Making the drive out to Jones Beach Theater on Saturday was bittersweet. I had been there less than a week ago for the Summer of Loud Festival, and I never could have imagined that the world would lose Ozzy Osbourne the very next day. But we did. And it sucks.
Thinking about that on the drive was a harsh reminder of how life can change in a single moment—and how monumental the impact of that moment can be on the world. Tragic history has shown that Pantera is, unfortunately, no stranger to this fact. The Abbott brothers—Pantera founders, guitarist Dimebag Darrell and drummer Vinnie Paul—both passed away unexpectedly. We all know those stories, so I won’t go into them, but the details aren’t necessary to understand the seismic impact those losses had on Pantera as a band and on the metal community at large. Ozzy’s passing has now shaken the metal world to its core. There will never be another like him. Ever.
Zakk Wylde, Pantera’s touring guitarist, has also been Ozzy’s right-hand man for decades. I can’t begin to imagine the weight of his grief, nor can I fathom how it feels for Pantera’s Phil Anselmo, Rex Brown, or touring drummer Charlie Benante. Each had their own meaningful and influential relationship with Ozzy, and they collectively showed their love for him by performing at the Back to the Beginning celebration in Birmingham just a few weeks ago. Pantera’s performance at Jones Beach would continue that celebration.
Pantera is joined on this tour by Swedish Viking legends Amon Amarth, along with a rotating opening slot filled by artists from Phil Anselmo’s Housecore Records roster.
This stop on the tour featured Detroit grindcore outfit Shock Narcotic opening the show. The band was energy possessed—relentless, raw aggression, broken only by a breath.
The photo pit was crowded with speakers, cameras, security, and a decent number of photographers. It was harder to chase shots or move back and forth, but manageable—thanks in part to how kind and respectful the other photographers were, along with the crew and security.
Vocalist Shawn Knight was darting around the stage. I turned my back for only a moment and missed what could have been a killer shot as he leapt into the air off a riser. With the band’s songs clocking in at under three minutes each, I was shooting frantically to ensure I got what I needed.
Amon Amarth gave me a breather in comparison. Their songs run closer to five minutes at least, which meant we had plenty of time to shoot during the first three songs of their set. The stage lights were clean, and the sun was still bright—both very welcome factors.
For anyone in the crowd unfamiliar with Amon Amarth, the presence of their drum riser as a giant viking helmet and the inflatable warrior statues that towered over the crowd set the stage quite literally for the epicness that was to come.
Amon Amarth commanded Jones Beach Theater as if it were a giant Viking ship ready to set sail off Zach’s Bay. The scene was further enhanced by flocks of seagulls flying overhead while the pit at one point turned into a giant invisible rowing team.
True to form, vocalist Johann Hegg took a moment between songs to lead a toast to Ozzy and chug his beer out of a giant horn before dedicating their next song, “Raise Your Horns”, to him—prompting the crowd to do just that.
The band closed their set just as night fell. Shortly after, a massive curtain bearing Pantera’s iconic logo dropped across the stage, met with roars of anticipation from the crowd.
The first notes of “Hellbound” cued the drop of the curtain, and the grand reveal of the band had left me frozen in awe; I couldn’t believe I was standing mere inches from Zakk Wylde.
The lighting was again bright – less frequent, but still helpful.
There was pyro on the first song and the placement of the cannons behind the band as opposed to in front allowed me to capture the effect cleanly without having to shoot through the flames. I think it made the photos look better in the end.
Walking through the crowd after leaving the pit, I was touched by the look on the faces of everyone as they watched Pantera perform. They were thrilled, as I’d expect them all to be, but something about it was different. It looked almost as if they needed to be at this show, watching this performance. It was emotional catharsis in the purest sense. It was how they needed to grieve.
Chants of “Ozzy” rang out between songs and were further encouraged by the band. Pantera’s encore cover of Black Sabbath’s “Electric Funeral” was a phenomenal tribute. A slideshow of photos from Ozzy’s career along with photos of the band with Ozzy over the years played on the screen behind the band during the performance of the song. It was impossible not to get a little emotional watching it all.
The same can be said about the tributes to the Abbott brothers, both in video visuals as well as on Charlie Benante’s double bass drumheads. While Dimebag and Vinnie are irreplaceable, Wylde and Benante’s passionate performances paid perfect tribute to their memories.
A perfect setlist capped off with a double encore that closed with “Fucking Hostile,” Pantera delivered an incredible performance with everything they had in them. It was a commendable gift to the fans to step on the stage and let the show go on despite their grief, and I know I am not alone in being extraordinarily grateful to them for that.
