LAMB OF GOD – INTO OBLIVION TOUR – MOHEGAN SUN
By Joe Perusse
Lamb Of God rolled through Connecticut Saturday night with a stacked lineup—Sanguisugabogg, Fit for an Autopsy, and Kublai Khan TX—and from the first note, it was clear this was going to be a heavy one.
Sanguisugabogg opened things up with a thick, low-end-heavy set, kicking off with “Rotted Entanglement.” The band was locked in, heads banging right along with the crowd, while vocalist Devin Swank shouted out Connecticut bands that inspired them. “Face Ripped Off” came with instructions to get moving—no standing still—and by the time “Felony Abuse of a Corpse” hit, the horns were up across the floor.
Swank gave a birthday shoutout to guitarist Cody Davidson (and himself), and they wrapped with “Dead as Shit,” leaving the early crowd warmed up and ready. Drew Arnold on bass and touring drummer Eric Morotti brought a sound you didn’t just hear—you felt it.
Next up, Fit for an Autopsy, and judging by the buzz before their set, a lot of people came specifically for this. They didn’t disappoint. Strobes hit hard during “Lower Purpose,” and vocalist Joe Badolato immediately called for a circle pit on “It Comes for You.” They mixed in newer material like “The Wretch” alongside fan favorites, with Tim Howley ripping into a standout solo on “Hostage.”
“Warfare” came with a joking dedication to anyone about to lose money in the casino, and the crowd leaned into it. The pit got bigger during “Pandora,” and “Far From Heaven” had fists pumping throughout the arena. Filling out the lineup was Will Putney and Pat Sheridan on guitars, Josean Orta on drums and Peter “Blue” Spinazola on bass. Tight, aggressive, and exactly what fans were hoping for.
By the time Kublai Khan TX hit the stage, the floor was already bouncing—literally, with beach balls flying around while a countdown clock ticked down on the screens. When it hit zero, Matt Honeycutt came out demanding movement for “Darwinism,” and the pit instantly opened up.
There was a bit of a rotating cast on bass throughout the set—Honeycutt explained their bassist was at a wedding—but it didn’t slow anything down. Willie Adler from Lamb of God jumped on bass for the first 2 songs. They powered through “Low Tech,” “Antpile,” and “Boomslang,” with Nicholas Adams earning a “master squealer” nod for his guitar work. At one point, even the tour photographer jumped in on bass.
Honeycutt made it clear the crowd was part of the show—the pit was the backbone—and the energy reflected that. “Self-Destruct” and “Swan Song” hit hard, just as drummer Isaac Lamb was doing throughout and they closed with “Theory of Mind,” leaving the floor in full chaos.
Then it was time for Lamb of God, and as soon as the lights dropped, the entire arena lit up with phones. They opened with “Ruin,” and Randy Blythe immediately had the crowd in the palm of his hand—horns up, voices loud. “Laid to Rest” brought out a sea of middle fingers on command, and they dug deep into the catalog with “Blood Junkie.”
The title track “Into Oblivion” came with an intense laser show—so much so that parts of the upper seating were blacked out to keep it safe. And loud? This might’ve been the loudest set I’ve heard at Mohegan, period. “Resurrection Man” kept the pressure on, while Mark Morton, Willie Adler and John Campbell locked in with synchronized riffs on “Grace” and Morton and Adler traded off during a slick intro to “Desolation.”
Art Cruz got his spotlight with a drum solo, and Blythe gave some context to “512,” tying it back to a unpleasant address in his life. “Walk With Me in Hell” was dedicated to the openers, Connecticut’s own Hatebreed, and the legendary Toad’s Place. From there, it was all gas“— “Parasocial Christ,” “Omerta,” and “11th Hour,” with massive skull props lighting up above the stage”
They pushed through “Memento Mori” and “Sepsis” before Blythe challenged the crowd to get louder for one last song. The first response wasn’t enough—he joked they might need milk and cookies—so the second time, the place erupted. “Redneck” closed the night, the entire arenamyelling every word back at the stage.
Heavy, loud, and relentless from top to bottom—exactly what you want from a Lamb of God show.
Views: 0
