NASHVILLE NECROSIS: Lamb of God’s Sonic Exorcism at the Nashville Municipal Auditorium with support from Sanguisugabogg, Fit for an Autopsy and Kublai Khan APRIL 14th 2026

Photos and review by Kim Cilluffo

19 April, 2026

If you entered the Nashville Municipal Auditorium on Tuesday night expecting a mere performance, you were fatally unprepared for the ritualistic demolition that unfolded during the Into Oblivion Tour. This wasn’t just a concert; it was a four-headed beast of an evening, meticulously engineered for maximum wreckage.

The carnage began with the prehistoric slime of Sanguisugabogg, followed by the technical precision of Fit For An Autopsy, and the blue-collar fury of Kublai Khan TX, all paving a road of ruin for the headlining titans. Lamb of God descended upon Music City not to play a set, but to oversee a scorched-earth policy against the concept of silence itself. From the instant the house lights were extinguished, the oxygen in the room vanished, replaced by a suffocating pressure of raw electricity and impending violence. This wasn’t just a gathering of fans; it was a battalion of the dispossessed, led by the harbinger of havoc, Randy Blythe. The atmosphere was a volatile slurry of sweat, gasoline-grade adrenaline, and a predatory hunger for the riff. Nashville’s polite veneers were stripped and replaced by a sea of churning bodies and the rhythmic thud of boots against unforgiving concrete.

The night’s opening desecration was spearheaded by the kings of tectonic filth: Sanguisugabogg. These architects of rot don’t write songs; they forge blunt-force trauma into a sonic language. Their sound is a down-tuned, prehistoric swamp of noise that dragged the early arrivals into a primal state of frenzy. Following a strategic lineup shift just before this tour, founding member Cody Davidson transitioned from the kit to unleash six-string devastation alongside Drew Arnold, while the relentless Eric Morotti provided the heartbeat of the machine. Vocalist Devin Swank, whose guttural roars sound like a landslide in a graveyard, led a set that felt like a “blood-sucking toilet”—the literal translation of their filth-ridden moniker. They established a baseline of brutality that proved the “caveman” death metal movement is the new iron standard for unrefined sonic warfare.

Emerging from the fog next were the technical executioners of Fit For An Autopsy, who delivered a masterclass in calculated destruction. While the ‘Bogg brought the grime, FFAA brought the incinerating heat of a thousand suns. Their set was a surgical strike, weaving haunting, atmospheric melodies into the fabric of some of the most punishing, gravity-defying breakdowns in the modern canon. Frontman Joe Badolato displayed a vocal range that spanned from demonic lows to soaring, anthemic cleans, anchored by the triple-guitar assault of Will Putney, Pat Sheridan, and Tim Howley. A piece of tour lore for the ink-addicted: guitarist Pat Sheridan co-owns Rose Gold Tattoo outside Atlanta, a fact that bleeds into the band’s aesthetic of permanent art. Complemented by Peter “Blue” Spinazola on bass and the mechanical precision of Josean Orta on drums, these deathcore veterans proved why they are an essential pillar of the genre’s elite.

The final fuse before the main event was ignited by Kublai Khan TX, who unleashed a set of blue-collar metallic hardcore designed to break bones. There is no nuance here—only the lean, jagged edge of the groove and the drill-sergeant bark of Matt Honeycutt. They specialized in a mid-tempo stomp that transformed the auditorium floor into a literal war zone. Honeycutt, a man who lives the “set me free” mantra tattooed across his sternum, prowled the stage like a caged predator. Supported by the rhythmic pulverization of Isaac Lamb, Eric English, and Nicholas Adams, the Texas quartet dedicated anthems like “Swan Song” to the women in the pit, fueling a level of tension so thick it felt like it could be carved with a blade.

As the house lights flickered one final time, a heavy, funereal fog swallowed the stage, shifting the energy from anticipation to a cold, primitive dread. The room plunged into a lightless void, and the first screech of feedback acted as a clarion call for the impending slaughter. When Lamb of God finally manifested, the transition from support to total headlining domination was instantaneous. The energy didn’t just peak; it detonated as they reclaimed their throne as the undisputed kings of the groove. This was a total territorial takeover, a sonic baptism in fire and feedback.

The headlining offensive was a blitzkrieg of pure, rhythmic violence. Mark Morton and Willie Adler’s guitars didn’t sound like wood and wire—they sounded like industrial grinders devouring sheet metal. They tore into the night with the tectonic opening of “Ruin,” unleashing a low-end so massive it felt like it was trying to liquefy internal organs. When they premiered “Sepsis” from the new record, the floor didn’t just move; it buckled. The breakdown at the three-minute mark was a physical battery, a rhythmic bludgeoning that sent the chaos in the pit into an apocalyptic spiral. Drummer Art Cruz delivered a performance of razor-sharp, sober precision, his double-kick work serving as the heartbeat of the wreckage.

The night reached its fever pitch during the inevitable, soul-crushing climax of “Redneck.” The track remains the ultimate middle finger to the world, and Blythe demanded a circle pit that consumed nearly the entire floor, turning the venue into a human centrifuge of bodies and grit. This tour is the high-decibel introduction to their tenth studio testament, Into Oblivion, released March 13, 2026. The album is a scorched-earth record that translates to the stage like high-octane fuel poured into a forest fire. You can check out my Review of the new album HERE. With five GRAMMY nominations and a legacy cemented in blood and iron, the band—Randy Blythe, Mark Morton, Willie Adler, John Campbell, and Art Cruz—remains the titan of the “Big Four of 2000s metal”.

The trail of destruction continues as the Into Oblivion Tour carves its path across the East Coast. If you have the spine for it, you can catch the carnage at :Coca-Cola Roxy in Atlanta on April 15, or Red Hat Amphitheater in Raleigh on April 16. The destruction moves through the Santander Arena in Reading on April 18, The Dome in Virginia Beach on April 19, and the Buffalo River Works on April 21. The final onslaught includes a massive show at the Brooklyn Paramount on April 23 before a final stand at the MGM Music Hall at Fenway in Boston on April 26. Nashville is still vibrating from the impact, and the rest of the coast is next. Stay Loud. Stay Brutal. Stay Heavy.

Set List

Sanguisugabogg:

1. Rotted Entanglement
2. Face Ripped Off
3. Felony Abuse of a Corpse
4. Abhorrent Contraception
5. Dead as Shit

Fit For An Autopsy:

1. Lower Purpose
2. It Comes for You
3. The Wretch
4. Hostage
5. Warfare
6. Pandora
7. Far From Heaven

Kublai Khan TX:

1. Darwinism
2. Supreme Ruler
3. Low Tech
4. Antpile
5. Boomslang
6. The Hammer
7. The Mountain of Corsicana
8. Antpile 2
9. Self-Destruct
10. Mud
11. Swan Song
12. Theory of Mind

Lamb Of God:

1. Ruin
2. Laid to Rest
3. Blood Junkie
4. Into Oblivion
5. Resurrection Man
6. Grace
7. Desolation
8. 512
9. Walk With Me in Hell
10. Parasocial Christ
(Randy gave a shout out to a crowd surfer that was blind.)
11. Omerta
12. 11th Hour
13. Memento Mori
14. Sepsis
15. Redneck