Pantera – Gig Review & Photo Gallery 19th March @ Adelaide Entertainment Centre, Adel SA

Pantera
Adelaide Entertainment Centre, Adelaide SA
March 19, 2024
Supports: King Parrot and Black Rheno

“History never really says goodbye. History says, ‘See you later.’” – Award-winning writer and novelist Eduardo Galeano.

The history of Arlington’s most successful metal group Pantera is monumental; so much so that it could almost be classified as fiction, and it is remarkably unbelievable. To undertake a thorough narration of their tale in this article alone would be an impossibility. When revisiting their past and analysing the significant incidents, events, milestones and even traumas, it could be argued that the quartet never actually said “goodbye”. Instead, the four-piece became misplaced.

The devastating passing of both Darrell and Vinnie Abbott in 2004 and 2018 respectively, was globally thought to have been the end of the line and proper discontinuation for Pantera. Yet there remained a hope, a ‘Strength Beyond Strength’ that this was not their conclusion; that there could be the possibility of “see you later”.

In December 2022, Phil Anselmo, Rex Brown, Zakk Wylde and Charlie Benante made history by co-headlining the monstrous Mexico’s Monterrey Metal Fest as Pantera. This wasn’t to be the “new” version of the adored groove metal outfit, nor was it considered a “tribute”. It was a celebration of the band’s history, their beloved fallen members, and their exhilarating discography. After over 20 years, Adelaide was selected to host this “celebration” as the only headline sideshow the revered quartet would perform in Australia as part of their tour with Knotfest 2024. What transpired is another captivating chapter in Pantera’s history.

To have the opportunity to open a show of this magnitude far exceeds the circumstantial elementary description of “honour”. This was the “once in a lifetime” moment and Sydney’s sludge-metallic-hardcore three-piece Black Rheno were present to create an unforgettable experience for themselves and the growing audience. ‘Nothing Fucking Special’ was electrifying, a grindcore thrash onslaught that superbly led into a mathcore groove driven beatdown and had vocalist Ryan Miller climb atop the foldback speakers to appear gigantic for his bellowing screams. He also executed an Ace Ventura-inspired dance that flawlessly captured the trio’s light-heartedness and infectious energy. New song ‘Good Morning Motherfucker’ capitalised on this contagious captivation with a blend of Every Time I Die southern riffage and even nu-metal nuances. In fact, it was so catchy, that eager audience members were already singing along even though the track has not been released. ‘No Time For Numb Nuts’ was a highlight with its blastbeats, gruff choruses and drone-motivated metallic hardcore; not surprisingly it incited the mosh enthusiasts to warm up for the marathon ahead.

It must be acknowledged that performing on a stage of this capacity is practically unheard of for Black Rheno and what they accomplished was spectacular. With just three members, the imposing noise that guitarist Mariano Palomares and drummer Kieran Smith generate is one to marvel at. With this experience behind them, they are certainly Battle Ready for what comes next.

Achieving perfection is considered an impossibility, but for Melbourne’s grindcore heroes King Parrot, the use of Kevin Bloody Wilson’s ‘Cunt Of A Day’ as their entrance song was delightfully defiant of this principle. Frontman Matt Young was instantly rampant and the first words out of his mouth were: “let’s start this shit right now, let’s fucking do it” and the onlookers did as they were instructed correspondingly.

Dissimilar to Black Rheno, KP are familiar with grand venues of this nature having supported Pantera in the USA. The ‘Parrot were not threatened; if anything, they were the threat – ‘Disgrace Yourself’ was testament to this with its rapid-fire percussion and hammering guitar and bass insanity. The enrichment of the whole production became how quickly the crowd shouted along to “disgrace yourself” with rhythmic fist pumping from little encouragement; it is pretty exceptional for a grindcore act to achieve this so organically.

‘Need No Saviour’ was reckless in the most rocking way and ‘Psychotherapy And Valium’ was a psychotic stomper, with crowd surfers emerging everywhere and very frequently. A new track was introduced entitled ‘Fuck You And The Horse You Rode In On’ and it harnessed everything that KP do so astoundingly and then flew to a level above it. How so? Vocalist Youngy may have even written a hook, but not in a contemporary sense, conceivably more in a callously charming spirit. ‘Hell Comes Your Way’ was too fast and furious with Matt spitting venom and pulling faces like Joaquin Phoenix’s Joker, while bassist Slatts Everyday took a knee to showcase his hilarity and heroics.

Although the five-piece love to throw shade on those witnessing their fierce musical formula to get a rise out of them, they are still fun-loving Australian blokes. Their repetition of “thanks” and exclamations of appreciation were genuinely heartfelt, and the heavy music universe is waiting with abundant anticipation for their fourth full-length.

It was time – an impossibly large banner covered the mammoth AEC platform with bold red letters spelling “PANTERA” and the near-capacity crowd were annoyingly anxious for this long-awaited celebration to begin. A darkness overcame the venue and a mini documentary of the Texans’ former lives appeared on the screens, mostly focussing on the dearly beloved Dimebag Darrell and Vinnie Paul. The banner descended and then commenced the event that fans had awaited 23 years for, Pantera’s Australian return.

‘A New Level’ marked the introduction and the chorus words of “of confidence and power” were howled at deafening levels toward the quartet and the skies above. Frontman Phil Anselmo was almost stupefied by the reaction with the simple grateful statement of “fucking killer” in response. Guitarist Zakk Wylde was immediately maniacal, huddling in an attack mode, shredding his six strings to beyond human capabilities while swaying in an aggressive fashion. Bassist Rex Brown had gleefully returned to his paradise, sporting a magnetic euphoric demeanour which guided his movements around the colossal stage and promoted his crunching hectic tones. Drummer Charlie Benante shared this ecstasy in what could be interpreted as disbelief that he was tremendously transmitting the cherished heavy metal tunes of these pioneers. The aura of it all was illustrious.

‘Mouth For The War’ incited chaos and the crowd moved more like a raging whirlpool than a heaving ocean. ‘Strength Beyond Strength’ slowed this fantastic force ever-so-slightly, but the vigour was still boundless. Although Mr. Anselmo has made regrettable mistakes in his life, he knows how to show his gratitude. Authentically thanking parents from older generations for sharing Pantera’s output with their children was a rather distinguished articulation. Discussing this idea further about being able to enrich the youths’ lives with their groove metal anthems in a live scenario was a phenomenon the four-piece would have never thought possible. The cheers from multiple generations erupted from this emotional admittance.

‘Becoming’ provoked a wonderful whirring of ferocity mostly attributed to Zakk’s siren guitar squeals. ‘I’m Broken’ became earth moving with the groove pulsations that were exemplified by pyrotechnics and smoke cannons. Rivetingly the song seemed to turn back time and the youthful bond and brotherhood between Rex and Phil glowed when they performed to each other in a friendly face-off.

‘Suicide Note Pt II’ thrashed relentlessly until the chugging breakdown conclusion that shook the walls. ‘Five Minutes Alone’ then dented the floors with its marching tempo that was radically ruinous. ‘This Love’ was a brooding ballad that excellently engulfed all within in an emotional trance that was then magically magnified by ‘Floods’. An enigmatic image of Vinnie and Darrell was displayed on the screens in a moving and heart-rendering expression of affection for the immensely missed icons.

‘Walk’ was a necessity and virtually demanded the members of King Parrot and Black Rheno to join the four-piece for its powerful presentation. ‘Hollow’ was a welcome interlude from the madness which was then eradicated by the blasting belter ‘Cowboys From Hell’. “Volatile” is in-all-likelihood, the best description for this fan favourite.

The encore was started by the band themselves, mostly Phil chanting the words “One. More. Song.” At the countless overly zealous admirers who were craving exactly that. ‘Fucking Hostile’ was delivered rabidly and with a newfound vitality. It had been 90 minutes; however, this exhibition gave the impression that time had lost its value, and that is quite the momentous triumph.

As a parting note, Phil Anselmo reassured Adelaide that this was not in fact “goodbye”, as he promised there will be a next time. As he crooned the lyrics: “and she’s buying a stairway to heaven” as per the traditional Led Zeppelin outro, perhaps there will be a new tradition involving Pantera and Australia?

Forseeably then, Australia will “see you later” Pantera. Thank you for revamping your history.

Gig Review by Will Oakeshott. Insta: @teenwolfwill

Setlist

A New Level
Mouth for War
Strength Beyond Strength
Becoming
I’m Broken
Suicide Note Pt. II
5 Minutes Alone
This Love
Floods
Walk
Domination / Hollow
Cowboys From Hell
Fucking Hostile

Photo Gallery by Dave Rubinich Insta: @dave.rubinich
Please Credit & Tag Wall of Sound and Dave Rubinich if you repost photos.