The Hartford HealthCare Amphitheater in Bridgeport, CT bore witness on Sunday, August 20, to an epic convergence of Norse mythology and haunting mystique as two Swedish metal powerhouses, Ghost and Amon Amarth, graced the stage for their highly anticipated “Re-Imperatour” tour. The night unfolded as a mesmerizing journey through the realms of heavy metal, with each band offering a distinct, yet equally captivating performance that left the audience entranced and exhilarated, an indelible mark etched into the hearts of metal enthusiasts.
Ghost | Photo: Michael Dinger
As the sun gradually dipped beneath the horizon, an electric energy crackled through the air, a palpable anticipation that heralded the impending sonic onslaught. The stage underwent a transformation, a living tableau of Norse legends emerged before the crowd’s eyes. Amon Amarth’s stage presence was nothing short of breathtaking, a testament to their commitment to creating an all-encompassing experience that transcends music alone. With their drummer perched atop a colossal, illuminated Thor helmet and flanked by stone statues whose piercing eyes glowed with intensity, the visual spectacle was akin to stepping into a living mythology.
Amon Amarth | Photo: Michael Dinger
Amon Amarth’s setlist was a symphony of raw power and mythic storytelling, a riveting journey that delved deep into Viking lore. The ferocious energy of “Raven’s Flight” ignited the night, propelling the audience into a realm where axes clashed, and ships sailed on stormy seas. Each subsequent song, from the rallying anthem of “Guardians of Asgaard” to the epic crescendo of “Twilight of the Thunder God,” was an auditory saga that stirred the soul. The unexpected moments, like the crowd becoming Viking rowers during “Put Your Back Into The Oar” or the dragon battle during the aforementioned finale, demonstrated Amon Amarth’s ability to create an immersive experience that bridges the gap between music and the mythic.
Amon Amarth | Photo: Michael Dinger
Following Amon Amarth’s thunderous display, the stage underwent a transformation of a different kind, the atmosphere shifting to one of enigmatic reverence as Ghost made their entrance. The band’s mastery of theatricality and musical prowess was immediately evident, with every song seamlessly weaving into the next. The setlist, a carefully curated journey through their discography, was an ode to their unique blend of infectious melodies and haunting storytelling. Tracks like the infectious “Rats,” the dark allure of “Cirice,” and the mesmerizing chants of “Year Zero” resonated deeply with the audience, who became ensnared by Ghost’s mystique.
Yet, it was the unexpected twists that truly showcased Ghost’s ability to captivate and surprise. The resurrection of Papa Nihil during “Miasma” for a masterful saxophone solo was a moment that underscored the band’s penchant for defying expectations. Amid a stage design evoking the ambiance of a gothic church, Ghost spun a spellbinding narrative that balanced arcane themes with auditory enchantment.
Ghost | Photo: Michael Dinger
Amon Amarth and Ghost, each in their distinctive ways, crafted performances that married music and visual artistry, weaving a tapestry of sights and sounds that enveloped the audience in a visceral embrace. The “Re-Imperatour” tour etched itself into Bridgeport’s musical history as a night when the spirit of metal surged to the forefront, a powerful testament to the enduring appeal of heavy music. Attendees departed with not only cherished memories, but also renewed fervor for the immersive possibilities of live music.
Amon Amarth Setlist: Raven’s Flight, Shield Wall, Heidrun, Deceiver of the Gods, Put Your Back Into The Oar, The Way of the Vikings, Guardians of Asgaard, Raise Your Horns, Twilight of the Thunder God
Ghost Setlist: Kaisarion, Rats, From the Pinnacle to the Pit, Spillways, Cirice, Absolution, Ritual, Call Me, Little Sunshine, Con Clavi Con Dio, Watcher in the Sky, Year Zero, He Is, Miasma (featuring Papa Nihil’s saxophone solo), Mary on a Cross, Mummy Dust, Respite on the Spitalfields Encore: Kiss the Go-Goat, Dance Macabre, Square Hammer
Rain couldn’t dampen the spirits of metalheads as Pantera, accompanied by Lamb of God and Child Bite, electrified the St. Joseph Health Amphitheater. The weather may have been gloomy, but the atmosphere inside the amphitheater was ablaze with energy, thanks to the raw power of the bands and a few unexpected surprises.
Lamb of God.
Lamb of God’s electrifying set energized the crowd and set the stage for an unforgettable night. With a blistering start, the band launched into “Momento Mori,” a track that immediately established their intent to dominate the stage. Each note resonated with precision, a testament to Lamb of God’s seasoned prowess.
The intensity never wavered as the band seamlessly transitioned from one hit to another. “Ruin” ignited a frenzy in the audience, while the ever-popular “Walk With Me In Hell” united voices in a melodic roar. The setlist was meticulously crafted to showcase Lamb of God’s versatility, as evidenced by the seamless shift to “Now You’ve Got Something To Die For,” which delivered a fierce social commentary amidst the sonic onslaught.
“Omens” brought a modern edge to the performance, highlighting the band’s evolution without compromising on their core aggression. Lamb of God’s stage presence was captivating, with vocalist Randy Blythe’s raw energy feeding off the crowd’s enthusiasm.
Lamb of God.
As the rain persisted, Lamb of God’s set reached its zenith with “Redneck.” The pit erupted into a tumultuous sea of movement, and the crowd’s interaction with the band reached its peak. The shared experience of relentless headbanging and cathartic release transformed the weather’s adversity into a unifying force.
Pantera, known for their ferocious live performances, took the stage by storm, proving once again why they are hailed as legends in the metal world. Despite the absence of original drummer Vinnie Paul and guitarist Dimebag Darrell, the lineup alterations did not detract from the band’s intensity. With Phil Anselmo’s commanding presence and the bass prowess of Rex Brown, the crowd was treated to a spectacular display of Pantera’s iconic sound.
The inclusion of guest guitarist Zakk Wylde, known for his work with Ozzy Osbourne, and drummer Charlie Benante from Anthrax injected a fresh dynamic into the performance. Their chemistry with the band members was evident as they seamlessly integrated into Pantera’s lineup.
The setlist, spanning Pantera’s illustrious career, left no fan disappointed. Kicking off with a thunderous rendition of “A New Level,” the crowd was instantly captivated. The hits kept coming, with “I’m Broken” and “Walk” inciting frenzied mosh pits and headbanging that defied the rain. Phil Anselmo’s voice, as potent as ever, delivered the raw emotion that has defined Pantera’s music for decades.
Pantera.
The evening’s climax arrived with the finale. “Cowboys From Hell” resonated through the amphitheater, reminding everyone why this song is a metal anthem. The roaring crowd demanded more, leading to an unforgettable encore of “Yesterday Don’t Mean Shit.” The sheer energy of the band and the audience’s fervor forged a connection that transcended the weather’s challenges.
Pantera’s performance was a reminder of their enduring legacy, an echo of a bygone era of metal that still resonates powerfully with fans today. The band’s ability to unite the audience, even in the face of rain, showcased their unwavering impact on the metal community.
Lamb of God Setlist: Momento Mori, Walk With Me in Hell, Resurrection Man, Ditch, Now You’ve Got Something to Die For, Omens, Ruin, Contractor, Laid to Rest, Redneck
Pantera Setlist: A New Level, Mouth for War, Strength Beyond Strength, Becoming, I’m Broken, Suicide Note Pt. II, 5 Minutes Alone, This Love, Fucking Hostile, Cemetary Gates, Planet Caravan(Black Sabbath cover), Walk, Domination/Hallow, Cowboys From Hell, Yesterday Don’t Mean Shit
In a blazing crescendo of metal mastery, the Oncenter War Memorial in Syracuse bore witness to a seismic collision of sonic forces as Gojira and Mastodon united in a co-headlining tour that left the audience spellbound. The evening was an electrifying journey that began with the intense ferocity of Lorna Shore, setting the stage for an unforgettable night of melodic chaos and unbridled energy.
Lorna Shore ignited the atmosphere with an unrelenting onslaught of blistering tracks. The crowd was propelled into a maelstrom of sound as they unleashed the primal fury of “Sun//Eater” and the guttural intensity of “Cursed to Die.” The unapologetically heavy “Into The Earth” sent shockwaves through the venue, reverberating through the bones of every attendee.
However, it was the mesmerizing three-part opus of “Pain Remains” that truly captivated the audience, guiding them through an emotional odyssey that resonated deeply. The performance was more than just music; it was a cathartic release that manifested in fervent mosh pits, a swirling sea of bodies in harmonious chaos. Lorna Shore’s unyielding presence and raw energy served as an incendiary introduction that ignited the night’s fiery proceedings.
Gojira, the heralds of progressive metal, took the stage with an aura of enigmatic reverence. As the first notes of “Born for One Thing” reverberated, the crowd was transported into a sonic realm where the dichotomy of heaviness and melody coalesced seamlessly. “Backbone” and “Stranded” demonstrated the band’s masterful command of dynamics, alternating between thunderous riffs and ethereal passages that seemed to hang in the air like a delicate mist. The audience’s anticipation reached a fever pitch as the familiar opening of “Flying Whales” erupted, triggering a collective frenzy of headbanging and fist-pumping that reverberated throughout the venue.
Gojira’s performance was a showcase of musical finesse and emotional resonance. “The Cell” and “The Art of Dying” served as sonic tapestries, woven with intricate layers of sound that painted a vivid emotional landscape. A captivating drum solo added a mesmerizing dimension to the performance, capturing the audience’s attention in a hypnotic trance. But it was Gojira’s commitment to their eco-conscious message that truly set them apart. Tracks like “Amazonia” weren’t just songs but powerful rallying cries for environmental awareness, seamlessly merging artistry and activism on stage. As the night reached its zenith with the haunting strains of “The Gift of Guilt,” it was clear that Gojira had left an indelible mark not only on the audience’s ears, but also on their hearts and minds.
Mastodon, the titans of modern progressive metal, commanded the stage with a setlist that spanned their storied career. The opening salvo of “The Wolf Is Loose” and “Crystal Skull” unleashed a torrent of sonic energy that rippled through the crowd. The colossal force of “Megalodon” showcased Mastodon’s ability to craft massive, sludgy riffs that pummeled the audience like a sonic avalanche. The mesmerizing “Divinations” and the ethereal journey of “Andromeda” were a testament to the band’s genre-defying prowess, seamlessly blending elements of progressive, psychedelic, and classic metal into a cohesive sonic experience.
Tracks like “Sultan’s Curse” and “Fallen Torches” demonstrated the band’s dynamic range, effortlessly transitioning between intricate vocal harmonies and thunderous instrumental passages. A moment of introspection arrived with “Pushing The Tides,” a song that offered a glimpse into the emotional depth of Mastodon’s songwriting. The unrelenting assault of “Mother Puncher,” “Circle of Cysquatch,” and “Crusher Destroyer” created a maelstrom of mosh pits that bordered on ecstatic chaos, embodying the raw power that Mastodon’s music possesses. As the night reached its climactic conclusion with “Blood and Thunder,” a cathartic explosion of sound that left the crowd exhilarated and breathless, it was evident that Mastodon’s performance was a testament to their status as modern metal legends.
The co-headlining tour of Gojira and Mastodon, supported by the fierce energy of Lorna Shore, was a symphony of sonic majesty that transcended the boundaries of metal. Each band carved its own path through the night, weaving together a tapestry of emotion, intensity, and musical virtuosity that will resonate with fans for years to come.
Set Lists:
Lorna Shore: Sun//Eater, Cursed to Die, Into The Earth, Pain Remains I: Dancing Like Flames, Pain Remains II: After All I’ve Done, I’ll Disappear, Pain Remains III: In a Sea of Fire
Gojira: Born for One Thing, Backbone, Stranded, Flying Whales, The Cell, The Art of Dying, Drum Solo, Grind, Another World, Silvera, Amazonia, The Chant, The Gift of Guilt
Mastodon: The Wolf Is Loose, Crystal Skull, Megalodon, Divinations, Andromeda, Sultan’s Curse, Fallen Torches, Pushing The Tides, More than I Could Chew, Aqua Dementia, Steambreather, Iron Tusk, March of the Fire Ants, Mother Puncher, Circle of Cysquatch, Crusher Destroyer, Blood and Thunder
With the summer full of concerts across the state, there are plenty to attend but one in particular was the Psychotherapy Sessions Tour at St. Joseph’s Amphitheatre in Syracuse with Mudvayne, Coal Chamber, GWAR, Nonpoint, and Butcher Babies.
The aftermath of GWAR set.
It was a beautiful night for a show with just a cloud or two here and there and to start off this evening was Butcher Babies, hailing from Los Angeles. If you’ve never seen them live, they bring lots of energy to the stage with their two frontwomen, Heidi Shepherd and Carla Harvey, who are very well known for swinging their hair around as they headbang, as they did during their set. Next up was Nonpoint, an American rock band from Fort Lauderdale, Florida, who had no trouble keeping the crowd going after Butcher Babies, with their high-energy set.
Chad from Mudvayne gives the crowd an up-close experience.
Following them was GWAR and if you have never seen them live, if you plan on staying dry, it’s suggested to not be towards the front. Their set started with a character talking to the crowd and suddenly the band came on with another character with a saw, who began to use it on the first character and the fake blood began to spew out to the pit covering everyone.
To take the stage next was Coal Chamber who came back after their hiatus and reunited back in 2022. They had a colorful display on stage, with faces on the amps and lights. To end the night was Mudvayne, also back from a hiatus that started in 2010 but that didn’t stop them from putting on one hell of a performance. To kick off the set, the singer Chad Grey made his way to the barricade separating the pit from the stage and practically leaned on the ones who were lucky enough to be at the front and came back multiple times to interact with the crowd. All the members were dressed for the occlusion, all with makeup and headpiece.
To end the night as folks left, they also had one last treat with it being a beautiful evening for a concert, a full moon was out lighting up the surrounding area as the concert goers made their back to the parking lot.
In the heart of a sweltering summer weekend, the iconic MetLife Stadium in East Rutherford, New Jersey, became the epicenter of a rock ‘n’ roll frenzy. Metallica, one of the most legendary bands in the history of metal, took the stage for their second night as part of a “no repeat weekend” â a concept that had fans buzzing with anticipation for an entirely new setlist. Night 2 featured electrifying opening acts, Ice Nine Kills and Five Finger Death Punch, setting the stage for an unforgettable experience.
The night began with a burst of energy as Ice Nine Kills took the stage. The Boston-based metalcore band, known for their theatrical and energetic performances, kicked off their set with the powerful “SAVAGES.” Fans were immediately drawn into their world of horror-themed storytelling, as they unleashed a setlist that included hits like “Rainy Day,” “Hip to be Scared,” and the hauntingly atmospheric “Welcome to Horrorwood.” The band left the audience in awe as they concluded their set with the fan-favorite “Stabbing in the Dark,” a track that perfectly encapsulated their signature blend of melodic hooks and heavy breakdowns.
Following in the footsteps of Ice Nine Kills, Five Finger Death Punch erupted onto the stage with undeniable force. Starting their set with the anthemic “Lift Me Up,” the band ignited the crowd’s energy to new heights. Their setlist featured a mix of hits and surprises, including songs like “Trouble,” “Jekyll and Hyde,” a powerful rendition of the classic “Bad Company” cover, and the adrenaline-fueled “Welcome to the Circus.” Five Finger Death Punch closed their performance with the emotional and intense “The Bleeding,” leaving the audience craving more.
At 9 PM sharp, the earth-shaking roar of the crowd welcomed Metallica to the stage. With an opening that shook the ground beneath them, the band exploded into “Whiplash,” sending a shockwave of energy through the stadium.
The “no repeat weekend” promise held true, and fans were treated to a setlist that spanned Metallica’s storied career. Classic hits like “For Whom the Bell Tolls” and “Ride the Lightning” resonated with fans who had journeyed far and wide to witness the metal legends in action. The haunting melodies of “The Unforgiven” tugged at heartstrings, while the explosive “Wherever I May Roam” carried the audience on a journey through the band’s diverse soundscapes.
Metallica’s setlist also held surprises of its own, featuring three tracks from their latest album, 72 Seasons. The crowd was treated to the live debut of “Too Far Gone?” and the blistering “You Must Burn!” However, it was the epic “Lux Ãterna” that truly captivated the stadium, showcasing the band’s evolving musical prowess.
The grand finale of the night came with a thunderous rendition of “Enter Sandman.” The iconic riff that has echoed through countless arenas over the years reverberated throughout MetLife Stadium, bringing the night to a triumphant close.
As the final notes of “Enter Sandman” hung in the air, the members of Metallica stepped forward to address the audience. Each band member took a moment to express their gratitude for the unwavering support of their fans. The stadium was filled with cheers and applause as Lars Ulrich, James Hetfield, Kirk Hammett, and Robert Trujillo shared their heartfelt sentiments.
Setlist: Whiplash, For Whom The Bell Tolls, Ride the Lightning, The Memory Remains, Lux Ãterna, Too Far Gone?, Welcome Home (Sanitarium), You Must Burn, The Call of Ktulu, The Unforgiven, Wherever I May Roam, Moth Into Flame, Blackened, Whiskey in the Jar, One, Enter Sandman
On Aug. 4, 2023, metal giants Metallica descended upon Metlife Stadium in East Rutherford, New Jersey, to kick off the North American leg of their highly anticipated M72 Seasons Tour. With a stellar lineup that featured opening acts Pantera and Mammoth WVH, the night promised to be an unforgettable metal extravaganza. Drawing a staggering crowd of 80,000 enthusiastic fans, the stadium was electrified with the raw energy that only true heavy metal can deliver.
Metlife Stadium, known for its impressive capacity and state-of-the-art facilities, was the perfect venue for this massive event. To make the experience even more immersive, the stage was set up “in the round,” which means it was located at the center of the stadium, allowing fans from all sides to have a clear view of the action.
Before Metallica took the stage, fans were treated to two opening acts that set the stage on fire. First up was Mammoth WVH, the creation of the multitalented Wolfgang Van Halen, son of legendary guitarist Eddie Van Halen. Mammoth WVH brought their A-game, delivering a powerful performance that showcased their explosive musicianship and remarkable stage presence. Hits like “I’m Alright,” “You’re to Blame,” and “Don’t Back Down” had the crowd headbanging and singing along.
Following Mammoth WVH, the atmosphere became even more intense as the audience eagerly awaited Pantera. The band took the stage with the incomparable Zakk Wylde on guitar and Anthrax drummer Charlie Benante joining the lineup. Despite the tragic losses of two original members, Dimebag Darrell and Vinnie Paul, their legacy lives on. Surviving members Phil Anselmo and Rex Brown, along with Wylde and Benante, teamed up to deliver a ferocious set. Fan favorites like “Strength Beyond Strength,” “I’m Broken,” “Walk,” and “Cowboys From Hell” sent waves of nostalgia through the crowd.
Metallica kicked off their two-hour set with “Creeping Death.” They immediately unleashed their signature sound, sending shockwaves through the stadium. The M72 Seasons Tour featured a unique concept, with the band playing two nights in each city, but ensuring that both shows had completely different setlists. The first night at Metlife Stadium featured powerful renditions of songs like “72 Seasons,” “Fade to Black,” “Nothing Else Matters,” and “Battery,” each one resonating with the crowd’s insatiable appetite for metal.
The pinnacle of Metallica’s performance was marked by the arrival of the iconic track “Master of Puppets.” In response, the atmosphere within the stadium ignited into a frenzy, with mosh pits erupting spontaneously. As Kirk Hammett, Rob Trujillo, Lars Ulrich, and James Hetfield poured their energy into the performance, the crowd’s reaction was nothing short of electrifying. The combination of powerful guitar riffs and thunderous drums seemed to unleash a tidal wave of raw excitement.
Setlist: Creeping Death, Harvester of Sorrow, Holier Than Thou, King Nothing, 72 Seasons, If Darkness Had A Son, Fade to Black, Shadows Follow, Orion, Nothing Else Matters, Sad But True, The Day That Never Comes, Battery, Fuel, Seek & Destroy, Master of Puppets.
It was a reunion of sorts on Thursday at the Lakeview Amphitheater in Syracuse, as hard rockers Godsmack and Staind joined forces for an impressive twin bill. The pair of Massachusetts-based bands have toured extensively together since 1998.
The tour was designed in part to celebrate the 25th anniversary of Godsmack. The band, who released Lighting Up the Sky (2023) earlier this year, has announced that this will be their last studio release, however, lead singer Sully Erna has gone on record to state the band will continue touring. Boasting an impressive resume of eight studio albums with over twenty million albums sold, the band has maintained the same four members throughout the twenty-five years of existence. Frontman Sully Erna (vocals, guitar, percussion) is joined by Tony Rombola (guitar), Robbie Merrill (bass guitar), and Shannon Larkin (drums).
The evening’s festivities kicked off with a thirty-minute set by Mix Master Mike. Known for his years as the turntablist with the Beastie Boys, Mix Master Mike was able to fill the amphitheater with early energy and excitement, as he played a mixture of Beastie Boys tracks along with other hit tracks primarily from the 1990s.
After a brief set changeover, the back side of the stage was illuminated to show various screens and projection monitors. As Staind took to the stage the screens would display cinematic-style scenes and images tying in to the songs being played. Staind launched into their new single “Lowest In Me” from their forthcoming release Confessions of the Fallen. Aaron Lewis (vocals, guitar) quickly put his signature vocals on display, showcasing one of the more familiar voices in rock music. His bandmates proved to be no slouches either, as Mike Mushok (guitars) jumped, thrashed, and head-banged throughout the set.
The band would perform for 75 minutes with a set that included several hit tracks from the early 2000s, such as “Outside,” “It’s Been Awhile,” “Fade,” and “Epiphany.” As the set neared a close, the amphitheater filled with the familiar bass guitar rumble of the song “Mudshovel,” the band’s breakthrough track in 1999. This brought the crowd to their feet, singing and screaming along with Lewis, as he strutted about the stage.
After the set a white sheet would drape over the stage, hiding the set up behind. As it came time for Godsmack to take the stage, Mike Master Mike was projected across the screen. Several arena rock anthem tracks were played to further build excitement. Eventually, the sheet would drop to reveal a black sheet with the familiar Godsmack sun logo. A few seconds later, and with a burst of fireworks, the headliners would take to the stage. Godsmack immediately launched into the high-energy title track of their 2018 release When Legends Rise.
The band would keep the energy going as they moved on to 1000hp, playing in front of a slew of flames and other pyrotechnics. During the band’s hit track “Voodoo” the flames would again make a return, as fireballs would rise from the stage, almost as if they were dancing with the song’s cryptic rift. As the set moved on, Larkin’s drum riser would to the front of the stage, and be joined by a second drum set. Erna would then take a seat behind the kit and the pair would then put on an impressive percussion battle on “Batalla de los Tambores.”
After a brief encore break, Erna would return to the stage and take a seat behind a piano. He talked about the importance of community and discussed the band’s charity, the Scars Foundation, a nonprofit organization designed to provide mental health services to local communities. Erna would then perform the beautiful track “Under Your Scars.” The song not only showcased Erna’s talent as a songwriter but also his diverse musical ability and his strength as a person. His bandmates would then return to the stage for the evening’s final two tracks, “Bulletproof” and “I Stand Alone.”
Life House, the heavily anticipated, long-awaited rock opera by The Who is finally seeing grand-scale release after over 50 years in the making. Tower Records, the legendary music chain that shaped the landscape of the pre-digital music industry, and Rockbox Studios are set to release an edition of the graphic novel signed by Pete Townshend and Roger Daltrey, limited to 1,000 units now available for pre-order. Later this year, standard and deluxe versions of the graphic novel will be available.
Additionally, a Who’s Next/Life House Edition box set from UMe will be released on Sept. 15. Additional information is available here. Featuring 155 tracks, 89 of which are previously unreleased and 57 feature fresh remixes, the Super Deluxe edition of Who’s Next/Life House will contain 10 CDs and a 100-page hardback book and Life House – The Graphic Novel.
Background
Townshend originally conceived “Life House” in 1970, a motion picture rock opera following the success of The Who’s multi-platinum selling album, Tommy. The science fiction narrative centers on a dystopian, totalitarian society where music is prohibited, successfully anticipating phenomena such as climate change, the internet, streaming media, and racial equality.
The Who worked for almost a year developing the album at the Young Vic Theatre in London, but ultimately decided to release elements on their 1971 bestselling album, Who’s Next. In 1999, Townshend released a solo compilation of the project entitles The Lifehouse Chronicles. For decades, Life House has been considered a prized item for fans of The Who, one which will be realized later this year.
’Life House’ has always needed a story that makes sense but without the egos of new creatives who think they can ‘fix’ what was wrong with my first draft. The graphic novel is built around that first draft written prior to recording sessions and workshops at the Young Vic in 1971. A second draft with some good ideas from Roger in 1976 added some cohesion and more exciting collateral which really suits the comic format. I’m delighted with the comic. The art is beautiful and dense, colourful of course and engaging. The artists and their team have made an amazing and hugely collectible piece that adds depth and clarity to an otherwise complex story. ‘Life House’ is reborn. Tower Records was an iconic L.A. vinyl store in the ‘70s. I never failed to visit when touring and it’s possible that around 75% of my remaining collection is from the store. It’s great news to hear Tower is back in black!
Pete Townshend
The graphic novel, a 172-page sprawling sci-fi epic, is presented in an album-sized square format. The Tower Records edition, signed by Pete Townshend and Roger Daltrey is extremely limited and will carry a retail price of $1,000 and is available for pre-order now exclusively on Tower Records’ website. Universal’s Who’s Next/Life House box set will be launching later this year and the book’s release from Image Comics will come on Dec. 6, 2023.
“At Tower Records, our main goal is to help artists tell their stories in music and beyond,” said Danny Zeijdel, President of Tower Records. “’Life House’ embodies this, and we are honored to be a platform for the legendary Pete Townshend, Roger Daltrey, and The Who as they share this exciting project with the world.”
Townshend met Rockbox Studios CEO, Jeff Krelitz, several years ago and discussed the potential for the project. They worked with writer and artist James Harvey to develop the story and look at the world as a future seen from a 1970 point of view. British writer David Hine and Australian artist, Max Prentis, were brought in to complete the project, which was edited by former Bleeding Cool Editor-In-Chief, Hannah Means-Shannon. Additionally, letters were provided by Micah Myers with inks by the Eisner Award-winning artist, Mick Gray.
“’Who’s Next’ has always been one of my favorite albums and the opportunity to help Pete advance his vision for ‘Life House’ with this graphic novel is a dream come true,” said Krelitz. “Having been a part of the team rebuilding Tower Records’ legacy for the last few years, I couldn’t imagine a better home for this exciting epic that music fans have been waiting half a century on.”
About Tower Records
Founded in 1960 by Russ Solomon, Tower Records developed from a business he founded as a teenager to resell 78 rpm jukebox records in his father’s Sacramento drug store, into a record retail behemoth that operated dozens of stores across the United States. Tower Records defined the retail music business in the pre-digital era and at its peak had nearly 200 stores across 15 countries, and more than $1 billion in annual sales.
Known for its enormous volume and its audiophile behind-the-counter staff, Tower Records became the mecca for in-store performances and recording artist events, placing it at No. 1 among U.S. music merchants. Today, Tower Records is transcending its historic past by creating online experiences and exciting partnerships with artists, labels, and brands for all music fans to “Know Music, Know Life.”
Since the relaunch of Tower Records in 2020, the iconic music brand has been offering music and art fans exclusive merchandise drops including limited edition vinyl releases and branded products. Tower Records quickly rose to be a top online retailer for physical music in North America and the brand recently launched an additional online store in Europe. For news and to sign up for upcoming events and vinyl drops at Tower Labs visit here.
Darien Lake Amphitheater witnessed an electrifying spectacle Friday night as Fall Out Boy took the stage and delivered a concert experience that left the sold-out audience in awe. Joined by the dynamic rockers Bring Me The Horizon, as well as the talented acts Royal & The Serpent and Games We Play, this event was nothing short of an adrenaline-fueled rollercoaster of emotions and musical excellence.
As the sun began setting on the picturesque outdoor venue, Games We Play kicked off the night with an impressive set, warming up the crowd and setting the tone for what was to come. Their energy and catchy tunes got concert-goers moving and set the stage for an evening of non-stop entertainment. While only having a few songs to perform, Games We Play did a crowd-engaging cover of “Mr. Brightside” which got the spark going.
Next up, Royal & The Serpent took the stage and proved why they are a band to watch. With an eclectic mix of indie-pop and alternative sounds, the group the audience with their raw, emotional performance. Lead vocalist Ryan Santiago’s vocals soared through the amphitheater, leaving a lasting impression on the fans.
Bring Me The Horizon, the British rock sensation, took the Darien Lake Amphitheater by storm, cementing its status as one of the most captivating and innovative acts in the contemporary rock scene. From the moment they stepped on stage, it was evident that they were on a mission to leave an indelible mark on their audience. Led by the enigmatic frontman Oliver Sykes, Bring Me The Horizon’s performance was a masterclass in showmanship and musical prowess. Sykes’ raw and emotionally charged vocals pierced through the air, commanding the attention of every person in the amphitheater. His dynamic stage presence drew the audience into an intense and immersive experience, transforming the concert into an intimate connection between the band and their fans.
The band’s ability to seamlessly blend different genres was on full display, as they effortlessly transitioned between heavy metalcore anthems and more melodic, atmospheric moments. Tracks like “Shadow Moses” and “Can You Feel My Heart” showcased their heavier side, igniting mosh pits and fervent headbanging, while songs like “Drown” and “LosT” showcased their ability to craft emotionally resonant and introspective pieces.
Perhaps one of the most remarkable aspects of Bring Me The Horizon’s set was their unwavering authenticity and vulnerability on stage. As they performed intensely, it was clear that the band was baring their souls to their fans. This authenticity fostered a sense of unity between the audience and the musicians, making the concert feel like a cathartic and shared journey.
In addition to their emotive performances, Bring Me The Horizon also used their platform to address important social and environmental issues. Between songs, Sykes took a moment to speak passionately about mental health awareness, urging the audience to support each other and seek help when needed. The band’s commitment to using their music and influence for positive change resonated deeply with the audience, further solidifying their place as more than just a rock band.
As Bring Me The Horizon concluded their set, the anticipation for Fall Out Boy reached a fever pitch. The pop-punk veterans did not disappoint, rotating through a diverse selection of songs with each set. Fans were elated to hear the rarely played “The Takes Over the Breaks Over,” a classic from their 2008 record Infinity On High. But the surprises didn’t end there. During the medley, lead vocalist Patrick Stump treated the audience to an acoustic, shortened version of “Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows)” from their iconic 2006 album From Under The Cork Tree. The crowd went wild, relishing in the nostalgic moment.
Fall Out Boy’s impeccable musicianship and stage presence were on full display, proving why they have remained a staple in the alternative rock scene for years. Patrick Stump’s soulful vocals, Pete Wentz’s electrifying basslines, Joe Trohman’s killer guitar riffs, and Andy Hurley’s powerhouse drumming came together in perfect harmony, elevating the concert to a whole new level.
Fall Out Boy’s signature “Magic 8 Ball” portion of the evening had become a fan-favorite since the tour began, with the band usually performing one obscure song from their repertoire. This night, they went above and beyond, playing two hidden gems. The first was the live debut of “You’re Crashing but You’re No Wave,” a long-awaited treat for die-hard fans. The second was “27,” a beloved fan-favorite from their 2013 post-hiatus record Folie à Deux.
The camaraderie between the band members was palpable, with moments of lighthearted banter and genuine appreciation for their devoted fans. It was evident that Fall Out Boy was not just performing; they were sharing an experience with their audience, creating an emotional connection that extended beyond the music.
This show at Darien Lake Amphitheater was an unforgettable night of musical marvels. With their energetic performances and raw emotion, both Fall Out Boy and Bring Me The Horizon demonstrated why they are two of the most celebrated acts in the rock scene. The show’s sold-out status was a testament to the unwavering passion of their fans, who were treated to a night of timeless classics and unforgettable rarities. This concert will undoubtedly be remembered by all who attended as one epic night.
Fall Out Boy Setlist: Love From the Other Side, The Phoenix, Sugar, We’re Goin Down, Uma Thurman, A Little Less Sixteen Candles, a Little More “Touch Me,” Chicago Is So Two Years Ago, Grand Theft Autumn/Where Is Your Boy, Calm Before the Storm, This Ain’t a Scene, It’s an Arms Race, Disloyal Order of Water Buffaloes,Heaven, Iowa, The Take Over, the Breaks Over, Headfirst Slide Into Cooperstown on a Bad Bet, Fake Out, Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows), Golden (Partial; Piano Medley), Don’t Stop Believin'(Journey cover) (Piano Medley), Save Rock and Roll, Baby Annihilation, Enter Sandman(Metallica cover) (Partial), Dance, Dance, Hold Me Like a Grudge, You’re Crashing, but You’re No Wave, 27, My Songs Know What You Did in the Dark (Light Em Up), Thnks fr th Mmrs, Centuries, Saturday
Bring Me The Horizon Setlist: AmEN!, Teardrops, Happy Song, DiE4u, MANTRA, Shadow Moses, sTraNgeRs, Drown, LosT, Can You Feel My Heart, Throne
It was the best of times. The early 1990s was a great time to come of age. The Reagan era creaked to an un-auspicious end with the Iran Contra scandal leaving a permanent tinge of scandal to the end of the 1980s. Reagan’s Treasury Department left a gigantic economic mess for George H. Bush due to his de-regulation of the Savings and Loan Institutions which caused major speculation by these S&L which eventually led to numerous banks failing due to bad and often corrupt investments. This S&L scandal was a major contributor to the recession of 1990 that Bush Sr. had fall right into his lap. His “READ MY LIPS” speech and then his subsequent tax hike doomed him politically and would eventually devastate his chances at a second term. Lollapalooza
Lollapalooza 1992 ticket stub
Flash to the summer of 1992, the election of Bill Clinton as the 42nd President of the United States was still not a foregone conclusion. Generation X was mad as hell and motivated to make changes in the political and social landscape of the country that had been repressive for the previous decade. The old guard needed to be retired and exchanged for something new and exciting and generation X was ready for it.
Luckily for all of us we had Perry Farrell to be the ringmaster of that circus. After his first successful run at bringing the Lollapalooza music festival to the country the previous year, the Jane’s Addiction front man doubled down and created what would wind up being a lineup for the ages for the second tour in 1992. I was a 24-year old college graduate that was working two jobs as a waiter in order to make ends meet at that time. My friends and I had enough scratch to afford cheap lawn seat for the fifth stop of the Lollapalooza festival that was hosted at the Saratoga Performance Arts Center on August 4th 1992. It would be an experience that would impact my life forever.
Lollapalooza 1992 program
The festival included the main stage for the big headliners and a side stage dubbed “Stage 2000” which home to the now famous Jim Rose sideshow circus. The Alt carnival extravaganza featured artists like The Amazing Mr. Lifto, whose claim to fame was lifting 2 big clothes irons from his penis and another performer named Enigma whose carnival act included eating live worms and maggots. Some things in life folks you can never un-see.
Jim Rose Circus at Lollapalooza 1992
The second stage also hosted Perry Farrell’s post Jane’s Addiction breakup band Porno for Pyros during the festival’s tour. This was a genius move on Farrell’s part because it enticed so Jane’s Addiction fans away from the thrall of the main stage and gave a chance for them to experience some of the lesser known artists on the second stage. Porno featured also many of the Jim Rose Carnival Crew during their performance which was perfect visually for the music that the band was providing. Stage 2000 also featured numerous up and coming bands like Shark Bait and Sweaty Nipples which have faded into obscurity over time and others like Cypress Hill, and House of Pain that would go on to have very long and successful musical careers.
The Lollapalooza Festival was also revolutionary at the time because it featured something unique, the Concourse of Curious Oddities that was comprised of lots of crafts for sale, artist installations, exotic multicultural food stalls, and lastly the Cyberbar that would let patrons experience the benefits of an Oxygen bar which most of us at the time never heard of or even knew existed. These were things I had never seen before at any show I had ever attended up to that point.
Lollapalooza 1992 signage
Lollapalooza was innovative as a music festival because it provided space for over a dozen political action booths that featured non-profit causes like PETA, Green Peace, ACLU, Rock the Vote, Handgun Control Inc., and the Women’s Voter’s League just to name a few. This was a big departure from the norm of any other music festival and was a master stroke of genius by organizer Perry Farrell. It was truly an ingenious way to activate members of Generation X. It effectively exposed concert goers who were mostly comprised of teens and 20 somethings to a variety of political causes that they would have never otherwise been exposed to, effectively making it cool to be an activist which at the time was desperately needed. Farrell also helped a lot of young folks get registered to vote just prior to a very important Presidential election that would go on to shape the remaining years of the decade and usher in the dawn of 21st century.
The heavy music action of course took place on the Main Stage, with English band Lush starting off the festival at 2:00PM. We were all getting ready for the big names on the bill that were slated to perform later on that night. My friends and I were at the point in the day where we were getting into the right “head space” for the festivities. Multitudes of concert goers milled about the grounds locating friends and joyfully explored the trappings that the carnival that had come to Saratoga had to offer.
Of course right at the point when it was time to start getting comfortable on the lawn to take the show in, the sky opened with rain, just like it always seems to in Upstate NY when there is a great show. By the time Lush finished their set and Pearl Jam came on SPAC’s main stage, the amphitheater’s lawn had been converted into a mud pit complete with crazy mud people that would, ironically for me, foreshadow my experience years later at the Woodstock 1994 festival in Saugerties NY.
The mud at Lollapalooza 1992 at SPAC
These maniacal misanthropes went sliding headfirst down the hill of the lawn crashing into whoever was not paying attention or just too fucked up to care. When Eddie Vedder and the rest of the band came on and they commenced belting out a blistering rendition of “Once” that was a deep cut off of their first album Ten it seemed like the 25,000 plus festival attendees went into a full on frenzy. Without a moment’s notice the crowd on the lawn made a mad rush through the rope barrier that separated them from the stage like a wave of humanity driving towards the stage. The muddy mosh pit that had developed on the lawn grew massively and those poor souls uninitiated to the art started fleeing from the flailing arms and body parts that were spastically thrown about. It was truly a sight I will truly never forget. At that moment and at that place there were no rules, no barriers that we could not push through. We reveled in the freedom and the audacity that the music we all loved brought us to in that time and place.
The rain had finally quit and Pearl Jam went on to finish an epic set of eight songs, leaving the crowd ready for a time out. By that time I too was ready for a break and milled about the festival grabbing some much needed food and alcohol before my next must-see band, Chris Cornell and Soundgarden, was to go on stage. I don’t really recall, but I may have checked out the last couple of tunes that Jesus and Mary Chain played, but to be honest after the energy that Pearl Jam threw to the crowd, I was unimpressed with the performance that they were giving.
Eddie Vedder at Lollapalooza 1992
It was then time for one of the bands that started the Seattle scene in 1990s Soundgarden. Of course those of us in the know at the time were secretly hoping that Eddie Vedder and the boys from Pearl Jam were going to join Chris Cornell on stage during their set. We were hoping that they would bust out a number off of the Temple of the Dog album that Cornell and PJ collaborated on. That effort was put together in order to commemorate the loss of good friend and former band mate Andrew Wood who was the lead singer of Seattle’s famed Mother Love Bone. Alas it was not meant to be, but Chris and the band put on a powerhouse of a set that night with renditions of classics like‘”Jesus Christ Pose,” “Outshined“, and“Rusty Cage.” Soundgarden even slipped in a kick ass rendition of “Cop Killer,” a controversial hit made infamous by previous Lollapalooza alum rapper turned Body Count’s hard-core front man Ice-T.
Soundgarden, backstage at Lollapalooza 1992
I took another stroll around the grounds, I was out of beer at that point and made it back to the lawn for Ministry’s set. I was sort of familiar with the band as they were gaining a lot of popularity at the time and their track “The Missing” was frequently played at QE2, the only punk club in Albany which I regularly hung out at on Friday nights. The Industrial mayhem that Ministry provided whipped up the crowd and the SPAC seats were being unceremoniously ripped loose and thrown about the front of the stage. It was getting real at that point and my concern for those up front started to outweigh what was going on the stage. The mayhem was like nothing I had ever experienced at any show, with the possible exception of the Faith No More concert I attended the year before at the now defunct Saratoga Winners. That one was truly beyond nuts!
By the time the Red Hot Chili Peppers took the stage, things at the festival had calmed down drastically. There was still plenty of crowd surfing and stage diving. The Pit was still very active, but the sense of unhinged craziness seemed to have really subsided and I was able to relax again. I believe the energy that was expended for Ministry’s performance as well as the other previous acts seemed to level out the crowd. RHCP took the stage and delivered a more tempered set with hard driving numbers like “Give it Away” and “Suck My Kiss” that transitioned into to more restrained songs like “Under the Bridge” and “Breaking the Girl.” RHCP bassist Flea was of course on stage in his “Whitey Tighties” for most of the set, beating on his bass like the beautiful maniac that he is. Front man Anthony Kiedis consistently connected with the crowd and performed the best set I ever saw the band crank out to this very date. Lots of energy and funkiness were provided that night with one of my RHCP all time favorites included their cover of Stevie Wonder’s classic “Higher Ground.”
The whole band at the end of the show donned these crazy hard hats that had fire coming out of the top of them while performing the Jimi Hendrix classic “Crosstown Traffic” which was the final number for the festival.
Ahead of us Gen Xers was a brand-new decade and the last one before the illustrious end of the 20th century. The future was thrusted upon us. Although we as generation were less filled with naïve idealism that our baby boomer parents had, we were a hopeful lot. Yes we were cynical to a fault and ready to call bullshit to anything or anyone that got in our way, but we still wanted what every generation us wanted, a part of the American dream we just weren’t certain what that was. One thing was for certain, we weren’t going to get fooled again by anyone. We were finally on top and were steering the ship and man we were ready to celebrate.
On the 33rd anniversary of this legendary musical moment in upstate NY, things are tougher than we Gen Xers ever expected them to be back at that time. Current challenges such as the COVID Pandemic, Climate Change, Political Unrest, and even the Internet have been inflicted on all of us.
That day back in 1992 in Saratoga there were over 40 arrests made at the show. Property damage was done. The passive rope line at SPAC that separated, what we perceived as, the haves and the have nots was changed to a permanent fence line not so easily disregarded by an energized crowd. SPAC has, since that fateful day in August 4th 1992, permanently banned the Lollapalooza festival from ever gracing their stage again. Here is what the Albany Times Union had to say looking back at the festival.
“SPAC legend and lore through the years:
One of the worst juxtapositions between consecutive-night crowds at the Saratoga Performing Arts Center came in 1992, when the Lollalapooza tour, headlined by Pearl Jam and the Red Hot Chili Peppers, performed a 10-hour show on a Tuesday before a horde of at least 25,000, followed the next night by a crowd 90 percent smaller for the Philadelphia Orchestra. Although comparatively few in number, some fans of the Philadelphians were still displaced, because Lollapalooza’s hordes had broken more than 70 seats inside the amphitheater. According to a Times Union account from the show, “Teenagers and young adults ran into the amphitheater by the hundreds, overwhelming the security staff, snapping ropes and pulling up the posts holding the ropes.” Authorities reported more than 40 arrests, and the tour was not welcome at SPAC the following summer; it stopped at the then-Saratoga Raceway in 1993.”
The memories of that day though, albeit a little foggier than they once were, but are still mostly intact. The sense of freedom of that day. Being able on that day to embrace music, art, and get a healthy dose of political activism as a group will never truly be lost on any of us that were lucky enough to be witness to it. It was most definitely not one I wanted to miss and I am so glad I didn’t.
Check out below we have some social media posts of other gen xers who shared some of their remembrances of Lollapalooza Festival 1992 at SPAC :
Kimberly:“My husband was one of the people who stormed down to the front. But then he started pulling people up out of the crowd and “saving” them from being swallowed up by the crowd or trampled. I stayed in the back 1/3 of the amphitheater. Too scary for a short person up front.”
Tim:“Random memory: waiting in line for food and the Enigma from Jim Rose walked up to my buddy, who got through the line ahead of me and was already eating a falafel pita, and he asked if it was any good. “Dude, you were just on stage eating live worms and maggots and you’re asking if THIS is any good?” “Well, you gotta watch what you eat!””
Peter:“I was there. Right before I went into the Navy. It was fucking awesome.”
Michael: “We had snuck inside using somebody else’s amphitheater tickets…. about 10 min before the gates fell! It was packed and totally insane! Top 5 show all- time easily.”
Peter: “All I know is I ate a 10 strip and woke up (after what seemed like 4 years) with cornrows. That’s a show.”
Roger:“We brought a football. We were throwing it around to people in the crowd who made eye contact with us. It ended up on stage and Ice Cube was holding it up during his set. Then he tossed it back out. Never did get that ball back.”
Toby:“I worked that concert it was a shit show cleaning up after it.The place was destroyed”
Bobby: “I thought I was going to be crushed to death during the Ministry set. Still woulda been worth it.”
Peter:“I dodged a few broken chairs during Ministry’s set.”
Michael: “I was there. Helping with Rock The Vote. It was a huge mess!”
Joseph:“I had lawn seats…. but, a group of us decided to make a break for it early. We ran across the tops of the seats till we reached the mosh pit in front. Fantastic concert. I still have my unworn t-shirt.”
Timothy: “Chris Cornell dove from the stage and landed on me and my friend Scott. I literally had a mouthful of his hair.”
Sarah:“I remember this event, too. My friend and I had seats in the Pit, and I nearly was killed when the crowd stormed the amphitheater. Gratefully, my friend was a lot bigger and taller than me and was able to lift me off the floor when I got knocked down. Saved my life. . .”
Evelyn :‘I got a Pit seat, 2nd row! BUT on the day there was so much chaos I never made it anywhere near that or even inside until RHCP. Incredible rain! Incredible mud!Good acid didn’t hurt.”
