Megadeth’s Destroy All Enemies Tour Lit Up The Stage At Santander Arena

All That Remains opened their set with an electrifying introduction, launching into “Now Let Them Tremble.” The ominous tones of Mike Martin’s rhythm guitar set the stage, building tension in the crowd. As Phil Labonte’s unmistakable growl tore through the venue, the energy in the room ignited. Jason Richardson’s technical lead guitar work shone early, weaving in sharp, intricate melodies. Mike Deis, commanding the low end with his bass, locked in perfectly with Andrew Barone’s thunderous drumming, creating a pulse that resonated through every corner of the venue. The song’s intensity, combined with Labonte’s ferocity, set the mood for the night—a powerful start, leaving the crowd ready for more.

The band transitioned seamlessly into “Chiron,” a fan favorite from Overcome. Here, Richardson’s virtuosity truly took center stage. His blistering solos were contrasted by Martin’s solid rhythm foundation, allowing each element of the band to shine without overwhelming the song’s melodic structure. Labonte, ever the dynamic frontman, alternated between guttural screams and cleaner vocal lines, showing his range and control. Deis and Barone’s synchronized groove anchored the performance, their tight playing keeping the energy high. The crowd responded enthusiastically, as the relentless momentum carried them through this quintessential All That Remains track.

Midway through the set, they surprised the audience with “Let You Go,” showing a different side of the band. This emotionally driven ballad slowed down the pace but didn’t lose the crowd’s attention. Labonte’s vocals were raw and expressive, showcasing a more vulnerable side to his performance. Martin and Richardson played with a gentler touch, their guitars harmonizing beautifully, while Deis provided a warm bass line that complemented the heartfelt lyrics. Barone’s drumming was more restrained here, accentuating the song’s emotive atmosphere. It was a poignant moment, offering a brief respite from the intensity, but also displaying the band’s versatility in blending melody with metal aggression.

As the set drew closer to the finale, the band unleashed a trio of powerful tracks: “This Calling,” “Six,” and “Two Weeks.” “This Calling” hit the audience with its rapid-fire riffs, and Labonte’s screams were both fierce and precise, while Barone’s drumming exploded with relentless precision. “Six” followed, a technical masterpiece that allowed Richardson to shine once again, his fingers dancing across the fretboard in a display of jaw-dropping speed. The set closed with “Two Weeks,” a song that brought the crowd to a fever pitch. With its catchy hooks and powerful chorus, the entire band locked in perfectly, delivering an unforgettable ending. Labonte’s voice soared, Richardson and Martin’s guitars intertwined seamlessly, and the rhythm section provided a rock-solid foundation. The energy was palpable, and the crowd roared their approval as the band left the stage.

Mudvayne’s performance was nothing short of a theatrical assault on the senses, blending their signature aggressive sound with their unmistakable visual style. The band took the stage adorned in their iconic makeup, each member representing a distinct persona that’s become integral to their identity. Chad Gray, with his fierce face paint and frenzied energy, commanded the audience’s attention right from the start. Ryan Martinie’s elaborate makeup mirrored his equally intricate bass lines, while Greg Tribbett and Marcus Rafferty brought intensity with their dual guitar attack, both visually and musically. Matt McDonough, positioned behind a fortress of drums, provided the heartbeat for the chaos unfolding on stage, his dark, shadowy makeup adding to the sinister aura of the band. As the opening notes of “Not Falling” reverberated through the venue, the crowd erupted, signaling the start of a performance that would be both sonically and visually unforgettable.

The set progressed into “Silenced,” where Gray’s growls were punctuated by piercing screams, his presence on stage nothing short of menacing. His makeup, a blend of sharp lines and bold colors, reflected the dark intensity of the music, as he stalked the stage with a mix of aggression and theatricality. Martinie’s bass lines were nothing short of mesmerizing, his fluid playing style anchoring the track’s brutal rhythm while adding a unique, almost melodic undercurrent. Tribbett’s lead guitar cut through the mix with razor-sharp riffs, while Rafferty’s rhythm work solidified the wall of sound. McDonough’s drumming was relentless, each beat echoing like a war drum, propelling the song forward. Mudvayne’s ability to meld complex musicianship with primal energy was fully on display, and the audience could feel every vibration in their bones.

As they launched into “Internal Primates Forever,” the band’s intensity only increased. Gray’s vocals shifted between guttural screams and eerie, melodic passages, a duality that kept the audience entranced. The song’s rhythmic complexity was highlighted by Martinie’s intricate bass work, which danced between the jagged edges of McDonough’s drumming. The band’s tight interplay was evident as Tribbett and Rafferty locked in seamlessly, delivering a barrage of riffs that complemented Gray’s unhinged vocal delivery. The visual spectacle of their makeup, combined with their dynamic stage presence, added another layer to the performance, creating an atmosphere that felt almost otherworldly, as if the band were tapping into something primal and raw.

Midway through the set, the crowd was treated to a chilling rendition of “Death Blooms.” The haunting bass intro by Martinie set the tone, his fingers moving with precision and power as the eerie melody unfolded. Gray’s vocals were full of anguish and rage, perfectly capturing the song’s dark themes. The raw emotion in his performance, combined with his theatrical makeup, made every word hit harder. Tribbett’s lead guitar soared during the choruses, adding a sense of soaring despair, while Rafferty’s rhythm guitar provided a dense sonic foundation. McDonough’s drumming was steady and forceful, punctuating each emotional beat of the song. The band’s ability to seamlessly blend heaviness with emotion was palpable, making “Death Blooms” a standout moment of the night.

The energy ramped up once again with the crowd-favorite “Happy?” and the crushing “Dull Boy.” The audience was fully engaged, feeding off the band’s energy as Gray prowled the stage, interacting with fans and whipping them into a frenzy. His vocal delivery in “Happy?” was equal parts venomous and cathartic, while “Dull Boy” showed a grittier, more visceral side to the band. Martinie’s bass continued to serve as the anchor, his playing adding a layer of complexity to the brutal soundscapes Tribbett and Rafferty created with their guitars. McDonough’s drums were thunderous, driving the songs forward with a relentless force. The synergy between all the members was undeniable, as each brought their own unique style to the forefront while maintaining the crushing cohesion Mudvayne is known for.

The set culminated with a blistering performance of “Dig,” their breakout hit and a song that embodies the raw essence of Mudvayne. Gray’s growls of “Dig! Bury me!” echoed through the venue as the crowd erupted into mosh pits and headbanging chaos. The song’s chugging riffs and relentless pace were a perfect finale to a set filled with visceral energy. Martinie’s bass work in “Dig” was nothing short of masterful, his unique playing style adding an extra layer of complexity to the already aggressive track. Tribbett and Rafferty unleashed an onslaught of guitar riffs that reverberated through the audience, while McDonough’s drumming was the driving force that kept the chaos in perfect sync. The combination of their heavy sound, intense stage presence, and signature makeup created a performance that was both technically brilliant and visually unforgettable, leaving the audience in awe long after the final note.

Megadeth’s performance at Santander Arena was nothing short of a thrash metal spectacle, igniting the night with their ferocious precision and trademark intensity. As the house lights dimmed, the crowd’s anticipation surged, erupting into cheers when Dave Mustaine, James LoMenzo, Dirk Verbeuren, and Teemu Mäntysaari took the stage. Kicking off the show with the title track of their 2022 album, The Sick, The Dying… and the Dead, the band set the tone for an evening that would blend their classic hits with more recent material. Mustaine’s snarling vocals cut through the dense mix of Teemu’s blistering solos and LoMenzo’s thick bass lines, while Verbeuren’s drumming drove the song forward with relentless precision. The raw energy of the opening number set the crowd on fire, and it was clear from the start that Megadeth wasn’t here to merely play—they were here to dominate.

The intensity continued to build as the band launched into “Angry Again,” a song that bridged their past with their present sound. Mustaine’s guitar work was sharp and aggressive, each riff delivered with the kind of technical brilliance that has made him a thrash legend. Mäntysaari, new to the lineup but already fitting seamlessly, traded leads with Mustaine, his solos injecting fresh energy into the performance. LoMenzo’s backing vocals added depth to the chorus, while his bass thundered beneath the melodic carnage. Verbeuren’s drumming was surgical, providing a tight foundation for the sonic onslaught. The crowd fed off this intensity, headbanging in sync with every punch of the riff, as the band tore through the track with a precision that only decades of experience could bring.

Next came “Devil’s Island,” a classic cut that brought a wave of nostalgia crashing over the audience. Mustaine’s vocals were laced with venom as he snarled out the lyrics, while the guitar interplay between him and Mäntysaari was nothing short of mesmerizing. The rapid-fire riffs and scorching solos were executed flawlessly, reminding the crowd why Megadeth’s early work remains so revered. LoMenzo’s bass lines added an extra layer of heaviness, locking in with Verbeuren’s double bass drumming to create a thunderous rhythm section that shook the arena. The energy in the room was electric, with long-time fans reveling in the band’s ability to keep these older songs fresh and vital.

The midsection of the set was marked by one iconic track after another. “Hangar 18” saw Mustaine and Mäntysaari engaging in a guitar duel that left jaws on the floor. Their intricate solos, weaving in and out of each other, were a technical marvel, a true testament to the band’s musicianship. Verbeuren’s drumming was relentless, providing the foundation for the complex time signatures, while LoMenzo’s bass pulsed through the track with unwavering precision. The momentum didn’t slow as they launched into “Skin o’ My Teeth,” the high-energy tempo pushing the crowd into a frenzy. Mustaine’s biting vocals and the song’s razor-sharp riffing were as potent as ever, proving that even decades later, the band still had the ability to captivate with their classic thrash sound.

“Sweating Bullets” was another highlight, with Mustaine taking on a more theatrical vocal delivery, interacting with the crowd as he delivered the song’s signature spoken-word verses. The crowd sang along to every word, their voices echoing through the arena as Mustaine sneered his way through the track. Mäntysaari’s lead guitar work added new dimensions to the song, his playing both fluid and ferocious, while LoMenzo and Verbeuren provided the rhythmic backbone that kept the song’s quirky yet heavy feel intact. The interplay between the band members was seamless, showcasing not just their technical prowess but also their chemistry as a unit.

“Tornado of Souls” followed, a track that many consider one of the greatest thrash metal songs ever written. Mäntysaari took on the daunting task of recreating the legendary solo originally performed by Marty Friedman, and he did so with remarkable precision and passion. The crowd roared in approval as the solo soared above the relentless riffing, solidifying Mäntysaari’s place within the band. Mustaine’s rhythm work was tight, and his vocal delivery hit all the right notes, combining aggression and melody in perfect measure. The band didn’t miss a beat, and the audience responded with overwhelming enthusiasm, feeding off the energy emanating from the stage.

As the set neared its conclusion, the band unleashed “We’ll Be Back,” a powerful track from their recent album. It showcased that Megadeth wasn’t just resting on past laurels; they were still capable of delivering fresh, cutting-edge thrash. The speed and aggression of the song had the crowd moving non-stop, and the band delivered it with the same intensity as their older hits. Mustaine and Mäntysaari’s guitar work was fluid and fierce, while LoMenzo and Verbeuren kept the rhythm locked in tight. The song was a statement—Megadeth was here to stay, and they were still at the top of their game.

The first encore began with “Mechanix,” a blistering, high-speed assault that brought the old-school fans to the forefront. The raw energy of this track, combined with Mustaine’s ferocious riffing, was a throwback to the band’s earliest days. Verbeuren’s drumming was relentless, his precision and stamina on full display, while LoMenzo’s bass thundered through the chaos. They followed it up with “Peace Sells,” a crowd favorite that had the entire arena chanting along. The iconic bass intro from LoMenzo sent chills through the audience, and Mustaine’s biting lyrics hit with the same impact they did decades ago. Mäntysaari’s lead work was impressive, adding new life to the familiar solos, and the crowd fed off the energy, knowing they were witnessing a band still at the height of its powers.

The final encore was the pièce de résistance—“Holy Wars… The Punishment Due.” The arena erupted as soon as the opening notes rang out. Mustaine and Mäntysaari’s guitars were locked in a furious exchange, delivering some of the most complex and exhilarating riffs of the night. The song’s dynamic shifts from speed to melody were executed flawlessly, with Verbeuren’s drumming driving the transitions with power and precision. LoMenzo’s bass playing was thunderous, adding a layer of intensity that pushed the song to its climax. Mustaine’s vocal delivery was as sharp as ever, and as the song reached its explosive finale, the band left the stage to a deafening ovation, the audience knowing they had just witnessed thrash metal at its finest.