By Mark Gromen and "Metal" Tim Henderson

"I've seen sunny days I thought would never end," wrote JAMES TAYLOR in 1970! RAMMSTEIN, SABATON and NIGHTWISH brought the pyro, the consistently unpredictable weather in the Northwestern corner of Germany did the rest: scorching temps, mud-bowl inducing monsoons, nights when one can see their breath (or colder) and everything in between. Over the course of the last 15 years, Brave Words has seen it all. This year was a little of everything. What's next, a Biblical plague of locust, although the black shirted, two legged variety annually renders the farmland barren and unusable. Helps to be prepared, climatologically, if you want to see any of the 120 bands on display during the three day Wacken Open Air extravaganza. Historically, Thursday (August 1st) began in the late afternoon/early evening, but now it's turned into an (unofficial) full day, lasting well into the morning.

In a sleeveless black Epiphone T-shirt which showed off his sweat glistening tattoos, ANNIHILATOR founder Jeff Waters sang 'King Of The Kill', gritting his teeth as he worked his way from one side of the stage to the other. He and co-vocalist/co-guitarist Dave Padden made numerous references to the fact it's been a decade since the Canucks last graced a Wacken stage. Didn't preclude them from introducing 'No Way Out' off the forthcoming Feast, a song with an almost acoustic intro (think 'Crystal Ann'), before taking off. During 'Clown Parade' Waters and bassist Alberto Campuzano (whom the mainman forgot to introduce by name!) gave each other a bro-knuckles smash, while Padden, in black Jäger tee, remained hunched over the mic, feet splayed. The mainman switched to a black guitar for 'Set The World On Fire', which was introduced by pre-recorded sound effect of an explosion. More shared vocals on 'W.T.Y.D.' (aka Welcome To Your Death) and another call for a circle pit. As Padden announced 'The Fun Palace', there was a lag, then he said, "Oh no, I pulled a Jeff Waters (meaning he'd called for the wrong song?)!" Waters appeared from behind the stacks, playing the song and Padden elaborated further, "Now he's switched me up!" No such difficulties on the staccato riffing begun 'I Am In Command', which finally gave Padden a chance to move around a bit, as Waters, with hand to his ear, mugged for more applause. It was back to his red V for 'No Zone', apart from being a short number, one whose inclusion truly surprised most. Spittle dripped from the mic as Waters delivered 'Fiasco', the simple, repetitive lyrics work well in a multi-national festival crowd. Jeff teased a little ambivalence about always having to end with 'Alison Hell', but it sent everyone away happy.

Unfortunately, one can't always see (get!) everything they want, at Wacken. This year, the W.E.T. and Headbangers' stages were housed on opposite ends of the same a giant tent (facilitating 5 minute changeovers, between bands!), outside the main grounds. Navigating the maze of upright people, dodging those that have fallen, and following the circuitous route between stages takes time. When HAGGARD had finished thousands emptied out of the tent, snarling foot traffic so badly that guards closed entry access, despite our Cleveland, Ohio friends SOULLESS taking the stage. Tried two different points of entry, over a 25 minute span, to no avail. Sorry guys. Also decided to head back to the main stage, forgoing new favorites ALPHA TIGER too. However, the organizers did a stellar job preparing for bad weather (perhaps hearing too many negative comments after last year's fiasco), putting down a bed of straw in the VIP area and adjoining campground prevented a repeat of the muddy disaster. There were escorted shortcuts for photographers to the Party stage (minimizing the times between bands) and when a watery quagmire formed at the entrance/exit to the staircase, someone (finally) had the good sense to re-route the barrier (there are fences, gates and cattle chutes throughout the Wacken landscape) onto drier ground.

8:15pm and the sun was still high in the sky, as an amazing contingent of fans, young and (maybe more shocking) old, witnessed the current incarnation of DEEP PURPLE, Gillan, Paice and Glover joined by (ex-DIXIE DREGS guitarist) Steve Morse and keyboardist Don Airey (ex-RAINBOW/ex-OZZY). Wall-to-wall humanity, from the stage, back to the main gate, as they strolled onstage and kicked into 'Highway Star'. It was not head-to-toe greatest hits, delving into slower, funkier material ('Into The Fire'), despite their environs. 'Hard Lovin Man' gave everyone a chance to strut their stuff, especially Airey, although Gillan playfully brought a hand gong to the front of the stage during Morse's freakout jam. 'Strange Kind Of Woman' saw the blue bandanna wearing bassist (Paice wore a red one) center stage, alongside the guitarist, for the first time. Later, in 'Hell To Pay', Morse, Gillan and Glover all shared the same mic, briefly. The well tanned singer produced a harmonica for 'Lazy' and 'Airey's solo (he was given many other moments to shine) saw knuckleheads crowd surfing: to a keyboard instrumental? It lead into 'Perfect Strangers'. In the crowd, Christopher Bowes (ALESTORM) was bopping along to the sounds of his UK elder statesmen. Glover was alone, out front, for 'Space Truckin', while Uli Jon Roth (ex-SCORPIONS) joined the band for 'Smoke On The Water'. Sort of a waste of talent, given the rudimentary construction. No matter, the two guitarists jammed, Gillan adding tambourine. It was a quick encore, offering 'Hush' and 'Black Night' before saying goodbye.

Nearly 100,000 (between paid admission, volunteers and curious first responders, vendors or sizable VIP contingent of press, politicians and friends), some camped against the barricade since the afternoon, positioned themselves for RAMMSTEIN. Much like SLIPKNOT here in North America, it's more of a visual spectacle than anything else.

Friday, August 2nd

POWERWOLF recently had the #1 album in Germany, still had to go on on the middle of the day, those floor length ornate, black cassocks probably unbearable at the temperatures climbed near 100. Corpse-paint didn't help either, I'm sure. Something a of a greatest hit set, the tongue-in-cheek, anti-religious sect opened with 'Sanctified With Dynamite', included 'Resurrection By Erection' and 'Raise Your Fist, Evangelist' before ending with the rhyming, predominately Latin 'Lupus Dei'. Their catchy, keyboard laden take on power metal and energetic live set, continues to find converts.

Former EMPEROR guitarist/vocalist IHSAHN had announced earlier in the day that he'd reunite his former band, for a small string of dates that will include Wacken 2014. Today, he was backed by LEPROUS and although his old guitar partner Samoth was in the house, it was all about the progressive IHSAHN material, sampling all four of his solo works. The vocals are split between the mastermind and keyboardist (situated up front), Einar Solberg, who often contorts his body, feet flailing, between notes. There was plenty of smoke onstage, although the pink/orange lighting had little effect in such brilliant sunshine. 'On The Shores' and 'Arrival' were an opening one-two punch, ultimately closing with a predominately instrumental 'The Grave', which included a piped in, wayward saxophone. Undoubtedly next year will be a major triumph (and I'd be shocked if there's not a DVD recording to coincide).

Bill Clinton's denial, "I did not have sexual relations with that woman," as well as other US presidential quotes (Nixon, Bush, etc.) appropriately introduced PRETTY MAIDS' 'Mother Of All Lies'. Had seen the band just a month before, but Ronnie Atkins cracked some ribs since then and wore a white bandage beneath his shirt. Otherwise he looked well tanned, multiple medallions (including large crucifix) dangling from his neck). The veteran singer lost his leather coat by follow-up, 'I See Ghosts'. A wall of Engl cabinets behind him, mainstay guitarist Ken Hammer, in mirror sunglasses and white cowboy hat, retained his leather throughout. Hammer's fingernails were painted black, apart from the red one, between pinkie and middle finger of his left hand. 'Back To Back' and 'Rodeo' got things rocking, only to be topped by 'Needles In The Dark' and the subdued introduced 'Yellow Rain'. Atkins, mockingly disappointed by a sing-along attempt, chided the crowd, "Kiss my ass. You're not a bunch of wankers are you? Give us some balls Wacken," running through a Freddie Mercury (QUEEN) styled "Deo" call and response. Back to the new Pandemonium album for a pair, 'INVU' and 'Little Drops Of Heaven', before ending the proper set with 'Future World', the singer utilizing the mic stand, pointing it into the crowd. With nowhere to hide, the feigned completion of the set lead to the requisite 'Red, Hot & Heavy' encore/finale. Still killer stuff!

The Swedish Pagans, aka SABATON are at a point AMON AMARTH and CHILDREN OF BODOM were about two or three years ago, on the verge of massive headlining status around the globe (apart from North America) and the huge crowd gathered in front of the True Metal stage humbled the jocular Mohawk shaved singer Joakim Brodén, as always, decked out in camo pants, reflective sunglasses and steel, breast plated flak jacket. Behind him, his similarly camouflage attired bandmates criss-crossed the stage, headbanging wildly and avoiding the copious amount of flames that only added to the day's staggering temperatures. Essentially the same set as they've been performing throughout the summer, opening for IRON MAIDEN, 'Ghost Division' remains one of the most energetic opening numbers in metal, even if they can't use the pyro and showers of sparks, like when they appear at ProgPower USA next month. Careful to miss the robotic camera that travels the width of the stage, on rails, Brodén often jumped down, to sing closer to the audience, atop the sub-woofers. 'Carolus Rex' saw more plumes of synchronized flames, four jets in front and an equal number behind. Always the jokester, Brodén offered "German people are nice, but a little fucked up. Everywhere else in the world, between songs, they yell 'Sab-a-ton', but not in Germany." He proceeds to explain that "Noch ein bier" which adorns the back of their Wacken designed tour shirt, with accompanying German flag, is the crowd's call for him to drink. After obliging, it's 'Into The Fire', song for the day, given the warmth radiating down, although onstage the flames are shooting at 45 degree angles! The raucous cheers for more onstage beer consumption never dissipated and after 'Swedish Pagans' the singer warned the crowd, "Must take it easy with beer in this heat and with these flamethrowers, I'll get drunk. When I get drunk, I get naked. Why are all the boys screaming?" Not sure what glistened more during 'Midway', his shaved head or the shiny metal played vest, which he offered to trade with anyone wearing a similar get-up. Teasing about having to do laundry and needing a fresh vest, true to his word, a fan crowd surfed to the front and Brodén exchanged his stage gear, for the fan's. Afterwards, he toyed, I've also have a pair of boxer shorts I'd like to trade." 'Cliffs Of Gallipoli' produced more flames as the audience sang a good portion of the lyrics. Everyone leaves the stage, as the voice-over for 'Art Of War' heralds what's to follow, the singer back on the sub-woofers. 'Primo Victoria' saw him shadow box into the lens of the robo-cam and SABATON ended with a heartfelt thanks and 'Metal Crue'. Never truly done, Brodén would appear five hours later, following a near six-hour autograph session (yes, six - a Wacken record!!!), to appear onstage with GRAVE DIGGER, during 'Rebellion'.

To say MOTÖRHEAD were eagerly anticipated is an understatement, Lemmy having been forced to cancel the entire European summer tour (despite t-shirts depicting said dates, for sale on site) due to complications from his ongoing medical conditions/surgery. In his typically sardonic style, he made some reference to the weather cooling off, before launching into 'I Know How To Die', surely a hand-picked middle finger to all the naysayers and doctors. However, from my position in the photo pit, it was obvious to a longtime fan that Lem was far from 100%. True, he's physically run down in the last couple of years, but through my lens, I could tell, he was haggard, feeling every bit of his 67 years, all those rock and roll excesses. The man did not look good (see the prophetic shot below, just one song into the show). While Kilmister rarely strolls the stage, a more animated Phil Campbell tried to pick up the slack, moving about during 'Damage Case' and 'Stay Clean'. Lemmy made allusions to doctors telling him to stop, saying, "We'll have to see." 'Metropolis' and 'Over The Top' came an went without incident, although during 'The Chase Is Better Than The Catch', just a half hour into a 75 minute set, the show ended abruptly. Following Campbell's guitar break, he threw it back to Lemmy, who was not there (already offstage). Unsure what to do, he and drummer Mikkey Dee stopped, the stage goes black (the simulcast on the jumbotrons throughout the ground show the equivalent of a Wacken test-pattern. The fans remained well behaved, even when organizer Thomas Jensen walked out, to announce that that was it. With a new album ready for release, all metalheads hope Lemmy will be able to (eventually) return to the stage.

This was the kick-off to DORO's 30th anniversary tour, promised to be a star-studded affair. A massive stage, a portion of which had been blocked off all day, revealed a skeleton in chains hanging from the wall, a skull on Johnny Dee's lofty drum riser (rising into the air, ala Peter Criss/KISS) and pots of omnipresent flame. Flash pots introduced 'I Rule The Ruins' with a bang, followed by a red lit 'Burning The Witches'. Early in her set, she announced to everyone that Lemmy was OK, putting all the rampant rumors to rest. Whether he was scheduled to sing 'Love Me Forever' or not (guitarist Campbell DID appear for JUDAS PRIEST's 'Breaking The Law'), I don't know, but there were a couple other guests/cover tunes. Chris Boltendahl (GRAVE DIGGER) learned 'East Meets West', dropping to one knee and saluting her, before he left. Biff Byford (SAXON) sang his own 'Denim & Leather' in duet with the diminutive blond, who headbanged furiously, throwing the horns and exhorting the crowd throughout. Uli Jon Roth, who had his own set, after midnight, reprised his guest stint of the night before, this time adding his Sky guitar to the ballad 'Fur Immer'. Elsewhere, there was a trio of songs from the newest Raise Your Fist, like the aggressive 'Revenge' and a ton of WARLOCK material, including 'Hellbound'.

Sadly, several of the day's treats, including GRAVE DIGGER and BULLET, go onstage at an impossibly late hour for those of us commuting, around 2am. Which scheduler had it out for traditional metal this year? Shame.

Saturday, August 3rd

Although it began much like the day before, during LAMB OF GOD's set a 45 minute downpour dropped the temperature 20 degrees. Almost as quickly as it came, the clouds disappeared, the sun returned and (thankfully) stayed away for the rest of the festival. On a smoke full stage, ANTHRAX tore into 'Among The Living'. Downing a can of Red Bull, Joey Belladonna demanded a circle pit for 'Caught In A Mosh', one guy swinging a pool noodle encircling a pond that had developed on the infield, aided by the hunks of wet grass/mud, now sailing towards the stage (although landing on the head/backs of those up close). 'N.F.L.' began with Belladonna alone, delivering an a cappella rendition, before the full band version kicked in. Afterwards, the pentagram scrims were removed, revealing the head of Ronnie James Dio and Dimebag Darrell, to whom 'In The End' was dedicated, the singer emphatically throwing the horns and contorting his face in various expressions. Scott Ian piped up, "Do you like thrash metal?" Surprisingly, the answer was 'Death Rider'! The bald, bearded head bobbing madly. Afterwards, he offered, "We didn't write em (covers on Anthems CD) but we wish we did. This one's from my favorite band in the world, AC/DC and 'T.N.T.' was the first of three covers aired this afternoon.'Got The Time' (JOE JACKSON) and the TRUST classic finale, 'Antisocial' being the other two. Belladonna does a better Bon Scott than he does a Neil Turbin. 'Indians' begins with the trio of stringed musicians center stage, in front of drummer Jon Dette. A giant pit ensues, as Ian skanks around the stage, violently kicking backwards. 'I Am The Law' and 'Madhouse' are also widely applauded.

Since DANZIG banned all photographers (not sure why you'd agree to play the biggest metal festival in the world, then, day of show, bar the press), we'll reciprocate. Flanked by a pair of metallic triple Ts, as seen in their logo, TRIVIUM had a prime spot, an hour on the biggest stage, at 7:45pm. 'Throes Of Perdition' stormed on, pressurized columns of CO2 shoot skyward, as Matt Heafy charges around the stage, repeatedly thrusting his head back and flicking his tongue in exaggerated poses.

In a black and red striped suit and matching paints (the first of at least four outfits), the original shock rocker, ageless ALICE COOPER ran through a career spanning set that included a few surprising choices and plenty of entertainment. At the same time, CANDLEMASS were on the nearby Party stage. A shower of sparks fell during the 'Hello Hooray' opener. 'No More Mr. Nice Guy' saw the baseball fan toss (the first of two) canes into the crowd. The members of his band also wore a ghastly white make-up, with blood dripping from the corner of their mouths. In succession, 'Under My Wheels', 'I'll Bite Your Face Off' and 'Billion Dollar Babies' flowed seamlessly across the decades. 'Department Of Youth' was a welcome old gem. During 'Dirty Diamonds', the Coop winged cheap strings of Mardi Gras beads into the crowd. It turned into an opportunity for a drum solo and a short spotlight for each member, as Alice was offstage.With red shirt, leather pants and oversize ROB ZOMBIE/Mad Hatter topper, 'Welcome To My Nightmare' began on a dark, smokey stage. Hands full of large maracas, it's Go To Hell'. The latter portion of the evening included the 80s reunion material ('He's Back', blood splattered smock for 'Feed My Frankenstein', which eventually see a 20 foot tall, Eddie-ish Alice-stein terrorize the band, Hey Stoopid' and 'Poison', which closed the proper set). In straight jacket, Cooper sings 'Ballad Of Dwight Frye', condemned to death, via guillotine (during a brief snippet of 'Killer'), the remainder of the band does 'I Love The Dead', as Alice's head is paraded around the stage by his executioner. Pimping his covers albums, large, readable tombstones honoring Jim Morrison, John Lennon, Jimi Hendrix and Keith Moon, are held aloft as the band offer 'Break On Through' (DOORS), 'Revolution' (THE BEATLES), 'Foxy Lady' (JIMI HENDRIX) and 'My Generation' (WHO). 'I'm Eighteen' (or is it 80 now?) sees the mainman with a crutch, literally. For the encore, 'School's Out' mixed up with a bit with PINK FLOYD's 'Another Brick In The Wall (Part II)', Alice is in a tin foil coat, bubbles fly across the stage and giant inflatable balloons bounce throughout the crowd, as streamers and confetti rain down.

Beforehand, NIGHTWISH management reminded me that this was to be the last show I'd see for a while, only a pair of others before taking some time off, the next album not expected until 2015. The band is really clicking with Floor Jansen (REVAMP/ex-AFTER FOREVER) as vocalist, giving the band a chance to dip back into the "heavier" portion of the Finns' catalog. The whole colorful, pyro filled performance was captured for a DVD (hoping for a tight delivery date: Christmas 2013 release, depending upon post-production), to bridge the forthcoming absence gap. Don't want to ruin the entire experience for those that want to be see it unfold before their eyes, but truly a show of two halves, namely a rocking start: including in the first five tracks, a fiery 'Dark Chest Of Wonders' opener, 'Wish I Had An Angel' 'She Is My Sin' and 'Ever Dream'. Just three-in-a-row with piper Troy Donockley, including lively versions of 'I Want My Tears Back' and 'Last Of The Wilds', while (apart from 'Amaranth') the final third is predominately slower, more emotive material. Enjoy your vacation, my friends!

Amazingly, Wacken 2014 is already sold out: all 75,000 tickets gone within 48 hours of this year's rendition ending. So if you want to attend, you'll have to go through some reputable, pre-packaged tour, as in an attempt to prevent scalping/reselling, the organization has taken the unusual step of personalizing all tickets and you'll supposedly have to show ID matching that printed on ticket, to enter. If you can make it, it's worth the trip!

Check out more BraveWords photos from Wacken at this location.

More information can be found at Wacken.com.

Check out a first teaser video below: