Review by Shawn Perry
Photos by Ron Lyon
They were supposed to be history. At the end of 2010, Judas Priest announced that their 2011 Epitaph Tour would be their final, farewell trip together around the world. These types of announcements often ring hollow, and in this instance, the band was actually embarking on a new beginning. Guitarist KK Downing, a founding member, tendered his resignation under a cloud of mystery and speculation — especially in the midst of what was supposedly the band’s swan song.
New songs were written and guitarist Richie Faulkner was recruited to replace Downing. Suddenly, it was game on with Redeemer Of The Souls, the first Judas Priest studio album in six years, which, of course, would have to be supported by another world tour. So much for an epitaph. The way I saw it at the Nokia, Judas Priest is enjoying a rebirth — hell bent for leather, bigger and brighter than ever.
Metalheads from far and wide filtered into the drafty venue in downtown LA as opening band Steel Panther took the stage for an hour-long set. It was hard to gauge if everyone in the room was in on the joke from the LA band that revives the excesses of the 80s with a humorous slant. “I’m not an 80-pound Bret Michaels,” singer Michael Saenz remarked, “I’m a skinny Vince Neil.”
All vulgarity aside, Steel Panther is an entertaining band in many ways, without a hint of shame when it comes to heedless fodder as “Party Like Tomorrow Is The End Of The World” and the more recent “Gloryhole.” The in-between-songs shenanigans and gags drew a few blank stares and dropped jaws, along with pockets of misplaced guffaws — enough to make everyone realize that Steel Panther is nothing to take too seriously. Most of those in attendance would have probably preferred a little less chatter, and a little more metal, but that would come soon enough.
Giving Steel Panther an unusually long opening set shortened Priest’s time on stage, which didn’t begin until 9:30. That meant that pretty much every second of their 90 minutes had to count. To get things started, Black Sabbath’s War Pigs” was cranked and the devoted stirred in angst-ridden anticipation. The members of Judas Priest are smart enough to know you always let the King (Sabbath) quell the room before making your own entrance.
They opened with a snippet of “Battle Cry” followed by “Dragonaut,” two of the six numbers from Redeemer Of The Souls played tonight. It’s a rather appropriate way to shed your past and embraces your future, even as the two seamlessly coalesce in metal mightiness. The LEDs that adorned the backline and each side of machine drummer Scott Travis kept it colorful as Faulkner and guitarist Glenn Tipton interlocked in riffery synchronicity, Ian Hill worked his bass and singer Rob Halford, dipped in leather, roamed the stage and unleashed his blood-curdling screams. It really doesn’t matter if the songs are new or old as long as the formula is properly distilled and dispensed.
Which isn’t to say that particular songs in Priest’s catalog do not merit singling out. “Metal Gods” is always one to get the fist pumping and body moving. “Hello everybody!” Halford roared at the song’s conclusion, “The Priest are back!” It was on to “Devil’s Child” from Screaming For Vengeance, filled with incendiary guitar work, and the first of many opportunities for Faulkner to step up and show everyone what he can do. If you blink fast enough, he could easily be mistaken for Downing at a distance, with the blond locks shielding a face of intensity, his ax angling for danger. Going back even further with “Victim Of Changes” from 1976’s Sad Wings Of Destiny proved to be a solid platform for both Tipton and Faulkner to engage in tactical riff fare.
Old-school metal carried over with the more melodic “Beyond The Realms of Death” from 1978’s Stained Glass album before the big ones from the 80s were trotted out. “Turbo Lover” and “Jawbreaker” certainly show how the band attempted to diversify their sound, but then “Breaking The Law” came along and united the throngs in a sea of coordinated contortions of head banging. Halford then rode out on his Harley and the embers of “Hell Bent For Leather” started to percolate — the big crush before the grand finale.
No one was about to let them leave the building without covering the essentials. So the encore began predictably enough with a couple more crowd pleasers — “You’ve Got Another Thing Comin’” and “Living After Midnight,” gateways for Tipton and especially Faulkner, who gave everyone a little taste of UFO’s “Rock Bottom” before blasting off on his own slippery tangent. Then Travis took the mic, mumbled a few incoherent comments and pounded away as a slice of “Defenders Of The Faith” segued into another new one, “Beginning Of The End,” a mellow, pastoral taunt to soothe the savagery of the night and send everyone home with a smile instead of a snarl. Not that you can’t do both at the same time.
