Word and Live Photos: DJ
Myglobalmind and Screaming Digital Productions
This week proved to be an exhausting but rewarding journey through the live music circuit. The day before the Def Leppard concert, we were in Atlanta covering Summer of Loud, a metalcore festival held in sweltering heat. After eight hours immersed in pyrotechnics and intense performances—what proved to be an exceptional show—the late-night drive home was grueling. Returning home in the early hours, I was back at work by 6 AM, only to drive to Birmingham, Alabama, later that day for Def Leppard’s performance at the new Coca-Cola Amphitheatre. Needless to say, I was operating on minimal sleep and pure determination.
However, the opportunity to photograph an iconic band like Def Leppard always makes the effort worthwhile. The new venue provided an excellent chance to explore the facilities and observe the crowd’s excitement as we awaited entry. The show was delayed briefly due to inclement weather in the area, but this only heightened the anticipation.
Bret Michaels and his band opened for Def Leppard, marking my first time seeing the Poison frontman perform in quite some time. While our publication has covered Michaels extensively over the years, it was encouraging to see him in good spirits following his well-documented health challenges. He appeared energetic and delivered a spirited rock performance that effectively warmed up the crowd. The setlist featured classic Poison tracks interspersed with several covers, including the inevitable “Sweet Home Alabama.”
Following a quick changeover, Def Leppard took the stage. Since I was shooting from the front-of-house position, I was curious about how the photographs would turn out. While the results were acceptable, I noticed the stage lighting on the right side—where Phil Collen primarily performed—was somewhat dim, which affected the image quality in that area.
The band’s performance was outstanding. My last experience seeing Def Leppard was at the Exit 111 festival in Manchester, Tennessee (the former Bonnaroo site), during its sole year of operation, where they headlined the second day with exceptional results. This Birmingham performance matched that standard—Joe Elliott’s vocals were strong, and the overall sound quality was crisp and clear. It was particularly gratifying to see Vivian Campbell on stage after his recent health struggles, and we continue to wish him well in his recovery.
The band delivered their standard 18-song setlist, opening powerfully with “Rock! Rock! (Till You Drop)” before launching into crowd favorites like “Rocket” and “Let’s Get Rocked.” The energy peaked during classics like “Animal,” a high-energy rock anthem that showcased the band’s exceptional musicianship and electrifying stage presence. The emotional highlights included “Love Bites,” delivered with the band’s signature vocal harmonies, and the acoustic segment featuring “This Guitar” and “Two Steps Behind,” which provided an intimate contrast to the high-energy rockers.
The main set reached its crescendo with the anthemic “Rock of Ages” and the timeless “Photograph,” both songs demonstrating why Def Leppard’s catalog has endured for over four decades. The encore began with “Hysteria,” the title track from their legendary 1987 album, before concluding with the inevitable crowd-pleaser “Pour Some Sugar on Me,” which had the entire amphitheatre singing along in unison. The performance concluded with the traditional tape-played version of “Stand by Me,” sending fans home with smiles on their faces.
The production design, centered around a large LED wall backdrop, was straightforward yet effective. The enthusiastic response from fans at the new amphitheatre indicated they thoroughly enjoyed the experience.
Birmingham’s new venue impressed with its design, reminiscent of Oak Mountain Amphitheatre but with the significant advantage of being much closer to downtown, eliminating the previous drive south to Pelham. The seating configuration is similar—angled from the upper level down—with the front-of-house position positioned closer than at the Pelham location. The Live Nation staff demonstrated professionalism throughout our interaction, treating media representatives with courtesy and efficiency.
The venue’s amenities are well-planned, with concessions conveniently located near seating areas and dedicated VIP facilities. Accessibility features provide multiple routes to seating areas, accommodating patrons with various mobility needs.
However, parking presents a significant challenge that requires attention. According to venue staff, construction projects across the street will eventually provide additional parking capacity, but these facilities remain incomplete. Despite tour commitments necessitating the venue’s opening, the current parking situation is suboptimal.
Current parking options include neighborhood lots and empty spaces owned by area residents who charge for parking access. Despite venue claims of a five-minute walk, my experience suggested considerably longer distances. For future attendees, I recommend arriving early to navigate the parking situation and potentially leaving before the conclusion to avoid congestion. This issue may particularly affect older patrons with mobility limitations. Once the parking infrastructure is completed and better organized, this concern should be resolved. The venue’s promising lineup for the year suggests these growing pains are worth enduring.
Def Leppard delivered the exceptional performance expected from such seasoned professionals, providing an ideal inaugural Rock show for the new venue (first show was the comedian Matt Rife and second The Dave Matthew’s Band). The booking represents excellent programming for longtime rock enthusiasts, and we feel fortunate to have received media accreditation for both attendance and photography.
Despite operating on minimal sleep by the evening’s conclusion—truly a “dead man walking” after an intensive week—the experience proved immensely rewarding and thoroughly enjoyable.
About Author
