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Lokacija: Ljubljana / VPK Mediapark / Slovenija
Datum: torek, 25.05.2004
Ura je bila sedem in pol popoldne in ljudje so še vedno posvečali več pozornosti pivu in ostalim alkoholnim proizvodom zunaj dvorane kot pa aktivnostim, ki so se odvijale v dvorani. Nekaj čez osmo so udarili Majesty. Dvorana dokaj žalostno izvotljena, Majesty pa so pričeli s šovom pred cca 24 morda 31 opazovalci od katerih so štirje celo divje opletali v prednji vrsti. Majesty so skromna skupina ni kaj, saj so se hitro zadovoljili s tovrstnim odzivom publike. So pa tile fantje zatrdili na odru, da oni igrajo “true” metal. In kaj naj bi to bilo po njihovem? Morda 100% oponašanje Manowar? Seveda z nekaj več melodiciranja, zlasti zaradi pogostejših vključkov tercetnih harmonij in bolj šablonsko uokvirjenih kitarskim solaž, ki pridno sledijo oguljenim glasbenim lestvicam. Skrajno predvidljivi fantje. Dokaz več, da kopija, pa če so glasbeniki še ne vem kako tehnično dobro podkovani, kar Majesty nedvomno so, nikakor ne more prepričati. Kajti le gibanje v okvirih, ki so jih s svojim prepoznavnim slogom definirali Manowar, ne zadošča. Prikuje te pač v rang neke srednje povprečne žalosti, ki med metalsko srenjo kaj hitro utone v pozabo. Majesty so pristopil nadvse korektno, se maksimalno potrudili in ponudili kot predskupina zavidljiv, kvaliteten zvok. Dinamičen, usklajen in izdelan nastop, poln bojnih metalskih himen, na nivoju, nimam besed. Fantje so bili navdušeni nad naraščajočim avditorijem, med njihovim nastopom ter posledičnim vse glasnejšim odzivom, tako da je po koncertu bobnar celo razdelil tri bobnarske palčke med ljudi. Podobni vtisi so me prevevali ob Švicarjih Crystal Ball, ki so “prišejkali” na oder za Majesty, skozi zvoke nasnetega avtentičnega alpskega jodlanja. Ni dolgo tega, kar je skupino zapustil originalni kitarist, tako da se je eden od obeh kitaristov lotil tudi klaviatur. Prosto mesto je lepo zapolnil in v zvoku ter kvaliteti performansa, skupini ni prav nič manjkalo ali nagajalo. Ti fantiči pa združujejo hardrokerske prijeme sedemdesetih, zlasti zaradi značilnih zvočno “hammondskih” polaganj linij klaviatur. Temu dodajajo seveda klasične metalske rife, sicer izrazne, ki se hitro memorirajo v povprečnem možganskem procesorju modernega človeka iz rodu Homo, a 100x prežvečene. Kot rezultat so Crystal Ball včasih zveneli bolj kot približek kakšnih Pretty Maids, malček kasneje kot Pink Cream 69, s tem da je velikokrat zadišalo po pristnih šmink glam metal prijemih. Nasploh pa je šokanten žanrski preskok nastopil, ko je klaviaturist prijel za ritem kitaro, kajti komad Lay Dawn The Law (med koncertom sem si zapomnil celo ime, saj ga je pevec pred izvedbo te pesmi vsaj 5x ponovil), je baziral na galopiranju skozi enostavno klasično “odprti” rif, kar je pomenilo, da so Crystal Ball za trenutek skušali skočiti v kožo starih dobrih Accept ali celo Judas Priest. Pa še naslov pesmi je povsem enak tisti z U.D.O. prvenca imenovanega “Animal House” (1987). Ni kaj. Zelo dolgočasno. A publika je bila zelo korektna, kot tudi sam bend, ki je seveda pristopil na polno, postregel prav tako kvaliteten zvok in videti je bilo, da je učinkovito razgrel peščico vročekrvnih, medtem ko smo ostali “vajeni vsega hudega” iz previdne oddaljenosti vljudnostno postransko opazovali dogajanje. Ogrevanje publike pred U.D.O. je kar uspelo, nasploh so si Crystal Ball pridobili simpatije, saj je pevec ugovarjal občinstvo tudi po slovensko. In to ne le z “Hvala”, pač pa se je naučil nekaterih težjih izdelanih stavkov, ki jih je za domorodnega Germana tudi zelo lepo izgovoril. No seveda je imel slovenske nagovore napisane na lističu. Nastop v dvorani VPK pri nas je pomenil tako za Crystal Ball, kot Majesty, poslednji koncertni termin Thunderball World Tour.
Ura je nekako odklenkala deset, ko se je zaslišal zvok nasnetega James Bondovega intra in U.D.O. so se tako prikobalili pred občinstvo, seveda takoj udarili z razbeljenima Thunderball ter Bullet And The Bomb z njihovega aktualnega studijskega albuma “Thunderball” (2004). Kleni vodja skupine Udo Dirkschneider, simpatični striček, neukročeno metalsko srce, pravi metalski guru in legenda, ki je polnil odre po širnem svetu v osemdesetih z razvpitimi Accept, je tako z U.D.O. prevzel vso legitimno nasledstvo omenjenih velikanov. Dvorana je sevala nekoliko opaznejšo praznino, glede na izkustvo z Grave Digger januarja letos. Ljudi se je nakopičilo “na moje skromno oko” med 249 in 308. Poleg mene so stali štirje “napaljeni” pobje, ki so se fijakali celih devet ur iz Splita, da vidijo U.D.O. Očitno nizki udeležbi botruje slabša medijska kampanja na tleh Slovenije, kar se tiče prisotnosti skupine nasploh na metalski sceni, kajti za AFM Records v Sloveniji sploh ni distribucije. Jaz osebno sem celo prvič v življenju na koncert prišel poslušat neko skupino, katere aktualnega studijskega albuma pred tem sploh še nisem slišal. No baje naj bi se cene pošte iz tujine sedaj po vstopu Slovenije v EU drastično znižale (tako obljubljajo v medijih), tudi do 70’%. Tako bomo lahko v bodoče željeno glasbo naročali za isto ceno lepo preko interneta, pa naročeno robo vsaj z gotovostjo v doglednem času tudi dobili. Seveda tisti, ki jim peka zgoščenk in “download-anje” ne pomeni nič.
Jejhata, joj in prejoj! Spet sem pretirano zaplul s poti. Potem, ko je Udo snel svetleči “Thunderball” plašč in se vrnil na oder v vojaški opravi, je prvič bučneje završalo v dvorani, saj so U.D.O. naprej žgali z odlično Accept klasiko imenovano Metal Heart (“Metal Heart”, 1985). Prvi del šova je bil sestavljen mešano (Accept in U.D.O. roba).
“All right! Thank you! This is a track from our Solid album, called Independence Day!” je prvikrat resneje striček Udo ogovoril avditorij. Eden mojih osebno najljubših U.D.O. komadov je rahlo umiril razkurjene glave v prvih vrstah, a povzdignil s svojim srednje hitrim tempom, melanholičnega fantastično zloženega epskega refrena, atmosfero na še višji nivo. Predvsem vedno čakam v tej pesmi na trenutek, ko se Udo prebije do dela verza, ki ga okusno poudari z ostrim “R-r-r-r-obotic r-r-age…”. Kakšen ogenj je vzplamtel v dvorani, kakšen hrup! Niso se mi tresle le hlače, pač pa tudi vse ostalo znotraj njih, vključno z vsemi vitalnimi organi. Kakšno treskanje, kakšne prvinski zvok metala. Zares pričarajo kaj takšnega v živo le največji. Kakšna metalska droga!
Igor Gianola in legendarni Stefan Kaufmann sta zaprisežena tradiciji, zato uporabljata klasične Gibson električne kitare. Gianola modela LP in Flyin’ V, Kaufmann pa v celoti Explorer. Le med polakustičnim uvodom v orgazmični Accept lepotici Neon Nights, je Kaufmann uporabil tudi Fender Stratocaster. Zvok? Kakšna magija! To je to. Samozavest, religija, iskrenost samim sebi, svoji volji, svoji viziji. Ni variante, da jih karkoli zlomi. Bend je napadel Slovenijo z vseh položajev, z vsem mogočim ognjem. Brez napake, vseskozi na izrednem nivoju, vseskozi predano glasbi, množici in samim sebi. Blietzkrieg on Slovenia!
Prvi del se je končal z bobnarskim solom. Pred tem moram poudariti izvedbo pesmi Blind Eyes (“Thunderball”, 2004). Ne glede na to, da novega albuma še nimam, so U.D.O. pričarali s to malo manj glasno pesmijo izredno vzdušje, predvsem je z neverjetno intenziteto pulzirala v njej Fittyjeva Rickenbecker bas linija. Odličen kontrast med ritem linijo in Udovo unikatno vokalno sireno je polno zasijal, medtem ko je bil žvenket obeh kitar nalašč potisnjeni v ozadje.
Po solu bobnov, so se U.D.O. vrnili in skozi drugi del svojega šova nizali z izjemo Metal Eater (“Timebomb”, 1991), same Accept klasike. Narod je znorel ob Son Of A Bitch (“Breaker” 1983), Restless And Wild (“Restless And Wild”, 1982), Up To The Limit (“Metal Heart”, 1985), med vsemi temi pa je izstopala ena najlepših Accept mojstrovin Neon Nights (“Restless And Wild”, 1982). Ljudje so bili vidno zadovoljni (kar pa ni pomenilo, da bi bili tudi potešeni), posebej skozi celo Accept zapuščino zganjali pravega hudiča in v refrenih družno v en glas podpirali skupino. U.D.O. so ljudstvu širokogrudno in nesebično vrnili to energijo.
Udo ni le izjemno karizmatična osebnost, brez katerega si sodobne metalske scene ni moč predstavljati, pač pa daje nekakšen vtis dobrosrčnega strička, ki ni kdove kako posebno zgovoren na odru, vendar pa sama energija, ki jo možakar seva in njegova odrska igra, pove o njem mnogo več. Udo se je stalno rokoval s fani v prvih vrstah, tekal po odru od enega do drugega člana skupine in jih kot izkušeni mojster nenehno podžigal. U.D.O. so tako delovali mnogo bolj ljudsko, ljudem še bližje (podobna pristna in pozitivna občutja so pričarali tudi Primal Fear na lanskem Rock Otočcu), kot npr. januarja v isti dvorani Grave Digger, pri katerih se je čutilo, da vseskozi ohranjajo vsaj rahlo sapico distance do publike, pa čeprav dam tudi sedaj takoj kapo dol pred koncertom Grave Digger. Hočem reči to, da se U.D.O. pred občinstvom ne igrajo prav nobenih skrivalnic. Tudi pred manjšim občinstvom, so pristopili na vso moč.
No pet minut je bilo dodeljenih tudi Igorju, da se je ta konkretneje razpištolil s svojim vživetim fenomenalnim kitarskim vozlanjem, kjer je posvetil še posebno pozornost svojemu cvilečemu vah-vahanju. Fant je igral nadvse sproščeno in se na koncertu resnično dodobra nasoliral, saj je praktično zadolžen za igranje skorajda vseh solaž v skupini. Stefan je dobil svoj primat na odru v tej prvini le med komadom Holy.
Tretji del regularnega dela U.D.O. šova je bil sestavljen znova iz mešanice Accept in U.D.O. komadov. Odprl se je z Man And Machine (“Man And Machine”, 2002), s kibernetično opravljenim Udom v središču pozornosti. Srečo sem imel, da sem stal levo od legendarnega pevca v prvi vrsti, tako sem lahko opazoval detajle Udovega oblačila. Pri dizajnu robotskega oblačila, so si oblikovalci sila pretkano pomagali. Uporabili so “Revell”-ovo plastično maketo vesoljske ladje. Vsem, ki lepite plastične makete, je znano, da se sestavni deli makete držijo na okvirju. Te okvirje so kajpak “šparovni” Nemci, sicer dizajnerji Udovega oblačila, domiselno izrezali in jih v različnih kombinacijah nalepili na oblačilo, ki ga je nosil Udo. Tako je možakar resnično izgledal na odru, kot križanec med robotom in človekom, iz katerega so visela elektronska vezja, čipi in cevke različnih “?”-jev. Takoj potem je Udo nadaljeval naprej svoj šov našemljen v že omenjenega dezertiranega vojaka in skozi svoje uho parajoče kričanje z nezmanjšano intenziteto briljiral naprej. Skupina je nastavila še en Accept detonator Balls To The Wall in to prav na rep set liste regularnega dela nastopa.
Skozi poslednjo pesem so U.D.O. delovali tako prepričljivo in ustvarili takšno magijo v dvorani, da so po zaključku, ko so že zapustili oder, še dolgo odmevali “ooooh-oooh-i” v prostorih dvorane. Balls To The Wall je bil fantastičen posnetek verzije iz “Nailed To Metal” (2003) U.D.O. live albuma. Vseboval je vse kar si metalski gorečnež lahko le želi. V prvi vrsti nadvse arogantno uporniško besedilo odeto v genialni enostavni osnovni rif, seveda z energičnim “na tri-štiri” refrenom, ki je učinkovito trl jajca in tako podjarmil avditorij. Zlasti je bil fantastičen izhod, sam zaključek izredne eksplozivnosti.
K temu, da je bilo vzdušje v dvorani izredno sproščeno, je poleg fanatičnega pristopa in odnosa skupine same, pripomogel tudi U.D.O. tour menedžer, ki je tik pred nastopom skupine, prosil rumeno sijoče biriče, naj se odstranijo iz prve vrste, tako da sta med koncertom ostala na vidno motečih mestih le dva. Eden na skrajni levi in drugi na skrajni desni, tako kot je to npr. na koncertih v Planet Music-u na Dunaju. Vendar pa so ti “varnostniki” (nista bila le dva) med koncertom nekajkrat kruto posegli v splošni žur in ga frustrirajoče skušali dušiti. Pri tem niso izbirali sredstev. Seveda je šel nek poba le predaleč, ko je s svojim pirom polival feršterkarijo, a zaradi tega ga ni bilo treba vleči po tleh cele dvorane in pri tem skoraj pobiti polovico vseh ostalih. Bolj resen primer “svinjskega” obnašanja varnostne službe, se je zgodil neposredno v prvi vrsti blizu sredine. Poleg mene se je vrival nek fantič (že spet poleg mene, grrr…). Tokrat je bilo vse skupaj navidez popolnoma nedolžno. In glej si ga! Rumenec se je naenkrat vzel od nikoder in zagrabil fanta. Ta je v šoku seveda odreagiral obrambno in zamahnil proti njemu. No in za “varnostnika” je bilo to dejanje njegove žrtve pravšnji povod, s katerim je lahko opravičil fizično odstranitev nesrečneža iz dvorane. Ni treba posebej omenjati, da “varnostnik” pri tem ni izbiral načina in udarcev, ki jih je revežu solil tudi po glavi. Če bi bili ti tako imenovani “varnostniki” kdaj na Mötorhead, bi verjetno skušali izgnati cel avditorij iz dvorane, kajti še sanja se jim ne, kaj je to resnični pekel.
Normalno in prav nič posebnega ni, da se vsi rinemo na takšnih koncertih. Kdo pa bo stal pri miru, saj nismo avdienca jokajočega Pavarottija, ki posiljeno aplavdira na stolčkih. Posiljeno zato, ker v operah in na jazz koncertih srečaš 70% ljudi, ki se hodijo tja samo kazat, glasbe in umetnikov pa mentalno sploh ne dohajajo. A važno je, da so plačali vstopnice. In rumeni šelesteči uniformiranci, ki so prišli v prvi vrsti po plačilo, si drugače stvari tudi ne znajo razlagati, saj jim je magija glasbe nadvse tuj pojem. To je to, glasbena kultura je v Sloveniji na izjemno nizki ravni. A ob takšen entuzijazmu, ki ga ponuja letošnje rockersko obarvano koncertno dogajanje pri nas, se lahko nadejamo, da se bo tudi ta kultura povzpela na raven zahodno evropskih držav.
Gremo nazaj. Narod je bil v ekstazi, hipnotizirano je prepevala dvorana “oooh-oooh-e” vzete iz Balls To The Wall, ki je še kar odzvanjala v ušesih. Tudi potem, ko je Kaufman prišel nazaj na oder in začel igrati intro k Holy (“Holy”, 1999), se občinstvo ni kaj prida zmenilo in se v svojem prepevanju ni pustilo motiti. No, ko pa se je prikazal na odru še Udo z ostalimi, se je tudi narod prebudil iz hipnotičnega stanja. Udo je bil za to priložnost odet v župnika s sončnimi očali. Ejga, zakon! Sprva sem pomislil, da je na odru Nosferatu, ki ga igra Klaus Kinski. Sploh je “Holy” moj najljubši U.D.O. album in padel sem v tak delirij, da sem celo skušal v verzu “raise your hands” oponašati Udov vokal. V trenutku sem ostal brez glasu. Vročina je znova naraščala, U.D.O. so prestavili “v višjo” z Accept klasikama I’m A Rebel (“I’m A Rebel”, 1980) in najbolj hrupno, najbolj khm, da ne rečem noro, skratka pesem samih superlativov, lekcijo prave metalske agresije, hrupa in nezadržnega besa v najhitrejši pesmi set liste Fast As A Shark (“Restless And Wild”, 1982). U.D.O. so se poslovili drugič, narod pa je vztrajal in dobil še drugi bis. Skupina je ostala pri omenjeni Accept plošči in pričela drugi dodatek s srednje hitro obskurno a epsko Princess Of The Dawn, ki so jo U.D.O. izvedli v verziji, katera se nahaja na njihovi živi plošči “Nailed To Metal” (2003). Z eno besedo vrhunsko! Presenečenje za konec je bila nedvomno vključitev pesmi Burning, ki je U.D.O. na marčevskih in aprilskih koncertih svoje Thunderball World Tour niso vključevali v set listo. Udo povpraša prisotne: “Do you want us to play another one?” Odgovor je bil huronski “Yeah!!!”, nakar Udo zamahne z roke, češ: “Ste pa nemogoči, kaj še nimate dovolj?” in nadaljuje: “All right Ljubljana! Are you ready to rock? Are you ready to roll?” in tako je odjeknila v noč še ena Accept klasika, ki je zaokrožila ta fenomenalni nepozabni dogodek oživljanja Accept magije, ki je trajal dobri dve uri. Ljudem se je popolnoma zmešalo. Da slovenska metalska publika ne pozna meja, priča nekaj krepkih prask, ki sem jih med koncertom dobil za spomin. Parkrat bi mi skoraj sploščilo moda, ker so se manijaki od zadaj zaletavali v prednjo vrsto. Po vratu sem bil ves porezan, ker se je nek norec po koncertu stegoval prek mene v upanju, da bo dobil kakšno trzalico, da ne govorim o stolčenem komolcu. Preživeti metal koncert v Sloveniji postaja zame očitno iz leta v leto vse težja preizkušnja. Prepotuješ skoraj pol sveta in se izpostavljaš razno raznim divjim situacijam, vse venomer teče brez težav, potem pa se ti zgodi “pizdarija” kot nalašč na koncertu v Sloveniji. Med koncertom Grave Digger mi je npr. nek kreten na parkirišču pred dvorano odtrgal prednjo registrsko tablico iz avta. No to pot, pa sem odšel domov s celim kupom odrgnin.
U.D.O. niso skrivali zadovoljstva nad odzivom publike, se iskreno zahvalili ter obljubili, da se vrnejo znova. Skupina deluje močnejša kot kdajkoli. Kot sem že pisal v eni od recenzij in kar ni več nobena posebna novica, so U.D.O. ne le podedovali unikatni Accept slog, pač pa s svojo eksistenco in imenitnostjo le tega nadgradili v vseh pogledih. U.D.O. so nekako z integracijo Stefana Kaufmanna (ta je igral skozi osemdeseta pri Accept bobne, pri U.D.O. pa je sedaj kitarist) v skupino na album “Solid” (1997), dobili trdno navezo Dirkschneider/Kaufmann, ki deluje pri pisanju glasbe in besedil popolno. Če je Gianola v bendu mojster soliranja, je Kaufmann mojster postavljanja fenomenalnih klasičnih metalskih rifov, ob katerih si želiš razčesniti bučo .Tako so U.D.O., ki so imeli nenehne težave s stabilnostjo svojih postav nekako od “Holy” (1999) naprej koherentni in trenutna postava resnično deluje nenadkriljivo, tako na odru kot tudi pri komponiranju samega materiala.
In nenazadnje dopustite mi, da še malo bolj senzacionaliziram tole “reportažico”! Postavlja se namreč zaključno retorično vprašanje. Če so se Majesty bohotili, da igrajo “true metal”, kaj so potemtakem U.D.O.? Morda “real metal” ali celo “correct metal”? Osebno sem na uporabo besede “true” v žanrskem glasbenem smislu zelo alergičen. Za vsakega posameznega ljubitelja glasbe je namreč “true” točno tisto, kar ga v glasbi in v danem trenutku najbolj privlači in navdušuje. In o tem kaj je “true” lahko sodi le vsak sam pri sebi in le zase. Samookronanih “kings of metal” imam poln kufer! So to mar izpuhteli Manowar, odeti v smešne kože pleistocenskih koz? Hm, no ne rečem, po drugi strani pa so Majesty gotovo sila ambiciozni. Kitili so se z besedo “true metal” in to pred takšnim “headlinerjem” kot je U.D.O., to pa prav gotovo ni od muh.
avtor: Aleš Podbrežnik
fotografije: Aleš Podbrežnik
Majesty:
01. Reign In Glory
02. Hail To Majesty
03. Into The Stadiums
04. Heavy Metal Battlecry
05. Sword & Sorcery
06. Keep It True
07. Metal To The Metalheads
Crystal Ball:
01. Hellvetia
02. Forever And Eternally
03. Lay Down The Law
04. My Life
05. Opposites Attract
06. Savage Mind
07. Soulmate
08. Dance With The Devil
09. Private Visitor
U.D.O.:
01. Thunderball
02. The Bullet And The Bomb
03. Metal Heart
04. Independence Day
05. Pull The Trigger
06. Living For Tonite
07. Love Child
08. Blind Eyes
09. Drum solo
10. Metal Eater
11. Neon Nights
12. Son Of A Bitch
13. Restless And Wild
14. Guitar solo
15. Midnight Highway
16. Up To The Limit
17. Man And Machine
18. Animal House
19. Balls To The Wall
—prvi dodatek—
20. Holy
21. I’m A Rebel
22. Fast As A Shark
—drugi dodatek—
23. Princess Of The Dawn
24. Burning
As we were discussing about trip to Wörgl (Austria), which was the closest location with U.D.O. confirmed to play one of their shows on recent Thunderball World Tour, the craziest metal news of a year arrived. U.D.O., a definite Accept’s successor and another giant of classic German heavy metal, is coming directly to Ljubljana (Slovenia). As usual I was quite nervous when “D” day arrived, hurrying quickly back home from daily job and than there I was. At around 6:00 p.m. I was already sneaking around VPK hall. Still no signs of life in front of hall, but inside all sort of activities, like building the stage, setting the merchandise, etc… were in full progress. I felt I still wasn’t welcome there, so I made myself busy and took a short walk through town’s suburbia. Being back at around 7 p.m., picture was quite different. I found many old pals waiting in front of entrance. Well, “same old places, same old faces!”
Quite unusual, but when doors opened people didn’t show any interest to enter the hall. Outside, earth dogs were still paying more attention on consuming large amounts of beer, than on what was going on. First supporters Majesty found themselves in unpleasant situation. They had to start in front of almost empty hall. Well they were very humble and got quick satisfaction with response of four maybe five hotfooted fans that were shaking (even banging their heads down) in frontline. Majesty as true Manowar freaks did it very professional. They had a very good and balanced sound (I stood closer to right monitor). Nevertheless, Majesty as Manowar’s younger brother proved once again that although a copy of certain band is technically better skilled, it is not enough to convince. It is simple fact, Manowar are unique, while Majesty hasn’t anything to show that would be of their invention. Meanwhile audience was growing and also made some more noise, and band felt very enthusiastic over growing response. However, older over spoiled visitors, and I am one of them, weren’t deeply touched. And in case of Crystal Ball feelings were quite the same, although encouraging news was that crowd grew bigger from minute to minute. Crystal Ball offered a mixture of classic seventies hard rock sounds (especially because of faked Hammond ones deriving out of keyboards) and classic metal touches that sometimes brought quick approximation to Pretty Maids.. But as keyboardist joined the band as rhythm guitar, Crystal Ball offered straight sharp edged metal galloping fashioned songs in old Accept or Judas Priest frames. Lay Dawn The Law sounded in Accept style, not to mention that same entitled song appears on U.D.O. first studio album “Animal House” (1987). Singer was in good mood, though at one moment he said: “I’ve got infection! Please help me singing!” And truly he had some problems in doing his higher vocal sequences, due to his sore throat. What brought great appreciation by the fans were some Slovenian language expressions that were successfully used by singer to talk with audience. Also Crystal Ball gave out their hundred percents, and performed their stuff very correctly and on a high professional level. Well band was great on stage, showing all enthusiasm, with correct approach, powerful, they were in mood. Both performances from Majesty and Crystal Ball worked out very well, and people showed nice positive response. Both bands seemed very satisfied with energy they’ve got from people and drummer from Majesty even thrown three drumsticks into crowd.
At around 10 p.m. everything was set for legendary Accept singer and his gang to run their show. Taped intro, and here they are. U.D.O. went straight to the core of their latest studio effort “Thunderball” (2004) and same titled hard hitting speedy opener. Udo was dressed in a specially designed long shining cape wearing dark glasses. After huge cheers, band continued with newest stuff, as Udo changed shiny clothes for more standard one, looking like deserted general, freshly escaped from Iraq cavalry. Crowd, well I think there were about 300 people, which began to respond even louder as band continued with first Accept classic Metal Heart (“Metal Heart”, 1985). Accept legacy represents half of a whole U.D.O. live performances on their recent tours. Right after that song one of my U.D.O. favourites was about to rumble. It was Independence Day from U.D.O. “Solid” (1997) album. Udo approached even angrier! Crowd was by then completely into it, waving hands up high in the air and producing at same time real huge noise. Small crowd, but highly devoted, and band felt that. Atmospheric song with very sad chorus was a splendid choice to change a mood a bit. I am always waiting here for Udo to pronounce spine tingling sharp “R” in “….RRRRRRobotic rage…” verse, which creates always a short jump off into new different climax. First part of a gig was consisted mainly from songs that appear on “Thunderball” album. Ending first part of a gig with mid tempo Blind Eyes was to deliver another change of atmosphere that was graduating throughout this song. Even though I still haven’t purchased “Thunderball” album, I was astonished over this song. Phenomenal contrast between heavy mid tempo Fitty’s bass drive that was really cutting through concrete here, and than on the other hand with unique Udo’s singing, while guitars were pushed a bit behind, in order to hold atmosphere on a higher level. First part of a gig ended with drum solo that was fuckin’ loud demonstration of Lorenzo’s killing speed on his double foot bass drum pedals, accompanied with loads of detonating fast break rollings. It was yet another breathtaking lesson.
Second part of gig, with exception of U.D.O. song Metal Eater (“Timebomb”, 1991), included mainly Accept classics. First one was splendid Son Of A Bitch (“Breaker” 1983), Restless And Wild (“Restless And Wild”, 1982), Up To The Limit (“Metal Heart”, 1985) and especially a highlight among them called Neon Nights (“Restless And Wild”, 1982), with crowd going completely mad.
Band offered unforgettable experience. Mr. Udo was marching and navigating the stage, giving supporting hugs to Igor, Fitty and Stefan Kaufmann (another living legend, who spent his eighties days by playing drums in Accept). Udo just has it in his blood. I mean that great charisma, which enables him to be a true leader. U.D.O. offered extreme loudness I thought I would explode from all those extremely powerful vibrations. I was not only feeling how my pants were moving but also everything else including all my inner vital organs. This magic unique sound was scanning the human masses through flesh and bones. Crazy in all senses. Udo was constantly shaking hands with enthusiastic metal devotees. Igor was in great shape too, delivering fantastic soulful solos through entire gig, including his solo spot with fantastic addition of vah-vah effect spices. His sols were clean, fast and what is most important, they were all done with huge balls. Band is coherent, acting like bulletproof fortress on stage. Song after song was rumbling like a hammer blow, kicking real high, sound was fantastic. Hand on heart, I was in front row, squeezed, with balls to the wall, and at few moments I couldn’t hear quite well Udo’s vocal lines. Main reason for that was crazy crowd that made fantastic noise. Not numerous, but crazy all the way. Third part of gig was mixture of U.D.O. and Accept songs, starting with Man And Machine (“Man And Machine”, 2001) and Udo disguised in a kind of cybernetic creature, a machine man. With Midnight Highway (“Breaker”, 1983) band delivered another amazing “word to mouth” Accept puncher. Of course they didn’t forget for Animal House (“Animal House” 1987), taken from U.D.O. first studio album. Fantastic ending was to follow. Balls To The Wall from Accept’s same titled studio album, with extended “Nailed To Metal” (2003) version and crowd doing those huge “oh-ohs” and Udo yelled: “Oh c’mon everybody, show me the sign of victory!” Then song split into another and final chorus with splendid fade out and Udo’s nasty and violent high echoing scream. It was the end!
Crowd was hungry for more, and U.D.O. were of course right back! First only Stefan appeared on stage doing guitar intro to Holy (“Holy”, 1999). Prior to encore’s beginning, band created such magic, that people were taken in some kind of hypnotic state, because we all were still doing those big “ohs” from Balls To The Wall, even though Stefan almost finished his Holy introduction on guitar. But as soon as the rest joined Stefan on stage, including priest Udo (Udo was dressed as priest for that occasion) in his usual centre spot of course, everybody switched mind drives back on what was to follow. Holy is one of my personal U.D.O. favourites and I truly got goose bumps on my skin. It happened only once that I tried to imitate Udo’s unique screaming. In verse “raise your hands”, and immediately become voiceless. But this was nothing in comparison with continuing numbers. First one Accept classic striker I’m A Rebel (“I’m A Rebel”, 1980). After that Udo’s extremely high vampire scream opened, the fastest, most aggressive, most arrogant, most violent, outraging unforgettable ferocious speeder Fast As A Shark (“Restless And Wild”, 1982), which was about to drive us insane, with all heads in hall banging to death. U.D.O. thanked once again and left the stage for second time. No peace for them. They were forced to return. This time they opened second encore with a bit obscurer song yet wet erotic dreams caught in mid tempo epic Princess Of The Dawn, (“Restless And Wild”, 1982) in different extended version. If you have “Nailed To Metal” live CD, than you can assume how did it sound. Pure fantasy, I am still all shivers. I thought this was the end. But Udo asked us again if we want to hear another song. After huge positive response, he asked: “Alright Ljubljana! “Are you ready to rock? Are you ready to roll?” And U.D.O. fired out Burning; a song, which I guess, wasn’t included on earlier shows of a Thunderball World Tour (during March and April). Fantastic rock’n roll shot right in jugular veins! What a way to end a gig that lasted well over two hours. It was 0:20 a.m. when lights went on again.
U.D.O. couldn’t hide all their enthusiasm over powerful energetic response of Slovenian crowd, by promising they will be back. Gig was pure perfection from head to its feet. Everything went smooth and guys had a great fun on stage, delivering tons of dynamite. Every metal fan that missed this gig, not only made irreparable mistake, but also committed primal sin. It was a night to remember. I got a few wounds during gig. Some idiot surely got claws instead of toes on his hands while ripping my neck, and my right hand was also in blood. I was in such adrenalin rush that at first moment I didn’t noticed that. Only after girl friend that picked me up with car after the show, warned me (she hardly recognized her scraped, fully beaten and completely exhausted man) that I am all in blood. Crazy Slovenian maniacs. I travelled a lot around Europe to anticipate many shows, but it seems as if it is destined to be that I am facing problems only on metal gigs in Slovenia. During Grave Digger gig for instance one bastard torn a registration tables off my car. But I am telling you; it is all bloody worth of it. U.D.O. thank you for coming to Ljubljana, and deliver us an evening of pure metal ecstasy that only best metal acts and musical artists can create. Take care wherever you roam, looking forward to see you as soon as possible. In Slovenia as being agreed.
