Day 1
There’s no easy way for one person to see/hear everything that happens on the grounds of Hell’s Heroes. It’s more an art, than a science, running between stages, to watch & hear what transpires (with concerts abutting one’s start, with another’s end, and sometimes overlapping), as well a hang with bands, fans and friends, shooting photos and taking notes on priority acts.
Luckily, 25+ years of experience have streamlined my procedure. Advance apologies to those that feel left out. There’s a perverse logic to having the “best”/strongest line-up on the first day. Seriously, how many people (outside Texas) are going to show up for just Thursday, then head home? You’ve got them locked in, committed to the full weekend. Genius.
The day began with Satan singer, Brian Ross ranting about crowd surfers (they’re not even stage divers anymore, restricted from ever getting onstage, in all but the tiniest clubs). Did the same thing, last time he was here, as well as the night before, at the pre-show (which they also played). I get it. From the musician’s standpoint, stage divers break equipment, have the potential to injure the band/crew and generally ruin the performance. While no fan of a sweaty body, or muddy boot, landing on my head, crowd surfing (in which I’ve never participated) is an entirely different animal.
Like petulant children, the more Ross objected, and scolded the crowd, the more they persisted and egged him on. It’s a festival and a certain portion of the crowd neither knows, nor cares about your band. They’ve paid their money to have fun, in a way they know how and no amount of stern talking to will make them stand and watch you play. So in the end, he was the grouchy neighbor, yelling, “Damn kids, stay off my lawn!”
So the first “must-see” band of the day was Fifth Angel, all the more so, after having seen a previous helping, last fall, at ProgPower. They didn’t disappoint, and in conversations after this show, seems many others felt the same way. Guitar, bass and drums remain intact, from the classic ‘80s albums and burly, bearded singer Steven Carlson (looking like an old school WCW wrestler) is a welcome addition.
“In The Fallout” is up early, quickly winning new converts. Ed Archer may not have the speed of the young buck guitarist on the opposite side of the stage, but he doesn’t back down, taking center stage to receive the fans’ props. Carlson attempted to get the early arrivals to add their voices to “Midnight Love”, then thanking MTV (back in the day) for “Time Will Tell”.
Unfortunately, a 3 PM Thursday slot (when many of their “older” fans have yet to show) sees the vintage music a bit lost on the younger crowd. Maybe they would have been better served with a later slot, when the “old folks” were more likely to be in the house. Highlight was definitely their signature tune. Don’t miss them, if they appear near you!
By contrast, Enforcer, with their speed and intensity, were right up the younger set’s (and a few of us vintage aficionados) alley. Zenith seemingly a forgotten misstep/experiment, in the mind of singer/guitarist Olaf Wikstrand, the Swedes tore through a set hampered by technical issues. Luck for us, cancellation would allow them a second (unexpected), and longer, set, the next day.
Right from jump, “Destroyer” set the stage, Wilstrand, shirtless beneath a vest, adding a fist thrust with each titular mention. “Undying Evil” showed no sign of let-up, in the speed metal onslaught. Man, listening to this, in a semi-sunny afternoon, beer in hand, must be as close to Heaven as there is on Earth. Not the only one “feeling it,” as crowd surfing began in earnest (no me, others). Enforcer was always going to be about high octane/rapid fire delivery, but with early “issues” and threat of time overruns, it was even more so, today.
“Unshackle Me” is a nod to the latest disc, Nostalgia. Plenty of blonde hair bobbing onstage, even as it ends with a slower, more dramatic take than it appears on record. “We came to crush some skulls,” challenges the singer, then it’s “From Beyond”, a speedy anthem, complete with audience rendition. “Live For The Night” and “Death By Fire” complete an over-too-early engagement, but we’re told of the next day’s return, from the stage, so we can live with that, for now.
So let up, in fact, the intensity meter might have increased a bit, for Hirax, with lovable lunatic/metal lifer Katon De Pena unshackled (see what I did there?) with an instrument, free to rant and rage about the stage. Tongue waggling, big-eyed, the man is a cartoon character, come to life as he jumps into the photo pit and sings from the barricade (although it’s more difficult to get back onstage, as we get older!) He gives as much as he demands, from the crowd. It’s a partnership, a communion, of like minds.
Punk laced speed is the name of the long established game and infield is in constant motion, on the ground and in the air (or at least overhead). After the opening “Hellion Rising”, Katon removed his leather vest, to display a Slaughter (Canada) cut-off tee. “Drill Into The Brain” might be a fitting synopsis of the goings-on. “Warlords Command” is dedicated to Raven (“the Gallagher brothers”), like-minded lifetime warriors. “The Plague” saw the first circle pit of the day, bringing a broad smile to the frontman’s always expressive face. By audience demand, switching from the pre-printed setlist (to the crowd’s delight) it’s “Lightning Thunder”.
Some of the songs are over in a matter of minutes (or less), as they churn through “Hostile Territory”, “Bombs Of Death” and closing “Broken Neck”. Odd that 40+ years later, kids are still dressing like we did, back in the day, not merely reviving fashion as a trend. Something special about a band that gives it’s all, knowing that their place in the musical hierarchy is not going to change much (if at all), but still go out and deliver the goods, regardless. All hail Hirax!
Bewitcher may be on their way to similarly legendary status, via the constant touring and strong recorded output. To see them this high up an already talent-laden bill speaks highly of their (continuously rising) stature. The trio were one of the few witnessed indoors today, but the darkness and claustrophobic nature of the venue better suit the vibe. As with most acts inside, the stage was bathed in a steady diet of red and purple hues (know there are brighter/whiter, more photographic helpful colors up in the rafters, as we saw them, briefly, in the closing montage of “Bewitcher”.
Not sure why the LD refuses to help “promote” the bands, by using them earlier, when photogs are allowed in the pit). They opted for established fare, just the title track of the recent Spell Shock CD was aired. Otherwise, an almost non-stop barrage of speed, including “Too Fast For The Flames”, “Speed ’til You Bleed” and “Satanic Magick Attack” (with ominous alien green light sweeping the stage). Too damn short, need more Bewitcher!
By contrast, Raven opted to either play relatively new stuff, or concentrate on the Neat era, all but completely bypassing the American days. OK, I get it, the Atlantic period is dicey (yet they opted for “On And On”, off Stay Hard, but nothing from Megaforce (All For One)? Wow! Accents are also a funny proposition.
When a Geordie meets a southern drawl, do they (or vice versa) recognize it as English? “Fok auf, y’all!” After all these years touring (and living in) America, sure the Gallagher brothers (John, on bass/vocals and Mark, guitar) are used to it, by now. John yelped and shrieks his way through “Hell Patrol”, but lengthy rendition of “Rock Until You Drop” (complete with audience participation and Mark’s solo) segues into “Faster Than The Speed Of Light”. Surprised to hear “Chainsaw” as the set ender.
In the absence of any live Immortal dates, ex-frontman/guitarist Abbath has hit on a winning formula, playing a set of his former outfit’s classics. Saw it in Oslo, last summer and this year, he’s spreading the disease, overseas. Maybe just a coincidence, but something of a chill in the Texas night air, as the meister of the kingdom cold went onstage. Only occasionally, as on the red lit “Years Of Silent Sorrow” does he have a chance to really get away from the mic and walk about the stage a bit.
Looking healthy and good spirits, rocking back n’ forth, as he played, Abbath pulled out the hits, including “Sons Of Northern Darkness”, a deep blue shrouded “Tyrants” and “Damned In Black”. Wisps of smoke swirl around the stage, but never obtrusive. Still some action in the circle pit, as white spots pendulum across an otherwise darkened stage, for “One By One”. At one point, everything dead stops and Abbath stares back at the crowd, before restarting.
As always, night ends with “Blashyrkh (Mighty Ravendark)” the figurehead adopting an ornate, horned headdress. Can never hear these songs too often. Shame there was no “At The Heart Of Winter” on this tour, but maybe next time? Come back soon. Now on to tomorrow.
Photos: Day 1
Day 2
Early start today. Sölicitör is a speed metal outfit from Seattle, fronted by Amy Lee Carlson. While she cuts an imposing image onstage, all metaled out that would put Rob Halford to shame, she’s such a nice, genuine person. “Grip Of The Fist” kicks things off, as she stalks the stage, from side-to-side, forcefully pumping her fist and often singing perpendicularly to the crowd. The punk fueled “Speed Tyrant” goes down well, as does “Betrayer”, the crowd singing the titular chorus. This band needs to be seen/heard by more people Stateside.
A fan in the ‘80s, actually purchasing the Wages Of Mayhem demo, before the debut album, have been lucky enough to see the rejuvenated Nasty Savage 3 times, Stateside, in as many years. Even with the new Jeopardy Room CD, Nasty Ronnie and crew opted for old school material (airing only the title cut and the “6th Finger” instrumental). As always, Ronnie worked with masks and props, leading to the ultimately bloody destruction of a cathode ray tube television.
Initially he wore a spiked, wrestling hood, as he came out, for “Gladiator”. The singer toys with his “prey”, pulling the TV behind him, by it’s cord (like he’s walking a dog), during “Asmodeus”. Didn’t take but a few tugs and the cord snapped. Don’t make things like they used to! Ronnie ties the two parts together and continues his torture/foreplay.
During “Unchained Angel” he writes on the TV screen with a Sharpie: apparently marked for death! He’s aided by two backing vocals on the chorus. When not worried about the tele, Ronnie tosses band patches to the crowd. For “The Morgue” he dons a skull mask and distributes flowers to fans and lays them atop his eventual victim. The aforementioned instrumental gives Ronnie time to prepare for his rampage and “You Snooze, You Lose” sees him stare down the TV and begin the onslaught. He lifts it overhead and lets it crash to the deck of the stage. He lets it fall on his chest and again, on his “forehead.”
Not long before the plastic housing has given way and a pile of electronic debris lays around the stage. In a bit of self-mutilation, he bashes himself over the head and cuts his forehead, as he wipes blood on the cardboard setlist and hurls it towards eagerly awaiting fans, while “XXX” segues into concluding “Metal Knights”. Another successful performance.
From Spain, Hitten were making their debut foray into North America. A highly energetic two-guitar five-piece, featured lots of karate kicks and spins as they moved across the indoor stage. Only saw a bit, including “Mr. Know It All” as I prepared for the second Enforcer set. They had promised a different set. Initially concerned, as they again started with “Destroyer” (nothing wrong with the kick ass beginning, but previously aired) and proceeded to just juggle yesterday’s line-up: “Dying Evil” and “Unshackle Me”. True, the floodgates opened and there was more barricade activity than down at the Laredo border.
“From Beyond” slowed the sonic assault for a sing-along moment, the audience adding title phrase. So far, nothing not heard the day before, but cue “Hell Will Follow”. Totally unexpected! Then a cover of Black Sabbath’s “Die Young”. Good rendition too. Piped in music accompanied “Nostalgia”. It was three across the front of the stage, for “Running In Menace”, Olaf shrilling hitting the upper register. “Take Me Out of This Nightmare” saw backing vocals from the other guitar and bass, come the chorus, and the Swedes closed with “Midnight Vice”. Great set! Even if half of it was a repeat, would still love to see it again. Rumor has it they’ll be back, in September, with Rhapsody Of Fire, Striker and Witherfall. Fingers crossed!
For the next 2+ hours sort of hopped around, sampling the different venues, for small periods of time, beginning with friends, Haunt, with (relatively) new guitarist Joel Dominguez, from Saber. Trevor Church said this was the sixth time Haunt had played Hell’s Heroes (crediting the festival with impetus for creating Haunt) and announced that “Reflectors” was one that hadn’t been heard here. Most of the remaining set featured well-loved chestnuts.
“Hearts On Fire” picked up the pace. There was a pre-recorded intro to “Frozen In Time” and purple lit “As The Fire Burns”. Throughout the performance, both Church and Dominguez mounted lighted shadowboxes at the front of the stage, light shining up from below. Fun band, good songs. Out on the lawn, caught a bit of Gammacide, as onstage, three Day-Glo green barrels spewed (dry ice) “toxic waste”. A yellow hazmat suited worker, with gloves and a gas mask patrolled between the band members during “Fossilized”.
Next outside, was Absu, with make-up and silver gloved mainstay Proscriptor McGovern, he of an unconventional vocal style. On the opposite end of the spectrum, were the hard rock stylings of High Spirits, all attired in black tees and white pants. “Flying High” sent the room into a buzz, with its good time vibes. Chris Black announced a new tune, “In The Moonlight”. Is there a more unlikely rock star than Black, with a passing resemblance to a young (SNL era) curly hair Harry Shearer? “Restless” is followed by a purple lit “Full Power” and ultimately ending with their signature tune. Fun time.
Omen were also playing for the second time, in two days. The day before was a complete run-through the Battle Cry album. This was more of a greatest hits set, with no carry-overs. Similar to what they did at 2 Minutes To Tulsa, almost a year ago (their last show apparently). A shirtless Kenny Powell stood stage right and churned out songs he’s been playing since the mid-late Eighties. “Termination” (Cyborg lust!) opener is followed by “Ruby Eyes (Of The Serpent)”. The singer throws his arm around Powell’s shoulder and the guitarist blurts the titular quote into the mic.
A pole-mounted acoustic guitar introduces “Don’t Fear The Night” which was dedicated to the passing of Escape To Nowhere era singer Coburn Pharr (as well as original vocalist JD Kimball. “Warning Of Danger” is a sing-along. In fact, from “March On” onward the rest is mainly group karaoke. For merch from the stage, a few ballcaps are passed out as “In The Arena” hits a falsetto high and a cappella crowd. “Teeth Of The Hydra” and “Battle Cry” finish strong.
With the demise of Sepultura, the Cavalera brothers (Max on guitar/vocals & Igor on drums) are once again in charge of the legacy they founded. For me, the Sepultura sweat spot is Beneath The Remains, Rise And Chaos AD, even as the latter veers towards the Roots/Soulfly hybrid that would eventually, ahem, arise. The earlier, Brazilian recorded/released albums now form the backbone of the Cavalera (wise to reimagine the old squiggly drawn logo, with their surname), having recently re-recorded the nearly 40 year old platters.
Greater musical proficiency, better recording technology and changing tastes, have, over time, led to (if not a greater appreciation) at least an understanding of those earliest work, now on display. Hopefully the aforementioned favorites will gradually see an increased presence in future Cavalera setlists. While Max has completely embraced the metal ethos, scraggly beard and bullet belts galore, Igor, with short hair, round-rimmed glasses looks more akin to a jazz player, but make no mistake, he still rocks out, behind his kit.
“From the Past Comes the Storms” kicks in and a pocket down front form a circle pit, much to Max’s delight. Later, they will play “pass the trash” as they crowd surf inside trash cans! Is it thrash or trash? A pair of onstage video screens show still images (album artwork) as well as moving designs/images. “To The Wall” is followed by “Escape The Void”. The front end of the set is complete songs from the earliest works. The later half, they strung together medleys of the Roadrunner era material, including snippets of “Beneath The Remains” (but no longtime concert staple “Mass Hypnosis”), “Arise” and “Dead Embryonic Cells”. So there’s hope for expanded (full length) versions, moving forward!
Ironic side note. When Crimson Glory played Houston, in the 80s, current singer Travis Wills was working in that bar. Fast forward and he’s headlining one of the biggest metal fests, in his hometown. Even without the cancellation of Warlord, Crimson was probably THE most highly anticipated show of the weekend. Performing with two guitars (original Ben Jackson and newcomer Mark Borgmeyer) as well as an onstage keyboard player, the band ran through more than half of Transcendence and most of the better moments off the eponymous debut, beginning with “Valhalla”.
Have seen various incarnations: with Midnight, Wade Black, Todd La Torre, and now Wills, but this was the biggest headline gig. By “Where Dragons Rule”, Wills had ditched his leather jacket, as Borgmeyer moves center stage. Good start, front-loading a festival set with the faster/heavier first album material, to keep casual fans engaged. The purple/blue lit “Painted Skies” (off the more progressive/esoteric sophomore release) was good, but will not make anyone forget Midnight’s rendition.
Wills handles the “metal” debut tracks better than the later stuff. More aggressive “Masque Of The Read Death” is up next, the two guitarists square off, face-to-face, center stage. The music, like “Queen Of The Masquerade”, is great, but live, mainstay Jon Drenning was missed, in that they need a “ham” onstage, someone with “star caliber,” making a concert more than just an album playback session.
Tolling bells and blue smoke greet “Azrael”, the vocals on this one were killer! Would be better served earlier in the set. Taking a mask, from a fan pressed against the barricade, Wills sang with it on (rest of the band were facially “naked” for the entire evening) for the slower paced, purple/green hued “Lost Reflection”. Sure, “Lonely” was an attempt at pop single, but not sure 37 years later it still deserves a place near the end of set (wasn’t a favorite tune then, let alone now) and “Red Sharks” as a closer? Totally unexpected. Know it’s a monster to sing live, the rapid pace and verbose lyrically content, but leaves the crowd on an up note, for sure. The guys seem happy, and a new album (on BraveWords Records) is under construction, so let’s see what this new incarnation can do.
Photos: Day 2
Day 3
Night Cobra kick things off, the band fronted by Hell’s promoter Christian Larson. Honestly, he could give his band ANY slot on the festival, but hats off to him not playing favorites. The hard rocking band features an eclectic assortment of styles onstage, seemingly representing (but not purposefully a theme) several sub-genres: tattooed stoner biker bands, punks, leather clad metallers, even a hint of glam. At times, there’s a hint of Alice Cooper in Larson’s raspy delivery. Not the first time witnessing the band, although today, acknowledged, “We lost a legend this year,” as he walks onstage with a four foot blade and the Cobras belt out Heavy Load’s “Singing Swords”, in tribute to the late guitarist/singer Ragne Wahlquist.
Nice touch, especially at a boutique event like this, where fans know the reference. Concurrently, inside the White Oak Music Hall, White Magician are spinning a technically proficient spell, including a flamboyant bassist wrapped in a sparkling cape. Speed and dexterity are the name of the game, within a traditional/power metal context, long on instrumental passages. “Mad Magic II” and “Power Of The Stone” standing apart from the others.
Had no idea what to expect from Hellripper, a group of four young Scottish lads. Name sounds like another faceless black/death metal outfit, but they are neither and certainly left a positive impression on all who saw/heard what transpired. Been a long time since I’ve seen such an in-concert experience. Early in the day, both sides of the barricade were ready to play. Even before they started, vocalist/guitarist James McBain demanded a circle pit. In fact, he’d been bantering with those down front, during soundcheck, regarding the (nonexistent) level of his vocals.
Once “All Hail The Goat” (which he had hand-written on his guitar) pierced the air (sounding like “Turkey In The Straw” at breakneck speed), the floodgates opened. For the remainder of the set, the infield was a whirling mass of humanity: part circle pit, part slam dancing/impromptu wall of death. Bodies on bodies, in every way imaginable. Others went overhead, crowd surfing a constant stream forward, few riding in emptied trash bins!
Even with a couple of technical issues (amp straining under the Scots’ onslaught) the affable McBain chided and goaded the crowd into more insane antics. Would expect nothing less on their first stint in the States, fans and band alike with plenty of pent-up anticipation. “Hell’s Rock n Roll” seemed appropriate for the locale, more speed metal with guttural/gurgling death-like vo-kills. “Necro Slut” (dedicated to the bassist) and “From Hell” did nothing to stem the tide. To the uninitiated, perhaps the title “Goat Vomit Nightmare” encapsulates the sound, approach, delivery most accurately/succinctly.
However, “The Hanging Tree” takes a (somewhat) slower, more metered approach. By “Bastard Of Hades”, McBain wanted to know if there was a record for crowd surfing at Hell’s Heroes (unlikely there’d ever been as many), but that spurred the audience to even greater participation, before they ended with “Headless Angels”. As it concluded, the singer dove into the crowd, repeatedly bashing a beer can against his head and unleashing the contents (of the can, not his noggin) all over the adoring crowd. What a performance!
Tough act to follow, having worn out all but the most foolhardy ADHD folks, but Primordial offer their own unique spin on Irish darkness (despite a blazing sun overhead), fronted by the corpsepainted A.A. Nemtheanga (Alan Averill, to his friends), a noose perpetually around his neck. “No Grave Deep Enough” sets the scene, as Nemtheanga kneels/genuflects on the extensions that jut into the photo pit, closer to the crowd. Lyrically, there are allusions to prayer, sanctification, penance & redemption, as well as lethal force/capital punishment.
To that end, Averill imparts a history lesson: In the 1500s, the mayor of Galway, named Lynch, hung his own son. The surname is ironic, given his actions. Cue “Hell Or The Hangman”. Not the first time this weekend that we, the crowd, are repeatedly asked, “Are you with us?” A Celtic jig introduces “Victory Has 1000 Fathers, Defeat Is An Orphan” (great title!) and they end, with “Empire Falls”. Musical theater that must be experienced, at least once in your life.
Lots of folks packed inside, to see the North American debut of The Night Eternal (a two guitar quintet, from Germany). Initially under a cover of darkness, as the set progressed, more lights came on. Catchy, hard rock anthems and supercharged stage performance from the Flying V wielding guitarist and singer Ricardo Baum. “In Tartarus” and blue lit “Prince Of Darkness” were memorable, and when time allows, will delve deeper into the recorded output. Now it’s time to move back outside for SA Slayer.
While original singer Steve Cooper passed in 2006, this was a tribute to the San Antonio band that recorded just one EP and posthumous full-length (after disbanding in ’84), plus had the bad (?) luck to pick the Slayer moniker. Eventually, that add the SA (for their hometown), as the West Coast, Metal Blade signees were blowing up, big time, and threatened to sue.
Apart from Cooper (who did a stint fronting Juggernaut), the rest of those original players became well known within the scene: Ron Jarzombeck (guitar, WatchTower), Dave McClain (drums, Sacred Reich) and Don Van Stavern (bass, Riot V). Joining them onstage today, Jason McMaster (WatchTower, Dangerous Toys, Ignitor) on vocals and original guitarist Bob Catlin. While not steeped in the Texas lore, well aware of these individuals’ accomplishments. Something to see, for sure!
Late afternoon sun is almost directly into the eyes/cameras focusing on the stage. Early on, McMaster declares, “(SA Slayer) wrote some great songs, when they were children.” “Upon Us, The End” is up early. A little ride cymbal during “If You Want Evil”. Jason unleashed his higher register for “Unholy Book”. The lengthy instrumental “Off With Their Heads” sees Ron and Donnie standing face-to-face. Later, it’s “Hell Will Be Thy Name”. It must be fun for these guys to get an opportunity to jam together. “Final Holocaust” is up next to last, as that spot was reserved for the title track to the lone record, “Go For The Throat” (not the Shok Paris classic, released in ’84). Fun, as those onstage took it serious and gave it the proper importance.
Next up on the lawn, the Swiss Blitz. Had seen the first gig of the current Coroner trek and now it was the last one, although the setlist was virtually identical (albeit a few songs shorter, here). Ron Royce (aka Broder) announced that an album, of new material will be issued, in October. About time! “Semtex Revolution” was greeted like an old friend. By contrast, “Sacrificial Lamb” is reported to be part of the forthcoming record. “Masked Jackal”, sees bearded guitarist Tommy Vetterli (aka T. Baron) going crazy, with a solo. As usual, “Reborn Through Hate”, segueing into “Die By My Hand”, closes the set.
Hope you enjoyed your North American stint. Maybe we’ll see you again, soon? Inside, former Danzig guitarist, John Christ ran through a career retrospective. Barely visible, under dark purple lights and a ski cap/toque pulled down to the brim of his nose, Christ was understated and OK with the singer and other band members attempting to be the focal point. “Twist Of Cain”, with its trademark guitar rhythm, brought the skeptics into the fold. “Mother” would end the show.
Saw Samael on the 70000 Tons cruise, less than two months ago, where they also played the Ceremony Of Opposites CD (chronologically), in its entirety, my favorite by them. The night’s darkness was only broken by stage lights, but only when/where guitarist/frontman Vorph (and his brother, Xy, on drums/synth programming) wants them. In that regard, “Mask Of The Red Death” is illuminated by appropriately colored spots.
Last band of the weekend needs to be a big name and given their history/longevity, Saxon certainly qualify. After opening with newbie “Hell, Fire and Damnation”, it was pretty much a run through their greatest hits. Early on, mainstay vocalist Biff Byford is predominately standing in the back, letting the guitarists take the limelight (photo ops). “Backs To The Wall” follows “Power & The Glory”. Green lit “Motorcycle Man’ is followed by Byford reiterating, “We’ve played Texas many times before. We know this town knows how to rock.” Cue tune of the same name.
After “Heavy Metal Thunder” Biff gets chummy with the crowd, explaining they’re flying home tomorrow, but will check out the astronaut museum. Much as they began the night, it’s four across the stage, for “Dallas 1 PM”. Seamlessly merging “Strong Arm Of The Law” into “1066”, the two guitarists come together, center stage.
As the show begins to wind down, Biff tells the crowd they have a choice, between “Ride Like The Wind”, “And The Bands Played On” or “The Eagle Has Landed”, adding, “Shall we play two of them, or three of them? OK, best one first…” Offering purple hued “The Eagle Has Landed”, in Houston, makes sense, given NASA history: Brian Tatler takes the first solo, Doug Scarratt the latter. True to his word, Biff played all three.
Blue lit “And The Bands Played On” sees both guitarists on Tatler’s side of the stage. Must be feeling crazy, as the most surprising move is the inclusion of the Christopher Cross cover tune. Back to the classics, with “Denim & Leather”, a virtual start-to-finish crowd sing-along. Ditto “747 (Strangers In The Night)” and “Wheels Of Steel”. All good, until “Princess Of The Night” fell ill of a heretofore unused curfew. Mid-stream, Biff’s mic and the music goes silent. Never thought I’d see Saxon get silenced. Guess there’s a first time, for everything. No problem, still a great weekend. Let’s do it again!
Photos: Day 3
Next year’s dates are announced (March 19-21, 2026). In fact, Early Bird tickets are already on sale. Check out their Facebook page to keep updated on line-up announcements and updates.
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There’s no easy way for one person to see/hear everything that happens on the grounds of Hell’s Heroes. It’s more an art, than a science, running between stages, to watch & hear what transpires (with concerts abutting one’s start, with another’s end, and sometimes overlapping), as well a hang with bands, fans and friends, shooting photos and taking notes on priority acts.
Luckily, 25+ years of experience have streamlined my procedure. Advance apologies to those that feel left out. There’s a perverse logic to having the “best”/strongest line-up on the first day. Seriously, how many people (outside Texas) are going to show up for just Thursday, then head home? You’ve got them locked in, committed to the full weekend. Genius.
The day began with Satan singer, Brian Ross ranting about crowd surfers (they’re not even stage divers anymore, restricted from ever getting onstage, in all but the tiniest clubs). Did the same thing, last time he was here, as well as the night before, at the pre-show (which they also played). I get it. From the musician’s standpoint, stage divers break equipment, have the potential to injure the band/crew and generally ruin the performance. While no fan of a sweaty body, or muddy boot, landing on my head, crowd surfing (in which I’ve never participated) is an entirely different animal.
Like petulant children, the more Ross objected, and scolded the crowd, the more they persisted and egged him on. It’s a festival and a certain portion of the crowd neither knows, nor cares about your band. They’ve paid their money to have fun, in a way they know how and no amount of stern talking to will make them stand and watch you play. So in the end, he was the grouchy neighbor, yelling, “Damn kids, stay off my lawn!”
So the first “must-see” band of the day was Fifth Angel, all the more so, after having seen a previous helping, last fall, at ProgPower. They didn’t disappoint, and in conversations after this show, seems many others felt the same way. Guitar, bass and drums remain intact, from the classic ‘80s albums and burly, bearded singer Steven Carlson (looking like an old school WCW wrestler) is a welcome addition.
“In The Fallout” is up early, quickly winning new converts. Ed Archer may not have the speed of the young buck guitarist on the opposite side of the stage, but he doesn’t back down, taking center stage to receive the fans’ props. Carlson attempted to get the early arrivals to add their voices to “Midnight Love”, then thanking MTV (back in the day) for “Time Will Tell”.
Unfortunately, a 3 PM Thursday slot (when many of their “older” fans have yet to show) sees the vintage music a bit lost on the younger crowd. Maybe they would have been better served with a later slot, when the “old folks” were more likely to be in the house. Highlight was definitely their signature tune. Don’t miss them, if they appear near you!
By contrast, Enforcer, with their speed and intensity, were right up the younger set’s (and a few of us vintage aficionados) alley. Zenith seemingly a forgotten misstep/experiment, in the mind of singer/guitarist Olaf Wikstrand, the Swedes tore through a set hampered by technical issues. Luck for us, cancellation would allow them a second (unexpected), and longer, set, the next day.
Right from jump, “Destroyer” set the stage, Wilstrand, shirtless beneath a vest, adding a fist thrust with each titular mention. “Undying Evil” showed no sign of let-up, in the speed metal onslaught. Man, listening to this, in a semi-sunny afternoon, beer in hand, must be as close to Heaven as there is on Earth. Not the only one “feeling it,” as crowd surfing began in earnest (no me, others). Enforcer was always going to be about high octane/rapid fire delivery, but with early “issues” and threat of time overruns, it was even more so, today.
“Unshackle Me” is a nod to the latest disc, Nostalgia. Plenty of blonde hair bobbing onstage, even as it ends with a slower, more dramatic take than it appears on record. “We came to crush some skulls,” challenges the singer, then it’s “From Beyond”, a speedy anthem, complete with audience rendition. “Live For The Night” and “Death By Fire” complete an over-too-early engagement, but we’re told of the next day’s return, from the stage, so we can live with that, for now.
So let up, in fact, the intensity meter might have increased a bit, for Hirax, with lovable lunatic/metal lifer Katon De Pena unshackled (see what I did there?) with an instrument, free to rant and rage about the stage. Tongue waggling, big-eyed, the man is a cartoon character, come to life as he jumps into the photo pit and sings from the barricade (although it’s more difficult to get back onstage, as we get older!) He gives as much as he demands, from the crowd. It’s a partnership, a communion, of like minds.
Punk laced speed is the name of the long established game and infield is in constant motion, on the ground and in the air (or at least overhead). After the opening “Hellion Rising”, Katon removed his leather vest, to display a Slaughter (Canada) cut-off tee. “Drill Into The Brain” might be a fitting synopsis of the goings-on. “Warlords Command” is dedicated to Raven (“the Gallagher brothers”), like-minded lifetime warriors. “The Plague” saw the first circle pit of the day, bringing a broad smile to the frontman’s always expressive face. By audience demand, switching from the pre-printed setlist (to the crowd’s delight) it’s “Lightning Thunder”.
Some of the songs are over in a matter of minutes (or less), as they churn through “Hostile Territory”, “Bombs Of Death” and closing “Broken Neck”. Odd that 40+ years later, kids are still dressing like we did, back in the day, not merely reviving fashion as a trend. Something special about a band that gives it’s all, knowing that their place in the musical hierarchy is not going to change much (if at all), but still go out and deliver the goods, regardless. All hail Hirax!
Bewitcher may be on their way to similarly legendary status, via the constant touring and strong recorded output. To see them this high up an already talent-laden bill speaks highly of their (continuously rising) stature. The trio were one of the few witnessed indoors today, but the darkness and claustrophobic nature of the venue better suit the vibe. As with most acts inside, the stage was bathed in a steady diet of red and purple hues (know there are brighter/whiter, more photographic helpful colors up in the rafters, as we saw them, briefly, in the closing montage of “Bewitcher”.
Not sure why the LD refuses to help “promote” the bands, by using them earlier, when photogs are allowed in the pit). They opted for established fare, just the title track of the recent Spell Shock CD was aired. Otherwise, an almost non-stop barrage of speed, including “Too Fast For The Flames”, “Speed ’til You Bleed” and “Satanic Magick Attack” (with ominous alien green light sweeping the stage). Too damn short, need more Bewitcher!
By contrast, Raven opted to either play relatively new stuff, or concentrate on the Neat era, all but completely bypassing the American days. OK, I get it, the Atlantic period is dicey (yet they opted for “On And On”, off Stay Hard, but nothing from Megaforce (All For One)? Wow! Accents are also a funny proposition.
When a Geordie meets a southern drawl, do they (or vice versa) recognize it as English? “Fok auf, y’all!” After all these years touring (and living in) America, sure the Gallagher brothers (John, on bass/vocals and Mark, guitar) are used to it, by now. John yelped and shrieks his way through “Hell Patrol”, but lengthy rendition of “Rock Until You Drop” (complete with audience participation and Mark’s solo) segues into “Faster Than The Speed Of Light”. Surprised to hear “Chainsaw” as the set ender.
In the absence of any live Immortal dates, ex-frontman/guitarist Abbath has hit on a winning formula, playing a set of his former outfit’s classics. Saw it in Oslo, last summer and this year, he’s spreading the disease, overseas. Maybe just a coincidence, but something of a chill in the Texas night air, as the meister of the kingdom cold went onstage. Only occasionally, as on the red lit “Years Of Silent Sorrow” does he have a chance to really get away from the mic and walk about the stage a bit.
Looking healthy and good spirits, rocking back n’ forth, as he played, Abbath pulled out the hits, including “Sons Of Northern Darkness”, a deep blue shrouded “Tyrants” and “Damned In Black”. Wisps of smoke swirl around the stage, but never obtrusive. Still some action in the circle pit, as white spots pendulum across an otherwise darkened stage, for “One By One”. At one point, everything dead stops and Abbath stares back at the crowd, before restarting.
As always, night ends with “Blashyrkh (Mighty Ravendark)” the figurehead adopting an ornate, horned headdress. Can never hear these songs too often. Shame there was no “At The Heart Of Winter” on this tour, but maybe next time? Come back soon. Now on to tomorrow.
Photos: Day 1
Day 2
Early start today. Sölicitör is a speed metal outfit from Seattle, fronted by Amy Lee Carlson. While she cuts an imposing image onstage, all metaled out that would put Rob Halford to shame, she’s such a nice, genuine person. “Grip Of The Fist” kicks things off, as she stalks the stage, from side-to-side, forcefully pumping her fist and often singing perpendicularly to the crowd. The punk fueled “Speed Tyrant” goes down well, as does “Betrayer”, the crowd singing the titular chorus. This band needs to be seen/heard by more people Stateside.
A fan in the ‘80s, actually purchasing the Wages Of Mayhem demo, before the debut album, have been lucky enough to see the rejuvenated Nasty Savage 3 times, Stateside, in as many years. Even with the new Jeopardy Room CD, Nasty Ronnie and crew opted for old school material (airing only the title cut and the “6th Finger” instrumental). As always, Ronnie worked with masks and props, leading to the ultimately bloody destruction of a cathode ray tube television.
Initially he wore a spiked, wrestling hood, as he came out, for “Gladiator”. The singer toys with his “prey”, pulling the TV behind him, by it’s cord (like he’s walking a dog), during “Asmodeus”. Didn’t take but a few tugs and the cord snapped. Don’t make things like they used to! Ronnie ties the two parts together and continues his torture/foreplay.
During “Unchained Angel” he writes on the TV screen with a Sharpie: apparently marked for death! He’s aided by two backing vocals on the chorus. When not worried about the tele, Ronnie tosses band patches to the crowd. For “The Morgue” he dons a skull mask and distributes flowers to fans and lays them atop his eventual victim. The aforementioned instrumental gives Ronnie time to prepare for his rampage and “You Snooze, You Lose” sees him stare down the TV and begin the onslaught. He lifts it overhead and lets it crash to the deck of the stage. He lets it fall on his chest and again, on his “forehead.”
Not long before the plastic housing has given way and a pile of electronic debris lays around the stage. In a bit of self-mutilation, he bashes himself over the head and cuts his forehead, as he wipes blood on the cardboard setlist and hurls it towards eagerly awaiting fans, while “XXX” segues into concluding “Metal Knights”. Another successful performance.
From Spain, Hitten were making their debut foray into North America. A highly energetic two-guitar five-piece, featured lots of karate kicks and spins as they moved across the indoor stage. Only saw a bit, including “Mr. Know It All” as I prepared for the second Enforcer set. They had promised a different set. Initially concerned, as they again started with “Destroyer” (nothing wrong with the kick ass beginning, but previously aired) and proceeded to just juggle yesterday’s line-up: “Dying Evil” and “Unshackle Me”. True, the floodgates opened and there was more barricade activity than down at the Laredo border.
“From Beyond” slowed the sonic assault for a sing-along moment, the audience adding title phrase. So far, nothing not heard the day before, but cue “Hell Will Follow”. Totally unexpected! Then a cover of Black Sabbath’s “Die Young”. Good rendition too. Piped in music accompanied “Nostalgia”. It was three across the front of the stage, for “Running In Menace”, Olaf shrilling hitting the upper register. “Take Me Out of This Nightmare” saw backing vocals from the other guitar and bass, come the chorus, and the Swedes closed with “Midnight Vice”. Great set! Even if half of it was a repeat, would still love to see it again. Rumor has it they’ll be back, in September, with Rhapsody Of Fire, Striker and Witherfall. Fingers crossed!
For the next 2+ hours sort of hopped around, sampling the different venues, for small periods of time, beginning with friends, Haunt, with (relatively) new guitarist Joel Dominguez, from Saber. Trevor Church said this was the sixth time Haunt had played Hell’s Heroes (crediting the festival with impetus for creating Haunt) and announced that “Reflectors” was one that hadn’t been heard here. Most of the remaining set featured well-loved chestnuts.
“Hearts On Fire” picked up the pace. There was a pre-recorded intro to “Frozen In Time” and purple lit “As The Fire Burns”. Throughout the performance, both Church and Dominguez mounted lighted shadowboxes at the front of the stage, light shining up from below. Fun band, good songs. Out on the lawn, caught a bit of Gammacide, as onstage, three Day-Glo green barrels spewed (dry ice) “toxic waste”. A yellow hazmat suited worker, with gloves and a gas mask patrolled between the band members during “Fossilized”.
Next outside, was Absu, with make-up and silver gloved mainstay Proscriptor McGovern, he of an unconventional vocal style. On the opposite end of the spectrum, were the hard rock stylings of High Spirits, all attired in black tees and white pants. “Flying High” sent the room into a buzz, with its good time vibes. Chris Black announced a new tune, “In The Moonlight”. Is there a more unlikely rock star than Black, with a passing resemblance to a young (SNL era) curly hair Harry Shearer? “Restless” is followed by a purple lit “Full Power” and ultimately ending with their signature tune. Fun time.
Omen were also playing for the second time, in two days. The day before was a complete run-through the Battle Cry album. This was more of a greatest hits set, with no carry-overs. Similar to what they did at 2 Minutes To Tulsa, almost a year ago (their last show apparently). A shirtless Kenny Powell stood stage right and churned out songs he’s been playing since the mid-late Eighties. “Termination” (Cyborg lust!) opener is followed by “Ruby Eyes (Of The Serpent)”. The singer throws his arm around Powell’s shoulder and the guitarist blurts the titular quote into the mic.
A pole-mounted acoustic guitar introduces “Don’t Fear The Night” which was dedicated to the passing of Escape To Nowhere era singer Coburn Pharr (as well as original vocalist JD Kimball. “Warning Of Danger” is a sing-along. In fact, from “March On” onward the rest is mainly group karaoke. For merch from the stage, a few ballcaps are passed out as “In The Arena” hits a falsetto high and a cappella crowd. “Teeth Of The Hydra” and “Battle Cry” finish strong.
With the demise of Sepultura, the Cavalera brothers (Max on guitar/vocals & Igor on drums) are once again in charge of the legacy they founded. For me, the Sepultura sweat spot is Beneath The Remains, Rise And Chaos AD, even as the latter veers towards the Roots/Soulfly hybrid that would eventually, ahem, arise. The earlier, Brazilian recorded/released albums now form the backbone of the Cavalera (wise to reimagine the old squiggly drawn logo, with their surname), having recently re-recorded the nearly 40 year old platters.
Greater musical proficiency, better recording technology and changing tastes, have, over time, led to (if not a greater appreciation) at least an understanding of those earliest work, now on display. Hopefully the aforementioned favorites will gradually see an increased presence in future Cavalera setlists. While Max has completely embraced the metal ethos, scraggly beard and bullet belts galore, Igor, with short hair, round-rimmed glasses looks more akin to a jazz player, but make no mistake, he still rocks out, behind his kit.
“From the Past Comes the Storms” kicks in and a pocket down front form a circle pit, much to Max’s delight. Later, they will play “pass the trash” as they crowd surf inside trash cans! Is it thrash or trash? A pair of onstage video screens show still images (album artwork) as well as moving designs/images. “To The Wall” is followed by “Escape The Void”. The front end of the set is complete songs from the earliest works. The later half, they strung together medleys of the Roadrunner era material, including snippets of “Beneath The Remains” (but no longtime concert staple “Mass Hypnosis”), “Arise” and “Dead Embryonic Cells”. So there’s hope for expanded (full length) versions, moving forward!
Ironic side note. When Crimson Glory played Houston, in the 80s, current singer Travis Wills was working in that bar. Fast forward and he’s headlining one of the biggest metal fests, in his hometown. Even without the cancellation of Warlord, Crimson was probably THE most highly anticipated show of the weekend. Performing with two guitars (original Ben Jackson and newcomer Mark Borgmeyer) as well as an onstage keyboard player, the band ran through more than half of Transcendence and most of the better moments off the eponymous debut, beginning with “Valhalla”.
Have seen various incarnations: with Midnight, Wade Black, Todd La Torre, and now Wills, but this was the biggest headline gig. By “Where Dragons Rule”, Wills had ditched his leather jacket, as Borgmeyer moves center stage. Good start, front-loading a festival set with the faster/heavier first album material, to keep casual fans engaged. The purple/blue lit “Painted Skies” (off the more progressive/esoteric sophomore release) was good, but will not make anyone forget Midnight’s rendition.
Wills handles the “metal” debut tracks better than the later stuff. More aggressive “Masque Of The Read Death” is up next, the two guitarists square off, face-to-face, center stage. The music, like “Queen Of The Masquerade”, is great, but live, mainstay Jon Drenning was missed, in that they need a “ham” onstage, someone with “star caliber,” making a concert more than just an album playback session.
Tolling bells and blue smoke greet “Azrael”, the vocals on this one were killer! Would be better served earlier in the set. Taking a mask, from a fan pressed against the barricade, Wills sang with it on (rest of the band were facially “naked” for the entire evening) for the slower paced, purple/green hued “Lost Reflection”. Sure, “Lonely” was an attempt at pop single, but not sure 37 years later it still deserves a place near the end of set (wasn’t a favorite tune then, let alone now) and “Red Sharks” as a closer? Totally unexpected. Know it’s a monster to sing live, the rapid pace and verbose lyrically content, but leaves the crowd on an up note, for sure. The guys seem happy, and a new album (on BraveWords Records) is under construction, so let’s see what this new incarnation can do.
Photos: Day 2
Day 3
Night Cobra kick things off, the band fronted by Hell’s promoter Christian Larson. Honestly, he could give his band ANY slot on the festival, but hats off to him not playing favorites. The hard rocking band features an eclectic assortment of styles onstage, seemingly representing (but not purposefully a theme) several sub-genres: tattooed stoner biker bands, punks, leather clad metallers, even a hint of glam. At times, there’s a hint of Alice Cooper in Larson’s raspy delivery. Not the first time witnessing the band, although today, acknowledged, “We lost a legend this year,” as he walks onstage with a four foot blade and the Cobras belt out Heavy Load’s “Singing Swords”, in tribute to the late guitarist/singer Ragne Wahlquist.
Nice touch, especially at a boutique event like this, where fans know the reference. Concurrently, inside the White Oak Music Hall, White Magician are spinning a technically proficient spell, including a flamboyant bassist wrapped in a sparkling cape. Speed and dexterity are the name of the game, within a traditional/power metal context, long on instrumental passages. “Mad Magic II” and “Power Of The Stone” standing apart from the others.
Had no idea what to expect from Hellripper, a group of four young Scottish lads. Name sounds like another faceless black/death metal outfit, but they are neither and certainly left a positive impression on all who saw/heard what transpired. Been a long time since I’ve seen such an in-concert experience. Early in the day, both sides of the barricade were ready to play. Even before they started, vocalist/guitarist James McBain demanded a circle pit. In fact, he’d been bantering with those down front, during soundcheck, regarding the (nonexistent) level of his vocals.
Once “All Hail The Goat” (which he had hand-written on his guitar) pierced the air (sounding like “Turkey In The Straw” at breakneck speed), the floodgates opened. For the remainder of the set, the infield was a whirling mass of humanity: part circle pit, part slam dancing/impromptu wall of death. Bodies on bodies, in every way imaginable. Others went overhead, crowd surfing a constant stream forward, few riding in emptied trash bins!
Even with a couple of technical issues (amp straining under the Scots’ onslaught) the affable McBain chided and goaded the crowd into more insane antics. Would expect nothing less on their first stint in the States, fans and band alike with plenty of pent-up anticipation. “Hell’s Rock n Roll” seemed appropriate for the locale, more speed metal with guttural/gurgling death-like vo-kills. “Necro Slut” (dedicated to the bassist) and “From Hell” did nothing to stem the tide. To the uninitiated, perhaps the title “Goat Vomit Nightmare” encapsulates the sound, approach, delivery most accurately/succinctly.
However, “The Hanging Tree” takes a (somewhat) slower, more metered approach. By “Bastard Of Hades”, McBain wanted to know if there was a record for crowd surfing at Hell’s Heroes (unlikely there’d ever been as many), but that spurred the audience to even greater participation, before they ended with “Headless Angels”. As it concluded, the singer dove into the crowd, repeatedly bashing a beer can against his head and unleashing the contents (of the can, not his noggin) all over the adoring crowd. What a performance!
Tough act to follow, having worn out all but the most foolhardy ADHD folks, but Primordial offer their own unique spin on Irish darkness (despite a blazing sun overhead), fronted by the corpsepainted A.A. Nemtheanga (Alan Averill, to his friends), a noose perpetually around his neck. “No Grave Deep Enough” sets the scene, as Nemtheanga kneels/genuflects on the extensions that jut into the photo pit, closer to the crowd. Lyrically, there are allusions to prayer, sanctification, penance & redemption, as well as lethal force/capital punishment.
To that end, Averill imparts a history lesson: In the 1500s, the mayor of Galway, named Lynch, hung his own son. The surname is ironic, given his actions. Cue “Hell Or The Hangman”. Not the first time this weekend that we, the crowd, are repeatedly asked, “Are you with us?” A Celtic jig introduces “Victory Has 1000 Fathers, Defeat Is An Orphan” (great title!) and they end, with “Empire Falls”. Musical theater that must be experienced, at least once in your life.
Lots of folks packed inside, to see the North American debut of The Night Eternal (a two guitar quintet, from Germany). Initially under a cover of darkness, as the set progressed, more lights came on. Catchy, hard rock anthems and supercharged stage performance from the Flying V wielding guitarist and singer Ricardo Baum. “In Tartarus” and blue lit “Prince Of Darkness” were memorable, and when time allows, will delve deeper into the recorded output. Now it’s time to move back outside for SA Slayer.
While original singer Steve Cooper passed in 2006, this was a tribute to the San Antonio band that recorded just one EP and posthumous full-length (after disbanding in ’84), plus had the bad (?) luck to pick the Slayer moniker. Eventually, that add the SA (for their hometown), as the West Coast, Metal Blade signees were blowing up, big time, and threatened to sue.
Apart from Cooper (who did a stint fronting Juggernaut), the rest of those original players became well known within the scene: Ron Jarzombeck (guitar, WatchTower), Dave McClain (drums, Sacred Reich) and Don Van Stavern (bass, Riot V). Joining them onstage today, Jason McMaster (WatchTower, Dangerous Toys, Ignitor) on vocals and original guitarist Bob Catlin. While not steeped in the Texas lore, well aware of these individuals’ accomplishments. Something to see, for sure!
Late afternoon sun is almost directly into the eyes/cameras focusing on the stage. Early on, McMaster declares, “(SA Slayer) wrote some great songs, when they were children.” “Upon Us, The End” is up early. A little ride cymbal during “If You Want Evil”. Jason unleashed his higher register for “Unholy Book”. The lengthy instrumental “Off With Their Heads” sees Ron and Donnie standing face-to-face. Later, it’s “Hell Will Be Thy Name”. It must be fun for these guys to get an opportunity to jam together. “Final Holocaust” is up next to last, as that spot was reserved for the title track to the lone record, “Go For The Throat” (not the Shok Paris classic, released in ’84). Fun, as those onstage took it serious and gave it the proper importance.
Next up on the lawn, the Swiss Blitz. Had seen the first gig of the current Coroner trek and now it was the last one, although the setlist was virtually identical (albeit a few songs shorter, here). Ron Royce (aka Broder) announced that an album, of new material will be issued, in October. About time! “Semtex Revolution” was greeted like an old friend. By contrast, “Sacrificial Lamb” is reported to be part of the forthcoming record. “Masked Jackal”, sees bearded guitarist Tommy Vetterli (aka T. Baron) going crazy, with a solo. As usual, “Reborn Through Hate”, segueing into “Die By My Hand”, closes the set.
Hope you enjoyed your North American stint. Maybe we’ll see you again, soon? Inside, former Danzig guitarist, John Christ ran through a career retrospective. Barely visible, under dark purple lights and a ski cap/toque pulled down to the brim of his nose, Christ was understated and OK with the singer and other band members attempting to be the focal point. “Twist Of Cain”, with its trademark guitar rhythm, brought the skeptics into the fold. “Mother” would end the show.
Saw Samael on the 70000 Tons cruise, less than two months ago, where they also played the Ceremony Of Opposites CD (chronologically), in its entirety, my favorite by them. The night’s darkness was only broken by stage lights, but only when/where guitarist/frontman Vorph (and his brother, Xy, on drums/synth programming) wants them. In that regard, “Mask Of The Red Death” is illuminated by appropriately colored spots.
Last band of the weekend needs to be a big name and given their history/longevity, Saxon certainly qualify. After opening with newbie “Hell, Fire and Damnation”, it was pretty much a run through their greatest hits. Early on, mainstay vocalist Biff Byford is predominately standing in the back, letting the guitarists take the limelight (photo ops). “Backs To The Wall” follows “Power & The Glory”. Green lit “Motorcycle Man’ is followed by Byford reiterating, “We’ve played Texas many times before. We know this town knows how to rock.” Cue tune of the same name.
After “Heavy Metal Thunder” Biff gets chummy with the crowd, explaining they’re flying home tomorrow, but will check out the astronaut museum. Much as they began the night, it’s four across the stage, for “Dallas 1 PM”. Seamlessly merging “Strong Arm Of The Law” into “1066”, the two guitarists come together, center stage.
As the show begins to wind down, Biff tells the crowd they have a choice, between “Ride Like The Wind”, “And The Bands Played On” or “The Eagle Has Landed”, adding, “Shall we play two of them, or three of them? OK, best one first…” Offering purple hued “The Eagle Has Landed”, in Houston, makes sense, given NASA history: Brian Tatler takes the first solo, Doug Scarratt the latter. True to his word, Biff played all three.
Blue lit “And The Bands Played On” sees both guitarists on Tatler’s side of the stage. Must be feeling crazy, as the most surprising move is the inclusion of the Christopher Cross cover tune. Back to the classics, with “Denim & Leather”, a virtual start-to-finish crowd sing-along. Ditto “747 (Strangers In The Night)” and “Wheels Of Steel”. All good, until “Princess Of The Night” fell ill of a heretofore unused curfew. Mid-stream, Biff’s mic and the music goes silent. Never thought I’d see Saxon get silenced. Guess there’s a first time, for everything. No problem, still a great weekend. Let’s do it again!
Photos: Day 3
Next year’s dates are announced (March 19-21, 2026). In fact, Early Bird tickets are already on sale. Check out their Facebook page to keep updated on line-up announcements and updates.
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