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‘Noxious fumes’ hit Bruce Dickinson’s Brazil gig

Promoters of Bruce Dickinson’s ongoing Brazilian tour have released a statement after the singer accused fans of vaping and using pepper spray at a recent gig.

The Iron Maiden frontman, who is touring the country in support of his current solo album The Mandrake Project, admonished crowd members during his show at the Opera Hall in Brasília.

“I can’t fucking breathe,” the 65-year-old said in a now-deleted video clip shared on social media. You with the fucking vape over there, yeah, it’s not you, but, you know, please, fucking do that outside, all right? Somebody down here has been using pepper spray… which is why people can’t fucking breathe down there, right?”

The 27 April incident was reportedly caused by an exploded vape, which caused “noxious fumes” to be released.

“An incident occurred towards the end of the show where noxious fumes were released, causing severe issues for the band members on stage and the crew and audience in the auditorium,” a spokesperson for promoter MCA Concerts tells Blabbermouth. “Subsequently many members of the crowd have taken to social media to corroborate the incident that caused them breathing difficulties.

“Tour promoters MCA are still working with authorities to understand the full impact of the incident”

“As video footage shows, Bruce did his best, with limited knowledge of the situation, to explain the effects to the crowd but subsequently found out that several band members, including himself, were affected by the fall out and a member of the crew had to be treated with oxygen by a doctor. The footage also shows Bruce departing the stage to perform part of the encore after being seen visibly struggling to breathe and pitch his vocal.

“Tour promoters MCA are still working with authorities to understand the full impact of the incident and understand how the noxious fumes affected not just the audience and crew but also the band onstage. Fortunately, everyone has been checked out by medical staff and given the all clear.”

Dickinson’s subsequent performance at Arena Hall, Belo Horizonte went ahead as planned. The vocalist will conclude his first Brazilian solo outing in more than two decades with gigs at Quinta Linda Centro de Eventos, Ribeirao Preto (2 May) and Vibra São Paulo (4 May).

He will then embark on a two-month European tour, starting at Glasgow Barrowlands on 18 May and finishing up at KüçükÇiftlik Park in Istanbul, Turkey, on 19 July.


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Black Gold: How metal became a cultural phenomenon

Last year, Iron Maiden singer Bruce Dickinson was bestowed with two very unique honours.

In April, he was made an honorary citizen of Sarajevo in recognition of a concert his solo band Skunkworks played there in 1994, during a prolonged siege of the Bosnian capital. Presenting the award, mayor Abdulah Skaka said: “The arrival of Mr Dickinson in Sarajevo, in 1994, was one of those moments that made us realise that we will survive.”

The other accolade was bestowed upon Dickinson by Dr Cristina Rheims, a Brazilian biologist and metal fan who gave a newly discovered species of spider the name Extraordinarius brucedickonsoni.

If these honours anecdotally demonstrate metal’s soft power, its global reach and the deep devotion of its fans, then the fact that Amon Amarth, a melodic death metal band whose principal lyrical inspiration is Viking folklore, will shake the fields of Wacken Open Air festival with 75,000 roaring fans this summer should be considered testament to metal’s undaunted commercial clout.

“It feels like there’s a cultural movement happening where, if you’re in the metal game and you’re good at what you do, you have a specific brand and you put on a great live show, things are moving,” enthuses Justin Arcangel, president of 5B Artist Management and Touring, who represent Amon Amarth, Babymetal, Slipknot and more.

“All our data – streaming numbers, ticket numbers, merch sales, whatever – are all bigger in 2020 than in 2019. The funny thing is when you speak to some people that don’t work in this genre, they have no idea. Metal is, to this day, outsider music, but let me tell you, it’s a major cultural thing, especially in Europe.”

“What we’ve witnessed across our events is metal is really a community – this outlaw feeling that unites us”

Summer knights
“Some of our hardcore audience think maybe metal is too mainstream now, because in Germany there’s a lot in the charts,” chuckles Thomas Jensen, CEO of International Concert Services and Wacken co-founder, pondering the sea change since he first staged the festival in the German village’s gravel pit in 1990.

Now in its third decade, with all 75,000 tickets for 2020’s edition snapped up in an astonishing 21 hours, Wacken is a major force, with good company in France’s Hellfest (55,000-capacity), Belgium’s Graspop (50,000-cap.), plus the UK’s Bloodstock Open Air (20,000-cap.) and Download, which attracts 110,000 fans over the weekend – a “heavy music summer,” as Jensen calls it. Which is not even to dig into the boom in boutique festivals offering bespoke experiences, such as Italy’s Rock the Castle or the Netherlands’ Roadburn, whose reputation as a tastemaker event means 75% of its 4,000 attendees travel from abroad.

“What we’ve witnessed across Wacken events is that metal is really a community, this outlaw feeling that unites us,” says Jensen. “Our music is a live experience and the whole festival circuit allows bands to survive. For international acts, it’s easier to put a festival run together than it was in the 90s, and you see bands working their way up the bill each year.”

“I’ve only ever seen the metal market over the years grow,” agrees Vicky Hungerford, co-director at Bloodstock, which celebrates its 20th anniversary this year with headline spots from Polish black metallers Behemoth and the UK’s Judas Priest. As well as fostering new talent with their popular Metal to the Masses series of regional shows, where unsigned bands compete to play the festival, Bloodstock strongly believes in paving the way for tomorrow’s monsters of rock.


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