There are two things you need to know about Judas Priest frontman Rob Halford. One is that after 50 years of making heavy metal, his voice is still by far the single best instrument in the genre. And two: That man has a lot of leather jackets.Â
Both Halfordâs stunning vocal abilities and his impressive wardrobe were on full display during the Priestâs Thursday night show at the Armory.
As part of the bandâs 50 Heavy Metal Years tour, Halford and Co. (guitarists Richie Faulkner and Andy Sneap, drummer Scott Travis, and bassist Ian Hill) delivered what every Judas Priest fan expects from a Judas Priest showâa career-spanning setlist, spectacular visuals, and that voice.
But before we get to that, we have to talk about the nightâs opening act, Sabaton.
Iâll start by saying that Sabaton is really good at what they do, and because of that, theyâve built a wildly dedicated and loyal fanbase all over the world. Iâll finish by saying that Iâm absolutely not part of that fanbase and really donât enjoy what they do.Â
Hailing from Sweden, Sabaton plays their own brand of war-infused power metal. No exaggerationâevery song is about war. Hell, they even dedicated a song to WWII during their set. This band seemingly eats, breathes, and sleeps war. Their drummer sat atop a full-sized tank drum riser, the backdrop behind them on stage depicted a WWI battle scene, and their mic stands had machine guns and helmets on them. And obviously, the entire band was wearing camo. If you ask me, thatâs an awful lot of war imagery for a band from a mostly neutral country.Â
Ok, thatâs enough about Sabaton. On to the main event: Judas Fucking Priest.
As the house music died down, the room suddenly exploded with the sounds of Black Sabbathâs âWar Pigsâ as a massive three-pronged devilâs cross (Priestâs symbol) rotated down from the ceiling. It lit up red, and âWar Pigsâ slowly bled into Priestâs instrumental âBattle Hymn.â The band emerged and immediately went into âOne Shot at Gloryâ as Halfordâs gold-sequined, fringed leather shimmered with the strobe lights.
For the next hour and a half, Judas Priest showed us exactly why theyâre still going strong after 50 years. From Halfordâs first note to the final moments of the encoreâs closer (âLiving After Midnightâ), that voice effortlessly switched from his signature falsetto full of vibrato to his much lower and throatier growl.
But it wasnât just Halfordâs talents on display. Each member of Judas Priest showcased their musicianship throughout the night. For drummer Scott Travis, that moment was âPainkiller.â As the rest of the band left the stage following the final notes of âInvader,â the spotlight was on Travis. Following some brief banter about how Minneapolis is one of Judas Priestâs favorite cities to play (something he definitely doesnât tell every city), he asked the crowd, âWhat do you want to hear?â
âPAINKILLER!â
Travisâs drums erupt. The guitars and bass join. Then Halford. If thereâs a single song in Priestâs repertoire that perfectly showcases the immense talent of each member, itâs âPainkiller.â Complex drums, two complicated guitar solos, high-pitched falsettos, and a full six minutes of unrelenting and lightning-fast rhythm guitar and bass.
Visually, Judas Priest delivered on all fronts. In addition to the toxic waste dump/nuclear power plant motif onstage, a massive screen played different visuals that changed from song to song. We went from burning buildings during âOne Shot at Gloryâ to lightning strikes during âLightning Strikeâ to a car chase during âTurbo Loverâ to a UFO invasion during âInvasion.â (Man, some of these are really on the nose).Â
While Halford had minimal stage banter, he had maximal wardrobe changes. By my count, he donned an impressive eight different jackets throughout the 19-song set. They ranged from the flashy (the aforementioned gold-sequined fringe and the fully sequined floor-length duster) to the more subdued (a more lowkey studded motorcycle jacket) to the not leather at all (denim, obviously). But the most impressive jacket swap of the evening came before âHell Bent for Leather.â Now, if you write a song with that title, you damn well better prove that you are, in fact, hell-bent for leather.
After the band wrapped up the first song of the encore (âElectric Eyeâ), the stage went briefly dark. The only sounds were the sudden rev of a motorcycle. And then, on stage rode Halford aboard his Harley. He was, of course, wearing a leather motorcycle jacket with a matching leather cap (a la Tom of Finland). But what really tied the outfit together was the leather riding crop clamped between his teeth. As the rest of the band joined him back on stage, they went into the song, but Halford never got off the bike. Instead, he belted out the entire song in the saddle, leather touching leather. Occasionally, he used the crop on Richie Faulkner during his guitar solo.Â
If there was ever any doubt, itâs long gone: Halford is hell-bent as hell for leather.
âHell Bentâ ended, and the next riff began. It was the riff. The one thatâs been perfected at Guitar Centers everywhere for the past 40 years: âBreaking the Law.â The stage went dark yet again and began to fill with smoke. A massive bull with red glowing eyes emerged through the smoke. Halford took this opportunity to change yet again (this time to a sleeveless, floor-length denim duster) and appeared back on stage to perform the bandâs final song of the evening: âLiving After Midnight.â
As the encore wrapped up, Halford thanked everyone for continuing to support Judas Priest all these years. He urged everyone to keep the metal scene together and to keep the metal mania going. He then reminded us of something weâd never dare forget.
âWe are Judas Fucking Priest. Goodnight.â
Setlist
Battle Hymn
One Shot at Glory
Lightning Strike
Youâve Got Another Thing Coming
Freewheel Burning
Turbo Lover
Hell Patrol
The Sentinel
A Touch of Evil
Rocka Rolla
Victim of Changes
Desert Plains
Blood Red Skies
Invader
Painkiller
Encore
Electric Eye
Hell Bent for Leather
Breaking the Law
Living After Midnight
Sabaton Rant, Continued
Look, all Iâm saying is that itâs pretty fucking weird when youâre whole band comes out in gas masks immediately after a sound clip about how gas is the best way to kill people plays. Itâs especially weird after you just dedicated a song to world war fucking two. Thatâs all Iâm saying. Itâs weird. I guess Joakim gets some extra points for managing to sing while wearing said gas mask, but itâs still weird as hell. Iâm starting to think this band likes war almost as much as they like not paying taxes.