When James Hart left 18 Visions to pursue a more commercially viable type of metal, it was both a surprise and not a surprise. At the time, 18 Visions was one of metalcore’s most visible bands, seemingly on the cusp of a major breakthrough as it was. At the same time, the band’s last album with Hart was noticeably more arena-oriented.

Burn Halo’s self-titled debut certainly made it clear that Hart’s focus on vocal melodies and chord progressions were taking more prominence over growled vocals and the riffs-galore approach of 18 Visions. Still, something about it seemed unfinished or disjointed.

In the time since the debut, Hart has been able to solidify a band lineup and get the whole crew out on the road. One listen to Up From The Ashes makes it clear that this group brings about chemistry that transcends into the new album, making it more like the raging slab of rock and roll Hart imagined when he left 18 Visions.

So what exactly does it sound like? Well, it starts with Hart and goes from there.

Over the last decade, Hart has established himself as one of the most powerful (if too-oft overlooked) voices in rock. His delivery vacillates between the swagger of Axl Rose and power of Joe LeSte. His sense of melody is a bit of a throwback to ’80s style singing in that every chorus could resonate through an arena, prompting fans to sing along.

Of course, a vocalist is only as effective as the music he has to sing over and this is where Burn Halo really stepped it up this go around, making the songs more powerful and more diverse than their debut. And it all starts with the riff.

Some of the riffs on the album are just downright, fist-in-the-air fantastic. From the opener, “Tear it Down,” to the title track, “Up From The Ashes,” to later tracks like “Dakota,” There is plenty of muscle here for fans of say, Bullet For My Valentine or Avenged Sevenfold.

The beauty of the album, however, is the balance of riffs against the big, huge arena-rocking choruses. The effect is one that brings a listener into the mix, whether singing along, banging heads, rocking air guitar, or whatever.

Another nice touch is the lead guitar work that happens during the choruses. The melodies are ideal complements to both the rhythm work and the vocals, which provides a degree of depth that, frankly, most current hard rock bands just lack.

The bottom line is that this album was written for the stage. Sure, it feels just as good cranked up in the car. The way these songs alternate between pummeling and wide open is ideal for crowd participation. They are heading out with Drowning Pool right now, and if the live show is as good as the CD, they will steal the show every night.

It’s weird to see a band more than 15 years into its career still opening shows; not because those bands may think they are too good to open anymore, but because they usually have enough material and experience to upstage headliners. In the case of Sevendust, who have eight albums, had a band member leave and return, played thousands of shows, hopped labels and more, it would seem to be insanity to have them open if you’re anybody this side of Metallica. Indeed, they have proven themselves just about any way a band can.

Be here we are.

The headliner of the show was Avenged Sevenfold with Seether in the middle spot. While I’m sure there is a certain camaraderie among bands, especially bands who have been around as long as these bands have, I think it would be remiss to assume that there isn’t still the desire to come out and set the bar really fucking high… if for no other reason than simply because you can.

It was evident as they tore through cuts like, “Pieces,” “Strong Arm Broken,” and “Face to Face,” that Sevendust was out to prove that, while they may be playing first, they are nobody’s opener.

To be fair, this opening stint was a one-off show from their own headlining tour. With close to 100 songs in the catalog, and only time to play about seven or eight, the set list was a bit of a surprise. One might expect to hear the classics like “Black,” “Denial,” and “Enemy,” as those would the safe, tried and true choices. Those songs were noticeably absent. As they closed with “Face to Face,” however, it became clear. Sevendust wasn’t there to be predictable; they were there to decimate.

They played about seven songs, all designed for maximum impact. They weren’t their best-known songs. They included songs from some of their less-popular releases. All of the songs, however, worked toward the same goal. With a longer set, they’d have time to create an ebb and flow of songs, alternating between more melodic and heavier songs – weaving in classics with cult favorites. With only 30 minutes to play, however, they tore through the Soaring Eagle Casino’s Outdoor Venue like a tornado – fast and furious.

What fans got was a well-oiled machine. Drummer, Morgan Rose, has been on the cover of just about every drumming publication in the world. He’s continually a fan-favorite in reader’s polls. It’s no wonder why. If there is a drummer that hits the kit harder, I have yet to see him. And his trademark yells that have been the yang to Lajon Witherspoon’s yin were in full effect.

Guitarists John Connolly and Clint Lowery were in lockstep timing with each other, nailing every single syncopated riff with total precision and right fists pumping like pistons.

Lajon Witherspoon was the quintessential frontman. In addition to delivering vocals with his signature combination of melodicism and growl, his ability to interact with the crowd as part of the performance, as opposed to generic “Is everybody having a good time tonight” – isms, shows the mark of a veteran performer at the top of his game.

Perhaps the biggest surprise of the night came from bassist, Vince Hornsby. As a bassist, he held it down effortlessly, but his ability to work the crowd complemented Witherspoon perfectly. Charisma is something you can’t teach. You have it or you don’t; Hornsby has it.

In all, Sevendust took 30 minutes and turned it into a clinic on rock music. The only thing wrong with the performance… it was only 30 minutes.

Bullet For My Valentine, currently at #4 on Billboard’s Top 200 Albums charts with their sophomore release, “Scream Aim Fire” (Jive/Zomba) will make their U.S. network TV debut on Wednesday, February 27 when they rock the house on ABC’s “Jimmy Kimmel Live.” The Welsh metal-core band will play the title track from their brand new album, currently Top 30 at Rock radio, as well as “Tears Don’t Fall,” one of the hit singles from their first album, “The Poison.” “Jimmy Kimmel Live” airs at 12:05 ET/11:05PM CT.

Immediately following their Kimmel appearance, Bullet For My Valentine will fly to Denver, CO where they will join fellow headliners Avenged Sevenfold and Atreyu to launch the 40-plus-city North American Taste of Chaos tour on Friday, February 29th.