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UNO Lakefront Arena

6801 Franklin Ave, 70122, New Orleans, LA, US

arena.uno.edu/

Capacidad: 10,000

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Biografía de Black Label Society

With a reputation as one of the best guitarists in the world, playing with Black Sabbath Alumnus, Ozzy Osbourne just wasn’t enough for him. Then came some occasional acting, and forming a chart topping heavy metal band Black Label Society.

When Zakk Wylde formed the band after his long run being Ozzy Osbourne’s right hand man, he formed a southern rock band called Pride & Glory… and then Osbourne decided that he wanted to record another album, so he did, in the form of an album called “Ozzmosis”. It was around this time that Wylde was also offered not only the “Ozzmosis” tour with Osbourne but also a slot in the line up of Guns N’ Roses tour in 1995. As neither of those projects materialised, Wylde decided to finally record his solo acoustic album entitled “Book of Shadows” which unfortunately didn’t achieve the commercial success he had hoped.

Out of this phase only came good things when Wylde teamed up with drummer Phil Ondich and formed Black Label Society. It was this then side project that became Zakk Wyldes commercially successful freight train of a band releasing nine studio albums to date, with their two most recent releases, “Order of the Black” released on August 10th 2010 made it to number 4 in the US charts and “Catacombs of the Black Vatican” released on April 8th 2014 went to number 5 in the US charts, securing Black Label Society’s place in the mainstream.

Biografía de Corrosion of Conformity

In 1982, somewhere in Raleigh, North Carolina, a band formed and named themselves, Corrosion of Conformity. With chart success and across seven studio albums, they have become one an influential band in the heavy metal scene.

In the early days of COC, the band honed their craft taking the shape of a hardcore punk style, with a 20-track debut, “Eye for an Eye” which was released in 1984 on Candlelight Records. They also released an album called “Animosity” in October 1985, but on Metal Blade Records. Their first album that struck the charts in a big way was an album called “Blind” released one November 5th 1991. It placed on the Heatseekers chart at number 24. They released “Dance of the Dead” and “Vote with a Bullet” as singles, both of which earning the band some valuable airplay on Los Angeles’ KNAC.

COC signed a deal with Columbia Records, and entered the studio in 1993. They emerged on September 27th 1994 with an album called “Deliverance”. Kerrang! described the album as a “True 90s classic”. Their song “Albatross” taken from the record has made it onto the video game Guitar Hero: Metallica. The album made it to number 5 on the Heatseekers Chart, and entered the Billboard 200 chart at number 155, and has since it’s release sold upwards of 379,000 copies. This record was followed with the ever-popular “Wiseblood” released on October 12th 1996 still on Columbia records. It made it to an even higher chart position of number two in the Heatseekers Chart, and this time, number 43 on the UK Albums Chart.

After a brief hiatus, which included the release of a live album entitled “Live Volume”, in 2005 on April 5th, the band released their album “In the Arms of God”. It was this album that managed to hit the top spot of the Heatseekers Chart and even number 41 in Sweden.

Their two following studio albums, the eponymous release on February 28th 2012, and IX on June 24th 2014, have both made it to number 5 on the Heatseekers Chart.

Biografía de Crowbar

Crowbar (formed 1989) is an American slow and brooding heavy metal band, often referred to as a sludge metal band, hailing from New Orleans, Louisiana, U.S.

Prior to forming Crowbar, guitarist and vocalist Kirk Windstein joined the band Shell Shock alongside drummer Jimmy Bower. When the band’s guitarist Mike Hatch committed suicide, Windstein and Bower carried the band on as Aftershock and experimented with a more doom metal sound. After a series of name and personnel changes, by mid 1991 the band was renamed Crowbar with a line-up consisting of Windstein, bassist Todd Strange, drummer Craig Nunenmacher, and lead guitarist Kevin Noonan.

Crowbar’s debut came in 1992 with the album “Obedience Through Suffering” and signed with Pavement Music. Crowbar’s subsequent self-titled album in 1993 and “Time Heals Nothing” in 1995, were issued by the new label, the former of which earned national promotion on MTV’s Headbanger’s Ball. After the release of “Time Heals Nothing” Nunenmacher left the group, and was replaced by Jimmy Bower for the albums “Broken Glass” in 1996 and “Odd Fellows Rest” in 1998. Choosing to focus on his other project Eyehategod, Bower left shortly after and was replaced by Sid Montz who recorded drums on 2000’s “Equilibrium”.

In 2001 with a line-up consisting of Windstein, Sammy Duet on lead guitar, Jeff Okoneski on bass, and Tony Constanza on drums, Crowbar released their seventh studio album “Sonic Excess in its Purest Form” on Spitfire Records. The band supported the album with an extensive touring schedule, and with Crowbar plagued with tumultuous line-up changes, often members of other bands needed to fill in. The band has subsequently released the albums “Lifesblood for the Downtrodden” in 2005, “Sever the Wicked Hand” in 2011, and “Symmetry in Black” in 2014.

Biografía de Eyehategod

Hailing from New Orleans, US, Eyehategod have been at the forefront of the NOLA southern metal scene since the mid-90s, alongside the likes of Down and Crowbar.

The band formed in 1988, led by guitarist Jimmy Bower and drummer Joe LaCraze, bringing in Michael D. Williams on vocals, Brian Patton on lead guitar and Steve Dale on the bass. After releasing some early demos, they recorded their debut album, "In The Name of Suffering," in 1992, released on French label, Intellectual Convulsion. This was followed by 1993's "Take As Needed For Pain," featuring new bassist Mark Schultz. However, after substantial touring, Eyehategod went on a hiatus, with Bower made busy with commitments to Crowbar and Down.

The band briefly returned to release their third album, "Dopesick" in 1996, before falling quiet once again until the end of the decade. The band recorded several new singles which were compiled in 2000 on "Southern Discomfort," also including live recordings. This new release gave them impetus to complete another full studio album, "Confederacy of Ruined Lives," that same year, before again embarking on nationwide tours.

The band fell quiet once again, although still continued to perform intermittently. It was not until 2005 that new material was released, "Preaching the 'End-Time' Message," another compilation album in the same vein as "Southern Discomfort. In the following years the band continued to performat major festivals and embark on tours, celebrating their 20 year anniversary in 2008. It was not until 2014 that Eyehategod brought forth their fans new music, with their self-titled album, their first for nearly ten years.

Críticas en vivo

Every Metal-head craves to experience a Pantera concert. Unfortunately, an entire generation of fans haven’t had the privilege to witness the band who lead us out of the hairspray/glam rock era into a darker and satisfyingly sinister time in rock. This was my revelation after Pantera’s July 2001 show in Dallas, ground zero for the band and their heavy, groove metal style they pioneered.
The hot summer air hung heavy in the sweltering outdoor arena, a perfect setting for the hellacious show Pantera would perform. In front of a wall of amplifiers and pulsating lights, they started the set with "Hellbound," the opening track from their most recent release 'Reinventing the Steel.' Not letting up for a single breath they launched straight into "5 Minutes Alone and Slaughtered," before even addressing the raucous crowd. Sweat poured and unwashed hair whipped. Mosh pits devoured and long term hearing was compromised. Phil Anselmo worked every inch of the massive outdoor stage that evening as Dimebag Darrell (in his final Dallas performance - R.I.P.) soared through solo after solo.
With the confidence of true rock stars, they saved "Cowboys from Hell" and "Walk" for the encore, leaving the crowd in an absolute fervor state. Little did this hometown crowd know that it would be last chance to see Pantera’s for more than a decade. Today we understand the importance of Pantera but it took the benefit of historical perspective to be sure. It’s in retrospect that we fully grasp the impact of Pantera on Metal and their place in rock history. Hopefully you too can smile to yourself and know that you witnessed Metal royalty.

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Thalobstaa

I love Disney World. I know that's a strange way to start a discussion about a heavy metal band, such as Black Label Society, but the reason I mention it is because getting to see them at the House of Blues in Downtown Disney this past vacation truly made my trip even more special than it normally would have.

My wife, knowing my love for the band and for House of Blues, managed to get us a reservation and surprise me with their performance on our anniversary trip there this past year, and it truly was an incredible experience.

The crowd wasn't the greatest crowd at this venue, but I think that had more to do with not knowing the band, as opposed to not appreciating them, because Black Label Society but on a great show, and Zakk's vocals were great. Dario Lorina's guitar riffs were also quite hot, and really added a lot to the performance, in my opinion.

While it was sort of strange attending a Black Label Society concert where the audience was calmer than I'd expected to see, having been to several Black Label Society concerts, I think that this performance still held up to my expectations for the band, and I know my wife and I had a great time.

Anonymous

Sometimes it’s hard to believe that Corrosion of Conformity has been bringing their punishing brand of sludge/thrash metal to fans for nearly thirty years. Watching them perform at MetalFest Chile in 2013 is a testament to their dedication and talent as a live band. Of course, performing in Chile, a country long known for its passionate and excitable metal fans, makes this both easy and excitable.
Breaking it down in front of a packed crowd of literally thousands, Corrosion of Conformity look a bit older than when they first started, but no less enthused to be playing classics like their 1991 song Vote With a Bullet, as relevant to today’s political atmosphere as it was when released. Singer Pepper James Keenan (back after a brief hiatus from the band) looks entire comfortable as frontman, sporting the metal “uniform” of black shirt, blue jeans, and long hair, masterfully controlling his guitar riffs with the ease and talent of a seasoned pro.
Bandmates Mike Dean (bass), Woody Weatherman (guitarist) and drummer Reed Mullin are no less enthusiastic, performing their driving brand of metal with a practiced confidence that only 30 years as a band can bring. Watch out for the pit – but then, it’s a Corrosion of Conformity show. You know that already.

Anonymous

I’ve been to many metal shows, and listen to a lot of music in the genre, but Crowbar are the only sludge metal band I follow, and I know that some people are put off the slow pace of some of the tracks, but the way that the band intertwine their sound with the fast paced hardcore punk sections keeps it fresh and exciting. When I saw Crowbar perform most recently, it was just after the addition of Jeff Golden on bass, and he totally rocked it, and the entire band looked like they’d been playing together since their beginnings in the early 90s.
One of the tings that stands out for me every time I see them perform live, is the way that they command the stage. Although they’re often facing away from the audience to play their music to each other, the way that they jump and throw themselves around the stage is electric and massively contagious, and had everyone dancing from start to finish.
They opened their set with Self-Inflicted, which had everyone singing along right away, and getting really into the music. They played a great combination of their old and newer material, catering for all the fans there. The show was nearly 2 hours long, and I don’t think the band stopped for a breather once, switching between epic solos and playing awesome tight sets together, but their energy didn’t drop once. For their finale, they played a mash up of some of their hits, and it was mind blowing. They were shouting out to us in the audience, and it was great to be so involved with the end of the show.

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yazhow

Sludge metal is a genre that requires an acquired taste, but in my opinion Eyehategod are relatively versatile, mainly due to their status as one of the most well known and prestigious bands of the genre. The lights were out, and the feedback from the guitar washed over the auditorium before the band ran onstage with their instruments, ready to bring the house down.
They opened the show with a lengthy instrumental track, that demonstrated the sheer talent of every musician in the band, as they powered through complex guitar solos, challenging time signatures, and incredibly fast beats, whilst staying tight as a unit. It was evident that they’ve been playing together for years through their tight format, and their communication on stage.
They played through a variety of their hits from their older material, and journeyed right through to their self titled album from 2014. Their performance value was great, jumping, running, and head banging across the stage, despite their age. They put on an incredible show, and interacted well with us in the crowd, shouting to sing and dance along, and they even took song requests towards the end of the show. It really was a wonderful presentation of talented musicians and great writing.

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yazhow