LIVES
New Jersey’s guitar maestro heads up a trinity of Southern-fuelled riff-forgers
BlS, arch enemy, alestorm, King 810, Conjurer, Carnifex, Saxon and more strut their stuff on stages big and small.
ZAKK HAS NEvER BEEN ONE
TO pHONE IT IN ONSTAGE
On the final
night of a two-month tour, you might expect to see a display of camaraderie or even some good-natured end-of-tour pranks. Sadly, there are no such shenanigans or impromptu jams during tonight’s performances by Sabbath disciples Black label Society and Corrosion Of Conformity, who instead deliver a masterclass in meaty riffs and brawny, Southern-by-way-of-Birmingham doom.
Openers EYEHATEGOD [6] kick things off with a feedback-drenched display of Southern hospitality. “We’re gonna warm it up a little bit for you folks,” vocalist Mike IX Williams – apparently fully healed from his recent liver transplant – tells the crowd. From there, guitarist Jimmy Bower delivers 40 methodical minutes of sludge-caked riffs that test the decibel limits of the venue’s loudspeakers. Considering the band’s New Orleans heritage, it’s admittedly lazy to describe their grooves as swampy, but there probably isn’t a better word to sum up their grimy, fuzz-drenched sound. Unfortunately, while their set would surely seem epic inside the cosier confines of a dive bar, it doesn’t fully connect in a 1,200-capacity concert hall.
Despite a lengthy sabbatical by Pepper Keenan, during which time he focused on Down while CORROSION OF CONFORMITY [9] forged ahead as a trio, the band seem bigger today than when they wrapped up the touring cycle in support of 2005’s In The Arms Of God. a dozen years later, seeing them live feels like uncorking a vintage wine that’s been aged to yield maximum potency. While the reunion rose loses some of its bloom tonight due to the absence of injured drummer reed Mullin, tech-turned-fill-in John Green quickly proves he’s no slouch behind the kit. Better yet, he’s clearly locked in with bassist Mike Dean, and the two motor tonight’s set admirably. Still, the charismatic Pepper is the undeniable star of the show. his gruff, gravelly roar is the perfect complement to a guitar tone that couldn’t be any burlier without chemical assistance, and he radiates a vibe of authenticity that makes it easy to cheer him on.
after muscular new song The Luddite, COC turn back the clock to 1994’s Deliverance via the loose, bouncy Seven Days, which sees them lay a Southern filter atop an Iommian riff. Next up is the irresistible groove of Blind standout Vote With A Bullet, with Pepper delivering a call for revolution that feels timelier than ever. Who’s Got The Fire from 2000’s under-appreciated America’s Volume Dealer sees the crowd chanting the title, which prods a pleased Pepper to say, “Bring that shit!” he’s equally charming before Broken Man, when he asks, “Do you wanna hear some boogie-woogie shit, or do you wanna hear some heavy shit?” before he settles on a compromise: “heavy boogie-woogie shit!”
after Albatross – introduced as “a song about getting high, but not ruining-your-life high” – inspires perhaps the most mellow moshing ever (a group hug is a more accurate description), the band delivers a final blast of adrenaline via the staccato riff of Clean My Wounds. at one point during the song, Pepper leads a clap-along, encouraging the crowd brilliantly: “C’mon, California. Don’t bullshit me. I’ve seen Cal Jam!”
it’s hard tO
believe, but next year will mark the 20th anniversary of BLACK LABEL SOCIETY
[8]. While not all of the material on the group’s 10 studio albums have stood the test of time, the best of the bunch yield an undeniably solid setlist, and as tonight proves, Zakk Wylde – still one of metal’s most colourful and commanding personalities – has never been one to phone it in onstage. tonight’s set opens with five columns of smoke punctuating the primitive power-doom of Genocide Junkies, which sees Zakk standing astride atop a small riser at centre stage, his hair flying in sync with the song’s rhythm. the plodding chug of Funeral Bell, the snarling Suffering Overdue and the oddly danceable groove metal of Bleed For Me subsequently set the pace for a high-energy show that few other 51-year-olds would be able to deliver with such apparent ease.
In the midst of new song All That Once Shined, Zakk pays homage to The Warriors when he finally greets the crowd, asking, “Can you dig it?” he then begins a lengthy and comical introduction of his bandmates, variously joking about their history of StDs, experiences with tinder and fondness for chicken piccata.
later, guitarist Dario lorina – who at multiple points is given the spotlight to showcase his own formidable skills – sits behind a piano for the ballad Bridge To Cross, the evening’s first true musical breather. he then yields the instrument to Zakk, who proceeds to show off his dazzling talent prior to a brief instrumental jam with bassist John DeServio and drummer Jeff Fabb. From there, two large banners of Dimebag
Darrell are draped over the amplifiers as Zakk and co perform their classy tribute, In This River.
the home stretch commences with black BlS beach balls and more smoke columns during Fire It Up, which sees Zakk head into the crowd for an extended guitar solo, even venturing upstairs to the balcony. Upon returning to the stage, he delivers another thick slab of riff rock via Concrete Jungle before Stillborn ties a bow on an exhaustive performance. afterwards, Zakk climbs back atop his riser and triumphantly pounds his chest like tarzan before removing his vest and hoisting the BlS colours high. long may they fly.