Pantera | Amon Amarth | King Parrot | The Heaviest Tour of the Summer | American Family Insurance Amphitheater | Milwaukee, WI 8/6

Wed, Aug 6th - Milwaukee’s American Family Insurance Amphitheater played host to a seismic night of modern metal history as Pantera’s Heaviest Tour of the Summer roared into town, flanked by devastating support from Sweden’s Viking warriors Amon Amarth and Australia’s grind-thrash agitators King Parrot. More than just a tour, the evening served as both celebration and commemoration by marking Pantera’s return to the dominance with a lineup anchored by original members Philip Anselmo and Rex Brown, joined by Zakk Wylde and Charlie Benante in tribute to the late Dimebag Darrell and Vinnie Paul Abbott. Under a summer sky lit by flame and fury, Milwaukee bore witness to a cathartic spectacle where legacy met brutality, and the spirit of Pantera was on full display.

The American Family Insurance Amphitheater in Milwaukee, WI is located on the beautiful shores of Lake Michigan and is part of the Henry Maier Festival Park, which hosts a variety of events, including the renowned Summerfest music festival and was also the former home of the yearly Van's Warped Tour (RIP old friend). The American Family Insurance Amphitheater was built between 1985 and 1987, and it opened to the public in 1987. The facility was designed in particular to hold concerts and music events during the annual Summerfest, one of the world's largest music festivals. Summerfest, which began in 1968, now attracts hundreds of thousands of visitors each year. The amphitheater has undergone various modifications and improvements over the years to improve the musical experience for both artists and attendees. The amphitheater now seats around 23,000 people, with both reserved seating and general admission zones. The outdoor venue has a mix of covered and open-air seating, giving concertgoers a variety of seating options, rain or shine. The American Family Insurance Amphitheater, with its vast capacity and top-notch sound and lighting equipment, has welcomed countless world-renowned acts, and today they would host a few more. Let's get this party started!

Courtesy of American Family Insurance Amphitheater

Few bands blend sheer sonic violence with tongue-in-cheek irreverence quite like King Parrot. The Australian grind-thrash wrecking crew brought their unrelenting energy to Milwaukee, turning the stage into a war zone and the pit into a rotating cyclone of elbows, sweat, and chaos. With a setlist that pulled from across their gloriously deranged discography, King Parrot proved that beneath their humor lies serious musical intent and a live presence that remains unmatched in ferocity and unpredictability. Opening with “Home Is Where the Gutter Is,” King Parrot wasted no time throwing the room headfirst into the maelstrom. Vocalist Matt "Youngy" Young, wild-eyed, and pacing the stage like a rabid emcee, delivered every shriek and bark with vein-bursting commitment. The song’s thrashy groove and grindcore bursts served as the perfect mission statement: this would be loud, fast, and gloriously filthy. The energy in the room instantly flipped from anticipation to mayhem. “Disgrace Yourself” followed, leaning into the band’s crossover tendencies with punk-forward riffing and sudden, jarring tempo shifts. Guitarists Ari White and Andrew Livingstone-Squires cranked out jagged riffs with surgical efficiency, while drummer Max Dangerfield kept the chaos grounded with absurdly tight blast beats and rhythmic switchbacks, and Wayne "Auntie Slatts" Slattery provided backing vocals and disgusting bass tones. The crowd responded with relentless circle pits, amplifying the unhinged energy now pulsing through the venue. “Get What Ya Given” brought a welcome dose of groove and swagger, slowing just enough for each riff to land with weight, before snapping back into bursts of grind. Young’s shrill howls were matched by his wild facial expressions and physicality, working the entire front row with devilish charisma. Even in their most extreme moments, King Parrot’s delivery is entertaining without ever losing its edge. With “Target Pig Elite,” the band launched a full-frontal assault. Blistering speed, breakneck shifts, and unrelenting vitriol turned the room into a sweatbox of flailing limbs. The dual vocal layering in the choruses cut through the wall of sound with precision. This was King Parrot at their most politically sharpened, mocking and menacing in equal measure. A highlight of the set came with “Psychotherapy and Valium,” a track that encapsulates the band’s genius: chaotic grindcore cut with humor, precision, and catharsis. Young delivered each line like a street prophet mid-breakdown, spitting manic laughter between phrases, while the band behind him detonated a series of blast-heavy movements. It was equal parts theatrical and crushing. The audience erupted when the opening chords of “Shit on the Liver” kicked in. A King Parrot staple, the track blends a hooky, punk-tinged chorus with whiplash tempo changes and grotesque lyricism. Young took full advantage of the moment, leaping onto the barricade, screaming face-to-face with fan. It was a masterclass in crowd engagement and self-aware absurdity. “Piss Wreck” lived up to its title, a hyper-speed barrage of grind riffs and barked refrains that blurred by in under two minutes. The pit exploded, spinning violently as bodies were tossed into one another with reckless joy. It was brutal, fast, and utterly without restraint. A perfect reminder that King Parrot, for all their showmanship, are master tacticians when it comes to extreme music fundamentals. With “Hell Comes Your Way,” the band showcased a more structured approach without dialing back intensity. The riffs hit with industrial weight, and the pacing gave Young room to stretch his vocal phrasing into twisted patterns. The breakdown here, if it can be called that, was one of the most punishing of the night, drawing roars from the crowd and closing in on sonic collapse. “Bozo” blended grindcore’s anti-establishment rage with King Parrot’s trademark absurdity. The lyrics, steeped in dark humor, were delivered with tongue-in-cheek spite, but the musicianship underneath was anything but a joke. The band played tight and fast, with enough dynamic shifts to keep even seasoned metalheads on their toes. Closing with “Fuck You and the Horse You Rode In On,” the band unleashed one final tirade of fury. Every member threw themselves into the performance like it was their last show on Earth. Young’s final scream was equal parts joy and disdain, a triumphant, vile farewell that left the crowd breathless and grinning. As the last chord rang out and feedback shrieked into the ether, the audience roared in exhausted approval. No encore was needed. King Parrot had made their point.

Rating: 4/5

Recommended For: Fans of Napalm Death, Municipal Waste, Psycroptic, and anyone who prefers their grindcore unfiltered, chaotic, and delivered with a crooked smile and a clenched fist.

In a live setting, Amon Amarth are not simply a melodic death metal band, they are storytellers, warlords, and the keepers of Norse myth made flesh through sound, fire, and steel. With nearly three decades under their belts, the Swedish juggernauts have refined their performances into theatrical, immersive battlescapes, equal parts concert and conquest. Their latest stop in Milwaukee transformed the stage into a flaming longship of thunderous riffs, towering anthems, and roaring crowd chants. Across nine carefully selected songs, Amon Amarth proved once again why they remain one of the most consistently electrifying forces in modern metal. With the first notes of “Guardians of Asgaard”, the venue erupted as fans joined in a collective roar, fists raised as if marching to war. The band emerged behind plumes of smoke and flanked on both sides of the stage by what seemed like 50ft Norse guardians with hands on their sword & axe, clad in their signature stage apparel and battle-ready stances. Vocalist Johan Hegg, wielding his trademark drinking horn, wasted no time commanding the stage with his guttural growls and imposing presence. Guitarists Olavi Mikkonen and Johan Söderberg delivered the track’s driving mid-tempo riff with crushing clarity, while the rhythm section thundered like cavalry behind them. It was an immediate and emphatic declaration: the gods had arrived. “Shield Wall” followed without pause, its staccato riffing and martial cadence inciting a surge of crowd movement. Hegg’s call of “Shield Wall!” became a chant echoed back by hundreds of voices, as if reenacting an ancient battlefield formation, as the band was joined by a few Norse soldiers pacing the back of the stage. The song’s syncopated breakdown and defiant chorus stirred the pit into motion, embodying the band's power to weaponize groove without losing their melodic death metal roots. Few songs in Amon Amarth’s catalog have aged with the same thunderous glory as “The Pursuit of Vikings.” As soon as the signature opening riff rang out, the crowd erupted in recognition. The song served as a nostalgic high point, beloved and belted out with zeal. Hegg’s performance here was particularly commanding, balancing guttural might with moments of sly crowd interaction. It was a celebratory stomp through one of the band’s most enduring anthems, and the crowd responded with raised horns and battle cries. “Deceiver of the Gods” shifted the pace into high gear, bringing speed and bite back to the forefront. Drummer Jocke Wallgren was a force of nature here, his double kicks relentless and precise, pushing the band into more extreme territory, accompanied by bassist Ted Lundstrom's crushing basslines helping create the backbone of the assault. The song’s sharp melodic phrasing was flawlessly executed, and the band’s tight cohesion was especially evident during the galloping solo section. This was Amon Amarth in full technical stride, demonstrating their ability to merge brutality and elegance. Amon Amarth’s knack for theatrical crowd interaction reached its apex with “Put Your Back Into the Oar.” Hegg, with horns raised high, demanded fans take to the “oars”, and they obliged, dropping to the floor in rows and pantomiming rowing through battle. The scene was equal parts absurd and awe-inspiring, and a testament to the band’s unique relationship with their audience. Musically, the song was a folk-tinged war chant, driven by rhythmic momentum and battle-ready cadence, with every fan locked into its primal groove. Newer material like “We Rule the Waves” carried the same weight and authority as their classic catalog, seamlessly integrated into the setlist. The band played this track with swagger and confidence, its triumphant chorus echoing through the venue. Hegg’s voice soared with might, and the backing instrumentation channeled a sea-storm of power, underscoring the band’s continued relevance and songwriting prowess. The stage visuals only enhanced the effect. With “The Way of Vikings,” Amon Amarth leaned into their more atmospheric and narrative side. Moody lighting cast shadows across the stage, and the tempo slowed to a somber, almost funereal crawl. The dual guitar melodies evoked melancholy and majesty, setting the tone for one of the night’s most immersive performances. The band’s ability to convey both grandeur and introspection was on full display here, with Hegg’s deep growl transforming into an almost meditative chant. “Raise Your Horns” was more than a song, it was a moment of communion. As Hegg lifted his drinking horn once again, the crowd mirrored him, raising their own drinks in tribute. The chorus, chanted by every voice in the room, created a sense of collective triumph. The track has become a modern classic, less a war song and more a celebration of resilience, camaraderie, and shared mythology. A toast to the faithful, the fallen, and the future. The set concluded with a true modern metal epic: “Twilight of the Thunder God.” With visuals of a Norse army across the backdrop, the band unleashed one of their most technically impressive and emotionally charged tracks. Hegg’s voice thundered with divine force as he raised the hammer high, while the twin leads soared like Valkyries in flight. The pit ignited one final time, and the band left the stage not with a whisper, but with a war cry that echoed long after the last chord faded.

Rating: 5/5

Recommended For: Fans of Insomnium, Behemoth, Unleashed, Ensiferum, and anyone seeking a live show that feels like a Norse myth told through flame, sweat, and riffs. Amon Amarth don’t just perform, they conquer.

In the shadow of loss, few reunions carry the weight and reverence of Pantera’s return to the stage. With founding brothers Dimebag Darrell and Vinnie Paul Abbott tragically gone, the band's reformation seemed, for many years, inconceivable. But in a move equal parts homage and resurrection, vocalist Philip Anselmo and bassist Rex Brown have revived Pantera’s live legacy with the formidable talents of Zakk Wylde (Ozzy Osbourne, Black Label Society) on guitar and Charlie Benante (Anthrax) behind the kit. Together, this lineup doesn’t attempt to rewrite the past, it honors it with unflinching power and sincerity. When the amphitheater lights cut to black and the PA bled the raw, unpolished grit of CFH: The Demos Intro, the crowd knew they were about to witness something special. For a band whose mythos has loomed over heavy music for decades, Pantera’s return to the stage wasn’t just a reunion; it was a resurrection. As the kabuki curtain dropped and the opening riff of “Hellbound” exploded into the night, Milwaukee’s American Family Insurance Amphitheater became a temple of groove metal chaos. Wylde’s tone was appropriately massive, channeling Dimebag’s feral spirit while imprinting his own gritty touch. Anselmo’s voice, worn with time yet unmistakably potent, carried the defiant venom fans craved. Charlie Benante’s drumming honored Vinnie’s signature groove with deadly precision. From the first riff, this was unmistakably Pantera. Scarred, yes, but still swinging. The band tore into “5 Minutes Alone” with surgical ferocity. Anselmo paced the stage like a caged animal, leading the chant of “FIVE MINUTES ALONE!” with terrifying conviction. The song’s breakdown sent the pit into a frenzy, with Wylde’s whammy-drenched squeals echoing the ghost of Darrell in both tone and spirit. There was reverence, but never imitation. Wylde played with feeling, not mimicry. “Strength Beyond Strength” raised the tempo and fury to boiling levels. Benante’s blast-driven attack gave the song fresh urgency, while Rex Brown anchored the chaos with his signature, swampy bass tone. The transitions from blistering speed to groove were executed flawlessly, and Anselmo’s gutturals cut through the mix like shrapnel. It was raw, honest, and deeply cathartic. One of the set’s most anthemic moments came with “Mouth for War.” The song’s groove ignited the crowd into a unified stomp, with Wylde’s guitar tone carrying a chainsaw’s worth of bite. Anselmo gripped the mic like a weapon, snarling every word with venom and history. It wasn’t just a performance, it was a rallying cry for all still holding onto what Pantera represented. “Goddamn Electric” slowed the pace and flexed the band’s sludgier, more nuanced side. Wylde leaned into the song’s bluesy undertones with soulful bends, all while Benante’s steady pulse grounded the song in thick groove. It was the sound of a band aging with dignity: still heavy, still dirty, but with more smoke in the eyes. “Becoming” gave the rhythm section its moment to shine. Brown and Benante locked in with brutal synchronicity, building the foundation for Wylde’s whirling chaos. The surprise “Throes of Rejection” outro was a masterstroke, an unexpected turn that sent longtime fans into a frenzy. The transition was seamless, and Anselmo’s voice cracked with both rage and emotion. With “I’m Broken,” the set shifted into full emotional throttle. The opening riff hit like a tombstone, and Wylde’s execution, drenched in pitch harmonics and feedback, sent shivers down the spine. As the song bled into a “By Demons Be Driven” outro, the band tapped into something primal and ritualistic. It was heavy, yes, but haunting, too. “10’s” offered a rare moment of subdued heaviness. Performed under the glow of archival footage showing Dimebag and Vinnie in their glory days. The crowd fell silent, a sea of raised horns silhouetted against flickering memories, a poignant interlude that reminded everyone why this night mattered. There was no need to explain “I’ll Cast a Shadow.” It was a tribute in motion. Played with reverence and fire, it stood as an open-letter to both Darrell and Vinnie. Anselmo introduced the track with a solemn nod, and the crowd responded in kind with horns raised, fists clenched. It was one of the night’s most heartfelt offerings. “This Love” opened with delicate tension and erupted into savage aggression. The emotional push-pull of the song was captured perfectly onstage, with Wylde handling the dynamic guitar shifts with finesse. The chorus, screamed by every soul in the venue, created a shared experience that felt more like group therapy than a concert. When “Cowboys From Hell” dropped, the room came unglued. The riff, iconic and eternal, was delivered with flawless bite. Anselmo relished every moment, strutting and screaming like a man reborn. It wasn’t just nostalgia, it was a declaration that the spirit of Pantera never died. It just needed the right moment to ride again. The encore wasn’t just an afterthought, it was a coronation. Before going any further, Anselmo led a heartfelt Ozzy tribute chant for the recently fallen Prince of Darkness, reminding the audience that heavy metal is a brotherhood bound by loss and legacy. The encore began with “A New Level,” a fitting mantra for a band rediscovering itself. The unity between Wylde and Brown was unmistakable here, old school and new blood in perfect lockstep. The chorus, “A new level of confidence and power!”, landed with renewed meaning, roaring into the rafters like a vow. “Walk” became a scene-stealing event when members of Amon Amarth and King Parrot, stormed the stage. The crowd exploded as this convergence of metal titans tore into the song’s unmistakable groove. It was celebratory, chaotic, and entirely unforgettable, a communal tribute and sonic blood pact rolled into one. A devastating medley began with “Domination”’s crushing breakdown, one of metal’s most iconic moments, before seamlessly morphing into “Hollow”, Pantera’s most heartbreaking ballad-turned-dirge. It was here the absence of the Abbott brothers felt most tangible, and the crowd’s silence between verses was deafening. Wylde’s emotive playing honored Dime with every note, and Anselmo, raw and visibly moved, let the lyrics speak for themselves. For the final exorcism, Anselmo summoned his young nephews to announce "Fucking Hostile," and the amphitheater erupted into pure bedlam. It was three minutes of unbridled fury that felt like a closing chapter written in fire and sweat. "As How Soon Is Now?" by The Smiths drifted from the PA, fans lingered, shell-shocked and reverent. This wasn’t just a concert—it was a communion with ghosts, a defiant roar in the face of mortality, and a reaffirmation that Pantera’s legacy is immortal.

Rating: 5/5

Recommended For: Die-hard fans of Pantera, newcomers discovering the band’s legacy, and anyone who believes in metal as a vessel for grief, power, and perseverance. This isn’t just a reunion, it’s a resurrection with teeth.

As the final echoes faded into the warm Milwaukee night and the stage lights dimmed over a sea of raised horns, Pantera’s Heaviest Tour of the Summer left the American Family Insurance Amphitheater not in silence, but in stunned reverence. The evening had offered more than nostalgia, it was a defiant celebration of survival, legacy, and the enduring power of heavy music to both honor the past and ignite the present. With King Parrot delivering unhinged chaos, Amon Amarth conjuring thunderous grandeur, and Pantera themselves proving that the flame still burns, the tour lived up to its title in every sense. For those in attendance, this was not just a concert, it was another chapter etched into the evolving mythos of modern metal.

Review & Photography By: Nick Buzinski Find Nick Online! https://www.instagram.com/nb_digital/