POWERWOLF’s second North American tour was a theatrical heavy metal assault that left fans howling for more

Nowadays, the golden age of traditional US heavy metal-dominated scenes seems like a distant echo of the past, but across the Atlantic, the spirit that once fueled the genre continues to burn brightly. While North America has yet to experience a full-scale revival of this classic sound, the foundation may be quietly forming thanks to the influence of several European acts making significant waves on the live circuit.

Among them, Germany Powerwolf stands out. a band that has spent nearly two decades weaving classic horror tales into their music, laced with theatrical and mock-liturgical flair. Just last year, they embarked on their first North American tour, and in the final weeks of this past summer, the highly anticipated follow-up to their original trek arrived with a mighty roar. The result: Dozens of rotating shows in just two and a half weeks.

From August 29th to September 15th, fans from Los Angeles to Quebec, both returning from last year and new converts, witnessed a masterclass in melodic splendor and metallic fury. The visual presentation was a constant captivating force in itself throughout the venue, as the dance floor lights would illuminate a medley of elaborate LED illustrations behind five black-clad creatures of the night, instrument and microphone in hand.

The leading charge was Carsten Brillknown on stage as Attila Dornwhose classically trained baritone voice delivered a marathon performance. Over the course of a blistering two-hour set, he impeccably replicated the studio quality of 19 anthems, all while engaging the audience like a preacher in a fiery sermon. guitarist Matthew Greywolf and bassist Charleshis stage brother, strutted around the stage drumming with unbridled enthusiasm Roel Van Helden‘s technical prowess shook the foundations of every place.

Vocal leader and classically trained baritone Carsten Brillwhich is better known by its stage name Attila Dornled Powerwolf charge, in a display of Olympian endurance, faithfully recreating studio renditions of 19 bombastic anthems during a grueling 2-hour set and still leaving plenty of time to work the crowd with a lively shout-out that sounds like a fiery preacher’s mid-sermon. Guitarist Matthew Greywolf and bassist/brother’s stage name Charles were never shy about exploring the stage and technical drumming is on display with courtesy Roel Van Helden repeatedly shook the pillars of every place. It was a keyboard, though Falk Schlegelorgan and synthesizer work that often competed Dorn‘s powerful operatic wail that adds a rich layer to the listening experience.

Despite the elaborate visual display and monumental sound of these dark saints Saarland has been delivered, the music itself remained surprisingly accessible. True to the European power metal tradition established by pioneers such as helloweenwith singing, the choir reigned supreme. From the opening speed anthem “Bless ‘Em With The Blade” to the climax of “Werewolves Of Armenia”. AttilaThe resounding calls of the crowd were met with enthusiastic responses.

Some highlights where the audience’s enthusiasm was most palpable included a vocal rendition of “Demons Are A Girl’s Best Friend”., preceded by an a cappella back and forth Dorn and the crowd that reminds them Ronnie James says inspired a career spanning four decades no less, and the equally infectious rocker Heretic Hunters, which would also see Attila giving pre-song cues for greater audience participation.

Whether during the high-energy ride of “Armata Strigoi” or the soulful ballad “Alive or Undead”, every moment kept the audience spellbound in these lycanthropic gatherings.

They say good things come to those who wait and to the rare few who follow Powerwolf because of themselves 2005 debut, Return In Bloodredthe long journey this titanic outfit has taken to become a North American touring staple has been worth every minute.

In an era where music often favors stripped-down solo performances, Powerwolfa mixture of Merciful fate– such a visual sight and sound that marries the baroque styles of JS Bach with thunderous speed Priest Judas stands out boldly. Even in the realm of North American theatrical metal acts, PowerwolfThe trademark of is a cut above.

As the full moon rises, one thing is certain. this tour is already begging for a sequel to rise from the mists of Transylvania, and these loyal hordes are ready for another sacrilege from the High Priests of Heavy Metal.