Sweden Rock Festival 2007


Day 1 Day 2 Day 3 Day 4

event website | venue website

Norje Boke, Solvesborg - June 6-9, 2007

Now that the first half of the bands for Sweden Rock 2008 have been announced we thought we'd finish the year with a look back at Sweden Rock 2007 - one of the largest rock festivals in the World. Four days of rock and metal with over 70 bands playing to 25,000 people each day. And who can deny the grandeur of an event that sees Meat Loaf, Motörhead, Scorpions and metal-event-of-the-year Heaven And Hell play second fiddle to Aerosmith?

There were certainly some surprises in the line-up. Aerosmith, when they were confirmed, came as a big surprise. It was the first confirmed European date at the time. It's not such a shock now as dates were later confirmed in Belgium, Holland, England, France and Germany, but still, it was a big deal nonetheless. Probably the biggest coup was Meat Loaf, who didn't play any other European festival all summer. Other than the big man, the surprises, it has to be said, lay in who did not play, rather than who did. There were some bands who were hitting the European rock and metal festival circuit so hard this year that they practically played everywhere, and yet some of them were missing from SRF. Grave Digger, Stone Sour, and Korn spring most readily to mind.

But the brilliance of Sweden Rock comes further down the order. As well as being one of the few to confirm Blind Guardian, Annihilator, Iced Earth, Dimmu Borgir, Quiet Riot, Symphony X, Gov't Mule and Skid Row, many of the lower order bands are inspired selections that either didn't playing anywhere else, or are generally ignored in favour of bigger bands. In fact, a good 90% of the lower order line-up at SRF were exclusive to SRF on this year's circuit, which is not something many other festivals can claim.

This was my first visit to SRF, and I'm pleased to say everything about the festival is well organised, down to security, layout and information available on the day. Moving around the festival area involves some tricky navigation through the bodies and for the bigger bands you are almost guaranteed to be watching most of the show on the big screens (which are well positioned, but only available on the main Festival Stage), as with most large-scale festivals.

The running order is also reasonably well organised. The Festival Stage and the other two larger stages (the Rock Stage and the Sweden Stage) are scheduled such that bands alternate, with 15-minute gaps between each. The Rock Stage and the Sweden Stage bands are scheduled at exactly the same times, but they are arranged such that fans of one are unlikely to be fans of the other. For example, Dimmu Borgir lined up at the same time as Thin Lizzy, Axel Rudi Pell opposite Dark Tranquillity and Suzi Quatro opposite Iced Earth. On the smaller stages, although the published schedule had some bands finishing precisely as bands were starting on the big stages, in reality these bands finished five to ten minutes earlier than listed, allowing movement between, say, Krux and Motörhead. Much appreciated, I must say.

Day 1

June 6, 2007

The all-new short 'warm-up' day was all about Annihilator. The rest had the strong sense of "left-overs". The bands they couldn't squeeze into the main days. In all honesty, superfluous acts from the main days could have been dropped, and these others slotted in instead. So, with only Annihilator really worth seeing, the rest of the day if need be could be turned over to fact-finding in preparation for the three big days - something I recommend when attending an event of this size.

Actually, opening band Randy Piper's Animal would also have been well worth seeing. As anyone who's been to a major, multi-day festival will tell you, you will always have to miss a band or two you really wanted to see, and the ex-W.A.S.P. man's new outfit certainly fit in that category for me, but travel put pay to that.

Elsewhere Baltimoore cancelled a couple of days before the event and were replaced by local outfit Mozkovitz, who I didn't see because that slot clashed with both Wolf and Nocturnal Rites, but when briefly passing by they sounded very promising and are certainly a band I shall be looking into. Black Debbath and excellent Swedish sleaze-rockers Crashdiet also fell victim to scheduling clashes. The plan was therefore to open with a review of the Switchblade set, but a Swedish national holiday, Sweden Day, disrupted travel and they were missed. So, always check these things before travelling to festivals abroad!

Strangely, the day's headliners were actually cover band The Australian Pink Floyd Show, who do the full-on big stage production Floyd were famous for in the '70s and '80s. Because of the size and grandeur of their show, and the enormous amount of setting up it takes, they were the only band playing on the day's biggest stage, meaning Annihilator headlined the 5,000-capacity Zeppelin Stage and Crashdiet headlined the smaller Gibson Stage. An extra 2,000-capacity stage was added for this day (used on subsequent days for Sveriges Radio to conduct live interviews), in the absence of big bands to warrant the Rock Stage (20,000 capacity) or the Festival Stage (25,000), which saw Andromeda headline, preceded by Mountain of Power and the ridiculously camp Crazy Lixx.

To be honest, I didn't care about the Pink Floyd show, and took the opportunity to make an early exit, giving me plenty of time to assess the late-night travel situation before the three big days (which were all scheduled to finish at 2am), and the chance of a decent night's sleep - two things highly recommended before the big days. Sweden Day once again intervened, with a single bus running at 2:30am. Again, myself and some American revellers (three members of spoof metal band Nasty Disaster, it turns out) shared a taxi. Bear these things in mind if you are planning to travel to Sweden Rock 2008. Travel had not gone well, but thankfully the bands did...

Bands reviewed:
Andromeda | Annihilator | Nocturnal Rites | Wolf

Bands NOT reviewed:
The Australian Pink Floyd Show | Black Debbath | Crashdiet | Crazy Lixx | Mountain of Power | Movkovitz | Randy Piper's Animal | Switchblade | Vomitory

Wolf

Zeppelin Stage
Capacity 5,000
18:30 - 19:30

With the travelling mentioned above native power outfit Wolf became the first band of the four-day campaign. The Century Media-signed outfit released their latest album, The Black Flame in October 2006, and drew heavily from it in a 60-minute set.

Wolf, it's fair to say, impressed everyone who watched them. Of all the bands I saw all week no one enjoyed more positive comments from people previously unfamiliar with them. Their perfect combination of hard riffs, soaring vocals and high-level technical musicianship surprised and pleased everyone in the audience, which grew as the set went on.

The biggest winners were the new songs. In front of a crowd of Wolf fans the set chosen my not have been so popular, lacking as it was a lot of material from the older albums. But truth be told there weren't that many Wolf fans there (eccentric UK scribe Glenn Butler aside). So for those in attendance, all the songs were largely as unfamiliar as each other, and it was the new ones which impressed the most.

Hard-hitting The Bite from the new album was particularly well liked, and later monumental title track Children of The Black Flame encouraged a rapturous response. Huge amounts of cheering at the end of In The Shadow of Steel welcomed an encore of Demon Bell to finish off an hour of pure metal. For many, including myself, Wolf kicked off Sweden Rock 2007 in the best possible way, and on the strength of this performance, really should have been above Nocturnal Rites, who weren't so impressive.

“ impressed everyone ”

Setlist: Steelwinged Savage Reaper / The Bite / Electric Raga / Wolf's Blood / I Will Kill Again / ??? / Evil Star / Black Wing Rider / Children of The Black Flame / Genocide / In The Shadow of Steel // Demon Bell

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Nocturnal Rites

Zeppelin Stage
Capacity 5,000
20:00 - 21:15

Following fellow Swedes Wolf was probably a tougher challenge than Nocturnal Rites were expecting. They had the benefit of enjoying more of their own fans in the crowd, but a lacklustre performance failed to inspire the rest of the viewers in the same way as their predecessors. With new album The 8th Sin not yet released at this point, many songs in the set were unfamiliar even to Nocturnal Rites fans and their generic power metal riffs don't hit anywhere near as hard as Wolf's more traditional metal sound.

For much of the band's performance they seemed far more concerned with winding each other up than playing to the crowd and the camp nature of their songs did little to endear them to those not already fans. Nocturnal Rites are similar in that sense to Hammerfall. I can't see them going down too well with people who aren't already fans. Their material is just too silly, and not in the same way as Edguy, who are intentionally comedic. There're only so many songs about "flying high like an eagle" (not an actual lyric) and the like one can take.

Perhaps Nocturnal Rites suffered a little from expectation. I think more people know who they were compared to Wolf, so where Wolf had the element of surprise on their side, Nocturnal Rites had to live up to something. To be honest, expectation or not, their show was nowhere near strong enough to win over anyone. I didn't hear many existing fans walking away singing their praises for a show well done either.

“ failed to inspire ”

Setlist: New World Messiah / Cuts Like A Knife / ??? / Shadowland / Not The Only / The Sinner's Cross / Another One Bites The Dust jam > ??? / Wake Up Dead / ??? / Fire Comes To Ice / Never Again / ??? // Fools Never Die / After Life

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Andromeda

SR Stage
Capacity 2,000
21:15 - 22:00

The SR Stage's capacity estimate of 2,000 seemed a little unlikely, but Andromeda played to about 40 people, so they didn't really need to worry. Supporting their latest CD Chimera, released in 2006, and their new live DVD Playing Off The Board, released in April 2007, Andromeda's brand of highly technical progressive metal understandably had a limited appeal in the classic rock and metal climate of Sweden Rock.

It was also very difficult for them to put on much of a show as the stage barely contained the five-strong band. Bassist Fabian Gustavsson, essentially a hobbit with a perm, was relegated to the shadows behind front-man David Fremberg and keyboard player Martin Hedin, while guitarist Johan Reinholdz occupied the other side. There was no space to move, Reinholdz in particular looked incredibly confined. With space to spread out on a bigger stage I imagine they are an very entertaining outfit - Fremberg really did look like he wanted to run around a-la Steve Harris.

Thankfully for the band several genuine Andromeda fans turned out to support them, and headed an appreciative audience who clearly fancied something a little more mature and refined than Black Debbath who were just finishing up on the Gibson Stage. Andromeda are another in a long line of technical progressive bands and in a market with so many purveyors, it needs something remarkable to stand out. Andromeda are very good, but not remarkable. They will be a perfect fit lower down a bill and will come as a pleasant surprise to any prog fans who catch them but on this evidence I can't see them being the next Dream Theater just yet.

“ mature and refined ”

Setlist: Periscope / Mirages / In The Deepest of Waters / The Hidden Riddle / Inner Circle / Encyclopedia

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Annihilator

Zeppelin Stage
Capacity 5,000
22:00 - 23:15

Having seen a few, it seems that being visually entertaining is a tougher target for thrash metal bands than it is for some of the other sub-genres. Destruction, Anthrax and Kreator all have absolutely no entertainment value, yet somehow Canada's Annihilator manage to enthrall and impress with ease. This was the second time I saw them on their Metal tour, after they blew Trivium apart in London in April, and with a slightly longer set they were even more impressive.

It could be partly down to the thrill of touring again. It's a long time since Annihilator were able to hit so many places with a new album, and a chance to get out and show the young guns how it's really done must be invigorating for Jeff Waters and company, Waters himself showing no signs of the ankle injury that had threatened to end the tour a couple of months prior. However, I think it's more down to pure old-fashioned showmanship, humility, and lively, varied songs. Too much thrash music is by-the-numbers, but Annihilator are so original, and always have been, that they've got an instant advantage.

Elsewhere on the European trek Trivium's Corey Beauleu and Children of Bodom's Alexi Leiho have joined Annihilator on stage, so no guest appearance at this event from Jesper Stromblad of In Flames, given that he was due to be in town the following day with All Ends, and had guested on Haunted on the new album, was disappointing but only a small sticking point.

Shredding riffs on the likes of Set The World On Fire, The Fun Palace and Refresh The Demon sat perfectly alongside newer tracks like Operation Annihilation, Clown Parade and Maximum Satan to give the set a bit of almost everything (a few albums from the middle of the career weren't represented). As happens quite a lot with older bands who don't tour often, there were many people in the audience who had lost touch with Annihilator's output, and these people generally seemed thrilled at the inclusion of tracks like Stonewall and Welcome To Your Death from the early albums accompanying the regular early songs like Alice In Hell.

Being able to switch vocals between main singer Dave Padden (also rhythm guitar) and Jeff Waters adds to the variety, with Waters taking songs he originally sang on the host albums (Operation Annihilation and Refresh The Demon for example) and it all sums up to an excellent thrash show. They could have done away with The Australian Pink Floyd Show, for my money, and given Annihilator a full 90-120 minutes. 75 just wasn't enough.

“ Shredding riffs ”

Setlist: Operation Annihilation / Clown Parade / Blackest Day / King of The Kill / Maximum Satan / Like Father, Like Gun / Set The World On Fire / The Fun Palace / Never, Neverland / Welcome To Your Death / Refresh The Demon / Stonewall / Alice In Hell

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Day 2

June 7, 2007

The second day this year was the first of the major days with a full main-stage programme and the first of the big name headliners, Heaven And Hell. So many huge acts from the World of rock and metal packed out the bill that it was of course necessary to trawl the programme and select the bands to see beforehand.

As with the first day a few good bands suffered from scheduling conflicts and on this occasion Eldritch, the excellent Sturm und Drang, who's new album will feature a guest appearance by Udo Dirkschneider, Axel Rudi Pell and Point Blank all lost out. This day was by far the most pleasing for extreme metal fans, with Dimmu Borgir, Dark Tranquillity, Amon Amarth and Marduk all playing.

Between acts it was possible to briefly check out some of the others, and passing by Dimmu Borgir (who will now forever be known as "Demon Burger" - cheers Erik) looked like an incredibly entertaining prospect. While musically they're fairly typical death metal fare, their show looked like a lot of fun. Elsewhere Thin Lizzy sounded incredibly boring, Tokyo Dragons sounded terrible opening the Zeppelin Stage and Quiet Riot sounded great playing their heavier new material from the Rehab album, but horrifically dated and weak with their '80s stuff - front-man Kevin DuBrow (R.I.P.) was predictably pomp-rock-star-irritating as well. Those We Do Not Speak Of stepped in to replace Trail of Tears at the last minute, and sounded like a very good band; worth checking out in the future.

Before the Dio-led main attraction in the evening the plan had been to catch Zan Clan on the Gibson Stage. Hopes were high, mostly based on the Chris Laney connection with Randy Piper's Animal, but the band were a huge let down. Weak songs, weaker guitars and the ridiculous Zinny Zan coming across as a comedian mocking a rock front man. If Blackie Lawless had a Mini-Me equivalent, it would be Zinny Zan.

Also on the Gibson Stage earlier in the day I caught Backdraft because of their reputation as a hard grooving southern rock band. Unfortunately they weren't anywhere near as enjoyable as I was expecting, with much more straight forward fuzzy rock riffs and not much in the way of groove. Something which later bore out on their new album.

Of all the days this one proved to be the most varied in terms of genres, and personally I took in some English classic rock, some American classic rock, power metal, progressive metal, southern rock and some blues before the main event. Not bad for one day.

Bands reviewed:
Bluestone Company | Heaven And Hell | Lions Share | Meat Loaf | Symphony X | Thunder

Bands NOT reviewed:
Amon Amarth | Axel Rudi Pell | Backdraft | Dark Tranquillity | Eldritch | Dimmu Borgir | Marduk | Point Blank | Quiet Riot | Solid Ground | Soren Borlev's Gas Show | Sturm und Drang | Thin Lizzy | Tokyo Dragons | Those We Do Not Speak Of | Zan Clan

Bluestone Company with Chris Duarte

Sweden Stage
Capacity 10,000
12:00 - 13:15

Bluestone Company have a unique aspect about them that make them of instant interest. They're a blues band from Japan. How often does that happen? More specifically they're an excellent blues band from Japan who occasionally bring in American blues hero Chris Duarte to front them.

This, the only European summer festival to book them, is one such occasion and although they occupied arguably the worst slot of the day, opening one of the out-of-the-way stages at noon on a Thursday, they enjoyed an enthusiastic, if modest crowd. Indeed the audience at the very front of the stage was four or five people deep as Duarte led the band through a tight 75 minutes mixing his own material, songs from Bluestone's new self-titled album and one or two classic blues standards.

For European and US shows Chris Duarte is the focal point. In Japan he's a special guest, but in most other places blues fans know him well above Bluestone Company. This show was no different but what has to be said is that Bluestone Company are an outstanding blues band. Having never seen the Chris Duarte Group it's not possible to compare the two, but it's hard to imagine Chris' regular band being any better than the Japanese quartet who grinned their way through the set, clearly thrilled to be playing in Europe.

Although bands often feel unfortunate to be handed a slot around midday at a festival, this was actually probably the best time for Bluestone Company. It meant that the fans in attendance really wanted to be there, and with the Sweden Stage set, as it was, on a slight hill it meant people could relax in the sun to enjoy the more laid-back music than they would later be indulging in.

They proved thoroughly popular and while the sound wasn't great and the crowd wasn't huge the roars which brought them out for an encore (most bands on the smaller stages, especially early in the day, don't get encores) was sizeable and made those grinning faces even wider.

“ thrilled to be playing ”

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Thunder

Festival Stage
Capacity 25,000
13:30 - 14:45

If there were ever one band perfectly suited to be playing a big stage in the blazing sun in the early afternoon it's Thunder. As always the English rockers were all smiles and energy as they rattled through 75 minutes of good-time rock touching on each of their seminal first three albums, and each of their most recent three since their labeless renaissance in 2002.

Thunder were actually the first band of the whole festival to grace the main stage, since it wasn't in use the day before. The size of the crowd gathered for their set amazed me, and even more so that they were all singing along and enjoying the set. I really didn't realise they were so well known and so popular in Sweden. Big-riff opener Loser, from 'comeback' album Shooting At The Sun, induced a rapturous response which didn't let up for the whole set. Older songs like Low Life In High Places, Back Street Symphony and ("Here's one you might know") Love Walked In were of course more well known than newer songs, but that didn't seem to stop everyone becoming acquainted with the new material.

There was one element of their set that I would class as a mistake though. For tracks like You Can't Keep A Good Man Down and Dirty Love they played the long-form audience participation/jam versions that they play in their two-hour headlining sets on their regular tours. For a 75-minute festival set, where you're not necessarily playing to your own fans, cutting these two down to their regular length and playing a couple more songs would surely have been a much better idea.

Outside of England Thunder's revitalisation in 2002 went largely unnoticed so a lot of fans of old, who have lost touch with the band's activities, were keen to find out what they are up to now. Everyone in this kind of situation is always pleasantly rewarded as the three albums since the reformation have all been excellent. Both live and on record Thunder are tighter and more consistently good than they've ever been before with last year marking their long awaited return to London's legendary Hammersmith Apollo and this year seeing them hit several of the World's major festivals. Only the US still remains out of reach, but with several American visitors to Sweden Rock keen to see the band that never get to tour the States, surely it's only a matter of time.

“ rapturous response ”

Setlist: Loser / River of Pain / Higher Ground / Low Life In High Places / Robert Johnson's Tombstone / You Can't Keep A Good Man Down / The Devil Made Me Do It / Back Street Symphony / Love Walked In / I Love You More Than Rock n Roll / Dirty Love

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Lions Share

Zeppelin Stage
Capacity 5,000
16:00 - 17:00

After releasing an album every two years between 1995 and 2001 Lions Share took a hiatus, and new album Emotional Coma is their first in six years, now featuring Astral Doors vocalist Patrick Johansson and Glenn Hughes' bassist Sampo Axelsson joining founding guitarist Lars Chriss and session/touring drummer Richard Evensand (ex-Chimaira/Soilwork).

They had played just two club shows and one other festival with the new lineup before this appearance, but any lack of practice didn't show in the least. Pulling mostly from the new record for this set (six out of ten songs) they enjoyed a similar level of success to Wolf the previous day, wining over several people with Johansson's powerful voice and Chriss' massive riffs. I think perhaps many people had them pegged as a Nocturnal Rites kind of band, but their darker edge and heavier sound, akin to the likes of Symphorce and Mystic Prophecy surprised and impressed.

Patrick Johansson isn't the most animated of vocalists, and this initially gave the impression that he wasn't entirely enjoying the experience, but after two or three songs his big grins to the rest of the band showed that he was comfortable with the songs and pleased with the results. On his right Lars Chriss strikes a rather strange sight for a heavy metal band. Considerable heavier than he used to be, and with hair tied in a ponytail which started on top of his head rather than the back and large earrings, he looked about as metal as a gypsy fortune teller, but no one was denying his riffs or solos.

Lions Share were one of the pleasant surprises of SRF '07, and the gap between their new album and the rest of their material didn't show as older songs like Waiting, Sins of The Father and Unholy Rites fitted neatly alongside the new cuts. Since their Summer 2007 dates Astral Doors have released a new album, and their touring plans for next year include Sweden Rock, so Lions Share will be fitting in around Johansson's duties with his parent band, but a booking for Siljarock 2008 shows they'll still be active next year.

“ darker edge ”

Setlist: Unholy Rites / Soultaker / The Arsonist / The Edge of The Razor / Waiting / Cult of Denial / Shotgun Messiah / Bloodstained Soil / Toxication Rave // Sins of the Father

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Symphony X

Rock Stage
Capacity 20,000
18:15 - 19:45

Highly revered American progressive metal outfit Symphony X were the first disappointment of the festival so far. Although Nocturnal Rites had failed to impress the day before, the expectation for them wasn't so high. The new Symphony X album, Paradise Lost, is outstanding, as is much of their back catalogue, and for a fan of the likes of Dream Theater and Threshold they should have been a top draw.

Unfortunately I found their show severely lacking. There's no denying progressive music struggles in this environment, as Andromeda found the day before, but Symphony X have enough of a following for that not to be an issue. Russell Allen came out and did his best metal-front-man bit, and his voice is undeniable. Michael Romeo too pulled off his amazing fretboard runs with apparent ease. But something was missing. The songs came and went, some of them lingering for some time, but nothing seemed to click. They came, they played, they finished, and the whole experience was largely forgettable.

What made it such a disappointment is a combination of the high quality of the band's recorded output (everything Russell Allen touches is gold) and the enormous live reputation they come with. Dream Theater themselves didn't hesitate in booking SX for every date on their European tour in the Autumn and ProgPower US have had them on the bill three times, headlining twice. I could see very little about this show that justified this reputation. The cliched opinion of progressive music often voiced by non-prog fans is that it's boring because of endless self indulgent soloing and so forth. While this isn't strictly true of SX, especially for a prog fan, their set somehow did have that level of boredom to it.

Given the outstanding quality of new album Paradise Lost I was tempted to give them another shot on the Dream Theater tour, and they were much, much better. SRF must have been an off day.

“ largely forgettable ”

Setlist: Of Sins And Shadows / Domination / Inferno (Unleash The Fire) / Communion And The Oracle / Smoke And Mirrors / Set The World On Fire (The Lie of Lies) / The Serpent's Kiss / Sea of Lies / The Odyssey

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Meat Loaf

Festival Stage
Capacity 25,000
20:00 - 21:30

Unfortunately, as big a coup as Meat Loaf's appearance at the festival was, the big man was the day's second disappointment. Bringing with him his full band, including the popular and beautiful singer Marion Raven and excellent lead guitarist Paul Crook (ex-Anthrax/Sebastian Bach) Meat did his full theatrical performance for a little over an hour.

Opening with If It Ain't Broke, Break It from excellent new album Bat Out of Hell III seemed promising, but as the set went on and only one more new song emerged (In The Land of The Pigs (The Butcher Is King)) things grew more and more disappointing. Meat's new album, the cover art for which adorned most of the stage, is just about the heaviest thing he's ever released. It's a straight-up theatrical rock album, emphasis on the rock. So at a rock festival, as part of the tour supporting that album, I thought it totally reasonable to expect a fair few songs from it to be played live. It's two lead tracks The Monster Is Loose and first single It's All Coming Back To Me Now were no where to be seen and even sappy new single Cry Over Me didn't get an airing.

Instead we got all the pop hits like You Took The Words Right Out of My Mouth, I Will Do Anything For Love (But I Won't Do That) and Paradise By The Dashboard Light. Of course the obligatory Bat Out of Hell itself finished the main set, and the inclusion of Life Is A Lemon (And I Want My Money Back) was pleasing, but to play several songs without a hint of genuine rock to them was unforgivable. And wasting time with an inexplicable encore of three cover songs did no one any favours.

Add into the equation the fact that, as much as we'd all like it to be otherwise, Meat's voice isn't up to the task anymore, and his ham-fisted theatrics verge on the ridiculous, very little is left in the show to be particularly appealing. Just like he did in the '70s Meat still likes to make a big issue of the inappropriate way he gets to behave with the pretty girls he often has singing with him (suspiciously doing a large proportion of the singing these days). You'd think he'd have moved past that now. In all honesty I was shocked Raven was onboard with that side of the show. She's a fast-rising solo artist in her own right, with an excellent album of her own material. I can't imagine being the latest in a long line of singers who lets the big man grope her breasts on stage every night casts positive light on her career.

So not only was the show itself a disappointment, it was certainly a missed opportunity for Meat Loaf as well. A prime chance to play a bunch of new songs to a crowd that would surely appreciate them; but he blew it with pop hits we all already know.

“ inexpiable ”

Setlist: If It Ain't Broke, Break It / Paradise By The Dashboard Light / You Took The Words Right Out of My Mouth / Out of The Frying Pan (And Into The Fire) / Life Is A Lemon (And I Want My Money Back) / In The Land of The Pigs (The Butcher Is King) / I Will Do Anything For Love (But I Won't Do That) / Bat Out of Hell // Black Betty / Mercury Blues / Gimme Shelter

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Heaven And Hell

Festival Stage
Capacity 25,000
23:30 - 02:00

Heaven And Hell's world tour is just about the most important event of the year in heavy metal. The reuniting of vocalist Ronnie James Dio with Black Sabbath for the first time in 15 years is monumental. Many metal fans the world over, who don't blindly adhere to the "no Sabbath without Ozzy" cliche, have been waiting for this to happen, and many thought they'd never get the chance to see arguably the best Black Sabbath lineup (including Vinnie Appice on drums) live.

The rumour mill started when Dio and Sabbath mainstay guitarist Tony Iommi agreed to write and record three new songs for a compilation celebrating the two periods Dio spent in Sabbath and the announcement that the band would tour, initially with original drummer Bill Ward, came late last year. The name Heaven And Hell comes from the first album the line-up, including Ward, recorded together. Ward later withdrew his participation and was replaced by Appice, who replaced Ward back in 1981 for the their second album, Mob Rules. Dio's second tenure came in 1992 when he rejoined for the astonishing and ridiculously underrated Dehumanizer.

The tour began in New York in March, moving through Canada and then on to the European festival circuit, where the band were tapped to headline nearly every major rock festival with only two notable exceptions, Download and Wacken. Several non-festival dates were added, then an Australian tour with Down for the end of the summer, some Mexican dates, a US tour with Alice Cooper and Queensryche in September and a UK tour in November. More North American dates are planned after the UK tour.

Although each headliner was allocated a two-and-a-half hour slot, they only played between 90-minutes and 2 hours, which meant a slightly abbreviated show for Heaven And Hell, who dropped After All (The Dead), Lonely Is The Word and The Devil Cried from their regular setlist. To the exasperation of most of the audience Vinnie Appice's drum solo remained, which surely could have been handed over to another song, but otherwise everyone, most of whom were seeing the band for the first time, were left happy.

Only one new song made an appearance, Shadow of The Wind, while the rest of the set showcased the very best tracks from the three albums recorded with Dio at the helm. Crushing Dehumanizer cuts Computer God and I were particularly well received as the fans who are most excited about this reunion tend to cite the album as their favourite, and I as their favourite track from it (these ranks include myself and I lost count of the number of other people saying the same thing on the day). I think this is because these songs are the least oft heard. Dio regular plays the big tracks from Mob Rules and Heaven And Hell with his own band, and Black Sabbath played the same songs regularly when Tony Martin fronted the band.

The other songs most well received were the ones from the earlier two albums which don't get played so often. Falling Off The Edge of The World, for instance, is a cult favourite amongst fans, and has excited everyone since it first appeared in the setlist in March. The full-length version of Sign of The Southern Cross also proved popular as Dio is known for playing a shortened version of the track when he includes it in his own sets. Big hitters Die Young, Heaven And Hell and encore Neon Knights rounded out a set that perhaps held no surprises to anyone aware of what they've been playing on this tour, but didn't fail to thrill everyone watching.

A new live DVD and CD recorded at the band's first show at the Radio City Music Hall in New York in March was released on SPV earlier this year and it has now been announced that the band will record a brand new album next year. All metal fans should consider seeing the band before they're gone. There won't be many more chances to see the World's best metal band, with their best line-up, playing a set of their best songs. Especially once Ozzy gets into gear and they make a new album with the original line-up.

“ monumental ”

Setlist: Mob Rules / Children of The Sea / I / The Sign of The Southern Cross / Voodoo / Drums / Computer God / Falling Off The Edge of The World / Shadow of The Wind / Die Young / Heaven And Hell // Neon Knights

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Day 3

June 8, 2007

Following the biggest metal event of the year yesterday comes the biggest rock event of the year: a full World tour from Aerosmith. The veterans American rockers hadn't toured Europe before this Summer since 1999, despite several US and Japanese tours in that time, and Sweden Rock was the first festival to book them in 2007. Arguably this day didn't have any other huge international names, where day four would have Motörhead as well as headliners Scorpions, and day two had Meat Loaf before Heaven And Hell. The task fell to Hardcore Superstar, who are very popular in Sweden, but not so much elsewhere.

In terms of pedigree diminutive German Udo Dirkschneider and his band U.D.O. would probably come next in line with thrash legends Kreator and US rockers Skid Row. Maybe more than any other day, this day was the most interesting line-up further down the bill with US jam band institution Gov't Mule, fast-rising British rockers The Answer (from Ireland) and McQueen and the return of Swedish veterans November.

It's this ability and willingness to mix bands from many different avenues of rock that makes Sweden Rock such a unique event on the European festival calendar, where too many others are trying to pack the line-ups with as many trendy new bands as possible to bring in the pop crowds. Pretty much the only thing you won't see from the rock spectrum at SRF is emo/hardcore. Fine by me!

Bands reviewed:
Aerosmith | The Answer | Gov't Mule | McQueen | U.D.O.

Bands NOT reviewed:
After Forever | Anekdoten | BadDadz And Big Bear | Hardcore Superstar | Kreator | Memfis | November | Pretty Maids | Skid Row | Tiamat | White Lion

The Answer

Festival Stage
Capacity 25,000
13:30 - 14:45

Ireland's young rockers were another act I was surprised to see given a lofty position on the large Festival Stage. Admittedly it was the opening slot, but until now The Answer have been support band of choice for classic rock acts in the UK (Whitesnake, Thunder et al) and their own headlining tours have been in small clubs with just a fraction of the capacity of Sweden Rock's biggest stage.

But, like the others in a similar position, they drew a sizeable audience and wasted no time packing in a strong set from their debut album Rise. Cormac Neeson's Robinson-meets-Plant posturing was the main visual attraction while Paul Mahon's bluesy guitar solos provided the main instrumental interest. The answers modern take on classic blues and hard rock a la Zeppelin etc.

The bands closer to a classic rock style are the staple of Sweden Rock, and everyone is always keen to check out fresh blood in the genre. Previously The Answer had only played small club shows in Sweden, so most probably won't have ever seen them. This may have contributed to the crowd numbers, but I doubt anyone went away disappointed. Neeson's mid-set attempt at a crowd participation activity fell a bit flat as no one really understood the link to Ireland he was trying to highlight, but as soon as the band rocked into the next song that was all forgotten.

The Answer are not just a cut-and-dried band that play their songs exactly as they were recorded on the album. They're more than capable of jamming on stage and closed the set in an unorthodox way when Neeson finished Be What You Want and bid his farewells, leaving the rest of the band to jam for another couple of minutes. This just served to show the calibre of musicianship in the band and satisfied everyone that they're a genuine rock 'n' roll band and there's nothing pre-packaged about them at all and their spot opening the main stage for the day in the sunshine was perfect for them.

“ genuine ”

Setlist: Come Follow Me / No Questions Asked > The Doctor / Never Too Late / Keep Believin' / Sometimes Your Love / Under The Sky / Preachin' / Into The Gutter / Memphis Water / Be What You Want > Jam

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Gov't Mule

Festival Stage
Capacity 25,000
16:30 - 18:00

The mention of a jam band on a rock festival bill tends to furrow a few foreheads, but Mule have the whole package at their disposal and could comfortably play a full set at a rock festival, a jazz festival or a blues festival, given the correct selection of material.

So, for Sweden Rock, they pulled out all the big riffs. It has to be said that in any normal Mule show it's the riffy, heavier songs like Bad Little Doggie and Blindman In the Dark that are the most popular, so a set full of those kinds of songs is simply outstanding. Indeed what was far more surprising than their inclusion on the bill was their position on the main stage. I had no idea they were that popular in Sweden but, like Thunder the day before, a sizeable crowd turned out for the set and roared with delight at every track.

Only a couple of songs softened the otherwise rock attack, both of which were equally well received. The immortal Allman Brothers Band track Soulshine, the kind of song that is to Gov't Mule what Walk This Way is to Aerosmith or Ace of Spades is to Motörhead, was predictably popular, and Banks of The Deep End, one of Mule's best structured works, proved a hit as well.

New album High & Mighty was plundered for three tracks, all of which were just as appreciated as the older numbers, perhaps hinting that many in attendance weren't actually familiar with the band's material and were simply enjoying everything equally. A good sign for longevity, for sure.

Mule shows are, generally speaking, carried by the sweeping jams that occupy most of their songs. Rarely the same on any two nights, and always breathtaking, the fact that the band hardly move, at all, doesn't make them a visually unappealing spectacle, as the attraction is in the magnificent musicianship. Mule never play the same set twice in a row, with sets often being wildly different every night. For a band to have that many songs at their instant disposal is a testament to their talent, and for a little over one non-stop hour they showed exactly what they can do. One of the performances of the day, and possible of the whole festival.

“ simply outstanding ”

Setlist: Blindman In The Dark / Bad Little Doggie / Mr. High & Mighty / Brand New Angel / About To Rage / Bad Man Walkin' / Streamline Woman / Larger Than Life > Rocking Horse / Banks of The Deep End / Slackjaw Jezebel / Soulshine / Mule

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U.D.O.

Rock Stage
Capacity 20,000
18:15 - 19:45

Until new album Mastercutor I'd never been a fan of the pint-sized former Accept frontman and was initially planning to miss his set in favour of either November or After Forever, but once the new album turned out to be so good I quickly checked out Mission No. X and Thunderball, his previous two studio efforts, and became more and more excited about seeing him.

Whether or not this excitement was misplaced I can't decide. Although his show wasn't bad, it wasn't great either. New songs Mastercutor and The Wrong Side of Midnight stood up well, but We Do - For You was a strange choice as there are better songs on the new album. A string of Accept hits in the middle of the set met with widespread approval, but other efforts from the solo albums, including 24/7 and Thunderball, felt a bit flat.

Udo's show, essentially lots of finger-pointing and fist-raising, isn't the most visually entertaining and the flow of strong songs interrupted by weaker ones didn't do the little man any favours. A big encore finale of Holy and the incomparable Balls To The Wall, with a mystery special guest guitarist - he did announce who it was, but no one seemed to hear him (I think it was former Alice Cooper guitarist Ryan Roxie, but I was too far away to tell for sure) - sent everyone off in a good mood, but I couldn't help but feel some spark was missing from the bulk of the main set.

“ spark was missing ”

Setlist: Mastercutor / 24/7 / Independence Day / The Wrong Side of Midnight / The Bullet And The Bomb / Restless And Wild / Son of A Bitch / Princess of The Dawn / Thunderball / We Do - For You / Man And Machine / Animal House / Metal Heart // Holy / Balls To The Wall

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McQueen

Gibson Stage
Capacity 3,000
21:30 - 22:30

McQueen's mammoth year of touring continued with several festival appearances this Summer and will finally end in Helsinki on New Year's Eve supporting Hanoi Rocks. Afforded the hour-long headlining slot on the Gibson stage, opposite Skid Row on the Rock Stage and right before Aerosmith on the Festival Stage was a high honour for the Brighton four-piece and they delivered their usual no-nonsense attitude as the sun was setting.

Most of the crowd were completely unfamiliar with the band. The front row was almost entirely English; fans who had travelled to the festival and turned out to support the home-grown talent. Nevertheless the girls' aggression and punky hard rock seemed to be well received by those wanting something different to Skid Row, who were playing next door on the Rock Stage, and Tiamat round the corner on the Sweden Stage, and a bit of fun-fuelled raucousness.

The hour-long slot enabled the band to play near enough their usual headlining set, dropping the all-out pop-punk of (Don't Know How To) Break It To You to leave the ever-popular album title track Break The Silence, fast-paced rockers Blinded, Neurotic and Not For Sale and fist-pumping sing-along closer Like I Care.

A few uncertain looks in the audience were dispelled from Break The Silence onwards, by the crowd participation part at the end everyone seemed to be having a good time in the dying light ahead of main attraction Aerosmith, non more so than the amassed English contingent.

“ fun-fuelled raucousness ”

Setlist: Not For Sale / Running Out of Things To Say / Dirt / The Line Went Dead / Break The Silence / Blinded / Neurotic / Bitch // Like I Care

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Aerosmith

Festival Stage
Capacity 25,000
23:30 - 02:00

It's been far too long, but the mighty American rock institution finally returned to Europe. Sweden Rock were the festival event organisers to book the band, who's last European tour was eight years ago. Their last album of all new material was six years ago, so a greatest hits set was the most likely outcome of a new tour, and that's exactly what we got.

Those that have seen the band before weren't that impressed at seeing the same songs all over again, but most people didn't mind at all. Aerosmith showed, beyond a shadow of a doubt, what a slick performing machine they are. Absolutely professionals and unrivalled masters of the rock 'n' roll show. Countless people in the audience could be heard remarking that they're not even fans of the band, but the immaculate show had won them over.

Quote of the day had to come from a Swedish reveller standing next to me for most of Aerosmith's set, who wasn't an Aerosmith fan, but loved every minute and said "Steve Tyler is such a great microphonist". Something lost in the translation there, but actually, it's an entirely accurate statement. 'Microphonist' is an excellent word to sum up Aerosmith's front man. He is one of the few singers who really does work the microphone like it's an instrument, instead of just stepping up to it and singing. Others with the same ability include Axl Rose and Chris Robinson, but even they aren't as good at it as Tyler.

Joe "F*ckin'" Perry too has come into his own as a showman (someone's got to make up for the inanimate Brad Whitford and Tom Hamilton), and he handles lead vocals for Stop Messin' Around' before a solo spot during Draw The Line culminating in being sprawled across Joey Kramer's drum kit. Well conceived videos on the screen add to the performance, particularly the tour intro movie which changes the name of the city depending on where they're playing, and a back catalogue of first class rock songs doesn't do them any harm either.

Aerosmith are absolutely flawless and fully deserving of their reputation as one of America's best live bands. Some of the biggest bands in the World do not always deserve their status, but Aerosmith have proven that they do, and having been away for so long made this show, and all the others on the European tour, all the more special.

“ immaculate ”

Setlist: Love In An Elevator / Dude (Looks Like A Lady) / Falling In Love (Is Hard On The Knees) / Cryin' / Eat The Rich / I Don't Want To Miss A Thing / Jaded / What It Takes / Baby, Please Don't Go / Hangman Jury (Acoustic) > Seasons of Wither / Dream On / Last Child / Livin' On The Edge / Stop Messin' Around / Sweet Emotion / Draw The Line // Walk This Way

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Day 4

June 9, 2007

And finally the home stretch. Scorpions headlined this day and I resolved to give them four songs grace to prove they played as heavy live as they have done on their last two albums (they didn't so I left to get some sleep before the trek back to England), but the middle of the bill was potentially the most exciting of the whole festival with Motörhead, Iced Earth, Krux, Blind Guardian, Trouble, Fastway and Hellfueled all playing.

Such was the quality of the fourth day lineup that I had to skip Soul Doctor, Falconer and Bloodbound in order to see some of the others. All three of those bands would have found a place in my schedule ordinarily. In hindsight I really should have watched Bloodbound instead of Trouble, as the seasoned doom rockers, suffering badly from a terrible sound mix, were a surprisingly boring affair.

Fastway were similarly a little lifeless, although new singer Toby Jepson (ex-Little Angels) tried his best to impress the modest crowd. Not that there was anyone else particularly attractive on at the same time. "Fast" Eddie Clark's concise leads just weren't enough to overcome what was essentially a collection of very similar riffs in the end. Even with a set shortened by half an hour (they came on 15 minutes late and left the stage 15 minutes early), they still seemed to drag. To be honest, although a slightly unrelated point, calling the band Fastway doesn't seem right when Pete Way (UFO), the other half of the name, isn't in there. Why not just tour under the name "Fast" Eddie Clark?

Anyway, the core of the day was probably the strongest of the festival and until today Aerosmith and Gov't Mule were equal as the best performance and Lions Share were the surprised package of the week. Both of those titles would fall today, to the same band.

Bands reviewed:
Blind Guardian | Hellfueled | Iced Earth | Krux | Motörhead

Bands NOT reviewed:
BC And The Heartkeys | Black Oak Arkansas | Bloodbound | Falconer | Fastway | Focus | Hinder | Korpiklaani | Magic Pie | Quireboys | REO Speedwagon | Scorpions | Soul Doctor | Suzi Quatro | Trouble

Hellfueled

Sweden Stage
Capacity 10,000
12:00 - 13:15

Another home-grown band, Hellfueled have been unable to escape direct comparisons to Ozzy Osbourne and Black Label Society. Listening to their second album, Born II Rock, really does bring back memories of Ozzy's late '80s No Rest For The Wicked period. But their new, third album Memories In Black is the sound of band finding their own sound with it.

And I guess that's what they're out to prove with their live shows. At this point the new album wasn't out yet, so even the Hellfueled fans in the audience didn't really know the songs, meaning the band had a largely blank canvas to demonstrate their newly matured sound. The crowd, as on previous days for this time-slot on the out-of-the-way Sweden Stage, was modest at best, but enthusiastic nonetheless.

The set came mostly from the new album with the most popular cuts from the previous two, closing trio Born To Rock, Midnight Lady and Rock N Roll proving particularly popular with fans, and while most people didn't know the songs at all, much nodding sagely signaled an appreciation of their efforts.

Hellfueled's full-blooded classic heavy metal deserves, and will no doubt get, more recognition, but perhaps Sweden Rock wasn't the place for them. They put on a good performance, and the fans that came loved every minute, but where the perhaps more tongue-in-cheek power metal thrives here, the traditional sometimes doesn't. Although with such a small crowd it was hard to tell, and maybe not a fair reflection of the reception the band achieves.

“ matured ”

Setlist: Rewinding Time / Old / Can't Get Enough / Master of Night / Jam > / Let Me Out / Again / Eternal / Right Now / Break Free / Warzone / Born To Rock / Midnight Lady / Rock N Roll

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Blind Guardian

Festival Stage
Capacity 25,000
16:30 - 18:00

The reception Blind Guardian received as they entered the Festival stage in the sunshine was impressive. The main stage area was packed with die-hard fans at the front back to casual observers, and those at the front were as enthusiastic as fans normally are at a headlining club/theatre show.

Despite the classic rock basic ethos of the festival, power metal seems to be very popular and all the power bands of the week had their fair share of support. I think Blind Guardian may have edged it in the crowd volume stakes, however. A quintessential front-man-focal-point band, Hansi Kursch certainly leads from the front. Making full use of the short walk-way protruding into the front rows looks like he has full belief in the Tolkien-lyrics he's singing, but always without being over-emotional or over-dramatic.

Only first single Fly and opener This Will Never End appeared from current album A Twist In The Myth, so unfortunately excellent second single Another Stranger Me, one of the best songs from the new album, was absent, but massively popular tracks like The Bard's Song (In The Forest), A Script For My Requiem and the awesome Nightfall made up for it.

Final song Mirror Mirror seemed to come round all too soon as Blind Guardian delivered one of the most muscular sets of the festival, and one of the best sounding. The sound on the Festival Stage was to be good all week, but on this occasion it was even stronger and even clearer than most others (save possibly Gov't Mule). Blind Guardian are band many are warned away from because of their not-so-serious subject matter, but hopefully if anyone watched them this day, they'll change their mind.

“ muscular set ”

Setlist: Into The Storm / Born In A Mourning Hall / Nightfall / A Script For My Requiem / Fly / Valhalla / I'm Alive / Welcome To Dying / This Will Never End / And Then There Was Silence / Imaginations From The Other Side / The Bard's Song (In The Forest) / Mirror Mirror

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Iced Earth

Rock Stage
Capacity 20,000
18:15 - 19:45

Through no fault, particularly, of their own Iced Earth managed to be one of the festival's biggest let downs. The reason for this was almost entirely down to their incredibly short set. Just 40 minutes into a 75-minute slot current lead singer Tim "Ripper" Owens announced the final song. A moderately dumbfounded crowd thought it was some kind of joke and the band would do the usual encore thing, but after the track Iced Earth the band bid their farewell and left the stage.

While on stage the band seemed to be on top of their game. Band leader and rhythm guitarist Jon Schaffer did his usual triplet-wielding thing and former Judas Priest and Winters Bane screamer Owens floored the audience several times with his amazing voice. Brent Smedley returned on drums and looked like he'd never been away, and the new members Troy Steele (lead guitar) and bassist Dennis Hayes (Beyond Fear) seemed to fit in perfectly, particularly bearing in mind this was the first show of the tour.

The band rattled through a neat mixture of old and new, with their brand new single Ten Thousand Strong and Ripper-era songs from their last album, The Glorious Burden alongside choice tracks from the ever-popular Matt Barlow albums and a surprise inclusion in the shape of Jack from the Horror Show concept album. All were well received, especially My Own Savior and The Hunter, but come the end of Iced Earth half the crowd trudged away disappointed, while the other half remained to protest.

It was revealed a few days later that when Iced Earth were booked for the festival they were told they would have a 40-minute set, and were not updated after that. They only found out they had actually been allocated 75-minutes when they arrived at the festival and saw the running order, by which time it was too late, and facilities were not available, to rehearse more songs. Perhaps they'll get another chance in a couple of years.

“ dumbfounded crowd ”

Setlist: Burning Times / Declaration Day / Violate / Vengeance Is Mine / Pure Evil / The Reckoning / The Hunter / Ten Thousand Strong / Jack / My Own Savior / Iced Earth

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Krux

Zeppelin Stage
Capacity 5,000
20:30 - 21:45

Krux haven't been around that long, but already have two albums and a DVD released and include a vast amount of experience in their line-up. Apart from some previous work by the individuals involved I knew very little of the band beforehand, but assumed that as Candlemass mastermind and bassist Leif Edling was responsible for the band's creation, and nomadic vocalist Mats Leven would be at the mic, that they would be a solid outfit nonetheless.

What I wasn't expecting was for their set to be the performance of the festival. Arriving on the front row early enough to catch the band soundchecking they sounded immense. Leven didn't look especially pleased to have to do a soundcheck, but soldiered through a couple of numbers all the same. There wasn't really much to do; the sound was great pretty much instantly.

Inevitably Krux's sound retains large elements of the epic doom sound pioneered by Candlemass, but with the addition of a rawer voice and keyboards courtesy of Carptree's Carl Westholm (who has also contributed keyboards to Candlemass) they add some more traditional metal influences to the mix. The result is an incredibly powerful variant of doom metal. A set split largely evenly between both albums satisfied everyone familiar with the band, with Omfalos producing the highest level of participation, and their massively heavy, riff-filled sound more than pleased everyone else.

The whole time Mats' singing partner in Therion, Snowy Shaw, was sitting at the side of the stage in a newly donated Krux II t-shirt, occasionally wandering around filming the band with a hand-held video camera, but tragically never joined the band for a song. A few people admitted that at this late stage of the day, before the two big-name, big-fun closing acts (Motörhead and Scorpions), doom metal was not quite what they were in the mood for, but even then they enjoyed Krux and acknowledged their quality. Everyone else was ecstatic, since a Krux live show is a rare thing.

“ performance of the festival ”

Setlist: Black Room / Popocatepetl / Sea of Doom / Devil Sun / Shadowplay / Nimis / Serpent / Pirates / Omfalos / Depressive Strokes of Indigo

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Motörhead

Rock Stage
Capacity 20,000
21:45 - 23:15

Like Aerosmith the day before, there's not much that can be said about Motörhead which hasn't been said before. Still supporting their latest album Kiss of Death, their set composition didn't change that much compared to their own tour stops, with a few songs dropping off due to set length. Something else had everyone buzzing about this performance though. We all knew that earlier in the day original Motörhead guitarist "Fast" Eddie Clark's resurrected Fastway had already played, so were all expecting the inevitable.

Opening with Snaggletooth threw a few people. Only available as a bonus track on the No Remorse compilation album, most of the crowd didn't know the words. A quick follow-through into Stay Clean soon rectified the situation, then business as usual resumed. The new songs seemed to be getting as good a reception as the older ones, with Kiss of Death having been out for nearly a year by this point, I guess the songs have had plenty of time to sink in. Also being a more typical Motörhead album than the previous three, it sits rather well with fans of the old material.

The treat on this occasion was of course in the encore. Kicking off with an acoustic Whorehouse Blues from Inferno, as they have done for around three years now, they finished off with the evergreen trio of Bomber, Ace of Spades and Overkill, the title tracks from their strangely most popular three albums. But I think most people knew, or hoped, how this would go, and their hopes were answered as "Fast" Eddie Clark did, of course, join them for all three songs. Expertly concealed in the roof of the stage, the legendary bomber lighting rig also made a surprise return during Bomber and come the end Eddie was even introduced as a member of the band; a nice touch.

Special guest cameos aside, we all know what to expect from a Motörhead show, and although they rarely change the setlists throughout a tour, somehow there's never the feeling of "by-the-numbers" when they play. A unique band in heavy metal history, for sure, and I think for a lot of people, the festival could have ended right there.

“ buzzing ”

Setlist: Snaggletooth / Stay Clean / Be My Baby / Killers / Metropolis / Over The Top / One Night Stand / I Got Mine / In The Name of Tragedy / Sword of Glory / The Chase Is Better Than The Catch / Sacrifice / Jus' Cos You Got The Power / Going To Brazil / Killed By Death // Whorehouse Blues / Bomber / Ace of Spades / Overkill

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Written by Andy Lye
More: 2007, Festivals, Hard/Heavy Rock, Heavy Metal, Power Metal, Progressive, Thrash Metal, , , , , , , , , , , , , , , , , ,

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