METALLICA w/ Fear Factory + The Sword

Acer Arena filled up quickly for a metal gig, the variety of punters was high, people from all sorts of backgrounds wanted to see the same thing.

The main floor was steadily filling as ticketholders peppered the seating as opening act The Sword took to the stage. Ready to be entertained, the crowd accepted their effort of old school flavored heavy metal/thrash with appreciation. Sounding something like the result of fusing Led Zeppelin, Metallica, Mastodon and Black Sabbath, The Sword pushed out a familiar sound with a fresh twist like professionals.

I don't think anyone here had really heard of them before this show, but they played like they had been here before, thrashy riffs and rollicking rock and classic metal vocals were absorbed by all available ears. Though I am sure the band themselves were far younger than the vintage guitars they played.

After only half an hour to (successfully) prove their worth, they were off the stage, leaving their impression. Keeping to the tightly kept schedule, Fear Factory emerged onto the stage with much revere.

With a short greeting, they threw themselves right into a set of classic FF greatest hits opening with the tracks 'Shock' and 'Edgecrusher' with little regard to anyone else's wellbeing. Drummer "Gene Hoglan" was mechanically tight throughout the whole set, keeping to the feel of tracks like 'Acres Of Skin' and 'Linchpin' true to their original form.

The recently released album 'Mechanize' had it's mention with 'Powershifter' and 'Fear Campaign' belted out with maximum attack, and an interesting attempt by Dino at refining the band's only guitar solo. There was a short trip back to the early days with a revised 'Martyr' before ending the set with 'Demanufacture', 'Self Bias Resistor' and 'Replica'.

Even though they were a late addition to the line-up, FF made sure they were appreciated by providing a hefty performance, and it was evident that they were having fun up there, running around upon more stage than they are used to, in all four directions (Except for Gene, rooted to the spot). They jogged about the length and breadth of the stage, the only problem faced because of this was Dino straying a little far from his wireless guitar receiver, but the sound problem wasn't as bothersome as that of their last performance in Sydney, it didn't seem to damage their show in any way.

Fear Factory constantly reminded the punters that they were at a Metallica gig, like someone might forget or something, and went upon warming everyone up for it with gusto, though they never sound as good as they could be live, they still make the show unique and enjoyable as all hell.

By now they tension has built up to, for some, unbearable! Giving us ample time to start getting impatient, Metallica waiting in the wings while the crew stripped the stage of the last of the supporting groups gear and made their way to their battle stations.

Chanting and mexican-waving were wholesale, if the crowd wasn't already in such a good mood I am sure there would be a riot. At the many packed bars of punters desperately trying to acquire a few more (half-strength) beers before the act started, the announcements to get back to their seats became more frequent. For me It personally felt like trying to escape a self-destructing spaceship.
Then someone turned out the lights...

To the elation of everyone who could be heard, in incomplete darkness, the opening chords of 'That Was Just Your Life' was the vanguard of the onslaught. The venerable James Hetfield, soley illuminated, gave human focus during the barrage of lasers, a colourful spectacle one would just have to see.

Following it up closely with 'The End Of The Line' and the lights revealing the rest of the band and stage. The stage itself, an island in the center of the Acer Arena floor, the edges adorned with fold backs, effects pedals and microphones, along the center of the widest part of the stage, rows of speakers and Lars Ulrich upon a rotating drum riser in the dead center.

Kirk Hammett, universally known lead guitarist, plays at select proportions of the crowd as bassist Robert Trujillo, looking as the odd one out (Not wearing black jeans and a t-shirt) casually strolled about, thumping his bass guitar mercilessly.

Newer songs out of the way, they take us back with 'Ride The Lightning' with the phrase "Here's some old stuff for ya!" - to much appreciation. The giant, coffin-shaped lighting rigs suspended worryingly above the stage began to lower to shed light from previously un-thought of angles, or just to look cool, one of the two, but it looked awfully cool.

While I was considering the implications of rig chains snapping, James introduced 'Fuel' - this rendition of it offering a higher BPM than the original, intensifying it thoroughly. Add to that some impressive bursts of pyrotechnics that I could feel even 30 meters away from the plumes, this was one hell of a show unfolding in front of us Metallica were delivering, they would do nothing less.
I couldn't help but wonder how hot it would have to have been for the boys on stage, mere feet from balls of flame, while playing their instruments to such a degree. But it's all for us, the fans, who would be happy enough for the music on it's own, let alone this visual spectacular.

'Fade To Black' brought us all back down a bit after a short solo effort from Kirk, lighters swayed lazily in the darkness, as did mobile phones, a sign of the times. Metallica are providing us with the full pallet of emotion available in their music, and it's only the fifth song! After this, James goes ahead to address the crowd once more, almost like a conversation, explaining to all about the process and reasoning for the song 'Broken, Beaten and Scarred' being for Metallica fans exclusively, making us all feel pretty special in the process before playing it.

'The Four Horsemen' got a rousing reception as their old stuff, without a doubt, always does. Promising more 'heavy' they hammer into 'Sad But True' like it was the last song written on earth getting almost everyone in view head banging along or singing along with certain key points of the verses, 'Hey' being most popular. Ending with "Trujillo thumping" about on his own while actively detuning his bass into a muddy cacophony of lower frequencies, 'Sanitarium' opens up with nary a head beat.

Lars is an animal on and off (Which was rather frequent) the drum kit, seemingly discontent with remaining in his seat. Before long the stage is shrouded in darkness once more, the unmistakable sounds of explosions and gunfire alert everyone to what is to come.

Possibly THE song of the night, 'One' is what everyone will remember this gig for, not a fan left disappointed because of it. Surrounded by small outlets of flame, they play out the bittersweet opening guitar licks with precision before the sing-along moment of the night, including more lighters and phones, played its way through.

Multicolored jets of fire spewed from the center stage as the song sped into its intense second act and back out again, before long 'Master Of Puppets' kept the buzzing high consistent, laying waste to the Acer and straining the necks of anyone trying to physically keep up. Everyone was going off, from the crowd-barrier to the seats a hiccup away from the arena's giant roof girders that seemed like miles away, where the devoted make the best of their experience.

Offering a heavy metal hat-trick, 'Fight Fire With Fire' absolutly tore at everyones ears before the vibe was pulled back down with the stirring 'Nothing Else Matters' only to return with 'Enter Sandman' as the closer to the main set.

After a very short exit from stage, the boys return for a hotly awaited encore that began with a humerus Wizard Of Oz musical reference before James explained that they wanted to do a cover of a song that influenced them over the years, in this case it was 'Breadfan' written by "Welsh Budgie" with an energetic performance from the word go.

'Hit The Lights' brings back the old school once more with the speed of a runaway bullet train, whipping any remaining capable body into a frenzy.

Finally showing their age and acting on physical back problem mimes, well,  jokingly, James teases the crowd by taking his guitar off and putting it back on again and repeating, to a chanting 'Yaaaaaa-Booooo-Yaa-Booooooo' - much to his own amusement as the rest of the band shrugged like they couldn't do anything about their being no more music. But they did something about it, busting out 'Seek & Destroy' as dozens of black beach-balls of various sizes fall from the roof and make their way violently about the top of the crowd.

Before leaving the stage for the final time, Metallica sent gestures of praise and thanks to all that came, throwing guitar picks at anyone who looked half-interested in catching one. I personally think everyone left completely fulfilled and entertained tonight, one hell of an experience that would be near-impossible to top on such a level.

Metallica are at the top of the pile in their ilk, so it makes it difficult to find comparison! If you haven't already had your face blasted off by a Metallica show, take my word for it, they still rock.