While size and venue for the last 15 years have remained constant, Prog Power has undergone many changes. The composition of the crowd is decidedly younger and no longer "exclusively" male. Both are important developments for the health of these bands, the festival and the genre(s) in general, both severely undernourished in North America. Another amazing trend (especially considering the draw, this ain't some outdoor festival attended by tens of thousands) is the ability to request/demand (and bands' willingness to comply) to perform exclusive sets, frequently airing some classic from their catalog in its entirety. Over the course of two days, a third of the bands opted for such an undertaking. Not to be outdone, Norway's Pagan's Mind headlined Thursday's Pre-Party (separate admission) with a run through Celestial Entrance. Many of them filmed their show, for possible DVD release. Already a fan friendly event, with free meet & greet/signing sessions and frequent up-close, interpersonal contact throughout the weekend, albums in their entirety are the type of moments onwhich ProgPower prides itself.

After more than a decade of constructing essentially the same review, for 2014 I've decided that, unless they totally blew me away, it seems pointless to comment on acts that failed to keep my interest, thus sticking with just the tried and true.

 

 

Pagan"s Mind were one of the acts filming a DVD (see how many shirt changes frontman Nils K. Rue goes through). No newcomers to this festival, the Norge wasted no time, jumping right into Celestial Entrance, although I prefer the heavier God's Equation. "Through Osiris' Eyes", a dozen years later, remains one of their most recognizable songs. Unlike last time in the States, Ronny Tegner's keys are on a swivel, so he doesn't have to just look straight ahead. When Rue departs the stage, time for Jørn Viggo Lofstad to unload some whammy bar action, while on the opposite side of the stage, the bald hulking,but affable Steinar Krokmo smiles and pounds out his bass. Later he'd don a cowboy hat. It is the south, after all.

The ballad "Aegean Shores" sees Rue welling up, tears in his eyes, as much with love for the fans and their response, as to the lyrical sentiment. Following the album run-through, there was a second, full set of hits, including 'New World Order', the David Bowie cover "Hello Spaceboy" and a pair of tunes with Circus Maximus singer Michael Eriksen. Stian Kristoffersen's drum solo utilized luminous blue fluorescent sticks, not the only time they'd be on display this weekend. Just when you thought the show was over, they returned for a two-song encore: "God's Equation" and "United Alliance".

The two times I'd previously witnessed Orden Ogan live, owing much to countrymen Blind Guardian, left me cold. Loved most of the recorded output, but something was wrong onstage. No such problems in Atlanta, where the post-apocalyptic Druid outfitted Germans mixed comedy and melodies to win countless converts. Bearded, hood/cowl wearing frontman Sebastian "Seeb" Levermann also had a single tire tread epaulet, while the pair of musical henchmen, either side of him, were attired in shin pads and floor length, tattered dusters. Shame Seeb didn't have something other than traditional three stripe Adidas footwear, sort of detracted from the believability of his character/image. Even single color Vans, like his bandmates, would have been better. Anyway, his command of the crowd, through self-deprecating humor, was masterful.

They opened with "To New Shores Of Sadness". Early one, he related the following, "When we play in Germany, between all the death and thrash bands, we are the pussies in the middle. So when I say 'Hello friends,' you say, 'Fuck you pussies!" Probably an accurate description of some festival gigs, but a howling laugh riot to the hundreds who had waited years to finally see Orden Ogan. After "Farewell", he acknowledged the warm response, saying "We sat on a plane for 9 hours, but it was totally worth it."  Despite the piped in intro, the speed metal intensity of "We Are Pirates" saw a massive sing-along, plus plenty of headbanging, both sides of the barricade. During the klezmer mid-section, the singer/bassist takes photos/video of the crowd. Plenty of hammer-ons and guitar heavy noodling on "To The End", which had the audience scream "Fate" every time Levemann held his "fist of fate" aloft. Despite being an early performer, they received a huge ovation. By the time they ended with "The Things We Believe In", the hood was gone, the trio standing across the stage, legs splayed, delivering heads down, hair flailing metal. No doubt these guys will return, in a more prestigious slot. They earned it.

 

Last couple of years, the "oddball" band (one that doesn't truly adhere to either the progressive or power metal formulas) has been a vintage thrash act. You can't get more genuine than OverKill, a band whose vision has not wavered, throughout three decades, and remained a consistently viable live act. Unfortunately, a large contingent waited in line for the Pain Of Salvation signing session, but those who know/seen the New Jersey boys before were eager to witness sonic chaos. Don't cross the (musical) streams!

Kings of merch, they commandeered a corner and offered everything from hockey jerseys and gig specific t-shirts to over sized foam finger, although it wasn't the index digit! While not catering to the format, comedic frontman Bobby 'Blitz' Ellsworth made repeated jokes about the Kill's lack of prog cred. An extensive changeover (band was on tour, had to use their own gear) caused them to start a half hour late/ While not the definitive Over Kill set, many veteran ProgPower attendees told me (as longstanding fan and personal friend of Blitz, since the 80s) that their set might have been the best to ever grace this festival stage! High praise, regardless of validity.

Opening with "Armorist" from the new record, it was followed by "Over Kill" off the '85 debut (now known as Over Kill I, after penning a pair of sequels), the oldest song in tonight's repertoire. The stage filled with dry ice/fog, enough to partially obscuring the musicians, but nothing could mask DD Verni's displeasure, walking offstage, as his bass cut out, twice during the opening duo and returning to smack his vocal mic to the ground. Blitz introduced the "Prog edition of Over Kill" prior to "Electric Rattlesnake". Between songs, chants of the band's name rang from the stadium seating amphitheater. "Wrecking Crew" sees the blue hued stage once again bombarded with smoke. "At my age, I'm glad to be anywhere," deadpans the frontman, channeling Rodney Dangerfield, as green lights and more smoke greet "Rotten to The Core". A false ending is punctuated by reds and strobe, the crowd shouting the titular chorus.

"Are we too progressive for you," mocks Ellsworth. "We can get heavier." Cue laughter all around. "Here's our attempt at progressive. I hope I remember the words. This one's before we had hair on our balls. From Under The Influence: 'End Of The Line", with a guitar shuffle and deft drum signatures. The shirtless guitarist Derek Tailer, with headband accessory, got a moment in the spotlight during the instrumental mid-section. Lighted in red, "Pig" is followed by "Hello From The Gutter", Blitz toying around with the mic stand, complaining it was a lot like him: "Big headed, three legs and all bent out of shape." Blue tinged "Ironbound" sees the other guitarist Dave Linsk offer a slower, progressive solo, occupied by drums. From a blackened stage, they return for the requisite "Elimination/Fuck You" encore. Another conquest completed. Some fans were miffed that apart from a signing session, Over Kill didn't make themselves available for the typical ProgPower offstage co-mingling. To paraphrase one of their favorite (cover tunes)..."They don't care what you say..."

 

 

Odd to hear "Kiss Of Judas" and "Black Diamond" opening the show, in fact, the next day I joked with friends that after hearing both, I headed home (as the pair usually close the Stratovarius set). Reason they were flip-flopped to the start was that the Finns were airing their '97 Visions album, in order. It has some great tunes (including the aforementioned), but everything's not a winner. Still the exclusivity was the selling point tonight and got to hear the likes of "Legions", Timo Kotipelto and keyboardist Jens Johansson are the driving force in the band these days and the singer made frequent forays over to the keyboardist. Lauri Porra is a monster on the bass, he of the bell bottom jeans and hippie attire. He's free to roam the stage, while Kotipelto (hello Sofa King!) conducts the audience with his high pitched vocals and charismatic looks. After closing out the Visions album, despite the late hour and a 6AM flight to Montreal, they added a handful of later material (only voice and keys were members of Stratovarius during Visions era), including "Under Flaming Skies" and the pomp of "Eagleheart", before returning for a legitimate encore that ended with favorite "Hunting High And Low". Talking with Kotipelto and Porra backstage, the band is in good spirits these days and onstage, a top notch attraction. Now what about more extensive dates, domestically?

 

 

In addition to seeing them overseas, as well as my closeness with members of Voodoo Circle, knew going in there wouldn't be any of the speedy neo-classical metal, ala "Open Your Eyes" of "Castles Burn", but also nothing from the '08 debut. Opening with "Heart Of Babylon", Matt Sinner (Primal Fear) on bass, singer David Readman (Pink Cream 69) and the amalgamation of Whitesnake/Rainbow on guitar, Alex Beyrodt (also Primal Fear), offered nine bluesy, hard rock originals and a closing cover of Led Zeppelin's "Rock n Roll" (why?). "No Solution Blues" the title of their second platter, saw Beyrodt doing exaggerated sweeps. After "This Could Be Paradise", the slower, David Coverdale styled "Tears In The Rain" saw the stage turned blue/indigo with Alex really squeezing out an emotive, bluesy solo.

 

 

His guitar starts "King Of Your Dreams", Hammond keys eventually join in. Doing his best 70s Ritchie Blackmore impression, the Beyrodt repeatedly whips the guitar chord against the strings. He stretches out the final note, his Chuck Taylor sneakered left foot on tip toes. Aided by the almost liturgical sounding keys "Cry Of Love" gave way to the blue hued "Little Wing" inspired, guitar dominated "Blind Man", which showcases the strings/ivories interplay. Amazingly patient and respectful, the 2014 crowd shows reverence for a sound developed over 40 years ago. The Primal pair join forces onstage, for the first time, then the guitarist ways the instrument on the deck, yet continues to play it, from his knees. The song gradually gets quieter, till nearly silent, before jumping up, briefly, with a ending flourish.

A short drum solo gives Beyrodt time to switch guitars, and the rest to take a breather. A rousing "Graveyard City", one of the most lively numbers of the evening, follows, leading into "More than One Way Home", which features an audience clap-along. Finally, the aforementioned Zep tune, which is the lone chance to cut loose, with Alex banging his fist on the guitar. Undoubtedly the guitarist has played the song thousand of times, beginning in his bedroom, as a kid, but seriously, as the North American debut, fans deserved another original (or at least a Deep Purple/Rainbow/Whitesnake cover), particularly in light of the absence of Voodoo Circle's more boisterous material. Maybe next time. A modern flashback, for young and old alike!    

Another band I'd seen repeatedly in Germany, mostly with on-off-on again vocalist Jorn Lande, a fantastic voice but boring frontman, especially on a large outdoors, Euro-festival stage. He's since been replaced by Rick Altzi (ex-Thunderstone/At Vance), a similarly bald/bearded look, but more animated. Former Helloween guitarist Roland Grapow was also up for their North American debut, sticking out his tongue (during "Heroes"), smiling, using flamboyant arm motions and even joking about the band's difficulties. During an intermission, Altzi left the stage, although the founder/guitarist assumed he'd be there, quipping, "We need a singer. Have we lost another one?." It went over some attendees' heads, but those with a grasp of Masterplan history laughed heartily.

 

 

The crowd sang along to "Keep Your Dream Alive", while the pink lit, fist pounding "Crystal Night" (an iffy topic, given Germany WWII history) say Altzi leading a rousing clap-along. He really connected with the fans, much moreso than his talented predecessor. Most of the set (seven tracks in all), were lifted from the '03 eponymous debut, including "Soulburn" and the set closing "Crawling From Hell". While they might not be that deeply mired, on the strength of this performance, Masterplan have extricated themselves from the crowded field of blasé power metal. Great introduction to long waiting North American fans.   

Must confess, wasn't out of my mind at the prospect of Jon Oliva's Pain performing Streets (a prog godhead), in its entirety. Already a fan of Sirens and Power Of The Night, my view of Savatage was forever solidified by seeing the Hall Of The Mountain King US tour, night after night, for a couple of weeks straight, as the tour manager for their opening act (Shok Paris). In fact, Streets was about the check out point (too much mellow, artsy fartsy non-metal), although I continued to see each successive tour. Due to his injury (broken ribs from falling over his wife's dog, two days before the gig) and copious amounts of "camouflaged water" onstage (aka vodka), everyone got to get a massive dose of the loopy humor/silliness usually off limits to the public. Sure, Jon's always been a jovial, storytelling character, but tonight he was out of control with ad libs and obtuse references, which broke up the monotony, for me.

 

 

He kicked off with a trio of non-Streets tracks, including the prophetic lyrics to "Of Rage & War" and a pummeling "The Price You Pay" that was (sadly) met with crickets. While he began the night seated behind his edge of the stage positioned piano, he repeatedly rose and acted like the wandering frontman of yesterday. A bit like an off the rails Ozzy, Oliva shouted "We're gonna go crazy, motherfucker." He sort of danced around, mugging to the crowd and making rabbit ears behind his band members. Speaking of the musicians, they often took the brunt of his humor, threatening, "Next time I take a shit, I'm gonna take you to the bathroom and read you" for well tattooed and shirtless guitarist Bill Hudson and when drummer Chris Kinder cracked wise, at Oliva's expense, the Mountain King roared, "Wacholz (Savatage's Dr. Killdrums, Steve Wacholz, who was in attendance), get up there (behind the drums)!" As to the premise of playing the aforementioned disc straight through (which didn't happen, as "Heal My Soul" was out of order and they forgot "A Little Too Far" until the end), "Even Savatage didn't have the stupidity to try this."

Given the 11th hour monkey wrench thrown into the mix, it was a 2+ hour triumph, if not technically accurate marvel. Personally, wouldn't have it any other way. Oliva cursed when he screwed up, or forgot lyrics/lines: "Don;t expect me to remember the album, I did a shitload of drugs since 1991." Later, when people shouted out song suggestions: "Be patient, I've got broken ribs and I'm doing this for the first time and after tonight, probably never again." The album is a mix of soft, piano ballads and heavy rockers. A good portion of the crowd never got to see these songs live, so the entire show was a giant sing-along. "Jesus Saves" sees everyone sing the titular chorus, as Oliva changed it to "my ribs hurt" or joking "This is Harveston's fault," although he repeatedly mispronounced the ProgPower honcho's last name. He also added insight into songs ("Can You Hear My Now" was originally written on acoustic guitar), often invoking the name of his brother (former guitarist) Criss. Following Steets, there was another trio of extras, including "Hall Of The Mountain King" and appropriately, for the final song of the entire festival, "When The Crowds Are Gone".

ProgPower 2015 will be held September 11-12. Tickets go on sale October 4th. Hope to see you there!

Additional photos can be seen here:

Day 1

Day 2