In Waves of Melodic Metal and Live Brilliance : Trivium Perform a Spectacular Sold-Out Set at The Wiltern

November 10th, 2022

With 10 albums in the span of 18 years, ranging from Melodic Metalcore, modern Thrash, to Progressive Metal, Trivium’s musical compass has pinpointed and lead in numerous directions. Now, establishing themselves as one of the premier Metal acts to follow and witness live, Trivium would end their current headlining tour in Los Angeles, at The Wiltern, bringing Between the Buried and Me, Whitechapel, and Khemmis, as different blends of Metal music, and a powerful touring package to boat. A sold-out show, on a Thursday, mind you. Tonight, was not to be missed.

Doom Metal with a hint of Folk, and Progressive elements, Khemmis made full effect of the role as tour opener. Seeing the band open for Enslaved a few years back, I felt their crushing Doom play, as well as the changing vocals and singing styles from guitarists Ben Hutcherson and Phil Pendergast, gave them a unique edge performing in front of any type of Metal fan. From the agony-filled shrieks, to the booming baritone introduction, particularly in “A Conversation with Death”, the darkened atmosphere and winter-like tension erupted with those driving chords, pummeling the ear drums, but not feel muddy one time. That head nodding riff, eventually morphs next to it a soulful, harmonizing lead, allowing the listener to feel the trapping weight of their heaviness, while sonically hypnotized from the higher melody. Not staying too long into a single style of Metal, and able to move within the notes to bring forth this dooming, musical lore.

“Avernal Gate”, possessing this gorgeous slow-down in the tempo, with a starting bending note solo around the 3:00 mark, having much of the pit area cheering and clapping along to the guitar beat. The musicianship was tight, flowing naturally, and impressive. Performing from at least a song on nearly their entire discography, the audience was able to hear quite the introduction for Khemmis. Although there wasn’t a ton of movement, (fans just rarely do that for the opening band), save for some of their faster parts, it wasn’t needed. The explosive volume of their open chords, palm-muted rhythms, and presence, was more than enough for the fans to happily gaze upon the stage, while absorbing the sounds of a band, I’d say given for a sold-out Trivium show, that they may not have found on their own. And opening for Opeth/Mastodon’s 2nd US tour earlier in the summer, I’d say Khemmis are slowly making their way to more listens, and show attendings. A strong opening performance.

1. Avernal Gate

2. Three Gates

3. Sigil

4. Isolation

5. A Conversation with Death

Seeing Whitechapel perform with Cannibal Corpse earlier in March, I noticed their latest material, for me personally at least, to have been far different then their earlier records, as well as a strong, Progressive and at times, “Djent” to the riff layout. I’ve not been able to connect much with Whitechapel over these long years, as I’ve found using three guitarists for the Deathcore genre, to be unnecessary. However, the sharp change in their structures, particularly in Kin, I found to be enjoyable, a lot more to like and analyze.

A softer touch within the intro to “Anticure”, the clean picking from lead guitarist Ben Savage, demonstrated those vividly bright elements into the light-shining melody, allowing the mid-tempo pace to take over and exhale. Phil Bozeman’s singing fit the mood of those melodies, and it was pleasant to hear this new occurrence and strength of his. One of my positive remarks about Whitechapel live, was Bozeman’s harsh growls, full of bass, grit, and sinister diction. And, now able to hear something quite drastic from him, and new, portrayed the maturity of Whitechapel’s evolution. The heaviness within their sound was still present, and crystal clear in clarity. Ben’s solo around the 3-minute mark of “Orphan”, sounded further amplified, due to Zach Householder and Alex Wade provided those booming, sustained chords. Using three guitar players like this works greatly, as the goal isn’t for all of them to have the same type of sound simultaneously. Whitechapel with emphasis for melody, is something I can get behind.

While the fans in attendance responded well to the new material, as soon as “This is Exile” was performed, mosh pits formed from the front area, to sections behind. Whitechapel’s heavy nature live, cannot be denied, and this song still resonated with countless in the venue. Drummer Brandon Zackey, couldn’t contain his smile throughout the set, subtlety interacting with the crowd up on the rail, unable to contain their excitement. This was one of the stronger Los Angeles crowds I’ve seen in quite some time, and they all gave praise and joy to Whitechapel after their set. For yours truly, not having the most positive Whitechapel opinions, this was the most fantastic set I had seen them play, and that’s something I wasn’t ever expected to ever say, or write about. This new direction serves them well, and then some.

1. I Will Find You

2. Anticure

3. Lost Boy

4. Orphan

5. This Is Exile

6. A Bloodsoaked Symphony

7. Doom Woods

From the intro alone, you’d thought this was a Between the Buried and Me show, with the pit area of The Wiltern going non-stop throughout their set. I don’t blame these passionate individuals, there’s a unique type of vision, and astonishment that comes with BTBAM, regardless of the material that they play live.

Tonight’s BTBAM performance: A mainly Colors I & II. Harsh, extended songs, a tornado of extreme, Progressive Metal, in which the front area of the venue, non-stop pitting, movement, and sheer will. While various amount of BTBAM’s material often starts with a powerful intro, or buildup, these two albums hit you faster. “Sun of Nothing” opened their set, to an already multiple pit area, on several sides of the venue. Blake Richardson blasting immediately, with the harsh vocals from Tommy Giles Rogers guiding the prolific intensity, for as remarkably eclectic the band has been since their inception, it’s keenly exciting to hone in on an era of theirs, that possesses a strengthened singular trait. 3:26 into the song, as Tommy’s grand keyboard play, offsets the blasting, creating such a rhythmic earworm, resetting the live momentum, for an even greater, grandiose pause and sequence, an effervescing quality Between the Buried and Me has possessed since their inception.

Paul Waggoner’s crisp, fingerpicked solo at the end of “Revolution in Limbo”, was met with Tommy’s subtle keys and sensational singing, overlaying the intensity with that classic buildup, the band seems able to do for nearly each track performed. Paul’s interdimensional abilities, played effortlessly, alongside Dustie Waring’s calculating, rhythm guitar strength, develops such a kinetic feel to the level of musicianship, skill, and art, extreme that is. The mastery of what Between the Buried and Me does, shows no bounds or limits. The fans are quite passionate whenever they tour, and it’s easier each time to see why. My highlight of their (short) 50-minute performance, “The Future Is Behind Us” with that incredibly catchy, vibrant, keyboard/guitar exchange within the intro. It’s a pleasure watching Dan Briggs on a Bass level as that, as well as his best Geddy Lee impression: Mixing Bass guitar and keyboard playing double-fisting. His contributions bring forth multi-dimensions to Tommy’s play and vocal, with more music circling the room than you can think of. Admittingly, I was beyond spoiled watching BTBAM perform an ‘Evening’ set last year, 2.5 hours of show. It’s unfair, and rare, to say a 50-minute show is criminally short, but the band’s song arrangements and riff structure, make long songs feel under length. A true testament to Extreme Progressive Metal, Between the Buried and Me steal the show, on this crowded Metal front.

1. Sun of Nothing

2. Revolution in Limbo

3. Extremophile Elite

4. Never Seen/Future Shock

5. The Future Is Behind Us

Be this was my first-time seeing Trivium headline, I was certainly not prepared to hear this eruption of cheers and actual screams, as the “IX” intro rang within the halls of The Wiltern. And as soon as “What the Dead Man Say” went forth, the crowd exploded in moshing delight, creating forth an unbelievable amount of energy, presence, and contagious excitement.

The catchiness in their melodies, as well as played so tightly, still reminisce in their current, and later era. It’s baffling to think about, a full nostalgic moment with “Like Light to the Flies” from their 2005 Ascendancy record, Melodic Metalcore that was laughed at and ‘trolled’ way back when, between Metal fans. Now, several years later, the majority of this rabid, roaring crowd singing the chorus to the song, it’s incredible to see how perceptions can change. That solo section into the song still rips today, and still did way back. The riff exchanges and lead guitar sequences, between Corey Beaulieu and Matt Heafy, demonstrated the veteran experience from both astounding guitarists, as well as the gorgeous tones one brought out from one another in those moments, a soaring sight of musicianship, you love to admire and study. Matt’s ridiculous stage presence talking with this decibel-changing audience, cementing as a strong, emotional connecting voice as a headliner. Just a few months supporting Iron Maiden, that effect of an enormous crowd every single night, must have created countless lessons in strengthening a further dynamic talk/understanding with the fans. They ate it up, to the point of Matt saying this event and one of the shows in Canada, as the strongest sounding crowd of the whole tour, and you could feel this with every step and point of the venue.

The Thrashy era and experiment of The Crusade, was met with shock and awe back in 2006. Something else for mass fans to complain and criticize about, the results were some of the more talented aspects of Trivium’s guitar work and keen sense of melody. “To the Rats” displaying modern, melodic Thrash, with “To the Rat!” sung heavily from this highly pro-Trivium bunch. As their evolution musically has changed nearly from each album and on, it was a rather huge privilege to hear the 12-minute epic title track, Shogun”, performed in full. A monster of a Progressive Melodic track, boosting a riveting interlude 4-minutes in, and a twin guitar melody trade-off at the 8-minute mark, you don’t get to see bands on their level play some of the longest songs of their career. A tremendous highlight to witness, and absolutely my favourite moment of Trivium’s 90-minute set.

Being the last day of the tour, Trivium did change up one of the songs at the end of the set, greeting the fans to “A Gunshot to the Head of Trepidation”, with that familiar double-bass intro played by Alex Bent, and those dissonant, major octaves played with it, remembering just how talented the group were able to show, that early on in their years. The Wiltern was deafening in their sound-off to Trivium taking a photo with all in attendance, creating for a glorious, peaceful atmosphere. Without a doubt, the greatest Trivium show I’ve seen, and as a headliner, I’ll be sure to catch them each time.

1. IX

2. What the Dead Men Say

3. Into the Mouth of Hell We March

4. The Sin and the Sentence

5. Like Light to the Flies

6. Amongst the Shadows & the Stones

7. A Skyline's Severance

8. The Shadow of the Abattoir

9. In the Court of the Dragon

10. To the Rats

11. The Heart from Your Hate

12. Shogun