Riding high on the success of their latest studio album, Sacrament (named Album of the Year by Revolver Magazine), Virginia-bred metalmongers Lamb of God herded into town with a potent supporting pasture of players that included Oakland’s Machine Head, Florida’s Trivium, and France’s Gojira. Held at the dignified, deco-era Wiltern Theater, this was one of those shows where fans waited outside many hours ahead of showtime, eager to claim prime positions in the pit as soon as doors opened, because with a lineup such as this, oh yes, there would be moshing!
Many of those in attendance for LOG’s “Sacrament” tour were at the Wiltern in December, when Gojira played on Children of Bodom’s “Are You Dead Yet?” multinational bill. Fans were treated to another terse yet satisfying serving from the French quartet, whose bare-bones stage set-up was wafted with a light mist that remained a constant presence throughout the show. Gojira’s high-energy delivery on songs such as “Backbone” laid the skeletal foundation for the relentless rocking scheduled to ensue – like their peers in this night’s package (and like their monstrous sci-fi namesake, Godzilla), Gojira gave good growl.
Hot on the Frenchmen’s heels came the descent of a big Machine Head backdrop and two banners derived from the Bay-area band’s new CD, The Blackening. Emblazoned with a seated sepulchral figure reigning over a bone-strewn domain, each banner’s mirror-image message advised that “The Mirror Within Flatters Not.” Eerie red light accompanied the introductory acoustic strains of the new disk’s opening epic opus, “Clenching the Fists of Dissent,” and when the band strode forth to drive the song alive, the crowd in front of the stage erupted into an instant mosh-pit. Clad with a black skull-in-a-heart t-shirt, singer-guitarist Robert Flynn was in fine form when Machine Head proceeded into “Imperium,” as dynamo drummer Dave McClain propelled the progress with nonstop flurries and flourishes. Bassist Adam Duce’s expert execution was accentuated by his feisty added 
vocals, while articulate guitarist Phil Demmel had a good time handling his own chores, crafting his way through melodic layers and manic leads.
Robert took time to preface “Aesthetics of Hate” with a brief monologue, describing how the song came about as a result of a certain misguided commentator’s criticism of murdered guitarist Dimebag Darrell. Fans roared with approval, hearing of Machine Head’s love and respect for the great Pantera picker, breaking into chants of “Dimebag! Dimebag!” The singer-crowd interaction gave extra impetus to the piece, and Robert made sure to express his appreciation, pumped over how good the audience sounded. Machine Head maintained heavy momentum throughout their set, balancing time-tested favorites with bold new compositions, all of which met with fist-pumping, horn-hoisting enthusiasm.
Machine Head was followed by Trivium, a multifaceted metalcore band from the deep South. Hailing out of Orlando, Florida, the foursome managed to combine the frenzy of modern thrash with a majestic fullness that exhibited expert production values. A symphonic intro led into a rousing punch that resulted in theater-wide moshing. After the crowd-pleasing “Like Light to the Flies,” singer-guitarist Matt Heafy gave grateful shout-outs to all the bands on the bill, and then burst into “Anthem (We Are the Fire),” ably backed by guitarist Corey Beaulieu, bassist Paolo Gregoletto, and drummer Travis Smith, who elicited a rousing chant-along with insistently pounding tom-toms. Trivium’s set was admirably complemented by the use of powerful, swiveling laser-light projectors, which lit up the mist with brilliant beams and cones of colored rays. Matt shared friendly banter with the crowd, closing with the assurance that “We are Trivium, and we will return!”
Fans began calling out “Lamb of God!” promptly after Trivium’s departure from the stage, through a surprising, superfluous Verizon commercial that was projected on a drop-down screen, while roadies set up for the headliners. Soon enough, Lamb of God’s Chris Adler raised a rolling drum crescendo from behind a black curtain, and then wild-eyed frontman Randy Blythe blazed onstage beneath a dazzling array of lights, ambling about in knee-length shorts like a rampant skater during the opener, “Ashes of the Wake.” That title track from their previous album gave way to “Again We Rise” and “Walk With Me in Hell” from the latest release, Sanctuary, gaining energetic response from the legions of black-t-shirted fans in the pit and throughout the house. A crew of kids in the pit unfurled a
sheet-sized flag they had made, matching the two flag images found on Chris’s bass drums, featuring a single star and 13 stripes.
At the first break, Randy stated that he had been ailing from strep throat, but still the singer managed to keep the fire and fury alive. When he doused himself with water bottles from the drum riser, a “Burn 1” blurb was seen on the back of his shirt, a typically rebellious sentiment.for a never-say-die trouper. Also wearing shorts and sleeveless shirts like Randy, guitarists Mark Morton and Willie Adler showed off the techniques and teamwork that made them runners-up in Revolver Magazine’s readers-pick “Best Guitar Team” list. Bassist John Campbell, in shorts like everyone else, paced his way through angry anthems like “Redneck,” another standout cut from Sacrament.
Lamb of God’s lights and staging were full-size, full-force, industrial-strength throughout their set. A huge backdrop displayed the sacramental elements – chalice and wafers – from the latest album cover, in curiously contemplative counterpoint to the rage onstage. The Richmond quintet kicked and picked, stomped and stormed, blasting through their bundle of beat-down declamations to the end. These guys behaved more like aggravated Virginia mules than lambs, not at all sheepish about showing off their chops, and the crowd ate it up – spent from the spectacle, yet hungry for more Lamb of God.
