Getaway Rock Festival 2012
So it was time for the third edition of Getaway Rock Festival in Gävle, Sweden. The festival received much praise when it first took place in 2010, and last year's edition was also highly pleasing. However, last year, the organisers had to withstand some rightful criticism because many fans could not fit in the hall where the smallest stage was located and thus missed what they wanted to see, with Ghost and Graveyard as unfortunate examples. This year, that stage was almost exclusively for less established bands, and instead a fourth stage had been added. Therefore, the festival area had to be widened this year. This arrangement worked splendidly. Everyone had the opportunity to see what they wanted, and there was more space for the visitors.
Otherwise, 2012's Getaway Rock was
once again a brilliant feast, with a strong line-up, great mood and excellent
organisation. For us press people, everything worked smoothly as always,
with professional staff on hand to provide assistance. Finally, the city
of Gävle, where the festival is held, is a very nice city. With the
weather favourable as well, this was simply another very fun three days
of festival activities.
//Mozzy
|Thursday| - |Friday| - |Saturday|
Reviews by Mozzy
Thursday - July 05
Band: Obituary
Blue Stage 15.00 - 16.00
As usual, the aptly titled Redneck Stomp starts the Obituary live show, with the band minus singer John Tardy setting off an awesome groove to build up the anticipation. Then Tardy joins, with his recognisable look and demeanour. Clad in shorts and an impressive mane covering his face, he roams the stage from side to side while delivering his characteristic, plagued death grunts. Today, however, he gives a bit of an indifferent impression, and has hardly any contact with the audience, merely doing his job and nothing more.
Musically, there is nothing to remark on, as the experienced quartet
performs a solid set containing staples such as Chopped In Half and Internal
Bleeding. In the blazing sun, a small moshpit goes wild, especially to
the loudly requested Slowly We Rot. The sound is great, with a crisp guitar
and thunderous rhythm section, with the latter a vital part of Obituary's
meaty, punishingly heavy material. Although it is indeed the music, and
not the visual bit, that is the central part in an Obituary show, this
performance feels slightly uninspired. Nevertheless, the Tampa crew's
catchy and skilful death metal is certainly a nice start to the festival.
Performance: 6,5
chalices of 10
Stage sound: 8 chalices of 10
Best: Slowly We Rot
Worst: The somewhat indifferent attitude
Setlist:
Redneck Stomp
On The Floor
Internal Bleeding
List Of Dead
Blood To Give
Chopped In Half
Turned Inside Out
Dying
Threatening Skies
By The Light
Find The Arise
The End Complete
Slow Death
'Til Death
Evil Ways
Slowly We Rot
Band: Graveyard
Green Stage 18.30 - 19.45
When Graveyard played at Getaway last year, they did so at the smallest festival stage indoors. This resulted in a long, long queue to get in and many disappointed fans as the hall just couldn't fit them all. With the buzz around the band still strong, this year the retro rockers are placed on the biggest stage. The Swedes soon get their appealing groovy rock going. Heads moving and hair flying, they are into what they do, with a genuine passion and joy of playing. Drummer Axel Sjöberg displays some intense drumming while frontman Joakim Nilsson has a great voice, raspy and soulful, which fits like a glove to this music.
However, it takes a while for the show to lift. But when Uncomfortably
Numb and Ain't Fit To Live Here is played back to back mid-set, it is
just brilliant; an superb exhibition of Graveyard at their best. This
is indeed a quality band, which combines seriously rocking parts with
beautiful, seducing moments. That said, it is clear that they fit much
better at a smaller stage than on this very big main stage. They don't
yet have the capacity to command such a large crowd where many are not
that familiar with the band yet. All in all though, this is definitely
an enjoyable display of quality rock in the afternoon sun.
Performance: 6,5 chalices
of 10
Stage sound: 7 chalices of 10
Best: Uncomfortably Numb
Worst: The lack of intimacy
(sorry, no setlist)
Band: Venom
Green Stage 21.00 - 22.30
After their appearance at Rockweekend in 2010, the time has come for the legendary Venom to once again make a rare festival appearance on Swedish soil. Opening with the storming ultra-classic Black Metal, frontman Cronos later reveals that tonight's set will be based around two albums: Black Metal, which celebrates its 30th anniversary, and the latest Venom release, Fallen Angels. There are seven cuts each from the two LP:s, plus old single tracks Warhead and The Seven Gates Of Hell.
This arrangement works so and so. We get the usual gems from Black Metal,
and some rarely played songs including the amusing Teacher's Pet. But
while last year's Fallen Angels was a good album, its material doesn't
match the older one, and most importantly the set becomes quite inconsistent
and up-and-down. Also, some other classics are much missed. Musically,
it sounds a bit better than old times, but with the recognisable Venom
feel, primitive and not too tight at times. This is the way it should
be, however. The charismatic, metal-to-the-bone Cronos has the same raw
voice and bass sound, and has some amusing comments in store. Drummer
Danté is a focal point of energy with his stick-swinging, extrovert
style, and guitarist Rage simply does his job. Although this is not an
indispensable concert, it also offers some entertaining stuff from this
hugely influential metal act.
Performance: 6 chalices
of 10
Stage sound: 7 chalices of 10
Best: Countess Bathory
Worst: The inconsistency of the set
Setlist:
Black Metal
Leave Me In Hell
Hammerhead
Pedal To The Metal
Buried Alive
The Seven Gates Of Hell
Damnation of Souls
Heaven's On Fire
Countess Bathory
Hail Satanas
Nemesis
Teacher's Pet
Punk's Not Dead
Warhead
Fallen Angels
Don't Burn The Witch
Band: Ghost
Blue Stage 22.30 - 23.30
Just like Graveyard, Ghost's performance at Getaway last year took place at the smallest stage, leaving many unable to witness the band. This time around, they have been allotted a slot at the second biggest stage. Apart from the outfits, with the whole band now draped in white, the show is very much the same as before. Singer Papa Emeritus has great stage presence, displaying a compelling approach onstage with expressive, dramatic gestures. His bandmates, all named Nameless Ghoul, play the songs tight and proficiently, making for an impressive whole musically.
This is of course much to with the extraordinary quality of such songs
like Elizabeth, Stand By Him and the concluding Ritual. Their combination
of enticing, wicked darkness and magnificent, irresistible melodies and
hooks go down splendidly with the crowd, which gives a warm response.
The performance also features a tasteful light show. However, there is
a feeling that the Ghost show has become a bit samey by now, with the
hype around the mysterious outfit lessening. New material will be much
awaited and also a necessary addition to the live set. Nevertheless, tonight's
display is definitely another convincing, absorbing show by Ghost.
Performance: 7 chalices
of 10
Stage sound: 8 chalices of 10
Best: The quality tunes
Worst: There is really nothing new
Setlist:
Masked Ball
Con Clavi Con Dio
Elizabeth
Prime Mover
Stand By Him
Death Knell
Satan Prayer
Genesis
Here Comes The Sun
Ritual
Band: Nightwish
Green Stage 23.30 - 01.00
When Nightwish take the stage as the first day's headliners, a massive audience greets them. Not surprising, as the Finnish/Swedish group is now one of Europe's biggest. They clearly aim to get the crowd's attention straight away, as the infectious Storytime gets things started and is followed by two beloved Nightwish gems, Wish I Had An Angel and Amaranth. From here on, the show is more based on epic, longer numbers. Almost half of the set, seven out of fifteen songs, is made up by latest album Imaginaerum, and the material works excellent. During four songs, the quintet is joined onstage by Troy Donockley, a session member in the studio and on tour with the band. His main instrument being the uillean pipes, the Englishman adds truly wonderful, virtuoso melodies during I Want My Tears Back, Come Cover Me, instrumental Last Of The Wilds plus Gary Moore cover Over The Hills And Far Away. His contribution is without doubt one of the highlights of the show.
The stage show is indeed most impressive visually, with a colossal light
show plus a ton of cool pyro, with fire bolts constantly going off in
time with the music. As for the band, they put in a dynamic effort, with
much energy and mobility. There is also a splendid mood onstage, with
much smiling and interaction. It is obvious not only that Swedish singer
Anette Olzon now fits in great but also feels at home in her role after
some initial difficult years. She makes a charming impression, displaying
an inviting and beaming attitude. Assisted by basist Marco Hietala's great,
muscular pipes, her vocals are not without some flaws tonight, but overall
solid. All in all, this is a very professional and convincing performance
by Nightwish. It lacks that extra spark and memorable atmosphere this
time, but musically and show-wise it's an excellent experience.
Performance: 7,5 chalices
of 10
Stage sound: 8 chalices of 10
Best: I Want My Tears Back
Worst: A few weak vocal lines from
Anette
Setlist:
Storytime
Wish I Had An Angel
Amaranth
Scaretale
Dead To The World
I Want My Tears Back
Come Cover Me
Last Of The Wilds
Planet Hell
Ghost River
Nemo
Over The Hills And Far Away
Song Of Myself
Last Ride Of The Day
Imaginaerum
Friday - July 06
Band: Amon Amarth
Green Stage 16.30 - 17.45
When Amon Amarth are about to be witnessed live, one can be sure that they will deliver the goods. This time proves no different. With a very large gathering over at the main stage, a fateful intro is followed by drummer Fredrik Andersson counting in War Of The Gods, and we're thrown heads first into the Amon Amarth crusade. After this modern pearl in the catalogue we get a set containing a couple more of those as well as a string of older gems. It is testament to the amazing quality of the band's material when Death In Fire, possibly the shiniest gem of them all, appears as early as fourth number.
This is simply a feast of Amon Amarth metal, with glorious melodies, crushing heaviness and memorable choruses. The stage performance, as usual, is marked by tons of experience and confidence. Playing in front of a huge, magnificent Surtur Rising backdrop, the guys are in a tremendous mood and put in an inspired effort. They get an enthused response from the spectators, who after being dubbed "true Vikings" by cheery frontman Johan Hägg, provides some impressive singing during Pursuit Of Vikings. The encores Twillight Of The Thunder God and Guardians Of Asgaard is an awesome ending, and the latter has Entombed's L-G Petrov stepping out onstage to provide his vocal parts. Amon Amarth have delivered in style, as usual.
Performance: 8 chalices
of 10
Stage sound: 7 chalices of 10
Best: The brilliant setlist
Worst: The sound is a bit unclear
at the beginning
Setlist:
War Of The Gods
Runes To My Memory
Destroyer Of The Universe
Death In Fire
Live For The Kill
Cry Of The Black Birds
The Fate Of Norns
The Pursuit Of Vikings
Under The Northern Star
For Victory Or Death
Victorious March
Twilight Of The Thunder God
Guardians Of Asgaard
Band: Ministry
Blue Stage 20.30 - 21.30
The return of Ministry to the scene, after the band disbanded in 2008, came as surprising but great news. Here in Sweden, many remember the group's marvellous appearance at Sweden Rock Festival in 2008. That time, and throughout their career, Ministry had an excitingly dangerous attitude to their live shows, embodied by legendary, enigmatic leader Al Jourgensen. Therefore, this evening it is odd to witness Jourgensen with a much more extrovert demeanour onstage. The slender industrial metal icon is in a very cheery mood indeed. Grinning from ear to ear, he is seeking contact with the crowd, expresses his gratefulness for the support, moves around onstage and even replaces his hat with one that is thrown up from the crowd. That he is drinking one beer after the other might have something to do with his behaviour, and he remains a bit of an oddball, spitting continuously and displaying some unorthodox movement and gestures. Either way, Jourgensen is a fascinating figure you cannot take your eyes off.
Musically, this is a very powerful display, with all the typical Ministry components. The guitar work is sharp and effective, and the rhythm section provides thunderous, thick heaviness. The stage sound is great, and really enhances Ministry's industrial-tinged metal. Song-wise, it is at first a solid show with material from later records. Then, the run-in with N.W.O., Just One Fix and Thieves is just awesome. When the music has stopped, Jourgensen jumps down from the stage to greet fans at the front row. It is an unlikely sight, even more so when the diminutive frontman has to be led by a crew member through the crowd at the side of the stage to get backstage. Oveall, Ministry deliver an entertaining show, with the inimitable character Al Jourgensen in the main role.
Performance: 7,5 chalices
of 10
Stage sound: 8 chalices of 10
Best: Just One Fix
Worst: A couple of rather average
newer songs
Setlist:
Ghouldiggers
No W
Rio Grande Blood
LiesLiesLies
99 Percenters
Life Is Good
Relapse
The Last Sucker
N.W.O.
Just One Fix
Thieves
Band: Municipal Waste
Green Stage 21.30 - 22.45
Beforehand, it felt like Municipal Waste's position at the Green Stage,
the biggest stage, did not suit the quartet at all. Whether the band themselves
really care, it is not noticeable as they throw everyone present headlong
into a relentless thrash/crossover attack. Unleash The Bastards and Mind
Eraser, both from breakthrough album Hazardous Mutation, kick off a furious
frenzy and it is impossible not to be carried away and exercise one's
neck muscles. The crowd is not large, but those attending surely show
their appreciation and commitment.
Municipal Waste's material is ideal in order to produce energy, with its
intense, adrenaline-fuelled and catchy tunes. There are continous moshpits,
with fans going apeshit, exhaustedly catching their breaths and then diving
in again. Brilliant scenes.
The foursome also displays an inspiring energy, not taking their foot off the gas at any time. Bassist Philip Hall is a whirlwind onstage, guitarist Ryan Waste spits out vicious riffs and drummer Dave Witte ensures that the intensity is upheld. Singer Tony Foresta makes a fine job at singing the words at an impressive speed. He is also a very likable character, with comments about beer and partying but a humble, appreciative approach too. In the middle of the set, he and his bandmates bring out a banner with the words "Free Randy". Randy is of course the Lamb Of God singer with the last name Blythe, who was arrested while on tour in the Czech Republic, wrongfully accused of causing a fan's death. It is an awesome gesture that goes down great with the audience. Although they can become a bit repetitive in the long run, Municipal Waste impress tonight, especially considering the stage. The energy from both band and audience is admirable, and it is a very entertaining and energising performance throughout.
Performance: 8 chalices
of 10
Stage sound: 8 chalices of 10
Best: The overall energy
Worst: It gets a bit samey
Setlist:
Unleash The Bastards
Mind Eraser
You're Cut Off
Wolves Of Chernobyl
The Thrashin' Of The Christ
Beer Pressure
Authority Complex
Terror Shark
Wrong Answer
The Fatal Feast
Toxic Revolution
Bangover
Sweet Attack
Headbanger Face Rip
Black President
New Dead Masters
Sadistic Magician
Acid Sentence
Boner City
Pre-Game
The Art Of Partying
Born To Party
Band: Satyricon
Blue Stage 23.00 - 24.00
When the time has come for Satyricon to take to the stage, the sky has darkened, providing the percect setting for the Norwegian to unleash their metal. Following a forbidding, bombastic intro tape, they come out blazing with Now, Diabolic, which is followed by Black Crow On A Tombstone. A devastating opening indeed. With their two latest albums, Now, Diabolical and The Age Of Nero, from where the songs above are picked, Satyricon have produced two modern metal classics. We get a few more songs from these albums, and it is obvious that they are popular among the crowd, many digging intensely and roaring their approval. The older tunes are captivating as well. Hvite Krists Dod is a brilliant epic, just like Mother North, which is accompanied by a singalong from the crowd.
Something which distinguishes a Satyricon concert is the professional, well-directed stage show that is very appealing visually. The light show is marvellous, and the band put on a dedicated performance, really functioning as a solid unit. Frontman Satyr is his usual imposing, very cool persona onstage, displaying great authority and confidence. His bandmates put in a dedicated effort, guitarists Steinar Gundersen and Gildas Le Pape plus bassist Anders Odden fervently headbanging in unison. Behind the drums, Frost is as impressive as always. One of the things which makes Satyricon so damn appealing is the absolutely awesome, irresistible groove, something which Frost, especially, provides. The last two numbers, the amazing pair Fuel For Hatred and K.I.N.G., are prime examples of this. Satyricon might have impressed even more on other occasions than tonight, but this is without doubt another outstanding display by the Norwegians.
Performance: 8,5 chalices
of 10
Stage sound: 8 chalices of 10
Best: Fuel For Hatred
Worst: The set should have been a
bit longer
Setlist:
Now, Diabolical
Black Crow On A Tombstone
Forhekset
The Wolfpack
Possessed
Hvite Krists Død
To The Mountains
Mother North
Fuel For Hatred
K.I.N.G.
Band: Manowar
Green Stage 24.00 - 01.30
Without doubt, the most anticipated performance at this year's Getaway Rock was that of Manowar. After many years away from Sweden, except a one-off gig last year in Gothenburg, this was to be the grand return to the land of the Vikings for the band. The anticipation was increased by band leader Joey DeMaio's call-to-arms statement from this very stage last year: surprisingly walking out on the stage, having travelled from the US just for that, DeMaio declared that we were gonna get our asses kicked in a fashion never seen before.
In the field of traditional heavy metal, Manowar are certainly one of the most classic and popular groups. When it comes to anthems within this field, the Americans have them in abundance. Getaway get its healthy dose indeed, but unfortunately, the show also contains other elements which are not as entertaining. Let's start with the tunes: starting with the obligatory Manowar, we are served some awesome heavy metal anthems early on, such as Kill With Power, Fighting The World, Kings Of Metal and Brothers Of Metal Pt 1. The crowd is singing along enthusiastically to every lyric, and the atmosphere is one of passion and joy.
Then, the songs are tossed to the back seat, and it's time for other activities onstage. First, a long guitar solo. Then, a speech from DeMaio. Then, a female and male fan is brought up on stage. The guy gets to play a guitar, which goes not too well since he's far from sober. If he plays well, he gets to keep the guitar plus get the girl. Quite embarrassing, to be honest. Finally, DeMaio holds a longer speech, in Swedish, which he is supposed to have learned. Oh, we get a drum solo too. These things may be an excellent salute to the fans, but they could well be given much less time. This conduct has the consequence that momentum is lost, as is the energy from the crowd. And when there is time to play songs again, it takes time to build up that momentum and energy again. Warriors Of The World United and Hail And Kill are still awesome, though.
As for the performances of the individuals onstage, there is nothing to remark on. It sound tight and simply great and original drummer Donnie Hamzik is rock-solid. On a positive note, Eric Adams sings splendidly, with power and high notes. Very impressive, considering he's 58 years old. All in all, Manowar's appearance at Getaway is an enjoyable and often musically great event. That said, it could be so much better if they cut out the unnecessary fuss and concentrate more on their brilliant songs.
Performance: 6 chalices
of 10
Stage sound: 8 chalices of 10
Best: The songs
Worst: That they do lots of other
things instead of playing the songs
Setlist:
Manowar
Gates Of Valhalla
Kill With Power
Sign Of The Hammer
Fighting The World
Kings Of Metal
Brothers Of Metal Pt. 1
Call To Arms
The Gods Made Heavy Metal
Hand Of Doom
King Of Kings
Sting Of The Bumblebee
Warriors Of The World United
Hail And Kill
-------
The Power
Black Wind, Fire And Steel
The Crown And The Ring
Saturday - July 07
Band: Suicidal Tendencies
Green Stage 16.30 - 18.00
Suicidal Tendencies was a band I was really looking forward to see at this year's festival, as I hadn't seem them since 1993 when they supported Metallica. Of course, the only member still in the group compared to those days is singer Mike Muir. Now that Mike Clark, the prolific guitarist for 25 years, is no longer in the band in the band either, it was dubious whether this would really the same Suicidal Tendencies, but reports had said the band's live show was still entertaining. These reports proved to be right. Muir and his cohorts go straight for the throat, opening with the evergreen You Can't Bring Me Down. Delivering two other classic numbers early on, Institutionalized and Trip At The Brain, the energy is high from the start. This has also much to with the effort from the band, who give their all. Muir is the same charismatic frontman as before, manically running around and breaking into his usual mumbling, incoherent rants between songs.
The crowd is quick to join the adrenaline-fuelled action, with constant
moshpits taking place, not least during the ST staple War Inside My Head.
The atmosphere dips a bit during a couple of more recent songs, but the
band's input does not change. As for Muir's bandmates, they fit in greatly
and it feels like the ST feel is present. Guitarists Dean Pleasants and
Nico Santora deliver razor-sharp riffs, and the rhythm section is amazing
to watch, giving 110 percent. Massive-sized drummer Eric Moore's playing
swings and grooves like hell, while bassist Tim Williams dynamic effort
is just awesome, sweat pouring from the guy as he passionately provides
some seriously grooving low-end. As the whole, the band give a marvellously
heavy, intense and tight performance. At the end of the set, the enthusiastic,
hard-working moshers in the crowd are invited up onstage to jump about.
A brilliant, fitting conclusion to a very entertaining concert.
Performance: 8 chalices
of 10
Stage sound: 8 chalices of 10
Best: The band's awesome energy
Worst: We Are Family
Setlist:
You Can't Bring Me Down
Ain't Gonna Take It
Institutionalized
Trip At The Brain
Freedumb
War Inside My Head
Subliminal
Send Me Your Money
We Are Family
Drum Solo
Possessed To Skate
Cyco Vision
Pledge Your Allegiance
Memories Of Tomorrow
Band: Saxon
Green Stage 19.00 - 20.15
"We're not gonna play anymore new songs" reveals Saxon frontman Biff Byford, jokingly adding "you bastards!" as the crowd cheers after receiving this information halfway through the show. Of course, Byford is well aware that at a festival, Saxon are expected to play their classics, a sure way of satisfying such a crowd. And as always, it does the trick. During the first half of the show, the audience is not particularly loud, but when Crusader starts, the atmosphere is clearly raised. The rest of the show is a pure heavy metal party containing anthems such an awesome Denim And Leather and 747 (Strangers In The Night).
Although they are always a most professional and competent unit and never less than enjoyable to watch, the band surely feed off the crowd's increased response. With all members in a great mood, bassist Nibbs Carter puts in a trademark high-energy, headbanging display, and Byford proves yet again he is one of the greatest frontmen, period. The robust singer simply has it all: a great voice, outstanding stage presence and an exemplary connection with the audience. During Wheels Of Steel, Byford conducts an amusing singing contest between fans at the front and those over at the bar. The party is then completed with Princess Of The Night, undoubtedly one of the finest tunes ever written in this genre. Although this is not the most extraordinary of Saxon appearances, it is as always a very enjoyable one. Add Saxon to your festival and they will deliver and please the crowd - fact.
Performance: 7 chalices
of 10
Stage sound: 8 chalices of 10
Best: The happy atmosphere
Worst: The somewhat tame response
initially
Setlist:
Heavy Metal Thunder
Hammer Of The Gods
Power And The Glory
I've Got to Rock (To Stay Alive)
To Hell And Back Again
And The Bands Played On
20,000 Ft
Crusader
Motorcycle Man
Strong Arm of the Law
Denim And Leather
747 (Strangers In The Night)
Wheels Of Steel
Princess Of The Night
Band: Devin Townsend Project
Blue Stage 20.30 - 21.30
After playing at Metaltown last summer, Devin Townsend returned for another Swedish festival this year. When it comes to strong characters within the metal scene, Mr Townsend is certainly one of its most colourful. His band's appearance at Getaway is entertaining from the moment they stroll onto the stage. The Canadian frontman boasts a wide range of highly entertaining stage antics, breaking into ridiculous, funny grimaces and poses and delivering hilarious one liners. With a self-mocking side as well, his behaviour onstage is most refreshing in a way not seen too often in the metal scene. The setlist is comprised of Townsend's more accessible material. While often bombastic pieces, the songs are still very catchy with an engaging effect. Highlights include Seventh Wave and Life, both from his Ocean Machine record. The latter number, Life, is an absolute gem with a seductive hook.
The combination of the great music and the positive nature of the stage
show creates a brilliant, upbeat mood, with a splendid connection between
Townsend and his audience. Certainly, Townsend's amusing antics also have
an infectious effect on the spectators. Some might be sceptic at first,
not being that familiar with Townsend and his music, but the longer it
transpires, it is clear that the set is a winner among the crowd. And
let's not forget Townsend's bandmates, who together with the main man
form a great-sounding unit. Drummer Ryan Poederooyen is especially eye-catching.
As Vampira and Bad Devil ends it all in a tremendous fashion, it is obvious
that Devin Townsend's admirers have increased, with a warm, excited response
from the audience. Happy faces can be seen everywhere, including onstage.
A superb, memorable and most of all hugely entertaining display from this
one-of-a-kind artist.
Performance: 8,5 chalices
of 10
Stage sound: 7 chalices of 10
Best: Devin's phenomenal stage antics
Worst: The sound could have been better
Setlist:
Truth
Seventh Wave
Life
By Your Command
Supercrush!
Regulator
Juular
Vampira
Bad Devil
Band: Yngwie Malmsteen
Green Stage 24.00 - 01.30
After watching the first couple of songs from way back in the crowd and going closer, I realise: where is the singer? The vocals can of course be heard, but there is no person onstage not occupied with an instrument. As it turns out, Ripper Owens is double-booked, gigging with Dio Disciples in another part of the world tonight. Performing the vocals onstage is the bassist, a fella by the name of Ralph Ciavalino. He is a member of Yngwie's keyboardist Nick Marino's band, just like drummer Patrik Johansson. Ciavalino proves to have a good voice indeed, but it just feels strange to see Yngwie without a 'proper' singer, so to speak, one that has his voice as the only instrument. This is especially true since Yngwie has always had well-known, great singers. Ripper, a terrific vocalist, is surely missed. Not just his voice, but his frontmanship as well, because it is obvious that Ciavalino is not used to performing in front of such a big crowd, and especially not filling such a big role.
This peculiar situation aside, we get to experience an enjoyable ride through Yngwie's music. There can be little complaints about the setlist as we are served a nice mix. There are defining, classic Yngwie numbers like Rising Force, Far Beyond The Sun and Black Star; brilliant hits like Heaven Tonight and I'll See The Light Tonight; and some songs from more recent albums. Two of the highlights are two quite unexpected inclusions: the beautiful Dreaming (Tell Me) and a terrific version of Rainbow's monumental Gates Of Babylon. Otherwise, the main attraction is of course Yngwie himself, both his persona and his playing. The guitar phenomenon is on fire, running around headbanging and demonstrating high kicks in the air while playing in his distinctive style. There is no arguing the jaw-dropping speed, feel and wizardry the man possesses as he delivers some lovely solos and melodies. The man is entertaining to witness, but in the long run, it can become somewhat wearisome, and quite many people can be seen leaving during the show.
Undoubtedly, some of those are just there to witness this legendary musician
and rock star in the flesh. The performance culminates with Yngwie thrashing
one of his guitars and throwing out the parts to the audience. To be honest,
more was expected of this appearance, which suffered from the regrettable
absence of Ripper Owens. Still, we got to enjoy some great music and a
rare homecoming of a true Swedish rock star.
Performance: 6 chalices
of 10
Stage sound: 7 chalices of 10
Best: Gates Of Babylon
Worst: The lack of a 'proper' frontman
Setlist:
Rising Force
Never Die
Critical Mass (snippet)
Demon Driver
Far Beyond The Sun
Live To Fight
Damnation Game
Gates Of Babylon
Dreaming (Tell Me)
Black Star
Guitar Solo
Red House
Cherokee Warrior
Heaven Tonight
Trilogy Suite Op: 5
Adagio
I'll See The Light Tonight
Related links: www.getawayrock.se