Additional commentary by “Metal” Tim Henderson and Sephora Henderson
In addition to the ritual of fans dressing in cosplay (although that “trend” has sporadically spread, across the full duration of the cruise), Day 4 poses many questions: “Do I see a second show by a favorite act (with the risk of hearing all the same songs/ the majority thereof) or check out someone else, even a new band?”
There’s also a dilemma surrounding foregoing a live performance to continue hanging with friends/artists (old & new), as we’ll soon head home, and it may be multiple months (or next year’s cruise) before we meet again. For me, traipsing from stem to stern, for three days, up and down from pool deck 11 to the ballroom on the third floor, there also comes a point when I want to ditch the camera bag and relax.
You know what they say about too much of a good thing…moderation, but 70K revels in glorious excess! Quoting Raven, “Nothing succeeds Like Excess.” Amen. So on to the wealth of talent still to be displayed.
Breakfast with Flotsam (& Jetsam) is how singer Eric AK described their 10 AM pool deck start-time. Don’t know how many people would be standing in a blazing, early morning sun (many with beer already in hand) if the long-running Arizonians weren’t playing most of their debut (albeit not complete, nor chronological). Doomsday For The Deceiver is my go-to Flots album.
It’s on my exercise playlist and invariably listen to it, two or three times a week! While I’ve heard most of the songs live, throughout the years, I HAD to be in attendance for this special set, especially since the band is rumored to begin limiting (if not outright curtailing) the older material, so as to focus on their stellar new material.
In a ball cap and leather vest, AK starts “Hammerhead”, one of the epic ‘80s openers, with mainstay guitarist Michael Gilbert (he of the LONG, skinny threaded goatee) to his right. When not shredding or headbanging, Gilbert adds backing vocals. Ken Mary (Fifth Angel/producer) is at the drums, behind them. This guy makes it all look so easy.
“Iron Tears” is followed by “Desecrator” and to my attuned ears, it’s obvious that these are not mere note-for-note recreations of the studio versions, but have been embellished (mostly with increased guitar flourishes). The tale of murderous Lizzy Borden (aka “She Took An Axe”) is recognized by most, but when it comes to “Metalshock”, the singer claims, “We’ve played it like twice in the last 40 years.” Gilbert comes center stage for that one. Was surprised they opted to play “Der Fuhrer” (which closes the original vinyl), especially in this “I’m so easily offended” age we live in.
Relating the historical rise of Adolf Hitler, it utilizes the repeated lyric, “Zeig Heil!” and have only heard them play it one other time, in the nearly 40 years I’ve been listening to the band. Looked around the deck, even on the upper tiers and the fans were all respectful. No one was mimicking the salute, nor taking the words inappropriately (and given the international mix, more than 80 countries represented) that’s quite a testament to the fans.
Take a bow, for humanity, 70K attendees! The jumbled running sequence concluded with the title track, which is, to my mind, with its dynamic changes in pace & intensity, one of the greatest metal songs: from its instrumental introduction, through to the end. If anyone has questions about Eric’s vocal abilities, check out subtle (almost) a cappella section, early on. Killer! Only complaint, was that it was over too quickly. Damn!
Maybe it was the first day of unfiltered sun, or the fact the cruise would soon be history, but found myself drawn, almost exclusively, to the Pool Deck today. While not taking in everything on my pre-planned list, experienced some of the biggest names, as well as a variety of sub-genre sounds. Not a bad way to end. Black and death metal really struggle in the light of day.
Atmosphere is such a part of both styles and are best experienced in a dark/dank club, not the deck of a cruise ship, but such is the lot they’ve drawn. Still interesting to actually “see” these “night crawlers” in the daylight.
Case in point, SepticFlesh, who last fall played the amphitheater situated beneath the Acropolis, in their native Greece. Spiros Antoniou (bass/ vocals) is a captivating figure, as he barks out the likes of “Necromancer” and “Portrait Of A Headless Man”.
A couple of hours later, long running NYC death metallers Suffocation took the same stage. Was the first time seeing them minus mainstay vocalist Frank Mullen. As long as Terrance Hobbs is still there, all is well. “Jesus Wept” gave way to the newer “Seraphim Enslavement”, with patrons splashing in the hot tub, feet from the stage!
Inflatables are launched overhead of the crowd during “Effigy Of The Forgotten”. Ricky Myers rarely moved, the singer hunched over the center stage wedge monitors. A circle pit erupted during “Funeral Inception” and they ultimately ended with “Infecting The Crypts”.
Old school Candlesmass was on display, in the bright sunlight, on the pool deck, beginning with “The Well Of Souls”. Despite the balmy temps, singer Johan Längqvist still wore a leather jacket and cap. In similar biker wear, bassist/mainstay Leif Edling was particularly energetic, toying with the photographers, when not playing off guitarist Mappe Björkman.
Opposite side of the stage is owned by southpaw string bender Lars Johansson. All donned black attire, apart from Mat, who had white pants. Seriously? “The Bells Of Acheron” sitting in the number 2 slot in the running order? Unheard of! Nice surprise. “Samarithan” too crops up earlier than originally planned, flip-flopped with “Demon’s Gate”, according to the printed setlist.
Come “Bearer Of Pain” Längqvist ditched the heavy jacket. Freed, he even jumped up on the drum riser. Johansson ventures to the middle of the stage, for a solo spotlight and remains there, joined by Mappe, to introduce “Demon’s Gate”. Even in the open air, the sound is crisp and punishingly heavy. The rumble of bass was probably felt several decks below.
Not much of a visual presence, Candlemass is all-around sensory experience! Although listed, “Sweet Evil Sun” was nixed, moving right on to “A Sorcerer’s Pledge’, before ultimately ending, as always, with “Solitude”. Special band, never disappoints. Long may they continue!
Had some time to venture into Studio B, to catch a little of Seven Kingdoms. Good to see this hard working (nearly always on the road), getting recognition and a chance to play 70000 Tons.
Singer Sabrina Cruz wore a crown, ornate sunglasses and her trademark hamburger slippers, to start “Diamond Handed”. To her left is Camden Cruz, shreds on guitar, while wildly headbanging, like some crazed Muppet (say Animal, on guitar, instead of drums?).
“A Silent Remedy” gives way to the title track from the new EP, “The Square”. Somewhat ironically (given the locale), it was during “Through The Waves” that I took my leave, sure to see them again soon though.
Late arrivals to the bowels of the ship, for Dirkschneider‘s second set, in the theater, were in for a shock, having missed “Balls To The Wall”, the best known Accept classic. Yes, unbelievably, Udo decided to open with the popular Accept song!
In an unusual selection (that left many of the staples on the pool deck, two nights earlier) Dirkschneider took a dive into deep cuts that sought to minimize repeats. In fact apart from “Balls”, only “London Leatherboys” and “Fast As A Shark” made appearances both nights, much to the chagrin of those who missed the initial concert.
As such, it was a night for Accept aficionados, devout fans (as many of the best tunes were absent and neither show included “Restless & Wild”), not one for the casual onlooker or a newbie, just getting into the band.
Make no mistake, there was definitely a tie-in between these choices and the newly issued Reloaded, where the running order features a different guest singer, on every track. No surprise vocalists onboard, but Udo made sure to check all ten boxes from the original Balls To The Wall tracklisting.
40th anniversary of that breakthrough disc, so it might warrant (temporarily) moving the title track to the forefront. After the stun look was wiped from faces, fans got into it, realizing this was something special. The singer brought out the camo jacket/pants (forbidden, by law, to wear in Jamaica), with a black shirt underneath. “London Leatherboys” and quick hitting “Fight It Back” and “Head Over Heels” keep the adrenaline pumping.
Longtime bandmate/bassist Peter Baltes had a more prominent role on these “lesser known” songs, even singing a portion of “Losing More Than You’ve Ever Had”, which the frontman claims was never played (at least when he was) in Accept.
Red lit, to start, “Love Child” sees guitarist Andrey Smirnov out front, shredding away. He’s a frequent foil for the singer, who often sidles up to him (or the bass player) and the two mug together. Ends up with all four (including second guitar) aligned across the stage. Purple hued “Turn Me On” begins a rather laidback stretch, briefly broken by “Losers & Winners”, Baltes and Udo centrally situated.
Can’t recall either Udo incarnation or Accept performing “Guardian Of The Night” (something a of a forgotten Balls era tune), backed with blue lit and white highlighted “Winter Dreams”, a beautiful ballad (albeit a little out of place, given our current location), hardly constitute in-concert “must-hear” moments.
It ends strongly, once red tinted “I’m A Rebel” kicks in, with plenty of (pent up?) audience participation, followed by the aforementioned “Fast As A Shark”. Glad I witnessed the two complete shows, otherwise might feel unfulfilled. Hopefully the future will rely solely on the strongest material, straight through.
Unlike the first onboard set, Hammerfall revisited the old albums on the last night’s pool deck performance. “Heeding The Call” indeed. “Any Means Necessary” is up early. Joacim Cans makes a little speech about hammers prior to “Hammer High”, which is begun under a hail of strobes. Switching from his twin tailed V, Oscar Dronjak hoists his shaped guitar overhead, as it resembles Mjölnir, Thor’s hammer.
Plenty of inflatable hammers bounce in time to the music, but the song ends, with Cans on the back riser, and an a cappella recitation of the chorus. Crowd surfers crash over the barricade in seemingly never ending waves. Purple lit “Blood Bound” is unable to keep the theatrical smoke/fog from being instantaneously blown offtstage, behind them.
The two guitarists (Dronjak and Pontus Norgren) begin the red lit “Renegade” (complete with revving motorcycle intro) on risers at the back of the stage, flanking the drums. Somehow they manage to shroud the stage in a green, smoky mist for the relaxed/subtle “Last Man Standing”.
Don’t know if it’s 100% true, but Cans claims that after repeated requests (from fans throughout the weekend), they decided to put “The Dragon Lies Bleeding” in the set. Honestly, it should be in there EVERY night. Oscar is out front for that one, a speedy slice of history!
Majestica’s Tommy Johansson joined on guitar for “Let The Hammer Fall”. He took the main solo and joined in the chorus line of four stringed instruments, with synchronized moves. Seemed a good point to leave and get ready for my last stop on this cruise
In Studio B. Samael were to perform Ceremony Of Opposites, one of my favorite albums from the mid-‘90s “down years for metal.” Great to see so many like-minded individuals too, as this was nearly the final performance of the trip. Close-cropped hair pulled back in a bun and black button down shirt, frontman/guitarist Vorph looked more a New Wave artist than a metalhead, but what came from his guitar and mic said otherwise: heavy, experimental, verging on industrial, but with an undeniable groove.
Standing on a riser behind him, was brother Xytras, surrounded by racks of keyboards and drums. he would alternate between them, sometimes in the same song. Staccato drone of a repeated guitar note greets “Son Of Earth”. Scratchy, grating rhythm in “Mask Of The Red Death” chugs slightly above a gloriously droning pace, but for me, the standout was the doomy grind of “Baphomet’s Throne”.
That’s all for this year, but dates have already been announced for 2026, when the cruise sails from Miami to Labadee, Haiti January 29th to February 2nd.
Make plans to join the fun.
Pictures from Day 4:
The post 70000 TONS OF METAL 2025 – Day 4: The Grand Finale! appeared first on BraveWords - Where Music Lives.
Continue reading...
In addition to the ritual of fans dressing in cosplay (although that “trend” has sporadically spread, across the full duration of the cruise), Day 4 poses many questions: “Do I see a second show by a favorite act (with the risk of hearing all the same songs/ the majority thereof) or check out someone else, even a new band?”
There’s also a dilemma surrounding foregoing a live performance to continue hanging with friends/artists (old & new), as we’ll soon head home, and it may be multiple months (or next year’s cruise) before we meet again. For me, traipsing from stem to stern, for three days, up and down from pool deck 11 to the ballroom on the third floor, there also comes a point when I want to ditch the camera bag and relax.
You know what they say about too much of a good thing…moderation, but 70K revels in glorious excess! Quoting Raven, “Nothing succeeds Like Excess.” Amen. So on to the wealth of talent still to be displayed.
Breakfast with Flotsam (& Jetsam) is how singer Eric AK described their 10 AM pool deck start-time. Don’t know how many people would be standing in a blazing, early morning sun (many with beer already in hand) if the long-running Arizonians weren’t playing most of their debut (albeit not complete, nor chronological). Doomsday For The Deceiver is my go-to Flots album.
It’s on my exercise playlist and invariably listen to it, two or three times a week! While I’ve heard most of the songs live, throughout the years, I HAD to be in attendance for this special set, especially since the band is rumored to begin limiting (if not outright curtailing) the older material, so as to focus on their stellar new material.
In a ball cap and leather vest, AK starts “Hammerhead”, one of the epic ‘80s openers, with mainstay guitarist Michael Gilbert (he of the LONG, skinny threaded goatee) to his right. When not shredding or headbanging, Gilbert adds backing vocals. Ken Mary (Fifth Angel/producer) is at the drums, behind them. This guy makes it all look so easy.
“Iron Tears” is followed by “Desecrator” and to my attuned ears, it’s obvious that these are not mere note-for-note recreations of the studio versions, but have been embellished (mostly with increased guitar flourishes). The tale of murderous Lizzy Borden (aka “She Took An Axe”) is recognized by most, but when it comes to “Metalshock”, the singer claims, “We’ve played it like twice in the last 40 years.” Gilbert comes center stage for that one. Was surprised they opted to play “Der Fuhrer” (which closes the original vinyl), especially in this “I’m so easily offended” age we live in.
Relating the historical rise of Adolf Hitler, it utilizes the repeated lyric, “Zeig Heil!” and have only heard them play it one other time, in the nearly 40 years I’ve been listening to the band. Looked around the deck, even on the upper tiers and the fans were all respectful. No one was mimicking the salute, nor taking the words inappropriately (and given the international mix, more than 80 countries represented) that’s quite a testament to the fans.
Take a bow, for humanity, 70K attendees! The jumbled running sequence concluded with the title track, which is, to my mind, with its dynamic changes in pace & intensity, one of the greatest metal songs: from its instrumental introduction, through to the end. If anyone has questions about Eric’s vocal abilities, check out subtle (almost) a cappella section, early on. Killer! Only complaint, was that it was over too quickly. Damn!
Maybe it was the first day of unfiltered sun, or the fact the cruise would soon be history, but found myself drawn, almost exclusively, to the Pool Deck today. While not taking in everything on my pre-planned list, experienced some of the biggest names, as well as a variety of sub-genre sounds. Not a bad way to end. Black and death metal really struggle in the light of day.
Atmosphere is such a part of both styles and are best experienced in a dark/dank club, not the deck of a cruise ship, but such is the lot they’ve drawn. Still interesting to actually “see” these “night crawlers” in the daylight.
Case in point, SepticFlesh, who last fall played the amphitheater situated beneath the Acropolis, in their native Greece. Spiros Antoniou (bass/ vocals) is a captivating figure, as he barks out the likes of “Necromancer” and “Portrait Of A Headless Man”.
A couple of hours later, long running NYC death metallers Suffocation took the same stage. Was the first time seeing them minus mainstay vocalist Frank Mullen. As long as Terrance Hobbs is still there, all is well. “Jesus Wept” gave way to the newer “Seraphim Enslavement”, with patrons splashing in the hot tub, feet from the stage!
Inflatables are launched overhead of the crowd during “Effigy Of The Forgotten”. Ricky Myers rarely moved, the singer hunched over the center stage wedge monitors. A circle pit erupted during “Funeral Inception” and they ultimately ended with “Infecting The Crypts”.
Old school Candlesmass was on display, in the bright sunlight, on the pool deck, beginning with “The Well Of Souls”. Despite the balmy temps, singer Johan Längqvist still wore a leather jacket and cap. In similar biker wear, bassist/mainstay Leif Edling was particularly energetic, toying with the photographers, when not playing off guitarist Mappe Björkman.
Opposite side of the stage is owned by southpaw string bender Lars Johansson. All donned black attire, apart from Mat, who had white pants. Seriously? “The Bells Of Acheron” sitting in the number 2 slot in the running order? Unheard of! Nice surprise. “Samarithan” too crops up earlier than originally planned, flip-flopped with “Demon’s Gate”, according to the printed setlist.
Come “Bearer Of Pain” Längqvist ditched the heavy jacket. Freed, he even jumped up on the drum riser. Johansson ventures to the middle of the stage, for a solo spotlight and remains there, joined by Mappe, to introduce “Demon’s Gate”. Even in the open air, the sound is crisp and punishingly heavy. The rumble of bass was probably felt several decks below.
Not much of a visual presence, Candlemass is all-around sensory experience! Although listed, “Sweet Evil Sun” was nixed, moving right on to “A Sorcerer’s Pledge’, before ultimately ending, as always, with “Solitude”. Special band, never disappoints. Long may they continue!
Had some time to venture into Studio B, to catch a little of Seven Kingdoms. Good to see this hard working (nearly always on the road), getting recognition and a chance to play 70000 Tons.
Singer Sabrina Cruz wore a crown, ornate sunglasses and her trademark hamburger slippers, to start “Diamond Handed”. To her left is Camden Cruz, shreds on guitar, while wildly headbanging, like some crazed Muppet (say Animal, on guitar, instead of drums?).
“A Silent Remedy” gives way to the title track from the new EP, “The Square”. Somewhat ironically (given the locale), it was during “Through The Waves” that I took my leave, sure to see them again soon though.
Late arrivals to the bowels of the ship, for Dirkschneider‘s second set, in the theater, were in for a shock, having missed “Balls To The Wall”, the best known Accept classic. Yes, unbelievably, Udo decided to open with the popular Accept song!
In an unusual selection (that left many of the staples on the pool deck, two nights earlier) Dirkschneider took a dive into deep cuts that sought to minimize repeats. In fact apart from “Balls”, only “London Leatherboys” and “Fast As A Shark” made appearances both nights, much to the chagrin of those who missed the initial concert.
As such, it was a night for Accept aficionados, devout fans (as many of the best tunes were absent and neither show included “Restless & Wild”), not one for the casual onlooker or a newbie, just getting into the band.
Make no mistake, there was definitely a tie-in between these choices and the newly issued Reloaded, where the running order features a different guest singer, on every track. No surprise vocalists onboard, but Udo made sure to check all ten boxes from the original Balls To The Wall tracklisting.
40th anniversary of that breakthrough disc, so it might warrant (temporarily) moving the title track to the forefront. After the stun look was wiped from faces, fans got into it, realizing this was something special. The singer brought out the camo jacket/pants (forbidden, by law, to wear in Jamaica), with a black shirt underneath. “London Leatherboys” and quick hitting “Fight It Back” and “Head Over Heels” keep the adrenaline pumping.
Longtime bandmate/bassist Peter Baltes had a more prominent role on these “lesser known” songs, even singing a portion of “Losing More Than You’ve Ever Had”, which the frontman claims was never played (at least when he was) in Accept.
Red lit, to start, “Love Child” sees guitarist Andrey Smirnov out front, shredding away. He’s a frequent foil for the singer, who often sidles up to him (or the bass player) and the two mug together. Ends up with all four (including second guitar) aligned across the stage. Purple hued “Turn Me On” begins a rather laidback stretch, briefly broken by “Losers & Winners”, Baltes and Udo centrally situated.
Can’t recall either Udo incarnation or Accept performing “Guardian Of The Night” (something a of a forgotten Balls era tune), backed with blue lit and white highlighted “Winter Dreams”, a beautiful ballad (albeit a little out of place, given our current location), hardly constitute in-concert “must-hear” moments.
It ends strongly, once red tinted “I’m A Rebel” kicks in, with plenty of (pent up?) audience participation, followed by the aforementioned “Fast As A Shark”. Glad I witnessed the two complete shows, otherwise might feel unfulfilled. Hopefully the future will rely solely on the strongest material, straight through.
Unlike the first onboard set, Hammerfall revisited the old albums on the last night’s pool deck performance. “Heeding The Call” indeed. “Any Means Necessary” is up early. Joacim Cans makes a little speech about hammers prior to “Hammer High”, which is begun under a hail of strobes. Switching from his twin tailed V, Oscar Dronjak hoists his shaped guitar overhead, as it resembles Mjölnir, Thor’s hammer.
Plenty of inflatable hammers bounce in time to the music, but the song ends, with Cans on the back riser, and an a cappella recitation of the chorus. Crowd surfers crash over the barricade in seemingly never ending waves. Purple lit “Blood Bound” is unable to keep the theatrical smoke/fog from being instantaneously blown offtstage, behind them.
The two guitarists (Dronjak and Pontus Norgren) begin the red lit “Renegade” (complete with revving motorcycle intro) on risers at the back of the stage, flanking the drums. Somehow they manage to shroud the stage in a green, smoky mist for the relaxed/subtle “Last Man Standing”.
Don’t know if it’s 100% true, but Cans claims that after repeated requests (from fans throughout the weekend), they decided to put “The Dragon Lies Bleeding” in the set. Honestly, it should be in there EVERY night. Oscar is out front for that one, a speedy slice of history!
Majestica’s Tommy Johansson joined on guitar for “Let The Hammer Fall”. He took the main solo and joined in the chorus line of four stringed instruments, with synchronized moves. Seemed a good point to leave and get ready for my last stop on this cruise
In Studio B. Samael were to perform Ceremony Of Opposites, one of my favorite albums from the mid-‘90s “down years for metal.” Great to see so many like-minded individuals too, as this was nearly the final performance of the trip. Close-cropped hair pulled back in a bun and black button down shirt, frontman/guitarist Vorph looked more a New Wave artist than a metalhead, but what came from his guitar and mic said otherwise: heavy, experimental, verging on industrial, but with an undeniable groove.
Standing on a riser behind him, was brother Xytras, surrounded by racks of keyboards and drums. he would alternate between them, sometimes in the same song. Staccato drone of a repeated guitar note greets “Son Of Earth”. Scratchy, grating rhythm in “Mask Of The Red Death” chugs slightly above a gloriously droning pace, but for me, the standout was the doomy grind of “Baphomet’s Throne”.
That’s all for this year, but dates have already been announced for 2026, when the cruise sails from Miami to Labadee, Haiti January 29th to February 2nd.
Make plans to join the fun.
Pictures from Day 4:
5SevenKingdoms
16DirkschneiderDuo
19PeterBaltes
24Candlemass
The post 70000 TONS OF METAL 2025 – Day 4: The Grand Finale! appeared first on BraveWords - Where Music Lives.
Continue reading...
