M'ondaytJuly
Mqetallica 'Loads' Detroit with energyv

By Jewel Gopwani
Daily Arts Writer
Every time Metallica announces a
concert in Detroit, anticipation builds
from the day tick-
ets go on sale,
Friday night,
M~etallica fans were finally
rewarded for
Pine Knob their enthusiasm
when Metallica
July 10 stopped by for
the first of two
sold out shows at
The Pine Knob
Music Theater.
With a packed
crowd and two
opening acts, the
concert was more
tan just a show - it was a major

event
Bringing the crowd's temperature to
lukewarm, opener Days of the New
played about seven songs, including its
singles that receive regular radio air-
play.
Fans enjoyed singles like "The Shelf
in the Room" and "Touch Peel and
Stand."
Also opening for Metallica was Jerry
Cantrell, the lead guitarist for Alice in
Chains, on a solo stint. Backed up by an
intense band, Cantrell showed with
class that he could handle being the
front man.
Strutting around like a real rock star,
Cantrell was intent on getting the
crowd on its feet with some Alice in
Chains songs. "No Excuses" and
"Them Bones" induced a severe sod
fight. If fans weren't on their feet for

the music, they were ducking from the
large pieces of grass being chucked by
lawn dwellers.
They say the grass is greener on the
other side, but after the sod fight, the
grass was certainly greener in the
pavilion. Enough sod was thrown that,
according to Pine Knob officials, the
fight broke the soundboard and cut
Cantrell's set off by two songs at the
tail end of his solo single, "Cut You
In."
After a half-hour of static and
feedback, the system was fixed and
the sound check was just about over.
Anxious fans were in their seats, not
willing to risk losing a moment of
Metallica's first song. When it
seemed that fans just couldn't wait
any longer, soft, dark and almost
classical music seeped out of the
speakers.
The sweet sounds marked the begin-
ning of another Metallica set in Detroit.
The band started off with"Ilelpless,"
from 1987's out-of-circulation "Garage
Days Re-revisited," a track that dedi-
cated fans remember well.
After an abrasive attack of pound-
ing drums and grating guitars, singer
and guitarist James Hetfield
announced that the band was there to
play songs that they haven't played
live in a long time, which pleased
Metallica fans.
With short but severe blows to his
guitar, IHetfield started "Of Wolf and
Man," a beloved tune from Metallica's
1992 self-titled effort. The band fol-
lowed up with classics from "Master of
Puppets, including the epic title track.
Guitarist Kirk Hammett then let the
rest of the band take a break while he
wailed on stage.
Back with force, the band jumped
into "Fuel," from "Reload," fully
equipped with Metallica's character-
istic live pyrotechnics. After exhila-
rating the audience with a few more
current favorites, the band took
another rest, and bassist Jason
Newsted took his turn to bond with
the audience.

Riding an experimental groove,
Newsted broke into some funk on his
bass that even made some metal heads
dance a little.
Since Metallica loves its fans, the
members took some time out from the
music to thank them for their dedica-
tion and support. Applauding the
crowd, Metallica showed that it is a
ferocious yet humble band.
But the group didn't go soft, and one
of the most powerful Metallica perfor-
mances of the evening was yet to come.
Machine-gun fire roared from the
speakers, which meant only one thing
- "One." At the beginning of this war-
tom song, Hammett softly strummed
his guitar and Hetfield gently sang the
first verse.
Slowly, rage built up within the
lyrics and the guitar work. Hetfield
shouted words out as fans banged their
heads to Lars Ulrich's double bass
drum. Strobe lights flashed ceaselessly,
while explosions at both sides of
Ulrich's drum set went off.
Drastically changing moods, the
band then played an acoustic set featur-
ing heavy metal classics "Four
Horsemen" and "Motorbreath," from
Metallica's first album, "Kill 'em All."
The twist bothered a few die-hard
head-bangers, but it proved that the
band doesn't need to.be plugged in to
rock.
If all of that wasn't enough,
Metallica had seven more dynamic,
electric tracks left. From the hit, "Enter
Sandman," to the cultish, "Creeping
Death," the crowd was head-banging
and singing along.
Detroit has appreciated only a few
bands to the degree it has appreciated
and supported Metallica. The band
proves time and time again that it is
dedicated both to rock and roll and to
its fans.

Metallica front man James Hetfield
busts out mad guitar riffs as he stares

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MATT MADILL/Dawy
C tallica mixed it up last week at Pine Knob, playing both head-banging, heavy-
tal favorites and unplugged acoustic tunes.

PUMPKINS
Continued from Page 9
The Pumpkins winded up the first
set with another pretty power ballad,
"For Martha."
The bandthenbrought out The Haven,
an abused youth charity organization, to
whom they presented a check for
$100,000. Although they had charged a
y $50 for shov tickets, the Pumpkins
had donated all the money they made.
They then proceeded to launch into
a sped-up version of "1979,' another
track from "Melancholy," concluding
the show with "Blank Page."
Upon conclusion, the two-hour show
left attendees marvelously entertained,
yet somehow dissatisfied. While the
new Pumpkins material is strong, aside
im the aforementioned three songs
m "Melancholy," the band complete-
ly skipped over their past catalog.
The show did serve as a great intro-
duction to new material, however, and
proved that the Pumpkins are still
moving forward artistically.

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