Published on April 20th, 2019 | by Guest Editor0
IMPRINT Review | Godsmack and Volbeat Brought All The Dads Out To Dance
Written By: IMPRINT | Therese Enberg
The night at Bridgestone Arena started with female fronted Stitched Up Heart, I love girl power. Her long blonde hair, made the theatrics, air cannons, and head banging so much more incredible.
Mixi, had amazing interaction with the crowd for being the opener. Her range together with drummer Decker’s backup vocals gave me goosebumps. The crowd, who is used to Godsmack seemed to throughly enjoy the set. I loved how their light designer, made them specific for each song and it’s mood. Their set convinced me that they are my new favorite band.
Volbeat was next, they had flown into Nashville from Copenhagen, Denmark the day before. Lead singer Michael Poulsen expressed how jet lag had been hitting him hard but didn’t care as Nashville was the first show of the tour and how amazing it had been.
Volbeat’s music is truly meant for arena shows, and the pure love and passion put behind the show was incredible. I haven’t seen passion like that radiating off of stage at an arena show in a long time.
The Nashville crowd loves Volbeat, the happy older couple in front of me is rocking out and jamming along the entire time. Pure joy was spread across their faces. The lights, and I can’t help but notice how well dressed the band is for being considered a heavier rock band.
Volbeat truly use the entirety of the stage, they cater to a broader audience as their music is rather melodic and it’s applicable to multiple genres. As Michael Poulsen mentions how beautiful all the ladies are in the audience, I can’t help but be one of the ladies fawning. One good looking man for his age. The song “Seal The Deal” makes everyone move. It’s funny to see how all the dad’s in the audience dance that awkward dad dance but they don’t have a care in the world. The band get standing ovations as they finish up their set.
Bridgestone’s beer sales must be through the roof, the entire venue looked like a Bud Light commercial as that was the can in every beer drinking hand. The crowd is rather specific, I’d call it “rhinestone cowboys” mixed with metal heads and dad’s who wear too much hair gel. It’s rather unique but a tight knit community.
The anticipated Godsmack goes on, and the crowd roars. They take Nashville by storm with intense LED light set up and crazy pyrotechnics. My poor camera even decided to malfunction due to the heat radiating from the stage, but the aftermath was incredible.
“Are we awake yet Nashville?” The crowd roars harder, and the adrenaline is pumping through the crowd. The song “Unforgettable” made entire Bridgestone Arena belt out and sing along. Sully Erna calls the men “big bearded muscles sons of bitches”, egging the men on to man up and put their women up on their shoulders and I quote “There’s a good chance we will get to see boobies” encouraging the women on top of the mens shoulders to flash. The statement is rather contradictory to what Godsmack’s foundation The Scars Foundation stand for. A foundation built to prevent suicide, bullying, addiction and abuse. I have full understanding that you have a stage persona and a private persona – though Godsmack have to live up to their own words and the responsibility of The Scars Foundation.
The highlight of their show was when they shut off all the lights in the arena, and made the crowd light up the stage with cellphone lights and lighters before even starting their song. I’ve never seen more “horns” before at one show. It truly showed how much Nashville loves Godsmack.
In general it seems like the band has lived this rockstar lifestyle for far too long, singer Sully Erna seem to be the only one still having the spark for the band. Why I say this, is because bass player Robbie Merrill doesn’t seem to be present. He does walk back and forth in attempt to hype the crowd on the sides, but there’s no energy put behind it. Unfortunately Godsmack is a group of rather talented musicians that seem to have lost their edge.
Photo Credit: IMPRINT | Therese EnbergTweet