Judas Priest, Saxon, Uriah Heep.
Rob Halford referred to Judas Priest as veterans of heavy metal, considering the style has been present on the music scene for 50 years. Of course, it's a question of what we'd consider to be the seminal moment of the birth of the phenomenon of straightforward hard music based on guitar riffs, stomping rhythms, crisp vocals and stage presence coupled with leather, black and red paint, pyrotechnic effects and, in the case of Judas Priest, even a motorbike on a forbidden piano. What is certain is that for half a century, fans of the style's nod to hard rock have had plenty of material to listen to.
At the very end of March 2024, metal fans were treated to a small but representative selection of traditional heavy metal at the O2 Arena. The three-concert show, presented under the name Metal Masters, was opened by Uriah Heep, a London-based group founded in 1969 by Mick Box, who is still in the band today. The band has gradually evolved from progressive rock and hard rock to its current metal form. "Urias" plays eight songs. Lead singer Bernie Shaw, with his belly tucked into a black shirt, wearing distinctive pointy heeled red boots, sings brilliantly. Except perhaps for the third Rainbow Demon (Demons & Wizards, 1972), where his baritone register doesn't quite fit. The second half of the set is less metallic and is a pure bet on confidence in the form of the classic Gypsy repertoire (Very´eavy... Very´umble, 1970), Demons & Wizards, 1972) and of course Lady in Black (Salisbury, 1970), which closes the opening third of the mini-festival with a hearty helping of audience participation. Mick Box's praise for Czech acoustic guitar makers Furch is a nice touch, as are a few Czech words - "Thank you Prague, good night."
The organizers announced the sold-out show weeks in advance, and except for the open seats on the club floor, it's really packed. The average age of the audience is clearly over fifty and many show their belonging to the community with metal or rock themed t-shirts, hairstyle or subtle make-up. The second performers in the line-up are Saxon. This purely heavy metal British band has never compromised its style in nearly fifty years of existence. It has had countless successes in the form of sold-out tours, chart-toppers and headlining positions at numerous festivals. The stage is transformed into a classic Marshall wall of speakers positioned behind the band, with red dominating the colour scheme and the band's giant logo shining above the musicians' heads. The opening Hell, Fire and Damnation from the album of the same name (2024) is followed by Motorcycle Man (Wheels of Steel, 1980). The sound is unmanageable and one big noisy ball crashes into the audience. Sixth in the order is Madame Guillotine (Hell, Fire and Damnation, 2024), where suddenly the band is understood. Biff Byford, in a three-breasted jacket, struts jauntily among the musicians, singing about severed heads in a basket. Then, in the opening of one of the metal anthems Denim and Leather from the album of the same name (1981), he joins guitarists Scarratt and Tatler as they wave their scabbards in sync. Biff gives the audience several songs to choose from, but eventually decides on Broken Heroes (Innocence is No Excuse, 1985) himself. The set closes with Wheels of Steel (Wheels of Steel, 1980) and Princess of the Night (Denim and Leather, 1981). Missing is the announced Strong Arm of the Law, which is a shame. The fluctuating sound and incomprehensibility of the instruments detract from the impression of Saxon.
After the break come the main protagonists, Judas Priest. The legend was born in 1969 in Birmingham. Their sixth studio album British Steel, released in 1980, is said to have defined heavy metal as a musical style. The set's build-up, on a stage with several rear projections, is emphatic and straightforward. New song Panic Attack (Invincible Shield, 2024), with lyrics containing references to modern technology, aliens and revolutionary perceptions of the world, takes care of getting the crowd moving after a minute-long instrumental introduction. One of the most important tracks in the heavy metal archive is Breaking the Law (British Steel, 1980) by Halford, Downing and Tipton. Rob Halford says of it that they can't take it off the list because it wouldn't hold up with the fans. So it's number four in the set, but the band play it at a slightly faster tempo and with minor alterations that don't do it much good. Glenn Tipton and Richie Faulkner play arrow-shaped guitars, with various visual variations on fire effects providing the backdrop - Love Bites (Defenders of the Faith, 1984). Turbo Lover (Turbo, 1986) is great, interspersed with industrial motifs on the projection. Pleasing is the work with dynamics in Victim of Changes (Sad Wings of Destiny, 1976) and the sustained march tempo in You Do Not Have to Be Old to Be Wise (British Steel, 1980). The Green Manalishi - a Fleetwood Mac cover - brings the concert to a close, the guitars intertwining in ingenious double-stops and the bass suddenly a little more than it should be. Painkiller (Painkiller, 1990) is a solid conclusion to several hours of metal. There's an even more anticipated moment in the encore, namely the arrival of Rob Halford on a Harley-Davidson motorcycle on stage. It's followed by Hell Bent for Leather (Killing Machine, 1978), famous for its story of renaming the record for the US market because of its sensitive connection to the Cleveland elementary school shooting. Living After Midnight (British Steel, 1980) is arguably the logical conclusion to the metal veterans' performance. It's a bit pop-metal, but Rob Halford, with his long white beard and his hands behind his back, moves slowly from side to side, only occasionally leaning forward to roar his screaming tremolo into the ground. He resembles a prophet communicating his vision projected on a rear projection: United we stand, divided we fall. Heavy metal is not only hard music, but also a pose symbolized by pathetic symbols. And that is its beauty.