Review & Photography by Paul Hutchings for MPM
Upgraded three times, it’s evident that many aspects of metal music are in rude health. Less than three years ago, Crowbar played The Globe in Cardiff. A capacity of 350 (at a push). Two years ago, it was the 500 size Sin City in Swansea. Tonight, there isn’t enough room to slide a Rizla between those packed into the 1000+ cap venue.
It’s a stacked bill, and by all accounts, it’s been upgraded across the 15 date run several times. Tonight, there’s hardly any room on the floor when Silverburn hit the stage. The solo project of Welsh musician James ‘Jimbob’ Isaac, who also does much of the artwork for the likes of Damnation Festival, Silverburn is a project that has mushroomed since the formation post-pandemic.
It’s a ferocious and intense assault on the senses over the first 35-minutes of the night. This isn’t an evening for the faint hearted, for the jarring sludge that Silverburn deliver rattles the bones from the off.
Alongside Isaac, bassist Ross Barrington is a blur of headbanging moves as he beats his bass in a way that is almost criminal. Behind the kit, Simon Jones also veers towards a GBH charge with his hammering of his drums. Together, they all mesh into a wall of sound that resonates with those in the room.
Simulacreality kicks things off, and by the time mid-point song Bathe in Fire is crunching the cranial mass, the pit is already raging. Isaac’s roar is raw and throaty, a visceral approach that reinforces the fury in the lyrical matter. It’s a blistering start that leaves many already damp with sweat.
Vocalist Karl Agell tells me before he takes the stage how amazing the reception has been across the UK on this tour. It’s unsurprising, for although many in the room may be exposed to the doom metal of Legions of Doom for the first time, it’s likely that they will have gained many new followers after a set that probably steals the night. Several of this band are also members of The Skull, a band steeped in respect to legends Trouble and it’s evident within minutes that their roots sit deep in the doom genre. Electric Eye, yes, the Priest song prompts an immediate spike in energy levels, and it’s no surprise that the pit security are soon working hard as several waves of crowd surfers take to the air.
Legions of Doom, in keeping with the vibe of the evening, worship the riff. They crunch hundreds of them over their set, crushing swathes that suffocate and intoxicate in equal measure.
From the photo pit I hear several of the front row signing along, which no doubt continues during a set spliced with versions of The Skull (Send Judas Down and For Those Which Are Asleep) and Trouble’s Psychotic Reaction Lead work pierces the thunderous cascade, courtesy of a decent sound (usually the case here), and there’s flashes of Lizzy as well as COC as they conclude with a heroic finale.
Such is the euphoria that the heaving mass delay pints and fresh air whilst Agell takes an age to record the horns in the air on his phone. It’s truly epic stuff and leaves the headliners with some ground to cover.
If the gauntlet is down, then Crowbar pick it up and swat it aside with a nonchalance only reserved for bands in the legendary category. They may not be arena behemoths, but as Kirk Windstein roars “We are Crowbar, from New Orleans”, there’s definitely something of tremor in the system. The riffs are relentless as the band bludgeon with simple efficiency.
Alongside sole original member Windstein, drummer Tommy Buckley, guitarist Matt Brunson and bassist Pat Bruders, back in the fold after a previous stint between 2005-2013.
It’s effective from start to finish. Mixing tracks from across their career, the sheer volume of instantly recognisable tracks like opener ….And Suffer as One, To Build A Mountain and Cemetery Angels send the venue into uncontrolled chaos.
Surfers fly over the barriers almost from the start, whilst from the balcony, the floor appears to be one singular mass of melded writhing and contorting bodies, flailing into each other and releasing far too much heat.
There are few words, but it’s generally accepted that Crowbar aren’t here to go through metal cliches. Instead, they focus on delivery and pure power, something that works well. This unit is cohesive, well drilled and nearly ready to return home.
Windstein is the legendary figure. Surprisingly clad in tracksuit bottoms rather than customary combat shorts. Bruders is in fiery form as he cajoles the front rows with a gentle yet sinister intensity. This is Crowbar in top gear, and by the time they ease into Planets Collide, the place is almost spent.
There’s just enough for a killer finale, with Like Broken Glass and All I have (I Gave) wrapping up one of the most intense evenings this fine venue has seen for some time.
