Author: Rok Klemše, Aleš Podbrežnik
Photos: Nina Grad, Sebastijan Videc
Video: Sebastijan Videc
Location: Tolmin / Sotočje / Slovenia
Concert date: July 24, 2014
Attendance: 12,000
The fourth day of this year’s Metaldays kicked off with fluffy little clouds drifting across the sky at the crack of dawn! For all the threatening bad-weather forecasts, we got off pretty lightly over the course of the festival, but this day the sky »closed in« by two in the afternoon. That’s when the small stage came back to life. Two hours ahead of the main one. Up there stood Spain’s Drakum. If I counted right, there are as many as eight guys on stage. Violin, viola, bagpipes. And of course the rest of the gear that makes the racket, so you can actually call the whole thing metal. A hefty crowd greeted the band, and their melodic death metal blend, propped up with theatrical folk »whistliness,« got a nice response from the audience. Even though the band brings nothing special to the musical universe, you can declare their gig a very successful one. The crowd of course showed up with inflatable toys (you could call it the usual Metaldays template), including little axes, swords, sabers, maces, Even Hagar the Horrible would have been stunned at the sight and demanded royalties.
Never mind the »childishness« and naivety radiated by the predictable, well-worn character of Drakum’s music, which the crowd greeted with gusto. The next act on stage, From the Depth, Italian power metallers, got a much more dismal reception from the audience. Apparently they didn’t do enough promo in the months before the festival slot, even though this is a solidly tight crew that knows its business very well. The Italians are of course in love with symphonic sound. Clean vocals, melodically embellished, dominant. Confident playing, naturally propped up with plenty of clichés. Quality, but already heard (many times). In front of a seriously decimated crowd. Yet another proof that European power metal isn’t exactly faring well popularity-wise these days.
Skelfir are a German band whose whole persona is tightly draped in Norse mythology. Viking shtick, in other words. Obviously the crowd today is hooked primarily on bands that pack plenty of folkloric iconography. Where there’s beer, swords, dragons and flutes, there’s an audience. Not where there’s the adventure of musical originality. Sadly. And Skalfir, never mind the worn-out shtick peddled by their undemanding, generic, melodically catchy death metal culture, once again drew a bigger crowd in front of the stage, which fought eagerly with its toys and of course partied to the »sweet sounds« spreading from the stage. Part of the popularity surely came from the current huge popularity of Amon Amarth. Anyway, the band, which played, among others, the songs Stein Auf Dem Buch, Hoch Den Humpen, Lost Souls and Schlachruf, impressed overall with its committed, confident playing.
Twenty minutes past four in the afternoon, the main stage came alive too. The day’s concert program was opened by Austria’s Darkfall. The Graz quintet presented its new album »Road to Redemption« (2013). These seasoned guys, active since 1995, delivered their take on death metal, firmly grounded in concise, thrashed-up guitar phrases. At the same time as Darkfall on the main stage, Torture Pit kicked off on the second stage, serving up more uncompromising aggression in their extreme musical dossier. They came on tuned considerably lower (»dropped strings«). Low intonation and permanently morbid growl. Far from the speed of their countrymen Dew-Scented, noticeably slower than veterans Fleshcrawl too, this is a band that bets most of its sermon on building a gluttonously gloomy atmosphere and »groove.« The band throws in sudden switches of rhythmic textures, from mid-tempo to slowed-down detonating. Among other things they smashed out the tracks Warbeards and Shooter. The Germans wouldn’t be Germans if they didn’t approach things precisely, 100% committed and fired up. A real thing that might shake up the scene in the future. The groove in slowed-down, twisted rhythms and lazily lumbering phrases, especially in a track like Shooter, creates an atmosphere with fleeting associations with Crowbar.
The next overlap between the main stage and the small one was brought by Sapiency (small stage) and Aplha Tiger (main stage). Sapiency are yet another German purveyor of the modern, groove-laden tradition of death/thrash metal. Germans who might appeal to those who are into, say, Cripper. The trendy sonic aesthetic works. Sapiency have two vocalists who blend damn well, which is why the band is a sextet. Worth a try. Yet another hugely committed stage performance, the area in front of the stage half full, but the band seriously got the crowd going with their metal meat grinder. At the same time Alpha Tiger were going »wild« on the main stage. Heavy metal revivalists from Germany, whom we got to greet in the morning hours at last year’s Bang Your Head!!! festival – RockLine report HERE, have piled up an incredible amount of experience in the year since. The band came across during the set as hugely pumped, tight, compact. The singer especially upgraded his vocals, proving he’s grown into an excellent frontman. In that time the band also dropped the theatrical stage outfits that drew inspiration from the basic pattern of tiger fur. That is, yellow-black stripes. Apparently after launching their career they figured out that this look had long ago been used by another band across the Atlantic called Stryper, so today the only things reminiscent of a tiger visually on stage at Alpha Tiger are the bassist’s bass guitar and the singer’s yellow mic stand. The vocalist reminds you in spots of Tony Moore (ex-Riot), meaning he effortlessly evokes the theater of old-school speed metal that sprang up in the eighties on US soil as well as the British NWOBHM movement. Given the low expectations (a result of the Balingen experience), this time the band delivered radically more stage »tangibility.« You can watch a video of the performance of the song From Outer Space from the Alpha Tiger gig at Metaldays below.
One of the more interesting acts on the second stage in the late afternoon was Croatia’s Inciter, back on Slovenian stages after a long absence. In a solid half hour the guys delivered a real shot of melodic thrash metal that at times recalled early Metallica, and with its fat groove and vocals at times the best moments of Pantera. Still, Inciter can’t be accused of unoriginality, since their thrash only carries sincere tributes to the giants listed above. On stage, alongside the excellent performance, there was excellent energy, nobody stood still, and the guys can also boast an extremely confident, self-assured gig. The serious mileage definitely shows. Colorful riffing, fat bass and rushing drums got the crowd moving, and Inciter, our own bands aside of course, were one of the better »small« bands of the second stage.
The main stage was taken over by Swedish heavy metallers In Solitude, who last year released their excellent new, third studio album »Sister.« They opened their set in that spirit, too. The band, which counts as a newcomer on the scene, develops its own musical approach that of course digs into classic heavy metal roots but weaves in an interesting, dramatically gloomier sentiment, which in the parts where the riffs hunker down a bit evokes the vibe of post-punk acts like The Sisters of Mercy and/or even The Mission. Mostly thanks to the specifics of the singer’s vocal color. The dark heavy metal of a recognizable, distinctive character, which the band nurtures successfully, drew solid audience support to the front of the stage. The band played the songs To Her Darkenss, Lavender, A Burried Sun, Demons, Death Knows Where, Horses in the Ground, He Comes and an excellent cover of the Cortex original Jesus I Betong (which only hints that the members are fans of post-punk and new wave). Excellent band, excellent gig. Let’s hope we catch them in some club. This is a band that carefully measures out its guitar phrases, carefully measures out its rhythmic textures, and where Pelle Åhman’s vocals give the music a unique charisma. No rushing, no nervous playing for the sake of it and no need to show off technical wizardry. Everything is aimed at creating a highly vibrant atmosphere. As long as the band keeps making ominous occult sweeties like To Her Darkness, it will always work fresh, appealing and exciting.
While In Solitude were already in full swing on the main stage, the small stage came alive once more, this time with the Dutch Villainy. It’s an interesting experience how the band was once again seriously lonely, no crowd in front of the stage. Well, at least not at the start. The trio of Reinier Vrancken (guitar, vocals), Jeroen Pleunis (bass), Bram Keijers (drums) actually hit us with a violent surprise, offering an interesting original blend of death metal, doom metal and thrash metal elements. The band vehemently presented its studio debut »Villainy« (2014) and conjured its musical body as a puzzle of a raw, uncompromising, fat-sounding and furiously rattling experience. No two ways about it. The band, active since 2009, is growing into a proper hellish trio, which cashed in its Metaldays set in an optimal dose. Sadly their gig overlapped with In Solitude. Two excellent bands, then. Each on its own stage. At the same time.
Kadavar are yet another trio sworn to reviving the old musical school! The »thunderous« Berliners, going by the sheer amount of hair, look like lost extras from the legendary horror movie »Deliverance« (with Jon Voight in the lead role), who after decades of wandering finally found their way out of the forest back to a residential development. The band was moved from the festival’s Friday schedule to Thursday, so it was slotted between In Solitude and Prong. The band, active since 2010, had by 2013 already released two albums in one hearty burst of creativity: the self-titled debut in 2012, followed in 2013 by »Abra Kadavar.« The trio’s facial hair is justified by the style the band cultivates. Imagine a garage-rock usurpation of early MC5 and even Grand Funk Railroad, commanded by dark seductiveness, which means plenty of howling, hollow echoes of Black Sabbath creep into the riffs. With a contour of psychoid derailment, schizophrenic outbursts from the lead vocalist and furiously raw riff forms, Kadavar come across as real and sincere in everything they do. The band strolled through the repertoire of both albums without much chatter. The show was opened by Liquid Dream, and toward the end the band also took on the Black Sabbath cover Symptom of the Universe. The band also played Doomsday Machine , Black Sun, Come Back Life, Creature of the Demon, Eye of the Storm, Living in Your Head and All Our Thoughts. The rigidly drawn and predictable musical premise has one weak spot. After 15 minutes the gig starts to feel like you’re listening to one and the same song the whole time. In short, the band’s sharply drawn musical template may thrill listeners hungry for revivalism. When it comes to the fusion of heavy metal and doom metal with psychedelia and even space-rock moves, the Germans, being among other things the founders of krautrock, have always counted as credible masters! Kadavar are exemplarily bestial, primal and kick out the jams untamed. But watch out. On one and the same frequency.
Metalsteel were considered one of the most experienced acts on the second stage on the festival’s fourth day. The band arrived at the festival with a freshly released studio album in its pocket called »This Is Your Revelation.« A sizable crowd greeted them and fully enjoyed their gig. The band has grown enormously in compactness. From the fact that bassist Matej Sušnik has developed into an excellent backing vocalist, to the by now proverbial excellent coordination of guitarists Beni and Rok in phrases, passages and of course soloing. There’s no shortage of confidence and potency, and that assurance especially rubbed off on the fearless drummer Daša, who »rolled out« her work superbly. The band naturally presented the new album and seasoned it in the repertoire with older points of its career. They also allowed themselves a bold take on the Deep Purple classic Stormbringer. A very demanding thing, which promised great interest at the start, but later slipped a bit out of hand in the execution. Beni especially was chasing the vocal a bit (handling the verses), and the simplified structures of the cover of the original didn’t ignite either. Including covers is a move that belongs in the rock ‘n’ roll amusement park, which, regardless of the band’s good intentions, felt superfluous this time. Otherwise, no bad thoughts about the gig of a consistently quality band that matures more and more and in its integrity grows into an impenetrable metal fortress!
While the home-turf standard-bearers of heavy metal Metalsteel proved on the second stage that heavy metal is our religion, American crossover veterans Prong, similarly but a bit different genre-wise, played what was probably even the best gig of the day on the big stage. They were playing here for the first time in their long career. The trio led by founder and sole original member Tommy Victor, who started his musical path as a sound tech at the legendary club CBGB and then founded Prong in 1986, spun Tolmin late in the afternoon into a wild dance of hard-hitting, metalized hardcore that perhaps only the likes of Pro-Pain come close to. What a sound the trio managed to pull out of their instruments! At moments it seemed an Antonov was landing in the valley, and not just three individuals standing on stage. But every single second such an amount of energy erupted and slammed from the stage that it instantly spilled over into the pit, where there was no end in sight to the thrashing of hair, arms, elbows, legs and heads. The crowd was eating out of Tommy’s and bassist Jason’s hands, and the band showed its gratitude more than obviously with constant smiles on their faces. Crazy vocals roared from Tommy’s and Jason’s throats, blowing the roof off in the gang-vocal choruses, and the trio also killed with the fantastic sound of guitar riffs that stuck in the ears like the trident from the band’s logo. Jason kept digging into the bass, coaxing out an astonishing »Pantera« groove, and drummer Arturo tortured the skins as if it were his last drum kit. An excellent setlist, a cross-section of the band’s whole body of work, was just the cherry on top of a stormy set that ended far too fast. Snap Your Neck!
The superior »brutes« who with no great effort made blood trickle from plenty of ears were, among the second-stage acts on the festival’s fourth day, Benighted. The French quintet from the city of St. Etienne, which has been dealing with extreme branches of metal since 1998, released a new studio record this year titled »Carnivore Sublime« The death metallers eagerly set about presenting their latest studio work, and it’s obvious the band must be more than thrilled with how the new record turned out, since the new material loomed heavily over the older songs in the set. Real groove and a tornado of extreme vice made for great atmosphere for the crowd, which completely lost it in front of the stage. There were plenty of crazy heads testing their acrobatic skills by jumping into the mosh pit, or »surfing« the crowd (crowd – surfing) and other »daredevil charms« as the metal imagination produces in such cases. Unparalleled fun. No injured were to be seen.
Finnish bands were granted the honor three times at this year’s festival of warming up the grounds before the headliner of the festival evenings. After Children of Bodom on the first day and Amorphis on the third, that slot went to the pagan metallers Moonsorrow. The band, which brings black metal elements into its musical culture and takes care of bombast by working in epic melodic chants from traditional Finnish folk melodies, put on an excellent concert. The crafted sound felt rapacious, the atmosphere and the crowd’s feedback outstanding. Someone even took the time to wave a lit torch in front of the stage, pointed high in the air toward the stage. The crowd was sucked into a unique world of dark forces. A veil of mist of boundless mourning and the screaming choral singing of banshees calling death settled over Tolmin. With the use of the Finnish language, which of course goes hand in hand with the paganism dossier. The growl of guitarist Henri Sorvali, which often recalled the bloodthirsty snarl of a werewolf, worked excellently, and the songs all expressed an extreme minestrone of passion and dark thoughts, with the occult of course evoking the theater of wicked feelings. No greasepaint and no needless stage clutter. Armed only with music and a strict performance focus on delivering the best they could, Moonsorrow delivered yet another of the highlights of this year’s Metaldays festival.
One of the most interesting acts not only of the fourth day but of the entire festival was Colombian black metallers Inquisition. The band, which relocated to the US in 1996, has been active since 1988, but released its studio debut only in 1996. The lineup is unusual. It’s a duo. The leader is singer and guitarist Dagon, and his sidekick Incubus handles the drums. The orchestral and keyboard arrangements are taped (backing tracks). Keeping them company on stage are two colossal heads. A goat’s and a bull’s. And of course plenty of fog. Dusk was just falling and the moment for the gig of the great heralds of Satan came right on cue. The duo presented its current, sixth in total, studio album »Obscure Verses for the Multiverse« (2013), and the grounds were very well attended. It’s incredible to realize how much sonic space just two members cover with their stage activity. Just a duo. That’s one of the fundamental thrills that draw even the casual musical curiosity seeker in to listen. The second very important element, which actually puts Inquisition in a special place on the black metal map, is Dagon’s specific vocal approach. Not the typical black metal growl but a kind of »robotic croaking.« On one and the same frequency. With no particular emphasis or marking of verses. Without any trace, even a slight one, that you could call a melody. Fascinating. Because until you hear this vocal, you can’t believe the human body is capable of producing something like it. An hour of unique vibe, which in authenticity and elementality of the primal musical heritage of black metal couldn’t have worked better, was over in an instant. The band left the packed grounds with Dagon’s simple farewell. He stepped to the mic one last time, raised his left hand with the wrist shaped into Dio’s »malocchio,« saying »affectionately«: »For the Satan! Good evening and thank you!« Then, through the thick mist in which the stage was wrapped, taped satanic melodies began to resound, with a premise of evil that can only be born in a hellish hollow where the revered Lord of the Flies reigns. The crowd kept standing rooted in front of the stage, thinking the band would come back. But the show was over. A special experience from a special band. Worshippers of black metal purism! This is a band you absolutely must check out.
And for the finale on the big stage, the elder statesmen of thrash metal, Megadeth. They’ve been holding a solid lineup for a few years now, which is commendable. The band, which allowed itself a small performance slip right on arrival when the guitars lagged slightly behind the rhythm section in the opening riff of Hangar 18, hit the nail on the head with its choice of opener in terms of the instant burst of adrenaline rush to which the suddenly wild crowd responded. The track also boldly shows off Mustaine’s great power as a songwriter. Well, when we talk about the band, it’s not far off to talk in the singular. Boss Dave Mustaine radiated great mood. And everything depends on that at a Megadeth show. Some might cheekily remark that his enthusiasm depends on whether W.A.S.P. are anywhere near Mustaine. Anyway. Let’s get to the gig. The band is presenting a »best of« repertoire at summer festivals! So a true »ironworks« set that, for all its age, can’t rust. With a full stage set, of course, which included rich film projections tied to the message of the very material the guys were playing. Never mind that a Megadeth gig is rather predictable in nature, since Mustaine’s employees have to move around the stage as their beloved leader commands. It’s all made up for by the exceptional charisma of songs of pioneering origin that Megadeth strung together one after another this evening.
Okay, Mustaine can no longer keep up vocally with all the Megadeth stuff, but the fact remains undisputed that Megadeth never needed a particularly trained voice. Better to listen to a vocally desolate Dave in his mature years and have fun with his »grumbling,« which tries to scare small kids, than to accidentally land on any kind of vocal replacement. Dave remains an icon! Just let him not follow in the footsteps of his namesake, the boss of Whitesanke Coverdale, who should have permanently retired the band long ago. Dave Mustaine wouldn’t be Dave Mustaine if he didn’t show at least a smidgen of self-importance during the show. »I know that you love me, as much as i love you!« went one of his addresses to the crowd! Dave of course speaks in the first person singular, which is the same as if the band called Megadeth were talking to the crowd. The view of the vast fields packed with enthusiastic visitors pleased the great leader immensely as the band strolled through the classics of its rich discography from the classic days. Dave gave a particularly interesting preamble before She-Wolf. His last sentence demanded that the ladies make themselves heard. After Dave got his feedback of female squealing, he cynically nailed it with »Now I know why I will neveerr had children again!« The wise man knows.
Chris Broderick isn’t a particularly charismatic stage figure, if at all, but his playing is manna from heaven for the ears. Real poetry of flawless perfection. The band didn’t skip even the first song Mustaine ever wrote for Megadeth, which he announced theatrically at the start. A song that went through a long evolution and landed on the band’s third studio album »So Far, So Good, So What« called Set the World Afire. After a tribute to the great godfather of Mustaine’s early-youth musical inspiration, Scott Gorham, and a performance of the Thin Lizzy cover Cold Sweat, the band, as expected, moved on to the big finale and cut the mini symphony from »Countdown To Extinction« that the crowd had been waiting for, named not much differently than? Symphony of Destruction, of course.
For an encore, the missed Peace Sells followed by Holy Wars.., The closing avalanche of rebellious rage that Mustaine produced so sincerely in his young years of classic Megadeth, and the Metaldays festival was fulfilled for the fourth day (well, almost fulfilled, as you’ll read below). Everything’s in tune. In fact, bar Dave’s vocals, absolutely everything. Too in tune. In tune to the point where the whole stage »gloss« of the gigantic production doesn’t go together with the primordial heritage of thrash metal insubordination that forever changed the musical world when Megadeth arrived on the scene. What I mean is that a Megadeth show doesn’t need such abundant and lavish production, since the guitar riffs themselves are so charismatic and uniquely concise in their legacy that the music alone speaks loudly enough for itself. Then again, next to Metallica and its stage clutter and gigantic rituals, Megadeth are still real »little babies« (luckily). Even so, one would be perfectly satisfied with a production like Slayer or Anthrax have today.
The question: did Mustaine go check out the set by Riot V on the festival’s small stage after the gig? Reportedly nobody met him. Maybe it would have woken him up to find his way to the musical essence and sacred simplicity. What Riot V conjured on the small stage after the Megadeth show is the complete opposite. Five people, the basic classic quintet lineup, tuned with no gloss, no cosmetic prosthetics, no hiding behind effects or beauty touch-ups. Five people tight and in top form with a full punch over Tolmin. The Riot V show. After the late founder of Riot, Mark Reale, his former comrades carry on the career under the name Riot V, an approximation of the classic Thundersteel lineup of Riot, led by guitarist Mike Flyntz and bassist Don Van Stavern, while the other positions are filled by seasoned drumming veteran Frank Gilchriest (Virgin Steele), a fantastic »approximation« of Tony Moore on vocals named Todd Michael Hall, and the second guitar spot belongs to young guitar hope Nick Lee. The band launched into a set that was a good deal longer than the one 13 days ago at Germany’s Bang Your Head!!! festival in Balingen – RockLine report HERE.
Riot V were pumped accordingly. Even more relaxed, they enthusiastically took in salvos of positive vibes from the crowd. They played through the late night toward early morning. With all their might, and they didn’t let up until the very last moment of their set. Including the vocals of the phenomenal Todd Michael Hall, It was close to two in the morning and the partying by no means subsided. Heads were being torn off. Riot V were one of the few bands at this year’s festival that can boast »Precambrian« activity. Pioneering tenure. But as the band is modest, few people know it. A band that influenced even Dave Mustaine as a musician and a band that never received proper recognition in its career for its oeuvre and musical visionariness. It’s a band of pioneering classic heavy metal training, the kind that was played back in the seventies in a way that later revolutionarily influenced early Crimson Glory, Fates Warning, Queensryche, Vicious Rumors, Helstar, Agent Steel, Liege Lord, even the phalanx of Bay Area bands,… The band put together a »best of« set list and it’s hard to single out highlights. The songs work uniquely, of course. One of a kind. All of them, including the brand-new Warrior, which is a very nice promise for the band’s new studio album. True connoisseurs were taken by Riot V to seventh heaven, and the band also won over, with its unfeigned and distinct performance sincerity, a bag full of the curious who hadn’t known the band before. Played with might, played with great performance perfection and the potency of great commitment. Mike Flyntz for president of guitar soloing! Let’s hope Riot V come to some club show in Slovenia, maybe as early as next spring. In short. Riot V! A gig that definitely brought one of the highlights of this year’s edition of Metaldays. And last but not least, it finally brought to the stage a properly crafted vocal, crafted classically trained singing. Real balm for all those ears seeking melody and authoritative, melodically crafted singing with great vocal power carried even into extremely high registers. Not the »cookie monster« excesses of which there were plenty at the festival and which, hand on heart, with their “distortedness” often evoke grotesqueness. Todd Michael Hall’s vocal was thus one of the few old-school-trained voices of the festival, which are becoming ever more of a rarity in the metal universe these days. An exceptional close to the festival’s fourth day, then! And it started raining again.
Nina Grad (photos): Alpha Tiger, In Solitude, Kadavar, Prong, Moonsorrow, Megadeth
Sebastijan Videc (photos, video): Skelfir, Inciter, Metalsteel, Inquisition, Riot V, plus video: Alpha Tiger & Megadeth
Aleš Podbrežnik (text): Drakum, From the Depth, Skelfir, Darkfall, Torture Pit, Sapiency, Alpha Tiger, In Solitude, Villainy, Kadavar, Metalsteel, Benighted, Moonsorrow, Inquisition, Megadeth, Riot V
Rok Klemše (text): Inciter, Prong
Setlist
BENIGHTED:
1. X2Y
2. Noise
3. Let the Blood Spill Between My Broken Teeth
4. Collapse
5. Experience Your Flesh
6. Carnivore Sublime
7. Prey
8. Collection of Dead Portrait
9. Jekyll
10. Slaughter/Suicide
11. Slut
12. Asylum Cave
INQUISITION:
1. Force of the Floating Tomb
2. Nefarious Dismal Orations
3. Command of the Dark Crown
4. Those of the Night
5. Embraced by the Unholy Powers of Death and Destruction
6. We Summon the Winds of Fire (For the Burning of All Holiness)
7. Desolate Funeral Chant
8. Master of the Cosmological Black Cauldron
9. Astral Path to Supreme Majesties
10. Infinite Interstellar Genocide
PRONG:
1. Eternal Heat
2. Beg To Differ
3. Lost And Found
4. For Dear Life
5. Carved Into Stone
6. Turnover
7. Unconditional
8. Revenge…Best Served Cold
9. Power Of The Damager
10. Another Worldly Device
11. Whose Fist Is This Anyway?
12. Snap Your Fingers, Snap Your Neck
MOONSORROW:
1. 1065: Aika
2. Muinaiset
3. Kinenkantaja
4. Pimeä
5. Sankaritarina
6. Kuolleiden Maa
MEGADETH:
1. Prince of Darkness (taped intro)
2. Hangar 18
3. Wake Up Dead
4. In My Darkest Hour
5. Tornado of Souls
6. Sweating Bullets
7. Skin o’ My Teeth
8. Dawn Patrol
9. Poison Was the Cure
10. Set the World Afire
11. She-Wolf
12. Trust
13. A Tout Le Monde
14. Public Enemy No. 1
15. Kingmaker
16. Cold Sweat (orig. Thin Lizzy)
17. Symphony of Destruction
–encore—
18. Peace Sells
19. Holy Wars… The Punishment Due
20. Silent Scorn (taped outro)
21. My Way (taped outro)
RIOT V:
1. Narita
2. Fight Or Fall
3. On Your Knees
4. Metal Soldiers
5. Wings Are For Angels
6. Johnny’s Back
7. Hard Lovin’ Man
8. Fire Downunder
9. Metal Warrior
10. Sign Of The Crimson
11. Angel Eyes
12. Still Your Man
13. Altar Of The King
14. Flight Of The Warrior
15. Bloodstreets
16. Roadracin’
17. Swords and Tequila
18. Warrior
19. Thundersteel
20. Outlaw
Photo Gallery
