Was sort of surprised to see Jag Panzer main man/guitarist Mark Briody attending both days of this festival, alone, a fair piece from his Colorado home base. Asked what brought him to Tulsa, his response was very eloquent. “How can I expect people to come see my band, if I don’t go to shows? So every year, I pick one US metal festival, to attend (as a fan).” Wish more people subscribed to his philosophy, instead of the endless parade of Internet whiners, “Come play my home town!”
With an increasing number of regional events, like this there certainly are plenty of opportunities. That sense of intrigue/adventure and interest in discovering something new are core to the metalhead ethos. They’re also indomitable qualities that helped pioneer settle the Western USA (but often at the expense of the indigenous populations, as we’d be reminded on Day 2), looking for new territories.
Spoke to fans from Kansas City, NYC, Dallas, Mobile, as well as bands from all four points (see what I did there?) of The States, plus Canada, the UK and Spain. Become part of the community, join us at a live show!
Day 1
Void is a two guitar fivesome, composed of YOUNG kids, from Louisiana. Attired in frilly (Seinfeld approved puffy)shirts, inspired by NOLA occult & voodoo, as well as the the vampire movie Interview With A Vampire, their music is fast, lots of guitar squelches and bordering on thrash intensity, with clean vocals. I’m told they do killer rendition of Annihilator’s “Alice In Hell” (although not aired this evening), which would be a good stylistic touchstone. “Nine Blood Moons” sees a pit form on the floor, but conversely, it’s composed of grayhaired gents, as the younger portion of the crowd stays fixated on the action onstage.
Lots of permed hair headbanging onstage, doubtful the LA humidity would allow it to be that curly, naturally. “First In, Last Out” begins with a bass run, while a couple of smoke plumes accompany the shredding “Don’t Become Victim To The Plague”, which begins with twin leads, center stage. They’ve got energy and talent, as the guitarwork shows, now they need a couple of memorable hooks to string together between the episodes of explosive shred.
Up next, Blind Oath, locals who have created a bit on international clatter, with their eponymous debut, over the last few years. Rammy and boisterous, lots of guitar notes and gruff, gremlin black metal vocals, even if the music is a speedy take on the traditional genre. “Emerald Assault” kicks things off, both guitars offering twin leads, from Mitch Gilliam’s side. The singer announced they’d written a new song, just for the fest.
Cue a version of Iron Maiden’s “2 Minutes To Midnight”, with an appropriate alteration of the lyrics, to mention Tulsa, by name. Cute trick and the crowd responded, by singing along. Come their signature tune, bassist Jacob Fuller takes a trip through the audience, as he plays. “Riteous Hunt” was a duet with Stacey Savage (from Savage Master, who would play later), reprising the role she played, alongside singers from Lady Beast, Bloodstar and Sölicitör, on the video/single, from earlier this year. Fun stuff.
Second trip south for Edmonton based Tower Hill. The earlier bands only get 30 minutes onstage (something the promoter is toying with changing next year: maybe fewer bands, with longer sets. We’ll see.), so just a few songs. “Kings Who Die” is up early, with lots of heads bobbing to the falsetto laden tune. Bearded, burly ginger of a frontman, R. F. Traynor wore his eyeglasses for the first couple of numbers, while splay legged, gauged out bassist Cam Dakus nearly had his four string scrapping the deck of the stage. When the singer makes a food recommendation, “Best burger of my life, at Bill’s Burgers,” people take notice.
All but the drummer add backing vocals to the likes of “Deathstalker” and new one, “Out Of The Dark”, the latter being a bit of retro/synthwave that Traynor called, “Back to the 80s, arena rock.” It’s destined for the still-to-be-recorded, sophomore effort on No Remorse. “How Am I” leads to eventual closer, “The Claw is The Law”, with twin leads and simple, sing-along chorus. During which Traynor thrashed into the guitarist as he crushed a beer can and its foamy contents spewed down his forearm. Oooh, the dangerous type!
Didn’t see much of Sentry, formed from the remnants of Manilla Road, including US underground metal fanatic/ubiquitous drummer Neudi. Musically, much like their predecessor, they even included a pair of Manilla tracks, in the set, including “The Ninth Wave”.
At the start of Savage Master’s time, a cadre of red and purple hooded pallbearers deliver Stacey Savage to the stage, in a coffin emblazoned with an inverted cross. Keeping the box vertically upright, she emerges from within!
The set featured a good dose of Dark & Dangerous, having been officially released earlier in the day. “Hunt At Night” opener see the diminutive demonic dominatrix drink blood from a chalice. Her accompanying band are all decked in crudely hacked purple hoods (like a converted drawstring Crown Royal pouch, over the head), frantically thrashing about the stage.
“With Whips And Chains” is always a crowd pleaser, the titular chorus screamed back at the stage, as Stacey brandishes a namesake whip and wields the leather on the backs of the goons, cowering at the foot of the stage. Green lit “Child Of The Witch” gives way to the rhythmic thump of “Warrior’s Call”, making its live debut.
Under purple lights, she loses her shirt and performs in a black bra. Later, she’ll opt for a leather jacket and fierce looking dagger. Newbie, “Devil Rock”, under hues of green, contains a brief appearance by the band’s sinister goat mascot. In a complete reversal from the last few years, “Ready To Sin”, has moved from first song, to finale. With its chant of “Under the banner 666, beneath the inverted crucifix” (Stacey making an X with her crossed forearms), it’s always a winner.
A trio of henchmen and Stacey across the front of the stage, as simultaneous plumes of smoke erupt. Highly energetic, kitschy (in a good, Hammer Horror films, kind of way), Savage Master have tapped into something. Experience it firsthand, as often as you can! Recommended.
Post-show conversations, backstage and the early arrival of longtime friend, James Rivera (Helstar), wasn’t able to catch much of Sacred Rite, who were once called Tulsa home, then relocated to Hawaii, only to return back to Oklahoma. Did do a cover of “Eleanor Rigby.”
Metalized Beatles songs are a bit rare. Some reason (beyond the accent), Satan frontman Brian Ross always reminds me of Neil, from the Young Ones TV comedy. Maybe it’s the deadpan delivery. Case in point, his onstage assertion, “I’m English. I have a sense of humor that may offend people. I’m sorry.” And playing in an outfit named for the underlord of Christianity is a heartwarming gesture?
Regardless, the NWOBHM legends churn out a career retrospective. “Twenty Twenty Four” is timely. Usually stoic guitarist Russ Tippins is uncharacteristically active tonight, literally bouncing around the stage. Afterwards, asked about the flurry of activity, he puts it down to wearing light running shoes instead of heavy leather boots.
By contrast, Ross is fairly stationary. “Burning Portraits” sees the headbanging Tippins and guitar partner Steve Ramsey, center stage under a blue fog. “Sacramental Rites”, under hues of green and yellow is a lively, aggressive number, while “The Devil’s Infantry” is illuminated in blue.
Closing out the first night is Liege Lord, fronted by singer Joe Comeau. Anthony Truglio (guitar) wore a commemorative t-shirt to late bassist Matt Vinci. Nice touch. “Fear Itself” kicks things off, followed by a green lit “Dark Tale”. Sped up “Kill The King” is widely recognized, both the Rainbow original, as well as the Liege Lord rendition, and the crowd sings along.
Comeau announced the debut of a new track, “Hypocrisy”, a speedy cut built around a galloping pace, punctuated by guitar breaks. Green tinted “Rage Of Angels” and “Feel The Blade” take me back in time. The evening ends with another blast from the past, “Master Control”. Good night!
Day 2
Medicine Horse are signed to Horton Records, a local label, whose head is responsible for putting on 2 Minutes To Tulsa. Three gents and a female vocalist onstage, all of indigenous nationality. Before the actual show, there is a spoken word history lesson, concerning the indigenous people’s connection to the Tulsa area. They take the area with a dancer in traditional garb, as the band grind through a prayer/incantation that’s somewhere between droning doom and agonized, female death metal screams. “Badlands” is NOLA style doom, groove with pained vocals. “Turning Tide” is also aired.
Las Cruces were a last minute addition, coming up from Texas. They play a doomy thrash mix, at its best, reminiscent of Saint Vitus. “Revelations” opener rides a big bass riff. The prominent mustached singer, Jason Kane headbangs wildly, throwing his whole body into the exaggerated motion. Bassist Jimmy Bell stakes out prime real estate, at the lip of the stage, throughout the night. “Farewell” strikes a more traditional doom vibe. Smoke volcanoes erupt at either end of the stage. “Wizard Of The North”, off their latest, Cosmic Tears, is well received. At least today, Las Cruces ply shorter constructs within a genre known for lengthy compositions.
Lots came to see/hear Mega Colossus, including several of last night’s artists, in the crowd, up front. They start with “Iron Rain”, highly active and even higher (pitched) vocals. One guitarist had an up-turned bill on his ball cap, the other bespectacled, looked like one of the Hanson brothers, from the Paul Newman ice hockey comedy, Slapshot. Odd dynamic that the bass and guitars spend more time near the lip of the stage than the singer. He claims the green lit “Fortune And Glory” is about Indiana Jones. Just four songs in a half hour set, as these guys write lengthy tunes.
Hitten were ending the second of a three week stint in the US, before heading home to Spain. They made the best of the Haunt equipment, especially the lighted shadowboxes that repeated elevated the two guitars and singer during the set. Highly energetic, fun music, the Spaniards love of playing, in a foreign land, is contagious. Musically, in the same camp as classic Dokken, contemporary references often mention Kissin’ Dynamite, another fun-loving, sing-along camp.
“Mr. Know-It-All” is aired early, as is latest single “Blood From A Stone”. Initially, singer Alex Panza wore a red tank top (beneath a leather vest) and tight fish scale pants as he ran about the stage. One of the two guitarists had a leopard print jacket, the other showed off by playing with his teeth. Just keep moving forward, whether the fans know your music or not. Another cool anthem, “Ride Out The Storm” features twin leads, while purple illuminated “Eyes Never Lie” steps down to power balladry, as the guitarists switch sides almost constantly.
At one point, they both head off the stage and into the crowd, circling in their own pit, as they continue to play, much to the delight of the fans. The two trade leads in “Built To Rock”, then synch up. Ultimately, they end with “In The Heat Of The Night”, a successful night that won them many converts. Definitely will check them out again, for a fun night out.
The Haunt guitarists were backstage early, working through “Divide & Conquer”, a track not part of the touring setlist, but requested by a longtime fan. Although Joel Dominguez (Saber) had only played it a couple of times (and not very recently) singer/guitarist Trevor Church wanted to reward the fan’s support and the guys worked it out, practicing amongst the maelstrom of eating, drinking, joking around in the artist area, a couple of doors away from the Vanguard.
The groundwork for Haunt’s acceptance has already been laid, as the band tours constantly and the recognition shows, in places like Tulsa. “Electrified” is followed by “Hearts On Fire”, where Church, apparently feeling the energy, yells, “Wake up your dead grandma!” Highlighted by blues and greens, it’s practically speed metal intensity! Red lit “Mercenaries” sees Trevor stage right and the eruption of a couple of smoke pods. Purple hued “Fight The Good Fight” sees Joel on the shadowbox, wailing away. Haunt cap another success with “Burst Into Flame”, which gives the two guitars a chance to cut loose, separately, as well as twin leads.
Helstar offered a glimpse into their much delayed new album, The Devil’s Masquerade, offering a trio of unreleased tracks in a seven song set, beginning with the forthcoming title cut. James “Fangs” Rivera still fronts the band, along with mainstay guitarist Larry Barragan, to his right. Old school “Evil Reign” keeps the good times rolling, a recognizable moment before they trot out another pair of newbies. Rivera stalks all corners of the stage, as they unveil “Carcass For A King”, the second time in a week (previously at Hell’s Heroes).
There’s a lovefest for green lit “Seek Out Your Sins”, despite the fact it was released (online) as a single, only days ago. Promo work done, it’s a return to the Eighties, for “The King Is Dead”. Hard to believe Helstar had never played Tulsa, prior to this show! Under red/blue lights, “Baptized In Blood” lets Rivera unleash his harsh high vocals, as well as embrace his inner vampiric spirit.
Recognizing the chorus, the crowd joins in. Same for the set closer, “Run With The Pack” (classic tune!), the singer at the lip of the stage, pointing the mic into fans’ faces as they scream the titular phrase. Always a fun evening, when James Rivera comes to town.
“All Hail Hell”: might not be a more fitting moniker for the band Midnight. Hooded, facial features obscured by sheer black nylon and bullet belts galore, the Cleveland trio are aural terrorists, of the Nth degree: a whirlwind of punk fueled activity. This is the first show without longtime guitarist/nut Kommander Vanik and founder/bassist Athenar is especially motivated, jumping off the wedge monitors, down front, when not tethered to the mic, and creating havoc as he goes.
“Black Rock n Roll” marries the best of punk aggro and Motorhead, with a heavy dose of purposeful sloppiness. The speed rarely wanes as they progress from “Satanic Royalty”, “Can’t Stop The Steel” and “Evil Like A Knife”, a classic triple shot of anger and mayhem. The closer says it all: “Unholy And Rotten”? You bet!
Lizzy Borden is quite the clotheshorse, seemingly a different outfit, for each song. He’s also a junior version of prop comedian Carrot Top, what with the endless parade of masks and “toys” to augment the songs: quite the visual display. “Notorious” has the mainman in centurion get-up, complete with mask, while he dons a blood splatter smock and illuminated goggles, for “Eyes Of A Stranger”.
The setlist was about 50-50, in terms of classic era and newer era, plus an inexplicable cover of The Ramones’ “Pet Sematary”, to close the evening. What? Why? There was also a sampling of Bach’s Toccata & Fugue, in D Minor, that infamous, spooky intro music. His threepiece backing band included (brother) Joey Scott, on drums (as always), an ’80s Nikki Sixx clone on bass and a latex/leather clad guitarist.
“Master Of Disguise” was treated like a long lost friend from the rambunctious crowd. Flag draped “American Metal” appeared mid-set. With a mask and axe (which he “licks”), by the end of “There Will Be Blood Tonight” his blood stained mouth & chin look like a vintage Blackie Lawless (W.A.S.P.) photo-op. No mask, but still in the blood soaked overcoat, he delivers a bouncy “Me Against The World”, the singer bounding up and down to the catchy rhythms.
“We Got The Power” is similarly upbeat. During “Red Rum”, the shorter haired singer adopts a black shaggy jacket with furry epaulets. The aforementioned cover concluded the show/weekend, with black balloons buffeted about the Vanguard. Hardly the crowning musical moment the fans had come for, but the end, nevertheless. Lizzy needs to wear his legacy status a little more prominently and give the fans more of the “old material” for which they clamor.
Quite an assortment, spread across two evenings. Let’s see what Brian Horton dreams up for 2026. Maybe BraveWords will see you there!
Additional photos:
Day 1
Day 2
The post 2 MINUTES TO TULSA 2025 – Menaces To Society? Hardly! appeared first on BraveWords - Where Music Lives.
Continue reading...
With an increasing number of regional events, like this there certainly are plenty of opportunities. That sense of intrigue/adventure and interest in discovering something new are core to the metalhead ethos. They’re also indomitable qualities that helped pioneer settle the Western USA (but often at the expense of the indigenous populations, as we’d be reminded on Day 2), looking for new territories.
Spoke to fans from Kansas City, NYC, Dallas, Mobile, as well as bands from all four points (see what I did there?) of The States, plus Canada, the UK and Spain. Become part of the community, join us at a live show!
Day 1
Void is a two guitar fivesome, composed of YOUNG kids, from Louisiana. Attired in frilly (Seinfeld approved puffy)shirts, inspired by NOLA occult & voodoo, as well as the the vampire movie Interview With A Vampire, their music is fast, lots of guitar squelches and bordering on thrash intensity, with clean vocals. I’m told they do killer rendition of Annihilator’s “Alice In Hell” (although not aired this evening), which would be a good stylistic touchstone. “Nine Blood Moons” sees a pit form on the floor, but conversely, it’s composed of grayhaired gents, as the younger portion of the crowd stays fixated on the action onstage.
Lots of permed hair headbanging onstage, doubtful the LA humidity would allow it to be that curly, naturally. “First In, Last Out” begins with a bass run, while a couple of smoke plumes accompany the shredding “Don’t Become Victim To The Plague”, which begins with twin leads, center stage. They’ve got energy and talent, as the guitarwork shows, now they need a couple of memorable hooks to string together between the episodes of explosive shred.
Up next, Blind Oath, locals who have created a bit on international clatter, with their eponymous debut, over the last few years. Rammy and boisterous, lots of guitar notes and gruff, gremlin black metal vocals, even if the music is a speedy take on the traditional genre. “Emerald Assault” kicks things off, both guitars offering twin leads, from Mitch Gilliam’s side. The singer announced they’d written a new song, just for the fest.
Cue a version of Iron Maiden’s “2 Minutes To Midnight”, with an appropriate alteration of the lyrics, to mention Tulsa, by name. Cute trick and the crowd responded, by singing along. Come their signature tune, bassist Jacob Fuller takes a trip through the audience, as he plays. “Riteous Hunt” was a duet with Stacey Savage (from Savage Master, who would play later), reprising the role she played, alongside singers from Lady Beast, Bloodstar and Sölicitör, on the video/single, from earlier this year. Fun stuff.
Second trip south for Edmonton based Tower Hill. The earlier bands only get 30 minutes onstage (something the promoter is toying with changing next year: maybe fewer bands, with longer sets. We’ll see.), so just a few songs. “Kings Who Die” is up early, with lots of heads bobbing to the falsetto laden tune. Bearded, burly ginger of a frontman, R. F. Traynor wore his eyeglasses for the first couple of numbers, while splay legged, gauged out bassist Cam Dakus nearly had his four string scrapping the deck of the stage. When the singer makes a food recommendation, “Best burger of my life, at Bill’s Burgers,” people take notice.
All but the drummer add backing vocals to the likes of “Deathstalker” and new one, “Out Of The Dark”, the latter being a bit of retro/synthwave that Traynor called, “Back to the 80s, arena rock.” It’s destined for the still-to-be-recorded, sophomore effort on No Remorse. “How Am I” leads to eventual closer, “The Claw is The Law”, with twin leads and simple, sing-along chorus. During which Traynor thrashed into the guitarist as he crushed a beer can and its foamy contents spewed down his forearm. Oooh, the dangerous type!
Didn’t see much of Sentry, formed from the remnants of Manilla Road, including US underground metal fanatic/ubiquitous drummer Neudi. Musically, much like their predecessor, they even included a pair of Manilla tracks, in the set, including “The Ninth Wave”.
At the start of Savage Master’s time, a cadre of red and purple hooded pallbearers deliver Stacey Savage to the stage, in a coffin emblazoned with an inverted cross. Keeping the box vertically upright, she emerges from within!
The set featured a good dose of Dark & Dangerous, having been officially released earlier in the day. “Hunt At Night” opener see the diminutive demonic dominatrix drink blood from a chalice. Her accompanying band are all decked in crudely hacked purple hoods (like a converted drawstring Crown Royal pouch, over the head), frantically thrashing about the stage.
“With Whips And Chains” is always a crowd pleaser, the titular chorus screamed back at the stage, as Stacey brandishes a namesake whip and wields the leather on the backs of the goons, cowering at the foot of the stage. Green lit “Child Of The Witch” gives way to the rhythmic thump of “Warrior’s Call”, making its live debut.
Under purple lights, she loses her shirt and performs in a black bra. Later, she’ll opt for a leather jacket and fierce looking dagger. Newbie, “Devil Rock”, under hues of green, contains a brief appearance by the band’s sinister goat mascot. In a complete reversal from the last few years, “Ready To Sin”, has moved from first song, to finale. With its chant of “Under the banner 666, beneath the inverted crucifix” (Stacey making an X with her crossed forearms), it’s always a winner.
A trio of henchmen and Stacey across the front of the stage, as simultaneous plumes of smoke erupt. Highly energetic, kitschy (in a good, Hammer Horror films, kind of way), Savage Master have tapped into something. Experience it firsthand, as often as you can! Recommended.
Post-show conversations, backstage and the early arrival of longtime friend, James Rivera (Helstar), wasn’t able to catch much of Sacred Rite, who were once called Tulsa home, then relocated to Hawaii, only to return back to Oklahoma. Did do a cover of “Eleanor Rigby.”
Metalized Beatles songs are a bit rare. Some reason (beyond the accent), Satan frontman Brian Ross always reminds me of Neil, from the Young Ones TV comedy. Maybe it’s the deadpan delivery. Case in point, his onstage assertion, “I’m English. I have a sense of humor that may offend people. I’m sorry.” And playing in an outfit named for the underlord of Christianity is a heartwarming gesture?
Regardless, the NWOBHM legends churn out a career retrospective. “Twenty Twenty Four” is timely. Usually stoic guitarist Russ Tippins is uncharacteristically active tonight, literally bouncing around the stage. Afterwards, asked about the flurry of activity, he puts it down to wearing light running shoes instead of heavy leather boots.
By contrast, Ross is fairly stationary. “Burning Portraits” sees the headbanging Tippins and guitar partner Steve Ramsey, center stage under a blue fog. “Sacramental Rites”, under hues of green and yellow is a lively, aggressive number, while “The Devil’s Infantry” is illuminated in blue.
Closing out the first night is Liege Lord, fronted by singer Joe Comeau. Anthony Truglio (guitar) wore a commemorative t-shirt to late bassist Matt Vinci. Nice touch. “Fear Itself” kicks things off, followed by a green lit “Dark Tale”. Sped up “Kill The King” is widely recognized, both the Rainbow original, as well as the Liege Lord rendition, and the crowd sings along.
Comeau announced the debut of a new track, “Hypocrisy”, a speedy cut built around a galloping pace, punctuated by guitar breaks. Green tinted “Rage Of Angels” and “Feel The Blade” take me back in time. The evening ends with another blast from the past, “Master Control”. Good night!
Day 2
Medicine Horse are signed to Horton Records, a local label, whose head is responsible for putting on 2 Minutes To Tulsa. Three gents and a female vocalist onstage, all of indigenous nationality. Before the actual show, there is a spoken word history lesson, concerning the indigenous people’s connection to the Tulsa area. They take the area with a dancer in traditional garb, as the band grind through a prayer/incantation that’s somewhere between droning doom and agonized, female death metal screams. “Badlands” is NOLA style doom, groove with pained vocals. “Turning Tide” is also aired.
Las Cruces were a last minute addition, coming up from Texas. They play a doomy thrash mix, at its best, reminiscent of Saint Vitus. “Revelations” opener rides a big bass riff. The prominent mustached singer, Jason Kane headbangs wildly, throwing his whole body into the exaggerated motion. Bassist Jimmy Bell stakes out prime real estate, at the lip of the stage, throughout the night. “Farewell” strikes a more traditional doom vibe. Smoke volcanoes erupt at either end of the stage. “Wizard Of The North”, off their latest, Cosmic Tears, is well received. At least today, Las Cruces ply shorter constructs within a genre known for lengthy compositions.
Lots came to see/hear Mega Colossus, including several of last night’s artists, in the crowd, up front. They start with “Iron Rain”, highly active and even higher (pitched) vocals. One guitarist had an up-turned bill on his ball cap, the other bespectacled, looked like one of the Hanson brothers, from the Paul Newman ice hockey comedy, Slapshot. Odd dynamic that the bass and guitars spend more time near the lip of the stage than the singer. He claims the green lit “Fortune And Glory” is about Indiana Jones. Just four songs in a half hour set, as these guys write lengthy tunes.
Hitten were ending the second of a three week stint in the US, before heading home to Spain. They made the best of the Haunt equipment, especially the lighted shadowboxes that repeated elevated the two guitars and singer during the set. Highly energetic, fun music, the Spaniards love of playing, in a foreign land, is contagious. Musically, in the same camp as classic Dokken, contemporary references often mention Kissin’ Dynamite, another fun-loving, sing-along camp.
“Mr. Know-It-All” is aired early, as is latest single “Blood From A Stone”. Initially, singer Alex Panza wore a red tank top (beneath a leather vest) and tight fish scale pants as he ran about the stage. One of the two guitarists had a leopard print jacket, the other showed off by playing with his teeth. Just keep moving forward, whether the fans know your music or not. Another cool anthem, “Ride Out The Storm” features twin leads, while purple illuminated “Eyes Never Lie” steps down to power balladry, as the guitarists switch sides almost constantly.
At one point, they both head off the stage and into the crowd, circling in their own pit, as they continue to play, much to the delight of the fans. The two trade leads in “Built To Rock”, then synch up. Ultimately, they end with “In The Heat Of The Night”, a successful night that won them many converts. Definitely will check them out again, for a fun night out.
The Haunt guitarists were backstage early, working through “Divide & Conquer”, a track not part of the touring setlist, but requested by a longtime fan. Although Joel Dominguez (Saber) had only played it a couple of times (and not very recently) singer/guitarist Trevor Church wanted to reward the fan’s support and the guys worked it out, practicing amongst the maelstrom of eating, drinking, joking around in the artist area, a couple of doors away from the Vanguard.
The groundwork for Haunt’s acceptance has already been laid, as the band tours constantly and the recognition shows, in places like Tulsa. “Electrified” is followed by “Hearts On Fire”, where Church, apparently feeling the energy, yells, “Wake up your dead grandma!” Highlighted by blues and greens, it’s practically speed metal intensity! Red lit “Mercenaries” sees Trevor stage right and the eruption of a couple of smoke pods. Purple hued “Fight The Good Fight” sees Joel on the shadowbox, wailing away. Haunt cap another success with “Burst Into Flame”, which gives the two guitars a chance to cut loose, separately, as well as twin leads.
Helstar offered a glimpse into their much delayed new album, The Devil’s Masquerade, offering a trio of unreleased tracks in a seven song set, beginning with the forthcoming title cut. James “Fangs” Rivera still fronts the band, along with mainstay guitarist Larry Barragan, to his right. Old school “Evil Reign” keeps the good times rolling, a recognizable moment before they trot out another pair of newbies. Rivera stalks all corners of the stage, as they unveil “Carcass For A King”, the second time in a week (previously at Hell’s Heroes).
There’s a lovefest for green lit “Seek Out Your Sins”, despite the fact it was released (online) as a single, only days ago. Promo work done, it’s a return to the Eighties, for “The King Is Dead”. Hard to believe Helstar had never played Tulsa, prior to this show! Under red/blue lights, “Baptized In Blood” lets Rivera unleash his harsh high vocals, as well as embrace his inner vampiric spirit.
Recognizing the chorus, the crowd joins in. Same for the set closer, “Run With The Pack” (classic tune!), the singer at the lip of the stage, pointing the mic into fans’ faces as they scream the titular phrase. Always a fun evening, when James Rivera comes to town.
“All Hail Hell”: might not be a more fitting moniker for the band Midnight. Hooded, facial features obscured by sheer black nylon and bullet belts galore, the Cleveland trio are aural terrorists, of the Nth degree: a whirlwind of punk fueled activity. This is the first show without longtime guitarist/nut Kommander Vanik and founder/bassist Athenar is especially motivated, jumping off the wedge monitors, down front, when not tethered to the mic, and creating havoc as he goes.
“Black Rock n Roll” marries the best of punk aggro and Motorhead, with a heavy dose of purposeful sloppiness. The speed rarely wanes as they progress from “Satanic Royalty”, “Can’t Stop The Steel” and “Evil Like A Knife”, a classic triple shot of anger and mayhem. The closer says it all: “Unholy And Rotten”? You bet!
Lizzy Borden is quite the clotheshorse, seemingly a different outfit, for each song. He’s also a junior version of prop comedian Carrot Top, what with the endless parade of masks and “toys” to augment the songs: quite the visual display. “Notorious” has the mainman in centurion get-up, complete with mask, while he dons a blood splatter smock and illuminated goggles, for “Eyes Of A Stranger”.
The setlist was about 50-50, in terms of classic era and newer era, plus an inexplicable cover of The Ramones’ “Pet Sematary”, to close the evening. What? Why? There was also a sampling of Bach’s Toccata & Fugue, in D Minor, that infamous, spooky intro music. His threepiece backing band included (brother) Joey Scott, on drums (as always), an ’80s Nikki Sixx clone on bass and a latex/leather clad guitarist.
“Master Of Disguise” was treated like a long lost friend from the rambunctious crowd. Flag draped “American Metal” appeared mid-set. With a mask and axe (which he “licks”), by the end of “There Will Be Blood Tonight” his blood stained mouth & chin look like a vintage Blackie Lawless (W.A.S.P.) photo-op. No mask, but still in the blood soaked overcoat, he delivers a bouncy “Me Against The World”, the singer bounding up and down to the catchy rhythms.
“We Got The Power” is similarly upbeat. During “Red Rum”, the shorter haired singer adopts a black shaggy jacket with furry epaulets. The aforementioned cover concluded the show/weekend, with black balloons buffeted about the Vanguard. Hardly the crowning musical moment the fans had come for, but the end, nevertheless. Lizzy needs to wear his legacy status a little more prominently and give the fans more of the “old material” for which they clamor.
Quite an assortment, spread across two evenings. Let’s see what Brian Horton dreams up for 2026. Maybe BraveWords will see you there!
Additional photos:
Day 1
Day 2
The post 2 MINUTES TO TULSA 2025 – Menaces To Society? Hardly! appeared first on BraveWords - Where Music Lives.
Continue reading...
