Zakk Wylde Takes Over Buffalo with Black Label Society, Zakk Sabbath and Dark Chapel

Black Label Society / Zakk Sabbath / Dark Chapel – Buffalo RiverWorks, Buffalo, NY

***Black Label Society – Buffalo RiverWorks, Buffalo, NY***

Three bands, two sets for Zakk Wylde and one seriously memorable night at Buffalo RiverWorks. Dark Chapel set an eerie tone, Zakk Sabbath paid tribute to Black Sabbath and Ozzy, and Black Label Society closed the second night of the American Crusade 2026 Tour with a career spanning set packed with riffs, solos and plenty of “Buffalove”.

The second night of the American Crusade 2026 Tour rolled into Buffalo RiverWorks midweek, giving fans a rare opportunity to see several different sides of members of Black Label Society in one evening. With Dark Chapel opening, Zakk Sabbath taking the middle slot and Black Label Society closing the night, Wylde and his bandmates spent the evening moving between three projects that each offered something distinctly different.

While Wylde was undoubtedly a major draw, the night belonged to more than just one musician. Dark Chapel established an atmosphere that immediately separated them from the typical opening act, Zakk Sabbath offered one of the strongest Black Sabbath tributes around, and Black Label Society brought the evening to its full volume. Even more impressive was the fact that several of the musicians involved in the latter two bands were essentially playing two shows in one night.

Dark Chapel opened the evening with a sound that felt almost cinematic. The band, featuring Dario Lorina on vocals, guitar and piano, Dylan Dyce on guitar, Jeremiah Walker on drums and Mike Leon on bass, had little trouble getting the attention of a crowd that was still settling in. Opening acts on a three band bill often have to work to pull people away from conversations, drinks and the general movement of a venue. Dark Chapel seemed to have practically everyone watching.

From the opening song, “Afterglow,” the band created a haunting soundscape built around Lorina’s vocals and guitar work. Their debut album, Spirit In The Glass, released February 28, 2025, provided the foundation for the six song set, which moved through dark and atmospheric material without losing its sense of weight.

***Dark Chapel – Buffalo RiverWorks, Buffalo, NY***

One of the set’s most memorable moments came during the piano driven track “Dead Weight,” followed by their chilling interpretation of Bill Withers’ “Ain’t No Sunshine.” Rather than simply recreating a familiar song, Dark Chapel reshaped it into something darker and more oppressive, giving the performance an intensity that held the room in place.

Although sharing a stage with Zakk Wylde naturally draws attention toward the , Dark Chapel guitarist and vocalist Dario Lorina quickly established his own presence. He would later return as Black Label Society’s guitarist, but during Dark Chapel’s set, Lorina made it clear the band had its own identity. By the time they closed with “We Are Remade,” the room was noticeably engaged.

Sandwiched between the two Black Label Society sets was Zakk Sabbath, the Black Sabbath tribute trio featuring Wylde on vocals and guitar, John “JD” DeServio on bass and Jeff Fabb on drums. For a band widely regarded as one of the best Black Sabbath tribute acts performing today, there was never much question about whether the material would receive the treatment it deserved.

***Zakk Sabbath – Buffalo RiverWorks, Buffalo, NY***

Their compact set opened with a hard hitting rendition of “Children of the Grave,” immediately shifting the atmosphere inside RiverWorks. “N.I.B.” was a personal favorite, with DeServio laying down a thick bass foundation while Fabb kept the song moving with precise, heavy handed drumming.

Wylde’s approach to the vocals was equally fitting. He was not trying to reinvent the songs or imitate every detail of Ozzy Osbourne’s delivery. Instead, he was honoring them, giving the audience a glimpse of what a classic Black Sabbath show might have felt like. His rough edged delivery suited the material while keeping the focus on the songs themselves.

Before launching into “War Pigs,” Wylde led the audience in a loud “OZZY” chant in honor of his longtime friend and the late Black Sabbath vocalist. The response from the RiverWorks crowd was immediate and deafening.

“War Pigs” became the centerpiece of the set. Midway through the song, Wylde stepped away from the stage and made his way into the audience, surrounded by security and fans. Once in the middle of the crowd, he launched into a lengthy guitar solo played behind his head, turning the floor into part of the performance.

Wylde’s vocals carried a gravelly menace throughout the set, while DeServio’s bass could be felt as much as heard. Fabb’s drumming provided a steady foundation, giving the songs their weight without overshadowing the guitar and vocals. Together, the trio captured the heaviness of Black Sabbath while still allowing their own personalities to come through.

Shortly after the stage changeover, Black Label Society appeared behind a logo filled curtain before hitting the stage and immediately showcasing the chemistry among all four members. The curtain dropped and Wylde emerged looking part Norse god and part mountain man, his custom WYLDE signature guitar in hand.

Joined by Lorina on guitar, DeServio on bass and Fabb behind the drums, Black Label Society moved through a career spanning set that showed just how much material the band has accumulated. It is easy to argue that Black Label Society remains criminally underappreciated, particularly when considering the depth of its catalog and the musicianship on display.

Wylde is an absolute monster on guitar, equally comfortable digging into a thick groove or opening up into extended solos. His playing can be aggressive and intricate without losing the structure of the songs. Lorina provided a strong counterpoint on guitar, adding another layer to the band’s sound while remaining largely out of the spotlight when Wylde took center stage. DeServio kept the low end rumbling throughout the set, while Fabb’s playing remained tight and forceful behind the kit.

The set leaned heavily on fan favorites from albums such as Mafia and The Blessed Hellride, while later material continued the emphasis on groove heavy riffs and extended guitar work. Not surprisingly, it was the Ozzy Osbourne cover “No More Tears” that drew one of the biggest responses of the Black Label Society set. The connection between Wylde and Osbourne was once again evident, but this time the song was presented through the lens of Wylde’s own band.

Wylde also found plenty of room for humor between songs. During the band introductions, he jokingly referred to the members as the “Black Label Society Solid Gold Dancers” and claimed that each one was a fan of a Buffalo Bills division rival. He quickly made up for it by adding, “It’s okay because I’m a massive fan of the Buffalo Bills,” drawing a loud roar from the audience.

Then came “In This River.” Wylde took his place behind the grand piano while Lorina handled all of the guitar work. As the song unfolded, images of the Abbott brothers appeared on the screen behind the band. The moment was filled with respect, but it was not presented as a somber pause in the evening. Instead, it felt like a celebration of two musicians who left an unmistakable mark on heavy music.

As the song came to a close, the response from the floor was immediate. A swirling vortex of thrashing bodies erupted in front of the stage, a fitting reaction considering that when Wylde is not busy with Black Label Society or Zakk Sabbath, he is also touring with Pantera.

The contrast between the piano and the surrounding volume gave the song another dimension and served as a reminder that there is more to Wylde’s musicianship than the speed and volume often associated with him. He is a shredder with a genuine need for speed, but he also knows when to pull everything back and let a melody carry the moment.

What made the night truly remarkable was not just the music, but the way three acts from seemingly different worlds came together. Dark Chapel drew the audience into shadow and tension with its eerie approach. Zakk Sabbath stepped into the history of Black Sabbath and paid tribute to the songs without trying to turn them into something they were not. Black Label Society then shifted the night toward their own catalog, balancing groove heavy metal with extended guitar work and even some tasteful piano.

The decision to treat Zakk Sabbath and Black Label Society as two completely separate performances worked particularly well. Rather than moving directly from one set into the next, the stage was reset and the atmosphere changed entirely. Including even time for a full kilt change.

For a midweek stop in Buffalo, the American Crusade 2026 Tour offered an incredible evening of guitar oriented, loud as hell heavy metal music, with a touch of tasteful piano thrown in for diversity. Wylde may have been the common thread connecting the night, but each project brought its own identity to RiverWorks.

Dark Chapel proved they were far more than an opening act. Zakk Sabbath once again demonstrated why they stand among the strongest Black Sabbath tribute bands performing today. Black Label Society closed the night by reminding everyone just how much depth remains in a catalog that deserves more attention.

Three bands, several different sides of musicians and a room full of fans who were more than willing to make noise for all of it made the second night of the American Crusade 2026 Tour a memorable stop in Buffalo.