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In the decades of Pantera's absence, Lamb Of God filled the void, with a similar style of no-holds-barred, yet technical bludgeoning. Randy Blythe (especially) took the frenetic, angry frontman mantle tossed aside by Phil Anselmo, and ran with it…only right they open for the Cowboys's return. Definitely Boys Night Out, 20 & 30-somethings who missed the original incarnation, now interested in just witnessing the songs live (regardless of line-up) stood toe-to-toe with their fathers/grandfathers, who were there, the first time around. A sea of hard partying, bald/balding, pudgy, Eddie Trunk look-alikes... and then there's the old-timers!

Amazing, that in the week Wacken had to contend with unprecedented weather (making major concessions on the fly), they still managed to accommodate the guests, yet Freedom Mortgage Pavilion couldn't figure out how to deal with 14 photographers in the photo pit. Let's be frank, if the whim of one individual can banish everyone to shoot from the soundboard (in the middle of the arena) and thus countermand the needs/wishes of publicists, labels/management (negating days of their hard work), then they weild the power to come up with an equitable decision. We need less corporate directives and more humane solutions. We have jobs to do, too. Deemed too many photographers, rather than stagger half the people, the inept (so-called) chief of security, a 28 year veteran of the venue, was unable to adapt...wonder how effective he'd be, overseeing everything from the parking lot? I've seen overseas festivals handle almost 100 photogs, each getting at least 1+ songs access. Come on Live Nation, get a clue (and/or employees capable of making informed decisions, not what is merely expediently "easy," self-preservation). The artists would appreciate it too.

Initially ensconced behind a curtain, which once dropped, the Lambs feasted on the whites of the audience eyes, and BANG, it was on! Seemingly shot from a cannon, Blythe began his concert-long hike: one side of the stage, to the other, on a riser, off, shouting his head off, the entire time. "Memento Mori" begins. From the back of the stage, robotic blue/white searchlights are trained on the crowd, at irregular intervals. There's lots of steel, especially Art Cruz' drum riser, flanked by a pair of triangles replicating the symbols from the Omens album artwork. A backdrop of the entire painting, flies behind the band.

July 4 was almost a month ago, but no one told LOG, as a firework display ensues, on a red lit, fog shrouded stage, to start the well-known "Walk With Me In Hell". Afterwards, the lighting turns yellow, like tracer fire, laser focused into the heart of the audience. To drive the point home, Mark Morton is poised, foot up on the wedge monitor, and hunched over, seemingly aiming his guitar, like a machine gun. Recently shorn of his career defining dreadlocks, Randy Blythe is still mental, scaling the riser, then leaping off. Unlike the Biblical Samson, the haircut hasn't sapped any of his power (nor fire). However, he looks more the ranting street preacher, than metallic icon, but I digress. At 52, he might be near the median age, in-house, tonight, but there's a lot of people counting on his continued participation (They can ill afford an injury). Be careful.

The heavy sludge of "Resurrection Man" follows, more icy blue illumination. Later, eruptions of compressed carbon dioxide explode across the front of the stage. "I see you fuckers, on the lawn," bellows the frontman, who dumps a bottle of water, over his head, once the song is over. "Fuck shit up," he retorts, prior to the staccato riffs of "Ditch", where the red and deep blue/purples are interspersed with the same pendulum motioning white spotlights, from earlier. It's about halfway in and the guys opt for a breather/beverage break, so "Desolation" kicks off with brief solo from Cruz, the rest of the band offstage. Upon their return, they sound meaner/angrier than before. Blythe asks the crowd for "A big Ric Flair," and they respond with the NWA wrestler's trademark "Whoo!"

Bathed in blue/green, "Ruin" also sees four columns of compressed carbon dioxide erupt skyward, along with pyro. Blythe demands, "Horns Up!" as "Contractor" kicks off. It ends in another firework display, shooting across the stage. Purple, with plenty of strobes and blue streaks, for "Laid To Rest". Speaking of lighting, appropriate namesake choice for the closing "Redneck", which was dedicated to fallen Pantera bothers, Dimebag and Vinny, as well as Testament vocalist, Chuck Billy, who was in the house tonight. At one point the singer mocked, "Did you (guys) develop asthma? Let's hear it!" Priceless. 

Stunning visual and sonic barrage. See for yourself, when they venture nearby.