While W.A.S.P.’s social media captured a very healthy queue patiently waiting to get inside Nottingham’s Rock City, the part that was missed was that it was a five-minute walk and the end of that line was in another post-code. And apart from W.A.S.P. shirts, have a guess at what the next most popular shirt was on display in that queue?
There is some poignancy to this and the loss of Ozzy Osbourne one week ago, the realisation that as much as we think that our rock heroes are immortal and invincible – we all know that they are not. The devotion of metal fans is unparalleled, the connection is strongest in front of the stage and there is an element of this – mixed with a frissure of excitement at this probably-never-to-be-repeated again event.
Blackie Lawless. Photo: Ian JenkinsonBilled as Album ONE Alive! tour and in celebration of W.A.S.P.’s self titled debut album released in 1984, a packed Rock City stares at an equally packed stage with Blackie Lawless’ impressive microphone stand front and centre. There is no support tonight, the show is about W.A.S.P. and there is a roar as the lights dim and red spotlights bounce around the venue; the cacaphony of sound is sirens blaring and over the backdrop of spliced W.A.S.P. songs. As an introduction, it feels primal and hungry. Eventually, the band takes the stage and naturally, the biggest cheer is reserved for Black Lawless. Tearing into I Wanna Be Somebody, the crowd is all arms aloft and the venue shakes with the punching hands to the chorus. The sound is huge and Blackie is on top vocal form but at the same time competing with the lyrics being belted straight back at him.
Blackie Lawless once said of W.A.S.P.’s debut “It was an angry record made by an angry band. It was a record that not only refelected the attitude of the band members that made it but also a record that reflected its time.” That debut album still holds some sway to this day but in the live envrironment, there is punch and venom to the songs and W.A.S.P. goes great guns to deliver, there is new life and visciousness that serves as a reminder of just how timeless these tunes really are in metal history.
Mike Duda. Photo; Ian JenkinsonL.O.V.E. Machine is followed by The Flame at which point Blackie takes a moment to tell the tale of the idea of this particular tour and a discussion with promoters, playing the debut album in full and the suggestion that he had to play the album in order. Naturally, Blackie said that he had to do no such thing. The familiarity of a whole album in order does feel slightly disconcerting, knowing what comes next and the lyrics lined up but the commitment to each song and its place is at the same time compelling. School Daze was always a tad cheesy but Hellion is incredible, the melody on the vocals and backing vocals courtesy of bassist Mike Duda and guitarist Dough Blair are enough to send shivers as the screens at the back of the stage light up to show archive footage of the band, it really is both an aural and visual delight. Sleeping (In The Fire) has to be one of the night’s highlights, Blackie’s vocals are nerve tingling but credit to Blair who tears a solo at the end which is just earth shatteringly brilliant and like it was the last solo he was ever going to perform.
Blackie returns to the story of the promoter and explains why he could not see the album being played in chronological order in that for the last forty years, every show had opened with On Your Knees but it lacked no less power being in the middle of the set. With Tormentor and a rib-cage rattling The Torture Never Stops as W.A.S.P. says “goodnight” and sure, some of the crowd glance at their watches but also with the knowledge that an encore has to be special – and it is.
Doug Blair. Photo: Ian JenkinsonPerforming two medleys – also in chronological order – the intro and title track from Inside The Electric Circus and I Don’t Need Know Doctor and Ghoulies soundtrack-hit Scream Until You Like It. The second medley takes on The Headless Children era with The Real Me, ballad Forever Free and a scintillating The Headless Children.
Wild Child is another showstopping highlight. Blackie Lawless is totally alone, his fingers on the strings are lightning fast as he tickles not the full riff but it is recognisable before doing a solo on the vocals. It is another timeless song that has the venue in rapture and the show ends in the only way it can with Blind In Texas. As much as it feels weird for Blackie not to have the argument with the bar tender, it is a rip-roaring close to a show that as Blackie Lawless stated was history. And he is not wrong.
Photo: Ian Jenkinson
Photo: Ian JenkinsonTonight’s show had everything that not just a W.A.S.P. fan could want but what heavy metal still needs and the celebration of the debut is done with such style and panache that it is impossible to fault the band. Blackie Lawless still cuts an imposing figure, the trademark white knee high boots, the half buzzsaws attached to his forearms and the upturned collar, ever the showman, his being fills the stage when he turns to face the drum riser.
Forty Years. It feels like it was only yesterday that a debut landed, it was loud, dangerous and no-one knew it back then but heavy metal was walking into a golden age. W.A.S.P. were one of its forerunners. Blackie Lawless already said that tonight was history and as the doors are flung open for a crowd to descend on the July night – there was not a single voice that would say any different.
Blackie Lawless. Photo: Ian JenkinsonW.A.S.P’s tour continues into Europe and returns to the UK this September – tickets are available for all shows on the band’s offical website.
Photo: Ermes Buttolo