After years of debate and controversy surrounding whether Pantera can (or should) exist without the late Vinnie Paul and “Dimebag” Darrell Abbott, the moment one side had been waiting for has finally arrived. While no founding members remain, the album’s fans are brought back to life by the two remaining pillars of the classic lineup: bassist Rex Brown and vocalist Phil Anselmo. Joining them are metal veterans Charlie Benante of Anthrax and S.O.D., and Zakk Wylde of Ozzy Osbourne‘s band and Black Label Society. As Pantera take the stage at Leeds’ First Direct Arena, the question lingers: are they genuinely reviving their legacy, or is this just a glorified cover band?
Opening the night were Australia’s King Parrot, whose take to the stage was sound tracked by Kevin Bloody Wilson’s song “Absolute Cunt of the Day”. As they, their songs whipped back and forth between breakneck deathgrind, 1990s metal grooves and the occasional black metal influence. Frontman Matt Young wasted no time, delivering anthems of zany nihilism, while moving onto every inch of stage he could. Shirtless bassist Slatts Everyday competed against him to capture the audience’s attention, rubbing his rotund belly and making faces.
The loss of Riley Gale in 2020 was a devastating blow to the metal and hardcore communities. One of the breakout acts from the 2010s hardcore scene, Power Trip‘s return showed they still had the fire to carry on. Due to striking vocal similarity and geographical proximity, Seth Gilmore was a more appropriate replacement than any other for the late vocalist. In fact, on their debut album Torrential Torment (2023), Gilmore’s band Skourge, bears a strong resemblance to Power Trip; albeit if Power Trip took from Obituary instead of Exodus. However, Gilmore’s stage presence is significantly more reserved than the mic-stand-wielding intensity that made Gale such a standout.
Ten minutes into their set, “Hornet’s Nest” had the crowd in such a frenzy, that the performance was abruptly halted when a fan was injured in the pit. Power Trip, in support, refused to continue until members of the crowd had picked the injured man and carried him to the arena’s first aid station. Once the situation was resolved, they picked back up with “Nightmare Logic”, which sent the crowd back into another free-for-all. Power Trip paid tribute to their late bandmate with a searing rendition of “Drown”, followed shortly by “Waiting Around to Die” dedicated to Leeds hardcore legends the Flex.
Before taking the stage, the large screens on either side of the stage displayed a montage of videos honoring the late Abbott brothers. It set both a sombre yet fun tone through by showcasing their hedonistic lifestyle, including pranks, partial nudity and a lot of alcohol and weed. As the lights dimmed, the blockade fell, and the opening notes of “A New Level” reverberated throughout the arena. There was no denying that electricity filled the air. This was Pantera, or at least, the closest thing you can get in 2025.
As anticipated, the setlist was void of the band’s pre-1990 glam metal material, instead drawing most heavily on Vulgar Display of Power and Far Beyond Driven. More surprisingly, there was a complete lack of songs from their final album, Reinventing the Steel (2000). The band, particularly Anselmo, have clearly aged. His voice is still grizzled as ever and he hits every note, but it’s weakened as he strains on the highs of “Cemetery Gates”. His stage presence is also nothing compared to what it was during the 1990s, instead of running around without missing a note, he stands, barefoot, on one spot, mostly moving between verses and leaving the motion to his arms.
Instrumentally, Pantera sounded straight-off the record. Rex Brown took a reserved role as he always had, while touring drummer Charlie Benante imitated Vinnie Paul’s Texas-boogie-meets-clicky-metal-drums style. The automation of Wylde’s guitar pedals was unnoticeable much of the time, however, this was not true during the moments using the Digitech Whammy pedal, namely “Becoming” and “Suicide Note, pt.2”. The show’s turnout was identical to any other entry-level legacy metal band.
One glaring con of the night was the sheer scale of the venue. Pantera’s signature stage presence and rhythmic swagger would’ve been much better suited to an intimate setting than the First Direct Arena’s almost 14,000 capacity, even if that is unrealistic. As Pantera exited the stage and the stage lights dimmed, the crowd’s resounding chants of their name brought them back. The criticisms of this reunion being more akin to a tribute band were true in certain respects. The performance, while a powerful homage, could never replicate the experience of seeing Pantera in their heyday. For devoted fans, it remains the closest they will ever come to experiencing Pantera’s music in a live setting, whereas sceptics are unlikely to be convinced.
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