Like metal, pizza comes in many flavors and if you’re a fan, you’ll probably sample any/all styles, while always returning to your favorites. Legions Of Metal festival provides a sampler, a smorgasbord of metallic sub-genres of inquisitive fans to mull over, digest and hopefully go home with a doggie-bag” morsels to enjoy at a later date.
Although there are two stages at Reggies, other than the headliners, set times overlap by 10+ minutes, which isn’t bad, except that some of the early acts only get a half hour. As such, there’s a lot of back and forth, between the two rooms and invariably you tend to miss at least a little something. The idea of this review is to inform those that weren’t there and to (hopefully) make the bands better, onstage, in the long run. My apologies to those who feel they got cut short.
DAY 1
5 PM, Friday… Quitting Time! “Yabba Dabba Doo!” can almost hear the bird crow, as Fred Flintstone slides down the back of his brontosaurus and heads home. In Chicago, folks made a beeline for the bar, where Legions Of Metal will commence in half an hour. Indiana based Sacred Leather are the first onstage, a badge of honor that’s a bit of a double-edged sword. Sure the crowd might be smaller than some later acts, but you’ve got everyone’s attention, as there are no other acts with which to compete. Been 7 years since the last album (a new one apparently on the way) and the guys were keen to unleash some new stuff.
The initial pair of songs (was one “Heaven’s Coming Down”?) from the leather and studded outfit were of the chugga chugga Judas Priest model. Good stuff, then they took a detour (“Wake Me Up”?) a slow, bass heavy blues number. Too abrupt a change. “Fallen Angel”, another newbie was a far cry from the openers, something of a commercial sound, with easy sing-along titular chorus. Returning to the pre-pandemic Ultimate Force disc, “Power Thrust” returns to traditional metal, with a hint of Priest. Watch for the new material!
Left a bit early to catch a glimpse of Queen Of Dreams, a progressive sextet, equally split between the sexes (female singer, bass player and keyboardist, whose sneakers lit up in pulsating disco colors). The Wisconsin natives offered a heavy dose of their recently issued sophomore full-length, Subnivium.
Was a fan of the early Castle debut (perhaps for the fact it was female sung Sabbthy slab). Over time, the follow-ups didn’t have the same impact and never had the chance to see the trio live. So there was wonder and anticipation leading up to Legions. The presentation did not disappoint, in fact it was faster and WAY more aggressive than the doomy studio material would have one believe.
In fact, frontwoman/bassist (an electric fan billowing her hair) Elizabeth Blackwell bounds about, headbangs, bends close to the fans, grins/grimaces and squeezes the most out of her instrument, including bass histrionics (is that a thing?). A vintage Slayer guitar riff rips the air and the opener segues seamlessly into “Red Phantom”. Lots of strobes and flashing lights as the animated Blackwell (who cleans up better than album artwork/promo pix would suggest) punctuates the beats with fist and hands overhead, despite the four-string around her neck. This is what I need the similarly constructed (female fronted trio) Sanhedrin to do and sound like. Look forward to the next visit to the Castle.
Tykin are from Rochester, NY, the alter ego of Dyspläcer, who played the festival a year ago. Outfitted in head-to-toe denim, lots of sunglasses (despite being indoors), bandannas, caps or (in the case of the singer) cowboys hats, they offer a hard rock/proto metal sound (with high pitched yelps), although they only have released three singles, to date. Visually (not musically), got the sense they were the US version of Striker, but I digress. Maybe it was just a coincidence (or the strained vocals), but at this point, noticed Reggies is one of the few rock bars that still sells earplugs (although I don’t use them).
Opened with “Strangers”. Second song in, they’re calling for cell phones to illuminate the room, for power ballad “Wounded Hearts”. The guys like to have fun and don’t take themselves too seriously. “Dogfighters” is a speedy number. After an impromptu chant of “Bob,” to the promoter, they launch into mid-tempo “Drippin’ Poison” and I move on…
Cardinals Folly are more of a typical doom act. Billed as Finnish, only mainstay bassist/singer Count Karnstein is from Europe, the other two were recruited from Madison, WI (but have toured as cardinals previously). The slow, grinding “Deranged Pagan Sons” works its way into your cerebellum, then suddenly goes for an unscheduled (up tempo) traditional metal gallop. Interesting composition. Aired here, “I Am The Zodiac” is scheduled to be on the next album (concerning the US serial killer). There’s no real stage presence, a little wandering away from the mic (occasionally standing face-to-face, or back-to-back with the guitarist) and virtually no interaction with the crowd. Early on, Karnstein plops down, taking a seat on the drum riser. “Secret Of The Runes” is a slice of classic doom.
Without a doubt, my favorite band of the day was Eaglewing, a two guitar quintet out of Denver. Heretofore, was unaware of them, let alone their music, but as soon as the tattooed, denim clad Bon Scott doppelganger stepped in front of me, knew there was a possibility of something good and “different” from the parade of power metal acts before and scheduled to come.
Actually the head of long curly hair was more in keeping with Rhett Forrester (which ain’t bad either), but didn’t prevent someone in the crowd yelling, “Bon Scott, you’re alive!” Ross Murphy just sort of smiled as the sleeveless jeans vest & bell bottoms adorned singer began what would be a shortened (by 10 minutes) set. It won’t be the last time I check them out though. With a double guitar flourish, they launched into the signature tune, up second and followed by “Hellraiser Wild”, both from the two-song eponymous EP of last year.
The music is a mix of hard rock/traditional metal, with whiskey hoarse vocals twin leads and killer guitar work. The shirtless Murphy loses the vest prior to the slower, bluesy “The Wayfarer”. Ultimately out of issued material, Eaglewing opt to close with a new offering, “No Time To Rest”. Great call getting them to Legions. Highly recommended.
Lots of overlap between the set times for Sonja and Myth Carver (nice Savatage Hall Of The Mountain King t-shirt on the vocalist) catching only bits of each. Melissa Moore, the brains behind Sonja, would actually play two sets this weekend, this being the more conventional/expected one.
She & the bassist were much more animated, throughout. In addition to originals (“We’re gonna play an old one,” Moore joked, at one point, before admitting they only have one release thus far) like the brooding “Fuck, Then Die”, upbeat glam/pop of “Nylon Nights” and “Moans From The Chapel”, the set closed with a pair of cover tunes. Who does that?
At festival appearances in Houston and Philly, over the last month, she opted to end with a lengthy, guitar driven rendition of Manowar’s “Bridge of Death” (testimony to an underground upbringing). While that was still the case at Legions, it was proceeded by a spirited run through Iron Maiden’s “Deja-vu”, to the fans’ delight.
Although Seven Spires were co-headliners/direct support (take your pick), they still saw fit to debut some new material, unveiling red lit “Impossible Tower” and “Where Sorrows Bear My Name”, both off last year’s A Fortress Called Home. Have only seen Adrienne Cowan onstage with Avantasia, so this was something new. How effortlessly this demure individual (although hands blackened to match her cinched waist outfit) can alternate between cooing and the occasional gremlin throat death metal growl. A one guitar foursome, symphonic accompaniment is piped in.
Never knew much about Toxic Holocaust. In fact, thought the peroxide blond guy with the headband almost over his eyes (aka Joel Grind) was Asian. He’s not, nor is he a blond any longer. Simple mindless thrash bludgeoning is the name of the game and a fun, low commitment way to end Friday night.
Day 1 photos
DAY 2
The show begins at 3:30 PM, two hours earlier, as there are three more bands, 13 total today.
First up, After Time, an operatic female fronted, two-guitar quintet offering occasional gruff male counterpoint. Apart from the shirtless, leather masked drummer (with animal fur on his shoulders), all the guys wore draw string tunics and the operatic singer, a blue Greek toga/dress. Playing along to piped-in symphonic backing, it sort of sounds like a Tarja-era Nightwish soundtrack: music to ride dragons and slay Valkyries (or vice versa). A lively, fun way to start the day. Apparently this was the first show of a new line-up and, moving forward, they need to learn how to interact with one another as it appeared like five individuals onstage, not a “band.”
Staying on the main stage Crossspitter, the lone black/death metal inclusion (and exclusive heavyweight: no thrash or anything more punishing, this year) decorated the stage with banners/placards espousing their “message”. A trio, with Sonja singer Melissa Moore playing second fiddle (actually, just guitar, under the pseudonym Donna Violence). It’s not as farfetched a scenario when one considers she cut her teeth in Absu. Her evil attire was a way-too-short Catholic schoolgirl skirt, the hemline dangling with multiple crucifixes, and topless, apart from a mesh half shirt, electric tape (in the form of inverted crosses, covering the “naughty bits.”)
There was a tuneful gallop within some of the bludgeoning, as Donna/Melissa contorted around her axe as the bassist Andy Horn (under the comical nickname, Norman Haightschristian) unleashed unholy vocals. To date they have just a demo and Piledriver cover to their name, although something approaching the title “Siren”, with a pre-recorded harp and female accompaniment was aired here.
The time overlap benefited Jersey based Psychoprism, as those that did cotton to black metal packed the Joint stage, next door hear some high intensity, neo-classical shred guitar, alongside some high pitched vocals. The one guitar foursome got the crowd to participate on “Cronos”. Despite the confined space, on a small stage, they still moved about. Hopefully After Time was taking notes. Surprise of surprises, apparently MTV is playing videos (on some format), as Psychoprism have been in rotation, alongside metallic big names, for nine weeks now, with “Time Will Tell’ (not the Fifth Angel tune). Check it out online.
Graveshadow were a revelation (although seeing green-haired frontwoman Rachl Quinn drink from a plastic, Croc type clog, afterwards, was more than enough). Apparently a former Chitown resident, of six years, perhaps she was just happy to be back? The Sacramento five-piece is composed of three women and two male guitar players. Quinn uses lots of profanity, as adjectives and takes control onstage, often singing from the lip (appropriately) of the stage, or with a foot up on the wedge monitors.
Power metal, with some backing tapes, the guitars lay down a crushing foundation. “Shadow Battles” and “The Swordsman”, both off the most recent album (2022) The Uncertain Hour, were part of a set that concluded with video/single “Vengeance Of Envy”, which concerns the anime character Roy Mustang, from the Full Metal Alchemist series.
Oracle, out of St. Louis, are a twin guitar quartet, the bassist doubling on vocals. Interesting that one guitarist wore a Symphony X tee, as similarities in styles were evident. Early on, they were hampered by some technical issues (unreliable backing tracks). No one ever approached the mic, and I watched several minutes, as they attempted to reset, cycling through all the upcoming clips, but they never did get in right. Ultimately they announced they were bailing on the uncooperative opening track and I soon followed, as one of my main reasons for attending Legions this year, was about to hit the main stage.
Have seen Intranced a few times already, but since they’re based in Cali (apart from absentee bassist Nico Staub, who was in his native Argentina), it’s not as often as I’d like and they’re gearing up for their first European experience, so felt the need to check out any progress and what the overseas audiences can expect. James Paul Luna is one of the (unfortunately) unheralded voices in metal (nice guy too), having experience in White Wizzard and Holy Grail before turning to Intranced.
Until tonight, always felt lone guitarist Fili Bibiano was too shy, seemingly awed by the step up in stature (and having to share the stage with Luna, who is a star). No longer, the guitarist was confident, approaching the crowd, even maneuvering center stage, smiling and willing to show off his considerable prowess. The band is much better for it, in the overall presentation.
The singer began the night, draped in a lavender cape, for the Spanish lyric “Reyes de las Tinieblas”, the position that tune also occupies on the Muerte Y Metal debut. The singer, without a cape, grooves around the stage, not really a shimmy, nor a strut, during catchy “Switchblade”. So far the running order mirrors the album. He dons a tiger print shirt for the title track (which alternates between Spanish & English vocals), brandishing a macuahuitl, the wooden club/paddle/cudgel weaponry of the early Mesoamerican cultures, as Bibiano takes center stage. “OK, for all your devil worshippers,” announced Luna, who re-attaches the cape, dancing about for non-album cut “La Fuerza Negra”.
Picking up the pace, “Lady Lightning” sees Luna, stage front, on his knees, extolling the guitarist, as the bassist moves to stage left. “Passionate Pretender” sees the bass player add backing vocals and Luna jumps and headbangs. The old White Wizzard chestnut “High Speed GTO” has been adopted by Intranced, as a group headbang ensues, the singer leaping off the wedge monitors then returning to his knees, at the feet of the blazing guitarist. A successful, but all-too-short evening is capped by their signature tune, as the singer makes sure everyone knows, “Intranced, by the band Intranced, from the album (actually EP) Intranced.” have a feeling you’ll be hearing that name quite often, moving forward! In Europe, knock ’em dead kids! See you soon.
To date, Mystigaard (the creation of Chamber Mage bassist Ted Jedlicki) have only released three singles (some of which were free, for the taking, at the merch booth), which makes filling out a 40 minute set quite difficult. In addition to originals like “The Painter Of Lore” and “Running From The Masked Horseman”, they had to resort to cover tunes, filling out the space with Thor’s “Thunder On The Tundra” and Dio’s “Rainbow In The Dark”. Local legacy act Slauter Xtroyes had just returned from Germany and the Keep It True Festival.
Their asymmetrical constructions, punctuated by falsetto accents are akin to WatchTower, albeit more accessible. The old school fans showed up to see their heroes once again. Playing simultaneously was the dual vocalist, one guitar five piece Valkyrie’s Fire. The Nashville band bill themselves as “Epic European metal, from the USA” and that’s not a lie.
Looking like an Irish lass, straight out of central casting, the red haired, female singer (wreath of twigs around her head) trills and then practically a curtsy as she enjoys her time onstage. Her more traditional metallic looking singing partner took a more stoic stance. They opened with Ride Of The Valkyrie” which also begins last year’s Ascension Ep, the only release to date, but were plugging an upcoming album, with new material, including a cut about stargazing.
High Spirits are also native to the Chicago area and mush like Hell’s Heroes, Chris Black and crew offered a fun set of energetic anthems. The bug-eyed singer was even more lively, his wife and kid in the crowd. “Flying High” sets the pace, right out of the gate, airy and smile inducing. “This Is The Night” shows no sign of letting up and the band members (all attired in matching white tops and black pants) move effortless around the stage, enjoying themselves almost as much those in the audience. Black announces “In The Moonlight” as “Our last single,” then corrects himself, as there’s no finality planned, to “Our latest single.”
Good to know they’ll be around for a while longer. A mid-song, high five/fist-bump shows they’re all together (so simple an act to portray band unity). Periodically, Black works his way (awkwardly) around the stage, interacting (awkwardly) with each bandmate. “Full Power” is faster than most, but no less a friendly ditty. Vintage “I Need To Know” gets an airing for the longstanding, hometown faithful. As usual, the signature tune closes things out. For an entertaining night, definitely worth checking out, if they come nearby.
Been ages since I’ve seen Division live, although see some of the guys from this Virginia band, annually, as attendees at ProgPower. Under otherworldly green light, opening “Free” is followed by “Eleventh Hour”, the latter greeted like an old friend. Last band on the Joint stage, seems like the lighting guy took the rest of the night off, as the lights rarely change and just monochromatic choices. No matter to the band, who soldier on. A scream introduces the title track from their ’96 debut, Paradise Lost.
After “Children Of The Stone”, the guys are worried about stepping on Seven Kingdoms set time (“You should go see them,” was actually espoused from the Joint stage: very magnanimous!). Assured they have enough time, “Ultra-Sane” provides Matt Crooks with a chance to add gruff backing vocals and some tasty lead work and tapping. They end impromptu, with a rough version of “Heaven & Hell”, as they covered on Ascension To Eternity (back in ’98).
Seemingly always on the road, Seven Kingdoms were able to fill in, as a last minute replacement for Heathen, sidelined by visa issues. Consequently, several in the crowd (and onstage) sported Heathen shirts today. Camden & Sabrina Cruz (she of the sparkling bodysuit, tiara/crown and hamburger slippers) led their two-guitar foursome through a greatest hits set, which also featured all four originals off the recent The Square EP, although “After The Fall” kicks it all off. Spikey haired guitarist Camden loved to play, chewing scenery and pulling faces: mouth agape, or tongue out. “The Square” sees some circle pit action in the crowd.
Unlike so many contemporaries, Seven Kingdoms looks like they’re having fun and enjoy each other’s company, onstage. Sabrina might be on the mic, but Cam mouths almost every word, as he presses close to the fans at the edge of the stage. “Valonqar” is followed by newbie “Wilted Pieces” which deals with mental health and upon its conclusion, the singer (who has been wandering the stage, waving a crown) offers words of encouragement to anyone who might be struggling with personal issues. Their night concludes with the speedy “In The Walls”. Always a fun evening, when the Kingdoms are in town.
Crimson Glory, you know how to capture old school hearts, going right to “Valhalla” to open the set. As mentioned previously, feel singer Travis Wills handles the straight ahead metal of the debut era material better than that off the more nuanced Transcendence. This wins over the skeptics, right away. “Dragon Lady”, up next only cements that sentiment, as Cheshire grins adorns most faces in the crowd. Stage right is mainstay guitarist Ben Jackson. Also lurking behind him, like a plotting mad scientist, is original bassist Jeff Lords. Know this has been the onstage set-up since the ‘80s, but with two OGs and Wills on one side of the stage, at times, visually, it seems a little lopsided (even with a keyboardist now front & center, equal billing to the rest). Maybe just my old school eyes are drawn to the old cast members?
Wills loses the black leather jacket by “Lady Of Winter”, Jackson and new guitar tandem partner Mark Borgmeyer adding backing vocals, as the bassist wanders over to the keys. “Where Dragons Rule” sees Borgy venture center stage, for the solo. Jangly guitar and clear/bare vocals on “Painted Skies”, the first really aesthetic construction of the evening, which gives folks a chance to truly compare Wills to the late/great Midnight and he passes the test!
“Mask Of The Red Death” see both six-stringers, playing dual leads, center stage and Lords uses his phone to record the crowd. The high vocals on “Queen Of The Masquerade” provide a true “Is it live, or is it Memorex” moment, for Wills. It’s that good. After decades of listening to the original, “In Dark Places” has a different vibe (not just the sound), right from the start. Lords again visits the keys and stays stage left throughout.
Hey Jeff, living in Florida, you might want to avoid a “farmer’s tan” before opting for sleeveless stagewear. “Eternal World” gives way to the twin leads of “Azrael”. Afterwards, the stage is cleared, just keyboards and Travis, alone onstage for “Lost Reflection”. Come on, I know “Lonely” was a video single in the ‘80s, but it shouldn’t be the proper set ending finale in 2025 and beyond (especially overseas. You’ve got stronger, better loved songs.
Case in point, the nearly speed metal delivery of “Red Sharks”, the lone encore. A bit of an odd choice and certainly can’t imagine Midnight thinking that would be the sign-off (wasn’t, back-in-the-day, as he complained about the stamina needed for the rapid fire verbosity. And so late in the set?). Travis has time/resilience to climb atop Dana Burnell’s drum riser. Can’t wait to hear the new album, and more tour dates! Welcome back.
In 2026, think about joining the party!
Day 2 photos
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Although there are two stages at Reggies, other than the headliners, set times overlap by 10+ minutes, which isn’t bad, except that some of the early acts only get a half hour. As such, there’s a lot of back and forth, between the two rooms and invariably you tend to miss at least a little something. The idea of this review is to inform those that weren’t there and to (hopefully) make the bands better, onstage, in the long run. My apologies to those who feel they got cut short.
DAY 1
5 PM, Friday… Quitting Time! “Yabba Dabba Doo!” can almost hear the bird crow, as Fred Flintstone slides down the back of his brontosaurus and heads home. In Chicago, folks made a beeline for the bar, where Legions Of Metal will commence in half an hour. Indiana based Sacred Leather are the first onstage, a badge of honor that’s a bit of a double-edged sword. Sure the crowd might be smaller than some later acts, but you’ve got everyone’s attention, as there are no other acts with which to compete. Been 7 years since the last album (a new one apparently on the way) and the guys were keen to unleash some new stuff.
The initial pair of songs (was one “Heaven’s Coming Down”?) from the leather and studded outfit were of the chugga chugga Judas Priest model. Good stuff, then they took a detour (“Wake Me Up”?) a slow, bass heavy blues number. Too abrupt a change. “Fallen Angel”, another newbie was a far cry from the openers, something of a commercial sound, with easy sing-along titular chorus. Returning to the pre-pandemic Ultimate Force disc, “Power Thrust” returns to traditional metal, with a hint of Priest. Watch for the new material!
Left a bit early to catch a glimpse of Queen Of Dreams, a progressive sextet, equally split between the sexes (female singer, bass player and keyboardist, whose sneakers lit up in pulsating disco colors). The Wisconsin natives offered a heavy dose of their recently issued sophomore full-length, Subnivium.
Was a fan of the early Castle debut (perhaps for the fact it was female sung Sabbthy slab). Over time, the follow-ups didn’t have the same impact and never had the chance to see the trio live. So there was wonder and anticipation leading up to Legions. The presentation did not disappoint, in fact it was faster and WAY more aggressive than the doomy studio material would have one believe.
In fact, frontwoman/bassist (an electric fan billowing her hair) Elizabeth Blackwell bounds about, headbangs, bends close to the fans, grins/grimaces and squeezes the most out of her instrument, including bass histrionics (is that a thing?). A vintage Slayer guitar riff rips the air and the opener segues seamlessly into “Red Phantom”. Lots of strobes and flashing lights as the animated Blackwell (who cleans up better than album artwork/promo pix would suggest) punctuates the beats with fist and hands overhead, despite the four-string around her neck. This is what I need the similarly constructed (female fronted trio) Sanhedrin to do and sound like. Look forward to the next visit to the Castle.
Tykin are from Rochester, NY, the alter ego of Dyspläcer, who played the festival a year ago. Outfitted in head-to-toe denim, lots of sunglasses (despite being indoors), bandannas, caps or (in the case of the singer) cowboys hats, they offer a hard rock/proto metal sound (with high pitched yelps), although they only have released three singles, to date. Visually (not musically), got the sense they were the US version of Striker, but I digress. Maybe it was just a coincidence (or the strained vocals), but at this point, noticed Reggies is one of the few rock bars that still sells earplugs (although I don’t use them).
Opened with “Strangers”. Second song in, they’re calling for cell phones to illuminate the room, for power ballad “Wounded Hearts”. The guys like to have fun and don’t take themselves too seriously. “Dogfighters” is a speedy number. After an impromptu chant of “Bob,” to the promoter, they launch into mid-tempo “Drippin’ Poison” and I move on…
Cardinals Folly are more of a typical doom act. Billed as Finnish, only mainstay bassist/singer Count Karnstein is from Europe, the other two were recruited from Madison, WI (but have toured as cardinals previously). The slow, grinding “Deranged Pagan Sons” works its way into your cerebellum, then suddenly goes for an unscheduled (up tempo) traditional metal gallop. Interesting composition. Aired here, “I Am The Zodiac” is scheduled to be on the next album (concerning the US serial killer). There’s no real stage presence, a little wandering away from the mic (occasionally standing face-to-face, or back-to-back with the guitarist) and virtually no interaction with the crowd. Early on, Karnstein plops down, taking a seat on the drum riser. “Secret Of The Runes” is a slice of classic doom.
Without a doubt, my favorite band of the day was Eaglewing, a two guitar quintet out of Denver. Heretofore, was unaware of them, let alone their music, but as soon as the tattooed, denim clad Bon Scott doppelganger stepped in front of me, knew there was a possibility of something good and “different” from the parade of power metal acts before and scheduled to come.
Actually the head of long curly hair was more in keeping with Rhett Forrester (which ain’t bad either), but didn’t prevent someone in the crowd yelling, “Bon Scott, you’re alive!” Ross Murphy just sort of smiled as the sleeveless jeans vest & bell bottoms adorned singer began what would be a shortened (by 10 minutes) set. It won’t be the last time I check them out though. With a double guitar flourish, they launched into the signature tune, up second and followed by “Hellraiser Wild”, both from the two-song eponymous EP of last year.
The music is a mix of hard rock/traditional metal, with whiskey hoarse vocals twin leads and killer guitar work. The shirtless Murphy loses the vest prior to the slower, bluesy “The Wayfarer”. Ultimately out of issued material, Eaglewing opt to close with a new offering, “No Time To Rest”. Great call getting them to Legions. Highly recommended.
Lots of overlap between the set times for Sonja and Myth Carver (nice Savatage Hall Of The Mountain King t-shirt on the vocalist) catching only bits of each. Melissa Moore, the brains behind Sonja, would actually play two sets this weekend, this being the more conventional/expected one.
She & the bassist were much more animated, throughout. In addition to originals (“We’re gonna play an old one,” Moore joked, at one point, before admitting they only have one release thus far) like the brooding “Fuck, Then Die”, upbeat glam/pop of “Nylon Nights” and “Moans From The Chapel”, the set closed with a pair of cover tunes. Who does that?
At festival appearances in Houston and Philly, over the last month, she opted to end with a lengthy, guitar driven rendition of Manowar’s “Bridge of Death” (testimony to an underground upbringing). While that was still the case at Legions, it was proceeded by a spirited run through Iron Maiden’s “Deja-vu”, to the fans’ delight.
Although Seven Spires were co-headliners/direct support (take your pick), they still saw fit to debut some new material, unveiling red lit “Impossible Tower” and “Where Sorrows Bear My Name”, both off last year’s A Fortress Called Home. Have only seen Adrienne Cowan onstage with Avantasia, so this was something new. How effortlessly this demure individual (although hands blackened to match her cinched waist outfit) can alternate between cooing and the occasional gremlin throat death metal growl. A one guitar foursome, symphonic accompaniment is piped in.
Never knew much about Toxic Holocaust. In fact, thought the peroxide blond guy with the headband almost over his eyes (aka Joel Grind) was Asian. He’s not, nor is he a blond any longer. Simple mindless thrash bludgeoning is the name of the game and a fun, low commitment way to end Friday night.
Day 1 photos
DAY 2
The show begins at 3:30 PM, two hours earlier, as there are three more bands, 13 total today.
First up, After Time, an operatic female fronted, two-guitar quintet offering occasional gruff male counterpoint. Apart from the shirtless, leather masked drummer (with animal fur on his shoulders), all the guys wore draw string tunics and the operatic singer, a blue Greek toga/dress. Playing along to piped-in symphonic backing, it sort of sounds like a Tarja-era Nightwish soundtrack: music to ride dragons and slay Valkyries (or vice versa). A lively, fun way to start the day. Apparently this was the first show of a new line-up and, moving forward, they need to learn how to interact with one another as it appeared like five individuals onstage, not a “band.”
Staying on the main stage Crossspitter, the lone black/death metal inclusion (and exclusive heavyweight: no thrash or anything more punishing, this year) decorated the stage with banners/placards espousing their “message”. A trio, with Sonja singer Melissa Moore playing second fiddle (actually, just guitar, under the pseudonym Donna Violence). It’s not as farfetched a scenario when one considers she cut her teeth in Absu. Her evil attire was a way-too-short Catholic schoolgirl skirt, the hemline dangling with multiple crucifixes, and topless, apart from a mesh half shirt, electric tape (in the form of inverted crosses, covering the “naughty bits.”)
There was a tuneful gallop within some of the bludgeoning, as Donna/Melissa contorted around her axe as the bassist Andy Horn (under the comical nickname, Norman Haightschristian) unleashed unholy vocals. To date they have just a demo and Piledriver cover to their name, although something approaching the title “Siren”, with a pre-recorded harp and female accompaniment was aired here.
The time overlap benefited Jersey based Psychoprism, as those that did cotton to black metal packed the Joint stage, next door hear some high intensity, neo-classical shred guitar, alongside some high pitched vocals. The one guitar foursome got the crowd to participate on “Cronos”. Despite the confined space, on a small stage, they still moved about. Hopefully After Time was taking notes. Surprise of surprises, apparently MTV is playing videos (on some format), as Psychoprism have been in rotation, alongside metallic big names, for nine weeks now, with “Time Will Tell’ (not the Fifth Angel tune). Check it out online.
Graveshadow were a revelation (although seeing green-haired frontwoman Rachl Quinn drink from a plastic, Croc type clog, afterwards, was more than enough). Apparently a former Chitown resident, of six years, perhaps she was just happy to be back? The Sacramento five-piece is composed of three women and two male guitar players. Quinn uses lots of profanity, as adjectives and takes control onstage, often singing from the lip (appropriately) of the stage, or with a foot up on the wedge monitors.
Power metal, with some backing tapes, the guitars lay down a crushing foundation. “Shadow Battles” and “The Swordsman”, both off the most recent album (2022) The Uncertain Hour, were part of a set that concluded with video/single “Vengeance Of Envy”, which concerns the anime character Roy Mustang, from the Full Metal Alchemist series.
Oracle, out of St. Louis, are a twin guitar quartet, the bassist doubling on vocals. Interesting that one guitarist wore a Symphony X tee, as similarities in styles were evident. Early on, they were hampered by some technical issues (unreliable backing tracks). No one ever approached the mic, and I watched several minutes, as they attempted to reset, cycling through all the upcoming clips, but they never did get in right. Ultimately they announced they were bailing on the uncooperative opening track and I soon followed, as one of my main reasons for attending Legions this year, was about to hit the main stage.
Have seen Intranced a few times already, but since they’re based in Cali (apart from absentee bassist Nico Staub, who was in his native Argentina), it’s not as often as I’d like and they’re gearing up for their first European experience, so felt the need to check out any progress and what the overseas audiences can expect. James Paul Luna is one of the (unfortunately) unheralded voices in metal (nice guy too), having experience in White Wizzard and Holy Grail before turning to Intranced.
Until tonight, always felt lone guitarist Fili Bibiano was too shy, seemingly awed by the step up in stature (and having to share the stage with Luna, who is a star). No longer, the guitarist was confident, approaching the crowd, even maneuvering center stage, smiling and willing to show off his considerable prowess. The band is much better for it, in the overall presentation.
The singer began the night, draped in a lavender cape, for the Spanish lyric “Reyes de las Tinieblas”, the position that tune also occupies on the Muerte Y Metal debut. The singer, without a cape, grooves around the stage, not really a shimmy, nor a strut, during catchy “Switchblade”. So far the running order mirrors the album. He dons a tiger print shirt for the title track (which alternates between Spanish & English vocals), brandishing a macuahuitl, the wooden club/paddle/cudgel weaponry of the early Mesoamerican cultures, as Bibiano takes center stage. “OK, for all your devil worshippers,” announced Luna, who re-attaches the cape, dancing about for non-album cut “La Fuerza Negra”.
Picking up the pace, “Lady Lightning” sees Luna, stage front, on his knees, extolling the guitarist, as the bassist moves to stage left. “Passionate Pretender” sees the bass player add backing vocals and Luna jumps and headbangs. The old White Wizzard chestnut “High Speed GTO” has been adopted by Intranced, as a group headbang ensues, the singer leaping off the wedge monitors then returning to his knees, at the feet of the blazing guitarist. A successful, but all-too-short evening is capped by their signature tune, as the singer makes sure everyone knows, “Intranced, by the band Intranced, from the album (actually EP) Intranced.” have a feeling you’ll be hearing that name quite often, moving forward! In Europe, knock ’em dead kids! See you soon.
To date, Mystigaard (the creation of Chamber Mage bassist Ted Jedlicki) have only released three singles (some of which were free, for the taking, at the merch booth), which makes filling out a 40 minute set quite difficult. In addition to originals like “The Painter Of Lore” and “Running From The Masked Horseman”, they had to resort to cover tunes, filling out the space with Thor’s “Thunder On The Tundra” and Dio’s “Rainbow In The Dark”. Local legacy act Slauter Xtroyes had just returned from Germany and the Keep It True Festival.
Their asymmetrical constructions, punctuated by falsetto accents are akin to WatchTower, albeit more accessible. The old school fans showed up to see their heroes once again. Playing simultaneously was the dual vocalist, one guitar five piece Valkyrie’s Fire. The Nashville band bill themselves as “Epic European metal, from the USA” and that’s not a lie.
Looking like an Irish lass, straight out of central casting, the red haired, female singer (wreath of twigs around her head) trills and then practically a curtsy as she enjoys her time onstage. Her more traditional metallic looking singing partner took a more stoic stance. They opened with Ride Of The Valkyrie” which also begins last year’s Ascension Ep, the only release to date, but were plugging an upcoming album, with new material, including a cut about stargazing.
High Spirits are also native to the Chicago area and mush like Hell’s Heroes, Chris Black and crew offered a fun set of energetic anthems. The bug-eyed singer was even more lively, his wife and kid in the crowd. “Flying High” sets the pace, right out of the gate, airy and smile inducing. “This Is The Night” shows no sign of letting up and the band members (all attired in matching white tops and black pants) move effortless around the stage, enjoying themselves almost as much those in the audience. Black announces “In The Moonlight” as “Our last single,” then corrects himself, as there’s no finality planned, to “Our latest single.”
Good to know they’ll be around for a while longer. A mid-song, high five/fist-bump shows they’re all together (so simple an act to portray band unity). Periodically, Black works his way (awkwardly) around the stage, interacting (awkwardly) with each bandmate. “Full Power” is faster than most, but no less a friendly ditty. Vintage “I Need To Know” gets an airing for the longstanding, hometown faithful. As usual, the signature tune closes things out. For an entertaining night, definitely worth checking out, if they come nearby.
Been ages since I’ve seen Division live, although see some of the guys from this Virginia band, annually, as attendees at ProgPower. Under otherworldly green light, opening “Free” is followed by “Eleventh Hour”, the latter greeted like an old friend. Last band on the Joint stage, seems like the lighting guy took the rest of the night off, as the lights rarely change and just monochromatic choices. No matter to the band, who soldier on. A scream introduces the title track from their ’96 debut, Paradise Lost.
After “Children Of The Stone”, the guys are worried about stepping on Seven Kingdoms set time (“You should go see them,” was actually espoused from the Joint stage: very magnanimous!). Assured they have enough time, “Ultra-Sane” provides Matt Crooks with a chance to add gruff backing vocals and some tasty lead work and tapping. They end impromptu, with a rough version of “Heaven & Hell”, as they covered on Ascension To Eternity (back in ’98).
Seemingly always on the road, Seven Kingdoms were able to fill in, as a last minute replacement for Heathen, sidelined by visa issues. Consequently, several in the crowd (and onstage) sported Heathen shirts today. Camden & Sabrina Cruz (she of the sparkling bodysuit, tiara/crown and hamburger slippers) led their two-guitar foursome through a greatest hits set, which also featured all four originals off the recent The Square EP, although “After The Fall” kicks it all off. Spikey haired guitarist Camden loved to play, chewing scenery and pulling faces: mouth agape, or tongue out. “The Square” sees some circle pit action in the crowd.
Unlike so many contemporaries, Seven Kingdoms looks like they’re having fun and enjoy each other’s company, onstage. Sabrina might be on the mic, but Cam mouths almost every word, as he presses close to the fans at the edge of the stage. “Valonqar” is followed by newbie “Wilted Pieces” which deals with mental health and upon its conclusion, the singer (who has been wandering the stage, waving a crown) offers words of encouragement to anyone who might be struggling with personal issues. Their night concludes with the speedy “In The Walls”. Always a fun evening, when the Kingdoms are in town.
Crimson Glory, you know how to capture old school hearts, going right to “Valhalla” to open the set. As mentioned previously, feel singer Travis Wills handles the straight ahead metal of the debut era material better than that off the more nuanced Transcendence. This wins over the skeptics, right away. “Dragon Lady”, up next only cements that sentiment, as Cheshire grins adorns most faces in the crowd. Stage right is mainstay guitarist Ben Jackson. Also lurking behind him, like a plotting mad scientist, is original bassist Jeff Lords. Know this has been the onstage set-up since the ‘80s, but with two OGs and Wills on one side of the stage, at times, visually, it seems a little lopsided (even with a keyboardist now front & center, equal billing to the rest). Maybe just my old school eyes are drawn to the old cast members?
Wills loses the black leather jacket by “Lady Of Winter”, Jackson and new guitar tandem partner Mark Borgmeyer adding backing vocals, as the bassist wanders over to the keys. “Where Dragons Rule” sees Borgy venture center stage, for the solo. Jangly guitar and clear/bare vocals on “Painted Skies”, the first really aesthetic construction of the evening, which gives folks a chance to truly compare Wills to the late/great Midnight and he passes the test!
“Mask Of The Red Death” see both six-stringers, playing dual leads, center stage and Lords uses his phone to record the crowd. The high vocals on “Queen Of The Masquerade” provide a true “Is it live, or is it Memorex” moment, for Wills. It’s that good. After decades of listening to the original, “In Dark Places” has a different vibe (not just the sound), right from the start. Lords again visits the keys and stays stage left throughout.
Hey Jeff, living in Florida, you might want to avoid a “farmer’s tan” before opting for sleeveless stagewear. “Eternal World” gives way to the twin leads of “Azrael”. Afterwards, the stage is cleared, just keyboards and Travis, alone onstage for “Lost Reflection”. Come on, I know “Lonely” was a video single in the ‘80s, but it shouldn’t be the proper set ending finale in 2025 and beyond (especially overseas. You’ve got stronger, better loved songs.
Case in point, the nearly speed metal delivery of “Red Sharks”, the lone encore. A bit of an odd choice and certainly can’t imagine Midnight thinking that would be the sign-off (wasn’t, back-in-the-day, as he complained about the stamina needed for the rapid fire verbosity. And so late in the set?). Travis has time/resilience to climb atop Dana Burnell’s drum riser. Can’t wait to hear the new album, and more tour dates! Welcome back.
In 2026, think about joining the party!
Day 2 photos
More photos:
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