Oslo, Norway
June 26 – 29, 2024
It has now been ten years since Tons Of Rock started in Halden, and this year’s edition is the ninth in the series. From being a medium-sized festival at a fortress, Tons Of Rock has now undoubtedly become the largest festival in Norway, with 40,000 tickets available each day. Wednesday and Thursday are completely sold out, while approximately five thousand tickets remain for both Friday and Saturday. This means the festival has increased by almost 10,000 tickets per day compared to last year, which is a significant number of attendees. The area has also been expanded, but you can still clearly feel that the festival has grown. For example, there are longer queues at the entrance and for the toilets. Despite this, everything runs quite smoothly. The toilet chaos is mostly on the first day, but by the next day, the festival had placed more urinals. However, the festival should add more toilet areas than just two. The drainage on the grounds is simply not good enough, and it creates urine-soaked mud, which is not pleasant to step in. More toilet areas would reduce the strain on the ground. Apart from that, the festival runs smoothly, and all the concerts start and finish according to the scheduled times. Some people have expressed dissatisfaction with the high prices inside the festival area on social media. However, the prices are actually on the same level as what you’d find in the city in Norway. So, I would be surprised if it were cheaper at a festival than on a regular night out. All in all, Tons Of Rock can be summed up as a great success, and we can only hope for another ten years. At least!
Text: Runar Pettersen. Photos: Diana Blajan.
At a festival like Tons of Rock, there are many schedule conflicts, so unfortunately, you can’t catch everything you want to see. It’s also a varied festival, meaning there are many bands I don’t like and don’t want to see. But here are some of my personal highlights.
WEDNESDAY
As usual, the humor rockers in Black Debbath have the honor of opening Tons Of Rock. Black Debbath is the festival’s house band, and as they sing in their tribute to the festival: “Og programmet er dødsfett, men det er én ting vi ikke forstår Hvorfor spiller Black Debbath hvert eneste, jævla år?” In the mentioned song, I have to give them credit for updating the lyrics to this year’s program, where, for example, “Ratt-rumpetaske” is replaced with “ZZ Top-rumpetaske.” But the band doesn’t just pay tribute to the festival; they also celebrate themselves, as it’s 25 years since Black Debbath’s debut album was released. Therefore, they start the entire concert with the new anniversary song, “Hipp hipp! Vi hater jubileum!” From there, they continue with both older and newer favorites like “Traditional Food,” “Nei til runkesti på Ekeberg!” and “Voggesang for Trønderen.” Naturally, with a good dose of antics along the way, like a balloon game and a Metallica quiz. Not to mention their hand-drawn pyro effects during the closing song “Den femte statsmakt” However, the thing with pyro effects they’ve done before at Ekebergsletta, and it’s not as funny with jokes you’ve heard before. After all, the band has been going for 25 years now, so there will be some repeats. But let’s hope for another 25 years and preferably with some repeats as long as they work.
Saxon is one of the NWOBHM bands that has held up the best… after Iron Maiden, of course. They still hold up well, even though vocalist, frontman, and the only original member, Biff Byford, is now 73 years old. The other original member who has been with them the entire way, guitarist Paul Quinn, retired last year. He’s now replaced by another NWOBHM legend, Brian Tatler from Diamond Head. He also plays on Saxon’s latest album “Hell, Fire and Damnation,” and it seems he has given the band a boost, as the album is the best since “Crusader” from 1984. They also open the show with the title track from “Hell, Fire and Damnation.” But there’s only one more song from the album, “Madame Guillotine,” which is my favorite, so I’m satisfied. The rest of the setlist is from 1984 and earlier. This means they deliver classics non-stop, like “Strong Arm of the Law,” “Crusader,” “Wheels of Steel,” and “Princess of the Night.” The most fun is during the NWOBHM national anthem, “Denim and Leather,” where Biff collects several denim jackets from the audience. The kind of denim jackets full of patches, of course. Before the next song, the band members put on the jackets and play the song with them on. Biff himself has gotten a jacket with a large Iron Maiden “Trooper” back patch, so he looks really good up there. Biff might not be the liveliest frontman, but he headbangs and enjoys himself throughout the entire concert. Considering the high average age and the blazing sun, it’s more than acceptable. So is the Saxon concert.
“Biff himself has gotten a jacket with a large Iron Maiden “Trooper” back patch, so he looks really good up there.”
In 1986, Swedish band Europe created the soundtrack of the 80s with the big hit “The Final Countdown.” As a result, many people only think of Europe as an 80s glam rock band. But before “The Final Countdown,” the band made two good melodic hard rock albums, and they have also created a lot of great music after the 80s. The concert at this year’s Tons Of Rock offers a good mix from large parts of the band’s career. Admittedly, not from their debut album, and especially “Seven Doors Hotel” is missed. But “Scream of Anger” from the band’s second album, “Wings of Tomorrow,” is fortunately included, which is also one of Europe’s toughest songs. The newest song the band plays is “Hold Your Head Up,” which came out in 2023, a song that, strangely enough, is not on an album. The only thing I have to criticize about the concert is when the band suddenly starts playing Bob Marley’s “No Woman, No Cry” in the middle of “Superstitious.” It just seems so random and out of the blue. Rolf Magnus Joakim Larsson’s, aka Joey Tempest’s, voice still sounds very good, and the man is in remarkably good shape. Maybe not as important, but not far off, are the band’s two Norwegian musicians. I’m talking about super guitarist John Norum, who comes from Vardø in Finnmark. Meanwhile, drummer Jan-Håkan “Ian” Haugland comes from the small village of Storslett in Troms. Both moved to Stockholm as children. In addition, we have Gunnar Mathias “Mic” Michaeli on keyboards and John Levén. Which means the same lineup as on “The Final Countdown” album. Not bad, and it’s good to see that they still stick together 21 years after their comeback in 2003. Not least, it’s good to see that they really seem to enjoy themselves on stage and have a lot of joy in playing. Something they show plenty of when they play at Tons Of Rock.
Greek band Rotting Christ has become a bit of a favorite in recent years. How many bands with over 30 years of experience can you really say that their latest albums are their best? There aren’t many. The band has gone through several phases and actually started as a grindcore band back in 1987. They released some good black metal albums in the first half of the 90s before transitioning to goth metal. After a ten-year period of experimentation, they really found their unique expression with “Katá ton Daímona Eautoú” in 2013. Since then, they have stuck to their sound, giving Rotting Christ a distinctive character that stands out among all other black metal bands. In fact, all the songs tonight are taken from the last five Rotting Christ albums. Three of the songs are from the aforementioned “Katá ton Daímona Eautoú.” From the band’s new album, “Pro Xristou,” they only play “Like Father, Like Son.” But I can’t complain about that. It sounds absolutely superb, and it’s great to see how many people are really getting into it during the concert. Despite some sound problems. Suddenly, the sound from the speakers disappears, and only the sound from the stage can be heard. Fortunately, it only lasts a few seconds at a time, but it happens three or four times and is annoying enough. Apart from that, Rotting Christ delivers a fantastic concert.
Metallica hasn’t played in Oslo very often, considering how big they are. They visited Norway in 2018, but before that, we have to go back ten years. Therefore, it’s great to have the old thrash metal veterans back in the capital, and it’s even more exciting that they start the show with thrash metal anthem number one: “Whiplash.” This sets the mood for the concert, and it doesn’t exactly get worse when “Creeping Death,” “For Whom the Bell Tolls,” and “Enter Sandman” follow. But the mood dips when “72 Seasons” comes on. I really like the band’s new album, “72 Seasons,” but it’s no secret that it doesn’t measure up to their albums from the 80s and 90s. However, in a way, it’s good that the band plays new songs; it keeps them relevant and not just living off their past. But damn, the crowd’s energy drops every time a song from “72 Seasons” is played. A total of four of them. It’s actually better when Kirk Hammett and Robert Trujillo come out on their own to do their usual light-hearted cover song from the country or city they’re playing in, usually learned the same day. At previous concerts in Norway, they’ve chosen songs by A-HA and The Kids. This time, the choice is something as original as CC Cowboys’ “Vill, Vakker Og Våt.” Personally, I’m not too excited since CC Cowboys isn’t exactly a band I’ve listened to much. But others in the audience are singing at the top of their lungs. Fortunately, the rest of the setlist is from 1991 or earlier. The biggest surprise of the evening is Diamond Head’s “Am I Evil?” This is a rare song for Metallica to play. In the last ten years, it has been performed less than ten times. In 2010 and 2011, it was played a bit more frequently, but we actually have to go back to 1997 when it was a regular on the setlist. The reason for this honor is that they can bring up Diamond Head guitarist Brian Tatler as a guest. He joined Saxon earlier this year, who played earlier in the day. It’s clear that the band hasn’t played this song in a long time, and drummer Lars Ulrich even has to start the drum break in the middle section twice, but it’s just charming. After all, it’s a rarity. Metallica ends the concert as strongly as it started, with classics non-stop. You can’t go wrong with songs like “Seek & Destroy,” “One,” and “Master Of Puppets.” So, you can’t help but be satisfied. But there are a few small things that detract from the overall experience. The hopeless setup of the screens doesn’t look great. Splitting the big screens into five smaller ones held together by less-than-ideal animation is not a good idea. The bass sound is also very overpowering where I’m standing towards the end of the concert. In addition to the fact that the songs from “72 Seasons” don’t make a big impact. But apart from that, Metallica delivers a fantastic concert.
THURSDAY
The first thing you notice when W.A.S.P. takes the stage is that vocalist Blackie Lawless is sitting in a chair. This is due to a back injury dating back to 1992 when he broke a vertebra after some fans pulled him off the stage. Last year, he suffered a herniated disc and had to postpone the tour. Lawless is still struggling, but he has chosen to perform against doctors’ recommendations. However, he’s on the right track, and even though it’s a shame he has to sit, it’s better than canceling. W.A.S.P. starts strong with “Blind In Texas.” This sets the tone for a nostalgic concert. In fact, all the songs played today are from 1992 or earlier. Admittedly, “Miss You” from “Golgotha” from 2015 is played, but as Lawless says in his introduction, it was one of the first songs written for “The Crimson Idol.” However, it didn’t make it onto the album in 1992 but was included in the 2018 re-release of the album titled “ReIdolized.” However, it’s the song that stands out the most in the set since, with a few exceptions, it has only been played in 2015. Another surprise is that Blackie Lawless does an “acoustic” medley with just guitar and vocals. This proves once and for all that he can still sing and that W.A.S.P. does not use playback. This has been a misunderstood rumor for years. When people discovered that there were backing tracks on vocals and choruses, the rumor of playback started. But in reality, W.A.S.P. has excellent musicians with them, and there has never been a need for playback. Quite the opposite. Especially guitarist Doug Blair is top-notch. Lawless has explained in several interviews that backing tracks are used on vocals and choruses to support and make it sound more like the albums. Some might consider that cheating, fair enough, but it’s still far from being playback. So, let’s hope we can put that rumor to rest once and for all. I’ve seen W.A.S.P. before, where backing tracks on vocals were helpful, as his voice wasn’t in top form. Now, Blackie Lawless sings like a hero. When his voice is at its best, he sounds magical. This is the first concert W.A.S.P. has held in 21 days, so his voice is well-rested, which might explain why he sounds so good. The concert ends with one of the band’s best songs, “I Wanna Be Somebody,” and with that, W.A.S.P. has given Tons Of Rock a great concert despite Lawless’ back problems.
Mr. Bungle is one of the many bands Mike Patton from Faith No More is part of. Mr. Bungle is actually a band Patton has had since 1985, and it lasted until 2004 when the band broke up. When the band returned in 2019, they got two new members, and they weren’t just anyone, as we’re talking about Dave Lombardo from Slayer and Scott Ian from Anthrax. Mr. Bungle is primarily Patton’s playground, where he can express all his crazy ideas. He doesn’t hide it either, as he looks wild with his long braids sticking straight up. But to be honest, I find it even stranger that guitarist Trey Spruance is wearing a Vondur t-shirt. Who even remembers Vondur, and who likes Vondur? For those who don’t know what I’m talking about, Vondur was a Swedish parody black metal band from the 90s with members from Ophthalamia and Abruptum. Fortunately, the concert is much better than the band’s clothing choices. The concert mainly consists of a good mix of their own songs and various cover songs. Here we get songs from everything from 10cc to Spandau Ballet. Sometimes Patton changes the lyrics. The S.O.D. song becomes “Speak Norwegian Or Die,” while Eric Carmen’s “All By Myself” becomes “Go Fuck Yourself.” Slayer’s “Hell Awaits” is more annoying since they only play the beginning. It’s just a frustrating tease. But Sepultura’s “Territory” is performed in its entirety. Thus, “Territory” becomes the festival’s anthem since Cavalera also plays it at this year’s festival. Mike Patton is also very funny. He scolds a little kid sitting by the fence. Hopefully, the kid got the humor, but it looked like it. He also talks about how the day before, he was at a barbecue up in Hedemarken, or the worship of the “pagan fire god,” as he called it. Where they sacrificed babies. “Do you think that is funny,” says Patton when the audience laughs at his claims. As a journalist, I can reveal that this barbecue took place at accordion player Stian Carstensen’s place, with whom Mike Patton has made music. I can also reveal that Iron Maiden bassist Steve Harris’ nephew, Joe Lazarus, is Dave Lombardo’s drum tech and can be seen on the right side of the stage throughout the concert.
“Here we get songs from everything from 10cc to Spandau Ballet. Sometimes Patton changes the lyrics. The S.O.D. song becomes “Speak Norwegian Or Die,” while Eric Carmen’s “All By Myself” becomes “Go Fuck Yourself.”
FRIDAY
Ever since Abbath left Immortal in 2015, Immortal has been greatly missed. Immortal has continued to release albums with Demonaz – but they don’t play live! For me, Immortal was always a live band, and one of Norway’s best. That’s why it’s so great that Abbath now performs exclusively Immortal songs. It’s incredibly fitting that the sky clouds over the moment the concert starts. Despite the extremely hot days during Tons of Rock, we’re going to feel Immortal’s cold. Abbath kicks off with the classic “Call Of The Wintermoon.” Abbath seems more focused on stage than he has been in a long time. Of course, he does some of his usual antics – but it wouldn’t be Abbath without them. But he stays well within decent limits. The setlist is more or less perfect, with songs like “Sons of Northern Darkness,” “Damned in Black,” “At the Heart of Winter,” and “Withstand the Fall of Time” strung together like pearls. The best part is the classic “Blashyrkh (Mighty Ravendark)” which gets the honor of closing the set. Now Abbath comes out with a mask with big horns on it, and he looks pretty badass. Of course, Abbath and Immortal are best experienced in a dark hall, but it feels almost silly to point that out, as everyone understands that it’s light during Norwegian summer festivals. But apart from that, Abbath delivers an almost perfect performance.
I Am Morbid consists of bassist and vocalist David Vincent and drummer Pete Sandoval, who were previously with Morbid Angel. Neither of them was original members of Morbid Angel, but both were part of the golden era, playing on the first five albums. Trey Azagthoth, however, is an original member and therefore holds the name today. But when Vincent and Sandoval start I Am Morbid, we’re going back to the golden era of Morbid Angel. With a focus on the debut album “Altars of Madness,” which turns 35 this year. But that focus turns out to be quite loose as they also play songs from “Blessed Are the Sick,” “Covenant,” and “Domination.” But no complaints there. This means we get a concert consisting of much of the best Morbid Angel has made, delivered as tightly and securely as possible. I Am Morbid sounds surprisingly good. There’s really little to fault about the concert. This gets the audience going. Vincent also appreciates seeing many young people at the concert, who are getting into it through headbanging and crowd surfing. When Vincent seems as pleased as he does, you know I Am Morbid has delivered a top-notch concert.
This year marks 50 years since Judas Priest released their debut album “Rocka Rolla.” That’s an achievement in itself, considering that Judas Priest is still going strong. Well, that’s probably an overstatement. The lineup is thinning out, and with each member replaced, it feels more and more like a cover band. But fortunately, three-fifths of the lineup from the golden era remain. If you count “Painkiller” as the golden era, which you should. But you can feel the absence of both K.K. Downing and Glenn Tipton. After all, they stood in the front with Rob Halford and were so visible as they synchronized headbanged in time with the hits. Luckily, they’ve found good replacements in Richie Faulkner and Andy Sneap. But it’s not quite the same. Despite that, Judas Priest delivers a top-notch concert. Much of it is thanks to Rob Halford, who still sings like a god. It’s truly amazing that a 72-year-old man can still sing so well. Few vocal cords have aged as well as Halford’s. When he hits his best moments in songs like “Victim Of Changes” and “Painkiller,” I get goosebumps, and my eyes get misty. He sings just too well. Earlier this year, Judas Priest released the album “Invincible Shield,” but only two songs from it are included. The rest of the setlist is classics from 1990 or earlier. So even though these are songs many of us have heard live many times before, they feel very good tonight at Tons of Rock. After all, it’s been twelve years since Judas Priest concluded their farewell tour, yet here we are with another solid Judas Priest concert, and the question arises: how long can Judas Priest still deliver a perfect “Painkiller” like they do tonight? Let’s hope for at least a few more years. Because Rob Halford still sings like a god.
SATURDAY
Seigmen is a national treasure with their completely unique music that doesn’t sound like any other band. Despite great success in the 90s, especially with the album “Metropolis” in 1995, the band decided to call it quits in 1999. But like most other bands that quit too early, they make a comeback. Seigmen has done that on several occasions. This year, they released the album “Resonans,” which is so good that it’s the band’s best. Unfortunately, only “Berlin” from this album is played, and it’s not even the best song on the record. It ranks fourth at best. But you can expect there will be a lot from “Resonans” when the band embarks on their own tour. However, Seigmen deserves credit for starting the concert with “Fra X til døden” from their first EP, “Pluto.” A fantastic song that’s more metal than the alternative melancholic rock style the band would later adopt. “Metropolis” is another highlight and the song that really gets the audience singing along. It’s also touching when it’s mentioned from the stage that vocalist Alex Møklebust almost lost his life when he became seriously ill with Covid a few years back. Marius Roth also gets to showcase his talents with the anthem “Agnus Dei.” Roth is a tenor and has been employed at the Norwegian Opera, and he shows what he’s capable of. However, there’s more energy when Seigmen ends the concert with the deLillos cover “Hjernen er alene.” A worthy conclusion to a good concert, despite the setlist could have been better.
Cavalera Conspiracy began focusing on playing old Sepultura material as early as 2016. This has escalated over the years, and last year they released re-recordings of “Morbid Visions” and “Bestial Devastation,” while this year, they released a re-recording of “Schizophrenia.” As Max Cavalera himself says from the stage, “We are the real Sepultura,” and it’s hard to disagree with that. Max and Iggor Cavalera created Sepultura, wrote the songs, came up with the band name, and even drew the logo themselves. They are the rightful owners of Sepultura, or at least they should be, considering Andreas Kisser and Paulo Jr. are using the name today. That’s why it’s so great to see the band perform a full Sepultura set, with classics coming one after the other. Max Cavalera whips the audience into a frenzy, asking for both circle pits and walls of death. The audience eagerly joins in. It’s worth noting that Max and Iggor aren’t the only Cavaleras on stage this evening. On bass, Max has his own son, Igor Amadeus “Sorcerer” Cavalera. Meanwhile, on lead guitar, we have Travis “Eviscerator” Stone from the USA. A fantastic guitarist who plays Sepultura material perfectly. But it’s not just songs from the first three releases; the band also brings out “Refuse/Resist” and “Territory” from “Chaos A.D.” It’s incredible how much energy the crowd has when these two songs come towards the end of the concert. Additionally, we hear a bit of “Dead Embryonic Cells” from “Arise” during a medley at the very end. It doesn’t get much better than this.
The German thrash metal legends in Kreator know how to put on a good show. By playing Iron Maiden’s “Run To The Hills” before they take the stage, they set the mood even before the start. Then, the intro and Ennio Morricone tribute “Sergio Corbucci Is Dead” begins before “Hate Über Alles” takes over. Kreator has a spectacular stage setup, with a giant backdrop from the album “Hate Über Alles,” featuring four hanged figures in red hanging from the ceiling. An inflatable version of Kreator’s mascot, “Violent Mind,” is placed in the center of the stage. The band provides enough pyro that you almost wish it were nighttime so the show could be fully appreciated. Kreator is one of the 80s bands that is more relevant than most others from that decade. Kreator actually plays more recent songs than older material. Nine out of 13 songs are from after 2000. Three songs are from the 80s, and only one is from the 90s. There’s something respectable about playing newer songs, as it shows they’re not just living off past glory and can still deliver good music. Plus, Kreator is more popular than ever. But of course, some people complain that there’s too little old material. But I think Mille Petrozza doesn’t care. Kreator is doing a lot right these days, and it’s fascinating to see how big the band has become and how much they engage the audience. Mille encourages constant circle pits, and the audience follows suit. There’s no doubt that the band has the biggest wall of death at the festival.
Many thought it was over for ZZ Top when Dusty Hill died in 2021. After all, the band had the same three members since 1970, which is commendable in itself. Few believed the band would find a new member after more than fifty years. But who better to take over than Hill’s own guitar tech, Elwood Francis? Francis is only 61 years old, a youngster compared to the rest of the band. But with his wild hair, he’s quite a character. In that sense, he fits right in with ZZ Top – and, of course, he has a long beard. He’s said in interviews that he feels uncomfortable in his new role in the band, but he’s doing a great job. When he enters the stage, he comes in with a ridiculously large 17-string bass guitar. It started as a joke and was originally meant to be used for just a couple of shows. But the pictures of him with the 17-stringer went viral, and now he has to use it at every concert. So, he regrets that joke. But fortunately, it’s only used for one song. Speaking of songs, ZZ Top isn’t playing any fresh material these days. The band hasn’t released an album since 2012. Apart from one song from that album, all the songs are from 1990 or earlier. Not surprising either. When you see ZZ Top, you want the classics. Songs like “Gimme All Your Lovin’,” “Got Me Under Pressure,” “Legs,” “Sharp Dressed Man,” and “Tube Snake Boogie” come one after the other. Not to mention “La Grange,” which closes the show. However, it’s clear that the trio is getting on in years, and the tempo on some songs is a bit sluggish. But on the other hand, there’s something beautiful about seeing 74- and 75-year-olds rocking on stage. Not to mention, it’s heartwarming to see Billy Gibbons smile and laugh. He seems to be enjoying himself, and he still does the famous ZZ Top moves from the old days. Additionally, we get several costume changes throughout the show. ZZ Top is really the natural headliner on Saturday, not the newcomers in Greta Van Fleet. There are simply far more people watching ZZ Top. When I check Setlist.fm to see how many people have registered that they were at the concert, one-third more have registered for ZZ Top compared to Greta Van Fleet. But it’s likely that ZZ Top requested an earlier spot in the program considering their age. When you’re over 75, it’s understandable that you want to go to bed before midnight.
“He’s said in interviews that he feels uncomfortable in his new role in the band, but he’s doing a great job. When he enters the stage, he comes in with a ridiculously large 17-string bass guitar.“
Satyricon hasn’t been very active in the last five years, and we have to go back to September 7, 2019, for the last time the band played live. Granted, Satyr was at Tons of Rock last year and sang with Pantera on the song “Walk.” But that’s different. Finally, the band is back and doing a small festival tour this summer. It’s clear that many have missed the band, as a lot of people have made their way to the Vampire Stage, which is the second-largest stage at Tons Of Rock. So many people want to see the band that it’s hard to get forward to get a good spot. A few things have changed since the last time. Most noticeably is Satyr’s appearance, with a doughnut-style beard, long shaggy hair, and a denim vest with runes on it. It’s the lyrics from “Nemesis Divina” that he’s written on the vest: “Stridsmenn har nå hevet øksen” (Warriors have now raised their axes). However, it’s not correctly spelled for some reason. The next noticeable change is a new bassist. Anders Odden is out of the band, and Frank Bello from Anthrax is in. There was some anticipation about how Bello would fit in with a band like Satyricon. But he’s clearly ready to impress the audience and headbangs through the entire show. It’s actually rare to see his face, as he’s so immersed in the music the whole time. The setlist is varied, with songs from almost the entire discography. The band has now released nine albums, and if we include the “Munch” album, that makes ten. So, there’s not room for songs from every album in a slightly shorter festival set like this at Tons Of Rock. Some songs are more expected than others, and songs like “Now, Diabolical,” “The Pentagram Burns,” “Fuel For Hatred,” and “K.I.N.G.” are to be expected. Maybe not as expected is that the band goes all the way back to their debut album “Dark Medieval Times” to play “Walk The Path Of Sorrow.” On this one, Satyr comes out with a guitar, and he’s switched his light blue denim vest for a black one, with the Leviathan cross on the back. “Mother North” is so certain that it’s as sure as amen in church. It’s probably a song that has been performed almost consistently since Easter Eve 1996. Satyr himself describes the song as a black metal anthem and asks the audience to sing louder than they did at Hellfest the day before. After all, they’re on home turf. Whether they met the challenge isn’t known, but it doesn’t really matter because there was great sing-along anyway.
It almost seems a bit absurd and strange that a band like Greta Van Fleet is headlining on Sunday and thus closing the entire festival. That’s because their debut EP came out as recently as 2017, making Greta Van Fleet one of the youngest bands at the entire festival. In a way, it’s a bit positive, but also a bit odd. This is due to two things: one is that ZZ Top probably chose to play earlier in the day rather than take the final spot. The other is that the band had a massive hit with the song “Highway Tune” from 2017, which went straight to the top of the Billboard Mainstream Rock chart in the USA. So, we’re talking about a serious comet career here. This is a song that sounds ridiculously much like Led Zeppelin. So, many dismissed the band early on as a Led Zeppelin clone, or a band that makes you want to listen to Led Zeppelin. Fortunately, the band has evolved since then and has much more to offer than just imitating Led Zeppelin and Robert Plant. Much of Greta Van Fleet’s success can be attributed to the vocal cords of lead singer Josh Kiszka. Even I’m fascinated by how talented he is as he sings in Norway for the first time. The man has full control over his voice at all times, and he uses it for all it’s worth. I struggle a bit when he goes very high in pitch, as it can get a bit too shrill in a negative way. But that’s easy to overlook. Such vocal talent isn’t something you hear from newer bands very often. Robert Plant has been mentioned, but when I see him live, he reminds me more of Freddie Mercury from Queen – a flamboyant performer with an enormous voice. I notice that the band attracts a lot of women, and the first rows are actually filled with female fans. Probably the only band at the entire Tons of Rock with the most female fans. There are also quite a few instrumental parts, after all, Josh’s twin brother, Jake Kiszka, plays guitar in the band. These parts are less interesting as they’re neither innovative nor particularly good. Far from it. Josh Kiszka steals the show in Greta Van Fleet and is the one everyone wants to see and hear. Because at his best, he delivers a gold medal performance.
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