black sabbath judas priest tour

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Talk this way podcast [e20]: andrea shirk, president and ceo of rock lititz, reveals plans for rock nashville, testament and kreator announce 2024 north american tour, slipknot announce 25th anniversary north american tour, marilyn manson announces first headlining shows in five years, slipknot confirm knotfest iowa 2024 lineup, mötley crüe announce exclusive club show in new york city, watch: the rolling stones kick off hackney diamonds tour in houston, the smashing pumpkins confirm new guitarist kiki wong, add 2024 tour dates, brantley gilbert adds dates to 2024 off the rails tour, watch: slipknot break out original masks and jumpsuits for club show in california, mötley crüe release new single “dogs of war”, the rolling stones confirm opening acts for 2024 tour, till lindemann announces north american solo tour with twin temple, evanescence and halestorm announce 2024 canadian tour, megadeth announce 2024 tour with mudvayne and all that remains, mötley crüe confirm new single “dogs of war”, review + photos: judas priest show no cracks in their armor on invincible shield tour, baroness announce 2024 summer tour dates, staind release new version of “better days” with dorothy.

The band is still melting faces with old school heavy metal after more than fifty years on the road

Last night, heavy metal juggernauts Judas Priest brought their highly anticipated Invincible Shield Tour to the Santander Arena in Reading, Pennsylvania. Just the third stop on the U.S. trek, the Rock and Roll Hall of Famers already have the engines revving after kicking things off in Europe. The last time Judas Priest were on U.S. soil was last October for their triumphant performance at Power Trip in California alongside Metallica, Iron Maiden, AC/DC, Guns N’ Roses, and Tool. They graciously stepped in for Ozzy Osbourne, who had to bow out due to health issues. Judas Priest announced their now-released album, Invincible Shield , on stage, and then proceeded to show the music world why they more than deserve to be mentioned with the likes of their fellow Power Trip performers.

Check out our live photo galleries from the show below.

Sabaton served as special guests for Priest in 2021 on their 50 Heavy Metal Years Tour. That tour actually kicked off right here at Santander Arena, a venue that has rich rock and metal roots. This time, the Swedish metal titans brought their massive army tank drum kit, greatly enhancing their already formidable stage presence. The last time they were here, the group debuted a new song, “Steel Commanders.” While it didn’t make the cut this time around, fans still got a solid 12-song set of hits. They started off with “Ghost Division, the launched right into “The Last Stand.” Other highlights included “The Red Baron,” “The Last Stand,” “Bismarck,” “Stormtroopers,” “Primo Victoria,” and more. They closed out their set with “To Hell and Back.”

Another treat for fans was witnessing the return of guitarist Thobbe Englund. After a previous stint with the band from 2012 to 2016, Sabaton brought Englund back into the band following the departure of Tommy Johansson. Back in January, Johansson decided to part ways with the group to “pursue his own path” after seven years with the group. On stage last night, frontman Joakim Brodén made a special acknowledgement of Thobbe’s return. Being back at the Santander Arena supporting Judas Priest, with a former member back in the band, was quite a full-circle moment for Sabaton.

While certainly a niche band in metal music, Sabaton are a thrill to see live. Monster riffs and sweeping melodies accompanied by Brodén’s soaring vocals captivated the crowd before Judas Priest. Sabaton certainly won over some new fans last time they invaded this building, and they delivered the goods once again last night to a sold-out crowd.

Sabaton released their tenth studio album,  The War to End All Wars , in 2022. It performed well, topping the Swedish Albums Chart and peaking at No. 2 on the UK Rock & Metal Albums chart and No. 9 on Billboard’s Top Rock Albums chart. The record serves as a sequel to their 2019 outing,  The Great War .

Last April, Sabaton released a cover of Motörhead’s “1916.”

When Black Sabbath’s “War Pigs” began to blast through the arena speakers, the energy in room was palpable. The crowd was singing every word in high anticipation for Priest. The lights went down, the curtain dropped, and the band appeared all together, stacked on Scott Travis’s drum riser. They tore into “Panic Attack,” the lead single from their latest hit album and tour namesake. Never a band to rely solely on their classic hits, it would be the first of three helpings of Invincible Shield .

From there, Priest bombarded the crowed with a hefty 18-song set. After opening with a new tune, they launched right into one of their biggest hits – “You’ve Got Another Thing Comin’.” Showing absolutely no mercy, they ripped through “Rapid Fire” next. Just three songs in, any doubt that this band might be slowing down after five decades was quickly eviscerated. Another massive hit, “Breaking the Law,” immediately followed. What a wild start it was.

Early in the set, frontman Rob Halford elicited an eruption from the capacity crowd at Santander Arena when he said, “This city – Reading, Pennsylvania – and this building, is such a great venue for heavy fucking metal!” And he’s not wrong at all. In recent years, Santander Arena and the Santander Performing Arts Center has hosted the likes of Slipknot, Avenged Sevenfold, Buddy Guy, Alice In Chains, Elton John, REO Speedwagon, The Doobie Brothers, Disturbed, Halestorm, A Day to Remember, and many more. In 2018, the Arena played host to thrash metal legends Slayer on their Final Campaign tour along with Anthrax, Lamb of God, and Behemoth. Serving strong country and Latin markets as well, Santander Arena has become one of the most dominant secondary market venues in the country.

Other highlights from the set included “Lightning Strike,” “Turbo Lover,” “Sinner,” “Victims of Change,” and the all-new “Crown of Horns,” among others. They pulled tracks from eleven different records out out of the total nineteen in their discography, an impressive sampling of their storied career. They wrapped up their set with the strongest song in their entire catalog – “Painkiller.”

With the crowed needing more, Priest returned and delivered. As “The Hellion” began to play through the speakers, the band launched into a three-song encore of “The Electric Eye, “Hell Bent for Leather,” and “Livin’ After Midnight.” After a set like that, the fans definitely wished the show would keep going well after midnight. Per usual, Priest did not disappoint. They rarely do, if ever. While we’re not sure just how much gas they have left in the tank, the band is racing full speed ahead powered by their latest hit record.

Judas Priest’s  Metal Masters Tour  wrapped up back on on April 8 at Zenith in Paris, France. In addition to Saxon and Uriah Heep, Phil Campbell and The Bastard Sons joined the bill at the Mediolanum Forum show in Milan, Italy on April 6. The U.S. leg of the band’s Invincible Shield Tour began on April 18 at the Toyota Oakdale Theater in Wallingford, Connecticut, and runs through up on May 22 at Empower Federal Credit Union Amphitheater in Syracuse, New York. The band will be making stops at the Prudential Center, Santander Arena, The Armory, and more. The run includes a featured performance at  Welcome to Rockville  in May alongside Mötley Crüe, Foo Fighters, Slipknot, Limp Bizkit, and many others. Very special guests for the trek will be Swedish metal juggernauts Sabaton.

After the U.S. leg, the run resumes on July 1 at Barclays Arena in Hamburg, Germany along with Saxon and Uriah Heep once again.

Fresh off their  50th anniversary celebrations , the band’s latest LP Invincible Shield is the follow-up to their acclaimed 2018 album,  Firepower . The latter record was the band’s biggest commercial success, charting at No. 5 on the UK Albums Chart and Billboard 200 as well as hitting No. 1 on Billboard’s Top Hard Rock Albums chart. For  Firepower , Judas Priest reunited with producer Tom Allom (Black Sabbath, Def Leppard, Krokus), who last produced the band’s 1988 album,  Ram It Down . The record was co-produced by Andy Sneap, who would stepped in as a touring guitarist for the band. Long-time member Glenn Tipton retired from touring after revealing his Parkinson’s diagnoses, just one month before the album’s release. Tipton co-wrote every song on  Firepower . After delays due to the COVID-19 pandemic, Judas Priest toured relentlessly to celebrate the success of  Firepower  and the band’s five decades of heavy metal.

Judas Priest’s nineteenth studio effort Invincible Shield was released back on March 6. Anchored by the lead single, “Panic Attack,” the album performed well commercially. It hit No. 1 on Billboard’s Top Hard Rock Albums chart, and No. 4 on Top Rock Albums. It peaked at No. 2 on the UK Albums Chart, and topped the UK Rock & Metal albums chart. After selling over 50 million albums worldwide, Judas Priest were inducted into the Rock and Roll Hall of Fame in 2022.

Judas Priest – Live Photo Gallery:

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Black Sabbath, Motorhead, Judas Priest Prove Their Metal Mastery

By Chris Steffen

Chris Steffen

When two of the singers who most define the genre are in the house, calling a tour featuring Judas Priest , Black Sabbath , and Motorhead the “ Metal Masters Tour ” doesn’t have even a hint of hyperbole.

The ashen skies threatened to open at any moment at Long Island’s Jones Beach Theater on Sunday, but even though lightning crackled in the distance during Judas Priest’s night-closing set, the evening remained dry. The band only pulled out one song from this year’s Nostradamus , so the rest of the set was dedicated to the glory days of yore. Apart from the old standbys (“Breaking the Law,” “Metal Gods,” “Hell Bent for Leather”), the deeper cuts provided some of the evening’s finer moments, especially a thunderous rendition of “Dissident Aggressor” and “Hell Patrol,” an unjustly forgotten number from the Painkiller album.

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Though the ticket read “Heaven and Hell,” a Ronnie James Dio-fronted Black Sabbath is still Black Sabbath. Guitarist Tony Iommi appeared in great spirits, cracking a huge smile while carving out the jagged solo on “I” (some of those Dehumanizer tracks are a lot better than you may remember). Dio was in fantastic voice, sounding more like one-third of his alleged 66 years, especially on “Children of the Sea” and “Heaven and Hell,” the set’s closing number.

As always, Motorhead was Motorhead, and that’s all it takes. From a breakneck “Going to Brazil” to “Killed By Death” and the unstoppable closing one-two punch of “Ace of Spades” and “Overkill,” Lemmy Kilmister’s gravel throat has retained every bit of its charm, and his band is still top-notch. The only downer of the evening is that the audience skewed so far towards the older side, as kids with heavy metal dreams would be well advised to sign up for an evening of education and learn from the best.

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Judas Priest, Saxon and Uriah Heep ‘Metal Masters Tour’ review

(review by lucy walker).

JUDAS PRIEST at Wembley Arena, London 21.3.24 (pic Robert Sutton)

JUDAS PRIEST + SAXON + URIAH HEEP – WEMBLEY ARENA, LONDON 21.3.24

Now when I was asked whether I would like to travel all the way into London and see three iconic bands in the form of Judas Priest , Saxon and Uriah Heep , I will not lie and say I jumped with joy. It was more with a ‘suppose I should check them out while I can’ mindframe. I mean, these are long running bands hailing from the ‘60s and ‘70s, a decade in which I was born in, and as far as I was aware, full of flares and glam rock. Not ‘heavy metal’ like these legends.

As Uriah Heep’s vocalist Bernie Shaw stated, we were going to watch 150 combined years of heavy metal history albeit with some slightly softer sounds than others. And with that statement, it makes sense why Wembley Arena had a slightly different seating arrangement to cover the demographic the bands were bringing in. Row after row of seating to take care of our old bones (yes even me) and to enable us older folks to be able to sit genteelly and watch the music unfold. Boy did they get that wrong.

No one told the fans and I can honestly say ,that from the beginning, all these supposedly more mature and ‘less mobile’ people were intent on standing and bouncing and punching their fists in the air to the sometimes incredibly fast pace of songs. Wembley Arena or the promoters misjudged their crowd. I did spot a number of very young Slayer and Judas Priest fans wandering around with their parents which brings some hope to the continuation of our live music scene.

This show is the last one in the ‘Metal Masters’ UK tour which is now visiting major venues in Europe. Good luck travelling with your motorbike Rob Halford (more on that later).

Uriah Heep Usually you will find support acts tend to get a much poorer showing especially at bigger venues, but with an iconic band such as Uriah Heep up first, it was not surprising to see the venue, though not full, still looking busy and fans had made an effort to turn up early much to lead vocalist Bernie Shaw’s pleasure. I felt glad for them as this was the first time they had played Wembley since 1976.

The anticipation was there already from the fans, but when the band strolled on and the opening chords began for ‘Save Me Tonight’ a track from their latest album ‘Chaos & Colour’, the vibe immediately became apparent as ‘fun’. As a ‘Uriah Heep’ novice, hearing the notes and drumbeats weaving together made me start swaying and to be honest, was a surprise.

With tracks ranging from their 1970 song ‘Gypsy’, recorded before I was even a twinkle in my daddy’s eye, to their latest offering of ‘Hurricane’ from their current album, the rousing but very short set was such an enjoyable experience with Bernie and the band making a fantastic job of engaging with us all and bringing us along for the ride.

Mick Box gave us a fantastic solo during ‘Grazed By Heaven’ with how he picked his way and merged all those notes – soul lifting stuff.

Bernie told the crowd Mick Box would also introduce us to how they used to do heavy metal rock’n’roll back in the day with a stupendous guitar solo on their 1972 ‘Rainbow Demon’. I guess it was heavier?

We had superb solos from both Russell Gilbrook on drums and Phil Lanzon on keyboards for ‘Free ‘n’ Easy’ which had me bouncing. I love drums – definitely a drummer loving girl!

All in all, this was superb and a great start to the show. I am now converted and will definitely be checking them next time!

Uriah Heep: Mick Box – guitars, backing vocals (1969–present) Phil Lanzon – keyboards, backing vocals (1986–present) Bernie Shaw – lead vocals (1986–present) Russell Gilbrook – drums (2007–present) Dave Rimmer – bass, backing vocals (2013–present)

Uriah Heep setlist: ‘Save Me Tonight’ (from 2023 ‘Chaos & Colour’ album) ‘Grazed By Heaven’ (from 2018 ‘Living The Dream’ album) ‘Rainbow Demon’ (from 1972 ‘Demons And Wizards’ album) ‘Hurricane’ (from 2023 ‘Chaos & Colour’ album) ‘Free ‘n’ Easy’ (from 1977 ‘Innocent Victim’ album) ‘Gypsy’ (from 1970 ‘…Very ‘Eavy …Very ‘Umble’ album) ‘Easy Livin’ ‘(from 1972 ‘Demons And Wizards’ album) Exit: ‘Land Of Hope And Glory’ Arr. from ‘Pomp and Circumstance’ March No. 1

www.uriah-heep.com

Saxon After a rousing and fun set from Uriah Heap, there was a noticeable surge in numbers and suddenly there was a sea of Saxon wearing gentlemen visible amongst the crowd. I can imagine that for Saxon fans, this was an incredible moment as it was the first time Saxon had ever played Wembley in their 44 year long career. Biff Byford told us that all the way back in 1980 when on tour with Rainbow and just about to go on, one of the crew came up and told them Ritchie Blackmore had said he didn’t want them going on anymore. Second time lucky then guys?. The very full turnout was not bad for a first showing.

As shown with their opening track, a lot of the songs tonight were from their latest album ‘Hell, Fire And Damnation’ and the fans lapped it up. As soon as the first note hit, there was not a single person left seated. Every fan was pumping their fists, jumping up and down, banging their heads and basically having the time of their lives and that was with just the first song.

When Biff shouted out to the crowd “Can you feel the power?” , the reaction was roof raising and they launched into a powerful rendition of ‘Power And The Glory’ from their 1983 album of the same name. I am not really a Saxon fan to be honest, but this did kick off the start of me appreciating just how good they are live and not to dismiss them.

I loved ‘Madame Guillotine’ , one of their new songs, which has a heavy James Bond feel to it – possibly a contender for the latest film once they announce the new Bond? Move over Shirley Bassey. Surprisingly for me, I have added this to my playlist which is not something a ‘90s teen would ever think of but it is that good. Not sure the crowd’s reaction was as enthusiastic.

The band then sped things up with the 1980 ‘Heavy Metal Thunder’ which elicited a wave of head bobbing and the crowd chanting the chorus. It looked like a fan favourite and the energy rolling off the stage was incredible. You could tell that Saxon were totally enjoying the Wembley experience and once the track finished, fans erupted with a roar.

A nice touch by Biff asking the crowd what they wanted next. They had to choose between ‘Crusader’, ‘Dallas 1PM’ and ‘Strong Arm Of The Law’. ‘Dallas 1PM’ won and it was fantastic to see the guys all grouped together at the amp and having a ball.

They ended their first ever Wembley show with their 1981 track ‘Princess Of The Night’ which turned into a good old singalong performance which left their fans content at finally seeing their band in one of London’s most historic venues. Dreams do come true and playing Wembley was one of the band’s.

Saxon will be topping the bill at ‘Stonedead’ festival in July 2024 – Details HERE .

Saxon: Biff Byford – lead vocals, bass (1975–present) Nigel Glockler – drums (1981–1987 / 1988–1999 / 2005–present) Nibbs Carter – bass, backing vocals (1988–present) Doug Scarratt – guitars (1995–present) Brian Tatler – touring guitarist (2023–present)

Saxon Setlist: ‘The Prophecy’ (from 2024 ‘Hell, Fire And Damnation’ album) ‘Hell, Fire And Damnation’ (from 2024 ‘Hell, Fire And Damnation’ album) ‘Motorcycle Man’ (from 1980 ‘Wheels Of Steel’ album) ‘Sacrifice’ (from 2013 ‘Sacrifice’ album) ‘There’s Something In Roswell’ (from 2024 ‘Hell, Fire And Damnation’ album) ‘And The Bands Played On’ (from 1981 ‘Power & The Glory’ album) ‘Power And The Glory’ (from 1983 ‘Power And The Glory’ album) ‘Madame Guillotine’ (from 2024 ‘Hell, Fire And Damnation’ album) ‘Heavy Metal Thunder’ (from 1980 ‘Strong Arm Of The Law’ album) ‘Dallas 1 PM’ (Crowd choice over Crusader… more ) (from 1980 ‘Strong Arm Of The Law’ album) ‘747 (Strangers In The Night)’ (from 1980 ‘Wheels Of Steel’ album) ‘Denim And Leather’ (from 1981 ‘Denim And Leather’ album) ‘Wheels Of Steel’ (from 1980 ‘Wheels Of Steel’ album) ‘Princess Of The Night’ (from 1981 ‘Denim And Leather’ album)

www.saxon747.com

Judas Priest By the time, thousands of people had got over the Saxon set, got their beer refills and visits to the ladies room (stupidly long queues), the quiet excitement was mounting and you could feel the air of anticipation all around. The opening notes of ‘War Pigs’ by Black Sabbath began and a cheer went up. Everyone, including me, joined in singing as we welcomed the beginning of Priest’s show.

As the lights started and the guitar chords began, the stage was empty but as soon as the heavy riff began, the curtain disappeared and there they were, with Rob’s vocals screaming out. The crowd going wild because here they were. These are the Godfathers of studs-and-leather – a look they invented for their 1979 tour and which has now become so much a part of rock and heavy metal.

Judas Priest began with ‘Panic Attack’ from their latest album. It was not a surprise to see as tonight, we saw a lot of tracks from their highest ever charting album ‘Invincible Shield’ in their 50 year career. The album charted at No 2.

No surprise how much everyone rocked the classic ‘Breaking The Law’ with the crowd joining in with Rob and cheers erupted at the end. Seeing Rob Halford, Ritchie Faulkner and Andy Sneap throwing shapes at the amp was so cool.

There was a lot of audience participation though at one point, a lot of yeah yeah yeahs were being led by Rob. I didn’t think it would ever stop.

I loved ‘Love Bites’ and so did everyone else. This is a real anthem which never grows old. Watching Rob Halford hunched over growling out ‘Love Bites’ and then just watching the crowd was so powerful for me.

There were such incredible sounds coming out of Andy Sneap’s guitar at the beginning of one of their latest songs, ‘Crown Of Thorns’, but the whole performance felt a bit tired and I did not get a sense the fans were that enthusiastic about it. Maybe yearning for the classics?

Suddenly we heard the roar of a meaty motorbike and out in a plume of smoke appeared Rob on his bike and ‘Hellbent For Leather’ began. As someone who has never seen them live, a bike rolling on is a bit of a shocker. With all the fog billowing and Rob dressed in his iconic leather – how cool is this dude? One day I want my husband to grow up like him (I am a woman so the beard would not suit). What a fantastic intro to such a blasting performance of a song. His bike stayed there as part of the band the rest of the night.

And then…Glenn Tipton joined the band on stage with ‘Living After Midnight’ and ‘Metal Gods’. So fantastic to see him there as part of Judas Priest while battling Parkinsons (something my father suffers from so it is incredible for me to see him on stage still rocking it). Also digging the synchronised guitar poses by Richie Faulkner and Andy Sneap.

My favourite part of the whole show apart from all the other favourite parts was ‘Living After Midnight’. Such a feel good song and a perfect way for all of us to end the night on a high. I know everyone, including myself, were grateful to be there with the band at their last UK date on the tour.

Such an amazing show and I need to see them again. I do think Rob Halford had more costume changes than Mariah Carey but he is a rock god and may he reign forever.

Judas Priest: Rob Halford – lead vocals (1973–1992, 2003–present) Glenn Tipton – guitars, backing vocals, keyboards (1974–present) Ian Hill – bass, occasional backing vocals (1969–present) Scott Travis – drums, occasional backing vocals (1989–present) Richie Faulkner – guitars, backing vocals (2011–present) Touring member Andy Sneap – guitars, backing vocals , producer (2018–2022, 2022–present)

Judas Priest setlist: Intro tape: ‘War Pigs’ (Black Sabbath song) ‘Invincible Shield Tour Anthem’ ‘Panic Attack’ (from 2024 ‘Invincible Shield’ album) ‘You’ve Got Another Thing Comin’’ (from 1982 ‘Screaming For Vengeance’ album) ‘Breaking The Law’ (from 1980 ‘British Steel’ album) ‘Rapid Fire’ (from 1980 ‘British Steel’ album) ‘Sword Of Damocles’ (from 2014 ‘Redeemer Of Souls’ album) ‘Love Bites’ (from 1984 ‘Defenders Of The Faith’ album) ‘Saints In Hell’ (from 1978 ‘Stained Class’ album) ‘Crown Of Horns’ (from 2024 ‘Invincible Shield’ album) ‘Turbo Lover’ (from 1986 ‘Turbo’ album) ‘Invincible Shield’ (from 2024 ‘Invincible Shield’ album) ‘Sinner’ (from 1977 ‘Sin After Sin’ album) ‘The Green Manalishi (With The Two Prong Crown)’ (from 1978 ‘Killing Machine’ album) (Fleetwood Mac cover) ‘Painkiller’ (from 1990 ‘Painkiller’ album) (encore) Song played from tape ‘The Hellion’ (from 1982 ‘Screaming For Vengeance’ album) ‘Electric Eye’ (from 1982 ‘Screaming For Vengeance’ album) ‘Hell Bent For Leather’ (from 1978 ‘Killing Machine’ album) ‘Metal Gods’ (with Glenn Tipton) (from 1980 ‘British Steel’ album) ‘Living After Midnight’ (with Glenn Tipton) (from 1980 ‘British Steel’ album) ‘We Are The Champions’ (Queen song)

www.judaspriestinvincibleshield.com

Comments 14

I was at the show with my friend s And from the Start till the end it was such a fantastic night of Rock n Roll. Long live Rock n Roll.

Thanks for your comment Peter.

Great review, Saw the tour in Leeds and thought it was brill.Glad you enjoyed Uriah Heep…..caught the original band a couple of times in the early 70s…..yes that’s how old I am. They still put on a great show.Keep on Rocking

Thanks for your comments Arthur.

Saw them in Leeds. Still salty about Crusader losing to Dallas 1pm for the crowd choice – Crusader was the album that got me into Saxon, and decades later did the same to my son (who was there,13yo and his 3rd Saxon show!) Priest were absolutely magnificent, as always. Love the new album (spring for the deluxe – the bonus tracks are worth it) Couldn’t speak properly for 3 days after this gig – always a sign of a good night!

Thank you for your comments Mike.

Nice show 40 years waiting for that Thank you 💥

Thanks for your comment.

The Saxon Song Power and the Glory is from the album of the same name

Thanks William.

saw them at utilita arena Birmingham,all 3 bands were brilliant but it was priests night,great new songs from a great new album possibly the best of the last 3,rob was in fine voice and great to see glen at the end,so many great songs to choose from they could have played 3 sets and still leave classics off, the first band I ever saw on the killing machine tour, fantastic 👍🎸

Thanks for your comments Andy.

My 24 year old son took me to the ovo for my first ever concert and we were both blown away! The atmosphere was amazing the bands were absolutely brilliant. All 3 were amazing! Painkiller stole the show!

Thanks for your comment Donna.

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Music and concerts | review: judas priest knows how to put on a classic heavy metal show.

Judas Priest performs at Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

Judas Priest guitarist Richie Faulkner performs with the band at Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

Vocalist Rob Halford leads Judas Priest at Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

Judas Priest guitarist Richie Faulkner and lead vocalist Rob Halford perform at Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

The audience cheers during a Judas Priest concert at Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

Vocalist Rob Halford performs with Judas Priest at Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

Vocalist Rob Halford performs as Judas Priest plays the Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

Vocalist Rob Halford (right) performs with guitarist Andy Sneap as Judas Priest plays the Rosemont Theatre on May 1, 2024. (Chris Sweda/Chicago Tribune)

With little left to prove except its contemporary relevance 55 years after forming in Britain, the group stuck to its hallmark techniques and zeroed in on what mattered: the music, and its iron-clad bond with the heavy-metal community. While many artists spout what the crowd wants to hear, then repeat the same banter in every city, Judas Priest spent scant time on talk and devoted its nearly non-stop 105-minute set to the proverbial walk.

In sound and vision, words and attitude, the quintet embodied the liberating release and unifying spirit of second-wave metal. For Judas Priest, that meant leaning into the sheer power of its craft, the outsider mentality of its lyrics and the occasional theatricality sparked by the pairing. The straightforward, hammer-down approach came across as both unapologetic and vintage — not to mention endangered in a modern era prone to solo stars and pricey, one-upmanship productions.

Led by vocalist Rob Halford, the band forged a thrilling assault that projected a defiant toughness that could withstand or defeat the challenges outlined in many of its narratives. Rugged, resilient and rebellious, the songs’ temperaments traced a direct line to the band’s origins in the industrial wastelands of Birmingham, England. As did the well-controlled aural cacophony that evoked all manner of steel manufacturing: pounded anvils, loud stamping machines and fire-stoked furnaces included.

Those parallels further assumed a visual form during “You’ve Got Another Thing Comin’,” a declarative anthem accompanied by black-and-white historical footage of workers laboring at a factory. And they adopted loaded meaning amid the back-and-forth sway of “Breaking the Law,” with Halford screeching “you don’t know what it’s like” akin to a desperate dreamer intent on doing anything to escape their soul-crushing circumstances.

Misfits, outsiders and blue-collar types standing throughout the venue understood exactly what he meant. Then again, Judas Priest has been speaking to and for those individuals since Black Sabbath and Led Zeppelin were at their mid-’70s peak. Seldom concerned with mainstream trappings, Judas Priest’s dalliance with commercial fame in the ‘80s happened on its own terms.

Though the band never broke up — a feat that places it in rare company with the Rolling Stones and other select lifers — Halford’s exit in the early ‘90s triggered the start of a forgettable period that alienated everyone but diehards. The singer’s 2004 return led to a second-act renaissance that long ago surpassed the merit, longevity and productivity associated with most reunions.

Released in early March, the band’s 19th album, “Invisible Shield,” extends a run of strong studio LPs marred only by the conceptual “Nostradamus” (2008). It follows the group’s 2022 induction into the Rock and Roll Hall of Fame; a pandemic-delayed 50th anniversary trek; and a bare-all Halford autobiography (“Confess”). Ironically, those positive developments owe to the type of lineup changes that often spell the end of bands.

In 2011, longtime member K.K. Downing suddenly quit over internal disagreements. In 2018, fellow guitarist Glenn Tipton, retired from live performance after the burden of dealing with Parkinson’s disease grew too difficult to bear. In their shoes stepped the relatively unknown Richie Faulkner and producer-musician Andy Sneap, respectively.

While purists may chafe at the replacements, each instrumentalist held up their end of the bargain from flanked positions on Wednesday. Rather than simply replicate passages, Faulkner and Sneap played with expressive license. The six-string fireworks that packed the spaces between the verses and chorus — pinched harmonics, squealing tritones, traded solos, doubled-up leads — erupted with a sharpness that matched the jaggedness of the main riffs.

While the latest recruits lacked the tight chemistry of their predecessors, Judas Priest’s rhythm section hurt for nothing. Bassist Ian Hill, the band’s longest-tenured member, stood in the shadows and operated as a silent lynchpin. Picking up on the resultant vibrations, he ensured the arrangements — even those that aimed at the jugular (the blitzing “Panic Attack,” the deep cut “Saints in Hell”) — remained tethered to a discernible groove. Hill’s partner, drummer Scott Travis, went another level beyond.

Entering his 35th year in the group, Travis put on a clinic. His combination of balance, solidity, timekeeping, force and steadiness bestowed Judas Priest with unshakable foundations and punchy dynamics. Travis’ four limbs navigated his double-bass kit with virtuosic ease. Cool and restrained, he avoided unnecessary flash such as splashy fills or busy cymbal crashes.

At times, the sustained crack of Travis’ drums resembled that of holes being bored into thick sheet metal. During a cover of Fleetwood Mac’s “The Green Manalishi (With the Two Prong Crown),” the rumbling percussive transformed into a fleet of approaching steamrollers.

If Travis’ rolling thunder served as the rails on which the band rode, Halford’s multi-octave deliveries functioned as the high-speed train barreling down on tormentors and detractors. Unsurprisingly, the 72-year-old vocalist — who, with his big, fluffy white beard and shaved head could’ve passed for a character who walked right out of a Herman Melville novel — no longer possesses the near-infinite range of his glory days.

Yes, Halford hit shrieking highs and glass-shattering notes. But he limited their frequency and length, and received obvious assistance from reverb, echoes and loops. No matter. Few singers manage to cover as much territory. Fewer still strike a more commanding on-stage presence than the nicknamed Metal God, whose constant caged-lion pacing, demonstrative body language and cheerleading of his colleagues and crowd all ranked second to his impressive wardrobe.

Clad in black leather pants, boots and gloves, and cycling through an array of waist- and knee-length leather jackets dripping with studs, chains and tassels, Halford exemplified the heavy-metal biker demeanor Judas Priest practically invented. In addition to complementing the look of his mates, his clothing — which also included a floor-length denim battle vest that would’ve been ridiculous on anyone else — mirrored the fortitude and grit of the material.

Rotating through the roles of necromancer (the eerie “Love Bites”), exorcist (the vicious “Devil’s Child”) and pursuant (the sleek “Turbo Lover”) with resolute authority, the singer later found the fountain of youth while chronicling the triumphs of a heroic cyborg. Reaching upper-frequency extremes from a crouched stance, Halford and company’s unyielding rendition of “Painkiller” renewed the case for the song’s standing as the greatest metal composition of the past three-plus decades.

After that kind of exertion, who could blame the singer for sitting for a spell? Returning to the stage on a Harley-Davidson, riding crop in hand, Halford straddled the bike during the first half of “Hell Bent for Leather” before throwing one leg over the side and dismounting.

Just as expected. Judas Priest executed the signature move countless times in the past. Yet akin to the band’s unwavering commitment to blending heaviness with melody, some traditions never grow old.

Bob Gendron is a freelance critic.

Setlist from the Rosemont Theatre May 1:

“Panic Attack” “You’ve Got Another Thing Comin’” “Rapid Fire” “Breaking the Law” “Lightning Strike” “Love Bites” “Devil’s Child” “Saints in Hell” “Crown of Horns” “Sinner” “Turbo Lover” “Invincible Shield” “Victim of Changes” “The Green Manalishi (With the Two Prong Crown)” (Fleetwood Mac cover) “Painkiller”

Encore “Electric Eye” “Hell Bent for Leather” “Living After Midnight”

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Judas Priest's quest to build a metal monster documented on 50 Heavy Metal Years Of Music

Judas priest celebrate their half-century with 50 heavy metal years of music: a career-spanning metal blow-out.

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Black Sabbath invented heavy metal, but Judas Priest drove it forward, rapidly accelerating the genre’s development. The limited-edition 50 Heavy Metal Years Of Music isn’t their first rodeo at the box-set ranch, but in comparison with 2004’s 4-disc Metalogy and The Complete Albums ’ (2012) vanilla round-up and omission of the Ripper Owens period, this 42-CD behemoth hits the motherlode. 

All 18 studio albums and six live long-players are here, including their previously deleted Ripper-fronted output. For die-hards, there are eight newly mastered live shows (five previously unreleased) recorded between 1979 and 1991, offering full-throttle classics, a theme continued on Beyond Live And Rare ’s collection of buried gems (including unreleased epic Mother Sun ).

Rocka Rolla (1974) lacks the edge of later albums, though doomy showstopper Run Of The Mill telegraphs what’s to come. Sad Wings Of Destiny (1976) finds their classic sound crystallising (pre-figuring the NWOBHM ) as Rob Halford’s uncanny lungpower blends with KK Downing and Glenn Tipton’s bone-crushing guitars, displaying an aggression rare for the time on Victim Of Changes . 

Session drummer Simon Phillips adds double-bass drumming to Sin After Sin (1977), the band sowing the seeds of thrash on Call For The Priest , refined on Stained Class ’s (1978) Exciter . The same year’s Killing Machine distils melody and ferocity into concise neck-snappers, a format refined with hitmaking flair ( Living After Midnight ) on British Steel (1980).

Point Of Entry (1981) alternates experimental tracks with brooding metal, before Screaming For Vengeance (1982) and Defenders Of The Faith (1984) hit a platinum-selling balance between sharp songwriting and blunt force trauma. Turbo ’s (1986) lighter sound and guitar synths polarised fans, Ram It Down (1988) is uneven, but Painkiller (1990) is essential, face-melting Priest. 

During Halford’s absence, Owens acquitted himself admirably on the brutal Jugulator (1997) and Demolition (2001), before the metal god’s return for the sterling Angel Of Retribution (2005) and rewarding concept album Nostradamus (2008). Redeemer Of Souls (2014) was a solid start for guitarist Richie Faulkner, this incarnation hitting its stride on the masterful Firepower (2018). An exhaustive summation of Priest’s intense studio creativity and onstage vibrancy.

The 50 Heavy Metal Years Of Music box set is available from the Judas Priest webstore . A double vinyl highlights package, Reflections, is also available. 

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Judas Priest: Metal Masters Invincible Shield Tour - UK 2024

Judas Priest

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• Anniston/Gadsden

Legendary heavy-metal singer loves Dolly Parton, cats, ‘invincible fan base’

• Updated: May. 03, 2024, 9:33 p.m. |
• Published: May. 03, 2024, 3:15 p.m.

Richie Faulkner, left, and Rob Halford of the band Judas Priest perform onstage in 2022. (Photo by Owen Sweeney/Invision/AP) Owen Sweeney/Invision/AP

• Matt Wake | [email protected]

“There’s your kitty cat,” Rob Halford says with a smile from behind the circular sunglasses he’s wearing in his Chicago hotel room. About halfway through our video call interview, Max, a green-eyed feline, saunters across my laptop’s camera. “You know me, I love cats,” says Halford, who often posts cat-centric images to his Instagram account .

Halford is probably the greatest heavy-metal singer to ever live. If he isn’t, he’s second only to the late great Ronnie James Dio of Black Sabbath, Rainbow and the band Dio fame.

Halford’s octave-scaling range and hellcat tone are archetypal not just to the sound of Judas Priest, his Rock & Roll Hall Of Fame band, but all heavy-metal. Just as integral to the genre as crunchy guitar and headbanging grooves. See Priest classics like “Living After Midnight,” “Breaking the Law,” “Exciter,” “Painkiller” and “Victim of Changes.”

More than 50 years into their history, Judas Priest continues to set the pace in metal. Released this March. “Invisible Shield,” the band’s 19th studio album and a worldwide chart hit, cooks. Songs like “The Serpent and the King, “Trial By Fire,” and “Devil in Disguise” deliver vintage Priest sound in present tense. In addition to Halford and classic-era members Glenn Tipton on guitar and Ian Hill on bass, “Invisible Shield” boasts star guitarist Richie Faulkner and longtime drummer Scott Travis.

As lauded as he is as a singer, Halford’s vocal melodies are underappreciated. Take “Crown of Horns,” a standout track off “Invisible Shield.” Also see Priest all-timers like “You’ve Got Another Thing Coming” and “Electric Eye.”

“It’s one of the thrills of songwriting, is trying to come up with melodies,” Halford says. “Much like Glenn and Richie with the riffs. It’s the same kind of endeavor, really. You’re trying to establish something that really captures the essence of what the song is all about, the message that the song is going to try and portray.

“And that’s always good to have it in your mind, you know, to appreciate that you’ve got you’ve got all of this material, it’s preceding this moment. And you’ve got to kind of push through and find something fresh and original in its melodic gestures and phrasing and everything that’s never been done before. And I’ve always had a feeling that your previous work kind of subconsciously plays a little bit of a role in this place that you have to go to.”

To come up with vocal melodies, Halford usually listens at the recording workstation in his Phoenix home to a song’s basic instrumental tracks before they’ve been completely finished. And listens again. And again.

“Sometimes, the melodies come really quickly,” Halford says. “In fact, with ‘Crown of Horns,’ it was almost instantaneous. Where did these things come from? I guess it’s just the blessings that musicians have. It’s not easy writing music. Never has been and it shouldn’t be, especially something that’s good and you hope is gonna last.”

Halford will set down with a track with some ideas already jotted down. He keeps a running list of song titles and opening lines. Creating a vocal track, he’s looking for something that “connects.”

Many singers like to cut with few other people around besides a producer and recording engineer, but Halford likes to have bandmates there, too.

“I like to have support when I’m doing my work – always have,” Halford says. “It’s very important to be open minded in the studio, to listen to people’s suggestions and ideas. Whether it’s ‘Crown of Horns,’ whether it’s ‘Electric Eye,’ whether it’s “Another Thing Coming,’ these things are what you go down the heavy-metal coal mine for, picking away. ‘Oh, there’s a diamond.’”

Before exploding into a blistering charge, “Invisible Shield” opening track “Panic Attack” opens with a neon-toned intro reminiscent of “Turbo,” Priest’s polarizing 1986 album known for its sleek contours and poppy hooks.

Faulkner put the “Panic Attack” intro together in a Nashville studio and sent it to Halford. “And he goes, ‘Is this is this risky?’ Halford recalls. “I go, ‘Why?’ He goes, “Well, it’s a little bit synth-y. It’s a little bit of a reference. I was thinking of Glenn when you made the ‘Turbo’ album, and that machine that he had specially made for him and these cool sounds that were happening.’

“And I go, ‘No man, I think it’s really cool.’ I think it’s very evocative of something that we’ve done from the past, but it’s like a redesign. It’s like a restructure. It’s also an attention-grabber. We knew pretty much right from the early moments of the album that this was going to be the opening track. You’re also aware that fans around the world are just waiting. What are they going to do? What’s the first thing that I’m going to hear? So we were having a little bit of fun with that opening sequence, but at the same time, it felt absolutely relevant. You know how a [baseball] pitcher winds up before he throws the ball? It’s a little bit like that.”

“Panic Attack” has racked up more than 7 million Spotify streams so far. It’s also the opener on the setlist for Judas Priest’s current tour. The trek includes the band’s first show in Huntsville, Alabama (my hometown), in 40 years , back when they were supporting their “Defenders of the Faith” album.

Halford will turn 73 in August. But during our video call, no doubt thanks to the formerly hard-living singer’s decades-long sobriety, he looks closer to 53. There are tattoos on each side of his shaved head. Wizard beard. He’s wearing rings, bracelets and necklaces and a plain tee. Metal God casual. As anyone whose been to a recent Priest show will attest, Halford’s still singing his ass off, too.

Asked what he’s learned as a singer over the past four decades, Halford says, “It took me a while to realize, you know how everybody has a happy place? Somebody has a walk in the park as a happy place, some vacation is a happy place. My happy place is singing. It completes me as a person. And I don’t think I’ve ever realized that until some years ago when I started to appreciate how important this voice is to me as a person. How it makes me live completely.”

Halford believes his sole purpose in life is singing. It’s his destiny.

“So I’ve appreciated as I’ve gotten older this gift is just a treasure,” he says. “I enjoy the emotion, energy, power, connection -- particularly live with our fans. Because there are certain parts of the show where I sing certain songs, where you can see everybody lights up, you know? And that’s the power that the voice has.

“And that’s the same for a lot of singers, when you have a favorite song, and you hear it sung by the person that actually made it on the record. So there’s all this kind of emotional connectivity that is more important to me now than it was as a younger metalhead, as a younger person. And I think that’s life. You gain wisdom in life, at least you should. So I’ve just learned to feel great about this, this fact that I’m able to do what I do all these decades later with this band that I love more than anything else in the world, and have a fan base that is just invincible. It’s absolutely glorious, you know?”

Andy Snead, producer on “Invisible Shield” and co-producer along with frequent Priest collaborator Tom Allom of the band’s previous album “Firepower” from 2018, also serves as touring guitarist. Tipton, who along with former guitarist K.K. Downing forged Priest’s patented and highly influential dual lead guitar attack, was diagnosed with Parkinson’s Disease a few years back, impacting his ability to tour. I can tell you though, when Tipton joined the band onstage at their 2022 concert in Nashville for the last three songs, his shredding could still rattle a coliseum and thrill fans.

While Halford takes his singing and music very seriously, he doesn’t take himself too seriously. Offstage, he often sports T-shirts emblazoned with images of cats, a contrast to his signature onstage looks of studded leather.

Judas Priest’s the quintessential metal band, but they’ve looked outside the genre when they’ve recorded cover songs. For 1974 debut album “Rocka Rolla,” Priest reimaged folk singer Joan Baez’s song “Diamonds and Rust” as Queen-style hard-rock. On ‘78 LP “Killing Machine” (titled “Hell Bent for Leather” in the U.K.), Judas Priest put their imprimatur on “The Green Manalishi (With the Two Prong Crown),” a song from Fleetwood Mac’s bluesy, Peter Green-led and pre-Stevie-Nicks-and-Lindsey-Buckingham era. Hot versions of both songs featured in Priest’s ‘79 live release “Unleased in the East.” “The Green Manalishi” is in the band’s current setlist.

“You’ll find that most musicians are very open minded in the way that they absorb music,” Halford says. “Music is a very, very, very powerful force. And yeah, we all have all favorites. We prefer this kind of music to that kind of music. Or we will we’re completely turned off by this kind of music, we’re drawn to another.

“Back to when I was a little kid, you know, there was always music in my family. The radio was always on, or the television was always on. My mom and dad used to like variety shows with a lot of music, different talent. And wow, what a great time to grow up in England. By the time the swinging ‘60s came around, and we had everything from The Beatles to The Rolling Stones to Cilla Black to Gerry and The Pacemakers to The Tremolos. I could go on and on and on. All these great stars with great voices. It taught me at a very earl age to be receptive, to absorb music in every way, shape and form.”

Cut to the 2022 Rock Hall induction ceremony. There’s Halford onstage with country legend Dolly Parton singing her classic hit “Jolene” together.

“And I love that song and I love Dolly,” Halford says. “It’s just part of this magical journey. I love my Hank Williams, I love my Willie Nelson, I love my greatest classical singer of all time, [Luciano] Pavarotti. Singers I’m particularly drawn to. Just because I know all singers feel the same when they sing. It’s a very deep kind of almost spiritual thing when you’re singing, because it comes from your heart, your soul. So I’m attracted to all kinds of music and all kinds of singers.”

Halford and Judas Priest have etched their own monolithic legacy. His talent has also intertwined their arc to intersect with his heroes.

Early in the band’s career, Priest got to open for Led Zeppelin at a stadium concert. Extra thrill for Halford since Zep’s Robert Plant is one of his key inspirations on the mic. Decades later, he filled in with Black Sabbath , another personal touchstone as Sabbath and Priest both hail from Birmingham, England: Once for Dio in 2004, and once for original Sabs frontman Ozzy Osbourne in ‘92.

When those gigs come up as we’re closing our 15-minute chat, Halford smiles fondly and bows toward the video camera in a Chicago hotel.

Judas Priest performs May 7 at Huntsville’s Von Braun Center and May 12 at Mobile’s Mobile Civic Center Arena. For Huntsville, tickets range from $49.50 to $99.50 plus applicable fees via ticketmaster.com and the VBC Box Office, address 700 Monroe Street. Mobile tickets are $45 and up plus fees via asmglobalmobile.com. More info at judaspriestinvincibleshield.com.

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The Big Gigs: 10 best concerts to see in the Twin Cities this week

1. Judas Priest: After belatedly making it into the Rock & Roll Hall of Fame in 2022 — with a beautiful speech by frontman Rob Halford on being "the gay guy in the band" and ultimately one of metal's best-fit singers — the British steelmakers are blazing through another tour, touting yet another mighty album, "Invincible Shield." Guitarist Glenn Tipton and bassist Ian Hill are also still around from the heyday era, from which they still pull heavily in concert. As if Priest could ever take a stage without "Breaking the Law" or "Living After Midnight." Swedish bangers Sabaton open. (7:30 p.m. the Armory, 500 S. 6th St., Mpls., $67-$77, ticketmaster.com )

2. Robyn Hitchcock: Almost four decades since he became a poster boy for college radio and MTV's "120 Minutes" with cult hits like "Balloon Man" and "Madonna of the Wasps," the London punk-turned-folk-rocker also of Soft Boys acclaim has remained a road warrior and a constant delight to his fans. His banter-filled, deep-discography-digging acoustic shows are a good fit in the Twin Cities' greatest listening room as Hitchcock moves past a family tragedy in 2023 with help from veteran comedian Eugene Mirman, who's serving as opener. (7:30 p.m. Cedar Cultural Center, 416 Cedar Av. S., Mpls., $35-$40, thecedar.org )

3. Minnesota Orchestra: Russian-American pianist Kirill Gerstein has delivered some electrifying performances on past Twin Cities visits. In recent years, he's been on a quest to play all of Sergei Rachmaninoff's piano concertos with the Minnesota Orchestra, and he'll be joined by its new music director, Thomas Søndergård, for the composer's First. There also will be some of that Richard Strauss that Søndergård and the orchestra play so well together, in this case "Also Sprach Zarathustra." Raising the curtain is a piece by Chinese composer Qigang Chen. (11 a.m. Thu., 8 p.m. Fri. Orchestra Hall, 1111 Nicollet Mall, Mpls., $45-$111, minnesotaorchestra.org )

Also: Retired but widely admired Iowa singer/songwriter Greg Brown, founder of Red House Records, promises to sing a few songs at an appearance to celebrate his new book "Ring Around the Moon: A Songbook," a collection of writings, drawings, photographs, lyrics and sheet music, with a foreword by Seth Avett (6 p.m. Electric Fetus, free); Los Angeles' goth/glam hard-rockers Black Veil Brides are back on tour with three openers (5:30 p.m. the Fillmore, all ages, $55); masked surf-rockers Los Straitjackets are celebrating their 30th anniversary (8 p.m. Turf Club, $25); in a return to outdoors at Crooners, Stanley Kipper and the New Primitives salute Bob Marley (8 p.m. Belvedere tent at Crooners, $25-$35).

4. Ber: After heavily charming big Mainroom audiences at First Ave's Best New Bands and the Current's anniversary showcases this past winter, the St. Paul-based indie-pop craftswoman from northern Minnesota is taking on her biggest hometown headlining show to date. She followed up last year's upbeat breakout EP, "Halfway" — featuring the cheeky and ultra-catchy viral hits "Boys Who Kiss You in Their Car" and "Superspreader" — with a balladic single that's a real heart-tugger, "Room for You," suggesting there's a lot more growing and exploring yet to come for one of Minnesota's brightest young music stars. Rafaella opens. (8 p.m. Fine Line, 318 1st Av. N., Mpls., resale tickets only, axs.com )

5. Charlie Parr: Adding to his long list of admirers-turned-producers, Minnesota's greatest acoustic song picker of the modern era found another fine collaborator in Tucker Martine, who worked with the Decemberists and Sufjan Stevens before producing Parr's loosely magical new one, "Little Sun." Piano, drums, harmonica and other lively instrumentation bring new layers to songs like "Portland Avenue" and "Bear Head Lake" without losing Parr's rustic feel or the authenticity befitting a record whose title subtly pays homage to late Twin Cities blues legend Tony Glover. Rootsy folk duo Mama's Broke, from Halifax, Nova Scotia, open along with Oregonian Marisa Anderson, who played on Parr's record. (7 p.m. First Avenue, 701 1st Av. N., Mpls., $25-$30, axs.com )

Also: Last seen opening for Bonnie Raitt, award-winning slide guitarist Roy Rogers will demonstrate why he's so well regarded in the blues-rock world (7 p.m. the Dakota, $35-$40); Retro Fizz explores the songs of Burt Bacharach with special guests Chan Poling, Prudence Johnson, Becky Schlegel, Cindy Lawson and Arne Fogel (7 p.m. Crooners, $25-$35); indie-pop strummer Bobby Kabaya's youthful groove act Miloe tops an all-ages Radio K showcase with Heart to Gold, Christy Costello and She's Green (7 pm. Varsity Theater, $30); an electronic dance music trio from Montreal known for wearing metallic tiger helmets, Black Tiger Sex Machine is hosting a two-night mini-fest of sorts with different openers each night and a new anime show on Night 1 (9 p.m., also Sat., the Armory, $45 or $89/two-day); burgeoning Minneapolis jazz drummer L.A. Buckner and his funky band Big Homie top KFAI's 46th anniversary bash with Shrimp Olympics and America y los Sentimientos (7 p.m. Hook & Ladder Theater, free); Grammy-winning trumpeter Jake Baldwin blows into Berlin nightclub with his namesake quartet (8 p.m., $15); the Current's sorely missed rock-star host Mary Lucia hosts the Hell Yeah! Rock & Roll Dance Party (8 p.m. Turf Club, $12-$15).

6. Kenny Chesney: More than 30 years after putting out his first album, country's king of stadium concerts is bound again for the Vikings' colosseum, with a new album, "Born," a fast rising, Hardy-penned single "Take Her Home" (which chronicles a romance from a barroom meeting to having a baby) and a pickup truck full of opening acts. Zac Brown Band, a stadium headliner in its own right, brings "Chicken Fried" and a barroom-meets-jam band attitude. Georgia newcomer Megan Moroney delivered one of mainstream country's top albums of 2023 with "Lucky" and the hit "Tennessee Orange." And Uncle Kracker returns to reprise his 2004 Chesney collab, "When the Sun Goes Down." (6 p.m. U.S. Bank Stadium, 401 Chicago Av. S., Mpls., $85-$700, ticketmaster.com )

7. Daniel Lanois: After several gigs in his native Canada, sonic adventurer Lanois kicks off the U.S. leg of his trio tour in the Twin Cities. He's best known as a Grammy-winning producer of U2, Bob Dylan, Emmylou Harris, Neil Young and others. A guitarist noted for moody, atmospheric instrumentals, he released his latest album, "Player, Piano," in 2022, featuring tunes that, like his guitar pieces, could be soundtracks for movies. Indeed, he's composed soundtracks for "Sling Blade," "Red Dead Redemption II" and other films. Accompanied by drummer Jermaine Holmes and bassist Jim Wilson, Lanois promises that "the original instrument, that being the voice, is alive and well in this trio configuration." (8 p.m. Hopkins Center for the Arts, 1111 Mainstreet, Hopkins, $48-$58, hopkinsartcenter.com )

8. Minnesota Opera: The season closes with one of the most popular of operas, "La Boheme," Giacomo Puccini's sweet, sad, funny and gloriously tuneful tale of life and love among Paris' poverty-stricken creative class in the 19th century. The company is offering nine performances in 16 days, with job shares for the three lead roles. Overseeing the staging is a Greek director of increasing renown, Rodula Gaitanou. New principal conductor Christopher Franklin is in the pit. (7:30 p.m. Sat., 2 p.m. Sun., through May 19, Ordway Music Theater, 345 Washington St., St. Paul, $29-$285, mnopera.org )

9. Lynne Arriale: The veteran Milwaukee-bred jazz pianist, who is a music professor at the University of North Florida, delivered her 17th album as a leader, "Being Human," in March. Dedicating the project to inspiring humanists like climate activist Greta Thunberg and poet Amanda Gorman, Arriale gets soulful on "Faith," exuberant on "Joy," funky on "Soul" and unrestrained on "Curiosity." As she did on the record, the pianist will work in a trio format, with New York drummer Adam Nussbaum and local bass ace Chris Bates. (7:30, also 6:30 Sun. Metronome Brewery, 289 5th St. E, St. Paul, $50, metronomebrewery.com )

Also: Rocker-turned-twanger Aaron Lewis is back performing with his grungy 2000s-era band Staind of "It's Been Awhile" fame, topping off the 93X Twin Cities Takeover concert also featuring I Prevail, Asking Alexander and Dayseeker (6:30 p.m. Xcel Energy Center, $35-$85); (8 p.m. First Avenue, $38); First Ave's bar staff is stocking up for Southern Minnesotan Americana vets the Gear Daddies' almost-annual return to the Mainroom (8 p.m., $38); elegant R&B/hip-hop singer Lady Midnight is celebrating the release of her dancefloor-centric new album, "Pursuit & the Elusive" (8 p.m. Turf Club, $23); former Pines troubadour David Huckfelt is playing a special early-evening gig down in the Turf Club's basement bar (6:30 p.m. Clown Lounge, $25); the innovative 75-member women's choir Kith + Kin, led by Her Crooked Heart's Rachel Ries, is pairing up with local songwriting great Humbird for its seventh season finale, benefitting Raíces Sagradas (4 p.m. Cedar Cultural Center, $25); versatile drummer Nate Smith, who has worked with Pat Metheny, Brittany Howard and Norah Jones, brings his love of jazz, hip-hop and R&B to Minneapolis with guests Kiefer & Carrtoons (6:30 & 9 p.m. the Dakota, $35-$40).

Soulful organist and former Snarky Puppy member Cory Henry, who has worked with a diverse roster including Bruce Springsteen, Kenny Garrett, the Roots and Yolanda Adams, is touring behind his 23-track 2024 gospel album "Church" (8 p.m. Fitzgerald Theater, $35 and up, axs.com); California's vintage rockabilly stalwarts Big Sandy & His Fly-Rite Boys are back in town to help kick off the new Under the Canopy outdoor concert season with local openers Kinda Fonda Wanda (6 p.m. Hook & Ladder, $18-$28); one of the Twin Cities' most beloved singer/songwriters Haley kicks off her May/Be/Sundays residency in North Loop's intimate new listening room with Diane (7 p.m. Berlin, $10); salsa big-band Charanga Tropical is hosting a matinee dance show in honor of Cinco de Mayo (5 p.m. Icehouse, $15).

Jim Messina, a Rock & Roll Hall of Famer with Buffalo Springfield and later a member of Poco and Loggins & Messina, brings his rich catalog of country-rock and '70s pop (6:30 & 8:30 p.m. the Dakota, $40-$65); Scottish rock band Teenage Fanclub, whose 1991 album "Bandwagonesque" remains a favorite among power-pop record lovers, is on its first U.S. tour in five years (8 p.m. Fine Line, $33-$53); Jefferson Airplane and Hot Tuna alum Jorma Kaukonen returns (7:30 p.m. Parkway Theater, $44-$59); former British "X Factor" champ James Arthur is Stateside touting his new album, "Bitter Sweet Love" (7 p.m. Fillmore, $53.50 and up).

Philadelphia punk vets Mannequin Pussy are touring for their new John Congleton-produced album, "I Got Heaven," with Soul Glo opening (8 p.m. Fine Line, $23).

10. Belle and Sebastian: After bouncing around from Rock the Garden to the Minnesota Zoo for local stops over the past decade — and accidentally abandoning their drummer in North Dakota on their way to a Palace Theatre gig in 2017 — Stuart Murdoch and his cultishly adored lilt-pop band were overdue to light up the checkered First Ave dancefloor. The elegant, buoyant, literary and whimsical Scottish indie vets are touring with two well-received companion albums, "Late Developers" and "A Bit of Previous," but they've been pulling from all over their 12-album discography on tour this year. Oregonian acoustic picker Haley Heynderickx opens. (8 p.m. First Avenue, 701 1st Av. N., Mpls., $45, axs.com )

Also: 1970s cosmic cowboy Michael Martin Murphey — remembered for "Geronimo's Cadillac," "Wildfire," "Carolina in the Pines" and "What's Forever For" — has shown a taste for bluegrass in his later career (7 p.m. the Dakota, $40-$45); there's a rare-of-late gig by all-star local jazz trio Fat Kid Wednesdays, featuring saxophonist Michael Lewis, drummer JT Bates and bassist Adam Linz (8 p.m. Icehouse, $30-$35); new age-y experimental composers Mizu and Ohyung, the latter of whom scored the new A24 movie "Problemista," pair up at the Cedar Cultural Center (7:30 p.m., $25); big-haired '80s U.K. rock bands the Alarm and Gene Loves Jezebel are on tour together for a Gen X nostalgia double-fix with Jake Rudh DJ-ing (6:30 p.m. Parkway Theater, $39-$59); Council is a new collaboration featuring Finnish violinist Pekka Kuusisto, who has appeared with the St. Paul Chamber Orchestra, and versatile Portland, Ore.-based singer/songwriter Gabriel Kahane (7:30 p.m. Parkway Theater, $33).

Classical music critic Rob Hubbard contributed to this column.

©2024 StarTribune. Visit startribune.com. Distributed by Tribune Content Agency, LLC.

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• Avg Setlist
• Concert Map

Average setlist for tour: Invincible Shield

Note: only considered 9 of 11 setlists (ignored empty and strikingly short setlists)

• Song played from tape War Pigs ( Black Sabbath  song)
• Song played from tape Invincible Shield Tour Anthem
• Panic Attack
• You've Got Another Thing Comin'
• Breaking the Law
• Lightning Strike
• Devil's Child
• Saints in Hell
• Crown of Horns
• Turbo Lover
• Invincible Shield
• Victim of Changes
• The Green Manalishi (With the Two Prong Crown) ( Fleetwood Mac  cover)
• Song played from tape The Hellion
• Electric Eye
• Hell Bent for Leather
• Living After Midnight
• Song played from tape We Are the Champions ( Queen  song)

Show Openers

Main set closers, show closers, encores played.

This feature is not that experimental anymore. Nevertheless, please give feedback if the results don't make any sense to you.

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