REVIEW & PHOTOS: PANTERA @ ADELAIDE ENTERTAINMENT CENTRE
From the bone-crushing aggression of ‘Mouth for War’ to the haunting beauty of ‘I’m Broken’, each song was delivered with unwavering aggression and passion.
Words & Images by Mike Lockheart
In the country as part of Knotfest 2024, Pantera played their only Australian sideshow in Adelaide on Tuesday. Having reformed with a new lineup in 2022, this was the Texan ‘Cowboys from Hell’ first Australian concert since 2001. And as Pantera decimated the ears of those in attendance at Adelaide’s Entertainment Centre, the four-piece left fans with no doubt they are still a force to be reckoned with.
Sydney-based rockers Black Rheno opened proceedings and put on a riotous showing, but it was Melbourne grindcore stalwarts King Parrot who set the tone for the evening. A favourite of Pantera frontman Phil Anselmo, King Parrot had fans headbanging along with their testosterone-fuelled intensity, gnarly singalong metal anthems and some of the finest guitar riffs to ever reverberate around the Entertainment Centre. King Parrot’s set was both guttural and comically colourful, with a lineup consisting of imposing but likely gentle giants who commanded the crowd with a fan-friendly set of cacophonic ragers.
The sludgy opening guitar lines of Pantera’s ‘A New Level’ roared from the speakers to let the crowd know they had arrived. Hidden behind a dramatic front curtain that suddenly dropped to the floor, the quartet were revealed in all their metal glory, sending the crowd wild. The nostalgic yet cathartic hook and howling roar of Anselmo beckoned an immediate charge of fury in the mosh pit. Anselmo’s voice throughout the night was remarkably resilient despite the intense abuse one assumes it must go through given the man’s myriad musical projects. Indeed, Anselmo’s earnest intensity was a sight to behold, bringing a renewed vigour to the band’s bonafide metal classics some 30 years later.
The setlist, a relentless onslaught of steely groove metal classics spanned Pantera's illustrious career, leaving no doubt as to why they are hailed as one of metal's greatest bands. From the bone-crushing aggression of ‘Mouth for War’ to the haunting beauty of ‘I’m Broken’, each song was delivered with unwavering aggression and passion, showcasing the band's unrivalled mastery of their craft, especially in regards to whipping up a frenzied audience who were quick to let loose at Anselmo’s every command.
Zakk Wylde’s distinctive wah-heavy, pinch-harmonic-laden guitar playing was, to an extent, reigned in as he lovingly recreated and celebrated the rightfully lauded playing of late Pantera guitarist and close friend “Dimebag” Darrell Abbott. Motioning to the sky to emphasize some of the most exhilarating moments of their music, he was an utterly captivating figure to behold. His passion for Pantera’s classic back catalogue was evident with every lick, solo and riff he played.
In equal measure was Anthrax drummer Charlie Benante’s contribution to the performance. Hidden behind a gargantuan drumkit, he was only visible thanks to the multiple live camera feeds showing him on the big screens. Benante, whilst in total control, appeared to be undergoing quite the strenuous percussion exercise, faithfully replicating the pulverizing work of the late drummer and brother of Dimebag, Vinnie Paul Abbott.
Behind the immeasurable talent of the band was a breathtakingly explosive live production featuring synchronised pyrotechnics, smoke, lighting and some poignant videos, often focusing on the behind-the-scenes antics of the band in their heyday. The footage displayed during ‘Floods’ almost stole the show - exhibiting the beaming faces of the Abbott brothers along with bassist Rex Brown and Anselmo.
Ending with a head-exploding rendition of ‘Fucking Hostile’, complete with ‘Stairway to Heaven’ outro, this new version of Pantera cemented their legacy while paying a fitting tribute to fallen comrades Vinnie Paul and Dimebag Darrell.
