Special report by Mark Gromen

A few days after my birthday and less than two weeks till Christmas, I decided to give myself an “Alvin gift” (in honor of Alvin, from the Chipmunks, “a present from me to me!”), by jumping on a plan to Germany, to see several power metal gems. In the collegiate town of Karlsruhe, the Europahalle is a semi-pro hockey arena, playing host to several Teutonic giants and the co-headlining Swedes, whose '97 debut all but revitalized the Germanic power metal scene, as well as helped take the sound global.

With doors opening at 4pm and a local opener, this promised to be a long evening, as more than 5,000 of my closest (musically aligned) friends were also hoping. At ten-to-six, RAGE, the long-running trio fronted by bassist Peavy Wagner, took the massive stage, although several hundred were still waiting outside, in the cold, to get in. Alongside guitarist Victor Smolski planted on the monitors down front, they did their best to fill the large onstage void, Peavy tethered to the mic, yet utilizing expressive hand gestures and playing his bass vertically or overhead. Is there a more unlikely “rock star,” a rotund, bald, weaved goatee/bearded German bassist? Regardless, he’s a legend in these parts and is treated as such by throngs, judging from the sampling here. A simple flick of his fingers, in a “come hither” motion, brought a sea of arms thrusting skyward. While it might have been the first time witnessing them in a festival setting without ‘Don’t Break The Circle’, their show included the likes of ‘Soundchaser’, ‘Carved In Stone’ and ‘Set This World On Fire’.

David Readman led PINK CREAM 69 through a short set that kicked off with ‘Children Of The Dawn’, followed by ‘Do You Like It Like That’, ‘Lost In Illusions’ (very similar to the recent Frontiers double live CD/DVD, from Karlsruhe, no less!), ‘No Way Out’ and ‘Sea Of Madness’. Hell of a start! Later, they threw in ‘Welcome The Night’, ‘Shame’ and ‘Keep Your Eyes On The Twisted’, but only had 50 minutes.

No offense intended towards the others in attendance, but seeing Udo Dirkschneider's U.D.O. third from the top of any bill is akin to ELVIS opening for CREED and LIFEHOUSE. Such is the stature of HAMMERFALL in Germany that they can not only headline over the legendary native son/ACCEPT frontman (hope he won’t live to rue the decision not to regroup with his old mates one last time), but bring a multi-ramp, pyro stage set to rival JUDAS PRIEST! But I’m getting ahead of myself. As has been the custom (and why he declined another Accept reunion) U.D.O. perform a mix of current material, as well as Dirkschneider classics. Resorting to military fatigues only on his lower half, the blond haired dynamo lead a call-and-response revolution, the material well known virtually start to finish: ‘Dominator’ and ‘Mastercutor’ complied with keeping the fans up-to-date, while also adding ‘Don’t Wanna Be Like You’, ‘Vendetta’, ‘Princess Of The Dawn’ (clap along and a cappella crowd vocals!), ‘Man & Machine’, with a flashing strobe barrage that lit up the sky unlike anything Karlsruhe has probably seen since ’44, ‘Animal House’, ‘Metal Heart’ and ‘Balls To The Wall’. Old school fans and youngsters alike throwing the horns in appreciation of a classic.

EDGUY recently completed a North American tour and seeing them at home is a little different. For one, Tobias Sammet’s comical patter is in German and truth be told, toned down from the raving madcap jester/lunacy portrayed on this continent. Does it require a different sell? Do the Germans demand a more serious approach? Interesting dichotomy, whatever the (perceived) reality. Like the recent string of dates, they began with the newbie (read: Tinnitus Sanctus) punch of ‘Dead Or Rock’ backed with ‘Speedhoven’. Sammet sported a red motorcycle leather, the plethora of straps and buckles made it look part straight jacket. His hair having started to grow out, the oversized sunglasses, plenty of pouting and fingers crusted with rings, bore a passable resemblance to Michael Monroe (Hanoi Rocks). The stage takes on an ancient Greek/Roman rock edifice, complete with aqueduct and the “stone carved” figure adorning the album resting over drummer Felix Bohnke’s head. ‘Fucking With Fire’ paired with ‘Lavatory Love Machine’ certainly made an enthusiastic audience near ecstatic, pure animation on the packed arena floor. After 30 minutes, he ditched the jacket, ‘Vain Glory Opera’ and ‘The Piper Never Dies’ preceding a return to the new album’s ‘Ministry Of Saints’ (which leads into the drum solo). ‘Superheroes’ and ‘Save Me’ finish the proper set, before an encore of ‘Mysteria’ and ‘King Of Fools’. Pure enjoyment, either side of the pond!

Even though HammerFall will tour this spring, there’s NO WAY it will be anything like this. OK, the song selection might be similar (hope they spice it up with a few more up-tempo oldies, North Americans having that need for speed), but there’s not a stage on the itinerary that could hold what they brought to Karlsruhe. A multi-level platform, shooting pyro plumes from the upper deck (where Oscar Dronjak made more than one foray). Hell, the lighted HF shield logo hung over drummer Anders Johansson might be bigger than some stages they’d play over here! The now blond Dronjak, stubble beard and red leather (can they make them that thin?) is joined by new guitarist Pontus Norgren (ex-THE POODLES) who is very active, criss-crossing the stage with the loping Dronjak (former high jump maneuvers still come in handy, eh Oscar?). At the start, singer Joacim Cans wore a mariners coat, unbuttoned to reveal the commemorative festival t-shirt beneath it. ‘Punish And Enslave’ and ‘Renegade’ were a high energy introduction. ‘Hallowed Be Thy Name’ and ‘Last Man Standing’ (Damn simple, but infectious chorus, couldn’t get it out of my head for two days) set up ‘Heeding the Call’ and ‘Glory To The Brave’. The middle era came next, sort of re-writing the chronology: ‘Blood Bound’, Crimson Thunder’, ‘Any Mean Necessary’, ‘Threshold’ and ‘Riders Of The Storm’. Unfortunately, prior to ‘Blood Bound’, there was a pyro malfunction (ie. no juice=no flames), thus Cans announced they were taking an unscheduled five minute break. At 12:20am, after some had been inside since 4pm, it was deadly, some heading to the exits. Even when they returned, the minimal effect provided could have gone unnoticed if they’d just have grinned and bared it. Perfection has its price! As a result, they had to cut one song from the setlist, although ‘Templars of Steel’ and ‘Let The Hammer Fall’ sent most into the December night happy, myself included.

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