Metal gods fortify their fortitude via firepower of molten classics

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Metal gods fortify their fortitude via firepower of molten classics

Like a burst of firepower blazing through the Freeman Coliseum, Judas Priest made a resounding statement during the final stop of the first leg of its North American tour Tuesday night. No, it wasn't its traditional "The Priest is back!"

It was "The Priest Will Be Back."

But there was no sense in making such a bold declaration if Judas Priest hadn't spent the previous 1 hour and 45 minutes delivering the goods. Coming into a tour minus original guitarist Glenn Tipton due to Parkinson's Disease and with some fans the world over continuing to lament the 2011 retirement of cohort K.K. Downing that led to the inclusion of replacement Richie Faulkner on a tour billed as "Epitaph," fans could be excused for thinking Judas Priest was on the demise.

Around the Alamo City, that was even more so. The Priest skipped San Antonio on its last tour, opting instead for Austin's Fun Fun Fun Fest in November 2014 (coverage and interview with Tipton and Faulkner here) and the Cedar Park Center six months later (coverage here).

But there was one small problem with all of that. Someone forgot to inform Judas Priest its time was done. They're not called the metal gods for nothing, after all. Gods are immortal, aren't they?

And did someone say Tipton was MIA? Not so fast. Having skipped the tour other than a special appearance in New York, Tipton did a Texas three-step of cities and encores, performing a British Steel trifecta of "Metal Gods" (ATM footage below), "Breaking the Law" and "Living After Midnight" in Dallas, Houston, and the city in which Judas Priest received its first taste of American radio airplay in the early '80s.

Once the colorful curtain adorned with Priest lyrics dropped, Halford, Faulkner, Andy Sneap, bassist Ian Hill and drummer Scott Travis unveiled the title track to Firepower, with Halford's silver jacket to match (see 74-photo slideshow). A parade of classics followed with "Running Wild," "Grinder" and the surprising inclusion of "Sinner" beckoning an early case for a sore throat the next morning at work.

When Judas Priest headlined the Verizon Wireless Amphitheater in 2005, it occurred on the same night as the Spurs' championship River Walk parade and featured Halford -- a resident of Phoenix -- performing the encores in a Tim Duncan jersey. At the 2008 Metal Masters show with Heaven And Hell, Motorhead and Testament at the same venue, Halford celebrated his birthday by smashing the cake into his face himself.

On Oct. 12, 2011, the group kicked off the second leg of its U.S. "Epitaph" tour at the AT&T Center, marking Faulkner's North American debut with the band. Tuesday's show was its first visit since and resulted in arguably the most diverse setlist of the bunch. Although it was unconscionable Judas Priest omitted its best song "Victim of Changes," if you were to be told prior to the show that in its place you'd hear "Sinner," "Bloodstone" (ATM footage here), "Saints in Hell," "Running Wild" and "Freewheel Burning," you'd gladly take it. The fact Halford was in hellaciously rippin' form made it that much sweeter.

And that was before Judas Priest pleasantly spoiled the night for those who choose to look up setlists prior to a concert by unveiling a tune it hadn't performed since 1981. Halford introduced another song from "Victim of Changes' " 1974 effort Sad Wings of Destiny, revealing that "Tyrant" was about to be unleashed anywhere for the first time in 37 years. He was half right. Halford's eponymous solo band performed it at Rock In Rio on its 2001 double live Live Insurrection offering, which features San Antonio drummer Bobby Jarzombek -- who was looking on from the front of the Coliseum.

Sneap, a mega-producer who worked on Firepower, was brought out by direct support act Saxon prior to filling in for Tipton (coverage here). To show he wasn't chopped liver on stage, Sneap was given the lead extended solo, added to by Faulkner, on "Hell Bent For Leather" while Halford enjoyed himself on the Harley (ATM footage here). Other highlights included regular set finale "Painkiller," with Travis playing to the crowd as to where the band "chose" to end its tour (ATM footage here).

After Halford paid homage to the late San Antonio disc jockey Joe Anthony by declaring each of the band's visits is "special," there was only one thing left to do.

Without any fanfare or words, Tipton appeared on the big screen and in the flesh as he took in the roars of approval to begin the encores. Parkinson's couldn't keep the 70-year-old guitarist down for the entire tour, and the Alamo City reaped the benefits of his seemingly improving condition as well as the tour scheduling.

As the six -- yes, six -- members of Judas Priest held hands high following "Living After Midnight," Halford bellowed the words everyone wanted to hear but may have thought were too good to be true: "The Priest Will Be Back." If they weren't convinced hearing it from the Metal God himself, the big screens put it in writing as fans went home happy, some still singing "Bloodstone" in the hallways.

Those who skipped the evening over doubts about Priest's well-being are undoubtedly still kicking themselves. So consider the band's final declaration a spoiler alert and warning sign not to make the same mistake.

Judas Priest doesn't need a stinkin' Rock N' Roll Hall of Fame induction to cement its legacy. Its place was etched in stone long ago in helping to shape the Heavy Metal Capital in the '80s. So if indeed The Priest will be back, it's sure to bring plenty more firepower along. And that's not something you'll want to miss again.

SETLIST: Firepower, Running Wild, Grinder, Sinner, The Ripper, Lightning Strike, Bloodstone, Saints in Hell, Turbo Lover, Freewheel Burning, Evil Never Dies, Some Heads Are Gonna Roll, Tyrant, You've Got Another Thing Comin', (The Hellion)/Electric Eye, Hell Bent For Leather, Painkiller. Encores (with Glenn Tipton): Metal Gods, Breaking the Law, Living After Midnight

 

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Bolt of Saxon jolts heavy metal thunder into Freeman Coliseum

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Bolt of Saxon jolts heavy metal thunder into Freeman Coliseum

Throughout the 35-plus years San Antonio favorites Saxon have been making the journey via its British homeland, the band has performed at virtually every venue in town. Recent appearances, however, have taken place in parking lots, burger joints and dark halls with poles blocking views.

Hardly appropriate for New Wave of British Heavy Metal stalwarts. But not this time.

Providing direct support to British brethren Judas Priest on Tuesday night, Saxon finally received a chance to play before several thousand at the rarely used, not-a-bad-seat-in-the-Freeman Coliseum on the final night of their tour with opening act Black Star Riders. And as expected, Saxon made it count in a big way.

Touring to promote latest effort Thunderbolt, vocalist Biff Byford and Co. came out rocking on the title track. Alternating new and classic tunes for the first half of their 13-song set, Byford and guitarists Paul Quinn and Doug Scarratt, bassist Tim "Nibbs" Carter and drummer Nigel Glockler got the audience rockin' on favorites "Dallas 1 p.m." and "Crusader" (setlist below).

For Thunderbolt track "They Played Rock N' Roll," Byford explained it was written about their friends Motorhead (ATM footage here), hearkening memories of the late Lemmy Kilmister. Saxon and Motorhead will forever be linked in various ways, having toured together many times and with Byford and Kilmister having collaborated musically. As far as San Antonio is concerned, the tie-in goes deeper. Kilmister walked off stage at Emo's East in Austin in 2015 three songs in, citing his declining health while declaring, "I can't do it anymore." The next night's scheduled show at the Aztec Theatre was canceled that morning, and rather than head home or to the next city, Saxon headlined a makeshift yet successful Plan B show at Sam's Burger Joint (coverage here).

As is his custom, Byford, who spoke to ATM during last year's visit (watch here), referred to San Antonio as "the greatest metal city in the world." As if to prove it, he whipped out his phone, took a selfie video of the audience and declared, "Hey, Houston!" to show the H-town three hours to the east what it was missing.

Byford and Carter were whirling dervishes of headbanging throughout, aided largely by Glockler's thunderous work on the drums. Glockler, who overcame a brain aneurysm several years ago, moved to Austin in 2016 and joined Riot V on stage at The Rock Box that year to perform "Denim and Leather" (coverage here). On Tuesday, he expressed his affinity for South Texas by wearing a Buc-ee's T-shirt.

Quinn and Scarratt were joined on the axe by renowned producer Andy Sneap on "20,000 Feet," which Byford said hadn't been played up to that point on this tour. Sneap, of course, filled in for Judas Priest's Glenn Tipton, who missed most of the tour due to Parkinson's Disease but made a special three-encore appearance (stay tuned for coverage).

All in all, a Saxon appearance in San Antonio never gets tiring. Even in a non-headlining role, the latest showing was one to remember. In denim, leather or any other metal clothing of choice.

SETLIST: Thunderbolt, Power and the Glory, The Secret of Flight, Motorcycle Man, Nosferatu (The Vampire's Waltz), Crusader, They Played Rock N' Roll, Dallas 1 p.m., 20,000 Feet, This Town Rocks, Wheels of Steel, Denim and Leather, Princess of the Night. 

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Black Star Riders add fuel to heavy fire for Judas Priest tour finale

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Black Star Riders add fuel to heavy fire for Judas Priest tour finale

Opening a North American arena tour for British metal heavyweights Judas Priest and Saxon would seem a tall order for any artist. Particularly ending the trek in a city that reveres its classic metal.

Black Star Riders, however, can more than handle it. Some may think of the Irish/American concoction as a supergroup. Others may view BSR as a reincarnated Thin Lizzy. The truth is that with each album, Black Star Riders is forming its own sound and legacy while continuing to honor a taste of its Thin Lizzy past. Led by Thin Lizzy guitarist-since-1974 Scott Gorham and armed with Irish vocalist Ricky Warwick, Black Star Riders gave the Freeman Coliseum a dose of its music while supporting two of metal's giants Tuesday night on the tour finale.

For Black Star Riders, which is touring behind third BSR album Heavy Fire, it marked the second Alamo City visit under its newest moniker, which is meant to distance itself from its storied past out of respect for the late vocalist Phil Lynott. But Black Star Riders'/Thin Lizzy's previous visits were interesting in their own right.

BSR's first taste of San Antonio came in 2014 when it kicked off its U.S. tour at the Aztec Theatre. Prior to that in one of its final shows as Thin Lizzy, Warwick, Gorham and guitarist Damon Johnson kicked off Judas Priest's U.S. tour Oct. 12, 2011 at next door's AT&T Center -- which just happened to be Priest's previous San Antonio visit. This time, Robbie Crane, who spent time in Ratt, was on bass for BSR with Chad Szeliga -- formerly of Breaking  Benjamin and Black Label Society -- providing the drumwork.

Opening with the title track to BSR's 2013 debut All Hell Breaks Loose, BSR came out blazing. Second track and Thin Lizzy mainstay "Jailbreak" got things rolling further, and after the title track to Heavy Fire plus another classic in "Rosalie," Warwick demanded the seated onlookers simply waiting for Priest and Saxon get on their feet, reminding them they were at a rock show. Get a taste of BSR in action by watching ATM footage of another All Hell Breaks Loose track, "Bound for Glory" below, in which Warwick refers to Crane as "my favorite bass player in the whole fuckin' world" (sorry, previous BSR bassist Marco Mendoza).

Black Star Riders deserves credit for not performing predictable Thin Lizzy classics "The Boys Are Back in Town" or "Whiskey in the Jar." Both were inevitable. At least one would have appeared mandatory. But the band can be offered kudos for not using up its limited time on stage with two overplayed songs, opting instead to turn fans on to its modern sound without sacrificing all of its past.

Black Star Riders was more than a capable choice to set the stage for Judas Priest and Saxon. It was the correct one. And it's only going to get stronger as a unit the more it continues having as much fun playing live as it did at the very rarely utilized Freeman.

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Bret Michaels ensures Oyster Bake is nothin' but a good time

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Bret Michaels ensures Oyster Bake is nothin' but a good time

For all the critics and even fans who say artists from the '80s are no longer relevant or past their prime, one need look no further than the frontman of Poison to know why that era of rock and metal existed in the first place. That's because Bret Michaels sticks to a simple, but often unused, formula:

Good, fun songs + lively stage presence + honoring military veterans + "zero plugs" = nothin' but a good time.

Michaels was living proof as he headlined last Saturday's 102nd annual Fiesta Oyster Bake at St. Mary's University. From the moment he set foot on stage in front of thousands of food-on-a-stick and turkey-leg chewing, beer swilling, carnival riding fans of all ages, Michaels was hell bent on getting the party started.

He blazed through a trail of Poison classics. He vowed he would have "zero plugs" about his various projects. He concentrated on philanthropy, announcing he had helped build mortgage-free homes as part of Operation: Homefront before bringing up members of the Armed Forces to enjoy his performance of "Something to Believe In" (ATM footage here). Michaels also announced he'd be making a $10,000 donation to San Antonio charities. And after ending with KISS' "Rock and Roll All Nite," the band auctioned off Michaels' saliva-fueled harmonica and American-flag cowboy hat to more bidding fans.

Everything that happened in between wasn't exactly chopped liver either.

Tearing through Poison's smash "Talk Dirty to Me," the Bret Michaels Band hit the stage with fun ferocity that never let up. Michaels then declared that the fans requested him to reinsert the title track to Poison's 1986 debut into his set, as he rocked "Look What the Cat Dragged In."

For third song "Sweet Home Alabama," Michaels surprisingly dragged (or at least called up) Alamo True Metal and a pair of other photographers on stage. He pointed to the festival's patrons across the campus and instructed yours truly by saying, "This is what matters, right here" as cameras snapped away.

In introducing the Lynyrd Skynyrd cover, Michaels said it was off his "new album" True Grit -- which dropped in 2015. No matter. Michaels was having arguably more fun than anyone to remember the exact year at that precise moment. Well, guitarist Pete Evick may have given him a run for his "fun" money, rekindling Scorpions counterpart Rudolf Schenker with how wide, and often, Evick opened his mouth while jammin'.

In addition to drummer Mike Bailey, Michaels' most intriguing and recognizable bandmate was bassist Eric Brittingham, the original bassist of Cinderella whose former frontman Tom Keifer just happened to perform prior to Michaels with his own solo band (coverage here).

When all was said and done, fans relived "Every Rose Has Its Thorn" and another cover in "Your Mama Don't Dance" (setlist in slideshow). Although he left out other fun tracks such as "Back to the Rocking Horse," "I Want Action" and "Fallen Angel," Michaels probably would've required another 60-90 minutes from St. Mary's to truly span his musical career.

Michaels mentioned that he and his original Poison bandmates would be playing The Woodlands in June with Cheap Trick and Pop Evil, and that he was "working on San Antonio."

There was no mention of "Rock of Love," "Life As We Know It" or any of Michaels' reality TV shows. No wasted breath on Michaels once having been a winner of now-President Donald Trump's "The Apprentice." Not even a recollection of when an emergency appendectomy hours before he was to take the stage at SeaWorld San Antonio in 2010 forced Michaels to cancel a show he would make up six months later thanks to the doctors and nurses at Christus Santa Rosa.

Instead, the Fiesta Oyster Bake was "Nothin' But a Good Time." The way it was meant to be. Orchestrated by a guy who still knows how to rock any house with the best of them. And continues to party like it's 1986.

 

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Tom Keifer's modern Cinderella story on solid ground at Oyster Bake

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Tom Keifer's modern Cinderella story on solid ground at Oyster Bake

The more things change for Tom Keifer, the more they stay on solid ground. And every concert the Cinderella frontman and chief song writer plays marks a solid victory for a solid musician whose career has been derailed -- but not gone down for the count -- multiple times by a partially paralyzed vocal cord. 

The latest San Antonio example came at last Saturday's 102nd annual Fiesta Oyster Bake as Keifer brought his solo band to St. Mary's University accompanied by a plethora of classics, particularly from 1988 sophomore album Long Cold Winter. Keifer, who headlined The Rock Box last November (coverage here), returned five months later with a vastly different setlist while still supporting solo album The Way Life Goes.

Opening with 1991 Cinderella track "The More Things Change " -- which he didn't play at The Rock Box -- Keifer more than held his own vocally while of course displaying his skills on guitar and piano. The latter came during a duet of 1988 MTV hit ballad "Don't Know What You Got (Till It's Gone)" with wife Savannah Keifer (ATM footage here). Keifer brought back a slew of other tracks from Cinderella's most bluesy-sounding album, the follow-up to its 1986 metal debut Night Songs. The latter is what helped the band get discovered and taken on tour by Jon Bon Jovi, and the reason it accumulated fans in the first place. But the follow-up is where Keifer's musical heart has consistently been.

As further proof, "The Last Mile" and "Bad Seamstress Blues/Falling Apart at the Seams," two more Long Cold Winter tracks not played here last year, were music to the ears of Cinderella diehards.

Those among the thousands of the carnival and food festival-goers who only knew the hits were left to look on without much singing. Or perhaps they were simply gazing at Savannah Keifer and fellow backup vocalist Kendra Chantelle. The female presence crooned tunes throughout the set and broke out the maracas, while Chantelle -- a Season 10 contestant on "American Idol" -- had fun with her tambourine during finale "Gypsy Road" (watch below).

Not to be outdone were guitarist Tony Higbee, bassist/harmonica player Billy Mercer, drummer Jarred Pope and keyboardist Kory Myers. Officially comprising the Tom Keifer Band, the group also unveiled "Solid Ground" and the title track to Keifer's latest. Night Songs staples "Shake Me," "Somebody Save Me" and "Nobody's Fool" were mandatory, delighting the audience that was back-dropped by dizzying carnival rides.

Keifer also showed his voice was in fine shape when he barked, "What the fuck's up with that?" regarding the Oyster Bake's barrier that separated the fans from the stage by nearly another zip code. Or at least 15 feet. He had company, as Drowning Pool vocalist Jasen Moreno echoed similar sentiments earlier in the day (coverage here). 

Keifer and Co. delivered another strongly entertaining performance while benefiting from the fact Everclear, which was supposed to perform after Keifer and prior to headliner Bret Michaels, did not even show up. A St. Mary's spokesman told ATM that Everclear, which is scheduled to play New Braunfels on May 18, missed its flight from Tucson, Arizona, and could not make it to the Alamo City in time, bumping Keifer's set from 5:30 p.m. to 7. Ironically, Michaels' solo band includes bassist Eric Brittingham. That's right. Keifer's original bandmate in Cinderella who stands next to him on Night Songs' cover.

Keifer offered up the title track to Long Cold Winter, arguably Cinderella's bluesiest and slowest tune. Though it didn't jive on a humid spring day at a family-inspired festival, it was still nice to hear another classic that differed from The Rock Box show. Along with covers of the Rolling Stones' "Tumblin' Dice" and The Beatles' "With a Little Help From My Friends," Keifer and his band exhibited not only fun and entertainment at a festive setting.

Its leader also displayed the power of never giving up on achieving what you want to do. In Keifer's case, that's as good a Cinderella story as any.

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Drowning Pool shows fellow Lone Star metalheads how to rock Oyster Bake

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Drowning Pool shows fellow Lone Star metalheads how to rock Oyster Bake

Hailing from Dallas has afforded Drowning Pool the opportunity to visit San Antonio more often than many bands. From St. Patrick's Day parking lot gigs, to small bar shows such as Fitzgerald's two years ago (coverage here), to Saturday's performance before thousands at the 102nd annual Fiesta Oyster Bake, the Texas rockers have always marked their territory in the Alamo City with pride.

Even with the surprisingly early set time of 4 p.m. at St. Mary's University's annual Fiesta kickoff to raise money for scholarships, Drowning Pool came and rocked as it usually does. While led as always by original members C.J. Pierce on guitar, bassist Stevie Benton and drummer Mike Luce, frontman Jasen Moreno long ago reached no longer "the new guy" status. Moreno can pump up an audience with the best of them, and the Bake's outdoor festival setting that was back-dropped by dizzying carnival rides provided, well, the ideal backdrop. Get a taste of it with ATM Facebook Live footage of "Feel Like I Do" here.

Given the mainstream smash of inaugural single "Bodies" from 2001, it's easy to view the band as a victim of its own success. When an artist's debut yields a tune frequently played 17 years later during hockey fights and at other events, however, it's not exactly a bad problem to have in 2018. So even when Moreno introduced it with, "We're going to play 'that song,' " after the group had torn through second-most popular track "Tear Away," festival-goers were primed and ready. Though it seemed odd to hear a live version of "Bodies" without a mosh pit, that was easily the right call for the family-friendly Bake given the photo-pit presence of local and state law enforcement that has never taken too kindly to crowd surfing, or otherwise, on campus.

Nevertheless, Moreno made it fun by hopping off the stage, walking the 15 feet or so to the barrier, and sharing the song made famous by the late original vocalist Dave Williams with the fans (watch below). Ironically, the Oyster Bake was headlined by Poison's Bret Michaels, whose version of "Home" on the 2002 Hollyweird album sings in part, "Dave from Drowning Pool is here. He steals my women, and he drinks my beer."

So even though it would be an upset if Drowning Pool didn't end every concert for the remainder of its existence with the tune that made its career -- no matter how much new music it puts out henceforth -- there's another thing that likely won't change concerning its place in the metal game. 

The group's welcoming party in San Antonio will always be out in full force. As long as Drowning Pool feels just like its Texas brethren does.

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Powerman 5000 goes pop and 'New Wave' while rocking The Rock Box

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Powerman 5000 goes pop and 'New Wave' while rocking The Rock Box

It doesn't take long into a Powerman 5000 concert to know why vocalist Spider One has often said his veteran band has "more in common with Devo than Dio." Well, maybe minus the space hats. But that doesn't mean all three acts don't rock.

Only one of them was in attendance, though, last Thursday night. Powerman 5000 brought forth its own spacey outfits, hairstyles and robotic movements while entertaining a couple hundred dedicated fans inside The Rock Box.

Expanding on his quote when he spoke to Alamo True Metal for AXS.com last November upon the release of latest album New Wave (interview here), Spider One led the way as the band's only remaining original member -- by far. Filling a 65-minute set with songs spanning the group's nearly 30-year career, outlandish bassist Murv Douglas, lead guitarist Ty Oliver, brand new rhythm guitarist Erik Himel and drummer DJ Rattan played with laser-like focus.

Literally.

Taking the stage with glowing green lights affixed to their instruments, Powerman 5000 came out with "Nobody's Real" and "Invade, Destroy, Repeat" (setlist in photo gallery). "Super Villain" further got the crowd jumping along with the pogo stick-like antics of the band, and "How to Be a Human" rocked the house. New Wave's opening track, "Footsteps and Voices," received more than a sedentary reaction from the crowd, while "Free" (watch ATM Facebook Live footage here) earned its own level of audience participation. Crowd favorites "Supernova Goes Pop" and "When Worlds Collide" left those on hand on a high as well (ATM footage below).

Even when things bogged down outside of the band's control, Spider One and Co. took care of it. "Horror Show" nearly turned into the band's worst nightmare with about a 10-minute malfunction of Douglas' bass, forcing the group to keep the beat mid-song while Spider kept up the banter with the crowd. When the song got rolling again, Powerman 5000 injected "Sabotage" from the Beastie Boys and "Bulls on Parade" from Rage Against The Machine into the tune, as Spider told ATM in the interview five months earlier.

With New Wave being such a solid album, it was disappointing that "Footsteps and Voices" was the sole new track played, particularly given that "Cult Leader" and second scheduled encore "Sid Vicious in a Dress" were on the printed setlist. Even if Spider didn't come out wearing one, the latter track would have been entertaining in its own right. "David Fucking Bowie" could have found its way into the program too.

Playing its third gig out of six in as many nights in the Lone Star state -- after having played five Texas cities minus San Antonio last November -- Powerman 5000 did not lack for energy or enthusiasm. Perhaps their stamina is another space-like quality that has more in common with Devo.

Or maybe Powerman 5000 simply floats along weightless and timeless through the musical universe when theirs, and our, worlds collide.

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Feast of Michael Schenker Fest shreds through guitarist's career

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Feast of Michael Schenker Fest shreds through guitarist's career

When Michael Schenker renamed the latest incarnation of his solo band the Michael Schenker Fest, he wasn't kidding about the Fest part. But he could've also called it the Michael Schenker Feast.

Describing himself as a "trend-maker" when he spoke prior to the gig with Alamo True Metal (watch here), Schenker took to the stage last Saturday night at Vibes Event Center accompanied by seven other musicians. Celebrating his 40-year career that has spanned Scorpions, UFO and various factions of the Michael Schenker Group, the man behind the Flying-V guitar dazzled and delighted a packed house with a 30-song, 2-hour and 40-minute performance.

Playing chronologically with each of his solo vocalists over the years, Schenker opened with his traditional instrumental "Into the Arena" before welcoming the first of those singers, Gary Barden. From there, the assembly line of voices continued to churn out with Graham Bonnet, Robin McAuley and Doogie White. Also backed by bassist Chris Glen, keyboardist/guitarist Steve Mann and drummer Ted McKenna, the Michael Schenker Fest unloaded a slew of classics but also a good share of debut album Resurrection under the Fest moniker, which dropped March 2 via Nuclear Blast Records.

Barden, who was Schenker's original vocalist when the guitarist left Scorpions and UFO in 1980, and returned to MSG in 1983, danced and pranced his way through "Let Sleeping Dogs Lie" and the catchy "Cry for the Nations," plus "Attack of the Mad Axeman." 

Bonnet, McAuley and a very under-the-weather White graciously went "Into the Pit" with ATM before the concert on the third-to-last show of a month-plus tour. Bonnet, fired by Schenker after recording 1982 MSG album Assault Attack when he failed to make it through the first song of that tour's initial gig, reunited with Schenker in time for the Fest's DVD "Live Tokyo International Forum Hall" in 2017. A very candid Bonnet spoke about his past and present with Schenker during the interview, then went out and mesmerized vocally on three tracks from that album, particularly "Desert Song," which followed Schenker's lone Scorpions contribution of the evening, "Coast to Coast" (ATM footage of both here). Bonnet, also known for his time in Rainbow, Alcatrazz and Impellitteri, joined his vocal cohorts on new single "Warrior" (watch below).

McAuley had the best and most consistent pipes of the night, as well as the most diverse contributions. As the frontman of the late '80s and early '90s McAuley Schenker Group, his time with Schenker was known as the guitarist's most commercially MTV-driven portion of the mad axeman's career. But that doesn't mean they didn't have songs that rocked, particularly on the somewhat surprising inclusion of "Bad Boys" that kicked off McAuley's portion of the night. Following with "Save Yourself" and "Anytime," McAuley then let loose on the new album's opening track "Heart and Soul," the studio version of which includes a guest appearance from Metallica's Kirk Hammett, which Schenker also discussed pre-show. That segued into 1987 hit "Love is Not a Game."

From there, it was White's turn. Suffering immensely from a head cold that made him sound as if a pair of frogs were in his throat, White nevertheless gave it his all on new single "Take Me to the Church," which featured Mann's skills on the keys before Glen and McKenna began the rumbling on bass and drums, respectively. White, who also spoke of his time with Rainbow and Yngwie Malmsteen with ATM, offered up Schenker's dedication to Ronnie James Dio with "Before the Devil Knows You're Dead" from their Michael Schenker's Temple Of Rock band.

After the entire cast united for "Warrior," McAuley led the way on the part that always takes the audience back -- Schenker's slate of UFO songs. As usual, the highlight was Schenker's extended guitar solo on "Rock Bottom" (watch below), though McAuley's favorite "Shoot Shoot" wasn't far behind. The printed setlist actually had 32 songs on it, but the Fest ended with "Lights Out" and omitted the pre-planned "Only You Can Rock Me" and "Too Hot to Handle."

Schenker told ATM that San Antonio would be "one of the cities we would consider" shooting for his next DVD, given that his three most recent concert films were filmed overseas. In a classic rock city Schenker has revisited virtually every other year and throughout most of his career, that's about the only thing left for Schenker to accomplish as far as the Alamo City is concerned.

The only question remaining would be, who will be in Schenker's band by then?

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'Into the Pit:' Michael Schenker

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'Into the Pit:' Michael Schenker

With a 40-year career mostly spent forging his own path on the Flying-V guitar, Michael Schenker's musical influence upon many is just as intriguing for what might have been as for what it has turned out to be.

Shunning the opportunity to travel the same path as his brother Rudolf Schenker with Scorpions after contributing to their 1979 Lovedrive album, Michael Schenker played on UFO's renowned 1979 live opus Strangers in the Night. From there, Schenker carved his niche with variations of the Michael Schenker Group, including McAuley Schenker Group in the late '80s and Michael Schenker's Temple Of Rock beginning in 2011. The latest incarnation was Saturday night's live San Antonio debut of the Michael Schenker Fest at Vibes Event Center.

This time, Schenker has recollected each of his solo vocalists: Gary Barden, Graham Bonnet, Robin McAuley and Doogie White. Along with guitarist/keyboardist Steve Mann, bassist Chris Glen and drummer Ted McKenna, the Michael Schenker Fest released Resurrection via Nuclear Blast Records on March 2.

With Metallica's Kirk Hammett guesting on the McAuley-voiced opening tune "Heart and Soul," the album features 12 rocking tracks. Each of the vocalists sings multiple tunes on their own, and they team up on latest single "Warrior" and disc finale "The Last Supper." 

Prior to the concert, Schenker graciously went "Into the Pit" with Alamo True Metal to discuss as much of his career as 40 years could be covered in 15 minutes. He also brought along a six-stringed special guest.

Click the video box below to watch our conversation, then view ATM footage of Schenker in action on the Scorpions instrumental he wrote "Coast to Coast," along with "Warrior" and extended guitar jam on UFO's cult hit "Rock Bottom."

 Click for interviews with the other singers who took the time to speak with ATM: Bonnet, McAuley and White. Stay tuned for complete coverage of the gig with photos, more videos and setlist.

The Michael Schenker Fest, with vocalists Gary Barden, Graham Bonnet, Robin McAuley and Doogie White, makes its San Antonio live debut at Vibes Event Center. Prior to the gig, Schenker discusses his vast career by going "Into the Pit" with Alamo True Metal. Stay tuned for my coverage of the show (camera Howard Peterson)

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John 5 mesmerizes with ghoulish frets of fretboard

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John 5 mesmerizes with ghoulish frets of fretboard

Whether he's crunching riffs, busting out a banjo or creating hellacious versions of a heehaw, John 5 can do on a guitar what many can only dream of. And each time he brings his freakish-in-more-ways-than-one act to the Alamo City, it gets better and better. 

The latest showing was last Thursday's return to The Rock Box, as John 5 and The Creatures put on a ghoulish 75-minute instrumental display accompanied, strangely enough, by Halloween props. But, of course, Frankenstein can be a fixture year-round.

As can John 5's usage of the instrument.

Likely the only musician on the planet who has utilized his skills with Rob Zombie, Marilyn Manson, Rob Halford and David Lee Roth, John 5 showcased songs from his most recent studio albums including the new Season of the Witch (setlist in slideshow below) while touring in support of live effort It's Alive.

Backed by bassist Ian Ross and San Antonio-born drummer Logan Nix, John 5 shocked and awed on "Flight of the Vulcan Kelly" and "This is My Rifle." He showed he can be a fiddler of sorts as well on "Jiffy Jam" and "Hell Haw" before ripping into the title track of the new album (Alamo True Metal footage of all three below).

Communicating with the audience via his various guitars, and occasionally with glaring eyes behind white facepaint, John 5 finally said "Welcome to the show" two-thirds of the way through following "Guitars, Tits and Monsters" (ATM Facebook Live footage here). To break up the monotony of his verbal silence, John 5 covered Metallica's "Enter Sandman," enabling the crowd to help with the lyrics. 

A simple description of "Medley" on the printed setlist, however, turned out to be the show-stealer.

John 5 further demonstrated his diversity, unveiling riffs of tunes that don't need an introduction by artist: "Hot For Teacher," "2 Minutes 2 Midnight," "Cat Scratch Fever," "Seek and Destroy," "Man in the Box," "Thunderkiss '65," "South of Heaven," "Detroit Rock City," "Burn," "Roxanne," "Limelight," "Cashmere," "The Beautiful People" and "Killing in the Name" made their influential presence known before The Creatures ended, appropriately enough in Texas, with Pantera's "Walk."

 John 5, who spoke to ATM before his 2015 visit (listen here) then bellowed, "Good night!" His declaration was so convincing -- largely because he had let his guitar do most of the talking -- that when he followed with, "We'll see you this summer with Zombie and Manson" and exited through a curtain, a stream of people began to leave. That forced John 5 to reappear quickly. 

"We'll play one more song," he summed up. "Might as well. We don't have anywhere else to go except back to the hotel to masturbate and go to sleep."

And with that, John 5 and The Creatures ended with their cover of Michael Jackson's "Beat It." Earning the band, in return, a freakish seal of approval from those who appreciate mesmerizing talent on electric, and country-styled, axes.

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'Into the Pit:' Michael Schenker Fest vocalist Doogie White

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'Into the Pit:' Michael Schenker Fest vocalist Doogie White

With a pedigree that includes being one of the lead voices behind Rainbow, Yngwie Malmsteen's Rising Force and Michael Schenker's Temple Of Rock, Scottish native Doogie White's pipes have been heard across a large portion of the heavy metal landscape. 

White can now add the Michael Schenker Fest to his impressive career itinerary, which included Saturday night's nearly three-hour gig at Vibes Event Center. This time, White shares vocal duties with the rest of Schenker's solo-career voices: Gary Barden, Graham Bonnet and Robin McAuley. But White also has his own songs on the Fest's debut album Resurrection, which came out March 2 via Nuclear Blast Records.

The concert marked the third-to-last of a month-plus tour, and the traveling has taken its toll on White. He was fairly under the weather, yet still graciously agreed to go "Into the Pit" with Alamo True Metal to discuss his wide-ranging musical stops.

Given the fact many singers don't grant interviews on Show Day even when they're 100 percent, in order to rest their voice, White could have been laying in a bed somewhere. However, much like Schenker's formation of the Fest band in adding to his storied career on the guitar, White decided to be a part of something special, joining Schenker, Bonnet and McAuley in granting ATM onsite interviews.

Click the video box below to hear White discuss his past and present, including odd jobs he held while attempting to make it as a singer. Then watch him in action from the concert on new single "Take Me to the Church."

White was so ill, he immediately told the Vibes crowd after the final note, "I can guarantee you it sounds better vocally on the record than it did there." White, who also solely sings "The Girl With the Stars In Her Eyes" and "Anchors Away" on Resurrection, can also be seen providing backup vocals while wearing a hoodie in joining his cohorts on the McAuley-led "Anytime."

Click for other ATM interviews of the day with Bonnet and McAuley. Stay tuned for complete coverage of the gig and a conversation with Schenker . . . and perhaps his Flying-V Dean guitar.

 

One of the Fest's four vocalists goes "Into the Pit" with Alamo True Metal, despite feeling tremendously under the weather, and graciously discusses his time in Rainbow, Yngwie Malmsteen's Rising Force and playing the last several years with Schenker, among other topics, at the Vibes Event Center (camera: Howard Peterson)

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'Into the Pit:' Michael Schenker Fest vocalist Robin McAuley

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'Into the Pit:' Michael Schenker Fest vocalist Robin McAuley

Robin McAuley's time as the vocalist for veteran guitarist Michael Schenker lasted three mostly MTV-fueled albums from 1987-91. But McAuley originally wasn't keen on teaming up with Schenker.

When the pair reunited for an appearance in 2012 at Alamo City Music Hall (interview here and here), it marked the first time they'd worked together since commercial successes of Perfect Timing, Save Yourself, and the lesser-known but vastly underrated self-titled album in 1991. Their time together was so special, Schenker agreed to rename his band from Michael Schenker Group to McAuley Schenker Group.

After their time, McAuley appeared to have disappeared from the hard-rock scene. In truth, he joined other bands including Survivor, taking over in 2006 for Jimi Jamison, who died in 2014. As if that wasn't groundbreaking enough, McAuley may also be the only person in the history of rock and metal to have recorded a song that was commissioned by His Holiness himself -- Pope John Paul II.

As part of the Michael Schenker Fest's live San Antonio debut Saturday night at Vibes Event Center, McAuley joined fellow vocalists Gary Barden, Graham Bonnet and Doogie White for a 2-hour, 40-minute performance that featured 30 tunes spanning Schenker's career with Scorpions, UFO and his MSG solo material.

Prior to the memorable concert, McAuley discussed all things in his world exclusively with Alamo True Metal, from his early days to the Fest band's new debut release of Resurrection. Click the video box below to hear our conversation. Then watch McAuley and his cohorts in action with ATM footage of 1989 hit "Anytime" plus new hard-hitting track "Heart and Soul" segueing into 1987 classic "Love is Not a Game."

Click here for ATM's interview with Bonnet, and stay tuned for more with Schenker and White, plus coverage of the show.

One of four former vocalists in the solo era of guitarist Michael Schenker goes "Into the Pit" with Alamo True Metal prior to the Fest band headlining Vibes Event Center. Robin discusses various aspects of his career such as how he originally declined to join Schenker in the '80s, his time in other bands such as Survivor and having recorded a song commissioned by Pope John Paul II (camera: Howard Peterson)

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'Into the Pit:' Michael Schenker Fest vocalist Graham Bonnet

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'Into the Pit:' Michael Schenker Fest vocalist Graham Bonnet

Graham Bonnet has been a renowned vocalist for four decades mostly due to having founded Alcatrazz along with fronting, for awhile, Rainbow and Impellitteri. When he spent time making music with legendary guitarist Michael Schenker in the early 1980s, however, Bonnet was known for something else.

Having recorded the Michael Schenker Group's Assault Attack album in 1982, Bonnet's first gig with the band was one to remember for all the wrong reasons. Bonnet was so drunk on stage, he couldn't even make it through a song and was promptly fired.

And that's what makes his reunion with Schenker that much more amazing.

Bonnet was candid about his place in Schenker's history when I spoke to him by phone in October 2016 (listen here), just prior to two San Antonio performances in January and December of last year (coverage here and here) of his new Graham Bonnet Band.

On Saturday night, he graciously went "Into the Pit" prior to the Michael Schenker Fest headlining a nearly three-hour show at Vibes Event Center inside The Rock Box. Bonnet further explained his drunken stupor from those early days and how he and Schenker reconnected 35 years later. The duo's story has a happy ending, as Bonnet and Schenker are celebrating several years of sobriety while making new music together. Michael Schenker Fest released Resurrection on March 2 with the help of fellow Schenker vocalists Gary Barden, Robin McAuley and Doogie White.

And what's that? Bonnet could be taking up residence in the Alamo City?

Click the video box below to hear Bonnet discuss the spanning of his career. Then click here to watch Bonnet in action just a few hours later on "Desert Song" from his sole contribution to Schenker's solo discography until the new team's release.

Stay tuned for more separate interviews with Schenker, McAuley and White, plus coverage of the concert.

The former vocalist of Alcatrazz, Rainbow, Impellitteri and on 1982 album "Assault Attack" with the Michael Schenker Group goes "Into the Pit" with Alamo True Metal to discuss how he reconnected with Schenker, among other topics, prior to the Michael Schenker Fest band headlining the Vibes Event Center (camera: Howard Peterson)

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Original voice of Accept more than accepting to The Rock Box

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Original voice of Accept more than accepting to The Rock Box

As the original frontman of one of Germany's most renowned contributions to heavy metal, Udo Dirkschneider had mostly moved on from his Accept roots with his first solo album Animal House 31 years ago. Having made more solo records than Accept ones, the short but statuesque vocalist with the balls-of-fury voice could carry on just fine on the strength of his newer material overseas. 

But American fans are a different breed. Particularly in a city that cherishes its classic heavy metal. 

So when Dirkschneider returned to the Alamo City on Jan. 27 last year, showcasing two hours of nothing-but-Accept tunes during his "Back to the Roots" tour that had been billed as the final time he would be singing the songs of his former band, that figured to be his ultimate performance in San Antonio. But even that wasn't enough.

Dirkschneider staged "Back to the Roots 2" on Tuesday night at The Rock Box, armed with a vastly different set than his preceding visit that was strictly his most recent live album performed in its entirety. Armed this time with Australian band Elm Street making its San Antonio live debut along with locals Seance and Killstorm (stay tuned for photos of those bands here), Dirkschneider delved deeper into his Accept vault as part of a 20-song, 1-hour and 48-minute showing (setlist at bottom). 

Backed by guitarists Andrey Smirnov and Bill Hudson plus bassist Fitty Wienhold and his son Sven Dirkschneider on drums, Udo Dirkschneider eased into his set with surprising 1994 opener "The Beast Inside." Belying its title, the song was more of a mood-setter than a crunching way to start the show. But Udo was only getting warmed up.

"Aiming High" and "Bulletproof" were more examples of some of Accept's deeper cuts before the popular "Midnight Mover" (ATM footage here) got things rolling even louder for the enthusiastic crowd. The concert was supposed to be in the larger Vibes Event Center portion of The Rock Box but suffered from a Tuesday work and school night. No matter. Those on hand made their presence known on other classic mainstays such as "Up to the Limit," "Screaming for a Love-Bite" (ATM Facebook Live footage here) and audience favorite "Princess of the Dawn."

Dirkschneider and his bandmates also unexpectedly broke out Spanish ballad "Amamos La Vida" (ATM Facebook Live footage here). A somewhat shocking choice not just because Accept is not known for ballads. But also because the German vocal powerhouse has always been noted by original and still-current Accept guitarist Wolf Hoffmann as not having written most of the band's lyrics due to his English not having been very fluent, as Hoffmann told ATM in 2016 here.

Yet there Dirkschneider was breaking out a bit of Espanol.

Dirkschneider, who spoke exclusively to ATM in 2015 (listen here), kept the talking to a minimum, letting his music mostly do it for him. He bellowed his appreciation for San Antonio on multiple occasions and kept the hits and deeper cuts coming, including "London Leatherboys," "Breaker" and "Can't Stand the Night." Meanwhile, Accept stalwart "Fast as a Shark" (ATM footage below) cemented Dirkschneider's legacy and popularity in the Alamo City yet again.

While there was no outward promise of a Back to the Roots 3 at some point, there was also no definitive declaration this was Udo's farewell of Accept to San Antonio. If it was, the 65-year-old didn't just go out in style. 

He went out with balls to the wall.

SETLIST: The Beast Inside, Aiming High, Bulletproof, Midnight Mover, Living for Tonight, Another Second to Be, Fight it Back, Can't Stand the Night, Amamos La Vida, London Leatherboys, Up to the Limit, Breaker, Screaming for a Love-Bite, Love Child, Objection Overruled, Wargames, Princess of the Dawn, Metal Heart, Fast as a Shark, Balls to the Wall

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Iced Earth, Sanctuary, Kill Ritual trifecta tears through Aztec

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Iced Earth, Sanctuary, Kill Ritual trifecta tears through Aztec

A night of piercing vocals, power metal and heavy hearts dominated the performance put on by Iced Earth, Sanctuary and Kill Ritual last Tuesday at the Aztec Theater. And you can add another description: entertaining.

Iced Earth, touring in support of late 2017 release Incorruptible, blistered its way through a 15-song showing split nearly evenly between new tracks and old. The brainchild of rhythm and lead guitarist and lone remaining original member Jon Schaffer in the late 1980s, Iced Earth captivated the general-admission crazies up front and those watching from the mid-level VIP sections.

Opening with new track "Great Heathen Army" (setlist in photo gallery), the band out of Tampa, Florida, with Canadian frontman Stu Block packed a punch with its uniquely themed songs mostly based on 19th century battles, wars and other historical points. During new tunes "Black Flag" and "Raven Wing," Block soared as high as his voice when he climbed Brent Smedley's drum riser and became a picture of vertical vocal prowess, steadying himself while holding the mic with his other hand (ATM Facebook Live footage of the former here). 

Along with guitarist Jake Dreyer and bassist Luke Appleton, Iced Earth kept the molten metal coming with classics such as "Vengeance is Mine" and "Dystopia" plus Incorruptible track "Seven-headed Whore." Watch ATM footage of "Brothers" and "Dracula" here.

Schaffer, who shared that he changed the name of his band from Purgatory to its current moniker in 1988, took over lead-vocal duties on "Stormrider" from 1991's Night of the Stormrider. Smedley, marking his fourth stint in the group, pounded the rocks all evening while Appleton and Dreyer more than held up their end of the bargain.

Although Iced Earth's classics were relegated to songs from Block's 2011 debut on Dystopia and earlier ones from former vocalist Matt Barlow, the band shelved any taste of the Tim "Ripper" Owens era from The Glorious Burden and Framing Armageddon. Still, Block's penchant for showcasing his multi-octave range was impressive, particularly to those who may have not caught Iced Earth live before. Get a taste by watching complete ATM footage of encores "Clear the Way (Dec. 13, 1862)" and "Watching Over Me" below.

Sanctuary, meanwhile, was the middle band of the trifecta but performed easily the most meaningful set of the night.

The tour had been announced a couple of weeks prior to the Dec. 27 death in Brazil of a heart attack of original vocalist Warrel Dane, who was recording a solo album over the holidays. Rather than drop off the tour, Sanctuary original guitarist Lenny Rutledge and drummer Dave Budbill chose to use it to honor Dane's legacy, which also included his time in Nevermore and as a solo artist. The pair recruited Witherfall singer Joseph Michael, along with guitarist Joey Concepcion to join bassist George Hernandez in putting on an hour-long set.

Sanctuary, discovered and produced by Megadeth's Dave Mustaine, debuted in 1988 with Refuge Denied and followed two years later with Into the Mirror Black. Due to the changing music scene of the 1990s and assorted other issues, Sanctuary would not release another album until reuniting for 2014's The Year the Sun Died.

After dropping demos compilation Inception last year, Sanctuary made a rare Alamo City appearance opening with classic barnburner "Die For My Sins," with Michael 's high-pitched opening lyric "Youuuu're living in a lie" doing a young Dane justice from the 1988 release. Those not familiar with Michael's prior work in Witherfall came to know him quickly throughout the set, aided by his performance on "Seasons of Destruction," "Soldiers of Steel," "The Year the Sun Died" and riveting finale "Taste Revenge," which he sang among the crowd (setlist in photo gallery). Access ATM Facebook Live footage of "Future Tense" here.

Kill Ritual, which three weeks earlier dropped All Men Shall Fall, kicked things off with a 30-minute set. The group, formed in 2010, has undergone a variety of changes, with guitarist Steven Rice the lone original member in attendance and vocalist David Reed Watson having joined in 2015.

Check out a 60-photo slideshow of all three bands below.

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Act Of Defiance's live Alamo City debut a lesson in heaviness

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Act Of Defiance's live Alamo City debut a lesson in heaviness

When Chris Broderick and Shawn Drover became frustrated with the direction their music with Megadeth had taken on 2013's Super Collider, they took matters into their own hands by leaving one of heavy metal's Big 4. But just because they planned to stick together musically didn't guarantee that their resume would instantly result in big tours or gratification.

And they knew that.

Displaying the will to work from the ground up despite their pedigree, the duo teamed with Shadows Fall guitarist (turned bassist) Matt Bachand and vocalist Henry Derek, who had worked with Slipknot (now Vimic) drummer Joey Jordison in Scar The Martyr.

Act Of Defiance was born.

But after 2015 debut Birth and the Burial, the group's road show included Austin, not San Antonio. That finally changed Thursday night as AOD made its live Alamo City debut by headlining The Rock Box behind sophomore effort Old Scars, New Wounds via Metal Blade Records with Shattered Sun and locals Killstorm.

On the same night Pop Evil headlined the Aztec Theatre with Palaye Royale and Black Map, Act Of Defiance found itself in a peculiar situation: four established band members, whose group would be an ideal candidate for a secondary-stage slot at the soon-to-be announced sixth annual River City Rockfest, were about to perform before a scant 50 metalheads.

Those not on hand missed an hour-long dose of supreme heaviness. Songs such as "M.I.A.," "Belial," "Overexposure," "Lullaby of Vengeance" and "Dead Stare" (Facebook Live footage of the latter two here) exhibited Act Of Defiance's penchant for no-holds-barred riffs, drumbeats and Derek's in-your-face vocals (see setlist in slideshow below). Derek nearly made it through the entire performance without the audience knowing it was his birthday until Broderick spilled the beans prior to finale "Throwback" (ATM footage below). At one point, he curiously asked the fans who among them had the new album, only to segue into debut-disc track "Legion of Lies."

Broderick and Drover spoke with me separately on the same day in 2015 just prior to Act Of Defiance's first album being dropped, discussing how the band came about. Following Thursday's performance, as the quartet graciously met with fans, signed autographs and posed for photos, Drover lamented the turnout but also declared, "We need to go out and support somebody." Act Of Defiance will be doing just that when it opens for Armored Saint in July and August. However, no Texas dates have been scheduled.

Bachand, who lent his death-metal backup vocals to Stryper's new single "Take it to the Cross", shared with Alamo True Metal concerning the current tour: "It was either stay home or go out on the road and do this tour."

Although Act Of Defiance left out personal new thrashing favorite "Molten Core," the band's performance demonstrated that AOD is more than just getting started. The members' respective histories may have laid the groundwork for Act Of Defiance's birth.

But there's potentially a few years of music remaining before its burial takes effect.

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Machine Head provides 'Catharsis' for all in rocking Aztec to its core

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Machine Head provides 'Catharsis' for all in rocking Aztec to its core

"Machine fucking Head! Machine fucking Head! Machine fucking Head!"

As those frequently loud chants reverberated throughout the Aztec Theatre on Monday night, one thing was clear: the guests at the nearby downtown San Antonio hotels were sure to be awakened. Oh well. It's not like they had anything better to do on a Monday night.

For those inside the cavernous and historic venue, "An Evening With Machine Head" was the perfect way to spend the slowest night of the week. A mere four days into their U.S. tour and only 72 hours removed from releasing latest album Catharsis, singer/guitarist Robb Flynn, lead guitarist Phil Demmel, bassist Jared MacEachern and drummer Dave McClain were polished both musically and in white-and-blue denim attire.

McClain, the one-time drummer of early '80s local band S.A. Slayer and Riot offshoot project Narita, enjoyed his first homecoming of sorts since Machine Head visited in 2015. With his former respective bandmates and San Antonio natives Don Van Stavern and Bobby Jarzombek looking on, McClain and his current band unleashed a 21-song program that lasted more than 2 1/2 hours and served as an early alarm clock for nearby tourists and locals hell bent on going to work the next day.

For the moshers and metalheads inside the Aztec, it was business as usual too. Of the headbanging kind. And Machine Head provided plenty of it. Opening with 2003 track "Imperium" before unleashing Catharsis' first tune "Volatile," Machine Head set the tone for a night that those in attendance wouldn't soon forget.

Flynn, known for his outspoken opinions on social media nearly as much as for being the band's founder and frontman, to his credit kept the mood light when he spoke . . . and the music heavy when he didn't. Watch ATM exclusive footage of "Catharsis" and "From This Day" here.

Flynn, in fact, had high praise for the venue: "This is one of our favorite, maybe even THE favorite venue in the U.S. of ours to play. It feels like "Raiders of the Lost Ark!" He also acknowledged the evening's inhabitants by saying, "I have respect for every person who came out on a Monday night to see Machine Head, man!"

With Demmel shredding exit stage right all night long and MacEachern providing a whirling dervish of headbanging while he took care of the low end on bass, Machine Head mowed down the Aztec with other older tracks such as "Now We Die," "Killers and Kings," "Ten Ton Hammer," "Locust" and "Aesthetics of Hate" with newbies "Beyond the Pale," "Behind a Mask" and "Bastards" (setlist in photo gallery at bottom). See Facebook Live footage of "Davidian" here.

McClain, meanwhile, enjoyed the spotlight in his homecoming of sorts with a drum solo as a segue into "Bulldozer" (ATM footage below). For encore "Old," Flynn dedicated the debut-album track "to those who have been seeing us since the White Rabbit."

As a band that formed during the height of the grunge movement in the early '90s that claimed the metal scene as it was known back then, Machine Head could have easily been a short-lived unit. Nearly 25 years later, however, Machine Head isn't just standing tall.

It's taking names and kicking ass.

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G3 trifecta of guitar stars boogie, groove, electrify their way through Live Music Capital

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G3 trifecta of guitar stars boogie, groove, electrify their way through Live Music Capital

AUSTIN -- When Joe Satriani's G3 Tour extravaganza rolled through ACL Live at The Moody Theater on Saturday night, it figured to tug at the (guitar) strings in an electrifying way. And it did. 

But that wasn't the only method by which it amazed.

Satriani, who has taught the likes of Metallica's Kirk Hammett and Testament's Alex Skolnick how to wow audiences in their own right, is worth the price of admission by his lonesome. Having released What Happens Next only two weeks earlier while commemorating 30 years of his landmark Surfing With the Alien, Mr. Satch Boogie as a solo attraction would've rekindled memories of his most recent San Antonio visit in 2016 at Trinity University's Laurie Auditorium (coverage here). G3, however, always marks a special occasion, as Satriani chooses a pair of his peers to join him on tour in a non-egotistical showing of respect, admiration and appreciation for what other axemen can do. 

The 2018 version sees Satriani joined by Dream Theater specialist John Petrucci and Phil Collen of Def Leppard -- the latter having recently announced an Aug. 31 stop with Journey at the AT&T Center (tickets on sale 10 a.m. Friday here). 

Collen kicked off the evening with his side project Delta Deep, which included a rousing cover of Deep Purple's "Mistreated." By the third song, it became apparent Collen's guitar skills weren't the only instrument that would enjoy the spotlight.

Vocalist Debbi Blackwell-Cook, the godmother of Collen's wife and who performed at their wedding in 2010, brought a soulful exuberance to a program that figured to be dominated by instrumentals, as the Deep showcased a semblance of what can be found on East Coast Live, which dropped the day prior. Also backed by touring bassist Craig Martini, who was filling in for Robert DeLeo of Stone Temple Pilots, and drummer Forrest Robinson, Collen shredded at times in a way Def Leppard's music does not allow him. Blackwell-Cook was so amazed while trying to match Collen's sounds with her voice during a fun jam session, she raised her eyebrows and conceded, "He's showing off."

Before returning to the stage for the G3 jam finale, Collen gave way to Petrucci's solo set. Petrucci's own trio included his Dream Theater drumming cohort Mike Mangini, who brought along a condensed version of his kit compared to the one he uses in the progressive metal force, plus bassist Dave LaRue. Not even Petrucci's thick beard could conceal his enthusiasm for playing in the Live Music Capital's cozy indoor venue as he enjoyed "starting with something dark" before turning to a more fluid, yet still heavy, style. Petrucci also played a tune not found on any of his albums, "Glassy-Eyed Zombies," which had fans in one of the three floor sections standing throughout and raising their horns. 

Petrucci gave thanks on multiple occasions for being able to play in front of an appreciative audience while referring to Mangini and LaRue as "two of the most amazing musicians I've ever had the pleasure of playing with." The latter, ironically, plies his trade in Flying Colors -- one of the many acts featuring Petrucci's longtime drummer and fellow Dream Theater co-founder Mike Portnoy.

Then came time to surf with the alien himself.

Satriani unveiled his out-of-this-universe skills by mixing the likes of brand new tunes "Energy," "Catbot," "Super Funky Badass," "Thunder High on the Mountain" and the soothingly diversified "Cherry Blossoms" with a slew of 1987 tracks such as "Satch Boogie" and "Circles." He dedicated another, "Always With Me, Always With You," to the crowd for helping to make Surfing With the Alien his true career-launching record. One of those nearby fans couldn't help but exclaim "Whoa!" nearly every time Satch utilized his whammy bar. 

Satriani temporarily stopped the show mid-song during Shockwave Supernova track "Cataclysmic" after breaking a string, necessitating a guitar change. He humorously insinuated it might be an omen. But the only thing that resulted was more jaw-dropping musicianship. Satriani wasn't even the only guitarist in his band that deserved the spotlight. Not to be outdone, as he showcased at Trinity, was longtime guitarist and keyboardist Mike Keneally, with Satriani marveling that he plays them "sometimes at the same time." 

Bassist Bryan Beller and drummer Joe Travers did their thing as well as Satriani exhibited the talent that has made him one of the most respected guitarists of this generation, also highlighting the evening with "Summer Song."

But that wasn't all. 

Petrucci, Collen and Blackwell-Cook accompanied Satriani for the G3 climax, offering up their skills on Deep Purple's "Highway Star" and Stevie Wonder's "Superstition." 

Although he omitted tracks from 1989's epic Flying in a Blue Dream and 2010's solid Black Swans and Wormhole Wizards, Satriani, along with his renowned guitar brethren, provided an early 2018 candidate for Concert of the Year.

If the vast array of talent on stage wasn't convincing enough, particularly given that media video footage was not allowed, well, the multitude of standing ovations will have to suffice. And perhaps 30 years of Flying in a Blue Dream will unfold next year.

In the Alamo City, to boot.

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Sevendust's 20th anniversary caps concert scene for 2017

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Sevendust's 20th anniversary caps concert scene for 2017

As the world prepared to put on their party hats, blow on their kazoos and ring in a new year, one of rock's premier bands went the other route. Celebrating 20 years, Sevendust put a cap on San Antonio's wide-ranging 2017 concert campaign by going back in time while showing the Vibes Event Center inside The Rock Box how it became one of the scene's most consistent artists.

And, in the process, demonstrated that it's not slowing down anytime soon. 

With Crobot plus locals Even In Death and Down Generation warming things up last Saturday night, Sevendust broke out its 1997 self-titled debut album in its entirety, which included tracks it hadn't played in recent visits such as "Terminator," "Wired" and "Face" (ATM footage below; setlist in slideshow). Crowd reaction to encores including the moshpit-inducing "Face to Face" and "Shine" (watch ATM Facebook Live footage here) typified what it meant for the Atlanta natives to mark their milestone with a special tour as frontman Lajon Witherspoon declared, "Man, I love me some Texas." 

As is often the case, Witherspoon became emotional when addressing the crowd. During the 2015 Fiesta Oyster Bake, tears rolled down his face when Witherspoon shared that he and his wife had found out they were going to be parents. On Saturday, it was the magnitude of Sevendust's 20 years, and frequent visits to Texas that played a role in many of those shows, that had the singer poignantly sharing his feelings with the audience -- which included Nothing More vocalist Jonny Hawkins.

With guitarists John Connolly and Clint Lowery, bassist Vince Hornsby and drummer Morgan Rose doing their thing, Sevendust concluded the evening in an appropriate way with "Thank You," though that is anything but a slow and sappy tune. The crowd continued to pump its fists, sing and headbang while those in the trenches encircled one another, threw down, and helped one another to their feet when one was knocked to the floor. Though Sevendust left some personal favorites off the set such as "Enemy," "Denial" and "The Past" in exchange for playing an entire album, the performance indicated that Sevendust is one of those bands that no matter what songs are brought forth, a satisfying show is virtually always guaranteed. 

Crobot, which played the 2015 River City Rockfest plus the 2014 Fall Ball, hardly disappointed either. Vocalist Brandon Yeagley was hands down the most energetic musician of the evening. With "The Necromancer" and other tunes from the group's two latest albums ringing throughout the Vibes, Crobot entertained those singing word for word in the front row, those casually watching from further back . . . and even those who weren't aware they were playing in "the other room." 

A video screen of the Vibes' live goings-on was on display on The Rock Box stage when one couple that apparently hadn't been to the venue inquired as to how many bands were on the bill. Informed that Crobot was winding down its set and Sevendust was the only band remaining, the gentleman replied, "What do you mean almost done? That's just a video, right?" Seconds later, he grabbed his significant other's hand and rushed off to where the music was unfolding in real time.

Even In Death received top billing among the two local groups and unveiled a lineup change. Rhythm guitarist Joey Villalobos and bassist Anthony Aleman are in the band, replacing Joshua Calderon and John Bernal, respectively. The group was limited to four songs including "Broken Dreams," "Possessed," and its recent video single "Fire All Your Guns." With vocalist Sean Nations, lead guitarist Anthony Carrillo and drummer Mark Reyes more than holding down the fort following the roster change, it will be interesting to see what 2018 has in store for the newer version.

Down Generation, a side project of Evil United and Murder FM drummer Jason "Shakes" West, got the night off to a blistering start. Vocalist Mauricio "Malls" Adan and lead guitarist Todd "Bird" Connally rocked out to tunes from the group's Self-Destruction EP, ending with the title track (ATM footage here), and gave a preview of what's to come this summer. Adan always knows how to crank up a crowd with his stage presence and vocal prowess, while "Bird" demonstrated what has made him a hot commodity in groups such as Evil United and Pitbull Daycare. West, meanwhile, played on a dislocated right elbow that required fluid drainage the following day. All in the name of Rock N' Roll, of course. 

As 2017 ended on a highly satisfactory note concert-wise, Sevendust and Co. left an unwritten challenge for San Antonio to top it in 2018.

Bring it on.

The Atlanta natives wrap up the Alamo City's concert scene for the year with a 20th anniversary show that includes the playing of its self-titled debut album in its entirety, including this track, at Vibes Event Center inside The Rock Box.

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'Bumblefoot' treats intimate gathering to solo holiday show

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'Bumblefoot' treats intimate gathering to solo holiday show

A Bumblefoot and a panther walk into a bar . . .

That was the case last Saturday night when Ron "Bumblefoot" Thal returned to The Rock Box. This time, he wasn't a member of Scott Stapp's solo band. Or Art Of Anarchy. Or new band Sons Of Apollo with renowned bassist Billy Sheehan and drummer Mike Portnoy of The Winery Dogs. Not to mention, Thal has virtually put his eight years as Guns N' Roses' lead guitarist completely in his rearview mirror.

No, this visit served a different purpose.

Setting up a folding chair and his iPhone playlist, Thal took a seat and declared to an intimate crowd of 45 --- yes, 45 --  "This is how I warm up" as he broke out the theme to "The Pink Panther." One hour and 51 minutes later, longer than many bands play to hundreds or thousands, Thal had spanned a good chunk of his underappreciated solo career with the likes of "Little Brother Watching" plus covers such as The Beatles' "Maybe I'm Amazed" and The Police's "Every Little Thing She Does is Magic."

Thal, who spoke with me in February about his various projects past and present (listen here), began the evening lamenting the "small crowd" to yours truly while watching local band Target 7 wrap up its set. The soundman then tapped Thal on his shoulder saying, "They want to know if they can play one more." 

Showing zero trace of ego that can befall rock stars a little too often, Thal happily replied, "Oh yeah, of course," while giving the band two thumbs up as it prepared to cover "The Green Manalishi (with the Two-pronged Crown)." Thal then took the stage seven minutes prior to his scheduled 9:30-11 p.m. set by joking, "I'm old" as he sat in the chair two nights before Christmas while Trans-Siberian Orchestra was playing its annual shows to thousands at the AT&T Center.

Surprisingly, Thal never mentioned his current bands. It even took him 90 minutes before referencing GNR.

"I wasn't in Guns N' Roses," he said. "I was in Roses N' Guns from 2006-14." He then offered his only GNR tune of the evening, "Used to Love Her" (ATM footage here). Thal had opened with it two years ago at South By Southwest during a 30-minute set on the Heart of Texas stage (coverage here).

Mixing in humor, such as when he slapped a guitar pick to his forehead and when he played with the braided beard strip running down his chin, Thal demonstrated why his guitar playing made him a focal point of Guns N' Roses and other acts. But he's not limited to skills on the strings. 

Thal is also an accomplished producer. During our previous interview, we spoke about the project he produced and referred to as "probably the most interesting metal I've heard in I don't know how long" when discussing Fragile Mortals, the tandem of former Exodus and current Generation Kill vocalist Rob Dukes and Run-DMC's Darryl McDaniels. The Dark Project, which also features Bumblefoot's musical talents, came out Oct. 13 -- nearly two years after he had hoped.

Thal, who offered that he continues to receive "something like $200 every three months" as royalties for penning the "That Metal Show" theme song, told me Sons Of Apollo "would love to" come to San Antonio next year, adding, as most musicians do, that an appearance rests with local promoters.

Until then, watch another ATM clip of Thal on The Beatles' "Oh, Darling."

As the show wound down, Thal looked at his watch and said, "I'm supposed to end in two minutes. Who knows a good two-minute song?" He answered his own question by saying, "I have a 7 1/2-minute song" as he performed solo track "Don't Know Who to Pray to Anymore." Just as he was about to pack up, the intimate gathering called for one more.

Thal asked, "What's a good ending song," to which a woman in the back replied, "A seven-minute song!"

Thal put a bow on the holiday night with a surprise ending you can watch in the video box below. The do-everything musician then offered to sign anything and everything while joking, "I'm going to try and stuff my CDs down your throat."

And with that, a Bumblefoot and a panther had left The Rock Box. And left those lucky enough to witness it utterly satisfied.

The guitarist of Art Of Anarchy and Sons Of Apollo, formerly of Guns N' Roses from 2006-14, plays a nearly two-hour solo show at The Rock Box and offers up a surprising Iron Maiden ending after he was about to pack up his gear only to have the fans clamor for one more.

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