Metallica zagrała już czterokrotnie (plus próba dla 200 osób) podczas Summer Sanitarium Tour. Stadiony wypełnione po brzegi... poniżej relacje z tych występów (napisane lub znalezione przez adminów strony Inter Sandman , niestety bez tłumaczenia, ale myślę, że każdemu udzieli się klimat, jaki panuje gdy na scenie gra Metallica:




IS was at Wednesday's rehearsal - a full Metallica show, pyro and everything. They played the same setlist as the last night on the Euro tour. We expect a two hour set from the band. Going on around 9 PM ending by 11 PM (the usual curfew). There was no snake pit.
The band worked on the coda's of two songs while on stage. While, we've heard most of these songs on the stage before there were a few stand outs: Sad But True had a very powerful a cappella intro, take your sun screen for Blackened - Rob made 'Bellz' all his. While James' voice was just as powerful as ever, the backing vocals weren't what you might have come to expect from a Metallica show - Kirk tried and Rob was there a bit - and while they were acceptable, the seasoned Metallica vet will notice the difference.
Rob is nothing short of dynamo on stage. Never stopping, always moving - except for the rare occasion you might catch him checking his cheat sheets posted on the floor. Rob, locked eyes with the small crowd gathered on the huge floor, seemed to be enjoying himself tremendously. Seeing him live can only make one think this man may have just saved Metallica.
Kirk was Mr. Smooth, Mr. Capable and Mr. Ready. Not prowling around the stage like James, not energetically sprawling all over the stage like Rob. Kirk made the rounds of the stage only as cooly and calmly as he could - his stage presence reflecting his demeanor.
James is James. There's nothing more that could be said. He had a little kick in his step, his voice as strong as ever
Lars stayed pretty hidden by his kit and stayed low key. His drumming was spot on - and when he appeared from behind his emerald green kit had his ever present, now bearded smile.
The band seemed to be in good spirits - especially James, making an occasional joke - including his impersonation of The Cowardly Lion from the Wizard of Oz and Rob breaking into a little Motown at the end, only to be unplugged as Lars was going to join in. Look out for the new guitar picks - no more green, only black and grey!



Aggressive.
Metallica. Summer Sanitarium. Day One.
The band hits the stage swinging. No holds barred. Straight for the throat. This isn't a concert for casual Metallica fan - they don't know the words to 'Blackened' - or even have the album 'No Remorse' was released on. This band - seemingly rejuvenated by the presence of Rob Trujillo - comes out fangs bared and ready for blood.

Starting with Battery, charging through (the full version of) Master of Puppets - you'd think they slow down a bit, catch their breath and allow us to catch ours. But, no - Harvester of Sorrow. Language of the mad, yes - that's us.

Aggressive.

"Welcome to where time stands still." Sanitarium chimes through the arena again - for the second time. Limp Bizkit did an admirable job trying to update this classic, but, man - there's just something about the original that does the job better. "Leave Me Alone" the song sings right back in Fred's face.

Then there's the 'new guy.' Yeah, right - 'new guy.' On stage he's the perfect fit, like he's been there for years and years. He slams through the opening intro to Bellz - Cliff Burton behind him, banging away, slamming the strings along with the 'new 'old' guy.' Perpetual energy, meet Rob Trujillo.

The band slams through Frantic, James goes a capella for a bit of Sad But True and into title track St. Anger. St. Anger hits with a bit of dull thud - the song may be just a little too long to keep our attention. Other than the two brand new songs, 1997's Fuel is the newest song played - nothing else from the Load twins - or S&M/Garage/M:I-2, most of today's setlist is 1991 and before. Fuel sparks off the pyro - "gimme fire" - oh, yeah.

Aggressive.

Seek & Destroy - the video starts at 1981 and works it's way up to present day. Cliff, Jason - even Ron and Dave are represented in this visual timeline as the band plays through this live staple. Blackened - "Fire - to begin whipping dance.." these guys seriously are not pulling ANY punches. No Remorse - these guys are trying to kill us with music.

Aggressive.

Alas - a bit of a breather - it had to be 110 degrees inside this dome - it hit 90 outside, add the thousands of people, the pyro - I sweat just thinking about it. Nothing Else Matters starts with Lars assisting Kirk with a drumstick to the strings - and after the intro, it's just James for the first part of the song. Guitar and voice, standing alone against a sea of lighters. Not the big, over the top Nothing Else Matters from the last few tours - a little streamlined, a little more, um, aggressive. ...the song fades only to be crushed by Creeping Death. Then the hour long (ok, maybe not quite) warfare intro to One - complete with "LANDMINE" effect for extra effect. Enter Sandman closes the night.

These guys just come out with one mission: kick your ass with the music. They do. A band confident enough to pull out the songs they want to play and ignore the radio hits and the easy crowd pleasers. They come a bit raw, yet polished. Most definitely determined and ready.

Aggressive, indeed.



Relacja z MTV:

Metallica brought the fireworks indoors for Independence Day - literally and figuratively - for the Summer Sanitarium kickoff, which also featured appearances by Limp Bizkit, Linkin Park and Mudvayne.

Lead singer James Hetfield growled to the audience, "Are you ready?," after the opening number, "Battery," charged the crowd. The set list was heavy on material recorded prior to Metallica's Black album, possibly because the earlier material is more in line with the sound of their new album, St. Anger. It included at least two new songs, "St. Anger" and "Frantic," along with "Fuel," "Master of Puppets" and a sprinkling of hits from the band's fledgling years.

Metallica were tight, with Kirk Hammett offering fiery guitar solos at each end of the gigantic stage. Hetfield led the audience in on an a cappella rendition of "Sad But True" before Metallica returned with full barrels blazing. "Fuel" was the standout performance of the night, with Hetfield introducing it as sort of a metal cheerleader. "Gimme an M," he said with a laugh. "Gimme an E. Gimme a T. Gimme fuel, gimme fire, gimme that which I desire."

New bassist Robert Trujillo looked right at home with Metallica, provoking screams from the audience as he spun around and paced in a circle like a wild animal ready to pounce. It was clear that after a few years away, the band was happy to be back onstage.

"Oh my God, it's great to be back here in Detroit!" Hetfield said. "It's so great to be here, alive and playing for you freaking metalheads on the Fourth of July. God bless America." He then added that "Harvester of Sorrow" was dedicated to fans who have been "fans of Metallica during the tough times and through the great times, which is now."

Video cameras, which broadcast images on massive screens hanging from the rafters, took an artsy approach for most of the show, getting close-ups of nimble fingers atop instruments as well as distinctive tattoos on various body parts, in lieu of showing the bandmembers' faces.

[...]

Fred Durst: "They're telling me I'm getting out of control," he said. "Am I getting out of control? F--- it. It's the Summer Sanitarium." Limp Bizkit debuted songs from its forthcoming album, which was advertised on video screens reading, "New album out in fall 2003."

"We all know why we're here. It's for the kings of metal, Metallica" he said.




The NY/NJ crowd was much louder, larger, and into the show than in Boston (even with the apparent absence of alcohol in the stadium)...although, "Nothing Else Matters" from Boston was probably the best and most moving version I've heard of the song - I've never heard a place sing so loudly. On to New York...despite having heard and seen the same show 2 nights earlier, the songs seemed like I had heard them for the first time in a long time. I can't express how impressed I am with their live show - sure, there are things I miss from the Jason days - but the new energy that seems to be running through this band right now is infectious. There really is little difference between their energy from the Fillmore shows and the SS shows when you take away the intimacy of the former. It was really great to see some of the kids who came to see Linkin Park or Limp Bizkit stick around for Metallica - they really didn't know what to do with themselves. I don't think they were quite prepared for the ass kicking they received at the hands of James, Lars, Kirk and Robert.
I was about as upset as anybody at the opening bands, but it really is great to see a lot of younger fans out there, getting a dose of one of the greatest live bands they'll probably ever see. Out of the four bands, the Deftones is the only band I can bear normally, but as much as it hurts to say (gasp), Linkin Park does put on a pretty good show even though their songs are pretty short and somewhat repetitive. That being said, Fred Durst might want to take a cue from the mighty Met and just shut up and play some music.
I don't really think there's anything else to say that hasn't been said already...but with three more shows left, I'm sure I'll think of something!
I am really looking forward to this Saturday's show in Philly, more so than any other on the tour...kind of the hometown show for me -- see you there! -Zach



Relacja z New York Times:
Metallica brought along a fan club for its Summer Sanitarium tour: the other four hard-rock bands on the bill at Giants Stadium tonight. One by one they gave testimonials to Metallica's influence. Mudvayne's lead singer, Chad Gray, wore a Metallica T-shirt. Chino Moreno of the Deftones raised a drink to Metallica. Linkin Park's lead singer, Chester Bennington, called Metallica the greatest band on earth, and Fred Durst of Limp Bizkit seemed so cowed by the prospect of performing for Metallica fans that he sang "Welcome Home (Sanitarium)," which Metallica would play much better in its own set.

Metallica's barreling momentum and the midrange bite of its guitar tones have been ingrained in hard rock for a decade; every band owes them something. But when other musicians start laying on the testimonials so thickly it can mean the object of their praise is over the hill and in need of their endorsement. Not Metallica. With the first power chords and drum barrages of a set that ran more than two hours, it simply obliterated the other bands on the bill.
Metallica is acting rejuvenated these days, as if it had all but dropped the last decade from its career. That was when it slowed down its high-speed thrash, moving closer to mainstream rock and multiplying its record sales from a million or two per album to more than 13 million on its 1991 album "Metallica" (Elektra). It was also the decade in which Metallica lost its sure touch with its mid-decade albums "Load" and "Re-Load," although they continued to sell in the millions. But on Tuesday Metallica played only songs from before 1992 and two from its new album, "St. Anger" (Elektra): the title song and "Frantic."
In the 1980's Metallica's songs grappled with death, psychotic violence and elemental fears. James Hetfield's lyrics took the perspective of victims - a sanitarium inmate, a crippled soldier - or of the threats themselves.
That was the Metallica that performed at Giants Stadium. The video screens often showed not the faces of the musicians but their hands and how they created the music's adamantine clarity: tandem guitars from Mr. Hetfield and Kirk Hammett, wriggling and wailing leads from Mr. Hammett, meter shifts driven by Lars Ulrich and the band's new bassist, Robert Trujillo. The music hurtled forward in a precise and brutal onslaught of Mr. Ulrich's fibrillation-speed double bass drums combined with guitars strummed to match every drumstroke, pausing only to renew the attack from a different angle.
They turned more personal in the 1990's, showing the effects of psychotherapy, which linger in the new songs. But even psychobabble sounds better when it arrives in a doubletime rush, as it did in "Frantic," with Mr. Hetfield strumming fast chords and Mr. Hammett strumming just as fast on the offbeats for a dizzying, ratcheting mesh. Metallica could easily add more songs from "St. Anger" to the set of oldies; they can hold their own.
The other bands raised the question of whether it's such a good idea for men to express their feelings, at least in the form of rap-rock. Linkin Park has two vocalists - Mr. Bennington, who sings in a high, reedy, pubescent voice, and Mike Shinoda, who raps - trading off generic testimonials to how much people want to push them around and how miserable they are. Sometimes Mr. Shinoda raps the verses and Mr. Bennington takes over with melodic choruses as guitar chords kick in. Sometimes the raps answer vocal lines. The band has toughened its music, looking to the dark grandeur of Nine Inch Nails, and there's something touching about hearing a full stadium sing along on lines like "I'm so insecure!" But Linkin Park's endless self-pity grew wearing.
Limp Bizkit, less than a decade into its career, already seemed played out in its set on Tuesday. Its songs are about feeling rejected and peevish, and Mr. Durst raps them with an aggrieved yelp that is only comical in small doses. Instead of material from its next album, due in the fall, Limp Bizkit played other bands' songs, as if Mr. Durst expects a future in karaoke.
Mudvayne played generic hard rock, whining and then growling as it ticked off the generic topics of current metal: feeling silenced, feeling betrayed, suffering low self-esteem. But the Deftones offered something better: dark, cryptic ruminations with melodies arising out of the hard-rock murk. They're perfecting a new hard-rock variation - the power dirge.


Relacja z New York Post:
DESPITE temperance and tributes, Metallica raged through Tuesday night's concert at Giants Stadium as if to prove they still rock. As headliners of the Summer Sanitarium tour - which also featured Linkin Park and Limp Bizkit - metal's elder statesmen made heads bang and uncurled fists into devil fingers that pumped toward heaven throughout their two-hour set.
It wasn't the best (or worst) Metallica concert. The big problem was the stadium itself, so vast that unless you were right up front or watching through binoculars, there seemed to be little staging beyond a few skyrockets and a flame machine.
The sound was excellent, considering the volume was cranked to 11. None of the speakers snapped, crackled or popped, and James Hetfield's vocals clearly rose above the din. That attention to acoustics was lost on the many who, fearing permanent hearing loss, wore earplugs at the sacrifice of musical clarity. One of the loudest pieces was a righteous midconcert version of "Frantic," the lead track from the band's new "St. Anger" album. On that tune, as well as the title track, the three Vs of metal - velocity, volume and violence - came together.
Still, the strength of the show lay in Metallica's tried-and-true classics. Those who've never seen Metallica live will have difficulty fathoming how this band can move an audience. Take their incendiary version of "Master of Puppets." As Hetfield repeatedly barked the lyric, "Obey your master," the crowd repeated the command in a half-chant that conjured images of cult drones. As usual, drummer Lars Ulrich lent the music a steel-rhythm backbone that stayed at 320 beats a minute. His sticks were a blur for the entire performance. The interplay between him and the band's new bassist, Rob Trujillo (formerly of Suicidal Tendencies), was welcome. Maybe it was the program selection or arrangements, but lead guitarist Kirk Hammett didn't seem to get his share of solo time. He did make his mark on "For Whom the Bell Tolls" and the band's encore, "Enter Sandman."



Relacja z Atlanta Journal:"Metallica gives the crowd its money's worth"

The sea of faces crammed into Turner Field Friday night may have screamed, jumped and drank to the hard core sound of four earlier bands, but they were all there for one reason: Metallica.
The Summer Sanitarium tour opened at 3 p.m., touting the talents of the deftones, Mudvayne, Linkin Park and Limp Bizkit, as well as undisputed kings of heavy metal, Metallica. Rain held off during the show, but the temperature approached 90 degrees, causing many concertgoers to douse themselves in water, take a break in shaded areas and strip down to nearly nude. Limp Bizkit's Fred Durst commented that he'd seen more bare breasts at Atlanta's show than ever before.
Jason Javer, an Athens Technical College student, spent most of the day on the field, tossing himself among the crowd. Only after Limp Bizkit's early evening performance did he and his friend come upstairs for a water break.
"I can't feel the right side of my face," Javer said, noting that their earlier antics were just a warm up for Metallica's night performance. Metallica, he said, is its own religion, and sometimes, that involves a little pain.
"It's all about the looseness," said Michael Joyce, also an Athens Technical College student. "If you tense up out there, you'll just fall right over."
Others clambered for a spot on the field, but were forced back into stadium seating.
Birmingham resident Kendell Moore, 21, said she's become more of a pop queen than a metalhead, but she grew up listening to speed metal, and was willing to pay $79 for the ticket.
"I had to decide between Metallica and the Justin (Timberlake) and Christina (Aguilera) show," she said, which played Saturday at Philips Arena.
Metallica gave the crowd their money's worth. The band played for about two hours, filling in with older and newer material, particularly off the band's latest release, "St. Anger." There was rarely a moment of downtime on stage, where singer-guitarist James Hetfield personified the definition of "thrash," and newest member Robert Trujillo prowled around more like a hunting predator than a bass player.
Hetfield thanked the fans for sticking around through the rough times, "and the great ones, like right now," perhaps referring to the band's recent turmoil: A backlash following a lawsuit filed against online music trading community Napster, the amicable departure of former bassist Jason Newsted and Hetfield's own time in substance abuse therapy.
The crowd responded by flailing their heads up and down during intense times, brightening the stadium with lighters during more anthemic numbers and somehow, waving a U.S. flag on a pole in the middle of the field. They shrieked when the band's intensely noisy and bright pyrotechnics displays shot off, heating the crowds back into the stands.





Relacja z Orlando Sentinel: "Metallica masters of Sanitarium"
With apologies to nü-metal, there's nothing like Old Metal, the kind of hardened, time-tested material Metallica unleashed Sunday at the Florida Citrus Bowl. In a rain-drenched rock marathon, which provided ample bang for the considerable bucks, Metallica's James Hetfield and his mates were obviously the inmates running the asylum at the Summer Sanitarium.

Fred Durst and Limp Bizkit, on the bill with Mudvayne, Linkin Park and the Deftones, offered tribute with a cover of Metallica's "Welcome Home (Sanitarium).'' It only showed that Durst's adenoidal shouting and the band's radio-friendly rap-metal has a long way to go to match the masters.

Metallica, for that matter, leaned on its legacy rather than explore songs on its new St. Anger album. The band offered only the title track and the fiery "Frantic'' in a set that more often dipped back for vintage material that pre-dated its commercial breakthrough with 1991's Black Album.

For its first 45 minutes, Metallica ripped into long, slow-developing headbanger classics such as "Master of Puppets'' and "Harvester of Sorrow.'' Hetfield, now embracing sobriety after a rehab stint, dedicated the latter song to the the notion that the band and its fans are survivors.

"It's unbelievable, the energy I feel from you guys out there,'' Hetfield said at one point. "It's awesome.''

Indeed, the audience was on its feet singing throughout the band's two-hour performance, turning songs such as "Seek and Destroy'' into spontaneous sing-alongs.

Not that Hetfield needed the help. His voice sounded strong and his maniacal laugh at the conclusion of "Master of Puppets'' was chilling, especially with his face framed in a spooky green spotlight on one of the four giant video screens at the rear of the stage.

Those screens were generally divided among the band members, flashing close-ups of guitarist Kirk Hammett, drummer Lars Ulrich and new bassist Rob Trujillo. Ulrich's furious pounding was complemented by Hammett's intricate solos. Hammett's guitar work elevated Metallica's definitive take on "Sanitarium,'' which built from a pensive opening into a chorus of careening riffs. Durst's version was limp, by comparison.

It was left for Metallica to demonstrate how to perfect such nuances, a vibrant example of how powerful metal can be in the right hands.

ToMek 'Cause We're Metallica AeroMet