{"id":67,"date":"2011-12-26T02:59:08","date_gmt":"2011-12-26T10:59:08","guid":{"rendered":"http:\/\/www.moussavianlaw.com\/blog\/?p=67"},"modified":"2011-12-26T02:59:08","modified_gmt":"2011-12-26T10:59:08","slug":"testament","status":"publish","type":"post","link":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/67\/testament\/","title":{"rendered":"Testament"},"content":{"rendered":"\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F67%2Ftestament%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n<table>\n<tbody>\n<tr>\n<td width=\"100%\">Concert Review: Testament, Cow Palace, Daly City, CA, 08-31-10 (Tuesday)<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<td align=\"right\" width=\"100%\">\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<table>\n<tbody>\n<tr>\n<td valign=\"top\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/for.jpg\" alt=\"\" width=\"350\" height=\"263\" \/>\u00a0\u00a0\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0<\/td>\n<\/tr>\n<tr>\n<td valign=\"top\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On Tuesday, August\u00a031, 2010 Testament played Daly City\u2019s 10,300?seat capacity Cow Palace with 8,000 tickets sold.\u00a0 Testament, who opened for co?headliners Megadeth and Slayer, played a 10?song, 52-minute set from 6:55 to 7:47.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 -For the Glory Of \u2026 (The Formation of Damnation, 2008).\u00a0 The show began with a pre?recorded tape track of For the Glory Of \u2026, the instrumental first song from the band\u2019s latest record.\u00a0 The band members walked on stage and took position on a gothic?themed stage that included a (1)\u00a0tarp backdrop depicting a castle featuring the band\u2019s demon mascot featured on The Legacy record cover (1987) and (2)\u00a0stonework facade for Paul Bostaph\u2019s (\u201cPB,\u201d drummer) 48?inch high drum riser and 48?inch high platform positioned 36\u00a0inches further back from PB\u2019s drum riser that stretched to the ends of the large stage.\u00a0 Two banners bearing the band name in yellow lettering against a maroon background were hung on the far ends of stage left and right.\u00a0 Six metal steps on each side of PB\u2019s riser led up to his riser.\u00a0 For the Glory Of\u00a0\u2026 led straight into More than Meets the Eye.<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/more_1.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 1. More than Meets the Eye (The Formation of Damnation, 2008) began with two bars of Alex Skolnick (\u201cAS,\u201d lead guitarist) and Eric Peterson (\u201cEP,\u201d lead and rhythm guitarist) catchy, mid tempo guitar riffs augmented by PB\u2019s heavy?handed drumming.\u00a0 Chuck Billy (\u201cCB,\u201d vocalist) joined in for the remaining two bars by replicating the catchy melody with \u201cwhoas\u201d while PB bashed away on his tom?toms and bass drums.\u00a0 CB wore black sneakers, black denim slacks, black short?sleeve button?down cotton shirt with a red \u201cSadus\u201d logo on the left chest, and wide black sweatbands on his forearms.\u00a0 The tempo then escalated to an up tempo pace when AS and EP began playing chugging, palm?muted guitar riffs with sporadic trills that they continued to play when CB sang the first verse in a thrash tone.\u00a0 AS and EP once again played two bars of the catchy guitar riffs from the introduction during the 10?second musical interlude between the first and second verses. \u00a0<\/p>\n<p>\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/more_2.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CB then sang the second verse followed by the first chorus during which AS and EP played frenetic guitar chord progressions replete with trills.\u00a0 AS and EP once again played two bars of the catchy guitar riffs from the introduction during the 10?second musical interlude between the second verse and guitar solo.\u00a0 AS\u2019s 45?second guitar solo comprised of searing and melodic guitar notes during which EP played chugging riffs and PB pummeled his tom?toms and bass drums.\u00a0 CB then repeated the pattern from the first verse and chorus when he sang the third verse and second chorus.\u00a0 The song concluded with six bars of AS and EP\u2019s guitar riffs from the introduction while CB replicated the catchy melody with \u201cwhoas\u201d and then sang, \u201cMore than\u00a0\u2026 more than\u00a0\u2026 more than\u00a0\u2026 more than meets the eye.\u201d\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 2. Dog Faced Gods (Low, 1994).\u00a0 The first 10\u00a0seconds of Dog Faced Gods featured AS and EP\u2019s frenetic guitar riffs augmented by PB\u2019s drum fills.\u00a0 AS and EP then played up tempo, chugging guitar riffs for 15\u00a0seconds that PB played in tandem on his snare drums followed by dual melodic guitar notes for five seconds.\u00a0 CB then sang the first verse in a death metal tone while AS and EP resumed playing chugging guitar riffs.\u00a0 AS and EP played melodic guitar notes during the seven?second musical interlude between the first and second verses. \u00a0CB then sang the second verse followed by the first chorus during which he switched from a death metal tone to a fairly high?pitched octave and twice sang, \u201cConfirm who I am.\u00a0 Contort all I can.\u00a0 Conceive sorcery.\u00a0 Corrodes disbelief.\u201d\u00a0 AS and EP\u2019s guitar riffs and PB\u2019s drumming during the first chorus replicated the melody that was a bit too stilted and inconsistent with the first verse\u2019s driving tempo.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 AS and EP resumed playing the up tempo chugging guitar riffs from the introduction during the 10?second musical interlude between the first chorus and guitar solo.\u00a0 The tempo then slightly decreased for 45\u00a0seconds during which AS and EP played heavy guitar riffs with flanger effect for 20\u00a0seconds followed by AS\u2019s 25?second scalding guitar solo augmented by EP\u2019s heavy guitar riffs.\u00a0 AS wore off?black denim slacks, black muscle shirt, black cotton jacket, and black studded leather bracelet on his right wrist.\u00a0 AS played a vintage (maple) burst Heritage signature model guitar, except during 3 Days in Darkness when he played a tobacco sunburst Heritage or Gibson Les Paul guitar.\u00a0 The tempo then resumed an up tempo pace and the band repeated the first 10\u00a0seconds of the song.\u00a0 CB then repeated the pattern from the second verse and first chorus when he sang the third verse and second chorus.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 3. The New Order (The New Order, 1988) began with AS\u2019s recurring series of mid tempo high notes while EP played heavy guitar riffs that PB played in tandem on his cymbals and bass drums.\u00a0 The tempo then escalated to an up tempo pace as AS and EP played chugging, frenetic guitar riffs for 10\u00a0seconds.\u00a0 AS and EP then switched to playing groove?oriented guitar riffs at a slightly slower tempo but still in the thrash vein that they continued to play when CB began to sang the first verse in a thrash tone.\u00a0 Greg Christian\u2019s (\u201cGC,\u201d bassist) heavy bass line that he played on a black Carvin five?string bass provided a good foundation for the song.\u00a0 GC wore black leather slacks, all-print black and grey Affliction t?shirt, and black leather bracelets on his wrists.\u00a0 CB then sang the first chorus at which point the tempo slightly escalated and AS and EP resumed playing the chugging, frenetic guitar riffs from the introduction.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CB then repeated the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 The tempo then momentarily slowed down and the band jammed for 70\u00a0seconds during which AS played a 50?second guitar solo, EP heavy guitar riffs, GC a solid, groovy bass line, and PB thundering drums.\u00a0 The tempo then resumed an up tempo pace as AS and EP played the chugging, frenetic guitar riffs from the introduction for 10\u00a0seconds.\u00a0 AS and EP then played the groove?oriented guitar riffs at a slightly slower tempo that they continued to play when CB sang the third verse.\u00a0 CB repeated the pattern from the first two verses and choruses when he sang the third verse and chorus.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 4. Practice What You Preach (Practice What You Preach, 1989).\u00a0 Before Practice What You Preach BI said, \u201cAll right!\u00a0 Show us that you Practice What You Preach!\u201d\u00a0 The first five\u00a0seconds of Practice What You Preach featured one bar of AS and EP\u2019s simple, mid tempo guitar chord progression and PB\u2019s simple drum beat.\u00a0 The tempo then slightly escalated and AS and EP played chugging guitar riffs for 10\u00a0seconds.\u00a0 AS and EP then repeated the pattern of playing the simple guitar chord progression followed by chugging guitar riffs, albeit for twice as long and at a slightly escalated tempo.\u00a0 CB then sang the first two verses that featured a catchy melody in a slightly melodic yet thrash tone while AS and EP continued playing chugging guitar riffs.\u00a0 CB then sang the first chorus while AS and EP played descending guitar chord progressions.\u00a0 The tempo slightly decreased for 10\u00a0seconds when CB sang the final line of the first chorus (i.e., \u201cpractice what you preach\u201d).\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 After the song resumed its initial pace AS played a 70?second guitar solo mainly comprised of melodic guitar notes while CB played air guitar using his inverted microphone (\u201cmike\u201d) stand and EP and GC stood in front of PB on his drum riser.\u00a0 AS and EP then resumed playing the chugging guitar riffs from the introduction for 20\u00a0seconds after which CB repeated the pattern from the first two verses and first chorus when he sang the third verse and second chorus.\u00a0 The third verse and second chorus were separated by a pre?chorus that contained AS and EP\u2019s catchy guitar riffs while CB sang, \u201cPay the burnt bridge toll, then you lose control.\u00a0 Pay the burnt bridge toll, so practice what you preach.\u201d<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 5. The Persecuted Won\u2019t Forget (The Formation of Damnation, 2008).\u00a0 Before The Persecuted Won\u2019t Forget CB said, \u201cYeah!\u00a0 It\u2019s good to be home.\u00a0 I see a lot of familiar faces.\u00a0 Let\u2019s make some noise.\u00a0 This is off the new record, The Persecuted Won\u2019t Forget.\u201d\u00a0 The first 10\u00a0seconds of The Persecuted Won\u2019t Forget featured a flurry of EP guitar riffs he played at a dizzying speed after which AS and GC played up tempo, chugging riffs and PB thundering drums with syncopated flashing white stage lights.\u00a0 The tempo momentarily reduced to a mid tempo pace while CB sang the first verse in a thrash tone and AS and EP played chugging guitar riffs.\u00a0 During the 10?second musical interlude between the first and second verses the tempo resumed a frenetic pace while AS, EP, and GC played the riffs from the introduction.\u00a0 The tempo momentarily reduced to a mid tempo pace as CB sang the second verse and first chorus with the latter featuring AS and EP playing EP\u2019s guitar riffs from the introduction, albeit more spaced?out.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CB then sang the bridge, which he initially sang in a thrash tone, but that morphed into a death metal tone when he sang the final words of the second line (i.e.,\u00a0\u201csuffocating meeeeeeee!\u201d).\u00a0 The bridge included a 40?second musical interlude during which AS and EP played a combination of the guitar riffs from the first chorus and descending arpeggio notes while standing near the front edge of stage left facing each other.\u00a0 CB, who was standing in front of PB on his drum riser, then sang the remainder of the bridge in a death metal tone and still at a mid tempo pace.\u00a0 AS then played a 40?second guitar solo after which the tempo momentarily resumed its initial frenetic pace and CB repeated the pattern from the second verse and first chorus when he sang the third verse and second chorus while still atop PB\u2019s drum riser.\u00a0 The song ended as it began, with EP\u2019s dizzying guitar riffs and PB\u2019s thundering drumming with syncopated flashing white stage lights.\u00a0\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 6. Into the Pit (The New Order, 1988).\u00a0 Before Into the Pit CB said, \u201cF**k yeah!\u00a0 I see a great job in the [mosh] pit.\u00a0 Let\u2019s see if we can get it bigger.\u00a0 This song is called Into the Pit.\u201d\u00a0 The first 20\u00a0seconds of Into the Pit featured four bars of AS and EP\u2019s mid tempo guitar riffs.\u00a0 PB\u2019s frenetic bashing of his snare drums then escalated the tempo to an up tempo thrash pace while AS and EP played two additional bars of the same guitar riffs, albeit at a faster pace.\u00a0 CB then sang the first verse in a thrash tone while AS and EP played frenetic guitar riffs.\u00a0 GC\u2019s bass line and PB\u2019s snare drums were particularly prominent during the first verse.\u00a0 During the 10?second musical interlude between the first and second verses AS and EP continued to play the frenetic guitar riffs from the first verse that GC and PB played in tandem on the bass and drums.\u00a0 PB\u2019s drumming was reminiscent of Dave Lombardo\u2019s (Slayer\u2019s drummer) drumming on Slayer\u2019s Reign in Blood record (1986).\u00a0 PB wore knee?length black cotton shorts and black muscle shirt, and he played a massive silver Yamaha drum kit featuring double bass drums and Paiste cymbals.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 CB then sang the first chorus that was unique because the tempo slightly slowed down for brief periods when AS, EP, and GC chanted, \u201cInto the Pit.\u201d\u00a0 The other chorus lines featured a frenetic pace on the cusp of disarray.\u00a0 [The chorus sounded like a cassette improperly placed in a tape deck causing it to erratically slow down and speed up.\u00a0 But the band\u2019s tight musicianship kept the song together sounding like an angry hornet\u2019s nest that may falsely appear discombobulated but actually guided by a specific goal, to attack those within striking distance.]\u00a0 AS then played a 25?second guitar solo while EP, GC, and PB continued to play at a frenetic pace.\u00a0 The tempo slowed down to a mid tempo pace for 25\u00a0seconds during which AS and EP played six bars of the guitar riffs from the introduction prompting the audience to bob their heads in unison to the mesmerizing melody.\u00a0 The tempo then resumed an up tempo pace and CB repeated the pattern from the second verse and first chorus when he sang the third verse and second chorus amidst red stage lights.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 7. D.N.R. (Do Not Resuscitate) (The Gathering, 1999) is an all out thrasher that began with a 25?second pre?recorded tape track of keyboard chords amidst blue stage lights.\u00a0 CB, who stood in front of PB on his drum riser, then screamed, \u201cYeahhhhhhhh,\u201d which served as the cue for AS, EP, and GC to play four bars of a dizzying set of riffs followed by four bars of fast?paced ominous chord progressions during which PB played his tom?toms and double bass drums without mercy.\u00a0 [The band created a wall of sound that felt like I had stuck my head in front of a jet fuselage.]\u00a0 CB, who was still atop PB\u2019s drum riser, then sang the first verse in a combined thrash and death metal tone while AS, EP, and GC resumed playing the riffs from the introduction.\u00a0 CB then sang the first chorus while AS, EP, and GC played the fast?paced ominous chord progressions from the introduction. \u00a0CB, who had walked down from PB\u2019s drum riser and joined AS, EP, and GC stage front, then repeated the pattern from the first verse and chorus when he sang the second verse and chorus, the difference being that the second verse was half the length of the first.\u00a0 After a 15?second musical interlude highlighted by PB\u2019s double bass drumming CB sang the bridge and then repeated the pattern from the second verse and chorus when he sang the third verse and chorus.\u00a0 D.N.R. (Do Not Resuscitate) was arguably the most brutal song the band performed.\u00a0 [This is a potent song heavy enough to diminish my speaking skills to mere grunts while the high volume exposure seasoned with simultaneous headbanging made my miniscule brain feel like a clanging marble encased in a whiffle ball.]<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8. 3 Days in Darkness (The Gathering, 1999) began with two bars of AS and EP\u2019s groove?laden, mid tempo guitar riffs with trills that they continued to play when CB sang the first verse in a thrash tone.\u00a0 CB then sang the first chorus while PB played a battery of drum fills on his tom?toms.\u00a0 AS and EP played one bar of the guitar riffs from the introduction during the seven?second musical interlude between the first chorus and second verse.\u00a0 The band then stopped playing for one second and then resumed with CB repeating the pattern from the first verse and chorus when he sang the second verse and chorus.\u00a0 PB then motivated the audience to clap along to his drumming by clapping over his head.\u00a0 CB said, \u201cAll right San\u00a0Francisco make some noise for this motherfu**er!\u201d\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The band jammed for five seconds after which CB sang the bridge in a death metal tone that included an impressive display of drumming by PB and CB\u2019s catchy chant of \u201cwhoa oh oh.\u201d CB then repeated the pattern from the first two verses and choruses when he sang the third verse and chorus while on his knees on the front edge of center stage.\u00a0 The tempo then dramatically slowed down for 35\u00a0seconds while AS and EP played four bars of guitar riffs reminiscent of early era Slayer.\u00a0 CB\u2019s growl of \u201cyeahhhhhhhh\u201d marked the resumption of a mid tempo pace and EP resumed playing the guitar riffs from the introduction while AS played a 30?second guitar solo.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 9. The Formation of Damnation (The Formation of Damnation, 2008).\u00a0 Before The Formation of Damnation CB said, \u201cWhat\u2019s up San\u00a0Francisco?!\u00a0 Are you having a good time?\u00a0 Are you feeling good?\u00a0 I have my money on the Bay Area.\u00a0 So don\u2019t let us down.\u00a0 This song is called The Formation of Damnation.\u201d\u00a0 The Formation of Damnation began with two bars of AS and EP\u2019s combined up tempo, frenetic guitar riffs and chord progressions they played while standing atop PB\u2019s drum riser.\u00a0 The band then stopped playing for one second after which AS and EP resumed playing up tempo guitar riffs that they continued to play when CB sang the first verse in a death metal tone while kneeling on his left knee at the front edge of stage right.\u00a0 CB then sang the first chorus while AS and EP played guitar riffs peppered with trills.\u00a0 CB then repeated the pattern from the first verse and chorus when he sang the second verse and chorus (twice) followed by EP\u2019s 10?second guitar solo on his black Dean flying V guitar with pearl trim and demon logo on the body from The Legacy record cover (1987).\u00a0 EP wore black Converse sneakers, black denim slacks partially covered with black nylon, black short?sleeve button?down cotton shirt, and wide black sweatband on his right forearm.\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The most brutal part of the song followed when the tempo slowed to a mid tempo pace and an exchange of PB\u2019s heavy, tribal tom?tom beats and AS, EP and GC\u2019s chugging riffs.\u00a0 CB said, \u201cAll right now.\u00a0 Let\u2019s open it [mosh pit] up right down the middle.\u00a0 Spread it right down the middle.\u00a0 Open it up.\u00a0 (the pit audience separated into two clusters)\u00a0 Don\u2019t let me down San\u00a0Francisco.\u00a0 The rules are simple.\u00a0 I want you [stage right] to kill these motherfu**ers [stage left], and I want you [stage left] to kill those sons of bitches over there [stage right].\u00a0 The fans in the two pit clusters rushed toward each other and violently collided while the band engaged in a 25?second jam.\u00a0 CB then sang the first bridge still at a mid tempo pace and in a death metal tone emphasizing the first word of each line, \u201cI will fight relentlessly.\u00a0 I stand tall defiantly.\u00a0 I see what you cannot see.\u00a0 I invoke the beast in me.\u201d\u00a0 CB\u2019s singing was augmented by AS, EP, and GC\u2019s chugging riffs and PB\u2019s heavy?handed tom?toms.\u00a0 A 10?second musical interlude separate the two bridge sections during which AS and EP played ominous guitar riffs.\u00a0 CB then sang the second bridge part still emphasizing the first word of each line and kneeling on his left knee at the front edge of stage right, \u201cI fear not the agony.\u00a0 I breathe hope inside of thee.\u00a0 I will kill the enemy.\u00a0 I fulfill my destiny.\u201d\u00a0 AS then played a 30?second guitar solo after which the tempo resumed an up tempo pace and CB repeated the pattern from the second verse and chorus when he sang the third verse and chorus while kneeling on his left knee at the front edge of stage left.\u00a0 After the song concluded CB said, \u201cI am Chuck Billy of Testament.\u00a0 It\u2019s good to be home.\u201d<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/formation_3.jpg\" alt=\"\" width=\"350\" height=\"467\" \/>\u00a0<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Venue: Cow Palace (\u201cCP\u201d) is an arena located in the San\u00a0Francisco suburb of Daly City (10\u00a0miles south of San\u00a0Francisco).\u00a0 CP was opened in 1941. \u00a0It\u2019s name is attributed to the structure\u2019s use to house animal livestock expositions.\u00a0 Depending on seating configuration, CP\u2019s seating capacity varies from 10,300 to 16,500.\u00a0 Artists such as The Rolling Stones, Elvis Presley, The Grateful Dead, The Who, The Doors, Rod Stewart, Santana, ZZ Top, Yes, The Beatles, Neil Diamond, Liberace, Elton John, U2, and Prince have performed at CP.\u00a0 Other notable appearances at CP include those by John\u00a0F. Kennedy, Evel Knievel, Ringling Bros. Barnum &amp; Bailey Circus, The Royal Canadian Mounted Police, and the Billy Graham Crusade.<\/p>\n<p>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Opening Band (first to last): Testament itself followed by Megadeth and Slayer (co?headliners) on American Carnage tour.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/www.moussavianlaw.com\/images\/formation_4.jpg\" alt=\"\" width=\"350\" height=\"263\" \/><\/p>\n<p>Arash Moussavian, Entertainment Law Attorney<br \/>\n<a href=\"mailto:arashmoussavian@cal.berkeley.edu\">arashmoussavian@cal.berkeley.edu<\/a><br \/>\n<a href=\"http:\/\/www.linkedin.com\/in\/arashmoussavian\">www.linkedin.com\/in\/arashmoussavian<\/a><br \/>\nAll photos taken by Arash Moussavian.\u00a0 This article and all photos are protected by copyright.\u00a0 Please contact me prior to use, or I will make shish kabab of your loins.\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n<!-- Facebook Like Button v1.9.6 BEGIN [https:\/\/blog.bottomlessinc.com] -->\n<iframe src=\"https:\/\/www.facebook.com\/plugins\/like.php?href=https%3A%2F%2Fwww.moussavianlaw.com%2Fconcerts-interviews%2Fconcert-reviews%2F67%2Ftestament%2F&amp;layout=standard&amp;show_faces=false&amp;width=450&amp;action=like&amp;colorscheme=light\" scrolling=\"no\" frameborder=\"0\" allowTransparency=\"true\" style=\"border:none; overflow:hidden; width:450px; height: 30px; align: left; margin: 2px 0px 2px 0px\"><\/iframe>\n<!-- Facebook Like Button END -->\n","protected":false},"excerpt":{"rendered":"<p>Concert Review: Testament, Cow Palace, Daly City, CA, 08-31-10 (Tuesday) \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On Tuesday, August\u00a031, 2010 Testament played Daly City\u2019s 10,300?seat capacity Cow Palace with 8,000 tickets sold.\u00a0 Testament, who opened for co?headliners Megadeth and Slayer, &hellip; <a href=\"https:\/\/www.moussavianlaw.com\/concerts-interviews\/concert-reviews\/67\/testament\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[28],"class_list":["post-67","post","type-post","status-publish","format-standard","hentry","category-concert-reviews","tag-testament"],"_links":{"self":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/67"}],"collection":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/comments?post=67"}],"version-history":[{"count":1,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/67\/revisions"}],"predecessor-version":[{"id":68,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/posts\/67\/revisions\/68"}],"wp:attachment":[{"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/media?parent=67"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/categories?post=67"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.moussavianlaw.com\/concerts-interviews\/wp-json\/wp\/v2\/tags?post=67"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}