Concert Reviews
W.A.S.P Pittsburgh: Photos and Review
WASP’s 40th Anniversary World Tour 2022 – Pittsburgh PA
By Josh Drespling with additional photos by Ron S.
The winged assassins, W.A.S.P. made their way to the blue collar town of Greensburg Pennsylvania which sits just outside of Pittsburgh. For one night only they took up residence in the over one hundred year old majestic Palace Theater.
What was dubbed “The 40th Anniversary World Tour” saw the band set foot in the United States for the first time in over a decade. There were rumors that front man and W.A.S.P. mastermind, Blackie Lawless swore to never tour in the US again due to the logistics and financial ramifications. He spun the new tour, touting the influence of the fans and their action to make promoters realize that bringing W.A.S.P. to any given town was a viable decision.
In reference to the world tour that kicked off in Milan, Italy on March18th of this year, Blackie had this to say “For the W.A.S.P. 40th Anniversary World Tour we’re going back to the beginning. We’re taking the show back to where it all started. Complete with all the fire and all the blood that shocked the world the first time. We only did this type of show on the first world tour and never did it again…until now! I’m gonna scream and I’m gonna bleed, cause I wanna be somebody! We’re taking everybody back…back to the beginning!”
For the sold out show in Greensburg, Armored Saint held down the opening slot duties with their signature brand of metal. Despite vocalist John Bush being under the weather they plowed through a set that spanned their entire career including the track “Chemical Euphoria” from their 1987 release Raising Fear along with “Can U Deliver” from the band’s first full length, 1984’s March of Saints. The band also performed “Standing on the Shoulders of Giants” from their mid-pandemic release, Punching the Sky.
WASP proudly took to the stage following an intro comprised of small clips of some of the band’s most memorable numbers mashed together into a whirlwind of chaotic sound. Blackie Lawless was clad in a black WASP t-shirt with added arm coverings, paired with his signature white leather fringed boots and knee pads. The balance of the band: bassist Mike Duda, guitarist Doug Blair, and drummer extraordinaire Aquiles Priester preceded Blackie on the stage. With his fist raised triumphantly in the air he pointed to the sky as the band broke into the opening riff of “On Your Knees” from W.A.S.P.’s 1984 self-titled debut album.
Every voice in the theater shouted along to every single word of a medley of the classics “On Your Knees”, “The Flame”, “The Torture Never Stops” and “Inside the Electric Circus”. The voices in the crow overpowered much of the vocals coming from the stage. Despite the thousand back-up singers, Blackie’s voice cut through the mayhem and his signature gravely voice sounded better than I could ever imagined. In fact, I might suggest that some of these other aging rock stars embrace whatever vocal exercises Blackie has been performing. We will gloss over the moment that bassist Mike Dude took a step backward and tripped over a wire, his own feet, or a shadow and landed on his rear-end. Guitarist Doug Blair was quick to the rescue and lent him a hand up as they both laughed off the comical incident in an otherwise “serious” rock show.
Without missing a beat W.A.S.P. pummeled the audience with another crowd pleasing number in the iconic classic “L.O.V.E. Machine” also from their debut release as the MTV era music video played on large screens behind the band. Moving ahead to “Wild Child, the lead track from 1985’s The Last Command. The band also performed amid the music video projected on the screens making up part of their backdrop.
Once the crowd had been properly whipped into a frenzy, Blackie announced that “In addition to it being the 40th anniversary of the band, it is also the 30th anniversary of The Crimson Idol album. We are going do do a few songs from that album right now.” They began with “The Idol”, who’s lush and extended guitar solo exhibited what an amazing guitar player Doug Blair is. He mesmerized the entire crowd with his playing of the nearly four-minute solo. Falling is order were “The Great Misconceptions of Me” and “Chainsaw Charlie (Murders in the New Morgue)” which saw the band bathed in bans of blue light and atmospheric smoke.
Breaking the more subdued tone of the Crimson Idol section of the set was the iconic drinking anthem “Blind in Texas” which once again had the entire venue singing along to every word before the band exited the stage.
After a brief pause Blackie and his fellow musicians returned to the stage and preformed the controversial and cartoon-like “Animal” one of the most famous W.A.S.P. songs, but without a doubt one of the most lack luster selections in the band’s expansive catalog. This was a shortened version on the song they transformed into “The Real Me”, The Who cover song from the bands most underrated release The Headless Children.
At this point Blackie stepped up to Elvis, his mic-stand monument made of a cold steel spinal column topped with a skull and crossbones and two arms with human skeleton hands holding what appear to be motorcycle handlebars. He proceed to profess how thankful he was for the fans and explained how promoters did not believe that WASP could still sell tickets. He said that “Tonight is sold out, last night was sold out, and many more of the dates on this tour are sold out.” He continued “It is all because of you the fans. You guys got on social media. It was not hundreds of you, but thousands of you and I’m grateful for that” With that he shouted “I WANNA BE SOMEBODY!” as the band broke into the signature song of the same name. While the band played photos and the names on every past and present member of WASP were projected on the screens behind them along with a list of thank yous of people who helped make WASP “somebody”.
As the song wound down, Blackie climbed on top of “Elvis” and threw his hands up, shouting “We Love You. Thank you!” He stepped down and spoke into he mic; saying “Good night. We will see you next time.” Thus lighting the flame of hope for them returning for another tour.
Few bands in history have generate such a catalog of rebellious sing-a-long anthems and managed to mature into a band that produced epic concept albums and straight ahead rockers that have moved multiple generations of fans. Despite the loss of several key members over the years (Chris Holmes, Randy Piper, the late Frankie Banali, and Johnny Rod) Blackie has been able to steer the freight train that is WASP towards musical perfection time and time again.
The 40th Anniversary World Tour will soon be winding down, but hopefully due to the success of this leg of the tour they will consider scheduling more dates in the US and abroad. If you have the opportunity I encourage you to catch the show, it is undoubtedly a memorable one.
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Electric Callboy came into the Maryland/DC area at the MGM Harbor and brought fans of all ages—from old to young—along for the ride. They were joined on this tour by Scene Queen and Polaris.
Scene Queen delivered a seriously fun set. She’s fully embraced what she’s coined as “bimbocore,” and I absolutely love it—and so do the fans. The crowd was already moshing and crowd surfing early on, and they kept that energy going all night long.
Polaris, from Australia, brought the metal. This was my first time seeing them, and they absolutely brought the kind of raw energy that drove the crowd wild. They played a killer set and are definitely a band to keep your eyes on.
Electric Callboy was the headliner, and they brought the rabid fans with them. Lots of people were dressed up in signature Callboy attire, and it’s been a while since I’ve seen so many young kids in a metal show crowd. Between all the costume changes, confetti, and streamers, Callboy delivered a killer set. They always put on a hell of a show—and always leave me questioning Germany: why haven’t you chosen them as your Eurovision entry?
We got to hear songs like “Hypa Hypa,” “We Got the Moves,” “Pump It,” “Hurrikan,” and many more. They also had an intimate moment during the set, right in the middle of the crowd, with a piano—performing acoustic versions of “Fuckboi” and a cover of “Everytime We Touch.”
The entire show was amazing—such a fun and wildly entertaining spectacle. I can’t wait to see them again.
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Infected Rain is now on tour with Stitched Up Heart and Blackwater Drowning and made a stop at Zen West with local kick ass band Anoxia.
The night crackled with electric energy and thrummed with unforgettable music. I loved that every band on the lineup featured powerful female vocalists—each with her own distinct style and stage presence, yet all of them fierce, commanding, and absolutely a force to be reckoned with.
It was an absolute thrill to see Lena and Infected Rain again. I love how they continue to evolve as a band and as a core of incredible artists every time I catch them live. I’ve been a fan for many years, and I always relish watching them perform—especially the way Lena connects with the crowd and her fans, which goes far beyond what most musicians ever offer. I would love to see them chosen as Moldova’s Eurovision entry, because we desperately need more rock and metal represented on that stage.
If this tour is rolling into your city, do yourself a favor and go check it out. It’s a phenomenal live show—the bands don’t just kick ass on stage, but they also happen to be some of the nicest, coolest people you’ll ever meet. You will not be disappointed. Plus, they’ve got some seriously killer merch that you absolutely need to snag while you’re there.
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Resistor at Preserving Underground: Knuckle-Dragging, Wika-Wika Fury
New Kensington, PA – By the time Resistor took the stage at Preserving Underground on April 30th, the room had already been baptized. Inferious had spent their opening slot proving why they belong on this tour and Monochromatic Black followed suit. The crowd: sweaty, tired, and grinning stood shoulder to shoulder in the basement of a converted church, ready for the Long Island quintet to deliver the main course. They did not disappoint!
The “Knuckle Dragging Wika Wika Core” Arrives
For the uninitiated, a quick vocabulary lesson is needed. Resistor doesn’t just play heavy music; they’ve patented their own subgenre. They call it “knuckle dragging wika wika core”. The “knuckle dragging” part is the downtuned, beatdown-ready hardcore riffage that makes you want to punch a hole in the nearest wall. The “wika wika” is the turntable wizardry of Anthony Arce, a Manhattan-based DJ whose scratches and samples add an extra layer of chaotic texture to the band’s already ferocious sound.
And on this night, in the intimate confines of Preserving Underground, that sound hit like a freight train with no brakes. The band made up of Anthony Grambo on vocals, Anthony Conti on guitar, Ian Schneider on bass, Peter Smith on drums, and Arce on turntables launched into their set with the kind of immediate aggression that separates headliners from openers. Resistor brought a sharp, more hardcore-infused edge. The bass drum kicks vibrated your sternum. The turntable scratches cut through the mix like a knife. And Grambo? Clad in Selena t-shirt didn’t just sing into the mic, he seemed to be wrestling it for control.
A Set Built for 2026
The band had good reason to be confident. Just over a month before, Resistor released their debut full-length album, BITE THIS!. Produced by Randy LeBoeuf (Kublai Khan TX, The Acacia Strain), the 30-minute, 10-track assault has been described as “an aggressive trip with a hardcore ethos” that blends nu-metal’s cocky swagger with 21st-century heaviness.
Setlist highlights came fast and furious. Opening with “BORN 2 BREAK,” the band immediately established the night’s tone: pummeling, unapologetic, and laced with just enough turntable chaos to keep things unpredictable. “L33CH” followed, with Arce’s scratches adding an almost industrial layer of noise to the already dense wall of guitar. By the time they hit “DEAD SOUL” a track the band has called “the perfect entry point” to the album the pit had fully reignited.
The Secret Weapon: Anthony Arce
What sets Resistor apart from every other heavy band on this tour is the turntable. In 2026, seeing a DJ on stage at a hardcore show feels almost nostalgic. A throwback to the nu-metal heyday of the late ’90s and early 2000s. But Resistor doesn’t use the turntable as a gimmick. Arce’s contributions are woven directly into the fabric of their sound, from the extra chaos on “PETTY FUCK” to the almost Deftones-esque atmosphere of “FROZEN AT 29”.
Live, those moments hit even harder. During “LOVE SONG (BULLSH!T),” Arce dropped into a scratch solo of sorts, that had the crowd throwing horns and nodding in appreciation. It was a small moment, but it underscored something essential about Resistor: they’re not just heavy for the sake of being heavy. They’re heavy with purpose, texture, and a genuine understanding of how different elements can collide to create something new.
Closing Strong
By the time they reached the set’s final tracks “XXXL” and “FEEL LIKE SHIT” the room was a mess of flying bodies, raised voices, and genuine appreciation. The band didn’t overstay their welcome. They played, they destroyed, and they stepped back, leaving the crowd to catch their breath before Filth’s headlining set.
Verdict
Resistor proved exactly why they were chosen for this 10th-anniversary tour. With a new album that’s been called “nothing short of an aggressive trip” and a live show that delivers every ounce of that aggression, they’ve positioned themselves as one of the most interesting heavy bands coming out of the New York scene. The “knuckle dragging wika wika core” label might sound like a joke, but the music is anything but.
Catch them on the remaining dates of the Back To Tha Gutta tour if you can. Just bring earplugs. And maybe a change of shirt.
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