BLACKIE LAWLESS Explains Why W.A.S.P. Continues To Use Backing Tracks During Live Shows

In a new interview with Guitar World magazine, W.A.S.P. frontman Blackie Lawless once again spoke about the use of backing tracks during the group's live performances. He said: "It's because we don't have the personnel. We were doing stuff from 'The Crimson Idol', and there's a 100-piece orchestra going on there; taking that on tour would be impossible financially.

"The first time we did 'Crimson Idol' live, we did it without the orchestration," he continued. "Did it sound good? Yeah. But when we did it with the orchestration, I stood in the middle of the room in rehearsal, and I swear to you, it was like a religious experience. I thought to myself, 'If I'm a fan, this is what I want to hear.' So that's the reason I do it. It enhances the experience. I want people to hear the records the way they were intended to be heard, not like a facsimile version."

When the interviewer noted that "people assumed it was [Blackie's] voice and the guitars being simulated with tracks," Lawless said: "All somebody has to do is record it and listen to all the mistakes. Then they would understand. You can try as hard as you can, man, but you're gonna screw up. Rock 'n' roll was never meant to be perfect. And even if you try, it ain't gonna be."

This past June, Blackie was asked by Ultimate Classic Rock about some fans' belief that none of W.A.S.P. concerts are actually live. He responded: "Well, if they're crazy enough to believe it, that's their business. But if they genuinely feel like that, then don't go.

"Listen, God blessed me with this foghorn in my throat. Like anybody who's got one, we like showing 'em off — and I'm no different.

"I'm sorry if this sounds arrogant, but there will be times where I'm up there and I hear what's coming out of me, when I'm sustaining a note or something. I'm thinking to myself, 'Wow, that's pretty cool,'" he continued. "I'm not sure most people would have the opportunity to experience something like that in their lives. So from my perspective, I'm pretty appreciative of it. As I said, when you've got this thing that really not a lot of people can do, you like to show it. [Laughs]

"Let me add one more thing. I grew up listening to 'Live At Leeds' [by THE WHO]. Even though I didn't realize it at the time, there are overdubs on it. But it's pretty raw. It sounds like it was done by a three-piece band. For the most part, it's pretty realistic. But they don't do it like that anymore. What they were doing was giving you a reflection of 1970. They were giving you a snapshot of that timeframe. And that's what bands did. But when technology changed and we had the ability to make it sound bigger and better, who's not going to do that? I mean, you can do the 'Live At Leeds' version. We used to. Was it good? It was okay for what it was. But you know, if I'm going to see a show — and this is my personal opinion — I want that thing to sound like the record. I don't care what QUEEN says, or any of these other bands, 'Oh, we're doing that live.' No, you don't have 20 guys behind that stage singing. [Laughs] You just don't. They're all getting help out there. The bottom line is to give the audience a good show. Who cares how it gets there?"

Lawless added: "There's the argument that some of these girl singers out here now, they don't sing a note and they probably don't. Hey, listen, if I'm going to go see Yngwie [Malmsteen], I want to see Yngwie play. But there are some guys in some rock bands that if they didn't play and it was recorded, it wouldn't bother me one iota. Because I'm not going there to see that. I would be going to see the songs. But if somebody's got a dangerous instrument that they're really good at and can do something that few people can do? Yeah, I wanna hear 'em do it. So in my opinion, I'm giving them that, but I'm also giving them the best of both worlds."

Blackie previously addressed W.A.S.P.'s alleged reliance on backing tracks last November in an interview with Canada's The Metal Voice. At the time, he said: "The conclusion that I came to was this. Up until about five years ago, we did everything — it was literally a four-piece band; what you heard is what you got. And I came to the conclusion that we did the anniversary tour for 'The Crimson Idol'. We then brought in all that orchestration. And I stood in the middle of the room and I listened to that in rehearsal for the first time. It was like an out-of-body experience. I mean, it was unbelievable. And I remember thinking, 'I've never heard this sound like this other than the record.' And I thought, 'this is what I wanna do from now on. I want it to sound exactly like the record.'"

He continued: "When you listen to a record like 'Live At Leeds' [from] THE WHO, that's a rock band doing a three-piece musical version of 'Tommy' or some of the other earlier songs. It's great for what it is, but it doesn't sound like 'Tommy'. What they do now with all the pieces that they take out, those performances sound like the record. And so you have to make a decision as an artist: what do you want that performance to sound like?"

Lawless added: "Now as a singer, I take a lot of pride in what I do. When you've been given a gift like I've been given, most singers I know wanna show that thing off, and I'm no different. So, yeah, that's me singing out there. But as far as any other orchestra tracks or backing vocal tracks, I'm sorry, there's just not enough of us on stage to make it sound like that record — it's impossible. So, again, the artist, the individual artist has to make the decision of what do they wanna sound like when they go out. And from that first time, like I said, I stood in the middle of the room, and I listened to that orchestration, it blew me away. And I thought, 'This is what I'm doing from here on out. Now I know why THE WHO do it, or other bands like that. They want them to sound like the record."

Blackie also talked about W.A.S.P.'s alleged use backing tracks during a May 2023 appearance on SiriusXM's "Trunk Nation With Eddie Trunk". He said: "About 10, 12 years ago, we did 'The Crimson Idol' the first time in its entirety with orchestration. Now, prior to that, we had just done — I call it the 'Live At Leeds' version… Because if you look at what THE WHO did with the 'Live At Leeds', which we all thought was live at the time, and we now realize there are overdubs on those as well, like most live records. We would take the bare-bones approach to doing it. Well, we decided to take an approach where we tried to make it sound exactly like the record. And we had never used orchestration or anything like that. So we went in the studio, we took all the tracks off the record as far as the orchestration, we took the background vocal tracks, we took doubles on leads — we did everything. And we took it and we tried to make it sound as much like the record as we could. I stood in the middle of the room that first night in rehearsal, and I swear to you it was like an out-of-body experience. I had never heard anything sound like that before. I had never played with a live orchestra before. And so this was the closest thing you would get to doing something like that.

"Listen, I understand both sides of the argument on it," he continued. "For me personally, when I'm up there, I'm singing my ass off. But what's wrong with having enhancement to make something sound exactly like the record? Because you're not gonna get a band like QUEEN or any other band that does big productions like that… Four guys cannot go out there and reproduce that record. It's impossible. It won't happen. So do you want it to sound like the record or do you want it to be just a general live performance? And that's a question of taste.

"If you're gonna start making records where you have a lot of orchestration and things like that going, it is impossible to make it sound like that record unless you have that," Lawless added. "And you can also make the argument, which has been going on Broadway for the last 20 years, the musicians' union has been fighting this fiercely but technology rolls on and it's not gonna stop, where they no longer have live music in Broadway productions. And the musicians' union has had a fit over that. Well, even before that happened, when you had keyboards introduced that had entire orchestras in them, you've got one guy now replacing a hundred and twenty different people. So where do you draw the line?

"Like I said, I understand if somebody wants a true, organic experience, but from my perspective, I looked at it and I said… Once I heard it sound exactly like the record, I thought, 'I cannot go back to this again.' I mentioned THE WHO a second ago, the 'Live At Leeds' approach. THE WHO used tapes for years until they started hiring all these other guys to go out with them. But even still, a lot of the keyboard stuff — 'Won't Get Fooled Again', things like that — that's all on tape."

"When I go out on that stage, I take a lot of pride in this gift that God's given me," Blackie added. "And I like to show it off; I'll just be flat-out honest with you. But I think people wanna see that or they wanna hear it. So I don't think there's anything wrong with it. If you've got a guitar player that is really, really good, people are going there to see that. But again, when I went into rehearsals that one night and I heard what it sounded like when it sounded like the record, I thought, 'I can never go back.' Like I said, it was a flat-out out-of-body experience."

Asked what percentage of the vocals during W.A.S.P.'s live concerts are on tape, Blackie said: "You mean from my lead vocals? For my lead vocals, I would encourage people to go… We did five shows where I was sitting. Go look at those last couple. You're gonna hear it loud and clear. 'Cause when we were in Sofia, I cracked a couple of times, which I normally don't do. But it was getting towards the end of the tour. I mean, it wasn't anything catastrophic, but for me, I don't normally crack. But it happens. It's part of the live experience. But when we start doing the choruses and things like that, myself and Mike Duda and Doug Blair, we're all out there singing, but we're using backups behind that too. Because when we did it in the studio, we were using three and four tracks at a time to create that. You cannot make those choruses sound huge like that with just individual vocals creating that, because when you're doing it in the studio, you double and triple tracks. I mentioned QUEEN a while ago — they were using 24 tracks of vocals to create those sounds. You cannot create those chorus sounds by two or three guys doing that. It is impossible… Unless there's 20 guys in that room doing that, it ain't gonna sound like that… If you're doing 24 tracks of vocals to create that chorus effect, a handful of guys cannot do that, even with electronic doublers. And then you can get into that argument — okay, you're using mechanical effects to enhance one guy out there. I mean, where do we draw the line with this now?"

W.A.S.P. has been criticized for the group's supposed use of backing tracks, including for Blackie's lead vocals, for at least several years, as Metal Sludge pointed out in 2019 after Lawless and his bandmates performed at the Helgeåfestivalen in Sweden.

In recent years, more and more artists have been given a pass for relying on pre-recorded tracks, drum triggers and other assorted technology that makes concerts more synthetic but also more consistent. For better or worse, pre-recorded tracks are becoming increasingly common for touring artists of all levels and genres and they're not just used in pop music — many rock artists utilize playback tracks to varying degrees.