Following a day dominated by post-millennial rock and typical July climate, the second day of tatted festivities dubbed Inkcarceration would result in an much more sturdy array of acts with a couple of challenges courtesy of Mom Nature. Some could welcome a rain bathe when exterior within the unforgiving summer time warmth, however one could not assist however discover a couple of parallels between the muddy circumstances that might happen close to the Ohio State Reformatory and that of the notorious Woodstock ’94 competition (albeit with out hunks of mud being chucked on the bands). In truth, the response to the circumstances on the bottom because the day would proceed by these in attendance minimize in opposition to the stereotype that physique artwork fans being susceptible to hooliganism, as the identical form of decorum and enthusiasm that was on show the day before today would proceed. To place it one other approach, the well-known jail web site the place this occasion was happening could have imbued a way of self-discipline and routine that might assist Inkcarceration climate the storms.
Among the many earlier acts to assist kick off this continuation of ink, music, and camaraderie can be the nu-metal revivalists from Lancaster, Pennsylvania often known as From Ashes To New. This outfit has made a formidable splash over their 10 years on the sport, and are at present selling their soon-to-be-released studio album Blackout. Drawing heavy inspiration from the digital, rap-meets-metal hybrid fashion initially popularized by Linkin Park, alongside some barely newer different metallic leanings like Alexisonfire and Breaking Benjamin, they might attraction onlookers with an energy-infused set of infectious, hook-driven anthems that hearkened again to what was burning up the charts 20 years in the past. Each rhymed bars and synthesizer strains – courtesy of band mastermind and multi-instrumentalist Matt Brandyberry -provided the right foil to guide vocalist Danny Case‘s piercing vocal show and animated stage presence. Groovy bangers like “Panic” and “My Title” from the band’s again catalog contended with equally formidable entries from their upcoming LP in “Nightmare” and “Hate Me Too.” This set left little thriller as to why From Ashes to New has been honored to collaborate with the likes of Asking Alexandria, Mötley Crüe, and In Flames frontman Anders Fridén.
The Native Howl introduced originality and innovation to the stage in spades. Sporting a distinct segment method to sonic artistry that they dub “thrashgrass,” The Native Howl offered a jarring distinction to the remainder of the times’ acts, their set that includes banjo, harmonica, bouzouki, and a few acoustic guitar work. This flourished alongside the compulsory preparations one would anticipate from a typical metallic act, however the end result was something however typical. True to kind, the band itself regarded like one thing that would have emerged from the Louisiana Bayou, with lead vocalist Alex Holycross checking all the bins of a basic old skool nation boy from his beard to his nasally swagger, touched up with an intermitted Hetfield-inspired gruff for good measure. Spotlight sonic fixtures like “Sons Of Destruction” and “Thunderhead” would garner an enthusiastic viewers response. Their novel mix of Metallica ode “Harvester Of Sorrow” and Dick Burnett turned Soggy Backside Boys hit “Man Of Fixed Sorrow,” dubbed “Harvester Of Fixed Sorrow,” stole the present.
Texas metalcore mainstays Memphis May Fire arrived with a contact of nu-metal sensibility and a load of melancholy. Memphis May Fire turned the subsequent noteworthy look of the day, bringing their regular mix of occasional hip hop trappings inside a sea of melodic post-hardcore unhappiness and rage. Being a frequent fixture at giant scale rock festivals corresponding to this one, they introduced a seasoned veteran’s sense of professionalism to the desk. In distinction to a number of latest appearances, their displaying at Inkcarceration 2023 would see them add a formidable pyrotechnics and dry ice show to their efficiency. Lead vocalist Matty Mullins performed a large function in setting the ambiance, as did his frenetic stage habits, the power purely electrifying. The contributions of guitarist Kellen McGregor and touring guitarist Lucas Chandler, mixed with a stable basis offered by bassist Cory Elder and drummer Jake Garland, made for a respectably heavy tone that made anthems like “Blood & Water,” “Distress,” and “Make Consider” on the spot crowd favorites.
Persevering with the development of metalcore catchiness with a side-order of rap can be Austin, Texas natives Fire From The Gods. They had been born out of the identical 2000s wave as fellow Texans Memphis May Fire, however carry an much more sorrowful presentation to their audience of damaged souls. Led by animated presence and bellowing baritone of entrance man AJ Channer, whom would increase the act of filling the encompassing air with wild head actions to an artwork kind, they’d reprise a extremely acquainted set to those that they’ve delivered to festivals like this one. However what might need been missing in surprises was greater than compensated for with an amped up, can do perspective from the entire band as they labored the stage, leading to such infectious odes as “Excuse Me,” “Soul Revolution,” and “The Unvoiced” bringing down the home. The pummeling battery of guitars, bass, and drums was skillfully painted over by a riveting showcase from Channer.
Rounding out what would turn into a trifecta of metalcore moodiness set to music can be Florida’s personal Underoath, bringing their signature scream-infused tackle serenading the brokenhearted lots. Having navigated by a protracted highway of twists, turns, and important lineup instability since their late 90s inception, they did not simply undergo the motions as they introduced the hearth, spearheaded by a raucous vocal displaying by helmsman Spencer Chamberlain and a correspondingly frenzied visible show by the remainder of the band. Explicit word must also be made from drummer Aaron Gillespie‘s extremely aggressive gesticulations as he proceeded to pound his package into submission, by some means falling simply in need of deafening everybody inside earshot. Compulsory, scream-steeped live performance staples like “Writing On The Partitions” and “It is Harmful Enterprise Strolling Out Your Entrance Door” traded blows seamlessly with newer and considerably extra intricate entries like “Let Go,” topping off one of many extra bombastic showings of the afternoon.
In a reasonably fascinating twist for all in attendance, the subsequent act to rivet the lots can be Birmingham, Alabama rockers Maylene and the Sons of Disaster, that includes none apart from the previous entrance man of the aforementioned Underoath: Dallas Taylor himself. To the uninitiated, and metalcore purists preferring their music freed from any southern trappings, this might be a extremely totally different beast from the remainder of the day’s lineup. This act drew nearer comparisons to the likes of Black Stone Cherry and ZZ High, although Taylor would nonetheless often exhibit traces of his metalcore previous when shouting away in the course of the choruses of raucous rockers like “Step Up (I am On It)” and “Dry The River”, the latter even showcasing even mirroring the melancholic instrumental method of Underoath at occasions. However between the extra conventional music work with correct guitar solos, the just about Village Individuals-like range in apparel sported by all six members that would have been likened to a collaboration between ZZ High, Pearl Jam and Ratt, it was something however a conventional set.
Returning issues to the noon hegemony of metalcore with an added emphasis on moodiness, Scranton, Pennsylvania natives Motionless In White would carry their acquainted mix of sorrowful poetry, industrial underpinnings, and gothic-infused apparel. Theatricality can be their main method to differentiating themselves from the pack, as their set of largely compulsory stay staples was dressed up with an enormous pyrotechnics show which may have fooled some into considering they had been the headliners. Sadly the looming clouds above would start to present approach to important rainfall as these black-clad cynics wheeled their approach by catchy odes to fatalistic woe like “Masterpiece”, “One other Life” and keyboard-infused newer entry “Werewolf” (arguably one of many extra fascinating choices of the night from each a efficiency and stylistic standpoint), however rain did little to dampen their efficiency as flamboyant entrance man Chris Cerulli and near-equally theatrical guitarist Ricky Olson wandered in regards to the stage, although a shock look by Instagram vocalist and Renesans frontman David Benites would show most memorable.
The theatricality pedal can be pressed to the proverbial metallic with the entry of experimentally-geared different metallic troupe Mushroomhead, showcasing to the now rain-drenched onlookers that they’ll do issues a bit otherwise in Ohio. The differing stage costumes, masks and stage props had been at the very least as various because the musical presentation and even the spectacular unfold of various drums being rocked by percussionists Robbie “Roberto Diablo” Godsey and Steve “Skinny” Felton had been a veritable feast for the eyes, full with large tambourines and splashing water. Visible spectacles would abound all through this carnival troupe’s set, full with a number of auspicious interactions with the gang together with a pair members of the band partaking within the sea of crowd-surfers, all of the whereas preserving their matching apparel intact. The circus-like metallic anthem “Qwerty” and different acquainted but stylistically quirky bangers like “Seen It All” and “Bwomp” stood out essentially the most, however aside from some mixing points that had bass so booming that it battled the vocals for prominence, the entire set was a marvel of consistency in addition to sheer leisure.
The dank climate circumstances appeared to play into the temper of the music with the entry of California industrial/different metallic melodramatics In This Moment, circling again to the gothic theatricality that was on show with Motionless In White, however with a higher stage of depth and the doubly flamboyant theatricality and bombast of Maria Brink on the fore. Barring the pyrotechnics and dry ice creating such a dense haze as to make the roles of the pit photographers close to inconceivable, the set would show a feast for the eyes and ears, because the pulsating riffs of the guitars intermingled with a mechanistic rhythm part and a wealthy backdrop of keyboards rounded out the soundtrack of Brink and firm as they proceeded to placed on a bleak, gothic tackle a trend present with an array of on-stage attire. Apparent banger entries corresponding to “Adrenalize”, “Whore” and “Blood” had been delivered with sufficient pressure as to depart the gang reeling and awestruck.
The theatricality issue would proceed, albeit with a heavy dose of deathcore-infused brutality and Slavic fury, with the arrival of Russian-turned Florida-based purveyors of unfettered rage Slaughter To Prevail. Granted, the theatrics had been largely centered round maniacal entrance man and grasp growler Aleksandr “Alex Horrible” Shikolai, who obtained so into his function as lead berserker of this sonic conflict get together that he almost drew blood whereas repeatedly bashing himself along with his microphone in between filling the air along with his guttural ravings. To not be outdone, the heavy-ended stomp of Mikhail Petrov‘s mighty bass and Evgeny Novikov‘s thudding beats might have registered on the Richter Scale when mixed with the pummeling grooves of the guitar work offered by Jack Simmons and Dmitry Mamedov. This impact was notably efficient on such explosive entries as “Bonebreaker,” “Demolisher,” and “Viking,” to talk nothing for the towering wall of sound that polished off their set through “Continual Slaughter.”
With the looming risk of nightfall now hanging over the rain-drenched lots, the air of elite stage gravitas and god-like virtuosity can be the order of the hour with the entry of Bay Space thrash icons Megadeth. Flashy stage gimmicks and gothic imagery had been naturally distributed with in favor of an easy, virtually rustic stage presentation as elder statesman Dave Mustaine wielded his trusty axe and led his battalion into fight for the hearts and minds of the gang, leaving nothing however sheer old skool carnage in its wake. Between the graceful, technically-charged wizardry of Kiko Loureiro‘s fluid lead work and Mustaine‘s extra uneven shredding, and their mixed riff assault with the foundational battery of bassist James LoMenzo and drummer Dirk Verbeuren, a synchonicity was achieved that has hardly ever been seen from the band in over a decade. For his half, Dave Mustaine‘s vocals had been notably on level, suggesting that his lengthy highway to restoration from most cancers has neared complete completion. Whether or not it was the kinetic classics of many years previous in “Hangar 18”, “Twister Of Souls” and “Holy Wars”, or the groovier center period represented in “Symphony Of Destruction” and “Sweating Bullets”, and even the newly minted explosive thrash entries “Dread And The Fugitive Thoughts” and “We’ll Be Again”, there was not an untapped power supply or an un-banged head to be discovered.
In what could possibly be dubbed the ultimate hurrah of the metalcore contingent of the day, which proved to be the dominant one, Los Angeles-born melodic post-hardcore veterans and extraordinaire outfit The Ghost Inside proceeded to rock the home more durable than their principally youthful compatriots. In distinction to most of their fellow sub-genre sharing predecessors, this quintet had extra of a again to fundamentals method, counting on rock stable riff work, driving rhythms and a forceful but impassioned vocal show out of entrance man/founder Jonathan Vigil instead of flashy visuals or saturating keyboard backdrops. The our bodies had been bouncing in time as one pummeling breakdown gave approach to one other, all of the whereas Vigil’s throaty shouts and woe-steeped clear vocal-driven choruses sought to console the tragedy-stricken souls of their core fan base, with ultra-infectious odes like “The Outcast”, “Earn It” and “The Nice Unknown” standing tall amid a set that was as impactful because it was by the numbers.
With the top of this epic, day lengthy slough now coming into view with the darkness of evening now protecting the sky, the unique purveyors of recent aggression and the masters of Southern attraction with a clenched fists themselves, Pantera, would commandeer the stage because it’s true headliner, and even earlier than the earth-rumbling riffs of “A New Degree” ushered in a state of sheer pandemonium earlier than the stage, the viewers’s anticipation stage was bordering on nuclear proportions. The just lately minted lineup of this revived juggernaut, together with shred maestro Zakk Wylde and thrash drumming authentic Charlie Benante within the roles of the dearly departed Abbott brothers, can be in its compulsory excessive kind, with Phil Anselmo‘s battle-torn voice sounding even stronger than earlier appearances on the highway previously yr. Regardless of being solely half of the unique band, they effortlessly pummeled the gang with brutal renditions of mid-90s staples like “I am Damaged”, “Power Past Power” and “Suicide Notice Pt. II”, although the loudest response from the gang got here with basic entries from a bit earlier in “Mouth For Struggle”, “Stroll”, and particularly the closing blast of metallic pizzazz realized of their rendition of “Cowboys From Hell”. But from a purely goal standpoint, Anselmo would shine the brightest on these uncommon moments when his voice was cleaned up and extra uncovered through their hate-filled energy ballad “This Love” and their basic cowl of “Planet Caravan”. It was a becoming show of deep south-styled heavy metallic triumph that greater than made up for the mud-soaked our bodies that every concertgoer was tasked with cleansing up as soon as the day had concluded.
