I don’t fancy myself much of a photographer, but that didn’t stop me from applying for a photo pass to see the Summer of Loud Festival when it stopped at Jones Beach Theater on July 20th. Upon learning it had been approved, after panicking, I grabbed my first-generation Canon (and my iPhone) and headed down to the beach to catch eight metalcore bands playing for eight hours with a tight rotating schedule. What I was treated to was one of the most well-run traveling festivals I’ve been lucky enough to attend in my long and storied concert attending career.
Though all bands on the bill delivered tremendous, high-energy sets, the night belonged to Killswitch Engage and frontman Jesse Leach. In the middle of Killswitch’s set, Leach paused to tell a story about the time he spent out of the band after leaving while the group was touring for Alive or Just Breathing. Jones Beach famously has a bike trail that leads to the amphitheater from a nearby park and extends along Ocean Parkway. Jesse told the crowd he rode that path earlier that day, just as he had when he departed the group and was replaced by Howard Jones. He recalled riding the path during that time away, looking at the amphitheater and asking himself, “Who the hell plays here?”, in awe of the 15,000- person capacity structure that overlooks Zachs Bay. As he announced to the crowd it was Killswitch’s first performance at the venue, he jubilantly informed them “I do, mother*cker,” to answer his question from years past.
Killswitch’s performance matched the energy of their frontman, clearly invigorated from the full-circle moment the set represented. Combing through their deep discography with classics from 2004’s breakthrough The End of Heartache, mixed with classics from later albums, and three songs from their latest record This Consequence, the group delivered a furious, non-stop fifty minute set that sent the crowd off into the night in a frenzy after the conclusion of their famous cover of Dio’s “Holy Diver.” The punishing rhythm section of drummer Justin Foley and bassist Mike D’Antonio, overlain by the dual guitar attack of Joel Stroetzel and Adam Dutkiewicz, the latter fashionably dressed as always, reminded the Jones Beach faithful why Killswitch were leaders of the New Wave of American Heavy Metal and continue to be a force within the metal scene today.
Admittedly, I was not very familiar with many of the other groups set to play prior to attending the show, which may be looked on as unbecoming of such a prominent metal journalist like myself. You may call me a poser, but I prefer to be called an old man who’s very set in my metal ways (e.g., no new bands exist after like 2005). Regardless of my status in the metal community, I approached the show with an open mind and came away impressed on several levels with the groups involved.
Before Killswitch, I Prevail essentially turned the entire general admission area into one giant circle pit, especially during “Body Bag” at frontman Eric Vanlerberghe’s insistence. Dylan Bowman provided excellent clean vocals on all of the group’s songs, and their cover of Taylor Swift’s “Blank Space,” with a brutal breakdown they added drove the crowd further into a frenzy. I, for one, was shocked that Taylor didn’t write it herself, but I digress. The group also gave the show its most tender moment with their penultimate song of the evening “Hurricane,” which was dedicated to the recently departed Dave Shapiro, a groundbreaking music executive in the rock and metal community who sadly passed in a plane crash in May. He was a huge advocate of all bands at Summer of Loud and countless others.
Beartooth’s set was highlighted by the infectious energy of frontman Caleb Shomo, who spent most of his time on the speakers right in front of me in the photo pit, where I spent the first three songs of each set dodging security guards and crowd surfers. He ran around the stage, at first clad in a The Devil Wears Prada crop top before going tarp off, at such a pace that it became very difficult to photograph him. Even an expert cameraman like myself had trouble capturing his essence on film, though you may find it hard to believe.
Prior to arriving into the photo pit, I was warned of Parkway Drive’s pyrotechnic show by a friend in the audience. Upon arriving to the photo pit, I was warned by the security guards of Parkway Drive’s pyrotechnic show. Still, I was there to do a job and needed to get as close as possible to get some pictures of one of Australia’s biggest, if not biggest, metal act. Both my friend and the security guard were correct – as if the 85 degree heat at the beach wasn’t enough, the flames being shot up from three feet in front me ensured I sweat through my cargo shorts. Impressive performances by frontman Winston McCall, the dueling guitars of Jeff Ling and Luke Kilpatrick, and the Tommy Lee-esque rotating drum kit of Ben Gordon highlighted the Aussies power packed set.
The aforementioned The Devil Wears Prada, The Amity Affliction, Alpha Wolf, and Dark Divine performed earlier in the day, whetting the palette of the metal hungry audience for what was to come later in the day, while also providing powerful performances in the often-difficult early afternoon festival slots. Perhaps the most impressive thing about this festival, aside from the music, was the incredible work done between sets to adhere to the strict schedule. Every set started exactly when advertised, with only approximately 20 to 25 minutes between each. The crews not only lugged musical equipment, but set up massive stage props like roman columns and inflatable snakes in the heat of the Long Island summer – those guys don’t get nearly as much credit as they should, so here’s their shoutout.
In terms of my own experience, I had quite a time even figuring out where I needed to go to get down to the photo pit. I picked up my ticket and photo pass from will call, but there was no one to escort me to the area. I asked no less than 5 people where to go, getting 5 different answers. Finally, I just walked up to the security beyond GA and asked them where I could go with the sticker I had on my shirt. The security guard pointed to backstage – which I knew was wrong, but I did consider it for a minute before I realized I’d be sticking out like a sore thumb back there. After talking it through with myself, I said to the guy, “No, I don’t think that’s a good idea, I’m just here to take pictures.” But I guess I could have had my own version of The Chris Farley Show with the guys from Killswitch backstage if I was feeling a little bit bolder.
Once I was in the photo pit, which is that gap between GA and the stage, I saw a number of security guards battling to make it through the heat. These guys were catching crowd surfers each set, sweating through their uniforms, yet still helping fans find lost cell phones and storing merch items for them beyond the gate until the show was over. Whatever they’re paying those guys, it’s not enough, especially for 10 hours of work. When there were only two bands left, I turned to one of them who looked especially exasperated and said, “Hey man, its almost over.” And in turn, he looked at me sheepishly and said “Dude, this is only mile 16 of the marathon and I’m out of water.”
Getting such an up close view of a show is really an experience I’ll never forget. Technically, you’re there to do a job when you get a photo pass but the fan in you ultimately takes over once you’ve got the singer of a band you love running past you to get into the crowd that’s behind the gate, which is what happened when Killswitch burst into “Rose of Sharyn.” It was as close to a “backstage” experience you can get without paying for one. There are some drawbacks, like having to dodge security guards moving to catch a crowd surfer, getting blown back by an unexpected burst of pyro, or really just the amount of sweat involved from everyone, but in the end, my experience photographing the Summer of Loud Festival was unforgettable.
The Summer of Loud Festival concluded its dates across the United States and Canada earlier this week, but from the sounds of it, this will hopefully be a yearly occurrence. Maybe next time, I’ll actually figure out where to go the first time.
I guess there’s only one thing left to say. Since the night belonged to him, I’ll let Jesse Leach take this one:
Special thanks to Live Nation and Atom Splitter PR for making this happen.
(video credit: LiveFromThePit on YouTube).
