Sebastian Bach has nothing to do with the iconic German classical composer and organist who lived in the 18th century. He is just one of the best singers of his generation. The one that once fueled net spray, in spandex, with epic guitar solos and lots of pretty girls in his music videos. Today, Vince Neil only manages to hit the (right) note if there is a pair of backing singers and backing tracks to give him a helping hand, while Axl Rose, even if he doesn’t mess up, is unfortunately cruelly lacking in breath. Last night, in a packed Beanfield Theater (which was sold out), Bach proved that he was still capable of interpreting yesteryear hits with aplomb, enthusiasm and talent.
Since the beginning of his solo career, Bach has played with many very competent musicians. Accompanying him on tour were guitarists Paul Crook (Anthrax, Meat Loaf) and Mike Chlasciak (Halford), as well as bassists Steve Di Giorgio (Death, Testament, Megadeth) and Jason Christopher (Prong). In the studio, he was able to collaborate with Axl and Duff McKagan (Guns n’ Roses), Myles Kennedy (Slash), John 5 (Rob Zombie, Mötley Crüe), Wolf Hoffmann (Accept), Steve Stevens (Billy Idol) and Orianthi ( Alice Cooper). He was even briefly part of the supergroup Damnocracy, with the iconic Ted Nugent, Jason Bonham (son of Bonzo, late Led Zeppelin drummer), Evan Seinfeld (Biohazard) and Scott Ian (Anthrax, SOD, Mr.Bungle).
However, for all aging rockers and rockers around the world, Bach will forever be the voice of Skid Row. The one who sang on the band’s first four releases, including the now heavy classics – or “hair metal”, if you prefer – that are Skid Row (1989) and its more muscular successor Slave to the Grind (1991). It is also the magnificent cover of the latter (a work of Bach’s father, the visual artist David Bierk) which adorned the immense banner hung behind the stage. By playing the title piece from the same album, Bach announced – by completely assuming himself – what would follow, a concert marked by nostalgia, celebrating the past with unifying anthems from another era.
Although Bach has just released a fourth solo album, Child Within the Manhe only played two extracts (i.e. Everybody Bleeds And What Do I Got to Lose, to get the ball rolling). With the exception of a too-brief cover of Tom Sawyer (from the monument of progressive rock that was Rush), the rest of the program was dedicated to the first two of Skid Row, performing all the classics, without exception, with contagious enthusiasm. On the menu, 12 pieces from his ex-group out of 15, including the gleaming Rattlesnake Shake, Monkey Business and, at the very end, Youth Gone Wildare performed deftly by Bach’s present group: bassist Clay Eubank (Cody Parks & The Dirty South), guitarist Brody DeRozie (Santa Cruz) and drummer Bobby Jarzombek (Fates Warning).
Dressed in huge pink sneakers, a t-shirt and sequined red pants, Bach was full of energy, pacing up and down the stage, spinning his microphone like a lasso, with a smile as big as that. Having grown up in the suburbs of Toronto, Bach was very happy to find his Canadian fans, six years after his last visit to Montreal (in oozing and packed Foufounes Électriques!), a city he mentioned – in French please – visiting since the time of the legendary Le Mustache bar. He also wanted to recall his memorable appearance at the Verdun Auditorium with Pantera in 1992.
Very diverse (all ages and sexes combined), the crowd was eager to accompany Bach, transforming into a noisy choir to the great pleasure of the main party. Particularly during unifying walks such as 18 and Life And I Remember You, which was dedicated to several great deceased musicians. Bach even sang a cappella a few lines fromHeaven and Hell by Black Sabbath, in tribute to the late Ronnie James Dio. In short, a great evening to rehash the past, while intensely living the present moment and rocking like thirty years ago.
Bulk photos
Sebastian Bach
The Bites (part one)
