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Have seen both, numerous times, on some of the biggest festival stages (as well as headlining solo artists) but there's something special about the current touring package. In large part, that's down to the way Helloween have sown seven divergent cloth samples into a stunningly coherent piece of high fashion. Both acts joke around and have fun with one another onstage, which (sadly) is a bit of a forgotten art. 

Under a giant (festival-size) backdrop from the Dominion days, was my second dose of the Swedes, in 24 hours. Regular size stage afforded the guys more room to play & play around, especially vocalist Joacim Cans who logged some mileage, jogging from one side to the other. After opening with "Brotherhood", during "Any Means Necessary", Gumby... oops, guitarist Oscar Dronjak, bent backwards, guitar overhead, as singer Cans (on the drum riser) egged the guitarist on. "The Metal Age" is the lone old school moment, while Dronjak appropriately trots out an axe that resembles Thor's hammer for "Hammer Of Dawn", which ends with piped in keyboards. White overhead searchlights sweep the stage on "Blood Bound", where Pontus Norgren takes center stage for a solo spot. The rev of motorcycle engine greets "Renegade". Lots of synchronized stage moves. During the song, Joacim steals one of the picks affixed to the bottom of Oscar's guitar and then tosses it to the crowd (the pick, not the guitar). 

As "Last Man Standing" ends in pre-recorded piano, Cans announces the fact their Crimson Thunder album recently commemorated two decades since its release. As such, the boys launch into an abbreviated instrumental section, as the singer departs. Cans returns for a few bars of "Riders Of The Storm", before it transitions to the title track. Always feisty, Oscar punctuates his fervor by punching the air. Time for a sing along and the crowd's repeated call & response with "oah, oah" rivaled anything I've heard overseas. Impressive! Joacim danced in circles, to start "(We Make) Sweden Rock". Green/yellow lit "Hammer High" sees Dronjak return to his arsenal/tool kit for the aforementioned shaped instrument, which he holds menacingly aloft (in the manner which any carpenter would tack down nails). Before the last number, the lanky, blond Swede would make another switch of guitars, also returning topless for "Hearts On Fire", a boisterous crowd favorite. The guitarist played with a leg up on one of David Wallin's bass drums, as Joacim slapped a cymbal, open handed.  

Quick, half hour change-over, to strip off the drum kit and there's the Helloween stage, complete with matching staircases, either side of Daniel Löble's kit (each leading to a separate, second tier platform). The drums were enveloped in an inflatable jack-o-lantern shell. A video screen, behind the band, showed a series of images, some connected to a particular track, others, seemingly quite random and even showing what was happening onstage, in real time. What could, in lesser hands, turned into a nightmare of rock star/egos, is a career retrospective that enables each Weenie to take the spotlight, yet also laud co-contributors. While mainstay guitarist Micahel Weikath remains a man of few words (and almost as minimal effort seemingly employed on those twisted, old school rhythms), almost all the others made a point of not only praising their co-workers, but joking and enjoying their company, verbally and via non-verbal clues. Great for them, but we the fans are also the lucky recipients of their efforts.

Case in point, the lengthy "Skyfall" opener, which highlights all the individuals, right away. For the remainder of the show, some vocalists (there are three) and/or guitarists (also a trio) would be highlighted on a particular song (usually tied to one's era within the Helloween legacy). Not surprisingly, Michael Kiske is in the vanguard for "Eagle Fly Free", it being a Keeper track. Andi Deris sings "Mass Pollution" newbie and Weiki switches from his trademark Flying V to a red Gibson. Initially, it's just Kai Hansen and his ‘80s bandmate Kiske, alone, for "Future World". As the red lights go blue, the rest of the guys reappear. The crowd basically sang the first verse, then Kiske took over. The band employed a series of three multi-colored, digital lamps that shot from the side of the stage, 90 degrees to the performers. Green lit "Power" see Deris back on the mic. 

Under red skies (well at least indoor illumination), Kai kicks off "Save Us" from a wide, splay legged crouch. Vocally, it's more Kiske, although backing is supplied by Weiki and Hansen. For the first part of the old school segment, Kai put down the guitar, to concentrate solely on the lyrics for "Metal Invaders" and "Victim Of Fate". Weiki has switched back to the light blue Flying V, foot up on the wedge monitor and he strums, almost effortlessly/non-chalant. As the tempo picks up, pockets of slam dancing (accent on the word SLAM) break out, throughout the packed throng on the floor. Hansen dons a guitar for "Gorgar", as the video accompaniment overhead displays a cute cartoon animation of their Fangface mascot playing a Helloween pinball machine. "Ride The Sky" and audience participation rendition of "Heavy Metal Is The Law" finish off Hansen's vocal spotlight. 

Afterwards, a pair of bar stools are placed center stage and Kiske/Deris joke about the just completed "thrash" experience versus their impending touching moment/ballad: "Forever And One". Hansen is given this one off. Kiske incorrectly attributed Deris writing it for his mother. "I wrote it for my ex," Andi corrects, before admitting that his Mom liked the song. "I didn't think it was right for the album, if she liked it," he half-heartedly joked. The two voices, a cappella, to start, are joined by the band, as Weiki makes a rare foray to stage right. Cigarette lighters replaced, in 2023, by mobile phones, it was the lone respite in (at times) a savage delivered pace. Have no idea how Löble is able to cope. What a monster! Black stage, with white lights, for Sascha Gerstner's solo, as Weiki takes a smoke break in the wings. 

Hansen wasn't just sitting backstage, catching his breath, as he returns with a costume change. Gone is the red leisure/suit jacket (black shades were only for photographs, during "Skyfall”) and in its place, a sleeveless black vest. Kiske and Deris continue the vocals for "Best Time". With comical animation onscreen, "Dr. Stein" is begun by Kiske, but Deris joins in. One of the examples of teamwork sees a succession of leads handled by Weiki, then handed off to Kai and then to Sascha, in turn. Even Hansen doesn't believe his pronouncement that "How Many Tears" is the last song of the evening. While the proper set ender, there's still more to come (as we all know/knew). It's all hands/voices onboard for the aforementioned classic, Hansen and Weiki chugging away, center stage. It's a dynamic ride, coming to an almost full stop, then tearing off, seemingly faster/louder than ever before.

Cue the first encore, which sees Deris in red sequin sports jacket and a fedora, for "Perfect Gentleman". The Helloween cartoon characters, from the inner sleeves of the 80s releases, come to life, onscreen behind the band. For "Keeper Of Seven Keys", the screen is filled with a starry expanse of space (seemingly borrowed from the opening sequence of the original Star Trek TV series: "Lawsuit set on stun, Mr. Spock"). Not averse to lengthy cuts (no signature tune, this time around), it's a skill to go almost 20 minutes and not make it feel taxing, especially this late in the running order. Kiske handles the first verse. Deris joins for #2. Lots of tasteful, center stage noodling by the guitar tandem/triumvirate. 

Before the second encore, the band are presented with induction into the Metal Hall Of Fame, including an onstage appearance by Arch Enemy's Alissa White-Gluz. Photo op over, the band close out with "I Want Out". Unintentional, but funny juxtaposition, given the ceremony just witnessed. A half dozen, large orange and black balloons are bounced atop the crowd (and occasionally towards the stage, where, with the skills of a Vezina goaltender, they're expertly deflected back in play). Despite sweating heavily, both Sascha and Kiske had leather jackets on for the duration of the show. While Deris and the constantly in motion bassist Marcus Grosskopf (only guy with his original ‘80s haircut, as Gerstner joked, when introducing the four-stringer, during roll call) began the night in one, but ditched it in the process. The two main singers engage the crowd in one last contest, the right side vs. left challenge, All that's left are the thank-yous and final bow.

Actually, that should be us, the fans, giving Helloween a standing ovation, for not only being able to adapt, coexist and incorporate their history, in a way all the participants can embrace/support, but also delivering viable new music. Many have tried, but can't think of anyone who has accomplished it (over multiple album/touring cycles) and better. Prost!