This story began on August 21, 2019, when Metallic put on sale more than 35 thousand pitches for a new presentation in Argentina. The meeting would take place on April 18, 2020 at Argentinian polo field.
Months later, the coronavirus event motivated, among other things, the postponement of all massive events; in this group, the presentation of the quartet fell, framed in the tour Wired World Tourwhich was suspended in a nebula.
Finally, after two years of waiting and a postponement for December 2020 that could not be, Metallica made a new visit to the country yesterday at the Palermo site. The sixth since debut on Buenos Aires soilback in May 1993, with a double on the court of Vélez, propelled by the world famous “Black Album”.
As the totems threaten again and again to throw in the towel – KISS has done so recently in the country – the sense of finiteness that rock and its aspects have faced lately has grown and deepened under of the imponderable. Given the uncertainty created by the pandemic, will this have been the last opportunity to see Metallica in Argentina?
“It’s an honor to share the stage with one of the most influential bands of our time,” said lead singer Josh Kiszka.The opening acts Greta Van Fleet, who comes to Buenos Aires for the second time, and for whom the question of influences is not minor. With a decade of experience, his undeniable – and never denied – inspiration in a certain hard rock of the 70s still unleashes today a series of controversies on the limits and possibilities of the genre.
Nonetheless, the quartet – made up mostly of the shy but confident Kiszka brothers – put on a solid gig. From the singer’s opening howl to the elevator with “Highway Tune,” to moments of flight, with the medley between “Lover, Leaver” and “That’s All Right,” Elvis Presley’s first published song and, for some scholars, stone base of rock and roll.
When it comes to influences Metallica is an event in itself. To talk about them is to talk about the history of music over the past 40 years: the cutting edge of thrash metal Yes puppeteer like a masterpiece, global popularization of heavy music with their eponymous album, the renunciation of black and long hair, the argument against Napster, group therapy, documentaries, rehabilitation… It was almost impossible to stay away from at least one situation related to this group – revered or questioned -, which in her grandiloquence, she has always found a way to be observed as an illusionist of the absolute. For the best or for the worst.
It was an exciting start for the more than 35,000 people who lit up their minds and their cellphones on the back of “whiplash”, theme of furious marching and celebration of metal ritual, rescued from his raw debut album, Kill them allfrom 1983. Another dear old lady, “Ride the Lightning”, confirmed the path. “Look! Look at the Metallica family in Buenos Aires!” exclaimed the guitarist and singer James Hetfieldwith a passable local accent.
throughout his almost two hours, the staging had immersive characteristics. The five vertical screens which, behind the musicians, arranged like a screen, cut an imposing frame that seemed to embrace the group. Between visuals and live footage, what was shot from the screens gave each song its own atmosphere, as if each track should be an experience in itself. Special effects were added for this purpose, such as laser lights that seemed to envelop the mass in color.
No dead spots, with every detail timed to perfection and always cheering in the cat flap, the playlist was dynamic between strong and medium hitsand excluded less popular works to focus on emotional bridges with the public. This, plus some deliveries of Wired… to self-destruct (“Moth into Flame”, “Spit Out the Bone”), his very good last studio work, from 2016.
Strictly musically, the quartet has been delivering a somewhat chaotic number on stage for years, marked by the small dedication of drummer Lars Ulrich to his instrument, a subject that has been studied and discussed for a long time. guitarist Kirk Hammett offers mobility and advantage with its spikes, Robert Trujillo fattens the sound with the strength of its bass, but if you want to find the real tread, you have to listen Hetfield’s right hand. From there begin the catchiest riffs, as in “Search and Destroy”, “Holier Than You” Is “Sad but true”, the latter, references to the “Black Album”. The singer’s voice can be heard a little at the limit of its possibilities, surrounded by the passage of time.
Perhaps aware of all of this, Metallica is pressing high and wanting the experience to be complete. There is no time to think. the five meter flames in “Fuel” they seem to be burning heads. The visuals are beautiful and concise. Everything is stimulus with impact. If there is silence, Hetfield dunks the crowd. So, as an event creator, the group that changed the path of heavy music persists, unstoppable, in its megalomania.
After the last presentation in the country in 2017, this return has been the story of a postponed party which, as such, has become tastier. It all ended with a fireworks display on the roof of the stage at the end of the block “Nothing Else Matters” / “Enter Sandman”, the biggest hits from his most successful album, and the gateway to heavy music for so many. How many were also in those nights of May 93 in Vélez?
The pyrotechnics brought to light thousands of smiles that made their way through the gray beards. “Thank you for waiting for us, for these two years and for the previous 40”, launched an Ulrich already out of his usual position, while his companions threw spikes towards the crowd. And one group was prompted to claim “One more and we don’t fuck no more”, hoping to continue to contemplate, at least for a few more minutes, that effective and stimulating representation of the absolute who for decades made Metallica impossible to ignore.