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Sold out, one day event, in Karlsruhe, 10 days before Christmas Eve. Much of the holiday's tradition is owed to Germany:  the decorated tree (complete with lights, originally burning candles, on a dry evergreen? Incendiary!), the traditional carols (including "Stille Nacht" & "O Tannenbaum") and more recently, the idea of a Xmas metal fest...what a gift! 

Inside the hall, there's more than a half dozen food trucks/eatery options, plenty of fun & games (radio trivia booth, art exhibit, a chance to show off one's air guitar skills, etc.) and ubiquitous beer stalls. Despite the large scale of the event, a 0.5 liter hefeweizen was just 5.50 Euro (plus an additional two, as a deposit, recouped upon return of the emptied, pistol gripped pail). A more reasonable price than North American standards (aka rip-offs).

Most years, mainstay vocalist Bernhard Weiß, the lone original member from the ‘80s, serves as master of ceremonies for Knockout. Tonight, he'd continue the tradition, but first, he was center stage, with his bandmates behind him, the one guitar quintet called Axxis. The hall is nearly full at the 5:00 start time. Good idea getting an established act on first, bringing the patrons in early! "Little Look Back" with its "na-na-na-na" earworm melody, is up first, much to the crowd's delight. Carbon dioxide volcanoes erupt across the front of the stage for "Coming Home". Bernie's something of a comedian (even with my limited Deutsche language). 

After "Moonlight Bay", he attempts to get the women in the crowd to shout out, then the men. He's crestfallen that most of the attendees are gents. He swings his arms wildly (like a high speed, animated breakdancer) to kick off the strobe-lit "Tales Of Glory Island". Something different, sort of a sedate, tropical vibe for the red/yellow hued "Touch The Rainbow", as the crowd yells the titular chorus. Green/blue is the color scheme for "Kingdom Of The Night", before the set ends, much as it began, with that omnipresent "na-na-na-na", a reprise of the opener.

That said, like much of rock/metal these days, the crowd is "older" (read 50+). Yet we need some "younger" blood for the scene to survive. Even in Karlsruhe, a college town, the decades old rock disco (where people gather weekly, to meet/drink & listen to our favorite music) has bitten the dust. Replaced by a DJ and dance music! If it can happen in Germany, it can happen anywhere and frequently has, already, across the USA… Dynazty, the twin guitar fivesome from Sweden, has an album coming out in February. It's their ninth full-length in a 16 year recording career. They waste no time. 

That includes promoing a few new tunes tonight, like the title track from the forthcoming Game Of Faces. Right out of the gate, the prophetic, and as yet unreleased, "Fortune Favors The Brave" shows what they're all about: high energy rock. Lots of hair flailing and some synchronized stage moves from the boys. The pending release title track is bathed in an icy blue hue, while red seems an appropriate option for "Natural Born Killer". After the slower, blue lit "Waterfall" heard a smattering of whistles (European equivalent of booing). Not sure why.  A pounding, purple lit "Presence Of Mind" has some tasty double leads, while the "Heartless Madness" finale begins as a clap-along, from the crowd. Apparently all is well, in the end.

Back-to-back doses of Swedish imports, courtesy of another relative "newcomer," H.E.A.T. The backdrop is a nighttime street scene, as depicted on the Force Majeure album cover. High cheek bones and good smile, facially, singer Kenny Leckremo recalls a younger version of countrymen Joey Tempest (Europe), without the ‘80s poodle hairdo. In fact, the rest of his stage antics/outfit channel Bruce Dickinson, from that same era: running about the stage, arms overhead, exhorting the crowd. Kenny was part of the Avantasia tour line-up, this past summer. 

Coyly taking the stage to an intro tape of "The Heat Is On," the Glen Frey penned Beverly Hills Cop theme, got the heart pumping (a little nostalgia for the old-timers too), launching into "Back To The Rhythm". "Rock Your Body" appears under green lights, as it's announced the Dynazty guitarist is pulling double duty and filling in tonight. "One By One" sees the stage dyed in blue lights. They end with high pitched vocal "Living On The Run". Kenny is sleeveless, having ditched his jacket. The bassist adds backing vocals to the infectious, fist pumping "Eye Of The Tiger" inspired melody.

Always great to see Gamma Ray, one of the original German power metal acts and it's been too long: last spotted on a one-off at Heavy Montréal, pre-pandemic, in July, 2019. That was my first time seeing them with Frank Beck on vocals (now a permanent part of the band). The intervening years have seen Kia Hansen dedicating his time to the resurgent Helloween (the other guys in The Unity). In all honesty, Gamma Ray were my #1 most anticipated act of the evening. Tonight was also special as Henjo Richter was recovering from being struck by a car (as a pedestrian!), so on guitar was frenetic Finn Kasperi Heikkinen (from Beast In Black). In addition to facial antics, always good to have an extra "Heineken" at a show!

A rousing "Land Of The Free" opens the show, one of their biggest songs, but as the t-shirts in the merch booth intimated, it was all about getting "back to playing live," and I guess Kai (nor Heaven) could wait much longer. The singer/guitarist adopts a splay legged, rock star pose for the photographers. "Last Before The Storm" continues the frenetic pace (much to everyone's delight), before blue washed "Empathy" offers a short respite. Frank begins "Master Of Confusion", center stage, clapping his hands overhead. The audience mimics his cue, as Kai dominates the verses, as Beck helps on the choruses. For his part, the Finn with neon yellow guitar, tries to look engaged and he even gets to play a quick flourish on this one. 

Truthfully, strobe bedazzled "One With The World" is far from a definitive Gamma Ray offering, but it affords Beck a chance to sing the lion's share of the lyrics, as Kai steps center stage to take a spotlighted guitar solo. Following the pre-recorded "Induction" intermezzo, it's A List material the rest of the night, starting with a galloping "Dethrone Tyranny", opening vocal emphasis from Frank, who works his way around the stage. in between, there's a little shoulder-to-shoulder goofiness between the two guitarists, who deploy twin lead precision (all the more impressive, given Kasperi's short/limited time with the band).

Kai is clearly having fun, as he begins "Rebellion In Dreamland". Beck (who utilizes a wireless mic) sidles up to the mic stand tethered guitarist, before roaming to the opposite side of the stage. At one point, everyone vacates the front of the stage, leaving it to Hansen (for a guitar run). Some fancy fretwork (especially from Heikkinen) and it ends with "whoa whoa" crowd sing along. "Somewhere Out In Space" is followed by the a light, bouncy "Heaven Can Wait" finale, with Beck doing almost all the vocals. Great fun. Just hope it's not another 5+ years until I get to see/hear them again, onstage. 

Speaking of passing time, it's a decade removed from the Megalomaniac misstep (that saw them abandon lightweight, upbeat, glam tendencies for "respectable," albeit anything but, modern rock), Kissin' Dynamite are German media darlings. It's been a long time coming. These "kids" are scene veterans, having been active for two decades, and the driving force Braun brothers (Hannes on vocals, and older, often bare-chested Ande, on guitar) are into their 30s! 

Recent domestic success sees them jumping the venerable Gamma Ray (and raising more than one eyebrow, in the process), with a co-headlining slot. Back with a bang (the title of their opening salvo), the boys brought the goods, including a full production, lighted two-tiered stage (the biggest of the evening), which they repeatedly traversed throughout the night. Asymmetric blond haircut Hannes, his chest tattoo displayed prominently from his zipper-down jumper, is a bit of an acrobat, flinging himself up/down and all around the ramps and multi-level stage. 

A good Kissin' Dynamite show features lots of onstage action (centered on Hannes) and fun, sing-along anthems. Such was the case in Karlsruhe tonight. "DNA" begins with the two brother’s pogoing, side by side, before the singer jogs around the stage. If nothing else, these guys have some provocative song titles, as the early appearance of "No One Dies A Virgin" demonstrates. Add in "I Will Be King" and "The Devil Is A Woman" and you've got plenty of tabloid fodder. "My Monster" kicks off in near darkness, Ande on one of the stage front risers, while Hannes hangs out up on the second level platform, atop the drums, as overhead a lighted KD (no, not King Diamond) logo is illuminated on the backdrop. For "Six Feet Under", Ande brings out an acoustic guitar. While he frequently adds backing vocals for his brother. This one allows him to actually stroll center stage and share the mic with Hannes. Appropriately they end with "Raise Your Glass", as I head to the bar for another Hefe.

Christmas gift to their countrymen, the Guardians all but dispensed with promoting the recent output (having already headlined Europe for The God Machine, the album artwork still a backdrop behind them) and basically stuck to the hits and a few deeper cuts. Excellent!  The last few years have seen Hansi & Co. rediscover their older albums, reimagined (rerecorded and/or played live) and the faster, more aggressive canon has rejuvenated the band. Even though 2024 was winding down, and the tour/summer festivals ended back in August, Blind Guardian were capping a stretch of four shows in a week. The three principles: guitarists André Olbrich and Marcus Siepen, each flanking Hansi Kürsch, are situated at the front of the stage, bass, drums and keys, on little risers, further back.

The crescendo building "Imaginations From The Other Side" kicks things off. The silver haired Siepen moves about, making frequent forays towards the singer's middle ground, while Olbrich is content to blaze away, on the opposite side, stage right. "Blood Of The Elves" speeds by, while blue tinted "Nightfall" gives the guys a chance to catch their breath. No worries because the crowd provides ample backing for the singer. For his part, Kürsch occasionally wanders about, but usually he is at the lip of the stage, right foot up on one of the wedge monitors. He has expressive "jazz hands": pointing fingers, the flick or wave of a hand, arms outstretched, utilizing his limbs like a conductor's baton, intent on wringing the most out of his orchestra, while include the crowd and their voices. Overhead white lights pivot, aiming straight at the crowd, during "Banish From Sanctuary".

Blues, with streaks of purple shine onstage, as the black shirted singer moves about, during "Time Stands Still (At the Iron Hill)". Next up is "Bright Eyes", not something not often heard outside their homeland (or Japan), but a deeper cut from the early days, rediscovered/reactivated by the return of the Imaginations disc, to the live set. Always a highlight, especially in terms of audience participation, is the folky ballad (seated Siepen and Olbrich, on acoustic guitars) "The Bard's Song - In the Forest". Truly a spectacle to be amongst a group of like-minded individuals, all gleefully singing the lyrics, as Kürsch sort of stands back and listens. 

The "choir director" smiles, only occasionally interjecting, often playfully jibing the crowd about their response and its duration. One of the great moments of live "metal" to experience, no matter how many times you've seen/heard it before. Highly recommended! Few options could supplant the moment just witnessed, but the Guardians offer another crowd favorite, a rollicking, albeit more forceful "Majesty", Hansi initially in his crouched, splay leg "squat" at the lip of the stage.

Red hued "Lord Of The Rings" begins with a lone jangly guitar, courtesy Siepen. The crowd initially claps along. Come the first chorus, Olbrich joins the still sedate proceeding, as the fans serenade Hansi. It really only ignites, briefly, come its conclusion. To make another moment of refinement (after the Bard) palatable, in such otherwise raucous proceedings, is truly magical.

No wonder Hansi announced it was time to "smash down the gates of Valhalla," returning to vehemence.  A sea of white strobes rains down from above and after the first verse, Kai Hansen strolls onstage and reprises his role from the original studio recording. 

Actually, he sings most of the lyrics and come the titular chorus, it's a duet, two of the great German frontmen. As usual, it becomes a giant sing-along, the crowd adding their collective voice to a nearly a cappella closing, as Hansi offers "Valhalla" and Kai answering with "Deliverance. Why've you ever forgotten me?" Classic moment as the two stand center stage, arms on the other's shoulder.

Could have been the culminating moment, but that's left to an aggressive "Mirror Mirror" and everyone goes into the cold December air, singing the chorus, long after the music has stopped. Happy holidays and see you in 2025.

Additional photos available here.