One could drive by Ralph's Diner and not even see it. Set almost half a block off the road, the old street car (that serves as the restaurant) might catch your eye, but certainly not the hole-in-the-wall, two story structure next door. One of the quintessential dingy/sweaty metal club that thankfully still populate the post-pandemic, musical landscape. Basically in a back alley, the stairwell is worn and the second floor, dedicated to live music, is "decorated" with a vintage assortment of 50s funhouse props (long since in working order), kind of like the eerie collection of nick-knacks in the attic of that Geico TV commercial: stuffed peacock, croc/gator, with mouth agape, oversize eyeball, skull, broken mannequins, etc. 

Speaking of eccentricities, the beer list ranged from pint cans of Boddingtons ($5) and Trooper ($6) to a trio of Genesee products (Cream Ale, Red label and 5.5% ABV Ice) all $2. Wow, what year is it? Good to see my old standby, Yuengling Lager, present ($5), although initially they had to import it, from the downstairs bar. $2 beer and live music, who needs anything else? 

Cold beer is important, especially when there’s no air conditioning (my European friends would scoff at the latter ascertain). The jerry-rigging plumbed bathroom is layered with countless band stickers. In all, Ralph's epitomizes the sensory overload that we've long endured, for our music. Then again, being a metalhead has never been a choice of convenience. 

So was the setting for New England's two-day, boutique metal gathering, which saw Destructor headline the first night, unleashing Maximum Destruction. Yes, it was a set built around the '85 debut, of the same name. Eight band tonight, with most afforded a half hour, but Shadowland and Sonja got 45 minutes, each. Quick change overs, just 15 minutes between most of the bands, till the last few, as everyone utilizes the same backline and drum kit. Worked like a charm, for all but one act. With only a few exceptions, the entire weekend fell under the traditional/power metal umbrella. Flight delays and getting a bite to eat (the first of only two non-liquid meals/snacks, over the next 48 hours: see what I mean about suffering for our art?) meant missing Bastard Cross and most of Ryghars' set. So pleasantries exchanged and beer in hand, let the music commence!

Knight & Gallow are a twin guitar five-some from Sacramento, opening, rather fittingly, with "Stormbringer's Call". By the second song, singer Nick Chambers (he of the battle jacket, and retro ‘80s wraparound sunglasses) was brandishing a sword (and not for the last time). Couple more songs, including one about a Japanese warlord (from the forthcoming album, via No Remorse), Chambers ditched the patch festooned vest and the shades would eventually follow. When he sang, his hair was draped across his face. "Soul Of Cinder", with its "I shall be heard" chorus, led to some give & take with the early arrivals at the front of the stage. Another unreleased cut "Tale Of Ninja" (?), was the speediest option, in a set that concluded with "Men Of The West". 

Throne Of Iron offer power metal that tends to verge on thrash, with a heavy dose of self-deprecating humor. Three guys, two guitars and drums, with piped in bass. Banzai headband adorned singer/guitarist Tucker Thomasson (the guy with asymmetric, Hamms beer logo painted guitar) described themselves as "three pizza delivery guys from the scenic hills and cornfields of Indiana, who did too much Robitussin and decided to play heavy metal." Not the typical formation story! 

Legendry, are from Pittsburgh and while just three guys (and for one song, guesting female violinist), there were drums and four necks. You see, mainman Vidarr plays a double neck: 12-string and conventional guitar, while Helhammer tee outfitted Arcane Hammer (aka Andy Ramage, guitarist for Lady Beast) wielded a bizarre bass/6-string guitar hybrid. What would Tom G. Warrior say about Hellhammer aficionado playing a double neck? Leaning towards the progressive end, with jazzy, hard rock interludes, it was something of a musical respite, as thus far, none of the bands had any stage show (not even synchronized antics), it was just about the music. Technically proficient, they received a good response, but as a festival rallying point, nope. Scheduling wise, it made a lot of sense, as something of an intermezzo, before the triad of "bigger" names.

Shadowland were playing with a substitute drummer, but you'd never know it. Few could see past demanding frontwoman Tanya Finder, looking the love child of Simpsons' Sideshow Bob/Mel and pre-MTV success Dee Snider. The lady controlled the room, backed by a high energy attack, and well tattooed guitarist, with 70s porno moustache. 

Actually, outside of music, Tanya does tattooing and is a graphic artist, designing the band's merch. Subtle as a punch in the face, "Warhound" announces their stand up & take notice presence. Love the gritty riff that follows the drum introduced "The Necromancer's Castle", but favorite was probably the simple, but damn catchy "Lost City". The set was aggressive, but never really dangerous, nor out of control, although that illusion was hanging overhead. Definitely will check out more of the music, but especially if any live dates come your way, go see Shadowland.

Third time seeing Sonja in the last few months (between their string of overseas dates), so more engrossed in friend conversations, than what took place, onstage. However, there's a noticeable influx of fans, out in support, who hung in the downstairs bar and left, once the Philly band was done. Was nowhere near the intensity of the display put on by Shadowland. Still, earworms like "Pink Fog" and "Nylon Nights" bore themselves (deeper?) into the minds of the faithful, and probably a few new converts, as well. 

Full disclosure, I've known Dave Overkill and Matt Flammable, of Destructor, for close to 40 years. The decision to play their '85 Auburn Records debut, Maximum Destruction, virtually guaranteed a somewhat bias review. In fact, some said they'd never seen me stagefront, "thrashing like a maniac," as I did for these old friends...occasionally the body allows what the mind remembers! Anyway, to coin a phrase, the set was a storm of steel, transporting some of us (either side of the non-physical barricade) back in time. Beginning with the pre-recorded hammer smashing, as on disc, it's straight into the title cut. Dave can still hit the required tortured high notes. Sang, or more accurately, shouted along to the titular choruses of "Pounding Evil", the thumping, red lit "Overdose" and "Iron Curtain" as did many others. Surprisingly, the crowd remained immobile, until the last song, when all Hell broke loose in the mosh pit. Fitting end for Day 1.

Saturday, doors opened at 2:30, with Colorado based Chamber Mage onstage an hour later, the first of nine bands. Once again, 30 minutes apiece, up till the last four, who were afforded 45 minutes (or more, for headlining Visigoth). So many bands that the small, adjoining anteroom, which had been housing merch, was so overcrowded, a few opted to sell their wares downstairs. The promoter claims there are outdoor facilities that he may use in future years, weather permitting. Know it's expensive, but would suggest a duplicate set-up, indoors (where we attended this year), just in case of rain, as shuffling a couple hundred people in/out, up/down the current layout in not feasible, for all but emergency purposes. 

Actually, the guys in Chamber Mage came to town a day early and worked the room Friday, talking with fans/press/bands. Wise move at these type of events, if band logistics/finances allow. When it came time to play, despite the early start, there were a number of people interested. The band has been part of several events over the last few months, including Frozen In Time and Legions Of Metal. One of their strongest assets is a hyper/energetic frontman, Avery Berg, whose enthusiasm/wicked headbanging is infectious, beginning with "In Battle". The slower chug of "The Emerald Tower Revealed" gives way to "The Length Of The Chain", which picks up pace, with twin leads throughout. Berg's got a bit of the overactive, Bruce Dickinson right arm, flailing it about all set, but especially on the galloping "Blades On The Rampart". Crowd chants of "whoa whoa" and some fist thrusting join "To Spires Deep And Caverns High (Riders On The Iron River)" finale.

Doom, at a metal festival, can be a tough sell, regardless of how well known, or beloved, the band. Not every attendee is a fan and without a change in dynamics, there's the chance of casting a pall over the entire event. Although it took Concilium some time to find their footing, once they altered the intensity (for just the briefest moment), the female voiced lamentations took on a different hue. 

In contrast, Night Cobra, the Texans fronted by Christian Larson (Necrofier/Hell's Heroes festival organizer) came charging out of the gate, with their brand of thrash & roll. The bearded Larson wore a knee length cassock, his mic on the end of curved cudgel. He became a man possessed, writhing about the stage, once the music kicked in. To his left, shredder (and apparently the youngster of the batch) Brandon Barger was more traditionally metal rock star attired. "Chains Of The Beast" was up early and "For Those Who Walk The Night" was dedicated to the late, fellow Lone Star son Roky Erickson, in honor of it being his birthday. "In Mortal Danger" was a winner. Otherwise uncharacteristic high pitched accents are unleashed for "Lost In Time", which also features some synchronized stage moves from the Larson, sandwiched between the guitar tandem. 

Seen Adamantis twice now and each time was impressed by the professionalism that surrounds their presentation, just the way they carry themselves and perform. One gets the impression they take each opportunity seriously (but not overly), striving to be something more than just guys out for a show. And this was a local gig, for the Boston area outfit. Anyway, "Storm The Walls" is an early favorite. Debuted a new track ("Kingdom Has Fallen?). They cover "Flight Of Icarus", which allows them to bring up a guest singer. Not sure why that's necessary, as Jeff Stark seems more than capable. The parade of guests is not done, as former guitarist Jeff Taft joins them, augmenting the line-up to a triple guitar threat, for the final numbers, which included, (apparently) the first airing of hard charging "Misbegotten Dream". Good stuff.

Was not really a fan of the moody hard rock on the Sanhedrin trio's Metal Blade disc. Although the lively "Riding On The Dawn" (which sees bassist/singer Erica Stoltz stagefront, alongside lanky guitarist Jeremy Sosville, for a rare moment together) might warrant further investigation of the back catalog. 

No such ambivalence about Sölicitör (double umlauts!). Wow, talk about commanding image. Hate to blow the illusion, but while powerhouse vocalist Amy Lee Carlson presents as ferocious and larger than life, onstage (which she is!), offstage, she's soft-spoken and nice enough to walk around the room (hours beforehand) talking/joking with fans and posing for photos. Wouldn't mean much, if the music didn't back it up and has Sölicitör got the goods! Full scale speed metal (yet musical) onslaught, start to finish. You don't just attend a Sölicitör gig, it's an immersive experience. Temporarily forgot journalist obligations and just rocked out! The band thrashes around the stage, but Carlson is the star. Good to see old demo track "Nightstalker" in the mix, alongside the likes of "Blood Revelations". Just a 2-song EP unveiled in the last three years, world is overdue for a new album. Can't wait: Die for Metal, Bleed for Speed!

As the night wore on, the humidity rose and each step up the staircase seemed to be accompanied by a 2 degree rise in temperature, such that there was almost a seasonal difference between the two rooms. Savage Master were working their way across the country, prior/after the festival. Onstage, it's four purple hooded/caped crusaders flanking singer Stacey Savage, who has become less of a bondage queen and more a mystical witch. Appropriately opting to begin with "Ready To Sin", the crowd shouts the catchy "Under the banner 666, Beneath the inverted crucifix" chorus. Don't know how those guys, with makeshift eye slits, avoid bumping one another off the stage, as they move about. "With Whips And Chains" follows, garnering an even bigger response. Cue "Child Of A Witch" (based on a true story). Each song speeds by. 

A three pronged candelabra adds to the spooky effect and Stacey brandishes one of the swords that were leaning against the drum kit. Occasionally one of the guitarist cuts through the gritty tone, venturing center stage, for a brief solo spotlight. Later, there's even a brief, twin guitar jam. The staccato begun "Queen Satan" slows things to mid-tempo, before "The Hangman's Tree" picks up the pace. Despite the visual angle, this is straight ahead, no frills rock n roll. Their night ends on a high note, the infectious speed to "Spirit Of Death".

Traveler did not use all their time onstage, perhaps confused that they were (not) restricted to a 30 minute set, when in fact, they were alotted an additional 15. Damn, a couple of extras missed. As it was, they sped through the setlist. Stage right, bass & guitar, a couple of short cropped haircuts, looking more like UK rude boys than Canuck metalheads, but no one would ever confuse the sounds. Bearded singer Jean-Pierre Abboud wore a black jeans jacket and seemingly threatened to take a bite out of the mic as he delivered the opening "Behind The Iron". The band has been part of almost every small event the last couple years (Hell's Heroes, Up The Hammers, Mad With Power, Frozen In Time, Hyperspace, etc.), hopefully the bigger European entities will come calling. 

"Street Machine" is a repetitive sing-along, perfect for festivals: easy to learn the words, even if it's your first time hearing it. Not sure that anyone got paid to be lighting director (LD) as it seemed a solitary green bulb was the extent of the illumination. Vast majority of the set was culled from the self-titled debut, including "Up To You" and "Speed Queen". Overdue third album is scheduled to be completed after the current tour. About time! Keep your eyes peeled for a new, speeding Traveler.

Last band was Visigoth. No prima donnas in Salt Lake City, as frontman Jake Rogers could be spotted at various points around the room, over both days, visiting, sharing a drink or conversation with friends/fans. Knowing it was the end, no reason to save your voice, the crowd, fists raised (and packed tightly against the stage) sang along from the "Steel & Silver" opener. The band rollicked and headbanged as they played. "Blood Sacrifice" changed the feel, from a joyous celebration, to "caught in a mosh," as the intensity heightened and Rogers motioned for a circle pit. Downing water throughout, the singer worked hard, even interacting with those stuck in the merch area. Under a sort of cooper light (so there was more than one bulb!), Visigoth delivered a set worthy of their lofty billing. 

Need to get seen/heard by more people: maybe a key opening slot, on a national tour? "Dungeon Master" slots nicely between the initial (dare I say Grand Magus) feel and faster paced follow-up. The bald/bearded vocalist was practically giddy, during "Creature Of Desire", bouncing around and using his index finger as a makeshift conductor's wand. More belabored "Hammerforged" provides a bit of respite, although the band behind him continue to bang, in unison. Midway through and most of the audience is still strong of voice, although the multi-dimensional "Abysswalker", which flips a switch, and then goes off, catches a few by surprise. Almost synchronized, side-to-side stage moves by all, as they react to the sloth gait of "Mammoth Rider", always one of my faves. 

For speedy "Outlive Them All", guitarist Jamison Palmer (he of the Wolf tee) offers backing vocals, when not adding twin leads. The more pedestrian "Iron Brotherhood" sing-along closes the proper set, what's left of the crowd still in fine voice. The encore begins with nearly a cappella introduced "Traitor's Gate", Rogers getting as close to soaring vocals as the night will allow. The evening concludes, as it often does, for Visigoth, with "The Revenant King".

Stormbringer proved to be a great addition to the domestic scene, a spot for up and coming bands to showcase their sounds, in front of an adoring audience. Win-win, count me in for 2024!

More Stormbringer Festival 2023 coverage:
Day 1
Day 2