Word and Live Photos: DJ
Myglobalmind and Screaming Digital Productions
Twenty-four hours earlier, tornado sirens had wailed across North Alabama, sending folks scrambling for shelter as nature unleashed her fury. But Wednesday evening arrived like a gift from the metal gods themselves—crystal clear skies, perfect temperature, and not a cloud threatening the horizon. Sometimes the universe conspires to create the ideal backdrop for rock and roll, and this was absolutely one of those nights.
The Infinite Arc Tour rolled into town carrying the weight of recent upheaval, particularly for Atlanta’s Mastodon, who’d just weathered the departure of founding guitarist Brent Hinds after a quarter-century together. But what unfolded over the next four hours proved that change, while painful, can also spark creative renaissance.
Spencer Sotelo emerged as the sun began its descent, his voice cutting through the warm Alabama air with those distinctive Periphery vocal runs that have redefined modern metalcore. The progressive quintet opened with “Reptile,” immediately establishing their technical credentials while keeping things accessible for the early arrivals still filtering through the gates. Misha Mansoor, Jake Bowen, and Mark Holcomb created a wall of sound that filled every corner of the amphitheater, their intricate compositions never feeling overly cerebral or indulgent.
Having followed these guys since their early days, I was curious how their typically lengthy arrangements would translate in this setting. The answer came quickly—Periphery has evolved into a band that understands pacing and dynamics in ways that eluded them years ago. “Wildfire” and “Atropos” showcased their ability to balance crushing heaviness with melodic sophistication, warming up the crowd without overwhelming them. By the time they wrapped up, the amphitheater was buzzing with anticipation.
Then came the evening’s most intriguing storyline. Mastodon took the stage as a band transformed, both literally and spiritually. The absence of Hinds could have felt like a gaping wound, but instead it revealed a group energized by new possibilities. Canadian virtuoso Nick Johnston has stepped into the breach with remarkable grace, his progressive fusion background bringing fresh textures to songs we’ve heard countless times before.
Bill Kelliher looked genuinely rejuvenated, his interactions with front-row fans more animated than I’d seen in years. The rhythm guitarist appeared noticeably leaner and more engaged, clearly relishing the new dynamic. When they launched into “Tread Lightly,” any lingering questions about their ability to carry on dissolved instantly. This wasn’t a band going through the motions—this was Mastodon rediscovering their fire.
Johnston’s integration was seamless, his technical prowess evident but never showy. The Canadian brought a different flavor to classics like “Ghost of Karelia” and “The Motherload” without fundamentally altering their DNA. Troy Sanders’ bass thundered through “Crystal Skull” while Brann Dailor’s polyrhythmic mastery anchored everything from the crushing “Megalodon” to the more atmospheric “Spectrelight.”
The setlist dug deep, pulling out rarities like “Ember City” alongside crowd-pleasers such as “Blood and Thunder.” What struck me most was the genuine joy emanating from the stage. These guys were having fun again, freed from whatever tensions had built up over two and a half decades of brotherhood and creative partnership. After their set, Dailor mentioned plans to return home and begin work on their next album—news that sent ripples of excitement through the departing crowd.
Coheed and Cambria closed the evening with their trademark blend of progressive complexity and emotional directness. I hadn’t experienced their full theatrical presentation since that fragmented Exit 111 festival set, and the difference was night and day. This was Claudio Sanchez and company operating at full power, weaving their sci-fi narratives into an immersive audio-visual experience.
The centerpiece—literally—was the towering inflatable sculpture known as “The Quintilian Speaker,” a 27-foot monument to the band’s Amory Wars mythology. When this behemoth rose during the set, it transformed the entire venue into something otherworldly. Part stage prop, part art installation, it perfectly embodied the band’s commitment to making their concerts feel like stepping into another dimension.
Sanchez’s distinctive vocals soared through “Yesterday’s Lost” and “Goodbye, Sunshine,” his voice as commanding as ever while his guitar work remained intricate and melodic. The rhythm section of Josh Eppard and Zach Cooper provided the perfect foundation for Travis Stever’s complementary guitar textures, creating that unmistakable Coheed sound that’s both heavy and beautiful.
The inclusion of Danzig’s “Mother” felt like a deliberate nod to their punk roots, while epics like “In Keeping Secrets of Silent Earth: 3” reminded everyone why they’ve remained progressive rock royalty for over two decades. You could see it in the audience—these weren’t just casual fans but devotees who’d invested themselves in the band’s elaborate fictional universe. When “Welcome Home” closed the evening, thousands of voices joined Sanchez in what felt more like a religious experience than a rock concert.
Three bands, three different approaches to heavy music, but a unified commitment to pushing boundaries and connecting with their audiences. Periphery represented the genre’s technical future, Mastodon proved that reinvention can reinvigorate even the most established acts, and Coheed and Cambria demonstrated why storytelling remains rock’s most powerful tool.
As the crowd filtered out into the perfect Alabama night, the contrast with the previous evening’s chaos felt almost surreal. Sometimes the storms have to pass before the real magic can happen. The Infinite Arc Tour delivered that magic in spades, leaving Huntsville with memories that will outlast whatever weather comes next.
https://www.coheedandcambria.com/
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