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Here a SimpleViewer Flash gallery should be displayed. Click here to open the post in your browser to see the gallery.

All images contained on this page are Copyrighted by Type 3 Media, and are property solely of the photographer. Any attempt to copy, save, or reproduce said images in any form is strictly forbidden without written authorization from the copyright holder.

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Here a SimpleViewer Flash gallery should be displayed. Click here to open the post in your browser to see the gallery.

All images contained on this page are Copyrighted by Christine Bartolucci Photography (Christine Bartolucci, Photographer) and Type 3 Media, and are property solely of the photographer. Any attempt to copy, save, or reproduce said images in any form is strictly forbidden without written authorization from the copyright holder.

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April 3, 2008
Webster Theater
Hartford, CT

Although progressive metal heads Symphony X lacked the opening support of Epica‘s symphonic bursts and Into Eternity‘s mix of old and new metal during their first show on their North American tour, they musically triumphed. The band, who were in the same Hartford, CT venue less than a year ago in support of their 2007 album, Paradise Lost, returned for a second leg of the tour.

Photo by Michael Levy

Vocalist Russell Allen stood on stage, kicking off the first song with the rest of the band in the background, his presence large, booming and sturdy, much like his vocals. He commented at the much larger turnout this time around for the venue, and seemed laid back for most of the evening, whereas last time around, the band seemed a lot more vibrant and itching to rock out. This time, Allen wore a sport coat over a t-shirt, whereas guitar virtuoso Michael Romeo, bassist Michael Lepond, and drummer Jason Rullo sported typical heavy metal attire: standard black shirts and jeans. Meanwhile, Allen asked the crowd to “fly with him” through the lyrics, raising hands in the air on tour and Paradise Lost opener, “Set the World on Fire (The Lie of Lies.)”

The band continued to play a set that was extremely similar to last summer’s first leg of the tour. Though the set list was almost near identical, (they even played the same songs in the same arrangement, with most songs from the new album,) it was still a treat to hear and see the band play them. A bit more variety of the older material, particularly to their epic record V, which is another album they received praise for, would’ve been refreshing, but regardless, the band knew how to play for the crowd. The fans devoured the attention, with Allen and Romeo being playful and pitting the various sides of the fans against each other into the somewhat tiring but always enjoyable charade of “who can scream the loudest?” It seemed like a tie.

Allen’s voice sounds crisp as the set rolled along throughout the new album, with the band playing several more tracks off of it, including the bass-heavy “Domination” (lyrics that show Allen breaking from the usual Bruce Dickinson-ish vocals to instead bellow for fans to “Get down on your knees!”) Sexual innuendos aside, Romeo then whirls into a dizzying solo as his white Fender bounced off the lights, spotlight hitting him as he tossed a burnt out guitar pick aside. Romeo has much in common with Iron Maiden’s Dave Murray in terms of stage presence-all smiles, and a very warm and talented guitarist who never repeats himself in terms of technique.

One area that was lacking was keyboardist Michael Pinnella’s volume. The man could barely be heard except on tracks like “Domination” where at least one instrument had dropped out for a moment for his dark, brooding piano bashing. The down-tuned classical piano was then magically gone as Romeo’s guitars masked over them. It would’ve been nice for a little bit more to come out of him, but that may also have to do with the material the band puts out. While it is heavily stuffed with keyboards, at times the guitar overpowered the keys. Hopefully the band can adjust in either their material or the mixing so we can hear more of Pinella, as he’s underused in the band. A mix of crimson and cerulean stage lights matched the sci-fi war background of the 2007 album cover. While musically the band’s never been tighter live, they seem distracted, maybe due to the fact that they had to have local talents be placed in front of them. The issue was briefly addressed by Allen, who apologized for the lack of opening bands, but applauded the local bands who played before them, having the crowd give one more round of applause for them. No explanation was given as to why Epica and Into Eternity weren’t at the show.

One thing that is always odd about Symphony X is how they manage to hold their own in a headlining show. Granted, the band is very good and fantastic to listen to live, but visibly, they aren’t exactly movers and shakers. Allen and Romeo goof off a bit, leaning on each other and smiling, but it all-at points-feels tired. Sure, they sound fantastic, but the band plays as if they’re an old band. It’d be refreshing to move around a bit, but they fit the club feel very well. It’s just a shame because they have the potential to do better and really bring their material to life for the crowds.

For example, Allen, removing his sport coat, said “Let’s get to it,” as the guitars jump-started into the next song. Harmonies danced across the walls and tickled fans ears as the New Jersey-based metallers played on, with Allen stating that he was “glad to be back in the United States.” Allen’s stage antics switch into high gear, as he glides across the stage awkwardly, pretending to be some sort of zombie Frankenstein. Moments like this that he delivers give the band a playful vibe yet sometimes it’s just awkward to watch. This was a perfect example, and it’s an obvious miss with a normally hit crowd.

“Of Sins and Shadows” was played and it was definitely a crowd favorite. The early material sounds amazing live, really vibrant and direct, whereas the newer material feels less thrash-like and more blues-catered. After one or two more songs, the band called it a night with an encore. The show was, for the most part, very solid, with just a few hiccups in mixing and stage presence. Musically, these men will always impress, but it’s a wonder as to how far their live show will get them down the road-the last thing I’d want to see is Symphony X run out of gas.

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with Dillinger Escape Plan, Every Time I Die, and Parkway Drive
February 5, 2008
Webster Theater
Hartford, CT

The final night of the Killswitch Engage/Dillinger Escape Plan/Every Time I Die/Parkway Drive show ended up being sold out at the Webster Theater in Hartford, CT.

Parkway Drive opened the show. The crowds quickly filled the room as Parkway began playing their set, bouncing about the stage. The band oozed great stage presence, and it was nice to see such a great commanding vocalist take hold of the crowd and the stage. Music was of the typical Metalcore atmosphere; it chugged along with the vocalist’s deep growls. While certainly holding their own in stage presence category, their set made it hard to differentiate between themselves and the other 2000 something Metalcore bands that are out today, which is sad because the crowd was enjoying their set.

Next, Buffalo, NY natives Every Time I Die took the stage. The songs fell together well, with tight hooks and smooth, blues influenced riffs that gave them a truly original sound. The vocalist, Keith Buckley, sometimes felt as if he didn’t fit the band. Great screamer, but his singing almost, at points felt southern rock meets lounge singer. Guitar work was fun to watch, as the band was very visibly exciting; with tilt-a-whirl-like guitar playing and drummer Mike Novak twirling his stick in the middle of snare hits. Time changes were done at a very fluid pace and the heavy thud of bass guitar work while the vocalist played a mean air guitar with his microphone stand. Surprisingly, Buckley pulled it off without cheesing up the act too much. Enjoyable band overall, and they worked the crowd to their advantage. The lights filled the room once more, and it was time for another break.

The waiting for Killswitch was torture due to the sold out venue. Waiting in line, in the same spot, for almost 10 minutes just to go to the bathroom was a struggle, and getting a drink was absolute madness. Without forcing way into the main floor-where mosh pit kings and queens lay about in a broken pile-there wasn’t much else to do but sweat, get a beer, or wait by one of the exit doors to cool off whenever it opened.

About 25 minutes later, Dillinger Escape Plan, the Mathcore lords, took the stage. Mathcore is hit or miss, but for the most part, headbanging with a calculator; extremely technical metal with various influences from other music forms. In most cases, the music resembles pure sonic abrasions against the ear. In Dillinger’s case, this was not the exception, but the law. The lighting improved on this band’s set, mixing strobe with blue shades. Breakdowns fizzled into slight plucking of strings. The band was always extremely energetic, but the music, ranging from solid hard rocking, up-tempo pieces to blurry fragments of metal filled with blast beats and screaming vocals that bring the groove to an incomprehensible halt. The show’s speed kicked back up with Killswitch’s arrival.

Photo by Christine Bartolucci

Killswitch Engage‘s lead vocalist and Waterbury, CT native Howard Jones leapt into a sea of sweaty fans for fun up to three times during their set. His smile said everything: it’s truly rare to see such happiness from a band on tour, especially one that puts in 110 percent. Killswitch Engage is a band that is primarily comprised of members from the Connecticut/Massachusetts area, all of which felt extremely blessed to play at the Webster. Jones thanked the fans in the area because “It all started with you, New England.” before climbing back into the vocal seat, stomping through the stage, smiling while delivering smooth vocals with harsh screams.

One of the guitarists, Adam Dutkiewicz, was prancing around in a black cape and pants that were cut into strips. His knees bowed as if he were marching to his own oddball beat, and he really put a humourous feel to his stage presence. This unfortunately makes the band feel less serious and more slapstick. Dutkiewicz should leave the clowning to his obvious idol, Devin Townsend, who happens to be much better at it.

One original highlight, however, was the introduction of each member when the band came on stage. Bob Barker’s famous game show theme began playing in the background with an announcer saying each member’s name and telling them to “come on down!”

The pit was larger than most at the Webster; the stench of sweat and skin stronger with each inch towards the circle of slinging bodies and crowd surfing. Dutkiewicz called for a “Wall of Death” which was outlawed in several states across the country. The pit split into two walls, and upon the breakdown, the two sides clashed, fighting with fists and shoves for some sort of internal reward. The band’s reward, after closing the show with the Dio cover “Holy Diver,” was the short distance to bedtime after putting on a solid final show.

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