Live Review: Steel Panther, Buckcherry, Fozzy

Less than 12 months after their Soundwave appearance and allegedly in front of their biggest indoor crowd ever, Fozzy enthusiastically sought to capitalise on any momentum established. Punters gradually filtered in during a half-hour of the Americans' harmony-drenched metal, led by charismatic lead singer Chris Jericho. Perhaps the true linchpin was guitarist Rich Ward though, a fireball of energy and vital vocal counterpoint. Enemy and God Pounds His Nails' huge choruses elicited the desired response from diehards.
Also making a swift return following a previous 2013 visit were sleaze-rockers Buckcherry. The swaggering Americans, fronted by heavily inked, eventually shirtless Josh Todd began with decadent anthem Lit Up; leading the faithful in an extensive “cocaine” chant. The uninitiated warmed to ballad Sorry and a brief nod to AC/DC. Casual fans sang along while countless females danced during Crazy Bitch's inevitable debauchery. A solid display, although surely they'd rule in a club venue instead of a cavernous room.
Each successive tour results in Steel Panther graduating to increasingly larger venues. Forgoing any semblance of pretension and boasting more poses than a Mr Universe competition, the positively rabid audience further proof the satirical LA lads have carved themselves a lucrative, spandex-wearing niche. If you're able to inspire a Slayer shirt-sporting 40-something to shamelessly don a wig, you're on to something. Quick-witted comedy duo, vocalist Michael Starr and axeman Satchel possess chemistry and comic timing; glam metal's answer to Laurel and Hardy. If their act had incorporated liberal doses of dick jokes, that is. It also afforded them the perspective that blurring lines between lampooning and paying homage to the genre's misogynistic overtones by coercing young, all-too-willing females to flaunt their wares was irrespective a crowd-pleasing manoeuvre.
Preening, pouting and groin-thrusting bassist Lexxi Foxx added further weight to their explicit, razor-sharp parody. As did enhanced production values, including amusing incorporation of video screen hijinks during Asian Hooker, Turn Out The Lights and Death To All But Metal. That aside, musical credentials were none-too-insignificant; efficient and well drilled. Freshening up the set-list with Party Like Tomorrow Is The End Of The World and Glory Hole (containing “70 per cent live vocals”, a self-deprecating acknowledgement of their own deft use of backing tracks perhaps, while subsequently a jab at some heritage acts' over-reliance on them) from their forthcoming LP was also appreciated. Certain veteran hair-raising rockers don't get the joke, but the masses are laughing themselves silly with Steel Panther.