Review by Pete Finn for MPM
MPM Tog ‘Statler’ Manson and I are heading back to Robin Hood country, it’s the relatively short trip to Nottingham. With it being less than three weeks until Christmas, we get to open one of our presents early. We’re off to the Motorpoint Arena to see a trio of American rock bands, in the shapes of Alter Bridge, Halestorm and Mammoth WVH.
The arena is part of the National Ice Centre which was constructed on the site of the former Nottingham Ice Stadium. The Ice Stadium opened in 1939 and was showing its age, so, in September 1995, plans were announced to replace the Ice Stadium. On 1 April 2000, the National Ice Centre was officially opened by Olympic gold medallist Jayne Torvill. The capacity inside the arena is 10,000 without standing room and increases to 15,865 with floor standing.
Tonight, is the first show of the UK leg of an extensive European Tour, the bands have delighted fans across Europe since hitting the road at the start of November. These are the final six shows before they head back to the USA for Christmas.
We’re straight in without any fuss, our passes, and tickets ready for our arrival. I leave Manny with one of his Tog buddies and make my way down into the standing area. There is a huge backdrop behind the kit on stage with Mammoth WVH in large letters on it, greeting the crowd as they arrive.
Wolfgang William Van Halen is the son of guitarist Eddie Van Halen, he performed alongside his father as the bassist in Van Halen from 2006 to 2020. He became an official member of Tremonti, guitarist Mark Tremonti’s (who also plays in Alter Bridge) own band in 2013, replacing previous bassist Brian Marshall, who also plays for Alter Bridge. Confusing, isn’t it? Wolfgang appears on Tremonti’s 2015 studio album ‘Cauterize’ and its 2016 follow-up ‘Dust’.
Wolfgang Van Halen has prepared a lifetime to make his first impression with his solo band Mammoth WVH a good one. The songwriter, vocalist, and multi-instrumentalist worked tirelessly on material that would become his debut album ‘Mammoth WVH’ released in 2021. Playing every instrument and singing each and every note. When asked why he recorded the entire album himself, he stated that he wanted to challenge himself and referred to inspiration from Dave Grohl’s work as the sole member of the early years of Foo Fighters.
When he was asked about the origin of the band’s name, his reply was “The name Mammoth is really special to me. Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I’d call my own band Mammoth, because I loved the name so much.”
Mammoth WVH consists of Wolfgang Van Halen (lead vocals, guitar), Frank Sidoris (guitar), Jon Jourdan (rhythm guitar), Ronnie Ficarro (bass) and Garrett Whitlock (drums).
The arena is about 1/3 full as the lights go out, the cheering of the crowd sees a few more come scurrying in. The band give us a jam intro, before Wolf cries “Good Evening Nottingham, let’s have some fun”. Then the first track tonight is the self-titled ‘Mammoth’. Ficarro is slapping his bass, Whitlock provides a quick beat and a steady riff get us going, Van Halen and Jourdan sharing the vocals. Van Halen and Sidoris back-to-back fire out a dual break. The sound gets heavier as the track evolves. Unfortunately, Sidoris who is stage right and Jourdan who is stage left are in near darkness, the central lighting not picking them up at all.
Without pausing, the punchy guitar riff starts ‘Mr. Ed’, the crowd encouraged to clap, both Sidoris and Jourdan are on backing vocals. I’m able to pick out a couple of original Van Halen sounding notes. Sidoris is walking around and crouching down as he powers through the riffs, Van Halen at the front of the stage teases out a quick solo. The cheering crowd, which has now increased in number, show their appreciation.
Whitlock’s hard drum-beat starts ‘Epiphany’. This is slower, Van Halen almost narrating the lyrics. Ficarro is patrolling the stage leading the crowd in the clapping. Van Halen is giving the keyboard a tickle as Whitlock continues to beat the kit, he reminds me of Dave Grohl in his Nirvana era.
Wolf tells us it’s their first time in Nottingham and that it’s a real pleasure to be here. ‘Think It Over’ apparently was Eddie Van Halen’s favourite song. It’s vocal is prominent, the guitars are jangling along in the background. The circular riffs get the crowd nodding along. The tempo builds as the instruments get more involved producing a richer sound, before leading to a big finish.
Next, we have the first song that Wolfgang Van Halen wrote, it’s called ‘Distance’. Jon Jourdan has an acoustic guitar; he’s gently strumming it as Van Halen carefully sings the lyrics. It quickly picks up pace, the Nottingham crowd know the words, a smiling Van Halen acknowledges their participation, before he squeals out a solo as Ficarro and Whitlock supply the accompanying beats. It finishes as Van Halen speaks the last line by himself.
‘You’re to Blame’, this is heavier, the stage lights flashing red. Again, Whitlock is pounding the kit, a dual vocal and guitar attack from Van Halen and Jourdan slices through the arena. Van Halen foot up on the monitor fires out his solo, Ficarro and Sidoris back-to-back behind him providing support. Van Halen thanks the crowd again.
The crowd begins to start clapping, encouraged by Ficarro’s bass beats which are shaking everything, Wolfgang Van Halen introduces his band to us. There’s a heavy jam before we start ‘Don’t Back Down’, the big circular riff driven forward by thumping beats.
Van Halen chanting the lyrics. The band producing a mammoth wall of sound. The band line up and take a bow against a background of feedback and well-deserved applause and cheers. They flick guitar picks and Whitlock throws his drumsticks into the crowd before leaving the stage.
Setlist: Mammoth; Mr. Ed; Epiphany; Think It Over; Distance; You’re to Blame; Don’t Back Down.
Siblings Elizabeth and Arejay Hale, the core members of Halestorm, formed the group in late 1997, in Red Lion, Pennsylvania, with Arejay on drums and Elizabeth on vocals and keyboard. Wanting to expand their sound, the duo invited their father, Roger, to play bass with the band. Around 1999 Elizabeth became Lzzy and around 2003/2004 Halestorm became Lzzy Hale (lead vocals, rhythm guitar), Arejay Hale (drums), Joe Hottinger (lead guitar) and Josh Smith (bass, keyboards). The band have recorded five studio albums, their first the self-titled ‘Halestorm’ in 2009, and their most recent being this year’s release ‘Back from the Dead’. Halestorm is well known for their hard working, near non-stop touring, often performing as many as 250 shows a year.
The crews clear the stage, the Mammoth backdrop removed, revealing a Halestorm one, the drum kit is on a huge riser in the centre of the stage. We have a couple of AC/DC tracks played over the PA; the apt ‘Girls Got Rhythm’ followed by ‘Highway To Hell’.
The lights go out and Lzzy Hale walks out onto the stage, carrying a bright red guitar. She screams then starts singing, followed a few seconds later by the rest of the band, Arejay is sporting bright green hair, then we’re off.
‘The Steeple’ taken from the new ‘Back from the Dead’ album. This is hard-hitting in your face rock, heavy beats and crunching riffs. Hale is screaming the vocals with real power, Hottinger is leaning back into his solo, before the band pause and chant the chorus then resume. An impressive start.
Again, from the newest album we have ‘Wicked Ways’, this is hard and heavy, the beats quick, Lzzy’s rapid delivery has the Nottingham crowd punching the air. The stage is all lit up red. Arejay is hammering the skins and twirling his sticks. Lzzy screams the words, Smith’s bass is shaking everything. Joe Hottinger has his hands dancing, down at the exciting end of the fretboard.
Lzzy speaks, “We’re happy to be here, with our freak family, you can be who you are, this is a rock show.” Next, it’s ‘I Get Off’ from the 2009 self-titled ‘Halestorm’ album. Lzzy’s riff starts the track. The drum beats a big feature, burbling bass and quick lyrics. The crowd clapping along. Lzzy screaming out the vocal, her brother pounding his kit, his hair is luminous, it’s a great effect, as are the lights that are spiralling across the ceiling. Joe Hottinger now sporting a ‘V’ guitar is bending and stroking the strings as the notes leap out. A track full of passion.
‘Brightside’ another track from ‘Back from the Dead’, Lzzy’s riff starts the track off, then stop/start intro is punctuated with Arejay’s drums. Josh Smith, wearing a smart hat, is rocking back and forth with the beats of his bass. The track has a good marching pace. The mid-section slower, before launching back into full rock mode. Lzzy alternating harmonies and screams brilliantly.
Without stopping, the band begin the intro to the new single ‘Mine’. This is upbeat, the crowd bouncing and punching the air. It has an 80’s rock sound, subtle tempo changes which gives a clever variation, Lzzy belting out the words. She crouches down at the edge of the stage, pointing at the crowd as she cries “Mine”. It’s a galloping pace, this track sounds brilliant live.
Joe Hottinger gentle stumming introduces ‘Familiar Taste of Poison’ from the ‘Halestorm’ album. Lzzy joins him and is serenading both him and the Nottingham audience, both artists showing great control. Josh Smith’s haunting bass rumble adds atmosphere, the sound intensifies as Arejay joins the party. Lzzy crouches down in front of Joe and is singing like they are the only ones there, up close, personal and emotional. Lzzy is holding the last note of the line. Joe Hottinger is at the stage edge as he leans back, guitar bouncing in his hands as he brings out the solo. The Arena liked that one, they liked it a lot, so did I.
The band leave the stage, leaving Arejay Hale illuminated by white spot lights, he gives us a drum solo, quick beats, slow beats, hard beats, pausing for the crowd to join in with cheers and clapping. His arms are a blur, depending on the frequency of the strobe lights sometimes looking stationary. He finishes playing with two huge sticks that look like snooker cues, and he still managed to twirl them.
The rest of the band return, now it’s time for the title track of the new album, ‘Back From the Dead’. Lzzy is screaming out the words, the stage lighting turns red, Hottinger is bouncing around the stage as he crunches out the riffs before coming to the stage edge for his solo. Lzzy’s voice has phenomenal strength and control. Smith’s bass is purring.
Lzzy asks a question, “Nottingham, do you want more?”, the reply is deafening. Arejay Hale’s drum volley and thunderous riffs from the guitars launch ‘Love Bites (So Do I)’ from the ‘The Strange Case Of… ‘released in 2012. The arena is full of sound, Lzzy’s rapid lyrics start the crowd clapping, who are singing along, the guitars are sounding fantastic, the rhythm section keeping the pace quick. It has parts that sound like old school Punk. Another winner.
Lzzy introduces the band before introducing herself to the Nottingham crowd with a huge scream. ‘I Miss the Misery’ is taken from ‘The Strange Case Of… ‘, the stop/start feel and angry lyrics soon have the crowd singing the chorus. There are a lot of Halestorm fans in here, they are making a tremendous noise. The arms and horns are waving, Hottinger fires out the solo as Lzzy and Josh Smith criss-cross the stage smiling and playing up to the fans. The sound builds, getting faster and faster as they charge into a big finish, but, not before Lzzy has a sing-back with the crowd. The band are really rocking out as they play to a big finish. “Thank you, we are Halestorm”, cries Lzzy as their set finishes.
Lzzy curtsies to the crowd, the rest of the band line up next to her and they all bow together before leaving and throwing picks and sticks to the crowd.
I’ve seen Halestorm several times before, and they never fail to delight and impress, and to be honest are well worth the ticket price on their own. If you’ve not seen them before, make it a New Year’s Resolution to do so, you won’t be disappointed.
Setlist: The Steeple; Wicked Ways; I Get Off; Brightside; Mine; Familiar Taste of Poison; Drum Solo; Back From the Dead, Love Bites (So Do I); I Miss the Misery.
Alter Bridge are from Orlando, Florida. The band was formed in 2004 by vocalist/rhythm guitarist Myles Kennedy, lead guitarist Mark Tremonti, bassist Brian Marshall and drummer Scott Phillips. After their former band Creed became inactive in 2003, Tremonti and Phillips formed a new band with former bandmate Marshall and new member Kennedy; Alter Bridge was formally unveiled in January 2004, months before Creed’s official breakup in June. Tremonti named the group after an actual bridge that used to be located in Grosse Pointe, Michigan, near his former home on Alter Road in Detroit.
The band has a great back catalogue of albums with their debut, ‘One Day Remains’ released during 2004, their most recent and their seventh studio album ‘Pawns & Kings’ released earlier this year, reaching Number 1 in the UK Rock & Metal Albums Chart, and this is the album they are promoting on this tour.
The lights go out, Nottingham starts cheering and whistling, bass wash fills the arena, the atmosphere inside is electric, a backing track is played over the PA, white spotlights cut through the darkness of the stage, the band members walk out to louder cheers and whistles, Myles Kennedy appears at the front of the stage, Mark Tremonti next to him, his arms above his head clapping, there is a wall of amps along the back with lights sat on top looking like cannons. High up behind the band, are five screens that are working as one.
We’re straight into ‘Silver Tongue’ from the new ‘Pawns & Kings’ album. The heavy start has the arena jumping, Kennedy’s vocal piercing through the smoke, the white lights waving behind him. The sound is thunderous, Philips is pounding the kit, the Perspex screen around his drums and cymbals vibrating and reflecting the lights like prisms. Tremonti has his foot up on the monitor as the notes pour out from the guitar. A huge cheer from the crowd shows their approval.
The stage glows red, smoke cannons go off. The pace is even quicker for ‘Addicted to Pain’ which is from the 2013 album ‘Fortress’. The screens behind show a wall of TV’s. The crowd know the words and are singing along, Brian Marshall leaning forward and crouching down is thumping the strings. You can feel the sound, this is brilliant.
We go a bit further back in time, to the 2010 album ‘AB III’ for ‘Ghost of Days Gone By’. Myles Kennedy’s riff gets the crowd clapping, Phillips’ drum beat keeps the track moving. Kennedy assisted by the crowd sings the words. The mid-section sees Mark Tremonti leading the clapping, he’s soon back at the edge of the stage to play his solo. The headbangers in the crowd are giving it everything, as the tempo builds to a tight finish.
‘Sin After Sin’ is taken from the new album ‘Pawns & Kings’. It starts with a heavy crushing and squealing riff, before switching to Kennedy’s vocal. Kennedy wants to see everyone clapping, Nottingham obliges. The screens are displaying revolving skulls. The tempo changes create a powerfully charged atmosphere. This is moody, it sounds amazing. Tremonti, leaning back eyes closed, plays the solo which has him bending and distorting his guitars strings, feeling the notes.
The steady and dramatic drum-beat signals the start of ‘This Is War’ from ‘Pawns & Kings’. This track is a bit slower, but the beat is shaking the ground, Kennedy’s vocal is slow and direct. The beats and riffs mixed with the stage lighting is hypnotic, it’s drawing you in, totally grabbing your attention. The machine gun riffs have the crowd punching the air.
The debut album ‘One Day Remains’ is the source of ‘Broken Wings’. Mark Tremonti’s gentle strumming intro starts the track, the big screens showing floating feathers. Kennedy’s slow and moody lyric joins in against a steady beat provided by the rhythm section. A slight pause signals the crowd to join in, the place takes off for the chorus, arms waving and 10,000 screaming voices. The stage lights produce a glitter ball effect around the arena. The track concludes as it began, with Tremonti strumming his guitar. The crowd enjoyed that one.
It’s back to the first album for ‘Burn It Down’, Myles introduces Mark Tremonti who is going to take on the lead vocals for the track. It’s slow with a bit of a semi-acoustic feel, ballad like. Tremonti’s voice is deeper and passionate. The pace and emotion builds, it’s sounding great. Kennedy is leaning back, eyes closed as he plays the solo, he’s lost in his music. There’s smoke coming from around the soundboard area mixed with the lights creating a stunning effect, Manny who was stood beside me, goes running off to see if he can “get a shot”. That one went down very well in the Motorpoint Arena.
Apparently, it’s cold on stage, Myles is concerned his fingers won’t work. He warms them, and our ears up by crashing out a few riffs. Then, we’re into ‘Cry of Achilles’ taken from 2013’s album ‘Fortress’, the big intro is full of sound and power. Kennedy calls for the crowd to copy him in clapping. The stop/start riffs battle brilliantly with Marshall’s pounding bass. Tremonti’s solo glides us into the close. One of my favourites performed brilliantly.
A couple of stools are brought onto the stage, Kennedy and Tremonti perch themselves on them. Mark Tremonti has an acoustic guitar on his knee and starts strumming, it’s ‘In Loving Memory’ which is from ‘One Day Remains’. Nottingham goes silent and listens to the verse before joining in for the chorus. Kennedy asks the crowd to switch on their phone lights, and Nottingham becomes a galaxy, far, far away. It’s a marvellous sight.
The title track from the 2007 album ‘Blackbird’ is next. Myles Kennedy plays the intro; the crowd recognise it instantly and start cheering. The eerie lyrics, smoke and Sabbath like riff gives the arena a ‘Jack The Ripper in Whitechapel’ feel. Tremonti’s solo is spinechilling. The riffs are cuffing your ears. Myles Kennedy brings the track to a close with his own solo. That was epic.
Next, it’s ‘Wouldn’t You Rather’ is taken from ‘Walk the Sky’ released in 2019. This is heavier with a chugging riff. Marshall’s bass beats are ricocheting around the arena. Phillips is being brutal with his kit; white lights carve through the smoke.
We’re straight into ‘Isolation’ which can be found on ‘AB III’, rapid hard-hitting drums and strobe lights batter your senses from the start. Tremonti foot up on the monitor is joining in with the backing vocals. The Nottingham crowd are chanting along, with horns raised in the air. Myles Kennedy applauds the crowd for their participation.
With Scott Philips pounding his drums Myles Kennedy introduces the rhythm section, then taken from ‘One Day Remains’ we start ‘Metalingus’. Nottingham rises as one and begins to bounce, the words are being sung by everyone inside the arena. Fists, horns and hair casting giant shadows across the walls and ceiling. Manny is nodding along and grinning. Myles Kennedy is crouched by the stage edge singing, the crushing riff behind him, building the tension as he winds up the crowd, getting them to lower themselves down, before releasing the 10000 ‘Jack-in The Box’s, accompanied by smoke cannons. A brilliant spectacle and superb fun.
Myles Kennedy thanks the other bands who played tonight, the crowd show their appreciation too. ‘Open Your Eyes’ from the first album ‘One Day Remains’. Kennedy’s vocal is strong, he invites Nottingham to sing with him, they don’t need asking twice. The crowd are clapping and swaying. We get to sing back with Myles as he conducts the Nottingham Choir, the band play to a big finish, the smoke cannons erupt again. The band exit the stage waving. Tremonti has left his guitar reverberating on top of the stack.
After a while, the sound cuts out and the band re-join again on stage to huge cheers. It’s the title track of the recent ‘Pawns & Kings’ release. It starts with a heavy beat and intermittent drum rolls. The riffs are dirty, Kennedy’s voice crystal clear slicing through the imposing sounds. Tremonti and Marshall side-by-side, their hands sliding over the respective fret boards in unison as if tied together. Parts have a real grungy sound. The cocktail of sounds is fabulous, there is a build to a crescendo finish. A complicated track to play, with many different layers, but Alter Bridge pulled it off brilliantly.
“Are you ready to Rise Today?” asks Myles Kennedy. The final song tonight is ‘Rise Today’ from ‘Blackbird’. The screens behind showing stars as if flying through space, the Nottingham crowds steady claps start the song off, it’s not too long before the clapping is replaced by singing, Myles Kennedy is relegated to backing vocals. The band pause and let the crowd sing. The band play out to a big finish, before applauding the crowd, handing out guitar picks, Tremonti flies paper plane setlists into the arms of the crowd, before the band bow and leave the stage.
I’ve been fortunate to see Alter Bridge on several occasions, this was probably the best, a superb mix of new and old, fast and slow, hard hitting and heavy, performed brilliantly. Go see them if you can get a ticket, and with Halestorm and Mammoth WVH it’s an absolute banger of an evening.
Setlist: Silver Tongue; Addicted to Pain; Ghost Of Days Gone By; ‘Sin After Sin’; This Is War; Broken Wings; Burn It Down; Cry of Achilles; In Loving Memory; Blackbird; Wouldn’t You Rather; Isolation; Metalingus; Open Your Eyes; Pawns & Kings; Rise Today.
Photography by Manny Manson for MPM
