Live Review

Black Label Society – Manchester Apollo

• 8th Mar 2011

The Manchester chapter of the black order are out in force tonight as the queue for Black Label society stretches round both sides of the Apollo, berserkers waiting to hear Zakk and the doom crew level the place with tracks from the new album ‘Order of the black.’

There’s an apprehension before Godsized play, a feeling that this crowd will be difficult to please, but if you do they will love you. Having Pantera on the speakers before they go on stage-and the subsequent cheer from the crowd doesn’t make it any easier-it’s a mountain to climb, but the Croydon based outfit are here to take no prisoners and make a hundred converts.

It’s ‘Phoney tough and the crazy brave’ that pushes the crowd over and into the metal blackness, acting as a starting point and an introduction to the band; it proves to be one of the keystones of their performance. ‘Fight to survive’ reinforces the idea that they should be supporting Black label, the whole set has large doses of southern groove, and they find their place tonight with some breakout choruses and genuine heart-it’s a performance that s still evolving, in a good way-Godsized are surely ready for the states and beyond, they operate in a space few bands occupy and do it with belief and conviction.

When the massive Black label society banner is hoisted there’s a huge cheer, akin to a battle cry. ‘New religion’ plays as an intro tape, and there’s a strong swell of anticipation that they will launch into the full, heavy side of the song, they pull the rug by rolling into ‘The beginning…at last’ as the banner comes down and a bowler wearing Zakk Wylde beats the living hell out of his Gibson- the front row are decimated. This is going to hurt- its 10 amps and the truth.

There’s no rest, thundering into ‘Crazy horse’ encapsulating the songs sentiment and the influential character behind it. It’s only after ‘What’s in it for you’ that there’s anything resembling a pause, even guitar changes are quick and unobtrusive-when was that ever mentioned in a review?, but that’s what you have to understand: Black label are a working band, they understand that every member of the team is there to produce the final effect-a crushing metal show, and every member is resolutely dedicated to doing so tonight.

All talk of being polished and effective can allude to it being a production line and therefore without feeling-nothing could be furthur from the truth here. The double assault of the next two songs testifies to this, ‘Funeral bell’ being deeply resonate and ‘Overlord’ swinging and grooving whilst devastating -anyone who has seen the video that accompanies the song will be aware that there is a sense of humour within the band, again reinforcing that this is no artificial product.

It’s difficult not to mention Zakk’s illness and spate in hospital, but this shouldn’t be dwelled upon, as his literal chest beating in reaction to the crowd response after ‘Parade of the dead’ is an enormous statement to his personal mindset and silences any doubters that may have existed.

Then something very special happens. Amidst the furore of distortion, defiance, out comes a piano, the front covered with the Black label old glory and Wylde begins a solo. Delicately scaling and falling, it’s quietly beautiful and segues into one of the high points of the entire show ‘In this river’.

As two large pictures of Dime bag descend from the rafters there’s a raising of glasses, fists and a rush of respectful applause-it’s been a stalwart of the set for some time now, a tribute to his friend and brother in arms, taken away too soon. Even knowing that it’s to be played does nothing to dull the moment, when Zakk sings ‘My only friend’ he’s laying his entire soul for the gathered to join in mourning. It’s that trust and faith in the audience that changes the concert entirely, a connection with the people far beyond words.

It could be difficult to return the vibe instigated at the beginning, but clearly the best way is to simply continue with what BLS do-‘Fire it up’ just coursing along, and then in the most fitting of tributes Zakk sets up and solos.

The circle of music has revolved, and now technical ability is accepted again. It’s clear Black label couldn’t give a fuck about this however-before, during and after trends they have played what means the most to them and Zakk loves to play, soloing in front, then to both sides for an extended period of time. No stone is left unturned, playing like he was 17 again, it’s so honest it’s impossible not to enamoured.

The run of the next songs is bruising and breathless- introducing brothers in the band feels like a rousing cry before they all sink into ‘Godspeed hell bound’, JD Servio, Cantanese & Hunt visibly rolling their sleeves up and getting the damage done.

It’s only now that you realize how little there’s been in the way of talking to the crowd, rather than utilise tired clichés to rouse the crowd, Zakk thanks the assembled, recognises the Manchester chapter and thanks his band mates. There is no need for anything else, the songs are there to hear, and never before could the term ‘Let the music do the talking’ be applied than here. There is a nod to fellow guitarist Nick Catanese as his ‘Keith Richards’, and it’s possibly more on the money than Zakk or knows, this isn’t meant to be the Zakk Wylde show, it’s a gang of musicians committed to a message, a belief and good music.

‘The blessed hell ride’ signals the final set of songs, and BLS understand their audience very well- ‘Suicide messiah’ and ‘Concrete jungle’ are perfect examples of what BLS do, perfect sentiments of what they purport: personal strength and respect, musically it culminates in the epic ‘Stillborn’.

There is no encore, no going off stage and returning when the crowd are chanting, there is no need, it would feel inappropriate after what has gone before; would you rather have a gap of seven minutes or another song?-exactly.

What you do get however is a startlingly telling and superb moment when a fan passes Zakk a denim jacket, on the reverse of which is a Gary Moore patch- with the Irish guitarists recent passing still in the forefront of many minds- Zakk kisses the patch, points to his heart and then to god, giving the jacket back to the fan. It’s a uniquely sentimental moment, an acknowledgement to the generations before and an endorsement of Black label society’s importance to continue to be playing what they believe and live for.