By Mark Gromen

The 2012 version of Dave Mustaine's resurrected Gigantour traveling cavalcade kicked off January 26th at the Susquahana Bank Arena, in Camden, NJ, which is just across the Ben Franklin bridge from center city Philadelphia (where LAMB OF GOD was playing simultaneously, siphoning off a number of the younger headbangers). Normally home to the multi-band extravaganzas that criss-cross North America throughout the summer, this time the venue closed off the lawn seating, for a fully enclosed experience.

Fresh from a short acoustic in-store appearance, the day before, LACUNA COIL opened the evening, as many struggled to get out of work early enough to change into denim & leather, grab a beer and be in their seats before the Italians hit the stage. First night acoustics, the sound man had yet to dial in the appropriate sounds for his half empty cavernous pit. While not strobes, a full color spectrum of lights flashed endlessly. Cristina Scabbia was initially in all black, straight jacket ties hanging down. Later, she removed the jacket revealing a red long sleeve under suspender pants. With male vocalist Andrea Ferrero (who still looks like the bastard child of Dave "FOO FIGHTERS" Grohl and short-lived '70s comic Freddie Prinz, Sr.) in red t-shirt beneath black vest, they looked like Raggedy Ann and Andy! The band showed plenty of synchronized moves: headbanging and jumping as a unit. The short set predominately featured new Dark Adrenaline material, including the first airing of a staccato mid-90s sounding 'Upside Down'. Deep blues, fuscia and purple (almost fluorescent black light), 'To Kill The Light' starts with big open chords, Scabbia seated on the monitor at the front of the stage. Apart from the chorus, it recalls pre-Rick Rubin Cult, or Mission UK. 'Trip The Darkness', which kicks off the new disc, is a good song, but tonight was a mess of electronic effects. They didn't do themselves any favors by omitting classics like 'Heaven's A Lie' and 'Senzafine', as they're not going to win many new fans (especially in this age group) on the strength of Dark Adrenaline.

VOLBEAT featured legendary guitarist Hank Shermann (MERCYFUL FATE) who made his live debut with the Danish metallers. No less than two minutes in, frontman Michael Poulsen was already demanding people make noise. Come on, do something first! The lionshare of this crowd had no idea who Volbeat was, let alone a nearly two decades old act like Lacuna Coil (who played Philly's North Star bar, back as '03). Witness a guy in Deathklok t-shirt talking about OTEP and how Lacuna Coil is a heavier EVANESCENCE. Shut the fuck up! The Danes lively music, previously heard in the club setting, as well as the enormity of Wacken, wins people over with its LIFE OF AGONY meets DANZIG at the Grand Ole Opry melody. As if to drive the point home, they cover Johnny Cash.

With six Marshall cabinets stacked either side of Mikkey Dee, who was perched five feet in the air, and "The World Is Yours" (umlauts over the O) banner draped from the drum riser, searchlights and air raid siren herald the arrival of Lemmy, tearing into an opening (!) 'Bomber'. No easy stroll onstage, nor announcement of "We are MOTÖRHEAD and we play rock n roll," as is often the case in the clubs. Phil Campbell (guitar) in Panama hat, Lem in Civil War chapeau and yellow light trained on Dee's blonde mane, continue with a second surprise: 'Damage Case', followed by 'I Know How To Die' and 'Metropolis'. Gotta love Lemmy, but he's surely more animated at his favorite slot machine or video game than onstage tonight. When the time comes, he could be replaced by a gravel throated Chuck E. Cheese style animatronic robot. Throughout, the stoic bassist remained in the shadows, Campbell rarely venturing to his side. In fact, it was the guitarist who did most of the talking, although Lem did introduce "an old song," namely 'Over The Top', which preceded 'The Chase Is Better Than The Catch', the guitarist with his foot on the monitor. 'The One To Sing The Blues' goes into a short Dee solo, followed by 'Going To Brazil'. 'Killed By Death', 'Ace Of Spades' and 'Overkill' triumphantly end the evening. For some, that WAS the end, as a certain percent of the audience headed for home, after Motörhead.

With a black curtain hiding the stage, the Mega four took their positions. When the curtain dropped, there was Dave Mustaine with double neck guitar, seven double stacks of amplifiers, with dual heads. The Vic Rattlehead mascot was not only emblazoned on the guitar body, but superimposed on scrims behind Dave Ellefson (bass) and Chris Broderick (guitar). Steps lead up to drummer Shawn Drover, digital Jumbotron above his head, capable of displaying band logo, album artwork and other visual effects. That infamous Mustaine snarl was evident throughout 'Trust', as the curly haired ginger (almost) smiled for the photographers. Apart from the outfits, could envision Mustaine doing the same thing back in '83. 'Hangar 18' was up next, to an approving roar from the crowd, followed by 'Sweating Bullets'. Junior often stood alone, behind him the guitarists meet at the drum riser, which is where he stands, bathed in blue, as an extended solo begins 'Dawn Patrol'. Broderick (who Dave now freely admits is the better player) is given plenty of face time, but make no mistake who's calling the shots. 'Public Enemy #1' showcases a light show metalheads could only dream of, most playing in dingy clubs with a single low watt bulb and no gels. Probably how these guys all started out too, back in the day.

The middle of the set is more recent history ('Poison Was The Cure' 'Whose Life Is It Anyways', 'Guns, Drugs & Money'), sort of notable for what WASN'T in the set, but the closing run of 'A Tout Le Monde', with major crowd sing-along that featured Lacuna Coil's Cristina Scabbia on guest vocals, 'Symphony Of Destruction' (again cue the audience participation chorus), the proper set closing 'Peace Sells' and the lone encore: 'Holy Wars...The Punishment Due' sent the masses home away happy!