularly on "Starlight" and at times outshone Slash himself. A guest appearance from Lemmy on "Doctor Alibi" only added to the party atmosphere of the set. Slash revelled in his position as one of the most loved men in rock and the audience seemed genuinely sad when it came to an end.
As Billy Idol (6/10) took to the stage to the strains of "Ready Steady Go", the heavens decided to open. Most of the crowd stuck with it to dance their way through his collection of hits but with spirits (and clothes) slowly dampening he seemed to lose momentum.
Steel Panther (8/10) came on during the worst of the rain and soon had the crowd howling in laughter and singing along to their lewd, crude brand of 1980s parody metal. A particular highlight was new single "I Want It That Way" which proves that metal even makes the Backstreet Boys sound good. All the favourites were in there and despite having toured their album extensively (and appearing at Download last year) their material still does not seem jaded.
It has been almost a decade since Stone Temple Pilots (7/10) played on UK shores and as the rain eased off Scott Weiland and co. led the very soggy audience through their great history as well as treating us to songs from new album "Stone Temple Pilots". Despite almost falling over once or twice Weiland persevered, finishing on a high with a superb performance of "Trippin' On A Hole In A Paper Heart"
As Darkness descended, Aerosmith (10/10) launched into their show with the energetic "Love In An Elevator". The Boston bad boys had the crowd eating out of their hands as the double team of Steven Tyler and Joe Perry assaulted the audience with their unique brand of blues rock. An acapella intro to "What It Takes" and the sight of 100,000 lighters being waved during #1 hit "Don't Wanna Miss A Thing" were particular highlights and it was a delight to see Joe Perry taking vocals during what he called "A lot of blues in not a lot of time". With the usual ending of "Toys In The Attic" Download Festival 2010 came to a close, leaving 100,000 fans sunburnt, soaked to the skin and yet totally amazed at what they had just witnessed. Festival booker Andy Copping brought three of the biggest bands on the planet to Donington and despite much scepticism over the decision to have fewer bands playing on the Friday he has once again been proved ultimately correct. Roll on 2011!
Jakk Knox
Photo taken by Jessica Gilbert (Originally From www.downloadfestival.co.uk)
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