Gig Review: Stryper + Crosson + Panik at Liberty Hall, Sydney

Live Review: Stryper, Crosson and Panik at Liberty Hall, Sydney. March 3, 2023

By PAUL SOUTHWELL

Evangelical rock band Stryper has long considered itself a ministry, but we’re not here to discuss the prosperity, Gospel and the thoughts of denominational theologians. Stryper are well known for their bold approach of using their music as a vehicle to share Christianity globally, which has empowered their loyal fanbase and also provided detractors. Regardless, their musical talent is undeniable.

Stryper were last here in August 2018, when they played as a three-piece due to the absence of guitarist Oz Fox due to serious health concerns. But with things back to normal, Stryper were back in full four-piece mode, ensuring a plentiful array of twin guitar harmonies and trade off solos.

First up tonight was Wollongong’s Pänik who play energetic, fast paced, thrash metal of largely original material. Guitarist Danny Ritz’ dexterity on guitar was clear from the moment that Pänik launched into their set. Bassist and overall front man, Mitchel Gruevski, is also nifty on his instrument of choice. Their first song, “Burn (Point of No Return)” was an aggressive opener with plenty of fast, flashy solos interspersed between the tight rhythm figures, and even a finger tapping bass sequence during a half time rhythm part, backed by drummer Corey Baxter.

Ritz peeled off alternating picking runs and reaching screaming high notes with seemingly minimal effort. Subsequent songs provided a very early Metallica vibe. “My Imperfection” offered up fast barrelling thrash and an almost chromatic crescendo end. “Belly of the Beast” had a distinctly Testament feel to it, with shouted vocals, driving muted guitar rhythms and a pedalling bassline. Clint Lovering  was guest vocalist for a cover “The Four Horsemen”, providing a good performance, bolstering a solid rendition from the entire band, with guitar parts played well. To complete their breakneck half hour set, Pänik ripped into “Heart Racer”, quick thrash metal that bolted along at pace.

Things were off to good start. Then, depending on the audience’s appreciation of theatrical based pop-metal with dancing girls and budget costume changes, it was certainly a contrast to experience the unique glam rock band Crosson. Their angle is that of a band banished to Earth by a fictional intergalactic tribune. Wig-coiffed front man Jason Crosson, who, to use Spınal Tap’s classic quote, ‘dresses as an Australian’s nightmare’, turned to the audience, flanked by Libby Thirsk and Olivia Scanlan, scantily clad dancing girls and backing vocalists, who preen and pose with choreographed moves that merely emphasis the absurdity of the spectacle. While some tracks are musically solid, with a capable backing band carrying new material from upcoming album ‘Ready, Aim,..Rock!’, it’s hard to get past the stage show, and Crosson’s flying V, adorned with tacky LED lights along the bindings.

Guitarist Marco Rado is clearly skilled and well versed in apt soloing techniques for this style of music. His fast vibrato, wide sweep picking, pinch harmonics and alternate picked speed runs are all intact, as are his ability to keep a strong rhythm part going alongside bassist Jack Barret and drummer Kyle Barr. But he finds himself relegated with almost being a musical version of an MC, playing shred guitar interludes between songs as Crosson and the dancers sometimes wandered off briefly for song themed costume changes. “Spreading the Rock ‘N’ Roll Disease” had all the elements you would expect from a pop metal track, as did the ambitiously titled, “Stop Pretending that you Love Me”, with a swathe of harmonies, fills, breakdowns and bridges to return to the chorus, and the obligatory key change. Pre-recorded dialogue and costume changes into short pink cabaret dresses with feather boas introduced a cover of Abba’s “Money, Money, Money”, with vocals slightly devoid of notable harmony parts, and the key change seeing an opportunity to get the audience to sing along.

“Everyone’s a Star” closed the set with Rado launching into an array of soloing, utilising speed runs, large bends and playing that, by this point, had become an acquired taste. Crosson are certainly not the worst band treading the boards and to their credit, they do try to entertain. But the garish, loud stagecraft that ‘borrows’ from Steel Panther, without the key ingredient of humour, overwhelms songs that might otherwise be half decent, if not for the tasteless delivery that did not, sadly, capture the crowd.

Fans jostled for a good viewing position ahead of an atmospheric introduction as Stryper took up their positions on the stage, backlit by a huge back drop. Opening with a heavier yet familiar version of “In God We Trust”, the guitar tone from front man Michael Sweet’s signature Sully flying V guitar was superb, with range and clarity from his signature gear, in tandem with the three Marshall amplifier floor cabinets. Similarly, Fox had a clear, crisp guitar tone, largely concentrating on his playing, minimising head movements to maintain a sense of balance following brain surgery.

The yellow and black is substantially toned down these days, including now well established ‘new’ Stryper bassist Perry Richardson’s bass guitar, which on this visit was not the bright yellow variety but a cooler looking yellow and black racing striped style instrument.

Sweet’s self-deprecating humour was present when asking who had seen the band previously. The next couple of songs were definite set highlights for the die-hard fans. The twin harmony of “More Than a Man” was perfectly played, and also showed how Sweet’s voice has changed with a wider vibrato, some embellishments and a richer tone than many years ago. He dodged the high-pitched screams, but the guitar solos were spot on for anyone who has them etched in their mind. That was a similar experience with “Surrender”, which was truly special to see live, and to watch Fox effortlessly play his solo parts, with purring harmonics, speeds runs, EVH-styled whammy dives and bluesy fills, before reprising the opening twin guitar melody. Sweet’s vocals still have formidable power. His vibrato and projection are astonishing whilst he still manages to unleash some falsetto when needed.

Robert Sweet played behind a sparkly Yamaha double bass drum kit, smashing the snare drum, with precision timing. Bibles were thrown out to the audience a few times during the evening, usually while Michael Sweet conversed with the audience, including some amusing anecdotes of the early days in Hollywood to introduce their huge MTV hit track “Calling on You”.

Robert introduced “Sorry” with a groove drum figure that ushered in the driving, heavy muted guitar riff. The rawer early material sat perfectly in the set flow with the God Damn Evil material, but tonight we were not getting material from new album, The Final Battle as nostalgia was more the order of the day.

Of course, the pop metal classic “Always There for You” was aired, with harmonies galore in all areas including vocals, guitar solos and even from the crowd, doing their best to sing along in key. Heavier material was brought out with “Divider” and “The Valley” took a similar path of heavier recent material, offering punchy vocals, a slight Eastern tinged guitar harmony line, and a plethora of expressive guitar soloing sections, with the second solo giving Fox’s wah-pedal a workout following Sweet’s pull offs and high guitar notes.

Following some banter and select anecdotes, plus a brief bit of evangelising, the set closer “Sing-Along Song” was delivered nicely. Vocals driven and full of harmonies, Sweet’s voice on this track was in full flight, whilst Fox held strong power chords, with a dash of metal gallop, throughout the song. It was a crowd participation moment as the audience were led to sing the simple chorus before the band kicked back in, getting a bit heavier, rounding out the song to a bombastic conclusion.

Fantastic work all round from one of the rock and metal genre’s more durable twin guitar acts, who truthfully deserve all the success for their hard work. Stryper put on a great rock show that few contemporaries from their day could hold a candle to these days. More power to them.