Friday Night: Hell City Kings and Burn the Boats at Fitzgerald's
Rocks Off was able to catch the middle chunk of American Fangs' record-release lineup, and while I didn't have a chance to see the headliners support their long-awaited release, Burn the Boats put on a strong enough show to make the quick trip to Fitzgerald's well worth it.
Heading back upstairs after barely missing The Wrong Ones, I found a far older crowd upstairs taking in Carry the Storm, with a marked age difference between the two.
Aligning with the Lamb of God crowd who pray nightly at the altar of Pantera much like the rest of us do with Black Sabbath, Carry the Storm falls very squarely into the "New American Heavy Metal" genre. It was still early, so the piecemeal crowd stood the prerequisite three feet apart, checkerboarded across the floor, silently nodding along their slow, steady headbangs of approval.
I had read that Friday would be lead singer Nick Koumbis' last hoorah with the band before stepping aside for a new vocalist, so I was interested to see how the show played out. Fitting timing, I suppose, because I walked in as the band officially wrapped their set.
"Fuck it. One more!" shouted Koumbis before launching into a cover of Pantera's "A New Level." The entire crowd recognized the song two bars in and became instantly more riled up. I have yet to see the old adage fail: If you want to incite a Texas crowd, play some Pan-fuckin-tera.
It's a fitting farewell, it seems, for this chapter of Carry the Storm.
That sickening scream that girders give in a building collapse -- that's what Burn the Boats vocalist Stevie Sims' opening howl sounded like. Having listened to the scattered recordings I found on social media, I wasn't fully prepared for this level of sonic assault. Owing to poor recordings, bad compression or maybe the band has simply improved this markedly, the few songs I found on ReverbNation simply don't do them any justice.
Burn the Boats
While the comparisons to bands like Kylesa and Mastodon remain, the band has a depth and cohesion that keep them from being regulated to also-ran status.
Around mid-set, as the crowd finally began to fill out, Burn the Boats hit their stride during "Lost at Sea." Sims' shirtless strutting and almost effortless barking vocals overlaid the chugging rhythm section, while guitarist Charles Sepulveda laid down a clever, noodling, sea-chantey-inspired assault.
During "Oedipus," the juxtaposition of bass player Floyd Willis' slaggy down-tuned bass and Sepulveda's far more streamlined seven-string style became readily apparent, and their respective Sword and Possessed T-shirts suddenly all the more fitting.
I had gotten tons of heads-up on Burn the Boats from friends in the past, and after a few near-misses at other shows.I'm happy to report the wait was worth it.