Brianna Espinoza
Glenn Danzig and band carry out at Boeing Middle on Saturday. This photograph was taken earlier than safety started telling viewers members to place away their cell telephones.
If any evangelical church was itching to stage a protest, Saturday’s Danzig present at Boeing Middle at Tech Port would have been the proper excuse.
Alongside the principle act, Behemoth, Twin Temple and Midnight helped flip the South Facet venue right into a temple of darkness primed to open a direct portal to hell. All the present’s exaggerated theatrics, blasting riffs and blasphemous themes additionally appeared like an important opening to spooky season in San Antonio.
Too dangerous Glenn Danzig, the headliner’s frontman, declared cameras — even these wielded by the media — off limits contained in the venue.
Sporting trademark black hoods and leather-based jackets, Midnight opened up the evening with an offended and quick model of rock ‘n’ roll fused with black steel. Regardless of the having the looks of menacing figures who would possibly kidnap and torture you, the group’s songs exuded partying-in-the-name-of-the-devil vibes.
Twin Temple raised the bar additional with a set of its self-described “satanic doo-wop.” A saxophone participant proved to be the principle shock, however vocalist Alexandra James’ pipes additionally drew screams of reward from the gang. Our bodies swayed to every melody, and the group premiered its soon-to-be-released music “Be a Slut.” For the finale, James and Twin Temple’s guitarist commenced a small ceremony that concerned spitting pretend blood into the faces of giddy viewers members.
A familiarity washed over the gang as Behemoth — no stranger to San Antonio on current excursions — carried out a set that resembled a ritual of whispered incantations, compete with shouts of “Hail, Devil” and burning incense. In line with the evening’s anti-religious theme, the Polish group combined its oldest and most blasphemous tunes, together with “Ov Fireplace and the Void”, with newer black steel tracks together with “As soon as Upon a Pale Horse.” Vocalist Nergal provided up the evening’s second mouthful of bloody spit, and members of the viewers welcomed the crimson rain.
Lastly, Glenn Danzig — the deep-voiced frontman of Misfits and Samhain fame — stepped on stage along with his self-monikered band to carry out its first album, Danzig, in full. The tour was scheduled to honor the revered LP’s thirty fifth anniversary.
Crimson stage lights bathed towering towering gargoyles and a horned cranium set piece because the band rocked arduous amid the satanic imagery. Earlier than the music “The Hunter,” a music typically decried as misogynistic, Danzig bragged to the gang that he tells “the PC” — presumably which means the politically right — to “fuck off.” Followers cheered at his proclamation and sang alongside because the band kicked in.
Round that point within the set, safety flashed lights on members of the gang to implement the singer’s no-pictures rule. It was pure Glenn Danzig, a performer identified for being tough and greater than somewhat uptight.
Along with the entire debut album, which incorporates the career-defining anthem “Mom,” Danzig carried out different hits resembling “How the Gods Kill” and “Her Black Wings.” Regardless of Glenn Danzig being Glenn Danzig, his vocals remained sturdy and true-to-the album, and his band introduced its A-game.
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