James Hetfield Zimbio

Starting with “Hit the Lights” — Metallica’s very first unique music — the group took us through the features of its mature albums: “Master of Puppets” started difficult, but “Welcome House (Sanitarium)” was spectacular — at least until the group started enjoying “Orion,” which described the phrase “magnificent.” We also got: “Sad But Real,” “Fade to Dark,” an definitely intense “Blackened,” and a glassy, stunning “Nothing Else Issues.” There were only three post-Black Record music in the whole set (which, yesss). These people were trying to please yesterday, and please they did.

Every straight surface on the returning of the level was also an LCD display, with a large show behind the group and on either part. The level also involved a lengthy foundation out into the audience, which was fairly much the most ideal position for Kirk Hammett to end up into a extreme single.

It took three music — until Hetfield bellowed out the outlet need of “Fuel” — for Metallica to convert on its flame airplanes, which were arrayed both behind the group onstage (inside the big covering, scary), and on raises to either part. They taken systems of flame you could experience from 50 metres away. Later on, “One,” started with gunfire appears to be and smoking weapons detonating onstage, including to the already spooky fog. And “Enter Sandman” will never be better than when its licks are interspersed with rocket-like fireworks capturing up into the sky.

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