All photographs by Ethan Cook at EMCook Photography

 

Raw sexuality presented in a sex-positive package being supported by the greatest metal-techno-industrial soundtrack on Earth?

This could only mean one thing: the Lords Of Acid are in town on their “2025 Praise The Lords Tour.”

From the first moment the band hit the stage at the Oriental Theater, until the last rubber blowup doll had been felt up by everyone in the audience (more on that in a minute), every single expectation had been exceeded by the capacity crowd in attendance.

And given the levels of notoriety the average LOA show has gained over the decades, these expectations were incredibly lofty. It’s because of this level of notoriety/expectation that new vocalist Carla Harvey—a huge fan in her own right since the age of 16—was drawn to joining the band.

During my interview with her, she made it clear that her fandom would not only be front and center, but it would also help in compiling the tour’s setlist.

“I had an influence [when it came to] the setlist.” She continued, “When I joined, I said there were definitely songs we’re playing; especially off ‘Voodoo U.'” After her input, she said the final touches were put together by “me and [co-founder DJ] Praga.”

Song after song showed that it was truly a long-time fan who helped craft the selection, as everything played was from 2000s “Farstucker” and earlier.

As the lights dimmed and each member came out—Dietrich Thrall (bass), Galen Waling (drums), Creighton Emrick (guitar), and DJ Praga—the volume of the audience came to a deafening roar. Once the first notes of “Voodoo U” echoed off the walls and Harvey hit the stage looking like she’d just been shot out of a cannon, all Hell broke loose.

Like everyone else going to see them on this tour, my immediate attention was drawn to hearing Harvey’s take on the material. I even mentioned this to her earlier when I asked about the differences between singing in Butcher Babies versus the Lords.

“The [Butcher Babies] was a lot of low, guttural stuff. With this, I really have to sing some high notes. In fact, the song we start with, ‘Voodoo U,’ has the highest note in the entire set.” She made it clear that singing relies heavily on muscle memory, and a lot of that has returned even though she’s been away from touring for over a decade now.

The power behind her voice more than confirms this sentiment.

When I said she was shot out of a cannon, that wasn’t hyperbole. Never before have I seen a frontwoman do as many extended full-body headbangs while still being able to sing with power and clarity. From start to finish, she was a ball of dynamite, all with a voice to match.

Yes, she hit the high parts on “Voodoo U” with ease. In fact, there wasn’t a song during the night that she didn’t excel at nailing. The scream part during the fan-favorite “Scrood Bi U” was delivered with a level of intensity I had not previously experienced.

And this was the same thought I had about every track: her execution is more intense. Having seen the Lords previously, I kept using that as a barometer, and in every instance, Harvey’s vocal style is far more intense than previous incarnations of the band.

Thankfully, this touring lineup was more than capable when it came to matching Harvey’s vocals. Each member was a frenetic ball of energy and added their own distinct flavor to the performance. To be honest, I wasn’t expecting to see a lurking demon crow-monster at the event, but Thrall pulled it off with such command that it completely made sense in the context of everything.

Other set highlights included “Lover,” “The Crablouse,” and a seamless combo of the songs “Rough Sex” into “Take Control.” Another element I loved was with the use of “stage aids” during the concert.

During “(A Treatise On The Practical Methods Whereby One Can) Worship The Lords,” members of the opening group Little Miss Nasty danced around the stage wearing next-to-nothing leather and fishnet outfits, working the audience into a frenzy.

For “Pussy,” Harvey asked “every woman in the crowd” to come up on stage and join her. And, as is tradition at a Lords Of Acid Show, the rubber blowup dolls were in full flight throughout the audience during “Rubber Doll.”

As “Get Up, Get High” brought the show to a close, everyone was spent (pun intended). The amount of love given between this band of sexualized, techno-misfits and their fans was palpable, and illustrated exactly what Harvey had said earlier in the day when it came to Denver being a tour highlight.

“The crowds here really appreciate the music. I’m from Detroit, and it’s the same way. People here move around, it’s not like LA where they just stand there.”

At the end of our conversation, Harvey mentioned that there was another, more permanent reason Denver will always have a place in her heart. “I remember my first tour was with Otep in 2012, and we played Denver. And I remember getting a tattoo after the show … and that it’s spelled wrong,” she recounted, laughing.

Though not a tattoo, I can guarantee that everyone who Praised The Lords at the Oriental Theater will definitely have a permanent reminder of this band.