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Metal fandom knows about the crazy, multiple weekend lineups at Hellfest (many of the same headliners appeared in Oslo, a week later). The enormity of Wacken has been legend, for decades now. Across the globe, impressive, multi-day outdoors events dot the concert calendar, but quietly, unassuming, as is the Norwegian custom, Tons Of Rock has blossomed into a Wednesday through Saturday (yes, you read that right, four days!) international destination, populated by current superstars, as well as the biggest names of yesterday, across three stages. Well run, friendly and surprisingly clean "Tons" (as the locals call it) is an oasis in the glut of summer festivals. Rock and metal is hardwired into the Norge psyche, so Tons truly is a family endeavor, much like a county/state fair would be, back home. 

Beyond the amusement rides, imported beer tent (as well as wine, cider & mix drinks, even non-alcoholic adult options) and array of food trucks/stalls, of nearly every ethnic cuisine, there's also something for everyone, musically: G n R, Billy Idol together with former Sex Pistols (cheeky entitled Generation Sex), Pantera, Iggy Pop for the (grand)parents. Ghost, Nightwish, Powerwolf, Halestorm and Gojira for the younger set, with a 40 year retrospective filling out the roster. Everything from the darkest (local) black metal to 80s pop-metal icons. What a treat!

The three stages are of varying size: Scream main stage, Vampire and the tented Moonlight, all named after paintings by the nation's renown artist Edvard Munch. Typically, the two larger venues alternate activity, a short 15 minutes to leave one and reposition in front of the other, is amply for a diversion to the restroom and/or food/beer booth. There is typically two stages in operation, at the same time (providing a choice of musical perspectives) throughout the day. First band on, just after 1PM and the headliner concludes before 11 (residential area within "listening" distance). The larger areas each accommodate four bands per day and the smallest, five or six. So between twelve and 14 options, per day! Let's have a look (back).

DAY 1
Afternoon skies turn from gray to black, as the overcast let loose a disappointing, wind blown torrent of rain. However, everyone was buoyed by the prospect of three successive days of sunshine, to follow. Didn't help those playing/watching during the downpour, but the fans retained a sunny disposition, nevertheless. Electronics and water are not a good mix, so hunkered down in the press tent, hoping for a brief respite, to snap a few photos of Airbourne. The Aussies picked the right song, to start, "Ready To Rock". Cranking out their three-chord anthems, inspired by their most famous hard rock countrymen, bare chested frontman/guitarist Joel O'Keeffe (his brother Ryan, on drums) weren't about to let this local climate change rain on their parade, publicly avowing such, prior to "Rock n Roll Life". 

The wetness did require a few on-the-fly guitar swaps, to keep the music going, especially after he took a ride on the shoulders of a crewman (where have I seen that before?), into the water-logged gathering. Wasn't the only time, but throughout Tons, punters tossed semi-filled cups of beer towards the stage (more often hitting the fans down front, or unsuspecting photographers, in the pit). At about $10 a pop, seems quite a waste, but to each their own. "Too Much, Too Young, Too Fast" sees some synchronized movements from the guitars/bass. Stomping "Runnin' Wild" closes, O'Keeffe tossing a cup of brew back at the crowd and thanking the road crew. As the last strains subsided, so did the rush of water. Enough to to visit the other stage, but when fans depart the infield, in the absence of humans, an invasion of scavenging seagulls ensues.

Over at the Vampire stage was At The Gates, Tomas Lindberg having shorn the locks that usually protrude from beneath his cap. His tornadic stage presence was somewhat subdued, even utilizing the mic stand as a prop. No matter the visuals, the delivery was as frenetic as ever.  After a couple of newer cuts, including the opening "Spectre Of Extinction" and "To Drink From The Night Itself", it was on to a playthrough of the Slaughter Of The Soul album. Meanwhile, the Ferris wheel and 360 degree spinning rides operate continuously, in the rain, as did the Jumbotrons flanking the stage.

On paper, the idea of Billy Idol (and former Generation X mate, Tony James) joining forces with Steve Jones and Paul Cook (both of Sex Pistols fame/infamy) sounds like a winner. While fun, it lacked the firepower such personalities would imply. The video onstage began with a jumble of letters at the bottom of the screen. Gradually, they arose to spell the names of each member and ultimately, the band moniker, Generation Sex! Idol looked lean, fit and the least aged of the troupe. Jumped right in, with "Pretty Vacant", playing tracks from their respective careers, but there were a couple of surprises along the way. Pistols' "Black Leather" sees Jones go off on a wah wah solo, while their rendition of the Rolling Stones' "(I'm Not Your) Steppin Stone" seemed an odd choice (even though the Pistols covered it). 

Idol announced Generation X's "Kiss Me Deadly" as, "A dangerous trip through the London underground, in the 70s." A slower rendition of "Dancing With Myself", which most know as an Idol solo hit (but actually was recorded by Gen X), encapsulated the whole vibe: older guys, having a good time, playing old songs, but Idol frequently could be seen reading lyrics from the stageside teleprompter. As a reference point, late in their careers, when icons like Dio, or Lemmy, pulled out an old chestnut ("Holy Diver"/"We Rock" or "Ace Of Spades"/"Bastard") it retained the original vehemence. This performance never got into that headspace. "God Save The Queen" (45 years later and despite her recent demise) and Sid Vicious adopted Sinatra classic "My Way" did nothing to change that impression.

Injecting life into old tunes, ex-H.E.A.T. singer Erik Grönwall is a great fit for Skid Row. Young, hungry and energetic, the Swede was a fan before joining and has adopted to the aggressive, New Jersey mindset (and favorite four letter word!), at least onstage. Certainly didn't hurt, charging out of the gate with "Slave To The Grind". However, something's off in the vocal mix, as the first four or five songs made Grönwall sound as if he were singing through a megaphone/bullhorn. After a brief absence from the tour Rachel Bolan was present. "The Threat" and "Big Guns" zip by, before another blast from the past: "18 and Life". The overflow crowd stretched halfway back toward the other/vacant stage. "Piece Of Me" is another strong one, Erik in command. His asymmetric blonde haircut flops, as he headbangs. Remainder of the set peppers in the odd older tune. Speaking of odd, strange to still have The Ramones cover, "Psychotherapy" in the running order. Also odd, is the juxtaposition of the Skids and once, short-term, vocalist Tony Harnell (of TNT fame, to play two days later) on the same show. I certainly had to be one of the few attendees to ever witness Harnell front Skids ('15, Clark, NJ). Acoustic guitar comes out for "I Remember You", then "Monkey Business' gets it kicking again. The fans are sent away happy with a rousing "Youth Gone Wild" sing-along. 

Last band of the night was Guns N’ Roses, scheduled to play two hours & twenty minutes (27 songs). While highly anticipated (especially by the under 30 set, who missed out on the classic era), the Internet (and reports from other appearances) squashed some fans' enthusiasm, as expectations were set abysmally low, due to European clips/reviews of Axl Roses' vocal limitations. That said, the initial half dozen were more than passable, but after that, a noticeable falsetto warbling kicked in. Rose looked good: lost some weight, actively running around the giant stage, no hats, nor headbands and actually took off the dark sunglasses, for a stretch. Duff has pretty much looked the same for 40 years (lucky man!). 

"It's So Easy" starts, a tongue smacking pair of blue lips on the video screen, behind the band. Stage has a few steps up to the drum riser, but otherwise, everyone seems to keep their distance from one another. For Slash's solo, during "Bad Obsession", the rest of the band is cloistered together, stage right, as Rose runs up and down the three directional staircase. 2/3 of Appetite For Destruction will be aired tonight. "Welcome To The Jungle" begins with Slash gently jangling away.  Axl sidles up, next to the guitarist, and asks, in hoarse falsetto, "Do you know where you are?" On those 80s classic, Rose doesn't have to sing as much, the throng anxious to help out. Slash offers some slide guitar and there's plenty of cowbell. 

Sure the younger generation can say they saw GnR, but they don't have a reference point. Once upon a time, this was a nitro fueled, dangerous (always about image and aggro, more than quality of performance), but with the current incarnation, most of that is lost. To those under 40, that (apparently) makes no difference. They're just happy to see Axl, Slash & Duff on the same stage, playing songs they've heard on the radio/streaming for decades. "This is a song about community," is how Rose, minus shades, introduces "Mr. Brownstone". Almost a half hour later, it's another oldie, their cover of piano begun "Live And Let Die". The final word of the titular chorus sounding like the Axl Rose of old. "Rocket Queen" quickly follows and then "You Could Be Mine", the best old school stretch of the set.

The Strother Martin voiceover (from Cool Hand Luke), that intros "Civil War" is augmented by the image of a waving Ukrainian flag, to much applause. Crowd sings along, as they have throughout, but the softer/slower tunes emphasize the magnitude of their participation. The telltale notes to "Sweet Child O'Mine" (as used in Capital One TV commercials) practically cause a frenzy in the crowd. Everyone adds to the the chorus. Even though they're well known, "November Rain" and "Knockin On Heaven's Door", back-to-back, are a bit of a downer, coming right before the one-two, concluding punch of "Nightrain" and "Paradise City". By then, only the diehards are left (considerable lot), so sure they didn't mind. 

DAY 2
Initially anticipated as the strongest day, things took a hit when it was announced (the day before) that Nightwish would not play.  Never been a fan of Halestorm, only seen them once before ('16), but find it interesting that Lizy Hale (Red Lion, PA) and Taylor Swift (Reading, PA, about an hour's drive away), through music, present two empowering options for young women these days. That said, today, with the rose colored glasses and jagged cut guitar, couldn't get passed the fact Ms. Hale was a virtual doppelganger for JJ French (Twisted Sister). Sorry.  After opening "I Miss The Misery", Lizy took the mic from the stand, acting like a frontwomen (with guitar still strapped around her neck), for "Love Bites (So Do I)". For the bluesy "Wicked Ways", she lost the shades and jacket, singing from her knees, at the edge of the stage. Bouncy "Freak Like Me" has the guitar tandem, together, center stage. Prior to "Familiar Taste Of Poison", Hale confessed, "Tons Of Rock, you have me moist! At least half of you are upset I said that into the mic. Let me sing you a love song." Cue the minimalist track, the singer again genuflecting at the lip of the stage, sans instrument. As guitarist Joe Hottinger finishes out, Lizy goes off, for a costume change. When she returns, she's decked out in an orange motorcycle jacket. "Mayhem" utilizes some modern metal squelches, while "The Steeple" finale: "This is my church and these are my people," really has potential for a cross-over with current American country music.

Next up, a photographer's delight: Avatar. The fun started even before the band was onstage, as a hooded henchmen carried a large (albeit about a foot deep) yellow gift, complete with red bow and placed it atop the drum riser. He peaked inside, then removed the lid, as a child's helium-filled balloon, rose from the box. Next thing you know, lanky frontman Johannes Eckerström, he of the Joker meets Alice Copper face-paint, emerged from the box. A magical illusion and spectacular entrance. The band are all similarly attired, in old school military uniforms, guitarist Jonas "Kungen" Jarlsby's dreadlocks bouncing around wildly. There's fog, showers of firework sparks, the singer even feigns drinking gasoline, straight from a can (the kind used to fill your lawn mower).  Title track from this year's "Dance Devil Dance" begins. Love the presentation, but can never get my head around the changing musical landscape. Like many of the Swedish entries this weekend, Eckerström will address the crowd in his native language. The Norwegians understand the Swedish tongue (pun intended, give the frontman's antics), but for most, it's not a reciprocal agreement. After "The Eagle Has Landed", took off across the field to shoot a few shots of Canadian legends, Voivod, who were in the tented stage, concurrently, but returned in time to see the ubiquitous Lizy Hale join Avatar onstage for "Violence No Matter What". Rather than sit in her trailer all afternoon, might as well have some fun (and maybe earn a few brownie points in cross-promotion).

Not only did the Canucks offer a career retrospective, but many of the selections were lifted from the just issued Morgöth Tales CD (albeit an altered sequence), which hand-picks tunes from their long-running history. After some old school "Thrashing Rage" ('86), it was off to the craft beer tent. Initiated last year, Tons brought over microbrews, from Sweden, UK and Germany, as well as some homegrown varieties, to augment the tastes of the mass produced Hansa that was seemingly only a few steps away, regardless of where one was, throughout the grounds. With all the food (burgers, fish & chips, international cuisine, as well as popcorn, ice cream... Hell Dominoes and 7-11 even had locations!) and plastic drink cups, could be a recipe for environmental disaster. The Norse have been educated in personal responsibility and ecology, as a daily way of life. Thus, few simply throw litter on the ground, but rather walk to one of the many recycling receptacle, where the garbage is separated, by type. For those to drunk/lazy to make the short, environmentally friendly journey, there's an army of volunteers, picking up refuse, throughout the day. The only time there was a noticeable mass of waste, was directly after Pantera, who had the biggest crowd of the festival. Wishing to avoid a Hitchcockian influx of seagulls, it too was soon cleaned up.

Having attended Powerwolf's North American debut, almost four months to the day, was still eager to see these rising stars, outdoors, on a large stage. Having personally witnessed their rise, through the festival ranks, at home, in Germany, an open air gig remains an unique experience. Essentially a shorter version of the same set (NYC was a headlining solo gig, not a multi-band festival), the Wolves walk onstage, one by one (well, apart from the Greywolf guitar tandem), then commence "Faster Than The Flame", as a flurry of activity takes place: mostly the Greywolf brothers, atop small risers, either end of the stage. In the center, is singer Attila Dorn and the wildcard is Falk Maria Schlegel, often leaving his keyboard lair, in equal parts cheerleader and pantomime comedic force (in the spirit of Harpo Marx).

"Incense & Iron" unveils the Catholic thurible, while "Army Of The Night" see the guitarists switch places. A show of hands indicate the vast majority are experiencing Powerwolf for the first time. Typical call and response and/or audience participation segments are weighed down by such constraints. No matter, the Wolves solider on. Dorn instructs the assembly on how to finish off "Amen & Attack". Later there's a brief tutorial for the four fan-sung sections of "Armata Strigoi". The infield becomes a sea of thrusting fists, amidst the metallic rumble. Much like NYC, there are no changing backdrops, nor pyro today, but the main stage video board does allow for various images to be shown behind the band.  

There's still some kitschy moments, for the younger crowd, namely "Dancing With The Dead" and "Demons Are A Girl's Best Friend". The latter sing-along see Greywolf and Falk atop the staircase, as it begins. Kiddie portion over, it's back to straight ahead metal, with "Fire & Forgive". Cue the pre-recorded intro for the tongue-in-cheek "Sanctified By Dynamite", with Falk and Dorn kneeling, stage front, as both guitars are offstage. During, the diminutive keyboardist runs out front, waving an oversize PW flag. Many successful converts, they end with "We Drink Your Blood".

Neil Fallon and Clutch enter the stage nonchalant; no musical accompaniment, no big intro. The bearded singer acknowledge those in attendance as the one-guitar foursome churned out some groove, starting with "Slaughter Beach". It's 6PM and most of the early clouds have burned off. Rather than waiting for dusk (which in the summer months) won't come for like four more hours, precious Norge skin seeks shelter in the little shades that's available. The understated Fallon is an unlikely rock star (he'd probably deny he is one), looks more like a HS teacher than someone fronting a band that can play overseas, to thousands. Still, he rarely talks to the crowd and certainly doesn't use canned raps. Might go as far as asking, "How you doing," or today, explaining that Fu Manchu bassist Brad Davis is filling in. Near the end of the evening, Fallon straps on a second, slide guitar, for bluesy jam "Electric Worry".

Hadn't planned on seeing Mayhem, as their slot overlapped with Nightwish, but with the Finns nowhere to be seen, they were the better option than Madrugada, a heretofore unknown Norwegian rock act who filled in at the eleventh hour: sedate, mid-paced ‘70s AOR, from suit jacket wearing, deep voiced singer, who sounded closer to Dire Straits than hard rock/metal. It was not a like-for-like exchange, but what can you do on such short notice? At least I'm familiar with some of Mayhem's work and have seen them multiple times. Apparently I wasn't the only one, so inclined. Four severed pig heads, each on a tripod, lined the foot of the stage, which was "roped off" with barb wire.  Actually the porcine were similarly enveloped. A fifth swine decapitation set atop a centrally located altar, alongside a human skull and ornamental goblet. All set! 

From our perspective in the photo pit, couldn't even make out Hellhammer, ensconced behind a wall of drums, even though he was atop a high riser. In full make-up and spiked gauntlets, Attila Csihar motioned about, brandishing a cross of bones, as he wailed/railed. Mainman Necrobutcher watched over the crowd, like hawk, as they tore through red/yellow bathed "To Daimonion". The latter half would see the classic material unleashed, including a double shot off De Mysteriis Dom Sathanas (blue lit drone of "Freezing Moon" and "Life Eternal"), which is poised for a thirtieth anniversary, next year. Be prepared. Material from the debut Deathcrush EP still holds a place of prominence, ending the show. There's really nothing like Mayhem, even if it's in daylight, on a bright sunny day (organizers did house them in a tent, almost at the latest possible hour).

Although not the main stage, Behemoth improvised, erecting two elevated walkway, which allowed Seth (guitar) and Orion (bass) to get near the overhead lighting truss and look down on the crowd from 15 to 20 feet above. On the stage were the usual symbol strewn dais, including Nergal's double headed cobra home base. If that weren't enough obstacles for potential entanglements/pitfalls, the show was a firestorm, start to finish, including a pair of flamethrowers, acting like windshield wipers, crisscrossing the front of the stage in 150 degree arcs. Plumes of fire elsewhere, often at oblique angles. As the sheet sealing the stage from view drops, "Ora Pro Nobis Lucifer" is the first proper song. The potential of getting roasted keeps the usually active frontman/guitarist relatively stationary, although there are a few forays to the front of the stage, but like a kid toying with a sprinkler, Nergal gets back to "safety" before getting "wet", although here the consequences would be much more dire.

"Malaria Vvlgata" is followed by the mighty "Conquer All". In his snake coiled abode for much of the opening trio, the increased prominence of both Seth & Orion is evident, practically spotlight moments for both, coming out from under the shadows of the ubiquitous Nergal. New single "Once Upon A Pale Horse" begins as a clap-along, but the crowd soon loses momentum. The two guitarists face each other, stage right. Backs to the crowd, everyone begins "Daimonos" facing Inferno, atop his raised drum mound. All leave the stage upon its completion, only to see Nergal reappear with red robe and thurible (religious incense burner). Inferno holds a flaming torch aloft as everything around the drum riser level bursts into flame!  Cue "Versvs Christvs", where Nergal grabs the mic and sings directly into the Jumbotron camera, then retreats to his two-headed sanctuary. Once again an empty stage, as smoke erupts. The other two are perched on the elevated tier and the frontman is back to his original outfit, for the mid-tempo "Ov Fire And The Void". Seth & Orion return to their overhead positions as Nergal displays his headdress, during “Bartzabel". 

Another exodus of the stage, as the pre-recorded tolling of a bell and voiceover herald "Chant for Eschaton 2000". All, having bitten the blood capsule (results dripping from the chin), return, as does the firestorm, in earnest. Striking out on his own, Orion (who can probably take care of himself pretty easily, given his muscular frame) ventures into the photo pit and presses close to the fans at the barricade. Not sure how much of that will be incorporated in the upcoming North American tour, in support of Danzig, but Behemoth are quite spectacular!

Even before the pyro laden performance, Behemoth were set to be my headliner, despite Volbeat finishing the night. Gave Michael Poulsen's troops (including new guitarist, earning local cred with Darkthrone t-shirt, but still too focused on his strings/fretboard) more than a cursory look-see and a final chat with friends, before heading out. Johnny Cash's "Ring Of Fire" was up early, from the Danes. The likes of "The Devil Rages On" captivated many of the volunteers, who were toe-tapping, with one eye on their responsibilities, the other, on what was transpiring onstage. 

DAY 3
Another strong day in store, the earlier portion dominated by Norwegian bands, the later part, international heavyweights. Speaking to their countrymen in the native language (although the lyrics are in English)  Audrey Horne had a huge crowd. Not sure why the catchy rock sounds haven't caught on, to bigger international audiences. Sort of a rag-tag assembly, onstage: although second fiddle here, guitarist Ice Dale (Arve Isdal, a veteran of many Enslaved platters, as well as Abbath's one-off, I) might be the most recognizable figure, although singer Toschie, in suspenders and rainbow sweat band (with matching socks!) was quite a visual. When was the last time you saw anyone outside of a punk/rockabilly band sport suspenders? Add the bald, bushy bearded bassist and lo-slung, lead guitarist Thomas Tofthagen (something of a stringy blonde hair, young Jerry Cantrell appearance), makes it fun to photograph the Bergen quintet.

The two guitarists often square off against one another. "This Is War" is up early. On "Pretty Little Sunshine", Ice Dale strolls center stage and plays his axe vertically. Then the bassist takes a turn. By the end, it's twin leads, both guitars hoisted aloft. "Ghost stole this song from Iron Maiden," says the singer of today's headline, "but we're gonna steal it back." Cue "Phantom Of The Opera", the three strings across the front of the stage, to start. "Devil's Bell" begins with twin leads, while "Blaze Of Ashes" utilizes three part vocals (Isdal the odd man out). The concluding "Waiting For The Night" sees the crowd singing the chorus, a cappella, to introduce the song! If unfamiliar with the music, do yourself a favor and check out Audrey Horne, maybe the live disc (named for the aforementioned track) to get the full experience.

Some thought the demise of Him was the end of mastermind Ville Valo, but no, the Finn is back with a moniker comprised of his initials: VV. Not much has really changed, about half the set was material from his former outfit. Taking the stage in bright sunlight (much to his chagrin), with a laugh he feigned contempt for the sun. As soon as he ventured onstage, threw a hand to the heavens, in an attempt to block the powerful rays. Guess vampires can see the sun, after all and "Run Away From The Sun" seemed an appropriate selection! Decked out in black suit coat and chauffeur's cap Valo was the most dapper attired musician of the fest. The Finn was basically a prisoner of the small outcropping that had been added overnight, to the main stage, to accommodate Ghost. Little room to move, his band was set up entirely within its confines. The slow melancholy tracks are certainly not a summertime recipe, although, moments recall old Blue Oyster Cult. The strobes, colored lights and fog machine do not have the intended effect at 2:30 in the afternoon.

Vreid was not on my radar until Sephora Henderson went off on her own to check them out on the 70K cruise and came back with a positive review. Here, in their homeland, made even more sense to get acquainted. Twin guitars and keyboards, they began with a b&w video of traipsing a coffin through the snow, delivering it to the waiting Grim Reaper. Literally with a bang (explosion), they were off, singer/guitarist Sture rotates between the two mic placements. The smell of gunpowder never dissipated, as the band utilized flames, compressed CO2 and fireworks throughout. For the first song ("Into The Mountains"), the imposing figure of death stood sentry, on the video wall behind the band. 'Shadows Of Aurora" is up second. The swirling guitars of "Flammen" is accompanied by a conflagration, real and on video: 8 fiery plumes rise simultaneously across the stagefront. Another explosion and a thick black eruption of smoke (think skywriting Wicked Witch in The Wizard Of Oz film) envelopes the stage, temporarily obliterating the musicians from view. The music is deceptively melodic, not vile: more rock and metal. "Noen å hate" (Someone to hate) is accompanied by WWII battle footage. They end with "Pitch Black". 

Been ages since I'd seen/interviewed TNT in a Cleveland hotel room (although, as mentioned earlier, had seen their American singer, Tony Harnell, front Skid Row, back in 2015) and certainly never witnessed a "home" gig. Ronni Le Tekrø looked like he was a member of Angel, head-to-toe white outfit. The arms and cuffs of the shirt were adorned with feathers. He had a headband and bell bottom flairs. He kept to the back of the stage, allowing Harnell (initially with leather jacket, but in the heat, switching to shirt sleeves, after two songs) to communicate with the crowd. While nearly half the set was from the Eighties, only the concluding "Seven Seas" (great tune!) was off my favorite album, Knights Of The New Thunder. 

"As Far As The Eye Can See" was met by a thunderous roar. Despite reports of vocal trouble at other events this summer, Harnell nailed the sustained high on "She Needs Me". From the '04 release, My Religion, came a heavier "Invisible Noise", repeatedly blowing off fiery plumes, in time to the staccato rhythm. Harnell remembers, "In '84, I toured with these guys for the first time. It was winter and got to see this city." Cue the slower/ballad "Northern Lights", complete with patented Tekrø solo. "Forever Shine On" proves there's still plenty of top end in Tony's voice. There are keyboards and a pair of backing female singer, unnoticeable until "Intuition". Unbeknownst to most, during the guitar switch, Tekrø is handed his instrument by Zakk Wylde, a big fan of Ronni's work. "10,000 Lovers (In One)" is another blast from the past before the culminating "Seven Seas". So glad to have been part of this triumph.

Speaking of Wylde, he was there with Pantera, who would have a special guest of their own. Concentrating solely on the Nineties albums (one each from the albums that bookend that decade; the title track off Cowboys and "Suicide Note Pt. 2 from Trendkill), it was essentially an abbreviated version of Live 101 Proof, down to a similar song selection, running order and groupings. Everyone seems to have their opinion about the (de)merits of labeling this incarnation as "Pantera," minus the founding Abbott brothers, so I'll focus solely on what was presented, having seen the band repeatedly, back in the day.

In North America, through the mid-‘90s, apart from Sepultura (who were undergoing their own morphing), there weren't a lot of metal tours, thus Pantera were a perennial attraction. While I personally feel they jumped the shark after Far Beyond Driven, fueled by rampant substance abuses and toxic egos, there's no denying what came before. Here, a video homage to the late drummer/guitarist brothers was displayed before the show. In Oslo, Phil Anselmo made a couple attempts to honor his fallen bandmates and Charlie Benante's bass drums are emblazoned with the visages of Vinnie Paul and Dime. By the time "A New Level" commenced, the biggest crowd of the festival had amassed in front of the Scream stage, the lions' share seeing the band for the first time. Same will be the case in North America, later this summer.

"Mouth For War" has Wylde ripping on a blue guitar with lightning strike paint job. For the most part, Anselmo stays within a few square feet near the center of the stage, wandering with mic. It is Rex Brown who moves the most. Formerly all but an afterthought, with the personalities in the original formation, he's now out front, even adding backing vocals, a much more prominent role, as the lone survivor, besides Phil. "Strength Beyond Strength" is followed by "Becoming". Flaming plumes greet "I'm Broken", Brown trading off vocals with Anselmo. Successive explosions of flame cascade across the top of the guitar cabinets! The purple and green lit squelch of "Suicide Note Pt. 2" is dedicated to Satyricon & Voivod, a couple of the guys present. Zakk kicks off blue illuminated "Five Minutes Alone", the crowd singing the titular chorus. 

Come "This Love" there's eruptions of fog onstage and during the guitar solo, the bassist ventures out front, a locale he'd never have attempted in the heyday. "Fucking Hostile" is a lovefest. "Walk" has the most vocal support, tens of thousands shouting "Respect" and thrusting their fist skyward. Anselmo is joined onstage by Satyr (from the aforementioned Norse black metallers) and repeated flames seemingly punctuate each mention of the word "respect." "Cowboys From Hell" again sees the Marshall stacks ablaze, bringing to a close a mutually beneficial experience: re-establishing the Pantera name and appeasing those that missed (weren't around) for the classic run.

Would be hard to compete with what transpired, but Gojira have their own, diehard fan base, although they did opt for plenty of fireworks (or at least fire). "Born For One Thing" kicks off, with flames across the stage. Aqua lit "Stranded" sees an ocean of streamers shot overhead of the crowd. They uncoil and gentle drift down, onto the fans. After the drum solo (can we do away with those at festivals, please? There's only a limited time onstage, as it is.) red lights flicker for "Another World".

Speaking of confetti and other things launched towards an adoring crowd, Ghost were the day's culminating headliner. Depending upon where one entered the picture, the choice of "favorites" is bound to differ. Having originally caught them in Europe, as part of the Finnish Metal Expo (Feb '11), with the limited mobility of the evil Pope (later referred to as Papa Emeritus), my perspective is undoubtedly not the same as those who just recently discovered the hyperactive & flamboyant "young" buck via TikTok. That said, there's still a lot to make even longtime fans smile, namely the subversive irreverence coursing throughout the entity known as Ghost. 

In content, many similarities to last year's North American tour, even though there's been at least one release since then (that trek began before Impera was even out). At Tons, said record was never too far away, seemingly returning to Impera every other selection, throughout the evening's baker's dozen, beginning with "Kaisarion". Most striking, for old-timers, like myself, was the absence of mainstays "From The Pinnacle To The Pit" and "Ritual". So what was offered?

Lively "Rats" sees a trio of Nameless Ghouls across the stage, headbanging. By "Cirice", our hero, Tobias Forge (now in Papa IV guise) descends the staircase, with 70s Gene Simmons bat wings affixed to his back. "Hunter's Moon" is over in a flash, followed by "Watcher In The Sky" which is much more a Ghoul vehicle, than a Forge/Papa moment. Red/yellow tinted "Year Zero" see Forge outfitted in ornate robe and that ecclesiastical version of a tri-corner hat. Plenty of fog erupts from underground, as well as repeated bursts of flame. One Ghoul even has the audacity to play in the center, upstaging Papa!

During "Miasma" stagehands wheel out a black sheet covered box, on a hand truck. The sheet is removed, to reveal the saxophone playing Papa Nihil, in a Plexiglas coffin. After a short blast of the brass, he exits, as he entered. Classic "Mummy Dust" is sandwiched between the kitschy "Mary On A Cross" and "Kiss The Go-Goat". At least the Metallica cover is nowhere to be heard. Another costume change, in shimmer neon blue jacket, Papa leads a sing along for "Dance Macabre", ending with twin confetti cannons discharging colorful bits of paper. There's one track left, but before "Square Hammer", Forge says, "If we play one more song, you have to promise to go home. If you haven't found some to f&ck, then you can go home and f*ck yourself. Do we have a deal? Go f&ck yourselves." Sly.

DAY 4
Going in, there were only a couple of bands interested in covering, namely Candlemass, In Flames (who were playing at exactly the same time), Hammerfall and, in a fit of morbid curiosity, Iggy Pop. Under those circumstances, there are two tacks one can undertake: A) arrive late (boo!) and only see the aforementioned, or B) Investigate some heretofore unknowns. I had seen Stage Dolls (all-male, despite the moniker) as a 3-piece (onstage today, augmented by keyboards), on a short-lived promotional foray into North America, back in the late ‘80s. In the hair metal era, US labels looked to capture lightning in a bottle, a second time, looking for another TNT (aka, a successful, yet unheard of Norwegian act). While the easy-going sounds have always meant more overseas, outside the band, guitarist/singer Torstein Flakne (still bandmates with original bassist Terje Storli) has had a hand in some of the country's most successful compositions. Described to the layman, the catalog is a mix of Bryan Adams/Donald Felder (Eagles) type (occasionally touching on hard) rock. "Stand By You" and "Love Cries" start. The ballad, "Hard To Say Goodbye" begins with sporadic keyboard notes and becomes an audience sing-along. "Commandos" attempts to flood the stage with fog, but just a quickly, the winds whip it away. "Wings Of Steel" and "Love Don't Bother Me" offer more safe, family fun, to start Saturday.

Since it is a day off, lots of toddlers, accompanied by one or both parents, are in attendance today, as well as scores of pre-teens and even the occasional bottle-fed babe-in-arms! Still, The Dogs were quite popular. An outfit fronted by somewhat controversial comedian Kristopher Schau, they all wear black barrister/lawyer outfits. Punky, yet tuneful, the likes of "I Don't Wanna" have that sneaky B52's keyboard counterpoint, running through it. The same high pitched keys mimic a harmonica, on "Monumental Times".

As mentioned earlier, it was a Sweden vs. Sweden semi-final, when In Flames (on the main stage) faced off against Candlemass, in the tent (with just a 15 minute grace period that allowed me to photography both). Since the former tours North America more frequently, opted for the latter, which I explained to guitarist Björn Gelotte, while we both watched Hammerfall, that evening. As usual, C-mass offered a career retrospective, but managed to sneak in one newbie, the title track of Sweet Evil Sun. Beginning with a bouncy "Mirror Mirror", it set a playful tone, the right atmosphere for a summer festival. For the initial couple of songs, vocalist Johan Längqvist kept his black motorcycle jacket on, but the humidity inside the tent soon became too much and ditched the leather. Is it me, or does this guy look like Gandalf, in training? 

Saw them twice last year, but there's much more interplay from Längqvist, especially with lefty guitarist Lars Johansson. "Bewitched" gets the fans into the act, lungs aired loudly. After "Under The Oak", mainstay/bassist Leif Edling, looking professorial, with long hair and eyeglasses, stepped forward and said, "We don't have much time, just 50 minutes, so we're going to speed along, which is something strange for a doom band." Cue "Dark Are The Veils Of Death", off Nightfall, an album which they are planning to play in its entirety, next March at Hell's Heroes, in Texas. Johansson cranks away and he's joined by plaid pants fashionista Mappe Björkman. A "whoa whoa" intro greets the punishingly heavy "Crystal Ball". Mappe has one canvas hi-top sneaker atop the wedge monitor, side opposite, Edling plays from a crouch. How old are these guys and where is Sweden's fountain of youth?

A rumble of bass kicks off the spirited segment, as Johan leaves the stage, eventually returning to complete that heavyweight. Edling, bass held vertically, and the singer, are center stage, to kick off "The Well Of Souls", the guitars on the flank. The classic downshift leads to a buzzing bass. Wonderful! "A Sorcerer's Pledge" segues into clap-along "Solitude", a crowd of fists punch the air, in time to the music. Special, long may they reign.

Puscifer is a Tool offshoot, even wackier than the original. Between tracks, there's pre-recorded clips. One claimed they were not FBI investigators of UFO phenomena, another mentioned that late Plasmatics' icon Wendy O. Williams was an alien, who faked her death and had reassignment surgery, to become Maynard James Keenan (aka Tool mastermind). OK? Takes all kinds... Continuing to walk around, saw two (competing?) groups of guys: one team had each dressed as buckets of popcorn, (exploded kernels belted around the waist), the other, slices of pizza (decorated triangles across their chest). Speaking of snacks, sukker spin sounds suspiciously like a rigged carnival game, but is actually Norwegian for cotton candy (sukker meaning sugar).

The sideshow atmosphere seemed the right time for Iggy Pop. 76 years young and still irreverent, topless and jeans saggy. The show actually begins with lone female guitarist dragging a bow across the six strings. Dogs bark and the mainman arrives, with a backing brass section (trumpet/trombone), for slightly geographically in-error "Five-Foot One". Come "Modern Day Rip-off" the wireless mic is tucked in, at the waistband. Highlights of his 75 minutes onstage? The lineage to the punk movement, "Raw Power", which is up early. Pop asks, "Know these are dangerous times, but if you saw me hitchhiking, would you pick me up?" Cue horn embellished "The Passenger". "I'm Sick Of You" is followed by "I Wanna Be Your Dog", the crowd spontaneously breaks into the titular phrase. Beyond the title, "Search & Destroy" displays the pathway to punk and proto-metal and he ends with "In A Frenzy".

8:20 PM, but still bright sunlight. Had the choice between the Viking ritual Wardruna (outdoors) or Hammerfall (in the tent). Should have been the other way around, eh? In terms of atmosphere and magical moments, maybe if Wardruna were in a church or graveyard, with special lighting (or at night), but a festival stage? Nope! Under the big top, the Hammers played the same set witnessed throughout North America, on the just completed dates with Helloween. The difference was the size of the crowd (the roar echos inside). Despite local assertions that "this type of music doesn't do well in Norway," people spilled beyond the confines of the overhead canvas. In fact, I guarantee they played to more fans, in 1+ hours than they did in the entirety of the solo gigs, on this continent, combined! Needless to say, the guys were ecstatic. Rarely have I seen founder/guitarist Oscar Dronjak (already a virtual jack-in-the-box, onstage) so lively. The momentum from his hurky-jerky motions, threatened to throw the lanky blonde guitarist off balance. "Any Means Necessary" comes on the heels of opening "Brotherhood", but reactions really take off for "The Metal Age". Dronjak unveils his Thor's hammer designed guitar on "Blood Bound". 

Singer Joakim Cans plays to and directs the audience masterfully. At one point, not too graciously, he and the guitarist nearly run into one another, face first. Crisis narrowly averted, they continue to criss-cross the smaller than usual size stage for "Renegade", accompanied by strobes and plenty of headbanging, both sides of the barricade. "Last Man Standing" gives way to the Crimson Thunder medley, the guitarists (Dronjak and producer/musician Pontus Norgren) initially switching sides, for the instrumental section. Fan fists are flying, even before a prompt from Oscar. "Let The Hammer Fall" sees old friends Joakim and Oscar, center stage. The singer points out the crowd and then feigns punching the (WWE wrestling loving) guitarist in the face. Dronjak eats up the opportunity to play along, as Pontus handles the solo. "(We Make) Sweden Rock" meets with approval, despite the tongue-in-cheek rivalry between the two countries, while Cans sings from his knees, at the lip of the stage. Introduced (and concluded) a cappella, "Hammer High" sees the return of Dronjak's hammer shaped axe, before ending with a rousing sing-along, "Hearts On Fire". Great festival band.

Final gig of the festival was Norwegian vocal Kvelertak, a youngster mix of thrashy, pop-punk and party rock (dubbed them the Norge Andrew W. K.). Not my thing. Seen/heard enough, for one extended weekend. See you next year?

Early bird tickets for Tons Of Rock 2024, to be held June 26 - 29, and more information about both current and future events can be found at tonsofrock.no.

More Tons Of Rock 2023 coverage:
Day 1
Day 2
Day 3
Day 4