As Spoken’s rather short set (also typical for opening bands) progressed, the fans really started to get behind Spoken, however. As typically happens with opening acts, the venue was still filling up, the people were tentative and unengaged for the first few songs, and I couldn’t see too many people singing along. Though I had never heard of Volbeat (they sold out the show, so they are apparently a big deal), it was apparent that most of the crowd was seeing Spoken for the first time.
In many ways, he noted, Spoken really is the “unknown” opening band on this tour.Īs the show started, I found this to be very true. With the new album and playing with bands they never have in the past, they’re now reaching a crowd that’s never heard of Spoken before. Scoop talked a little about how, for the band, this was a new day. Prior to the concert, I talked with “Scoop” (Guitar for Spoken) a little about the show and mentioned that some of our readers were thinking this was a headlining affair. In fact, as Spoken finds themselves at a point of redefinition in their careers, what many likely expected from this tour have been flipped on its head. I think this sentiment was shared by many, not realizing that it was actually Spoken supporting Volbeat on this tour. When we first posted Spoken’s upcoming tour schedule, there was a comment from “Phil Metalhed” that he wished Spoken had chosen better supporting bands. Venue: The Diamond Ballroom, Moore, Oklahoma It’s not revolutionary, but Rewind, Replay, Rebound doesn’t sound like Volbeat’s last day under the sun in the slightest.Tour: Volbeat headlining tour (no official tour name)
It’s hard to argue with their light touch: comical track titles such as Pelvis on Fire tell you all you need to know about how seriously Volbeat take themselves, while the album’s guest list – Slayer guitarist Gary Holt, Clutch vocalist Neil Fallon and the Harlem Gospel Choir – speaks to their eclectic nature. There are splashes of sax and 1950s piano on the furiously fun Die to Live, while acoustic ballad When We Were Kids showcases their more tender side. Fist-pumping guitar riots such as Sorry Sack of Bones find them doing little to disrupt the formula that gave them such success, reaching instead for more face-melting guitar solos, huge pop hooks and Metallica-indebted vocal wails. It’s a sound that’s made them a rock institution in their homeland: last year, they played to 48,000 people in Copenhagen’s Telia Parken, the nation’s biggest ever headline show by a native band.
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