Review & Photography by Manny Manson for MPM
When it comes to thrash metal, there are a few bands whose names are synonymous with the genre’s legacy.
Testament, Kreator, and Anthrax are three of the most iconic acts in thrash history, each having their unique mark on the genre’s evolution while remaining at the forefront of heavy music for decades.
On a night when these three metal titans took the stage together at the Halls in Wolverhampton, the air was thick with anticipation and excitement. The crowd knew they were about to witness an epic, high-octane showcase of thrash’s finest, and from the opening notes to the final encore, this was a night that encapsulated the very essence of thrash metal. These three bands, Testament, Kreator, and Anthrax, each carry a legacy of thrash metal innovation and intensity. Together, they represent the heart and soul of thrash’s glory days, and the Wolverhampton show was a rare chance to experience their unmatched power in one.
Testament: The Bay Area Thrash Masters, formed in 1983 in the Bay Area of California, they quickly rose through the ranks of the early thrash scene alongside bands like Metallica, Exodus, and Slayer. They were initially known as Legacy, but changed their name to Testament in 1986, just as they were preparing to release their debut album. Their sound is often described as a fusion of aggressive thrash and melodic sensibility, blending the best elements of speed metal with intricate guitar work, and their music has always had a darker, more ominous quality to it compared to some of their peers.
Their debut album, The Legacy (1987), is a thrash classic, filled with razor-sharp riffs and technical precision. Tracks like “Over the Wall” and “The Haunting” showcasing the band’s ability to write aggressive yet melodic anthems that would define their career. Testament’s next album, The New Order (1988), refined their sound and added more technical complexity. Songs like “Into the Pit” and “The New Order” are quintessential thrash anthems, featuring galloping rhythms, rapid-fire drumming, and vocalist Chuck Billy’s commanding delivery.
In 1989, they released Practice What You Preach, an album that pushed the band into even more melodic territory, with tracks like “Practice What You Preach” and “Greenhouse Effect” exploring themes of personal integrity and social justice. Testament’s ability to balance melody with aggression became a defining feature of their sound.
Their 1992 album, The Ritual, featured songs like “Electric Crown” and “Return to Serenity”, showcasing their most polished, yet still aggressive style. By the mid-’90s, Testament had undergone some lineup changes, but they returned to form with Demonic (1997), a heavier, more groove-laden record that reflected the era’s musical trends. Over the years, Testament has continued to evolve, with albums like The Formation of Damnation (2008), Dark Roots of Earth (2012), and Brotherhood of the Snake (2016) solidifying their place as one of the top thrash acts of the 21st century.
Testament’s Titans of Creation (2020) saw the band continue their tradition of blending old-school thrash with modern sensibilities, with songs like “Children of the Next Level” and “Night of the Witch” demonstrating the band’s unrelenting energy and refined musicality. With a blend of classic riffing, sharp solos, and Billy’s impassioned vocals, Testament’s set at the Wolverhampton Halls was always going to be a tour de force of thrash excellence.
Wolverhampton’s The Halls was the perfect venue to witness a masterclass in thrash metal, and Testament kicked things off with all the ferocity of a band that’s spent decades refining their craft. “You Gotta Fight for Your Right To Party” played over the P.A., the crowd were on it instantly singing back these iconic ‘Beastie Boys’ lyrics and the lights cut out, and a wall of smoke billowed onto the stage, signaling the start of the show.
The air was thick with anticipation, and then the unmistakable riff of “D.N.R. (Do Not Resuscitate)” from the Gathering (1999) blasted through the speakers. The crowd erupted into applause, and immediately, you could feel the power of Chuck Billy’s presence as he launched into his signature guttural vocals.
The band was tight from the very first note. Eric Peterson and Alex Skolnick shredded in harmony, their guitars buzzing with intensity as they played off each other with a level of precision that only comes from years of perfecting their craft. Steve Di Giorgio’s bass lines were thunderous, providing a solid backbone for the band’s rapid-fire thrash, while Chris Dovas, the human drum machine, pounded out the beats with military precision. It was clear from the get-go that Testament’s blend of speed, technicality, and melodic sensibility would make this night unforgettable.
“3 Days in Darkness” came next, a track also from The Gathering (1999), showing a more modern side of the band’s sound. The track started off with a somber, brooding riff that evolved into a blistering attack. The contrast between the heavy, trudging intro and the lightning-fast verse riff was a masterstroke in dynamics. As the crowd responded to the music, their energy only built, and soon enough, the mosh pits formed. Dovas’s drumming was a standout here, his double bass kicking in at the most intense moments, driving the song into a frenzy.
When Testament shifted gears with “WWIII”, they dug into their back catalogue from Titans of Creation (2020). The thrash metal riff that launched the song brought out the best of both Peterson and Skolnick, with their intricate leads interspersed with chugging rhythm. The crowd was ready, engaging with the band as if this was their favorite song, and you could see people singing every word back to Chuck Billy. Di Giorgio’s bass was especially prominent here, weaving in and out of the song’s heavy groove. There was no mistaking the musical chemistry on stage, and as the song shifted into its instrumental break, it was clear that this band was as sharp as ever.
With “Children of the Next Level”, Testament pushed further into their darker side with another track from Titans of Creation (2020). The mood was more sinister, and the song’s eerie quality was underscored by Peterson’s venomous guitar riffs. The song’s progressive elements worked in perfect harmony with the band’s signature thrash sound, building momentum throughout. The breakdowns were handled perfectly, the slow passages giving the crowd a brief respite before charging back into the fast, relentless verses.
From here, the pace didn’t slow. “True American Hate” from Dark Roots of Earth (2012) had the crowd buzzing as they chanted the lyrics along with Billy. It was a politically charged anthem, and you could feel the urgency in the song’s delivery. As Billy screamed, “You are the enemy, the one who seeks control,” the fans responded, their fists raised in defiance. Skolnick’s solos on this track were blistering, and his technical proficiency was on full display, providing a counterpoint to the song’s fury. The power of Di Giorgio’s bass lines kept the song grounded, providing a groove underneath the chaotic thrash.
Closing out their set with “Into the Pit” from The New Order (1988), Testament left no room for doubt as to why they are still among the kings of thrash. The song’s iconic riff cut through the air, the crowd’s energy reaching its zenith. The intensity of Dovas’s drumming in this track was a thing of beauty, the speed and precision nothing short of jaw-dropping. It was a fitting end to their set, as the audience screamed the lyrics back at the band, their voices carrying throughout the venue. With a final thrash of guitars and a last blast of drums, Testament left the stage to wild applause, having set the bar impossibly high for the bands that followed.
That being German thrash machine, Kreator, hailing from Essen, Germany, is another band that is often listed among thrash’s most important and influential bands. Formed in 1982, the band began life under the name Tyrant, but changed it to Kreator in 1984 just before recording their first demo. Their debut album, Endless Pain (1985), was a blistering introduction to the German thrash scene, with songs like “Flag of Hate” and the title track establishing the band’s ferocious sound—a ferocity that would become their trademark.
In 1986, Kreator released Pleasure to Kill, an album that marked a shift to a more refined and complex sound, yet still retained the pure aggression and intensity that thrash metal is known for. Tracks like “Riot of Violence” and “Under the Guillotine” became thrash anthems, and the album has often been cited as one of the greatest thrash albums of all time. Extreme Aggression (1989) continued in this vein, further establishing Kreator as one of the key players in the thrash metal scene, with “Betrayer” and “Some Pain Will Last” pushing the boundaries of what thrash could achieve in terms of speed, aggression, and sophistication.
In the early ’90s, Kreator experimented with a more melodic approach on Coma of Souls (1990), exploring thrash’s potential for atmospheric depth. Tracks like “People of the Lie” and “Coma of Souls” showcased a band expanding its sound while retaining its core thrash sensibilities. However, their 1992 album, Renewal, took a different direction, with the band incorporating industrial influences. The album was divisive among fans but showed the band’s desire to innovate.
Kreator returned to their thrash roots with Violent Revolution (2001), which featured some of their most powerful material to date, including songs like “Violent Revolution” and “Reconquering the Throne”. Over the years, Kreator’s sound has evolved, but they’ve always kept thrash at the forefront, with later albums like Phantom Antichrist (2012) and Gods of Violence (2017) cementing their place as one of thrash’s most enduring and potent forces.
Their live shows, filled with intensity, speed, and a mix of their classic and more recent material, have made Kreator one of the most electrifying thrash bands to witness in concert.
After Testament’s high-octane performance, it was time for the legendary Kreator to take the stage. As the lights dimmed and the intro to Sergio Corbucci’s Dead filled the venue, the tension was almost unbearable. The crowd had been whipped into a frenzy, and as the smoke began to clear, Mille Petrozza and his bandmates emerged, ready to take the crowd on a relentless thrash journey. With a thunderous explosion, the band tore into “Hate Über Alles”, the title track from their 2022 album. The blistering speed and savage riffing immediately had the crowd surging forward. Petrozza’s voice was as cutting as ever, his shriek filling the air as the crowd fed off his energy.
The sheer ferocity of Kreator’s performance was overwhelming. Jürgen “Ventor” Reil‘s drumming was a ferocious display of speed, his double bass assaulting the crowd’s senses with a power that seemed to shake the venue. Sami Yli-Sirniö’s guitar work was immaculate—his solos fluid and technical, while his rhythm playing was as precise as a surgeon’s scalpel. Petrozza’s leadership on stage was undeniable; he was everywhere, feeding off the crowd’s energy and amplifying it with his every movement.
The set moved seamlessly from “Hate Über Alles” into “Phobia” from Outcast (1997), a track that captured the band at their most frantic. The crowd had no time to recover as Kreator blasted into the song, their aggression relentless. The song’s rapid-fire rhythm had fans moshing in every direction, while Yli-Sirniö’s solo sections pierced the air like lightning. The combination of intricate guitar work and overwhelming speed was dizzying, and the crowd responded with a level of intensity that matched the bands.
From “Phobia”, Kreator smoothly transitioned into the intro of “Coma of Souls”, one of their signature tracks. The song’s intricate structures and unexpected tempo changes threw the crowd into a state of blissful chaos. The switch between sections was handled perfectly, the crowd never losing their rhythm as they moshed along to each shift in dynamics. Dovas’s drumming was a standout here, every fill and blast perfectly timed, adding another layer of intensity to the performance, even if it was all to brief.
The band’s ability to seamlessly flow from one song to the next was impressive as they segued into “Enemy of God” from the album of the same name (2005) this sent the crowd into overdrive, and “Coma of Souls” was a moment of brilliance, where everything clicked. The fans had no choice but to be pulled into the band’s ferocious energy, thrashing and banging their heads until they were dizzy. As the band hit their stride, Kreator’s combination of high-speed thrash and nuanced songwriting was on full display.
Next up was “666-World Divided” a track that brought out the full force of Kreator’s thrash roots. With its high-speed riffs and piercing vocals, the song drove the crowd wild, and the pit grew even larger. Petrozza’s delivery was spot on, his voice cutting through the heavy riffs like a knife through butter. The song’s apocalyptic themes resonated with the audience, the dark energy fueling the madness in the pit.
“Hail to the Hordes”, a track from Gods of Violence (2017), kept the momentum going. The audience responding to the anthem-like chorus, shouting the words in unison as flames erupted from the stage. The band’s chemistry is undeniable, each member feeding off the crowd’s energy, pushing themselves to greater heights. The light shows and pyro effects only adding to the overall spectacle, making this a performance that would be impossible to forget.
Kreator closed their set with the iconic “Phantom Antichrist” (2012) and “Violent Revolution” (2001) before launching into the epic “Pleasure to Kill” from Pleasure to Kill (1986). The song was an absolute highlight of the night, with its scorching speed and raw aggression. The crowd was absolutely lost in the music, their energy matching that of the band. And as Kreator ended their set with the final explosion of sound, the audience was left reeling, hungry for more. Could it get any better?
Headliners, Anthrax, The New York Thrash Legends hailing from Queens, New York, are deemed as one of the “Big Four” thrash metal icons, alongside Metallica, Slayer, and Megadeth. Formed in 1981, the band’s early sound was a blend of classic metal and punk anthems with speed, their style quickly evolved into a more thrash-oriented sound. Their 1984 debut album, Fistful of Metal, was a relatively straight-ahead thrash record with songs like “Panic” and “Anthrax” introducing the world to their sound. But it was their second album, Spreading the Disease (1985), that truly solidified their place in thrash metal history. With the addition of vocalist Joey Belladonna, the band’s sound grew more refined and aggressive, with songs like “Madhouse” and “A.I.R.” sealing their signature thrash style.
In 1987, Anthrax released Among the Living, one of thrash’s quintessential albums. Tracks like “Caught in a Mosh”, “Indians”, and the title track remain some of the band’s most beloved songs, and the album itself is often cited as one of the best thrash albums ever recorded. The band’s ability to combine humor, social commentary, and brutal riffs has always been part of their identity, and Among the Living was a perfect example of that blend.
The late ’80s and early ’90s saw Anthrax experimenting with their sound, releasing albums like Persistence of Time (1990), which featured the tracks “Time” and “Keep It in the Family”, continuing to refine their musical style and songwriting. The 1993 album, Sound of White Noise, marked a turning point for the band, as it introduced John Bush as the lead vocalist and took the band into a heavier, more groove-based direction. While it alienated some fans, songs like “Only” and “Room for One More” showed Anthrax’s willingness to evolve with the times.
In the 2000s, Anthrax returned to their thrash roots with albums like We’ve Come for You All (2003) and Worship Music (2011). Their return to form, particularly with Worship Music, with tracks like “The Devil You Know” and “In the End”, were met with widespread critical acclaim. The addition of Belladonna again in the lineup was a return to their classic sound, which continued through their subsequent album For All Kings (2016).
As one of thrash metal’s most consistent and influential bands, Anthrax’s set at Wolverhampton’s Halls was yet another opportunity to witness these colossal legends perform in their element, unleashing a brutal combination of their classics and modern thrash anthems.
So, the time had finally come for the final destruction. After a thunderous performance from Kreator, it was time for the ultimate thrash metal titans, Anthrax, to take the stage and close the night with a fucking big bang. The atmosphere at the venue was electric, the energy fizzed like a glass of liver salts, and the anticipation? Well, that was through the roof. The moment the house lights dimmed, smoke machines hummed to life, enveloping the room in a thick fog. The bass rumbled from the PA system, setting the stage for what was sure to be a classic thrash metal experience.
The moment had arrived, it was now Anthrax’s turn to take to the stage, the air was ‘crackling to life’ with anticipation, the crowd, already whipped into a frenzy by the undercard, were bouncing in their loafers ready for more moshing, more crowd surfing more metal brutality.
The New York thrash titans had come to unleash a full-throttle assault on their fans, and they were more than ready to deliver the kind of performance that only a band of their stature could. No warm-up, no half-measures, just a brutal, relentless barrage of thrash metal that would leave the audience in a state of pure euphoria. The band were firing on all cylinders from the get-go.
As the crowd watched a video played to them on the curtain, cheering as each metal legend endorsed the mighty Anthrax, behind which the band took up their positions, as the stage was filled with smoke, finally they effortlessly tore straight into “A.I.R.”, one of their most iconic tracks, and one that had the venue instantly erupt in a wave of thrashing chaos, with Scott Ian (guitar) and Jon Donais (guitar) locked in perfect harmony, their riffs cranked to a neck-snapping level, while Charlie Benante (drums) hammered away with the precision and fury that has made him one of the best in the business.
Frank Bello (bass) was the silent powerhouse, driving the rhythm section forward with a groove that made the floor of the venue shake, while Joey Belladonna (vocals) commanded the stage with the same energy and power that has defined him for over three decades., From the opening riff, it was clear this was going to be a night of pure thrash bliss. Belladonna’s soaring vocals sliced through the air, as the crowd immediately formed a mosh pit, chanting the lyrics at the top of their lungs. You could cut the energy with a knife, as the curtain fell, the intensity in the venue jumped to a ‘Spinal Tap’ level 11. Benante’s drums setting the pace, fast and furious, while Ian and Donais alternated between blistering solos and intricate riffing.
Every note was executed with precision, but the raw energy and passion were what truly set the performance on fire. The crowd was completely caught up in the energy of the song, moving and singing with a ferocity that matched the band’s own onstage power.
Without missing a beat, Anthrax dove headfirst into the groovy fury of “Got the Time” from their 1990 album Persistence of Time, a track that has become a staple in their live shows. This cover of Joe Jackson’s classic was given the thrash treatment, injected with all the aggression and speed the band is known for. The crowd responded immediately, screaming the words back to Belladonna as the rhythm section thumped beneath them. The track’s infectious riffing and headbanging pace brought the audience into a frenzy, with fans throwing themselves into the pit, making it clear that Anthrax had them completely in their grasp.
Next up was “Caught in a Mosh,” and the venue nearly exploded as the classic track from Among the Living rang out. The unmistakable opening riff sent the crowd into an absolute frenzy, as bodies surged toward the stage, hands reaching out for the band. Belladonna belted out the vocals with effortless power, his voice a perfect match for the song’s chaotic energy. The crowd screamed along with every word of the song, the chorus of “Caught in a mosh!” echoing through the venue like a battle cry. The blistering pace of the song matched the intensity of the crowd’s reaction, with Benante’s relentless drumming fueling the thrashing madness. The guitar work from Ian and Donais was razor-sharp, each solo and riff delivered with precision as the audience fed off the band’s energy.
As the night progressed, the band brought out “Fight ‘Em ‘til You Can’t” from their 2011 album Worship Music, and the track instantly proved its worth as a live powerhouse. The dark, heavy riffage and the song’s anthemic, chant-heavy chorus were a perfect blend of thrash aggression and modern metal sensibility. The crowd responded to the call-and-response chorus, shouting “Fight ‘em ‘til you can’t!” with all their might. The track’s dark and brooding atmosphere stood in stark contrast to the high-speed thrash of earlier songs, giving the set a refreshing dynamic. The crowd was fully immersed, their heads bobbing and fists raised as Ian and Donais delivered searing solos that lit up the venue. The song’s tempo shift, from slow, crushing riffs to furious thrash, was executed flawlessly, keeping the audience on their toes throughout.
The chaos continued with the unrelenting “Madhouse,” a standout from their 1985 album Spreading the Disease. This track perfectly captured the frenetic, anarchic spirit of Anthrax, with its speed and intensity matched only by the crowd’s enthusiasm. Belladonna’s vocals hit the high notes with ease, his voice cutting through the mix as the crowd chanted along with every word. The rhythm section, powered by Benante’s intricate drumming and Bello’s thumping bass lines, provided the backbone for the song’s ferocious energy, while the guitars of Ian and Donais traded blistering solos in perfect synchronicity. The entire room was thrashing in unison, from the front row to the back, as the track’s driving force kept everyone moving in a constant, headbanging frenzy.
From the classic “Be All, End All” to the relentless power of “Metal Thrashing Mad,” Anthrax gave the crowd a taste of their musical evolution, blending their thrash roots with the heavier, more groove-oriented tracks from later albums. “Be All, End All” saw Belladonna command the stage with his powerful, dynamic vocals, bringing the audience into the song’s emotionally charged narrative. The transition from aggressive thrash to more melodic sections was seamless, with Benante’s complex drumming providing a solid foundation for the intricate guitar work.
In contrast, “Metal Thrashing Mad,” from their 1984 debut Fistful of Metal, brought out the raw, unbridled aggression of the early days. The track’s pure thrash energy had the crowd in a frenzy once again, moshing and screaming along with every word. The intensity of the performance was only matched by the band’s palpable chemistry, with Ian and Donais thrashing away at their guitars, while Bello and Benante locked in the rhythm section with an unbreakable groove.
The crowd were also treated to a double dose of Anthrax’s classic anthems when they brought out “I Am the Law” from Among the Living. The opening riff had the crowd on edge, and when Belladonna screamed the words “I am the law!” the entire venue responded as one, singing along to every word. The track’s heavy riffing and relentless pace kept the energy at an all-time high, while Benante’s drumming and the twin guitars of Ian and Donais drove the song forward with blistering precision. The song’s social commentary and rebellious spirit resonated deeply with the crowd, making it one of the most powerful moments of the night.
As the set neared its end, the band’s modern edge came to the forefront with “The Devil You Know”, another track from Worship Music that had the crowd thrashing and screaming along. The heavy, crushing riffs and Belladonna’s intense delivery brought the audience back to the edge of their seats, and the song’s dynamics—switching from heavy, chugging riffs to thrash-speed breaks—kept the crowd guessing. The ferocity of the track was perfectly complemented by Ian and Donais’s blistering solos, as Bello and Benante locked in with thunderous precision.
Of course, no Anthrax show would be complete without their legendary anthem, “Antisocial,” and the crowd roared as the opening riff reverberated through the venue. The track, from State of Euphoria, was a fan favorite for a reason: its aggressive pace, sing-along chorus, and scathing social commentary made it a perfect fit for the thrash warriors. The crowd screamed the words back at Belladonna with as much passion as the band poured into their performance.
As the encore approached, the energy in the venue reached a fever pitch. The crowd were more than ready for the final two songs, and when “Indians” hit the stage with all the fury of a war drum. The track’s historical and anti-war message resonated deeply with the audience, who were all in unison as they shouted the lyrics as they thrashed and banged their heads in unison. The thrashing chaos was in full swing, with Benante’s drums pounding like thunder, and Ian and Donais delivering fiery solos had the crowd caught in a Mosh!.
Finally, “Gung-Ho” closed out the night in spectacular fashion, the aggressive, high-energy anthem rounding off a show that had been nothing short of a thrash metal masterclass. The crowd was exhausted but elated, having experienced a performance from one of the genre’s most legendary bands, one that would surely be remembered for years to come.
Anthrax proved once again why they’re still one of the kings of thrash, their blend of classic and modern thrash offering a little something for everyone. From the old-school riffs to the fierce energy and unrelenting pace, they delivered a performance that left the audience breathless, as the walls of Wolverhampton Halls trembled from the sheer force of the metal onslaught. This was Thrash metal at its finest, raw, untamed, and unforgettable.
It was very clear that tonight was going to be nothing short of a full-throttle brutal thrash metal experience. With Testament, Kreator, and Anthrax on the bill, it was quite clear, it could be nothing else, and that the audience was in for a wild ride.
Testament opened with a flawless set, showing off their incredible musicianship by delivering a performance that was technical, fast, and thrilling. Songs like “D.N.R.”, “3 Days in Darkness”, and “The Preacher” hammered home Testament’s status as one of the founding fathers of thrash. The crowd was instantly hooked, moshing and headbanging along with every note.
Kreator followed with an intense, punishing set that also highlighted their perfectly balanced blend of speed, precision, and aggression. Mille Petrozza was a commanding presence, his voice a relentless barrage of thrash metal energy. Tracks like “Hordes of Chaos”, “Phantom Antichrist”, and “Satan Is Real” melted faces and showed just why Kreator remains at the top of the thrash metal heap. The combination of blistering guitar solos, lightning-fast drumming, and pulverizing riffs made for an unforgettable show.
Finally, Anthrax brought the night to a jaw-dropping conclusion with their flawless blend of classic and modern thrash metal anthems. The sheer energy and enthusiasm of Joey Belladonna and the rest of the band were evident throughout the set. From the moment “Among the Living” blasted out, the crowd never stopped moving. Belladonna’s vocals were pitch-perfect, Scott Ian and Jon Donais’ guitar work was blistering, and the rhythm section of Frank Bello and Charlie Benante was, quite simply, peerless. Anthrax’s performance was a perfect balance of raw power, melody, and brutal thrash, leaving the audience utterly floored and exhausted but immensely satisfied.
This was a night that thrash metal fans will remember for a long time. Testament, Kreator, and Anthrax all brought their particular brand of noise, fury, and passion, thereby reminding everyone why thrash metal remains one of the most important and powerful genres in rock history.
