The last time Kerry King stood on a stage in Australia circa 2019, it was to farewell Slayer – the pioneering thrash metal band that he co-founded nearly 40 years prior.
His return to Australia last night (3 December) while celebrated, is also under awkward circumstances. It's his debut as a (technically) solo artist, but comes just months after Slayer played a series of reunion showsWith his main band being spoken of in the present tense yet again, King's solo venture now presents an unfortunate home truth: The whole thing feels anachronistic and superfluous.
King has very much maintained the same belligerence and speed of Slayer's catalogue on his solo debut, 'From Hell I Rise', with his opening onslaught of cuts from it getting heads nodding in sync with the pounding drums and piercing riffs.
Kerry King - image © Hayden Nixon
Vocalist Mark Osegueda is giving it the full gusto, standing in for a silent King to express gratitude for the audience's "f...ing passion" while delivering some throat-tearing screams. As the set progresses, however, the formula's shortcomings become increasingly apparent.
The solo songs present a facsimile of King's heyday, which is perfectly serviceable in small doses but ultimately not what the audience is there for – especially when you're responsible for some of the most iconic riffs of the '80s.
It goes without saying, then, that the audience only uncrosses its collective arms when the immediately-distinctive thud of Slayer's signature song 'Raining Blood' rings out across the room.
The audience had already been given a suite of reprise from King's solo album with a one-two of Slayer's 'Repentless' and Iron Maiden's 'Killers' – the latter performed in tribute to the late Paul Di'Anno.
Kerry King - image © Hayden Nixon
Both are given faithful head-banging renditions, but it's safe to say nothing quite compares to the chaos that ensues when this thrash-metal classic is promptly unleashed. Bodies go flying. Horns are raised. It's handily one of the standout moments of the night, and a reminder of what King is capable of – but, as a double-edged sword, also of the band that's missing.
Not many bands can say that their breakthrough success came with an elaborate concept album about Moby Dick – but then again, not many bands have had a career as unique and idiosyncratic as Mastodon's.
The beloved Georgian metal titans have returned after a six-year absence, and have brought with them a full-scale retrospective celebration of said album, 'Leviathan', which celebrated its 20th anniversary this year.
The set's opening half is dedicated to a complete play-through, which immediately gets the now-packed Roundhouse whipped into a frenzy. Two decades removed from its 2004 arrival, 'Leviathan' remains as monolithic as the day it came out – and, somehow, even more beastly live. 'Blood And Thunder' charges with might and precision, 'Island' swings and pummels, and 'Naked Burn' violently rocks with a seasick sway.
Mastodon - image © Hayden Nixon
Nearly every single song's conclusion is met with chants of "MAS-TO-DON", as though the band is a professional wrestler and the audience is willing them onto victory. It's safe to say, were that the case, performing 'Leviathan' in full would secure a handy pinfall win.
However, the band aren't quite done there – after all, with six years between drinks, it's safe to say both the on- and off-stage parties have developed quite the thirst. "We've got the time," says bassist Troy Sanders, his silver hair all a-flurry from the album playback. "Do you?" We sure do. We wouldn't be chanting "MAS-TO-DON" if we didn't.
From there, Sanders and co. roll through select highlights from across the rest of their discography, kicking off with a blistering one-two of 'Blood Mountain''s 'Crystal Skull' and 'The Hunter''s 'Black Tongue'. It's a strong start, of course, but nothing can quite prepare everyone for what comes next: The monstrous, 4-part, 12-minute epic 'The Czar' from 2009's 'Crack The Skye'.
Its return to the band's set list after over a year is one of the biggest surprises of the evening, and its subsequent performance is arguably the best of the whole show. While 'Leviathan' is undeniably phenomenal, there's something truly remarkable about watching the band in full prog-metal flight as it breathlessly tears through one of the most ambitious songs they've ever recorded in the live arena.
It's a spotless performance, and an undeniable masterclass from one of the most consistent heavy bands of the last few decades. Hyperbole? Perhaps to the untrained eye – but once you've seen, you'll believe.
Mastodon - image © Hayden Nixon
The remainder of the set, while entertaining, is marred by some awkward issues on stage right. Towards the end of the show, apropos of seemingly nothing, guitarist Brent Hinds upturns his mic stand and starts angrily stomping on it.
One would assume this has to do with some fault of the in-ear monitors, as the mix presented to the audience has given us nothing to complain about (save for barely being able to hear keyboardist João Nogueira). The band soldiers on, and Hinds still dutifully shreds away, but the atmosphere within the room never quite recovers.
There's a fine line between making up for lost time and the cup running over, it seems. Still, the greatness on offer through the lion's share of this performance makes for an overall worthwhile evening of heavy excellence. Long may Mastodon roam.
More photos from the concert.
