Additional commentary by “Metal” Tim Henderson and Sephora Henderson
In addition to watching bands, there’s plenty of diversions to keep oneself occupied, musical, or otherwise. Alongside the free signing sessions (brief chat, take a photo, get an autograph from your favorites) or occasional artist lecture, nightly karaoke, casino gambling or grabbing some rays, near the pool, there’s plenty of restaurants/shops you can spend your money on, an onboard spa, rock climbing wall, athletic courts, a wave riding surf simulation, even an escape room adventure.
Every year, there’s also land excursions, hosted by a particular band (or two), other prefer never to leave the ship (in extreme cases, never leaving the bar!) Day 3 you awake to a new country, in 2025, that was Ocho Rios, Jamaica. Only a few hours in port (don’t miss the hard 4 PM curfew! They will NOT come back to rescue you.)
These communities are dependent upon the cruise industry, and assorted trinkets/souvenirs/services are hawked to the offloading guests. Most find a beach retreat, relax (maybe get something to eat, sampling the local flavor) and get sunburned for the afternoon.
Returning to the ship, the music doesn’t start up until 5 PM (folks get a chance to wash off the sand, recoup, as the sun/heat wear you out), so the 29 shows are squeezed into the later hours and most are in the smaller venues, including the Star Lounge, which holds a couple hundred, but unlike your local dive bar, has comfy seats/couches.
If there was one choice to keep the afternoon party going, then it would be Tankard, on the pool deck. Bingo! Gerre refers to the crowd as “Beerbarians”. Appropriate, although (thankfully) no signs of a deplete libations source, as previously happened onboard. It also introduces the song of the same name, during which he takes a swig from a pitcher proffered from the first row crowd. When not aimlessly zig-zagging across the stage, avoiding a crash with likewise mobile bandmates, the singer madly plays thrash air guitar, or flashes his belly. For deep cuts, we get the EP track “Aliens”.
There’s also the weekend’s credo, “Die With A Beer In Your Hands”, but the closing stretch where they/audience truly hit their stride. Beginning with action frenzy “Zombie Attack” (missing from their first set), through another absentee from the night before, “Freibier (the chanted chorus at least applicable to the singer, as referenced earlier) and closing “(Empty) Tankard” showed what Tankard are about: beer and having fun.
Far greater contingent gathered in the theater for Unleash The Archers, darlings of the younger generation. Brittney Slayes wore a skeletal outlined body suit, that recalled the original (’82) Tron film. It was highlighted/accentuated by the strobes and blue neon lights overhead. They stroll onstage, and after a growling greeting, she launches into “Ph4/NT0mA”, much to the diehards delight. As the song progressed, she hit several notable high notes.
The tinkling of piped-in keyboards greets the staccato, green tinted “The Ghosts In The Mist”, which includes death metal vocal counterpoint, courtesy of the guitarist. Speaking of that color, “Green & Glass” was up next, inexplicably lit in purple. Ooh. Plenty of crowd surfing and inflatable props in/atop the audience. Must say, part of the crowd seemed disappointed with Brittney’s declaration that Phantoma material was done and they’d go back the old stuff.
However, blitzing “Tonight We Ride” met with a thunderous roar, as well as blue hues and plenty of strobes. Time to move on, as The Kovenant opted to play their sophomore effort, Nexus Polaris, in its entirety, on the pool deck. Unique setting for a unique album. Sarah Jezebel Deva rejoining the band for current tour.
Trouble playing The Skull, need I say more? The confines of Studio B made it feel like a bigger club show, from the mid-late Eighties, when the album (which should be a part of any collection. Don’t have it? Get it ASAP) was gaining traction in the international underground.
Rick Wartell chose a draped shirt, rather than his usual sleeveless tee and the other guitarist, Bruce Franklin was in his ‘70s approved attire, including headband. Unlike so many of the cruise’s “full album play-throughs,” the Chicago doom lords chugged from start-to-finish in chronological order: no re-imagining. There’s a real groove in the likes of “Fear No Evil” that belie the lead weight heaviness.
When not behind the mic, Kyle Thomas stays out of the way, or plays some mean air guitar. The two axemen are a contrast in styles. Wartell is understated, while Franklin is demonstrative, shaking, bending and playing his guitar at often obtuse angles, to produce the desired sounds.
Quite a sight and even more impressive, what a skill set! Once “Wickedness Of Man” rolled around, just stowed the camera and notepad to kickback and enjoy the oft-listened-to, concluding sequence of “Gideon” and the classic title track. Fantastic.
Symphony X, second time in as many nights, after a lengthy absence. A different setlist and in the theater, none of the wind swept issues of last night. Still enamored with the rhythm and groove of singer Russell Allen, something of another incarnation of Jeff Scott Soto. Under cover of red stage lights, and a hail of notes, lobbed from the guitar of Michael Romeo a shortened version of “Iconoclast” is unveiled to a rapturous crowd.
A blue lit “Nevermore” follows, Russell coaxing the gathering to participate (vocally), though they need little prodding. Romeo makes his sweeps look so effortless, even at high speeds. Speaking of rapid runs on the fretboard, Romeo kicks into “Inferno”, the singer with his arm around the guitarist, center stage. Well duh, the song is subtitled Unleash The Fire! Parts of green lit “Dehumanized” have Allen adopting a deeper register, but not completely abandoning his normal voice.
Prior to “Paradise Lost”, the singer asked, “Is it the rum, or is this boat rocking?” noticing the pitch and yaw we were all experiencing (cue Ace Frehley, “trouble walkin’…”). More modern sounding “Run With The Devil”, begins with another impressive Romeo fretboard display. Can’t wait for the ProgPower appearance this fall.
Emperor singer/guitarist Ihsahn was well on his way to earning Cruise MVP, playing for the third consecutive night (two with this act and one with his solo band), a trend that would continue on the last night as well, making four gigs in as many days. So much for a “relaxing” cruise!
Tonight they were to play all of the Anthems To The Welkin At Dusk album, although the mastermind re-imagined the running order, for the live stage. The initial crash of strobes produced almost as much illumination as the daylight hours, as Ihsahn is center stage. Couldn’t help but reflect on my first encounter with the band, an ill-fated Milwaukee Metalfest fiasco (’98), and how far the band has come, both as competent musicians, as well as choice of sounds.
Feels nowhere as extreme, as “back in the day,” music and attitudes mellow and sections of green tinted “Thus Spake The Nightspirit” and especially portions of “Ensorcelled by Khaos” recall progressive darlings Opeth. Then there’s Ihsahn‘s acerbic throat, to bring it all back to evil. Some things never change, thankfully. Sporadically, Ihsahn moves about the stage, but never too far from his center stage “home,” although at one point he does commandeer the bassist’s backing mic.
As promised, a few strokes before midnight, Stratovarius used their ballroom stage set to run through the entirety of the Visions album. Well, almost. Not wishing to start with one of their biggest hits (which begins the disc), they chose “Forever Free” instead. Good to see it packed down front and initially, the crowd is louder than the band.
“The Kiss Of Judas” see Timo Kotipelto in control, right foot on the wedge monitor. To his left, bass player extraordinaire Lauri Porra, his left foot poised on another monitor, while adding backing vocals. Timo takes another trip to keyboardist Jens Johansson, who trades rhythms with the guitar. The keyboardist had a white towel across the ivories, prior to taking the stage. Not sure about crowd surfing to Stratovarius, but there are frequent/repeated trips, throughout the set.
Speedy “Legions” sees a makeshift circle pit briefly appear, as strobes break the red lights. Kotipelto is in his element, confidently moving to the front of the stage and hoisting “the horns” aloft. Many in the crowd reciprocate.
Wouldn’t say “The Abyss Of Your Eyes” is typical Strato territory, but when you do an entire album, sometimes anomalies arise. A retro ballad, at best, it’s not really a “festival” song. In a limited timed set, is it worth the omission of “Speed Of Light” or “Hunting High & Low”, just for the sake of continuity/completeness? Not in my book. A pole mounted acoustic guitar introduces “Before The Winter”, accompanied by Johansson’s keys. The tempo and temperature rises with speedy instrumental interlude “Holy Light”, bathed in pulsating strobes and red lights.
Having nothing to do on a voice-less track, Timo returns to the stage for “Paradise”, racing over the corners of both drum and keyboard risers (is there an amateur hurdles career, in his past?). On keys, Jens intros the delayed (for dramatic effect) “Black Diamond”, to great fanfare, before the title cut closes things out, as it does on record. Cool to see, once.
Can’t believe the cruise is almost over! Invariably, run around all of Day 4, trying to soak up as much music as is possible, so need to be ready…
Pictures from Day 3:
The post 70000 TONS OF METAL 2025 – Day 3: Jamaica Drink? Then Make Me One Too! appeared first on BraveWords - Where Music Lives.
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In addition to watching bands, there’s plenty of diversions to keep oneself occupied, musical, or otherwise. Alongside the free signing sessions (brief chat, take a photo, get an autograph from your favorites) or occasional artist lecture, nightly karaoke, casino gambling or grabbing some rays, near the pool, there’s plenty of restaurants/shops you can spend your money on, an onboard spa, rock climbing wall, athletic courts, a wave riding surf simulation, even an escape room adventure.
Every year, there’s also land excursions, hosted by a particular band (or two), other prefer never to leave the ship (in extreme cases, never leaving the bar!) Day 3 you awake to a new country, in 2025, that was Ocho Rios, Jamaica. Only a few hours in port (don’t miss the hard 4 PM curfew! They will NOT come back to rescue you.)
These communities are dependent upon the cruise industry, and assorted trinkets/souvenirs/services are hawked to the offloading guests. Most find a beach retreat, relax (maybe get something to eat, sampling the local flavor) and get sunburned for the afternoon.
Returning to the ship, the music doesn’t start up until 5 PM (folks get a chance to wash off the sand, recoup, as the sun/heat wear you out), so the 29 shows are squeezed into the later hours and most are in the smaller venues, including the Star Lounge, which holds a couple hundred, but unlike your local dive bar, has comfy seats/couches.
If there was one choice to keep the afternoon party going, then it would be Tankard, on the pool deck. Bingo! Gerre refers to the crowd as “Beerbarians”. Appropriate, although (thankfully) no signs of a deplete libations source, as previously happened onboard. It also introduces the song of the same name, during which he takes a swig from a pitcher proffered from the first row crowd. When not aimlessly zig-zagging across the stage, avoiding a crash with likewise mobile bandmates, the singer madly plays thrash air guitar, or flashes his belly. For deep cuts, we get the EP track “Aliens”.
There’s also the weekend’s credo, “Die With A Beer In Your Hands”, but the closing stretch where they/audience truly hit their stride. Beginning with action frenzy “Zombie Attack” (missing from their first set), through another absentee from the night before, “Freibier (the chanted chorus at least applicable to the singer, as referenced earlier) and closing “(Empty) Tankard” showed what Tankard are about: beer and having fun.
Far greater contingent gathered in the theater for Unleash The Archers, darlings of the younger generation. Brittney Slayes wore a skeletal outlined body suit, that recalled the original (’82) Tron film. It was highlighted/accentuated by the strobes and blue neon lights overhead. They stroll onstage, and after a growling greeting, she launches into “Ph4/NT0mA”, much to the diehards delight. As the song progressed, she hit several notable high notes.
The tinkling of piped-in keyboards greets the staccato, green tinted “The Ghosts In The Mist”, which includes death metal vocal counterpoint, courtesy of the guitarist. Speaking of that color, “Green & Glass” was up next, inexplicably lit in purple. Ooh. Plenty of crowd surfing and inflatable props in/atop the audience. Must say, part of the crowd seemed disappointed with Brittney’s declaration that Phantoma material was done and they’d go back the old stuff.
However, blitzing “Tonight We Ride” met with a thunderous roar, as well as blue hues and plenty of strobes. Time to move on, as The Kovenant opted to play their sophomore effort, Nexus Polaris, in its entirety, on the pool deck. Unique setting for a unique album. Sarah Jezebel Deva rejoining the band for current tour.
Trouble playing The Skull, need I say more? The confines of Studio B made it feel like a bigger club show, from the mid-late Eighties, when the album (which should be a part of any collection. Don’t have it? Get it ASAP) was gaining traction in the international underground.
Rick Wartell chose a draped shirt, rather than his usual sleeveless tee and the other guitarist, Bruce Franklin was in his ‘70s approved attire, including headband. Unlike so many of the cruise’s “full album play-throughs,” the Chicago doom lords chugged from start-to-finish in chronological order: no re-imagining. There’s a real groove in the likes of “Fear No Evil” that belie the lead weight heaviness.
When not behind the mic, Kyle Thomas stays out of the way, or plays some mean air guitar. The two axemen are a contrast in styles. Wartell is understated, while Franklin is demonstrative, shaking, bending and playing his guitar at often obtuse angles, to produce the desired sounds.
Quite a sight and even more impressive, what a skill set! Once “Wickedness Of Man” rolled around, just stowed the camera and notepad to kickback and enjoy the oft-listened-to, concluding sequence of “Gideon” and the classic title track. Fantastic.
Symphony X, second time in as many nights, after a lengthy absence. A different setlist and in the theater, none of the wind swept issues of last night. Still enamored with the rhythm and groove of singer Russell Allen, something of another incarnation of Jeff Scott Soto. Under cover of red stage lights, and a hail of notes, lobbed from the guitar of Michael Romeo a shortened version of “Iconoclast” is unveiled to a rapturous crowd.
A blue lit “Nevermore” follows, Russell coaxing the gathering to participate (vocally), though they need little prodding. Romeo makes his sweeps look so effortless, even at high speeds. Speaking of rapid runs on the fretboard, Romeo kicks into “Inferno”, the singer with his arm around the guitarist, center stage. Well duh, the song is subtitled Unleash The Fire! Parts of green lit “Dehumanized” have Allen adopting a deeper register, but not completely abandoning his normal voice.
Prior to “Paradise Lost”, the singer asked, “Is it the rum, or is this boat rocking?” noticing the pitch and yaw we were all experiencing (cue Ace Frehley, “trouble walkin’…”). More modern sounding “Run With The Devil”, begins with another impressive Romeo fretboard display. Can’t wait for the ProgPower appearance this fall.
Emperor singer/guitarist Ihsahn was well on his way to earning Cruise MVP, playing for the third consecutive night (two with this act and one with his solo band), a trend that would continue on the last night as well, making four gigs in as many days. So much for a “relaxing” cruise!
Tonight they were to play all of the Anthems To The Welkin At Dusk album, although the mastermind re-imagined the running order, for the live stage. The initial crash of strobes produced almost as much illumination as the daylight hours, as Ihsahn is center stage. Couldn’t help but reflect on my first encounter with the band, an ill-fated Milwaukee Metalfest fiasco (’98), and how far the band has come, both as competent musicians, as well as choice of sounds.
Feels nowhere as extreme, as “back in the day,” music and attitudes mellow and sections of green tinted “Thus Spake The Nightspirit” and especially portions of “Ensorcelled by Khaos” recall progressive darlings Opeth. Then there’s Ihsahn‘s acerbic throat, to bring it all back to evil. Some things never change, thankfully. Sporadically, Ihsahn moves about the stage, but never too far from his center stage “home,” although at one point he does commandeer the bassist’s backing mic.
As promised, a few strokes before midnight, Stratovarius used their ballroom stage set to run through the entirety of the Visions album. Well, almost. Not wishing to start with one of their biggest hits (which begins the disc), they chose “Forever Free” instead. Good to see it packed down front and initially, the crowd is louder than the band.
“The Kiss Of Judas” see Timo Kotipelto in control, right foot on the wedge monitor. To his left, bass player extraordinaire Lauri Porra, his left foot poised on another monitor, while adding backing vocals. Timo takes another trip to keyboardist Jens Johansson, who trades rhythms with the guitar. The keyboardist had a white towel across the ivories, prior to taking the stage. Not sure about crowd surfing to Stratovarius, but there are frequent/repeated trips, throughout the set.
Speedy “Legions” sees a makeshift circle pit briefly appear, as strobes break the red lights. Kotipelto is in his element, confidently moving to the front of the stage and hoisting “the horns” aloft. Many in the crowd reciprocate.
Wouldn’t say “The Abyss Of Your Eyes” is typical Strato territory, but when you do an entire album, sometimes anomalies arise. A retro ballad, at best, it’s not really a “festival” song. In a limited timed set, is it worth the omission of “Speed Of Light” or “Hunting High & Low”, just for the sake of continuity/completeness? Not in my book. A pole mounted acoustic guitar introduces “Before The Winter”, accompanied by Johansson’s keys. The tempo and temperature rises with speedy instrumental interlude “Holy Light”, bathed in pulsating strobes and red lights.
Having nothing to do on a voice-less track, Timo returns to the stage for “Paradise”, racing over the corners of both drum and keyboard risers (is there an amateur hurdles career, in his past?). On keys, Jens intros the delayed (for dramatic effect) “Black Diamond”, to great fanfare, before the title cut closes things out, as it does on record. Cool to see, once.
Can’t believe the cruise is almost over! Invariably, run around all of Day 4, trying to soak up as much music as is possible, so need to be ready…
Pictures from Day 3:
2TankardGerreBeer
3UnleashTheArchers
5TheKovenant
6Emperor
10UnleashArchersBrittney
22Tankard
23UnleashArchersBrit
The post 70000 TONS OF METAL 2025 – Day 3: Jamaica Drink? Then Make Me One Too! appeared first on BraveWords - Where Music Lives.
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