Why
oh why did Joey Belladonna ever leave Anthrax? Maybe it had something
to do with the untenable “grunge movement.” The replacement
singer, John Bush, had a toned-down and grittier vocal style that
would probably be considered more “mainstream,” at least
at the time. Joey Belladonna was the only Thrash Metal singer in
the day who could also truly sing. He owned pipes as heavy as the
best of them, but he added the element of melody unmatched by his
peers. Belladonna can sing ANYTHING, and sing it well. This is something
Metallica’s James Hetfield has been striving for since the
Black album.
When Rob Halford
headed back to Judas Priest and picked up exactly where they left
off, it seemed like just a matter of time until Belladonna did the
same. It was, and fans of real, innovative, founding Thrash Metal,
the true form of the entity called Anthrax is back, and yes …
they are better than ever.
When Anthrax
trampled onto the stage, the near sold-out crowd all stood at attention.
(Sure, there was no seating at the venue anyway, everyone had to
stand, but still …). To the Sioux Falls’ metalhead crowd,
this was one of the biggest concerts to hit the area in a long time.
Sioux Falls just doesn’t attract metal acts, at least not one
with the history Anthrax has built. “State of Euphoria”
was an apropos song to start with, because the song described the
crowd: they were going nuts. Although Scott Ian is the biggest name
in Anthrax today, due mainly to his part in the VH1 concoction “Supergroup,”
Belladonna was the biggest name on this night. He looked, acted
and sounded 20 years younger, and while all the fans are happy he’s
back, it seems that Belladonna is the happiest of them all.
Dan
Spitz
photo taken by Derric Miller
|
The
crowd was a mishmash of younger kids (wearing chains, makeup, and
black clothes) and older “kids,” anywhere from 30-50.
Anthrax actually opened up for Rob Zombie this night, which explains
the youth movement at the show, but every one of those kids understood
what Anthrax was about by the time they were done.
“Moshing”
is something all of the black/death/hardcore/grindcore/metalcore/malcore/pukecore
fans partake in at every show, but to see them finally doing so
to “Caught in a Mosh” made things right in the world.
Belladonna would scream, “What is it!” and the crowd would
bellow back “caught in a mosh!” Crowd participation was
evident, from the moshers up front to the alkies in back afraid
to venture too far from the booze line. Regardless of where they
watched, they participated.
“Indians”
was the first song that really broke Anthrax. If you remember watching
the video on the original “Headbanger’s Ball,” that
was the song that got everyone interested in the band. Scott Ian
stomped all over stage on this one, much like the video, and bassist
Dan Spitz was at his most frenzied on “Indians” as well.
Belladonna needed a couple songs to warm up, but his range was perfect
as he shouted this one to the masses. When the first vocal line
broke out, “We all see black and white, when it comes to someone’s
else’ fi-ight!” the crowd energy level was through the
roof.
“Skeletons
in the Closet,” was another crowd favorite. Belladonna played
the crowd, as did Ian, and hands were flailing, people were screaming.
It was interesting to see them basically bypass a large section
of their history, though. No Neil Turbin songs, no John Bush songs
— just Belladonna-era music. It would have been wicked hearing
Belladonna belt out “Black Lodge” or another of their
stellar Bush-era compositions.
Joey Belladonna
photo taken by Derric Miller
|
As
far as being innovative, “Bring the Noise” was one of
those early songs that melded rap and metal, much like Faith No
More and Biohazard did, the latter a band which featured Ian’s
Supergroup friend, Evan Seinfeld. Anthrax was always able to show
they meant everything they played, but did not take themselves seriously.
Again, the crowd was moving as one, everyone was yelling along,
and it ruled.
Some
other songs they played, all sounding tremendous, were “N.F.L,”
maybe the most energetic track “Time,” and the classic
“Medusa.”
If there was
a knock on the show, it all had to do with the venue. The lighting
was horrid (the few workable pictures on this review prove it) as
it always is, at least for opening acts at the Ramkota Exhibit Hall,
and the sound system was probably average. It should have been louder,
and could have been much clearer. The vocals got lost in the mid-range
mix time and time again, especially the backing vocals or when band
members besides Belladonna took the mic.
Not that any
of that mattered. Anthrax came to Sioux Falls, stole the show, proved
they are reenergized by going back to what got them here (Belladonna),
and their next studio effort is going to amaze everyone. How can’t
it? Anthrax ain’t going nowhere except up, so when their show
hits your town, or anywhere close, go.
