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In short order, this Houston-based event has become the brightest light in the burgeoning North American festival field. Sure, ProgPower USA and Maryland Deathfest are longer running and more revered, but both feature a narrower focus than Hell's Heroes, which stretches the vast aural landscape between those gatherings, occasionally (purposefully) bleeding into the territory, either end of the sonic spectrum, via a slate of homegrown and international acts. There's some overlap with prestigious multi-day shows on the other side of the Atlantic, like Keep It True and/or Up The Hammers, but the stellar Heroes line-up is sure to make more than a few Europeans envious! Turnabout is fair play. Some are drawn by the exciting and vibrant fresh faces. Others, the prospect of reliving (or, in many cases, to experience for the first time) the sounds of metal's vaunted pioneers. Either way, it's one Hell of a weekend! Impossible to experience it all, between the band/fan conversations, music, etc. but here's some of the standout moments, with apologies to those missed/forgotten/ignored.

THURSDAY
Festivities began with the (separate admission) Thursday Pre-Party. As much an opportunity to reconvene with old friends, as it is the music, it helps set the mood for the next few days. Flying into town and getting situated, didn't make the 5:40 PM start (each of the next two days would begin 4+ hours earlier). In the midst of the reverie, actual took in a couple of performances, the night restricted to the limited capacity of the upstairs room (now relegated to an after-thought, what with the large outdoors venue) and the main stage, downstairs. Sadly, only a few hundred of the thousand or so in attendance, can witness the action in the claustrophobic mini-bar. Sonja's hard rock and Greyhawk's mysticism both found plenty of fans, but Silver Talon's shredfest was the big star of the night, in the balcony room.

Down below (the event is called Hell's Heroes, after all), Violence (w/ original guitarist Phil Demmel, who is only making limited appearances with the band, these days) lived up to their name, whipping up a mosh pit frenzy, at the behest of frontman Sean Killian. His commandant look, issuing directives and wooden hand gestures, to direct the mayhem, while simultaneously rapid-firing the lyrics, is quite unique. "Kill On Command" has yellow and red lights arc in pendulum action, across the stage. Opposite Demmel is newly enlisted guitarist Ira Black. For most of the set, Killian stays barricaded, between a banks of wedge monitors, occasionally hunched over, to antagonize/rile up the body of motion at his feet: Bodies on Bodies, as the song says. However, he did attempt to sing a portion of the blue/green lit "World In A World" finale, from the vacated photo pit (before his mic went dead and he had to retreat, back to the stage). Insanity!

It’s been nearly 40 years since Hellhammer and then Celtic Frost sent shockwaves throughout the metal world with their debut Morbid Tales, an album that to this day stands as one of the key breakthrough moments in extreme music. Why? Nothing sounded like it. Tom Warrior told BraveWords recently that “We felt we were isolated, we didn't have any peers we could talk to, gain experience from. Nowadays, I think being forced to rely on our own ideas and basically having to create everything from scratch the way we imagined it is being done, actually made us sound like nobody else.”

​And Warrior celebrated both bands at Hell’s Heroes.

The first set we were treated to was Triumph of Death, performing Hellhammer. Tom G. Warrior being the only member of the original lineup, he demonstrated a distinctly high level of class, acknowledging that the original is gone but still finding a way to bring the music to fans, under a different moniker. On a stage bathed in red light, Tom and his fellow musicians not only resurrected the dead, but managed to make witnesses feel like they were beaten from the inside. Six songs in, we still didn’t know what was happening to us, and then the tide shifted during the seventh song, Reaper. Unholy hell, heavy got even heavier. Breathing was not an option, it was too awesome. With each death grunt, there seemed to be a wry smile on his lips, clearly enjoying the moment, as well as the irony of the situation. His band featured bassist JL Slaughterwytch (aka Jamie Lee Cussigh), guitarist Andre Mathieu and drummer Tim Wey. 

We were lucky to be able to ask him two days later how he achieved that sound, what kind of setup does he use? He said “it’s actually very simple, really” and explained that he doesn’t use so-called new technology but the same or similar technology to when those songs were created in the ‘80s. He also said it has a lot to do with the artist - what he or she is putting into the music is what comes out. Another person can play the same songs with his same setup and sound completely different. So I guess we heard what Tom G. Warrior’s soul sounds like - and it is fierce and complicated, heavy and brilliant. Have to imagine he felt an immense satisfaction, being able to headline a festival, far from home, with songs he once thought no one loved. 

FRIDAY
Exciting, to have an outdoor stage. There was Astroturf (appropriate, given the locale) in front of the barricade and a gently upward sloping grassy knoll (OK, this is Houston, not Dallas), on which to stand, with reserved ($400 for the weekend) tables/chairs on the patio atop. The one guitar, Chi-town foursome Midnight Dice kicked off the festivities with their brand of female-fronted hard rock. However, Century, young bucks from Stockholm, were the first must see band of the weekend and proved to be one of the best, overall. With just a pair of tunes pre-released on the Internet (and via a cassette single), they not only packed the downstairs hall (no easy feat, given their early afternoon start time), but get a riotous approval as well. Helps that the lighting guy stepped up his game, from the night before, offering a more professional approach to how the stage was lit, not just merely another club show. 

Wisely limiting the material from The Conquest Of Time debut (due through No Remorse, but available, a month early, at the show) to about half the all-too-short set (rest was from earlier, demos, available via Bandcamp downloads), they are led by Staffan Tengnér, one half the guitar team, as well as vocalist. Visually, his long, loose curls and low slung guitar, the lanky Swede recalls Jon Sykes, in his Tygers Of Pan Tang days. The sound is a speedy take on NWOBHM. Although neither full encompasses the sound, comparisons to Helloween and Blind Guardian were bandied about, throughout the crowd, afterwards. Highlights included the opening "Neon Warrior", which instantly sucked in any who might have been sitting on the fence. Thereafter, most threw their full support behind the quartet, especially for the dueling leads of "Stronghold" (one of the pre-released singles). A couple weeks of US dates led up to Hell's Heroes, and resumed afterwards, so expect more coverage and a return trip to these shores in the not-to-distant future. Yes!

The schedule alternated between the outdoors and the big room inside White Oaks Music Hall. There was a parade, back & forth, at the conclusion of every band and the procession to leave the building frequently bogged down (don't know if there's an alternative exit, but with all the drinking and disconcerting walk from total darkness, into blinding light, safety issues might warrant its investigation, moving forward). Back to the great outdoors, for Visigoth, who have been absent far too long on the domestic concert scene. Apparently, I'm not the only one who felt that way, as there were plenty of well-wishers lined in front of the stage (and a number was exuberant enough to repeatedly launch themselves atop the crowd and over the barricade). 

The Salt Lake outfit kicked into "Steel And Silver" and it was pretty much pandemonium, onstage and off, from there on. Jake Rogers, resplendent in his patched battle vest, worked both sides of the stage and got the faithful to sing along (not that they really needed any prodding). "Blood Sacrifice" was announced as "Old one, for the nerds that only like the old shit." At one point, the singer retorted, "We finally got Europeans traveling here for a metal festival." Touché!  A more subtle begun "Abysswalker" sees twin guitars, center stage. Afterwards, a chant of "Visigoth" goes up and Rogers' folksy answers with, "Aw, shucks. Thanks guys." The jangly opening notes of "Traitor's Gate" bring instant recognition for the crowd, while "The Revenant King" closes things out. Just a quick 30 minutes, during which they (and most bands) go full bore. Hope we meet again soon.

Next up, Morgul Blade, who I'd seen a week before, when they departed Philly, en route to Houston, a string of club dates, in between. It was the signature tune, to start, bespectacled frontman Klauf, center stage. Slow to begin, "A Last Waltz Of Gevaudan" takes off, band bobbing in time. Unveiling pirate tale, "Beneath The Black Sails," with its insane bass pumping (so much so, a bass string broke, midway through, but the band soldiered on). Lit in deep blue, that one possesses an undercurrent of ‘80s commercial metal that belies the gruff vocals. Amidst the incessant rumble, there's some cool twin leads, between Klauf and Nighthawk. Bathed in purple, the gallop of "The Five Will Ride At Dawn" sees the stage enveloped in wisps of fog. Another newbie, a crimson illuminated "Spider Gods", has the female guitarist rocking back n forth, seemingly in ecstasy. Under a swirl of teal/aqua lights, the Morguls end with speedy "Sons Of The Night". The final bow and acknowledgement of the crowd demonstrated how thrilled the band was to play for a large crowd, who "got" the music. Well deserved. 

Those type of reactions might be why previous participants come back, as fans (or even lend a hand, with behind the scenes logistics). Sure there were others, but throughout the three days, ran into Dave Overkill (Destructor), Casey O'Ryan (Midas), Athenar (Midnight: OK, he made a one-song appearance, with Necrofier), Doza Mendoza (Mega Colossus) and two-thirds of Intranced: James Paul Luna and Ben Richardson. The titular track from the new "From Western Shores" commenced the Gatekeeper set. Tyler Anderson got the crowd to sing along to the "whoa whoa" chant by flipping "prizes"/copies of the CD single in the direction of those adding their voices.

Exciter headlined the pre-show, last year and initially weren't part of the 2023 bill, but things happen and there were the legendary Canucks, outdoors, with banners and backdrops sporting a Heavy Metal Maniac motif. The nuclear winter intro that greets said platter was a call to arms, down front. Like a shotgun blast, the trio tore into "Stand Up And Fight". While bassist Allan Johnson stood sentry, atop the monitors jutting towards the crowd, guitars Daniel Dekay ran about the stage like his pants were on fire. Behind them, gentleman Dan Beehler not only pounded out a thunderous, speed metal beat, but sang, simultaneously: ambidextrous and then some! The aforementioned title cut/rallying cry, was next, followed by "Iron Dogs", which released the hounds/crowd surfers, in earnest. "Violence & Force" had the non-drummers switch to opposite sides of the stage, each adding backing vocals. For "Pounding Metal" Dekay & Johnson would share the same mic, face-to-face. The crowd that wasn't engaged in surfing, or the circle pit, sang along to "Long Live The Loud" (actually, some probably did both, multi-tasking). 

As usual, the final offering was a cover of Motörhead’s "Iron Fist", after which I took just a cursory look at Spell. Plenty of incense burning atop the central wedge monitor and the curly haired/mustachio bassist/singer looks like a young Tommy Shaw (Styx). Not really my thing, so a bit of a breather, before...

Manowar? No, it was actually their original guitarist, Ross The Boss, performing a set culled solely from his Metal Daze. Vocals provided by Mark Lopes, recently recruited into Metal Church, so good pedigree, all around. Seems Ross still adheres to his former group's penchant for earsplitting volume. "Blood Of The Kings" set the pace. Lopes worked around the stage, while Ross had limited range (stuck stage left), tethered to his amps by a cord. "The Oath" and "Sign Of The Hammer" roll by effortless, the crowd loving each note. Not sure USA folks are as well versed in the Manowar back catalog/deeper cuts, as "Thor (The Powerhead)" sort of fell on deaf (deafened?) ears, but it was the only moment the offstage energy waned. The trilling bass work in "Black Wind, Fire & Steel" comes on the heels of "Blood Of My Enemy". 

The locomotive chug of "Kill With Power" (punctuated by Lopes' high end) has a sea of black shirts screaming "Die!" After "Fighting The World," that same crowd stands, with interlocking fist/forearm clench (proudly raised overhead), to greet "Battle Hymns". The drummer journeys to the front of the stage, filming the crowd, as the "Hail & Kill" finale kicks off. The set is played straight through, slamming one after the other. There's little interaction and none of the verbose commentary typically associated with these tracks. In a word, epic!

Liege Lord was the first band (ever) to play outdoors, at night, and the lighting didn't seem to do them any justice. No problem for Joe Comeau and crew as they just went for it, "Eye Of The Storm" piggybacked on "Fear Itself" opener. Original drummer Frank Cortese was introduced, walked onstage and waved to the crowd, prior to the energized Rainbow cover, "Kill The King". Good reaction to "Rage Of Angels" too. They were in (master) control of the twin leads on "Feel The Blade", which practically burned to the touch. It was not only old school material, as Comeau surprised by announcing a new song, the staccato "Hypocrisy" which slotted nicely next to the vintage offerings. 

With each time slot beginning the minute the previous one ends, sadly, must cut most performances short, by a song or two, to navigate between the two crowds and get in place (photo pit) for the next show. Such was the case with previous act. While I'd preferred to stay to the last note, wasn't missing the North American debut of Hällas, even having seen them overseas. Glad I did, as this was a much more enjoyable, interactive and animated bunch, than the previous festival gig, especially frontman/bassist Tommy Alexandersson. The ‘70s inspired synth prog, played by gents in capes and colorful Genesis eye make-up, shouldn't work at a metal event, but it's so damn infectious. Hats off to the open-mindedness of this audience, as well. Might be their first appearance, but still headlining the indoor stage, of such a star-studded show. Quite the feat.

Unlike many Euro acts who eventually show up Stateside, Hällas didn't ignore the early albums. In fact, they played five songs off Excerpts Of A Future Past, a trio from the recent Isle Of Wisdom and just a pair off Conundrum (although three additional cuts were Xed out of the pre-printed setlist). The Swedes have learned how to be a concert act, playing off one another and enjoying the live experience. Alexandersson was particularly active. In addition to singing and playing bass, he moved, in obtuse angles, around the stage, mugging to the fans and between his bandmates. Great to see so many embrace such an atypical metal act, but not quite sure about the need to crowd surf to this music, but I guess that's just why some go to see (any) live show. Initially, "Repentance" is barely audible, such is the roar of the crowd. "Into Darkness" showcases the off kilter timbre of Alexandersson's voice. Afterwards, they slide into more fluid sounds, including "Galivant (Of Space)", "The Golden City Of Semyra" and "Stygian Depths". Blue/green lit "The Astral Seer" ends a mesmerizing performance. Hopefully there will be domestic editions, soon.

For some of us, the evening was essentially over, but out on the lawn, Possessed were still raging. Wheelchair bound Jeff Becerra led his band of not-so-merry men through a career retrospective, complete with the current repertoire, as well as vintage chestnuts. As if this guy hasn't had his share of horrors, he now wears an eye patch, the result of last year's surgery. That said, he still thrashes around, moves and throws the horns. His agonized voice still shrieks like the young, tortured soul of the ‘80s. 

When he says, "Life is too pure to be living so damned," it means something more than the intended song intro. The set never ventured too far without slipping in something off 2019's Revelations Of Oblivion, although much of the classic first album was reserved for the end of the night. That said, "Pentagram" shows up early, surrounding by newbies and a pair off The Eyes Of Horror EP, namely "Confessions" and fleet fingered guitar runs of "Storm In My Mind". During the latter, Becerra literally let his hair down (previously in a long ponytail). For the entirety of Possessed's time onstage, the lighting rarely offered more than monochromatic crimson. Clock chimes herald "Fallen Angel", before the buzzsaw of six-strings kick in. Still sounds brutal today, so imagine the effect, upon its release 38 years ago! Speaking of pre-recorded intros, the start of "The Exorcist" elicits screams from the faithful (is that the right word, for this band?). Wicked guitarwork. The instruments squelch (in pain?) for "Death Metal" and "Swing Of The Axe is the last cut of the night (Becerra recanting the childhood ditty about Lizzy Borden that inspired the Flotsam & Jetsam tune). 

And we get to do this all over again, tomorrow? Amazing!

SATURDAY
Different context, Pat Benatar said "Hell is for children." While the event is all ages, for maximum enjoyment it definitely helps to have (at least temporarily, a streak of) arrested development, like the BraveWords team. The buzz of yesterday's success is fresh in my mind, one of the best musical days in a long time. Today could only add to the fantastic start.

For the last few years, Riot City has been THE hot property in the underground, frequently playing overseas, but a sparse number of gigs on their home continent. That's starting to change and a slot on a big festival was a major draw, for most attendees. Singer Jordan Jacobs walked onstage, nonchalantly, waving to the crowd like you would a toddler, overly animated and smiling. 

Right from the start, he unfurled his sustained, high pitched pipes, to begin "The Hunter". Plenty of action as he and the guitarists flail about. High energy is not an accurate enough description. Nice (North) Stars hockey jersey, sported by Roldan Reimer. Can always count on the Canucks to never have a hockey reference too far away. "Burn The Night" and "Beyond The Stars" are a blur, almost as much movement onstage as in the infield, which is a constantly swirling mass of humanity. It's not all insane speed (just mostly) as a mid-tempo "Tyrant" proves. That one sees a sea of fists thrust overhead. "Electric Elite" raises the temperature once again (even though its already in the upper ‘80s Fahrenheit). Reimer and original vocalist (now confined solely to guitar) Cale Savy take center stage, for a tasty, twin leads riffing showcase. Sedate, to start, "In The Dark" takes flight, aided by Jacobs' stratospheric shriek. Riot City used their half hour to maximum effect, leaving everyone longing for more. Hopefully sooner than later.

Goth-inspired hard rock, in the middle of day? Such was the fate of atmospheric Unto Others. While frontman Gabriel Franco donned dark sunglasses (even joking about finally getting to use them: something tells me he's not typically an "outdoorsy" guy), guitarist Sebastian Silva wore some sort of flowing onesie. He was the more active of the two guitars, Franco needing to stick near the mic. When not trading licks with the frontman, center stage, Silva would spin/twirl, shuffle as he crisscrossed the stage and frequently ventured onto the amplification jutting into the pit. Recently issued (but recorded for the Strength album, then left off) "Sailing Into Darkness" stood alongside more recognized fare, like the catchy earworm "Give Me To The Night" and grittier "Heroin". Now if we could just somehow dim the lights. Which reminds me, not all legacy acts are worthy of the late/night spots, especially at the expense of hotly rising/already risen new blood, especially in a festival setting, where the (often aged) fanbase doesn't arrive until late and/or will merely stand around and applaud.

Maybe it was the larger stage, or the huge crowd (band had sound checked already and seen the size of the gathering), but Tower (whom I've seen three times previously) were more energized than ever, storming out of the starting gate like a nitro fueled dragster: smoke, squealing tires, the smell of gasoline and burning rubber. Well, almost. It's called "Hired Gun" folks: an intense display, in front of a rabid audience. Anyone who hadn't seen them before surely had to be impressed by the aggression, attacking the stage with almost punk-like intensity. Deadlocked bassist Philippe Arman, was decked out in cowboy hat, mirrored shades, fringed leather jacket and a clip on fox tail. Bootsy Collins, eat your heart out! Guess front woman Sarabeth Linden isn't the only fashion plate in the band! "Run For My Life" and "Running Out Of Time" race by. Linden shimmies, bobs and weaves more than a 15 round heavyweight fight. Slower "Prince Of Darkness" is but a brief respite, as "Law Down The Law" kicks things into high gear. On the concluding "Elegy", James Danzo plays the guitar behind his head. Definitely a band to watch, especially in concert. 

Strange meteorological circumstance, twin cyclone appearing: one onstage, the other, a constant barrage of crowd surfing pit invaders. Not everyone appreciates this speed/power metal hybrid, but no one can deny Skull Fist are a first rate, live attraction (plenty to watch, the band and the fans). Bringing an infectious energy, they're an easy festival pleaser. Zach Slaughter is everywhere. "Blackout" has him leaving the stage, into the photo pit, still playing guitar, despite the sound occasionally dropping out. "Ride The Beast" sees girls on shoulders, while another portion of the crowd hugs the fence line, vainly attempting to find a bit of shade. Meanwhile, the Exciter tandem of Beehler and Dekay watch their countrymen, from the wings. For just one song, Slaughter puts down the guitar acting solely as frontman. He re-enters the pit (to the chagrin of security), then takes a ride atop a sea of inviting patrons, microphone and cord, in hand. A brief drum solo gives the singer (returned to his bandmates) a short time to catch his breath. Then he straps on the guitar for the rollicking "Sign Of The Warrior".

Englishmen never take too well to the sun, so perhaps that's what set Satan singer Brian Ross off. Or, given the musical historical context, maybe he's taken on the personality of an accusatory witchfinder general. Throughout the set, he complained about stage divers (obviously some bad incidents in his past, but there was literally little-to-no chance of anyone physically reaching the performance area). That said, between songs, he still went on frequent rants about the practice. A sample, "Never understood why people climb over (one another). People (down front) only want them to get off. If you want to do that, go to the back." By the second song, "Twenty Twenty Five", he removed his trademark black gloves and leather jacket.

The late afternoon soon was in the fans' eyes, as well as hindering photographers, so maybe next year there's an opaque backdrop that completely blocks the sun’s rays, rather than a porous screen. "Ascendancy" is followed by "Into The Mouth Of Eternity", each of the Brits relatively statuesque throughout. On Ross' right is guitarist Steve Ramsey. It's not all from yesteryear, as "From Second Sight" gets an airing, alongside the likes of "Break Free" and "Testimony”. 

Due to a number of factors, it’s been 25 years since Razor released a studio record and live shows have been scattered, but the band is back on track, not losing one beat of, well, beating you up. Cuz that’s what they do. And they succeed as “Cross Me Fool” and “Instant Death” from Evil Invaders sets the tone as Houston fires get lit and pits start swirling. “Violent Restitution” continues the Canuck cranium crunch, smashing into the lone Cycle Of Contempt “A Bitter Pill”. Bands can only wish to bleed their metal as “Cut Throat” sees battering singer Bob Reid rips your head off. But Dave Carlo continues to work his mastery with his hands, a true icon and it was such an honour to witness him live. Longtime bass legend Mike Campagnolo and drummer Rider Johnson take matters in their own hands when “Take This Torch” and “Evil Invaders” close off the show. The only remedy for your headache now is another shot of southern whiskey!

Night Demon were out, supporting their new Outsider CD, even before Hell's Heroes. They had a few tricks up their sleeve, chief among them, new drummer Brian Wilson (No, not the Beach Boy, but Yngwie live hire/ex-Midnight Spell). There was also a Rocky 2.0 upgrade and a few new tracks, including opening with the titular choice. Man, the initial foray was so fast and powerful, would put it up against just about any act around. Jarvis Leatherby (bass/vocals) and Armand John Anthony (guitar) charging through the stage fog and delivering, at breakneck speed. Seriously, does any band headbang more than Night Demon? If so, let me know. Wow!

Maybe it was just the significance of hearing Wilson's drums for the first time, but the old songs (like "Dawn Rider" and "Heavy Metal Heat") were cannonading, like never before. Red lights for "Howling Man", complete with creepy, pre-recorded intro. Temporary step down, for green bathed newbie, "Beyond The Grave", but like clockwork, the hooded mascot (Rocky), now featuring light-up eyes and a cudgel, appeared for "The Chalice", complete with namesake drinking vessel. As usual, the trio close with final shot of adrenaline, a robust rendition of their signature tune. Renewed and invigorated (new member/new album) the future never looked brighter. 

Warrior’s Triptykon then paid a flawless tribute to the iconic Celtic Frost. It was definitely the beginning of a deadly Danse Macabre as the eerie intro played to an anxious audience. The massive backdrop featuring the incomparable Satan 1 by HR Giger, which graces the cover of To Mega Therion was rippling in the wind, as the tension built. When Warrior and his band mates finally arrived on stage, fans had no idea that we were going to be treated to the entire Morbid Tales album, plus most of the classic follow-up, To Mega Therion. Warrior, with his signature, overly humble disposition, announced that the songs would not be original, with Martin Ain no longer here to join him, and dedicated the performance to his life-long friend and collaborator, as the crowd cheered on. But he promised to do their best. And so they did. The band featured bassist Vanja Slajh, guitarist V Santura (aka Victor Bullok) and drummer Hannes Grossmann

“Into The Crypts Of Rays”, Dethroned Emperor”, “Morbid Tales” and “Procreation (Of The Wicked) quite simply destroy the crowd and then the parade of punishing moments from the follow-up included the focal point “Circle Of The Tyrants”, and the deeper, darker moments of “Jewel Throne”, “Fainted Eyes” and the glorious melting pot of “Eternal Summer”. And the sound was distraught, dirty, desolate and deadly. As it was and is, meant to be.

More Hell’s Heroes 2023 coverage:
Pre-party
Day 1
Day 2