It was not until I had revisited their rollicking third album that had convinced me to see Shinedown live. While I am still a tad disappointed that they did not play the main reason I had bought a ticket in the first place, I cannot deny they made the trip worth it. No, depression or resentment will not devour me; after their set I thought to myself "there's always youtube."
They cracked open the book on pain and blasted the "Sound of Madness" to acclaim, and then went heavier with "Diamond Eyes (Boom Lay-Boom Lay-Boom)" The song was much better than I remember, and their live version was a suitable replacement.
Shinedown cut the cord before they shifted into the piano laden devotional "I'll Follow You," which
reminded me of Elton John, and not merely because a piano was present, I am more dignified and cultured than that gosh darnit! but not enough to tell you why.
"Bully" was next in line, and revved up the crowd, but it was a song from their latest that made me want to "Get Up" and dance, at another moment it may wake me up as an alarm (sounds good) or revitalize that confidence and self-assurance to stand up to any enemies that may reveal themselves and stand in my way.
Brent Smith and the band wanted to make sure that everyone had a good time, insisting everyone to look on their left "There is a reason for this,and you may not know that person, but we're going to change that" insisting they introduce theirselves to new friends. "We're in this together, and we would like to make you happy. So if one isn't happy, none of us are" (paraphrased). A request was made that everyone in the crowd jump on the count of three before the following song, and many obliged. The band was also very grateful for the ability to share this night with the crowd, as expressed by Brent Smith "Whether shows before, or after...it doesn't matter. This is your night." The brand new "Black Soul" was played by the request of many, I'm guessing by a poll.
It's true that I haven't given their Threat To Survival enough attention, only listening to a max of half the tracks, and "State of My Head" was one of them.
Status report? A little anxious after not hearing one of my favorites yet, and indecisive as to whether I should participate by using my phone to light up the space surrounding the stage; I had no lighter.
I was surprised I had not heard any of their earlier hits, but then they played "Second Chance," which was early enough, not as volatile as a .45, but as memorable. They did play their cover of Skynyrd's "Simple Man" which sated that yearning to hear their initial hits.
While I am not a major Godsmack fan, I figured it would only make sense to see the majority of their set. Opening with "When Legends Rise" and "1000hp" is a winning move, much to the point that it has been an element in their set list formula for quite some time. It doesn't order nostalgia to "Keep Away," it draws it in. Before they indulged in the collective pining for earlier hits we were played a song that has yet to live up to its title, but I only heard it recently, so it could still end up "Unforgettable.'
There's no reason. there's no compromise, when a band fails to play the hits, and replaces the with songs fans don't recognize. Straiiiight out of liiiine, I can't find the reason! While I like to hear the hits, I also appreciate when a band plays some deeper cuts, and disrupt the formula. This was not a song I despised, but one I expected to hear, and they delivered. Along with "Voodoo" and "Awake."
The band was grateful to return to Darien lake to which Sully riffed a short tribute to the park singing "Darien Lake, Darien lake," and then exclaimed "that was the worst song I had ever written." He called out the fans, mentioned Buffalo, and said it was good to see the majority of their fans from Buffalo in one place. "We like Buffalo, it's cooler than Boston. in which Canada's weather has spilled into ours."
We were treated to Sully's favorites, which I believe was titled "Someday." It may have been the distance from the stage, but coupled with the smoke and what looked like a tunnel visual on the screen behind the band perfectly matched that feeling either Erna or the listener may have felt during its wandering bridge.
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