Ten years ago, the Limelight was a landmark for bands who performed in New York City. Women danced in cages suspended from vaulted cielings, stained glass surrounded a stage elevated on what used to be an altar and men and women mingled in lines for the unisex bathrooms. Built as a church decades earlier, the site had since been deconsecrated, converted to a nightclub, and angel-shaped disco balls hung where a crucifix was once suspended. It was the perfect-not to mention haunting and eeire-setting for the inspired debauchery of sex, drugs and rock'n'roll that made the late 80's and early 90's such revered times. And almost a decade later, recently reopened, it was the perfect venue to host the live chaos that is Slipknot. Had there still been cages, more timid members of the crowd may have fled for them, seeking sanctity from the madness that overwhelmed the mosh pit, a floor previously occupied by rows of pews. In stark contrast to the gothic styling of the stained glass that overlooked them, Slipknot's red jumpsuits were bright and glaring, punching into the flashing strobes and lights that lit the stage and sold out crowd. It was a venue far too small for Slipknot-who had made their network television debut only hours earlier on Late Night With Conan O'Brien-but what it lacked in size, it made up for in character, with fans occupying choir lofts that overlooked the insanity.It's been a whirlwind year for Slipknot, and post-show was no exception, where #1 and #2-drummer Joey and bassist Paul, who both founded the band with #6, custom-percussionist Shawn-are already at work on their sophmore album, which they hope to release early next year. � Metal Edge Magazine. The article was written by Paul Gargano. I take no credit for this article and some material has been edited. |