Text by Rust Costa. Photos by Daniela Cony
The heat and the sound were high on October 1st, the day Porto Alegre welcomed three big names in international rock. Having performed at Rock in Rio 2019, Helloween , Whitesnake , and Scorpions took advantage of their tour of Latin America to bring their shows to various cities.
In Porto Alegre, the trio of legends was greeted by a large crowd at the sweltering Gigantinho, a sports arena adjacent to Internacional's stadium. Those accustomed to attending large events at the venue, where air circulation leaves much to be desired, couldn't help but lament the sight of a large, empty football field right next door. However, the spring afternoon, which felt like hell, didn't deter the thousands of attendees, who slowly settled in throughout the afternoon.
Even before 6 PM, the gauchos from Cartel da Cevada "warmed up" (an unfortunate term) the late afternoon with their now-traditional gaucho rock 'n' roll number, drunken and devilish. Unfortunately, given the late hour of the show, a good part of the audience was still engaged in rush hour that Tuesday – including myself, who – an unforgettable scene – only bumped into the devil in traditional gaucho attire who frequents the stage with the band.
When I entered the doors of the arena, in true 'Detroit Rock City' (the movie) style, I saw the Helloween stage backdrop from afar, referencing the band's visual themes to the sound of "Initiation" (the opening track from the classic Keeper I ). With the long-awaited return of Kai Hansen and Michael Kiske , Helloween is making its second visit to Brazil with this larger lineup (the previous one was in 2017, passing through Porto Alegre on October 31st, Halloween), but this time playing less than half of that show. Thus, the Germans had to make the complex selection of what stays and what goes, so the setlist prioritized the great moments of each of the 3 incarnations of the Teutonic pumpkin. The "Deris era," the most economical and without novelties, brought "Perfect Gentleman" and an emotional "Power"; The "quartet" phase, with Kai Hansen as vocalist, was represented by the powerful "Ride the Sky" and "How Many Tears," the latter featuring all the vocalists. But of course, the most privileged was precisely the most impressive, with Kiske at the helm of the band with the most coveted high notes in melodic heavy metal, delivering a true best-of Keepers era with "I'm Alive," as well as "Dr. Stein," "A Tale that Wasn't Right," and "Eagle Fly Free."
The gig closed with “Future World” and the unanimous classic “I Want Out,” complete with a shower of balloons and a chorus of fans. With instrumental synergy perfectly suited to a grand and anticipated reunion, the trio of guitarists (Kai Hansen, Michael Weikath , and Sascha Gerstner ) plus bassist Markus Grosskopf joyfully and chaotically paraded across the stage in front of screens that reflected the songs being performed, referencing albums and lyrics, contributing to a visual spectacle. Beyond the show of vocals and melodies already cemented in the heavy metal imagination, the Germans once again demonstrated with smiles, euphoria, and inexhaustible energy their satisfaction at performing on stages in Rio Grande do Sul (Porto Alegre is always on their tour map) and delivering what their loyal fans invariably want to hear.
The beer break, which wasn't very long, ended with the classic Whitesnake logo on the screen. Three years after his last visit to the capital of Rio Grande do Sul, David Coverdale took to the stage, exuding the charisma that makes him, even with a slightly hoarse voice, one of the great leaders of hard rock in the world still active. Acting like the night's biggest idol and received like an institution, the vocalist carried on a respectable musical legacy, emphasizing the great 1987 album. On drums, the expansive Tommy Aldridge, at 69, still held his own, being fundamental not only to the weight of FM hits like "Is this Love?", "Here I Go Again" and the imposing "Love Ain't No Stranger" live, but also to the exhausting energy of heavier songs like "Bad Boys" (which opened the night), "Still of the Night" (the highlight) and "Burn" (which brought the audience in the stands to their feet).
Without stopping in time, Whitesnake brought three tracks from their latest album, Flesh and Blood (2019), which, without fear of being happy, brought the freshness and youthfulness of 80s hard rock in tracks like "Trouble Is Your Middle Name" and "Shut Up & Kiss Me". On guitars, Reb Beach and Joel Hoekstra gave a masterclass in virtuosity and great metallic tones. Whitesnake's performance was quite balanced: high doses of intensity, moments of rest, long, yet truly impressive solos. But in one thing, Coverdale and his bad boys were kings: the construction of a very romantic atmosphere, but not (only) in the romantic sense, as they gave us the chance to relive a feeling long forgotten by modern rock n' roll practitioners – choruses to sing at the top of our lungs, the urge to cry and go back in time, glances and exchanges between band members and audience, and the feeling that that night should never end.
And indeed, there was still more to come. If the venue was already packed, it was with the arrival of Scorpions that all the stands were occupied. Of course, because of the three acts, this band reached the widest range of paying customers (and the seating option was the least expensive for the taxpayer), a larger range of older fans and families gathered, and also – at least in terms of name – a greater reach in the rock imagination. Scorpions' last visit had been to Live N' Louder Nightwish 's last tour with Tarja Turunen , and also Sha(a)man , who were reaping great rewards after unprecedented achievements in the history of Brazilian metal. Again as headliners, Scorpions' sound remains intact, and even heavier. Klaus Meine 's distinctive voice was so moving in numbers like "Send Me An Angel" (performed on acoustic instruments) and "Wind of Change" that it was almost possible to forget the intense heat. "The Zoo," "Big City Nights," and "We Built This House" delivered an explosive sound, showing that more age (some members are over 70) can also mean more weight, more volume, and more metal. A luxurious light show on the screens adds movement to the current concert by the German band from Hanover, a reasonable way for the band to remain comfortable on stage without sacrificing the audience's attention. The great drummer Mikkey Dee , mercilessly pounding the instrument and stealing the show with facial expressions, gestures, and monumental fills. The band returned for the encore with (of course) "Still Loving You" and "Rock You Like a Hurricane," abandoning the stage and the audience to their own fate.
Ultimately, all the publicity surrounding Rock in Rio ends up affecting every city where its lineup performs. Porto Alegre experienced euphoria during the two weeks it hosted the trio from this great festival, as well as Iron Maiden the following week. It seems, after all, that the audience of the Rio Grande do Sul rockers (so often criticized by the local underground) comes out of hiding when the offer is generous (a lesson to be learned?). Established bands, who lived through their tough times more than 3 or 4 decades ago, now use every means they can to satisfy their fans: if time is short, they compensate with unquestionable classics; if age demands that they restrain excesses, they deliver above-average performances. A month that will leave thousands of attendees nostalgic, who now bump into each other on the streets sporting t-shirts bought in 2019 with the joy of those who saw their idols in their glory days. May more monsters of music history come: we are prepared to confront them.
Check out the gallery with photos by Daniela Cony:
