All evil things must come to an end – Winnipeg concert review

CZ0NNwEUEAAkZ7yAll evil things must come to an end. Even Black Sabbath. Thankfully, the dark lords of heavy metal were kind enough to bring the fourth show of their farewell tour — rightly dubbed The End — to MTS Centre on Wednesday. And give the devils their due: They raised holy hell for 8,000 black-clad headbanging diehards. Granted, that’s what you expect from Prince of Darkness frontman Ozzy Osbourne, lefthanded guitar god Tony Iommi and lead bassist Geezer Butler. But the truth is it was not a given. After all, their cumulative age is now 200 years. Iommi has been battling lymphoma since 2012. They’re minus the nimble thunder of original drummer Bill Ward — who’s either too ill or wasn’t offered enough cash, depending who you believe. But on this night, none of that mattered. The black stars aligned, Satan smiled on his charges, and from the first moments of their ominous (and obvious) opener Black Sabbath — the molasses-slow, wallopping bulldozer that kicked off their self-titled 1970 debut album — they made it clear they still had that old Black magic. Ozzy was his typical demented self, clutching the mic stand and bobbing to the beat when he wasn’tCZyql3UUYAQzsKQ shuffling around the stage and egging on the crowd. More crucially, his vocals were strong and on point; he had no trouble reaching high notes and even pulled off some fine demonic cackles. Iommi (“The one, the only,” quoth Oz) seemed healthy and sounded great, his doom-laden riffs and piercing solos commandingly ringing through the air. Butler and Ozzy’s touring drummer Tommy Clufetos were tight and solid through the twisty sludge-prog arrangements and chugging boogie-rock grooves of classics like Fairies Wear Boots, N.I.B. and the singalong crowd favourite War Pigs. Speaking of the set list: While it naturally concentrated on Sabbath’s first four albums, it wisely went beyond hits. So along with must-haves like Paranoid and Iron Man, you got buried treasures like Behind the Wall of Sleep (with Butler bass solo), Hand of Doom, Dirty Women and Rat Salad. And while the production boasted all the mandatory bells and whistles — the massive psychedelic video screen behind them, the wall of seizure-inducing lights above, the pyro and confetti and dry ice — it never overpowered the actual point of the show: Seeing three of rock’s most-beloved iron men enjoy a last hurrah. Shame it had to end. CZxlNqBWIAAlFGh Article courtesy of Darryl Sterdan, Postmedia Network – Winnipeg Sun + Photo courtesy Twitter users

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