A venture to this state park is on the must-do list for many, the park being the only spot in North America where you can dig for diamonds and other gemstones and keep your finds.
Coheed and Cambria
Clear Channel Metroplex
Coheed and Cambria fans paced to keep warm on the cold Clear Channel Metroplex parking Oct. 26 while they waited for the doors to open. There was no need to rush. This show — with three other bands — ran four hours.
At times it reached sonic heights, although a couple of the bands hit some low notes. But the draw was Coheed and Cambria, a four-man outfit from New York led by Claudio Sanchez, whose voice can sound eerily like Geddy Lee’s of Rush. Of course, most of this crowd was too young to remember that Canadian power trio.
A large “Coheed and Cambria” banner, backdrops and a small but effective light show kept the crowd pumping, which was not easy after two-and-a-half hours of mediocre opening acts. Chants of “CO-HEED, CO-HEED” gave way to violins as the band came to the stage. Sanchez, sporting a double-neck guitar, began slowly with “Welcome Home” as lights bathed the crowd.
Sanchez, between flips of his massive mane, led the band through songs from all four of their albums, including “Blood Red Summer,” “Favor House Atlantic,” “The Suffering” and “Always and Never.” “Wake Up,” practically a lullaby, drew lighters from the crowd and lovers held each other close.
Of course, what’s a concert without an encore? Coheed and Cambria performed one of the longest we’ve seen. They belted out “In Keeping Secrets of Silent Earth 3,” which grew into “The Final Cut.” Sanchez reached into his bag of tricks and played his guitar behind his back. Unfortunately, the song turned into lead, rhythm and bass guitar noodling, and a few fans headed for the exit.
Coheed and Cambria obviously is gaining momentum and will continue to find fans as this tour roars along until mid-December. As for the show openers — that’s another story. It’s tough to find words for mewithoutYou, complete with a frontman who wears a bunny head and speaks rather than sings. They were, at least, interesting for a few minutes. Dredge, second up, seemed to be an improvement, with loud guitars (including a lap steel version), but couldn’t keep the crowd’s attention. Practically everyone agreed, however, that Seattle’s Blood Brothers was the worst band of the night. Twin vocalists literally screamed for 45 minutes, which pushed most of the crowd, including me, toward the back of the room. After their exhausting set, a girl sitting next to me and I both sighed, “Thank God.”
— By Greer Williams