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Reggie's is a rock ‘n’ roll bar, the smell of sweat and stale beer, which permeates every corner, is thicker than the layers of band decals/stickers plastered on the bathroom walls. A fitting venue for the no-frills, down and dirty two-day, Legions Of Metal festival. Chicago was already abuzz, seemingly packing all sorts of outdoor activities into the few months that it doesn't snow. The same weekend saw a Greek fest, German fest, Gospel music event, and then there was Taylor Swift. According to local NBC affiliate, her trio of shows were expected to draw massive crowds, with more than 60,000 Swifties descending on Soldier Field each night, not including parents and ride-share drivers dropping off and picking up the concert goers. Right around the corner from the black shirted Legions.

Day 1
The layout contains two separate stages. The smaller, "Joint" stage is in the bar/restaurant, which remains open to the general public throughout, and the main room which is only available to those attending the event (ie. purchased tickets). Friday at 5, quitting time. Start the weekend, and that's when Kansas City based Emerald Eye kicked things off. Comprised of 4/5 of the former Vanlade (previously witnessed at Warriors Of Metal), the band is getting ready to release their debut. A two guitar fivesome, lead singer Brett (tonight wearing a leather jacket and cape, for most of the performance), doubles on keyboards, situated right at the front of the stage: a bit of an obstacle for the guitarists to navigate. Given the moniker, should come as no surprise they were predominately illuminated under green lights, with the occasional burst of stage fog. Apart from the drummer, all wore sunglasses, despite being indoors. High pitched vocal, traditional/power metal is the name of the game, although for "Whirlwind", the singer strapped on an acoustic guitar and there were three part vocal harmonies. In the club, Satanic Panic were grinding out workman-like rock n roll.

Times on the two stages overlap, by a few minutes, providing constant entertainment. Out of York, PA, Spellbook have been around for 16 years (albeit as Witch Hazel, until 2020). Expressive frontman Nate Tyson (he of the red/black labyrinth print flares) sports a glittery make-up design on his forehead.  "The Witch Of Ridley Creek" was one that stood out. Meanwhile, female fronted Onscuridad Eterna played in the other room. The lead singer, with bedazzled bling mic, wore a bikini beneath a Swiss cheese holed body suit. Created quite a racket. 

Expected more visuals from Michigan's White Magician, who opened with the title track from their Dealers Of Divinity full-length debut. How much would it cost to come onstage, flicking playing cards into the crowd, or asking an audience member down front, to "Pick a card" from a fanned deck, or maybe even a spread of band stickers, which the fans could keep? Missed promotional opportunity. Should utilize the "magician" theme to their advantage. Apparently the technical, twin guitar foursome don't play out much, as it took them a while to get up to speed (the latter half of the set, better paced than the start) and the singer voiced being unsure of the name of some songs, explaining "Mad Magic II: In The Absence Of Gods" is about volcanoes, in Pompeii. Lots of wicked guitar work though, and lengthy, instrumental/jam passages. "In Memoriam: Love & Magic" was also a winner. 

Sumerlands were the first must see band of the day, as the main room swelled in size: apparently their first visit to the Windy City. Dimly lit and hair hanging in the face of guitarist/producer wunderkind Arthur Rizk (during set-up, line check, he informed the soundman of a hum/feedback created by floor tom that had been moved. Guy's on the ball!) No facial obscuring issues for bald frontman Brendan Radigan, who joked about choosing between metal and Taylor Swift concerts. "Heavens Above" sees Rizk and six-string partner John Powers come forward. Journey back to the eponymous debut for "The Guardian", but the strongest stuff is off Dreamkiller, including the title track, "Edge Of The Knife" and "Force Of A Storm", which Radigan claimed was about energy supplements. Great songs and more metalheads should know about these guys! In 'the joint" Idol Throne offered an aggressive, thrashy sound. The twin guitar quintet saw singer Jake Quintanilla rocking a Dave Brockie (Gwar) 10 year commemorative tee.

Speaking of a catalog of stellar material, original guitarist Rick Ventura brought Riot Act to Legions, promising to play Fire Down Under in its entirety, along with other Guy Speranza-era Riot classics. Although they have issued new/original music, tonight Riot Act solely played the oldies. Don Chaffin, first singer of the day to interact with the audience, looks like the love child of Jorg Michael and Timo Kotipelto and possesses similar vocal skills to the latter. Only place you're going to hear blue lit "Feel The Same", fan clap-along "Don't Hold Back" and "Don't Bring Me Down", with Chaffin using the mic stand as a prop. Great to hear those vintage gems again. 

Sure, Riot V dusts off "Sword & Tequila" or "Outlaw" on occasion, but these were some DEEP cuts, played on just one guitar! After opening with "Rock City", "Road Racin" was up second. Like I told Vicious Rumors on the 70K cruise: this is not your headlining show. There are lots of people in attendance who don't necessarily know (all) your material (especially youngsters, who didn't grow up on your music). Don't get all artsy. Hit them with your best stuff early and maybe they'll stick around for the rest of the set, when you can show them what (else) you can do. Crowd got into the act for "Fire Down Under", singing along to the headbanging classic. "Run For Your Life" sees the singer and Ventura interact, while Chaffin has the mic stand over his shoulder, for "No Lies". The singer even brought out his cellphone to take some video (selfie?) with the crowd behind him, as they played. Under blue lights, and without the singer present, the guys start "Altar Of The King". Raging "Warrior" ends the proper set, but they return for "White Rock", as an encore. That's how it's done, boys & girls!

The Rods had a tough act to follow, yet the trio soldiered on, underdogs, as they have been for most of their existence, since the ‘80s. Drummer/producer Carl Canedy looks healthy, having dropped some weight and guitarist David "Rock" Feinstein still has the pipes. Guess the vocal longevity gene runs in the family (his cousin was none other than legendary metal voice Ronnie James Dio and together, they were part of Elf). Wearing shades and perched high above his mates, Canedy truly was on his throne, while Rock had a headstock-less guitar at the ready. Opening with the a double shot from their last studio effort 2019's Brotherhood Of Metal (Live at Rose Hall, recorded last year is currently available online and at shows), with the opening titular cut and "Louder Than Loud", The Rods were off, on a career retrospective. 

Green lit "Let Them Eat Metal" (only track from album of the same name) sees a call & response segment between the drummer and the crowd. "I Just Wanna Rock" is the lone non-Brotherhood song aired that was recorded since the reunion, most going all the way back to the start, featuring a heavy dose of "Wild Dogs" (but not the title track). Red hued "Violation", precedes Canedy's old school drum solo. What a force! Speaking of which, many of their songs espouse the love of and/or need for power/volume. Around 12:30 AM, Rock questions if the venue has a curfew. Suffice that there isn't, still decide on just one more: "Hurricane", although plenty of other options were available, based on the pre-printed setlist handed out at the merch table.

Day 2
Saturday begins two hours earlier, a total of 13 bands, instead of ten. Things start promisingly enough with heretofore unknown Shield Of Wings, an operatic frontwoman (Lara Mordian, onstage goes only by her surname) and gruff counterpoint (think Arch Enemy: take your pick, Angela Gassow or Allisa White-Gluz) provided by her female keyboardist (Aliyah Daye). Just one guitar as the band hammer out cooing and trilling Epica inspired dual vocal symphonic metal, even down to the electric fan billowing the singer’s hair. She was very enthused to be performing, repeatedly thanking the crowd. For “Wetland”, she took the mic off the stand and moved about, a bit. Otherwise, very expressive arm/hand gestures and a headbanging guitarist were the limits of stage antics. Played along to pre-recorded segments, including Nightwish style pipes. Ended with “Sunfire Shower”. Well done, now need to play more live shows and help establish their identity.

Next up, Serpent Rider, a culturally diverse (and wide range of ages) within the line-up. A veritable UN onstage! In fact, Legions Of Metal breaks down the stereotypical white/male dominance, within the scene, with several female singers/musicians and even more skin tones. Good to see. R. Villar, the Asian girl with the mic, had the stage moves and attempted to interact with her mates, but otherwise, the rest stayed quartered off in their little piece of real estate and never ventured out of it. Makes it difficult to believe they are a unit (i.e. band) and not merely individuals inhabiting the same place and time. Hats off to the drummer Drake Graves though. Dynamic is an understatement: speed and thrashy, double bass work. Impressive.

Pittsburgh area Iron Brigade offered their take on traditional, Iron Maiden (even without the singer repeatedly pointing to his Senjutsu t-shirt) infused metal. His son Caleb was one of the guitar players. “Chain Of Command” (not the Jag Panzer offering) and “Driven To Kill” were mixed around his onstage ruminating, "Do heart transplant recipients begin to get urges they never had previously (with someone else’s organ now residing within your body)." Interesting concept. 

Züül (umlauts over each U) are a two guitar quintet plying a punky, garage band thrash. Opened with “Show No Mercy”. Is metal about precision, or the performance? Zuul are definitely in the later camp. Punk side comes out a little more on “Guillotine”. Frontman has a little bit of Mick Jagger swagger/strut in his presentation. The green haired bassist took a couple of measure off, strolling about the stage and playing off the singer and/or guitarists. “Howl Of The Wolf” and “Brother To Brother”, the track from their split with Bible Of The Devil”, were also aired. 

A sonic upgrade over what had come, thus far, Adamantis were the first band to offer a full dynamic range: great sound for their high pitched voiced power metal. A two guitar five piece, the band members wore tees in support of Wind Rose, Haunt, Satan and Stryker, so gives a glimpse into their headspace. Drummer Evgeny Shlevkovis is the brains behind the similar-minded, Boston area Stormbringer festival. “Storm The Walls” and “Unbound Souls” see singer Jeff Stark wielding a sword. By “The Siege Of Arkona” the wiry bassist was shirtless. A cover of Maiden’s “Flight Of Icarus” saw many guests flood the stage: friends and musicians from other bands, joining in the fun. Look forward to hearing more.

Best part of the twin guitar Chamber Mage was energetic frontman, Avery Berg, although staccato "Emerald Tower" also impressed. In some ways, feel sorry for newer bands, as promoters opt for the name recognition factor of retread/resurrected bands, doing nothing to help establish the next generation of bands. It's a trade-off, but at least put some of those legacy acts on earlier in the day, so those wishing to see them can also be exposed to new sounds.

Case in point, Witchslayer. A Chicago ‘80s "legend", despite never releasing an album. Just returned from Kit It True festival in Germany, sure the guys at Legions thought they had a big drawing card, but have to think financially (with Legions Of Doom already on the bill) didn't bring the host of old school, local metalheads as anticipated. Priorities change. Those that hung out as 20/30-somethings every weekend, back then, now have families, jobs, etc. that eat up disposable income a lot faster than legacy metal shows (unlike overseas, where there's already an ingrained sub-culture). 

Opened with their signature tune (finally committed to disc, in 2022). No idea about their heyday, but the sound was not as menacing as the moniker implies. "Crypt", their self-professed heavy metal western, "Hand Em High" and the song which started it all, their Metal Massacre contribution, "I Don't Want To Die" were also part of the performance, which was filmed for an upcoming Chitown Eighties metal documentary. Should be interesting, as I could only think of Znöwhite/Cyclone Temple, Zeotrope, Trouble, Damien Thorne, D'Molls/Diamond Rexx and Enuff Z'Nuff, when asked, offhand. 

Liked the speed metal sounds of Texas based X. I. L. (pronounced "exile") album, Rip & Tear, but wasn't thrilled with the singer. Good thing, said hulking, Chuck Billy sized (by just as affable) guitarist, Joseph Aguilar, who has since taken the vocal reins. Overactive bassist jumped around so exuberantly that he actually fell over a couple of times (just part of the show!). Band used to play Tank covers, hence Joseph's stage wear (plus Algy Ward's recent passing). Raw, but in a good way!

Odd, Spread Eagle frontman Ray West opting for "Back On The Bitch", one of the best known cuts, appearing at #2 in the running order. "More Wolf Than Lamb" also up early. Strange, how the world turns. Spread Eagle enjoyed more (B Level) success in the ‘80s than likes of Witchslayer and Trouble, but what is more applicable now, in 2023, on a global scale? Pretty sure most fans of those acts, or offshoots (The Skull) have little, if any, interest in the so-called resurrected ‘80s hair metal (now, let alone back-in-the-day). Ducked out for a while, checking other bands and also doing a photo shoot with Metal Church, but did get back in time to hear "Switchblade Serenade", the big hit.

Infinite Dream contains three former members of Widow, guitarist Cris Bennett taking over vocals, from Jon Wotten IV, now content to just contribute bass. Unlike the last incarnation of that band, there are now keyboards (Dina Altum) and a new emphasis on melodic songwriting (mainstream rock?), as opposed to infectious power metal. There's a video for "Bitter End", one of the songs played.

White hair and beards, looking more like a country band than doom metal luminaries, Legion Of Doom was put together by The Skull/former Trouble bassist Ron Holzner, as a tribute to fallen local hero/legendary voice Eric Wagner. Together with Karl Agell (C.O.C.) and Scott Reagers (St. Vitus), both stellar vocalists in their own right, the Legion played a set of covers from all the aforementioned acts. Agell and Reagers switched off, taking turns at the mic. Tuneful sludge, Scott was hunched over the mic, but got animated once "War Is Our Destiny" kicked in. Sort of ironic, seeing him in Candlemass tee. He was involved with "Born Too Late" and announced Trouble's "Pray For The Dead", but consensus was, it certainly was not that song. Agell returned for the Chicago institution's "Psychotic Reaction", which by its conclusion, also saw Reagers onstage, Agell and Holzner sharing the mic. Respect!

Both fans, and band alike, were chomping at the bit, to see the first Metal Church show, with new vocalist Marc Lopes. Anyone who has seen him front Ross The Boss' band knows the guy can handle the job, it was just the re-opening of the musical toy chest that intrigues. As if not to disappoint, they begin with "Ton Of Bricks", heavier and hitting harder than its namesake. The incendiaries began prior to "Start The Fire", but a welcome return to the setlist, nevertheless. There's an almost maniacal glint in Lopes' eyes, as he works the stage for "Battalions"

"Gods Of Wrath" sees folks sing the titular chorus. The swirling floor picks up intensity, as bassist Steve Unger sidles up to mainstay/guitarist Kurdt Vanderhoof. Lopes really sells the high end of those old tracks. "Hitman" continues the merciless onslaught...Stage turns blue, with white spotlights, for the lone Congregation Of Annihilation tune, first single, "Pick A God & Prey", the bassist adding his voice to the chorus. "Burial At Sea" was an unexpected choice, but it gives "the other guitarist" Rick Van Zant, a chance to take the leads. If "Burial" was a surprise", the first reported airing of "Psycho" (see what I told you about Lopes' look?) since '87, was uncharted waters. Wow! The band has not been this aggressive in a long time! 

Rick also kicks off the slow, grind of "Watch The Children Pray", with Stet Howland initially standing, as he drums. The later third of the set consisted of some of their best known (Mike Howe era) material. Periodically, Vanderhoof had to take a seat, as he did, briefly, during "Badlands". Then he's up again. Although the event is almost over, the party continues, with "Fake Healer". During the portion of "Beyond The Black" with rasp of military snare, both Unger and Vanderhoof stand poised to get going, each with a foot atop the wedge monitors, almost like a sprinter in the starting blocks. Howland is once again upright and the spoken, voiceover that introduces the song, on record, was, here, delivered by Lopes. 

Finally, after a lengthy absence, the signature tune, "Metal Church" has returned. Fans and Lopes sing along. Vicious! The night, and indeed Legions #5, ends with the encore, "The Human Factor", dedicated to "brother Mike." An appropriate humane touch. While never truly "away," Metal Church is BACK, especially for fans of the David Wayne style! Check 'em out on tour this summer.

See you at Legions of Metal, 2024?