Review by Peter Finn for MPM
Even on an extremely hot and humid evening, the lure of some ‘Old Skool’ classic rock falls into the ‘Resistance is futile’ category, as far as Manny and I are concerned, hence our mid-week trip to visit Rock City’s little sister, The Rescue Rooms. The bait for the excursion is to see genuine 80’s rock legends Armored Saint, supported by a band at the opposite end of the time line Tailgunner.
UK Rockers Tailgunner, although relatively new to the scene, are creating themselves a seismic reputation. They were formed in 2022 and have already released their debut album ‘Guns For Hire’ on July 14th, 2023. This has received some very impressive reviews, making them one of the “Must see” bands of the moment, their line-up consists of Thomas Hewson (bass), Zach Salvini (guitars), Craig Cairns (vocals), Rhea Thompson (guitars), and Jani Pasanen (drums). According to their bio, “TAILGUNNER are here to put British Heavy Metal back on the map! ‘Laser Guided Riffs N’ Hooks that Kill’ – No apologies, no compromises!”
With two drum kits on the stage, space is at a premium, as the lights go out there’s a late surge of numbers in the hall as they come in from enjoying the sunshine. ‘Zorba the Greek’ by Mikis Theodorakis is playing over the PA as Tailgunner make their way out onto the Rescue Rooms stage, no-doubt still buzzing from their show at Bloodstock over the previous weekend.
They open with ‘Guns For Hire’ the title track of their recent release. Rapid drums, rapid riffs, it’s foot to the floor and hang on. The guitars are across the front of the stage headbanging as Cairns launches his quick-fire vocals at The Rescue Rooms crowd, the front row headbanging with the band. Salvini and Thompson’s twin six-string attack has the crowd nodding in time. Craig Cairns is on the monitor calling for “Heys” from the audience. It’s a great start.
Without pausing, the charge continues with ‘White Death’ again from their debut. Pasanen’s pace is relentless, the guitars provide some synchronized moves before encouraging the crowd to chant some “Heys”. Cairns leans back, fist raised as he hits the high notes.
‘Beast in the Night’ is a cover of the 1986 Randy record. The tempo is respectful of the Swedish Punks original, crashing guitars with a thunderous rhythm section punctuated by Cairns deliberate lyrics. We’re treated to a real “shred-fest”, before the band play out to a big finish.
Cairns leaves the stage and returns carrying a pistol as Pasanen’s drums bring in ‘Warhead’, his partner in crime Hewson, has the Rescue Rooms shaking as he hits his bass’ strings. The guitars line up across the stage edge, Cairns demonstrates his vocal strength as he holds the high notes. The band are covering every available inch of the stage as the play. The crowd are enjoying Tailgunner. The track closes with the band all holding their fists in the air.
It’s time for duelling guitars, as first Zach Salvini, then Rhea Thompson exchange short guitar solos, each raising their fist as they finish, resulting in appreciative cheers from the Rescue Rooms crowd. The rest of the band return, and we have an instrumental piece in the form of ‘In the Hall of the Mountain King’, composed in 1875 by Edvard Grieg, Manny tells me that he remembers the original when it was first released. Cairns is leading the clapping; I look around and everyone is smiling. Craig Cairns walks to the front of the stage waving a Union Flag with ‘Tailgunner’ emblazoned across it.
Pasanen’s cymbals start the early Maiden-esque ‘New Horizons’, this is quick and hard. The pace is relentless, the stage a blur of hair and frantic fret work. It’s sounding great, the band criss-crossing across the stage, Hewson is up on the monitors leaning out over the front row. The band are enjoying this, as are we. Jani Pasanen is Animal-esque as he smashes his kit. The track closes with a big finish, giving everyone chance to catch their breath.
We don’t get long before Tom Hewson is up on the monitor, pounding his strings filling the room with bass rumblings, for ‘Revolution Scream’ again from 2023’s ‘Guns For Hire’. Pasanen picks up the pace, Cairns climbs down into the pit, his vocal is controlled and full of emotion. The Rescue Rooms a sea of nodding heads. Thompson eyes closed leans back, lime green Jackson pointing at the ceiling as she plays the solo. Cairns encourages the crowd to join in as he waves a “Welcome to the Revolution” placard. The crowd show their approval with a big cheer.
‘Crashdive’ from ‘Guns For Hire’ starts with Thompson’s quick riff. Cairns vocal rises and falls in perfect time with Pasanen’s beats. Hewson is mouthing the words in true Steve Harris fashion, Zach Salvini moves to the stage edge as he fires out the solo, before being joined by the other guitarists. In a line they perform some choreographed guitar moves.
The band finish their set with a Judas Priest cover, it’s the title-track of their 1990 album ‘Painkiller’. It’s fast, Cairns vocal tone and tempo matching the Rob Halford original. The Rescue Rooms are joining in with the lead vocals. Salvini plays the note perfect solo with aplomb. Pasanen is standing up behind his kit as he plays. The band play out to a big finish as The Rescue Rooms, ‘Horns’ raised show their appreciation. The band pose for a photo in front of the crowd before leaving the stage.
Tailgunner are a band whose endoskeleton was forged from the fuselage of a Lancaster Bomber, powered by Merlin piston engines, and held together by rivets made from spent bullet casings. This band is hard and heavy. If you like your rock and metal “Old Skool”, put them on your list to see. After their dates with Armored Saints, they follow-up with a supporting tour with KK’s Priest, and a slot at the sold-out Stonedead Festival in Newark at the end of this month.
Setlist: Guns For Hire; White Death; Beast in the Night; Warhead; In the Hall of the Mountain King; New Horizons; Revolution Scream; Crashdive; Painkiller.
Armored Saint is an American heavy metal band formed in 1982 in Los Angeles, California, by a group of musicians passionate about pushing the boundaries of metal during the burgeoning era of thrash and power metal. The band’s classic lineup has been together since 1990, and features distinctive frontman John Bush (vocals), Jeff Duncan (guitar), Joey Vera (bass), with brothers Phil Sandoval (guitar), and Gonzo Sandoval (drums). Over the years, Armored Saint has built a robust discography, debuting with their acclaimed album ‘March of the Saint’ in 1984, followed by notable releases such as ‘Delirious Nomad’ (1985), ‘Symbol of Salvation’ (1991) and ‘Win Hands Down’ (2015), with Armored Saint’s most recent studio album being 2020’s ‘Punching The Sky’. Their music is characterized by a blend of melodic hooks, powerful vocals, and intricate guitar work, establishing them as a significant presence in the metal scene, even as they cultivated a dedicated fan base while maintaining critical respect throughout their career.
This is the first of 5 UK dates at the end of a hectic European Tour, that has included several of the major Festivals.
Tchaikovsky’s 1812 Overture starts playing. The band appear on the stage to an enthusiastic reception, Gonzo Sandoval is wearing a Top-Hat as he settles behind his red sparkle kit, John Bush dressed in his customary white. They open with ‘End of the Attention Span’, which is taken from 2020’s ‘Punching the Sky’. Bass wash, quick beats with punchy riffs get us going, Bush comes to the stage edge, his presence commanding attention, he launches into the crisp vocal, his voice strong and clear. Vera and Duncan add vocal support before Phil Sandoval has his ‘V’ squealing for the solo. Their opener is ferocious and unforgiving, it’s superb.
We’re straight into ‘Raising Fear’ which appears on the 1987 album of the same name. Bush, cupping his ears encourages the crowd to cheer, as he alternates with Gonzo Sandoval’s drum crashes. The stage lighting pulsating red, the quick riff is entwined with some pulverising bass work from Vera. That one went down well.
From ‘Symbol of Salvation’ released during 1991 is ‘Tribal Dance’. Gonzo Sandoval’s drum roll starts, the guitars have a ‘Welcome to the Jungle’ twang, which sounds great. Bush is chanting clipped lyrics, giving the track a Chili-Peppers tone. Bush picks up a pair of maracas as Phil Sandoval leans into his solo. Vera is working overtime as he adds vocals whilst pulling his bass strings. The Rescue Rooms are soaking this up.
Bush addresses the crowd, “This is our first time in Nottingham, and we’re loving it, this track has a groove to it”. ‘The Pillar’ is taken from 2000’s ‘Revelation’, Gonzo is stamping on his bass pedal. The crowd are clapping along, Bush prowls the stage as he sings. Jeff Duncan is nodding along like the late great Malcolm Young, the band have a mini rock-out, this powerful twin guitar attack of Duncan and Sandoval is extremely effective. The crowd are punching the air in time.
Now we have ‘Last Train Home’ off of ‘Symbol of Salvation’, Jeff Duncan’s strumming and Gonzo Sandoval’s cymbal roll starts, this is a slower melodic track, moody and atmospheric, there’s a couple of nice bridges as the track ebbs and flows all under Bush’s careful control. A Duncan solo leads the track to a close. The cheering and whistling crowd showing how much they enjoyed it.
A fanfare is played over the PA. The guitarists are up on the monitor conducting the crowd during the intro for ‘March of the Saint’ released on 2001’s ‘Nod to the Old School’. John Bush is bouncing as he belts out the words, it’s another track with electrifying pace. The crowd join in with the chorus. Duncan takes centre stage for the solo, it’s propelled along by Gonzo’s rapid beat. This was a very popular track, receiving the biggest cheer so far.
Bush leaves the stage, and the band jam, it’s bluesy and full of emotion. Bush returns and the classic ‘Over the Edge’ from 1985 and the ‘Delirious Nomad’ album is next, it’s a bit slower, driven by Bush’s vocal. The vibe is true 80’s metal and sounds wonderful, Sandoval’s solo sending tingles down the spine as he gets down the dirty end of the fret board. Close your eyes, travel back in time and enjoy the moment.
‘La Raza’ from 2010 gives us ‘Left Hook From Right Field’, it opens with a peel of chiming bells before the thunderous riffs take over, the tempo is that of two heavyweight boxers trading blows. The band are headbanging and the crowd are bouncing in time to the chugging chords. The pace slows as Bush narrates a verse, before Gonzo drives the track forward.
We return to ‘Punching the Sky’ with ‘Standing on the Shoulders of Giants’. Jeff Duncan starts this epic, Bush is shouting the words, Vera is bouncing as he alternates vocals with Bush. The energy is off the scale, the Sandoval brothers trading riffs and beats as Vera crouches down pounding his bass. Bush leaps in the air in time with the heavy beat. The band are up on the monitors powering out the notes as the hall resonates with the thunderous sound.
John Bush introduces his fellow band members, each one having their name chanted by the enthusiastic and respectful crowd. 1985’s ‘Delirious Nomad’ is the source of ‘Aftermath’, think Black Sabbath and Iron Maiden, the fists are pumping, the guitar breaks are intricate and controlled, Bush’s passionate vocal grabs the rooms attention and holds it in a vice like grip. He holds a note as the band pounce on the listener. Gonzo is off his stool, Bush wants the Rescue Rooms to chant the “Heys”, which of course we do, he’s then off the stage and into the crowd, before making his way up onto the balcony as he sings. A very clever and well-constructed track, played superbly.
The title-track of 2015’s ‘Win Hands Down’ comes next, Gonzo’s drum volley, then Vera’s bass assault the senses from the start, this is quick, hard and heavy. Conductor Bush is orchestrating the audience, everything has gone to 11, Phil Sandoval leans over his guitar as his fingers dance over the frets, the band come in with an explosion of sound, before leading to a big finish. Brilliant.
Sandoval’s riff takes us straight into ‘Can U Deliver’ from ‘March of the Saint’. The riffs are coming hard and fast as Gonzo thumps his skins. Bush is up on the monitors asking “Can U Deliver?”, the pumping fists from the crowd confirming their answer. Joey Vera is now behind the drum kit as he plays. Bush hanging onto the high notes with real power and strength.
John Bush leads the “Heys” as ‘Reign of Fire’ from ‘Symbol of Salvation’ begins, crushing riffs and full heavy beats has the crowd punching the air, Joey Vera is leaning over the pit coaxing them. The band line up across the stage and are headbanging. Gonzo’s double bass tap and a drum roll brings the track to a finish, accompanied with blinding strobe lights.
Bush tells us that they will do a ‘Not Encore’ and stay on the stage and keep playing, which is met with a huge cheer. ‘Raising Fear’ provides ‘Chemical Euphoria’, the intro riffs are met head on by Bush’s scream. The crowd know the words and are joining in with the racing tempo. The band are giving everything and are taking no prisoners. Duncan and Sandoval take turns with the guitar solo, Duncan’s riff is bouncing off the walls, encouraging the crowd to clap.
The final track of what has been an awesome set is, ‘Mad House’ is taken from 1984’s debut ‘March of the Saint’, Jeff Duncan leads the guitars up onto the monitors, the quick riff preludes a foot-to-the-floor metal journey. Bush’s vocal is machine gun rapid, it has elements of classic punk rock, Motorhead and Metallica, it’s an extremely potent cocktail, and The Rescue Rooms are thirsty for more. Every light on the stage is flashing, Bush is behind the kit, hitting the drums. It’s a fantastic show closer.
The band acknowledge the crowd and wave throwing picks and drumsticks into the crowd as they leave the stage, the rapturous cheers, claps and whistling indicating that The Rescue Rooms have had a great time. Armored Saint have put on a wonderful show, full of energy, enthusiasm and talent. Grab yourself a ticket to see them, you will not be disappointed.
Setlist: End of the Attention Span; Raising Fear; Tribal Dance; The Pillar; Last Train Home; March of the Saint; Over the Edge; Left Hook From Right Field; Standing on the Shoulders of Giants; Aftermath; Win Hands Down; Can U Deliver; Reign of Fire; Chemical Euphoria; Mad House.
Photography by Manny Manson for MPM
