“WHOSE FUCKING IDEA WAS THIS!”
You only need watch the opening moments of the original S&M documentary to get an idea of just how bizarre the thought of Metallica mixing it up with an orchestra seemed back in 1999. As a young violinist plays a delicate few classical notes in front of the camera, she’s approached by a maniacal-looking Jason Newsted, who plucks the instrument from her hands and smashes it to bits. “It’s still good,” jokes an onlooking James Hetfield.
“Are the guys in the workshop busy?”
Metallica were, of course, poking fun at themselves – and, you imagine, those in the metal scene who had greeted news of their latest project with incredulity. Still, the fact remained: metal’s biggest band were about to break new ground once more, teaming up with the San Francisco Symphony for a show unlike any other. It had the potential to be immense. It also had the potential to be a total clusterfuck.
We now know it ended up being much more of the former, but don’t be fooled: S&M’s conception proved to be one of the most complicated of Metallica’s whole career, fraught with complex logistics and headache-inducing gremlins lurking around every corner. Which, obviously, is why 20 years on, The Four Horsemen decided to put themselves through it all over again.
“We’re not taking the easy way out of this one,” insists Lars Ulrich to Bay Area news outlet , 10 days before the colossal shows are due to touch down in San Francisco. “We can’t resist mixing it up.” Ever their own biggest provocateurs,
