There are few locations extra becoming for a temple of rock and steel to be constructed than on sprawling pageant grounds nestled deep within the coronary heart of the Rust Belt. Sonic Temple has made its residence in Columbus, Ohio since its inception in 2019, and the pageant has since change into an unwavering bastion of the heavy music scene. The time has come as soon as once more for followers across the nation – in addition to all over the world – to make their annual pilgrimage to Historic Crew Stadium for a four-day, four-stage celebration of excellent music.
Sonic Temple rose like a phoenix from the ashes of the previous Rock on the Vary pageant, and the pageant has since grown to be one of many premiere music festivals in the US. 12 months after yr, Sonic Temple attracts in distinctive attendance whereas repeatedly reserving among the greatest names within the American arduous rock and heavy steel scenes.
Now in its third iteration, and having expanded from three levels to 4 levels for an excellent better meeting of heavy hitters, Sonic Temple is kicking off an extended weekend of sonic thrills and adoration for the musical arts. The environment at Historic Crew Stadium is electrical, the air abuzz with the voices of tens of hundreds of keen followers, and keen throngs make their method to the barricades beneath a cloud-dotted blue sky.
Festivities would begin within the cool of the late morning, and the primary set we caught was the energetic efficiency courtesy of virtuoso guitarist and solo artist Nita Strauss. The sonic pallet that she’d ship from the Temple Stage together with her touring band in tow can be of a heavier and punchier selection than what most have noticed throughout her prolonged tenure with Alice Cooper, and the ensuing mix of contemporary groove and heavy steel stylings with Nita‘s virtuosic Neo-classical aptitude had the group roaring earlier than the primary track was over.
Alongside drummer and husband Josh Villalta, guitarist Jay Tarantino and the versatile vocal presence of Kasey Karlsen significantly, whose mastery of harsh and hovering vocal types have confirmed invaluable in emulating the assorted visitor vocalists rounding out her current sophomore studio album The Name Of The Void, she effortlessly cruised by way of banger entries like “Digital Bullets” and “The Wolf You Feed”. Nonetheless, on the shut of their set, the zenith level can be nailed between efficiency energy and the correspondingly insane response from the viewers when Disturbed helmsman David Draiman entered the fray to reprise his studio efficiency of “Useless Inside”.
Subsequent to carry the trendy thunder to the Temple Stage with extra of an early 2000s taste can be Dallas nu-metal trustees Drowning Pool. Reprising the identical 6-song set that they’d delivered to the ultimate day of the Welcome To Rockville pageant down in Florida, one could not assist that the motion and enthusiasm degree was a bit greater on stage, probably owing to the even milder climate circumstances. Vocalist Ryan McCombs was an image of sheer depth as he wandered in regards to the stage, microphone clasped between his closely tatted arms and voice shouting at full quantity.
His renditions of early basic staples “Sinner” and shutting hurrah “Our bodies” had been a robust and worthy emulation of the unique studio efficiency of the lengthy departed Dave Williams that initially put this fold on the map, ditto his much more raucous and biting interpretation of Billy Idol basic “Insurgent Yell”. The remainder of the band had been no much less concerned and intense of their supply, although epic beard-toting guitarist C.J. Pierce and bassist Stevie Benton upped up the ante relating to stage motion and crowd work.
The Temple Stage would proceed to be the point of interest of the early afternoon sonic assault shaking the pillars of the Historic Crew Stadium with the nu-metal punch of San Diego titans P.O.D. Very like the earlier acts famous, they had been a major fixture of the just lately concluded Welcome To Rockville pageant, although they’d take this chance to combine their 7-song arrange a bit simply in case any followers had adopted them from Daytona Seaside. Their signature opening quantity “Drop” off their newest album Veritas would nonetheless get the ocean of our bodies earlier than the band shifting like loopy, however later within the set their earlier banger “Afraid To Die” can be switched out in favor of the hip-hop-infused stomp and rebellious resound of “I Will not Bow Down”.
Guitar-driven pounder and title track of 2012 LP Murdered Love would stand within the place of “Satellite tv for pc” with frontman Sonny Sandoval leaping about like he had springs on his toes as he rapped, shouted, and preached to the lots. However in typical vogue, it will be the compulsory classics “Growth” and “Alive” that would actually carry down the home, delivered with the identical kinetic stage motion and enthusiasm that one would anticipate from these 30-year veterans of the scene.
Late afternoon on the Temple Stage would see Canadian arduous rockers with an alternate twist Theory Of A Deadman take over the proceedings. Coming into as normal to the basic Neil Diamond hit “Candy Caroline” enjoying by way of the PA system earlier than it grew to become distorted and slowly pale into the theme from The Final Of Us, they’d carry their grungy mode of rock with a barely stronger edge to it.
The stage setup this time round favored their efficiency better; because it sat a very good bit decrease than throughout their Welcome To Rockville set, permitting a a lot clearer view of drummer Joey Dandeneau as he wailed away at his equipment from an elevated platform. Heavy entries like “Dinosaur”, “Lowlife” and shutting monster “Unhealthy Girlfriend” (which fittingly appears like one thing off The Cult‘s appropriately named album Sonic Temple) naturally noticed essentially the most enthusiastic crowd response, however one could not assist however pay attention to the melancholy sincerity behind the supply of again to again ballad entries “Hate My Life” and “Rx (Medicate)”.
Breaking from the constant barrage occurring on the Temple Stage can be the rap-infused metalcore mayhem provided up by Texas’ Fire From The Gods over on the Sanctuary Stage. They might open up their medley of ground-pounding anthems with a vicious efficiency of the tile entry off their newest album Soul Revolution, minus one member of their studio lineup, however whilst a four-piece they stomped the stage whereas packing a sound that was no much less huge.
All people on stage was as cell as may very well be anticipated, however one could not assist however fixate upon the towering presence and bouncier-than-a-springboard stage habits of vocalist AJ Channer, who appeared to face nearly 2 toes taller than the remainder of the band and introduced a relatively massive vocal show. Politically charged crushers like “The Unvoiced” and “Fact To The Weak (Not Constructed To Collapse)” hit with the identical degree of depth, as did practically each different entry of their 8-song set, although your complete factor would come to an enormous peak with the melodic fanfare with a pummeling edge served up by way of their rendition of “Proper Now” because the lots moved and flailed to its refrain.
Again on the Temple Stage the modernity would proceed with extra of a visible aptitude courtesy of Illinois-born 2000s nu-metal icons Mudvayne. Having been a daily fixture of the pageant circuit since stay music actions resumed worldwide in 2021, they’d likewise reprise the identical brief and wildly diverse set that sums up their eclectic 10-year studio run, although visually they’d sport the identical nightmare from a diabolical carnival show that typified their earliest incarnation and have a wholesome quantity of aggressive fodder from their acclaimed 2000 debut LP L.D. 50 like “Loss of life Blooms”, “Nothing To Gein” and “Dig”.
The milder circumstances of Columbus, Ohio within the late afternoon would imply so much much less sweat and flaked make-up as drummer Matthew McDonough and virtuoso bassist Ryan Martinie displayed their expertise and craftsmanship, one pounding his drumkit mercilessly whereas the opposite moved incessantly round. Vocalist Chad Grey ripped the airwaves together with his piercing shouts, paired together with his signature theatrically-infused demeanor, in stark distinction with guitarist Greg Tribbet extra tranquil stance, focusing totally on his instrument. Their set would even be marked by versatility as they proved equally efficient in delivering melodic and easier-digest truthful like “World So Chilly” which might be greeted with a sea of voices singing alongside.
The temperature can be raised significantly over on the Cathedral Stage with a swift and brutal reprise of the mad thrashing fury that Slayer guitarist and cofounder Kerry King would carry together with his solo band. Like a real act born from the bottom degree of hell, the showcase delivered can be chock filled with a lot pyrotechnics work and darkish imagery that each one within the first few rows may properly have skilled the identical diploma of warmth that those that witnessed King‘s efficiency within the sweltering warmth in Florida every week prior.
The mixed gravitas that got here together with the shared presence of Bay Space veteran guitarist Phil Demmel of Vio-Lence fame, fellow Slayer member, and ex-Forbidden/ex-Exodus drummer Paul Bostaph alone was palpable from the opening resound of newly hatched thrasher “The place I Reign”, and all delivered to a head by the gargantuan roar of Death Angel vocalist Mark Osegueda. Naturally an compulsory exhibiting of old-school Slayer classics like “Raining Blood” drew the loudest viewers response, however could not assist however be in awe of the formidable energy exuded by new King entries like “Idle Arms” and the closing hurrah “From Hell I Rise”.
With the sky starting to fade with the onset of early night, the sonic contours of Sonic Temple 2024 would flip appropriately to the gothic and moody taste of Evanescence. Right here is the place the stage setup would transition into headliner territory, topped off by a stellar view of drummer Will Hunt‘s equipment as he drove the grooves of every banger of their marathon 14-song set, flanked at both sides with columns of rectangular, 2 ft. lengthy LED lights paired with units of round, rotating lights in teams of 4, together with a large LED panel that includes the band’s emblem both wreathed in flames or surrounded by shifting inexperienced lights because the set progressed.
Lead guitarist Troy McLawhorn would flip some heads together with his signature working class getup that includes a black and white long-sleeve flannel shirt and a a lot shorter haircut, although Amy Lee‘s extremely animated stage presentation and black apparel would stay the point of interest. Touring bassist Emma Anzai would additionally steal some consideration from the group together with her signature crab stroll strikes as one infectious melodic hook gave method to one other. Basic entries like “Going Beneath” and “My Immortal” would garner huge viewers participation, although the renditions of more moderen ear sweet off their 2021 album The Bitter Fact like “Yeah Proper” and “Wasted On You” had been no slouches.
As anticipated, all appeared to pale compared to the climax level achieved on their closing efficiency of “Carry Me To Life”, which additionally featured a shock efficiency of the rapped vocal a part of the unique studio model by P.O.D.‘s Sonny Sandoval.
Again on the Sanctuary Stage it may very well be argued that Pennsylvania metalcore veterans August Burns Red would win the award for essentially the most colourful stage apparel of the day. The cacophony of Gothenburg-inspired riffs and anger-steeped hardcore shouts projected outward by vocalist Jake Luhrs typically appeared to conflict with the flamboyant shirts being donned by every member of the fold, with lead guitarist JB Brubaker‘s peach and ocean blue collared shirt and signature flip-flops underscoring the weird distinction of a band enjoying metalcore chilly sufficient for winter whereas trying primed for a vacation on the seashore.
Whereas the band’s summer-infused look would make anybody consider they had been enjoying a pageant within the South Florida circuit, the marvel of vitality and depth they exuded on stage actually matched the proverbial excessive temperatures of the Sunshine State, and the group response was correspondingly off the charts. Whether or not it was their breakout opening efficiency of “Thirty And Seven”, or subsequent deliveries of banger riff machines like “Backfire” or “Bloodletter”, the guitar-driven fury that they’d carry was among the many most well-received showcases of the day.
Old style heavy steel thunder would conquer the headlining slot of the Cathedral Stage with the entry of the unique titans of leather-clad mayhem Judas Priest. Although properly into his 72nd yr on Earth and in mortal type, Rob Halford placed on a grasp class in crowd work and spared no expense in raining down the high-shrieking fury at each level, whereas the even elder physique of bassist and lone founding member Ian Hill moved about one of the best of them and 62-year-old Scott Travis effortlessly introduced the thunder of the steel gods by way of his huge drum equipment.
Although every standing in for the unique basic axe-dueler of yesteryear in Glenn Tipton and Ok.Ok. Downing respectively, guitarists Richie Faulkner and Andy Sneap may have properly been mistaken for the originals in how they seamlessly gelled with the remainder of the band and effortlessly emulated the signature riffs and wild solos of basic velocity steel entries like “Painkiller”, “Fast Fireplace” and in addition made a large impression within the viewers’s skulls by way of newer materials like “Panic Assault”, “Invincible Defend” and “Lightning Strikes”.
Other than the raucous response to the aforementioned “Painkiller”, viewers approval can be its loudest in the course of the extra old-school rocking classics “Breaking The Regulation”, “Residing After Midnight” and “Electrical Eye”, as has been the custom on this band’s greater than 40 years of delivering the products.
The ultimate phrase on day considered one of Sonic Temple 2024 can be reserved for the Temple Stage courtesy of nu-metal icons Disturbed. The stage setup would replicate the end result of the day’s occasions, with a large array of LED columns, pyrotechnics, and smoke cannons that will fill the saturate the night time sky as fully because the music that it will accompany.
David Draiman would enter the stage carrying his normal Matrix-like leather-based overcoat, which might be ditched after their second track “Stupify” as even the cool of an Ohio night would appear like a blazing inferno given the warmth being generated on stage. Bassist John Moyer and guitarist Dan Donegan had been in a state of fixed movement, leaping and shifting about, whereas drummer Mike Wengren‘s place on the again platform was good for a fowl’s eye view of what he was doing from the picture pit and past.
There can be a number of spotlight moments, from the blistering showings of “Ten Thousand Fists” and “The Vengeful One”, to the haunting balladry of Draiman‘s efficiency of Simon & Garfunkel‘s “The Sound Of Silence”; with particular word being made from their rendition of “Do not Inform Me”, which might see New Years Day‘s personal Ash Costello making an look. However this outfit has at all times been one for saving one of the best of final, and the huge encore trifecta of “Unstoppable”, “Down With The Illness” and “Inside The Fireplace” was what really introduced this primary day of rock and steel to its triumphant finish.
