GIVEN the 25 years since its release, 'The Crimson Idol's is as much as seminal release from W.A.S.P., but is also a moment captured in many fans minds as a moment in their personal lives, making the 'Re-Idolized' date in Belfast a guaranteed sell-out.
There was the expected buzz around the October 18th event at Limelight 1, which unfortunately for support act, The Cruel Knives, meant concentration was not in any way focussed towards the stage.
While they were energetic and engaging at times they were struggling to keep attention away from the bar. There songs were on occasion well executed on the strength of this show it was at times too generic.
With the introduction to The Crimson Idol, 'The Titanic Overture', there was almost feverish in the packed venue as all urged forward. From the off it was clear that the band intended to reproduce each note, each sample and each word as faithfully as the original album release.
Blackie was as commanding on stage as always. He may no longer be the demonic presence at the front, but for a man of his age still stands proud at the front. However, he does step to the back to allow Doug Blair on guitars and Mike Duda (bass) to take their rightful moments in the spotlight.
'Chainsaw Charlie' had the gang vocals of the chorus reciprocated by the audience chanting out "Murders In The New Morgue'.
Playing out the descent of Jonathan across the album 'Hold On To My Heart' was almost achingly close to the original.
The encore opened with a storming cover of The Who's 'The Real Me', invoking another mass singalong, quickly followed by 'L.O.V.E. Machine' Despite some questionable vocals all were engrossed.
Newer track 'Golgotha', reflecting Blackie's more recent Biblical story telling, is already familiar to all, but the closer 'I Wanna Be Somebody' is the song that has all roaring out ever word, pummelling fists and horns held aloft.
After just shy of 90 minutes an exhausted audience streamed out into the chilly October air, reflecting on the performance and wondering when W.A.S.P. will return, if ever.
Review by Jonathan Traynor