By Mark Gromen

In front of a backdrop depicting the artwork for their second album (some say best, although guitarist Jon Drenning would disagree), the original CRIMSON GLORY, now fronted by newcomer Todd La Torre, took the stage to the staccato stomp of ‘March To Glory’ off Astronmica. Despite the YouTube audio samples showcasing the heretofore unknown La Torre’s ability to handle the vocal acrobatics of the departed Midnight, the Floridians chose to kick off La Torre’s onstage trial by fire with the more metallic Astronomica material. True, the new boy sang a couple of Crimson classics at ProgPower USA 2009’s tribute to the deceased vocalist, but the Pathfinder Metalfest headlining gig was his real coming out party.

Maybe it was the restrictions of those masks, or two decades since, fronting his own surnamed outfits, but Ben Jackson is more animated than any 80s footage would demonstrate. I caught more than one smile from Drenning, looking over at guitar partner Jackson and bassist Jeff Lords. Speaking of Lords, this was the fifth post-80s show I’ve witnessed. On all the previous occasions, Lords seemed content to lurk in the background, but tonight, he basked in the limelight at the front of the stage, apparently feeling at least a twinge of that old magic again.

Following ‘War Of The Worlds’, La Torre adroitly hit the highs required of ‘Valhalla’ and ‘Lady Of Winter’. ‘New World Machine’ was a bit of a surprise, given press briefings suggesting the reformation would focus on the initial pair of albums. ‘Astronomica’ was the final tip of the hat to the non-Midnight era. ‘Azrael’ was sort of flat, opting against the vocal highs. ‘Where Dragons Rule’ and ‘Queen Of The Masquerade’ followed, La Torre showing the right timbre, especially the later. ‘Dragon Lady’, ‘Masque Of The Red Death’, ‘Painted Skies’, ‘In Dark Places’ and the speedy, stratospheric ‘Red Sharks’ provided a (eh) glorious classic, old school run. La Torre’s face contorted, probably not as twisted as his vocal chords, triumphantly battling the insanely structured ‘Sharks’.

Drenning acknowledged ‘Lost Reflections’ was aired for the first time without Midnight, quite a vote of confidence for La Torre. The haunting piece began with only Jackson and the keyboards behind the singer. Just like the old days, Crimson Glory closed the set with ‘Eternal World’. This tune’s vocal obstacle course is on thing, but the sizzling twin leads are completely amazing! Given everyone’s nervousness and live rust, things which will get better with more shows, Crimson Glory 2010 sound great, a worthy successor to the history and legendary name. Now get in the studio!

More Crimson Glory photos can be seen here.