Accept (posebni gost: Phil Campbell And The Bastard Sons)
sobota, 9. 11. 2024
Dunaj (Wien) / Simm City / Avstrija
for an English version please scroll down the bar:
Accept so legende svetovnega heavy metala, stara šola, pravzaprav živi relikt tistega kar se je dogajalo na prelomu sedemdesetih v osemdeseta. V več ozirih večno navdihujoča skupina, ki je s svojo aktivnostjo temeljno vplivala na podobo in razcvet razvojih poti metala v vseh oblikah. Skupina deluje še danes. Vodi jo edini član tistih slavnih davnih dni skupine, to je kitarist Wolf Hoffmann, ki po reaktivaciji leta 2009 predstavlja njen pogonski motor, pri čemer so Accept v obdobju od leta 2011 do letos nanizali kar precej nove avtorske glasbe (6. studijskih albumov). Torej vsa stvar ne polaga upe zgolj v status legend in staro slavo, pač pa ostaja Hoffmann z ekipo vseskozi silno kreativen.
Tako je izšel v začetku letošnjega aprila še 17. studijski album z naslovom “Humanoid” (RockLine recenzija). Nova turneja je tu! Evropska tudi. In po trinajstih letih, odkar so odigrali svoj zadnji headlinerski koncert sredi dunajske prestolnice, so se Accept vrnili tja na nov ‘pravi’ koncert. Prizorišče je bilo v celoti razprodano.
Še poseben magnetizem oziroma privlačnost nove Accept turneje, pa je dodala potrditev posebnega gosta turneje. To je Philip Campbell, nekdanja Motörhead kitara, ki ostaja po ‘pokopu’ znamenitih železnih pankrtov rock’n’rolla še naprej aktiven tudi s svojo skupino Phil Campbell And The Bastard Sons. Slednji imajo tri albume v žepu, zadnji med njimi, to je “Kings of the Asylum”, je izšel pred letom dni. Kot veleva ime skupine, jo zastopa seveda znameniti Phil, v njej pa mu delajo družbo trije sinovi: basist Tyla, še en kitarist Todd in bobnar Dane. Le vokalist Joel Peters prihaja torej iz drugega gnezda. In slog? Ne mnogo oddaljen od tistega kar je Phil počenjal z Motörhead. Bend je krenil na oder ob osmi uri in v dobre pol ure in po pričakovanju delil udarec za udarcem. Pri tem je v repertoarju obdelal material vzet iz vseh treh studijskih albumov, ki jih je premeteno začinil s štirimi Motörhead klasikami in presenečenjem iz Campbellovega solo albuma “Old Lions Still Roar” (2019), to je skladbo Straight Up. Publika se je hitro našla na isti valovni frekvenci, pri čemer so predstavljali vreliščne dele predstave seveda vse štiri Motörhead klasike (Going To Brasil kmalu na začetku, fenomenalna Bastards klasike Born to Raise Hell na sredini, neobhodni Ace of Spades pred koncem in finalni tornado s Killed By Death). Odlična uigranost, odličen zvok, rušilna vehemenca in peklenski žur. Phil Campbell pa ostaja izklesana rock’n’ roll legenda. Zanimivo je opazovati tudi sina Todda (tudi kitarist), ki s svojo višnjevo rdečo Framus kitaro skorajda posnema očetove legendarne odrske gibe in teater, ki okarakterizirajo Phila, tudi tokrat z nadobvezno žvečilko, vse od osemdesetih dalje, ko se je pridružil Motörhead. Na stojalih pa je kozarec piva zamenjala voda. To pa pride z leti. Skratka, izjemna izbira za uvodno ogrevanje ob katerem je telovadilo celotno prizorišče. Si je pa opasal mož med eno od skladb nase Framusovo WH-1 kitaro (podobne uporablja Wolf Hoffmann), da spočije malo svojega standardnega Les Paula.
Dvajset minut preko devete zvečer pa se zatemnijo luči znova. Čas je za metal z enimi in edinimi Accept. Kdor je Accept spremljal na nekaterih preteklih turnejah, ve kaj bo prejel. No, Wolf je v zadnjem času precej pomladil svojo ekipo, tako da ostaja mož z najstarejšim stažem, poleg Wolfa, vokalist Mark Tornillo, ki mu sledita še en Američan v skupini Christopher Williams in kitarist Uwe Lulis, ki je soodgovoren za najboljše Grave Digger albume, ter ‘fanta’ s pet letnim stažem basist Martin Motnik (z avstrijsko zastavo na pasu) in tretji kitarist in tretji Američan v skupini, to je Philip Shouse (znan po sodelovanju z Gene Simmonsom). Se pravi nemško-ameriški sekstet!
Accept ostajajo odrsko neprebojna trdnjava. Odrska oprava ‘ostrih oblečenih mož’ na najvišji ravni. Poze, izkoriščanje odra, komunikacija, kalibracija. Izkoriščanje prostranega odra poštudirano v piko. Za vsako skladbo, vsak del skladbe. Vsak vhod vanjo. Vsak izhod. Teatralno! In z učinkom nenehnega podžiganja publike, ki je spremljala koncert od začetka do konca na najvišjih obratih! Z dodatkom vred uro in štirideset minut nepozabne kanonade skombinirane iz klasik kariere in vrhuncev ‘Tornillo ere’ delovanja skupine.
Zvok in uigranost na najvišji ravni. Hoffmann ostaja izjemen poveljnik, dirigent in seveda na nek način ‘umetniški vodja’ današnjih Accept. Kontakt s publiko imajo Accept dodelan perfektno. Dosega kar hipnotičen učinek. V kombinaciji z magijo neminljivih rifov in melodij, zmagovitost koncertnih predstav skupine ne more izostati. Skupina je prijetno uravnotežila repertoar. S točkami novega albuma nikakor ni pretiravala, prav tako pa ni ostala mačehovska do novejših albumov izdanih z Markom Tornillom na vokalu, ki je mimogrede zelo, zelo dobro izpeljal vse vokalne naloge. Ostaja vokal silno kompatibilen z vsem kar so Accept kdajkoli ustvarili ali ustvarjajo, ter barvno in izvedbeno ravno dovolj odmaknjen od Dirkschneiderja, da je nemogoče govoriti o kakršnemkoli repliciranju. Krasna predstava. Tudi Shouse in legendarni Lulis sta prišla večkrat do izraza, Uwe že kaj kmalu in po običaju odkar je pri Accept, to je v solaži Restless And Wild. Gibanje, ko se fantje postavijo v linijo po dva, trije, štirje ostaja elementaren zaščitni znak skupine – skratka izkoriščanje odra je odlično in za v pravi šolski učbenik.
Uigranost peklenska! Ritem sekcija naoljena in trgajoča. Kitarske fraze ostre kot britev, soliranje poglavje zase. Wolf Hoffmann je sam po sebi vrsta ikone metala – mož sklesan iz nerjavečega jekla! Minute so letele kot sekunde. Časa pa premalo. Zato je bend pripravil tudi medley, kjer je presenetil zlasti z uvodno integracijo dela pogrešane “Restless And Wild” klasike Demon’s Night, ki se je že vrsto let ni loteval. Midnight Mover je skladba, ki že kar sama po sebi kliče na sleherni Accept koncert! Ena najmočnejših skladb ere klasičnih Accept. Neverjetno je kako se fraze novejših točk, kot so Shadow Soldiers, Dying Breed in zlasti Teutonic Terror ter Pandemic perfektno držijo ob boku starejših klasik. Zlasti slednji dve, ki jih je bend privarčeval za finale regularnega dela in zaigral celo za kariernima velikanoma imenovanima Princess of the Dawn ter Metal Heart.
V dodatku se pojavi Tornillo na odru z napihljivim morskim psom, ki ga vrže med publiko, bend udari z Fast As A Shark, ki ga nasledi težko pričakovana klasika železnega repertoarja Balls To The Wall, sklene pa z vrtincem popolnega odkopa Breaker klasika I’m A Rebel in popelje koncert do točke absolutnega vrelišča! Vsa ta intenziteta kipeče ostrine arzenala neminljivih rifov, vse strasti, vse emocije, prežeta z malho zabave, je tisto po kar pride publika. V njej so sicer prednjačili strici, ki so doživljali svoje najstniške čase v obdobju vzpona zimzelenih Accept, vendar pa je bil pogled na pripadnike mlajših generacij še posebno ohrabrujoč, saj to pomeni, da renesansa in nova pomlad te legendarne skupine, še kar traja in traja. Naj tako tudi ostane.
Avtor: Edita Klemen & Aleš Podbrežnik
Fotografije: Aleš Podbrežnik
English version:
Accept – the resurrection of teutonic steel over Vienna (2024)
Accept (special guest: Phil Campbell And The Bastard Sons)
Saturday, 9th of November 2024
Vienna / Simm City / Austria
Accept are legends of world heavy metal. The are complete old school, in fact a living relic of what was happening at the turn of the 1970s into the 1980s. In many ways an eternally inspiring band whose activity has been fundamental in shaping the image and flourishing of metal’s evolutionary paths in all its forms. The band is still active today. Led by the sole member of those glory days of yore, guitarist Wolf Hoffmann, who has been the driving force since the band’s reactivation in 2009. And in this new period of time Accept produced a considerable amount of new original music (6 studio albums) which were released between 2011 and 2024. Hoffmann and his team remain fiercely creative throughout in period when Accept could easily rely on their days of glory in which they gain their status of being true heavy metal legends.
Thus, the 17th studio album “Humanoid” was released at the beginning of April this year. The new tour is here! European too. And after thirteen years since they played their last headlining gig in the middle of the Austrian capital, Accept are back there for another ‘real’ gig. The venue was completely sold out.
This Accept tour was especially attractive also because a very special guest! Philip Campbell, former Motörhead guitarist, who remains active with his band Phil Campbell And The Bastard Sons after the end of famous rock’n’roll bastards. Phil Campbell And The Bastard Sons have three albums in their pocket, the latest of which, “Kings of the Asylum”, was released a year ago. As the name suggests, the band is of course represented by the famous Phil, who is accompanied by his three sons: bassist Tyla, another guitarist Todd and drummer Dane. Only vocalist Joel Peters comes from a different nest. And the style? Not too far from what Phil did with Motörhead. The band went on the stage at eight o’clock and within a good half an hour, they were delivering punch after punch.
Great chemistry, great sound, smashing vehemence and one hell of a party. And Phil Campbell remains a chiselled rock ‘n’ roll legend. It’s also interesting to watch his son Todd (also guitarist), with his cherry red Framus guitar, almost mimicking his father’s legendary stage moves and theatrics that have characterised Phil, since the 1980s when he joined Motörhead (obligatory bubblegum was no exeption). Only this time on the stands, the beer has been replaced by water. All in all, a great choice for the opening warm-up to which the whole venue was on its feet. Phil used also Framus WH-1 guitar with ‘Snaggletooth’ during one of the songs (Wolf Hoffmann uses a similar one) to rest his standard Les Paul a bit.
Material from all three studio albums was included into repertoire, but to spice the things up, Bastards throw in also four Motörhead classics and a song from Campbell’s 2019 solo album “Old Lions Still Roar” called Straight Up. The crowd quickly found themselves on the same wave frequency, with the boiling parts of the show being, of course, all four Motörhead classics (Going To Brasil near the beginning, the phenomenal “Bastards” classic Born to Raise Hell in the middle, the inevitable Ace of Spades before the end and the final tornado with Killed By Death). Would you ask for more?
Twenty minutes after 9pm, the lights dim again. It’s time for metal with the one and only Accept. Anyone who has followed Accept on some of their past tours knows what to expect. Well, Wolf has rejuvenated his team quite a lot in recent few years. The man with the longest serving status remain (besides Wofl) l vocalist Mark Tornillo, followed by another American in the band, drummer Christopher Williams, and guitarist Uwe Lulis (a man responsible for the best Grave Digger albums), while basist player Martin Motnik (especially for this show – with the Austrian flag on his belt) and the third guitarist and third American in the band, Philip Shouse (known for his work with Gene Simmons) became a part of recent line up five years ago. A German-American sextet!
Accept remain a bullet-proof fortress on stage. The stage presence of the ‘sharp-dressed men’ is of the highest level. Poses, stage presence, communication, calibration. Exploitation of the vast stage. Every second of the gig was carefully studied. And all six people exactly knows which are their roles in every part of the show! Theatrical! And with the effect of constantly inciting the audience. With the addition of an hour and forty minutes worth of unforgettable cannonade combined from the classics of the band’s career and the highlights of the ‘Tornillo era’.
Sound and execution at the highest level. Hoffmann remains the outstanding commander, conductor and, of course, in a sense, ‘artistic director’ of today’s Accept. The Accept’s contact with the audience is perfected. It achieves quite a hypnotic effect. Combined with the magic of the undying riffs and melodies, the triumph of the band’s concert performances cannot fail. The band has nicely balanced the repertoire. It has by no means overdone the points of the new album, nor has it remained macho towards the more recent albums released with Mark Tornillo on vocals, who has done all the vocal duties very, very well. The vocals remain highly compatible with anything Accept have ever done or are doing, and in terms of timbre and performance just not to close to Dirkschneider. Tornillo is a vocal beast in his own right and it’s impossible to speak of any replication. A great performance from Mark. There is of course this unforgettable movement when the guys line up in twos, threes, fours! It remains an elementary hallmark of the band! In short, the exploitation of the stage is excellent and for a real school textbook.
A match made in hell! The rhythm section is oiled and ripping. Razor-sharp guitar phrases, soloing a chapter in itself. Wolf Hoffmann is a kind of metal icon in his own right – a man carved from stainless steel! The minutes flew by like seconds. And time is (always) to short. That’s why the band prepared also a medley, where they surprised especially with the opening integration of a part of the missed “Restless And Wild” classic Demon’s Night, which they hadn’t tackled for many years. Midnight Mover as a song in itself is always a highlight when executed on stage! One of the strongest songs of the Accept classic era. It’s amazing how the phrases of newer songs like Shadow Soldiers, Dying Breed and especially Teutonic Terror and Pandemic hold up perfectly alongside the older classics. Especially the latter two, which the band saved for the finale of the regular part and even played them after two career giants – Princess of the Dawn and Metal Heart.
In the encore, Tornillo appears on stage with an inflatable shark which he throws into the crowd! The band hits with Fast As A Shark, followed by the much anticipated classic of the iron repertoire Balls To The Wall, and concludes with a whirlwind of a perfect kick-off of the “Breaker” classic I’m A Rebel, taking the show to an absolute boiling point! All that intensity and sharpness of undying riffs, all the passion, all the emotion, infused with a little bit of fun, is what the audience comes for. An audience where uncles and dads were dominating and who were reliving their teenage days in the heyday of the evergreen Accept, but in the same time the sight of the younger generations in the audienece was particularly fascinating, because it means that the renaissance and the new springtime of this legendary band, is still going on and on and on. May it remain so.
Text: Edita Klemen & Aleš Podbrežnik
Photos: Aleš Podbrežnik
Phil Campbell And The Bastard Sons – setlista:
1. Highway Star (taped intro)
2. We’re the Bastards
3. Freak Show
4. Going To Brasil
5. Schizophrenia
6. High Rule
7. Born To Raise Hell
8. Straight Up
9. Ace Of Spades
10. Strike the Match
11. Killed By Death
Accept – setlista:
1. The Reckoning (Extended intro)
2. Humanoid
3. Restless and Wild
4. London Leatherboys
5. Straight Up Jack
6. Midnight Mover
7. Breaker
8. Dying Breed
9. Demon’s Night / Starlight / Losers and Winners / Flash Rockin’ Man
10. Southside of Hell
11. Shadow Soldiers
12. Princess of the Dawn
13. Metal Heart
14. Teutonic Terror
15. Pandemic
—dodatek—
16. Fast as a Shark
17. Balls to the Wall Play
18. I’m a Rebel
19. Bound to Fail (taped outro)
