Sunday September 20th
While I most certainly enjoyed Saturday night’s festivities, I thought Sunday’s lineup took the energy level to a new extreme. Sunday’s lineup comprised of better bands with stronger catalogs including Godsmack, Stone Temple Pilots, Anthrax, and Crobot.
Here at Pop-Break, we’re longtime fans and supporters of the almighty beardos known as Crobot. We’ve covered them in-depth and spoke with them many times over the past few years. I often tell this story both in print and in music related conversations; I saw Crobot perform in front of a small audience at Webster Hall – maybe 25/30 people tops – and they put on the show of a lifetime. I’ve seen hundreds of concerts over the years and this experience sits right near the top. Think about how many bands would mail in a performance by the shear sight of a small crowd, meanwhile, they proceeded to jam away as if the apocalypse were bound to occur tomorrow. They gave us everything they had. By the end of their set, the crowd reaction far exceeded that of a sold out arena. This show took place in May 2014 and I’ve seen them perform five times in the past year. When thinking about the difference a year could make, look no further than Crobot. On Sunday afternoon, they were scheduled for a nice timeslot on the main stage and performed in front of a few thousand people for 45 minutes.
We live in a modern era where gritty rock n’ roll is shunned by the mainstream and only the historic acts receive radio airplay. For those who believe rock n’ roll is dead, Crobot is the middle finger to the naysayers. A lot of music fans will rightfully praise a band who sound exactly like the record but how many bands could surpass their (incredible) record while relentlessly hurling the bodies across the stage. From the opening notes of “Legend of the Spaceborne Killer,” vocalist Brandon Yeagley commandeered the stage and belted out these stunning notes like a primetime Steven Tyler while bassist Jake Figueroa completely immersed himself to the stampeding rhythms. All joking aside, Figueroa is so prepared to lose his mind once the show begins that his eyes resemble the exorcist- the music literally consumes his subconscious. I’ve seen some great guitarists over the years but I never saw someone like Chris Bishop summon authentic Hendrix style emotion while consistently jumping off his amplifier. His hangtime in the air is NBA worthy while his quench for infectious riffs recalls the aggressive innovation of Tom Morello. Drummer Paul Figueroa lays down the ferocious backbeat that allows this band to effortlessly transition from head banging rhythms to funk induced breakdowns.
No disrespect to the following band Skillet but they came off as gimmicky and amateurish compared to Crobot. No questions asked, Crobot blew them off the stage and were the breakout act of the entire Rock Carnival. Whether you’re a fan of Black Sabbath, Alice In Chains, or Red Hot Chili Peppers, Crobot’s charisma is infectious because there’s life, hunger and most importantly, soul. I certainly sang the praises for their debut LP Something Supernatural in 2014 but seeing them perform new songs like “Welcome To Fat City” makes me ecstatic to hear what’s in store for 2016 and beyond.
Speaking of Crobot, their tourmates over the past five months happen to be one of the most influential thrash metal groups of all time. Talk about a homecoming performance; Anthrax turned the “Rock Carnival” into a full-fledged “Madhouse.” How many bands thirty-years into their career are at the top of their game? This is no exaggeration; Anthrax’s ongoing momentum since 2011’s Worship Music has seen them surpass the groundbreaking heights of their prime in the late 80s/early 90s. From a physical standpoint, this band’s Holy Grail energy level outclasses a majority of bands half their age. Bassist Frankie Bello’s rumbling bass lines are further heightened by his ability to get this crowd “Caught in a Mosh.” Charlie Benante is simply the most talented drummer of the Big 4; his combination of groove and technicality gives Anthrax such a diverse backbeat to manifest this explosion of aggression. Rhythm guitarist Scott Ian comes from the school of Malcolm Young where his adrenaline induced riffs are the foundation of his band’s identity while new lead guitarist Jonathan Donais provides a modern edge of shred, which takes Anthrax’s sound to previously unseen heights of virtuosity. Carrying the flag for this onslaught of metal is frontman Joey Belladonna – very few people in the music industry could energize a crowd quite like this man. Belladonna is the type of frontman who looks into the eyes of every single fan and motivates them to sing their lungs out.
Allow me to talk about Belladonna’s amazing personality; there was this Anthrax fan standing right near me who was the most die-hard of the bunch. He was truly having the time of his life. This loyal fan happened to have a silver cup from the beer garden portion of the festival. Belladonna not only recognized him; he borrowed this fan’s cup and poured his entire Gatorade in there for him. This display of gratitude truly encapsulates Belladonna’s genuine appreciation for his fans. During the latter half of the show, Ian graciously spoke about Anthrax’s history in New Jersey and how Eddie Trunk was the first DJ to play their music on FM radio. Anthrax asked the Jersey legend/That Metal Show Host to take a bow on stage and the crowd chanted, “Eddie! Eddie! Eddie!” Anthrax proceeded to honor one of Trunk’s longtime requests by performing “Lone Justice” off their 1985 classic LP Spreading The Disease. Aside from the nostalgia, recent songs like “Fight ‘Em Till You Can’t” and “In The End” stood shoulder to shoulder with beloved classics like “Got The Time” and “Indians,” which speaks volumes about the songwriting quality of Worship Music. If unsuspecting attendees never listened to Anthrax, they certainly received a “Fistful of Metal.” Be on the lookout for their new record in early 2016!
Since Sunday’s lineup featured mostly heavier bands, Stone Temple Pilots were the perfect co-headliner since their catalog so eloquently balances grungy riffs with awe-inspiring melodies. Their set provided a much needed breather before Godsmack. For those unfamiliar, Linkin Park frontman Chester Bennington is the new vocalist for Stone Temple Pilots. There were a few people in the audience unaware of these changes, however, I also saw some loyal Linkin Park fans that were excited to see Bennington perform. Unfortunately, I feel Stone Temple Pilot’s recent success gets overshadowed by Scott Weiland’s questionable antics. It goes without saying – Linkin Park is the most famous rock band of the last fifteen years. It’s not like Stone Temple Pilots recruited a no-name singer, Bennington is an A-list vocalist, personality, and songwriter. For this type of festival, STP played the perfect setlist, which was stacked with classics from Core, Purple, Tiny Music…Songs From The Vatican Giftshop, and No. 4. Let me acknowledge this crucial point, Scott Weiland is a baritone while Bennington is a tenor. If you’re unfamiliar with those musical terms, Bennington has a naturally higher register and range than Weiland so he’s bound to sound different on songs like “Big Bang Baby” and “Vasoline,” which were phenomenal by the way. I’ll ask the naysayers, do you really want a ripoff of Scott Weiland? In fact, I’ll focus on Bennington’s ability to add his own style to the classics. He finds a delicate balance between respecting his predecessor without compromising his own integrity. Bennington isn’t fronting Stone Temple Pilots for the paycheck either, this is someone living out his childhood dream. It was easy to recognize his love for the material during songs like “Crackerman” and “Big Empty.”
No doubt in my mind, Guitarist Dean DeLeo, Bassist Robert DeLeo, and Drummer Eric Kretz have been completely revitalized by Bennington’s youthful spirit. They are no longer handcuffed by a ticking time bomb. Those last few shows in 2012 with Weiland sounded fine but lacked the energy of Sunday night. These guys are naturally reserved, which allows Bennington to capture the audience’s attention but they were locked in from the opening notes of “Sex Type Thing.” It’s truly mind-blowing to think about how many great songs they wrote. Sunday’s performance showcased a band recapturing their blissful spirit, which might have been a lost cause had they not made the gutsy yet right decision.
Personally speaking, Rock Carnival’s lineup reminded me of Wrestlemania where the card was stacked with solid matches but everyone eagerly anticipated the main event. If this were wrestling, Godsmack was the equivalent of “Stone Cold” Steve Austin handing out “Stunners” to everyone in near sight. If there is one band that earned their headliner status over the past fifteen years, nobody is more deserving than Godsmack. During previous festivals, I witnessed these Bostonians absolutely embarrass acts including Disturbed and Shinedown by blowing them off the stage like they were inadequate amateurs. Last Sunday wasn’t taken to such an extreme since Godsmack ended the night on the highest possible note. Nobody was discredited or embarrassed in the process. In fact, I’d never associate the word ‘relaxed’ with Godsmack but they weren’t so focused on proving their worth, instead, they wanted to have some fun since this was a “Rock Carnival” after all.
Case in point, few vocalists unleash such visceral aggression upon listeners quite like Sully Erna. This man expects maximum crowd participation from the opening note and thousands of attendees fell into the palm of his hands. Talk about creating some havoc – Godsmack played “1000 HP,” “The Enemy,” “Keep Away,” “Cryin’ Like A Bitch,” “Straight Out Of Line,” and “Awake” in consecutive order – that’s six knockouts in a row. If you’re unfamiliar with those songs, add them to your playlist and watch your blood pressure severely spike. Nearly seventeen years after their debut, Erna’s voice hasn’t lost a single step. He keeps himself in tremendous shape, which helps him enjoy some whiskey and beer throughout the show. However, that doesn’t compromise his performance or stop him from summoning the lyrical eeriness of witchcraft and reincarnation during “Voodoo.”
For any of the rock fans in the crowd, Godsmack also covered songs like Alice Cooper’s “School’s Out” and Deep Purple’s “Highway Star.” While I enjoyed both renditions, guitarist Tony Rombolla really managed to invoke the spirit of Ritchie Blackmore. In fact, I’d love to hear him incorporate those complicated arpeggios and guitar scales into Godsmack’s new material. He’s a riff driven guitarist but he certainly has the capability of playing neo classical guitar.
I’ll often praise Godsmack’s live show; critics like to attack their quench for adrenaline but they are unquestionably one of the best live performers in the world. Once Godsmack kicks into its acclaimed drum solo “Batalla de los Tambores,” it’s usually case closed for anyone else. For those unfamiliar, Sully Erna was a lifelong drummer before he switched over to vocals following Godsmack’s formation. Along with Shannon Larkin, both drummers summon inspiration from geographical percussionists that combine Latin and Caribbean rhythms with heavy metal. Aside from Neil Peart in Rush; I never witnessed a more crowd pleasing yet musically exhilarating drum solo. Even infusing glimpses of AC/DC’s “Back In Black,” Aerosmith’s “Walk This Way,” Metallica’s “Creeping Death,” and Rush’s “YYZ,” I’m positive all of Northern New Jersey heard this audience scream in droves once the band kicked into “Whatever.”
Even in a large festival, how many bands could make 10,000 people feel so united? In essence, Godsmack’s performance represents the beauty of live shows as no other experience comes close to capturing this euphoric chemistry between an artist and audience. Regardless of society’s ignorance towards rock music, bands like Godsmack will carry the flag through the roughest trends for those of us willing to follow their lead.
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