Sometimes, "the planets" just align! Headed to a metalfest, the first weekend of August. Wacken? No (been there, did that, for 16 consecutive years). No, this was in North America and "a little" more intimate: Mad With Power, in Madison, WI. Historically, the annual event (now in its seventh edition) is a week later (when Team BraveWords heads to Summer Breeze,) but not in 2024. So with calendar clear, it was off to sample some cheese (Wisconsin is known as America's Dairyland, producing more than a quarter of the country's fromage).

Throughout the middle of the US: in places like Chicago, Wisconsin, Texas, Oklahoma, metal events are proliferating. By attendance, Mad With Power is now the largest power metal fest in the States! Even within the sub-genres, there is a "community". Listening to, and engaging in, conversations at the pre-party/video shoot (in an arcade, loaded with pinball and ‘80s era games), it became apparent that in a large part, it's founded/supported by Lords Of The Trident (naturally), but also beholden to the likes of Unleash The Archers (other than the Lords, most popular attire of the fest) and Aether Realm (who have been announced for '25), as well as gaming culture and references to the same, plus countless "universal" memes and videos, like Aqua Teen Hunger Force and other Adult Swim cartoons. 

As such, the touchstones are different than their European brethren. No value judgement there, just an observation, from someone who has been frequenting overseas gatherings for 25+ years. Hell, each night they build an hour built into the schedule (where no band performs), to either grab some dinner, or play video games! On almost a daily basis, I receive about 80 emails, requesting a listen to new music. No one can hear it all, nor can you like everything (otherwise your opinion counts for nothing). So heading to shows like this, with little/no background (apart from someone having already vetted the acts) is a way to discover more potential acts. It's an imperfect science, but the theory being, if the live show from an unknown entity is interesting enough, then should check out the studio work. Full disclosure, only own music by three of the weekend's 12 performers that being three of the four I'd already seen.

The Sylvee is a first class venue: two balconies (reserved seating for paying VIPs) and the main, bar level has a sunken standing room-only floor. Sort of like House Of Blues, or Fillmore, for those familiar with those chains, but a bigger stage and less artistic decorations. Don't know about the ladies room, but each door to the stalls, in the guy's bathroom, were decorated with a different, super-size "sticky" backstage pass: Queen, Ozzy, Tool, etc. Very cool! For the weekend, there's banks of 10+ video games on either side of the pit, eight pinball machines and upstairs, new era RPG computer games. The arcade machines are mostly vintage, including Eighties OG titles like Space Invaders, Centipede, Pac-Man, Donkey Kong, Zaxxon, Missile Comand, Defender, Joust and Berzerk, from makers that predate today's gaming giants, like Stern, Midway, Atari and Williams. Quite a step back in time, for those of us who remember.

4:30 Friday and there's a couple of rows deep standing stagefront, for Denver, Colorado's Oak, Ash & Thorn. The two guitar foursome, drummer included, run to the front of the stage and toss a couple dozen t-shirts to the early arrivals. For a half hour, they'd churn out progressive death, similar to Gojira, but with an atonal bass rumble. Thrashing about spasmodically, Adam Armstrong handles vocals and rhythm guitar, utilizing both gruff intonations and a higher register. There were samples of video game "noises" sprinkled between the proper songs. Crowd raised their collective hands during "Like The Sea I Raged". They worked the stage and at one point, all three came together, center stage. Armstrong occasionally called out non-sequitur observations, mid-song, including kudos for lead guitarist Jason Harding, who demanded a Wall Of Death for the purple lit finale, "Light My Pyre" (complete with a brief homage to Slayer).

Changeover between bands was about 20 minutes, although the first few bands didn't need that much time, since the entire drum kit was wheeled in/out, for each new arrival. The one guitar, female fronted Dialith are from Connecticut. The instrumental "Emergence" intro sees the guys onstage, storming through a galloping guitar dominated track. Krista Sion waited in the wings until it was time for "The Sound Of Your Voice", which saw the sound take on more of a Euro feel, with piped in keyboards backing. Long stringy hair and mustache, guitarist Alasdair Mackie bares some resemblance to a young Mantas (Venom). The red lit "Undertow" started aggressive, in stark contrast to the meandering, Middle Eastern flavored "Shadowdancer" (with trilling voice), which sapped the positive energy they'd built to that point. There was no culmination, just a "Thank you" and they walked off. Not sure how many gigs they have under their belt, but need to work on that. Should also invest in a bigger logo/backdrop (as they're good enough to get more invites to "big" shows) and the one they're using for Danbury area clubs doesn't really cut it. Live, let's call Dialith a work in progress.

Owlbear prove you don't have to have a ton of work, to be good. This was just their second show (and I've now seen them both!), but man, what a step up in aural quality and presentation. To this point, the bands hadn't really interacted with the crowd, beyond the occasional song title introduction, or "Thank you." Get it, their time onstage is limited, but it's a way to win new converts. Katy Scary teasingly pokes the (owl)bear and the band/show is better for it. After opening with "The Night Below", she introduced "Bastard Sons", saying it was (stylistically) inspired by Riot. Jeff Taft moves around comfortable, getting together with the dreadlocked half of the guitar tandem, center stage. Atypical, self-professed pirate metal of "Voyage Of The Wraith" wins a loud response, but when Katy references Final Fantasy, as impetus for a revved up, red lit "Fiend Of Fire", the place erupts. Both guitars and bass convene stage right. Similar response, amongst the gamers, with Dungeons & Dragons inspired "Chaos To The Realm", which sees the singer hits a final, piercing high note. She claims she asked Jeff about the ideas behind "Steel At My Side", then confessed it was too much to explain in just a few seconds, between songs, saying, "It's about holding a big fucking sword!" It's a great, twin-leads Euro-power metal anthem. 

Can practically see yourself putting on a helmet, drink some mead and head into battle. Crowd felt the same way, as fists are pumping, even in the sit-down balcony. As the show drew to a close, Katy referenced the fact artwork, for the upcoming sophomore effort (Feather & Claw, on Alone Records) had been posted online and people wondered if they'd debut a new track tonight. "Fuck you dickheads, this is only our second show. You haven't heard any of them yet!" Beautiful! Cue "Fall On Your Blade", a rousing closer. Can't wait for the album and let me know where I have to travel, to see the next show.

Hope everyone had a relaxing dinner break, as Chicago area Starkill storm onstage with "Be Dead Or Die", plenty of attitude, music to match, and never look back. The two-guitar quintet have a ratty clothes/tatters look, along with accents of black/white make-up, on face/arms, even pink hair singer, Sarah Lynn Collier, but not the drummer. The look is sort of Black Veil Brides meets corpsepainted black metal. All take a turn at the mic, lead or backing, for "Cloudless". The backline now lights up vertically and "Detonate" sees frantic lights sweep across the stage, as well. Lots of open chord playing. At one point, the guitarist jumps into the photo pit, near the crowd, and runs back n forth a couple of times, before returning to the stage. They end with a cover of Foo Fighters' "The Pretender", in a whiny, Ghost style. Apparently there's a Wall Of Death in the video, which the Chi-towners seek to replicate. If you want to leave people with impressions, is a cover the right way? Maybe earlier in the set, if you want to keep the Wall intact. Starkill is aggressive, but it's not power metal. Don't know that I'd buy any of their music, but I'd definitely see them live again, as it's a fun, noisy, action-packed night out.

Best unscripted moment of the night (actually reprised on Saturday) was when Carnage, the local professional wrestler ("Hey fans!"), who served as emcee, ran down a thank you list of corporate sponsors. The crowd politely clapped for each mentioned. However, when it came to the last one, a dental conglomerate, the fans broke into a chant of "teeth, teeth, teeth". Smart and comical, what a group!  There's a real danger, in scheduling day-long, multi-bands events, got to keep people engaged. Not talking about the fans of any particular band, who will see their favorite heroes whenever/wherever, talking about all the others, who might be less familiar with Brand X, or maybe attending just to see someone else. 

The heavy, brooding/introspective melancholia of Oceans Of Slumber is tough to position anywhere in the line-up, not really a festival vibe. Later in the night is probably not the best slot. Seen them before and it's not my thing, so the last band of the night was the North American debut from one guitar, UK power metallers Fellowship. Somewhere between Twilight Force and The Hobbit, the costumed foursome feature what appears to be a cowl wearing Harry Potter on bass, and a purple cloaked guitarist. Green vested/caped singer Matthew Corry started out a little nervous, saying, "People of Michigan... Oh, Madison, so sorry!" It was the only misstep in a reciprocal lovefest, between fans and band.

"Until The Fire Dies" is under green and white flashing lights, giving way to "Iron Eyes", a new one. Corry kneels, at the lip of the stage, during "Hearts Upon The Hill". Quality light show criss-crossing the stage and the guys bounce around, as well. "The Bitter Wind" (another from the forthcoming The Skies Above Eternity) is aired, but again, no mention of the title (gleaned from printed setlist). Bands, even the headliner, have to remember at a festival, there's a large percentage of the people who are not specifically there to see you play (or know your music that well), so the occasional song title (beyond the obvious hits) provides easy references for later investigation. 

Despite being entitled "Scars And Shrapnel Wounds", the music retains that lilting, so-called "happy metal" vibe. A third unreleased track ("Hold Up Your Hearts (Again)") picks up the pace and won't disappoint, as it slides nicely into the rest of the Fellowship canon. Blue lights and strobes greet "Glint". Following the initial verse, Matt calls up fest head honcho Ty Christian (in full Lords of The Trident battle regalia) to sing along, as a swirl of lights cascades from above. Guess they deem Ty worthy!  A half-hearted "Bye," but after walking off, they return. Corry says this one is for "the OGs, those that have been there from Day 1." Cue a falsetto accented version of the Elton John penned "Can You Feel The Love Tonight", form the Lion King movie. Seriously!

Day 1 photos here.

Day 2
Once again, the entire festival was streamed, live on the Lords Of Trident Twitch feed, from multiple camera. Same start time, but not a work day, so probably double the early attendees as yesterday, to witness Celestial Wizard, another Colorado band. Hey Ty, did you get a group discount on airfares from Denver, or something, opening both days with Rocky Mountain neighbors? From the "Ice Realm" start, it's obvious the two-guitar five-some features a pair of vocalists, Amethyst Noir and guitarist Nick Haberthier. The band works well off each other, in groups of two or three. Scraggly, gremlin throated Amethyst frequently wanders the stage, head down, mimicking classic Ozzy stage antics, or peers over the shoulders of the instrumentalists. Lots of flailing hair and headbanging, the troupe looks like metalheads. Kicking off with red and white flashing lights, "Powerhrone" is introduced as "about being a nerd and loving yourself." Their frenetic version of Rainbow's "Kill The King" (hats off to Will Perkins for the spot-on Blackmore highlights) rides a thunder of drums. "Eternal Scourge" finale begins with just the two guitars, playing in unison, before the rest join in. 

Remember the infatuation with video game culture/music from my previous visit to Mad With Power. Thus far, my virtual lack of knowledge had not been a hinderance, but no longer. Sometimes a moniker speaks the truth. You see Lame Genie present (even to the uninformed) a multi-media presentation based upon gamer trivia and music. The premise, is that a trio of musicians dressed in different, neon lighted, Tron wardrobes perform music from video games that the audience requests on the spot. A video board overhead offers two options and the loudest response is aired. All the "cover" tunes are played instrumentally. So if you have a preference between Mario and Zelda or Sonic and Chrono Trigger, this is a band for you. Since I'm not part of the target market, there'll be no review beyond this: 30 minutes between the second and third band, and an hour for dinner, that's too much dead time.

Glyph's premise is they're outer space beings, "Tonight, we have no captain (band and singer parted, less than amicably). Instead we have an empress (vocalist Barbara Blackthorne, from Philly based Empress)." The music (six members, in costumes, or make-up, with two guitars and keytar!) is lovingly, grandiose, over-the-top speedy power metal. Up first, "Honor, Power, Glory", the band hectic onstage, running around and by "March Of The Northern Clan" the four instrumentalist pose, stage left, side-by-side, headstocks pointed northward. Not sure how much prep Blackthorne did for the show, but she fit in seamlessly (playful and bouncing around) and would be a welcome (permanent) addition. She got emotional when the crowd broke out into a "Barbara" chant. 

Surely I wasn't the only one who thought blonde guitarist Rob Steinway looked something like the Lords axe master Baron (Ty would make an offhanded comparison later in the night, when both appeared simultaneously, during the Tridents' last song). Mid-tempo stomp of "When The World Was Young" gets fists thrusting, then hands waving overhead. By contrast, the keytar introduced pomp of "Eldenfire" gets the joint jumping again, practically a laser blaster shoot-out taking place between the various colored searchlights. "Defy The Night" kicks into an even high gear, with faster, more aggressive guitars. More restrained, "Glorious" is bathed in copper lights. Smile inducing, it's practically impossible not to grin for the purple lit closer, "Volaråd" (about their mythical planet). It's reminiscent of Nightwish, as the guitars and keytar sway, in synchronized movement. Definitely will have to investigate Glyph further, especially if Barbara sticks around. 

After dinner (man the pizza joint serving slices, outside, on the smokers' patio, as the only food option "in-house" was making a killing!), it was more instrumental rock, courtesy of Magic Sword (keyboards, guitar and drums). Each hooded/caped crusader had a colored visor (sort of looked like the ‘70s Battlestar Galactica Cylons, although the eye illumination never moves). Although there was a light show, and the occasional burst of stage fog, the figures onstage were usually kept dark and nearly motionless. The actors pantomime, like a silent movie. At times spacey, then dreamy/ethereal, a little New Age, something of a Jan Hammer soundtrack. At least a dozen folks brought blue light sabers, to mimic what would eventually happen onstage, the keyboardist unveiling a large illuminated (but apparently non-magical) aqua sword. In the late ‘70s-early ‘80s, you could go to the local planetarium and hear Pink Floyd and space rock, while gazing at colorful lights and laser displays (Lazerium). For those in the seats, upstairs, this certainly had to be a similar phenomenon. Standing on the floor, it was the antithesis of an exciting/stimulating live, rock show. Visually spectacular experience, yes, but musically not. Maybe the "Mad" in the event title refers to the "insane" weirdness you have to embrace, going in and then day of show.

Onward and upwards, to our hosts, Lords Of The Trident. Always plenty of props (and confetti cannons) when Ty takes center stage, in his red, hard plastic, kilted battle armor. After an instrumental symphonic, harp plucked intro, stage right, sees the Baron shredding for the opening "Legend". Each member goes by a pseudonym and has a unique costume, but the music is first rate. So why if Baron is decked out in 1700s coat (which is dropped by the fourth song) and matching ruffled shirt does he wear leather pants? Cause he's METAL. Just the first song in and the singer brandishes a sword that shoots confetti. In "Death Dealer", Ty unleashes his higher register. 

Galloping "Power Of Evil" is illuminated in a swirl of red and white.  A quick, crowd sung rendition of "Happy Birthday", to the drummer and it's on to the video track, filmed two nights earlier "Master Of Speed" (hence all the checkered flags). It comes off V.G.E.P. (Video Game Ep) due out Oct 1st. As the Baron drops to one knee, at the front of the stage, Ty grabs a flashing Guitar Hero prop to "play" along. "The Ballad Of John Milwaukee" also from said Ep is atypical of the usual speedy, power metal, being more of a simple hard rock anthem. While there has been the sporadic circle pit and the mentioned calls for Wall Of Death, it's the first time, all weekend, for crowd surfers. "Jet Set City" is their ode to the video game Jet Set Radio and then Ty (toying with plastic dagger and axe) returns the favor, having Fellowship's Matt Corry singing "To Kill A God". All hands on deck (anyone still around, from the bands and crew), about 30+ folks, for goofy, pirate metal tune "The Metal Sea". Nice send-off.

But wait, there's still one band left, Anthem, from Japan, returning to the States for the first time in 30 years. Literally flew in day-of-show (singer Yukio Morikawa mentioned being jet-lagged). Unlike contemporary countrymen Loudness, Anthem possess neither an iconic member (guitarist Akira Takasaki) nor definitive global album (Thunder In The East). No matter, as is often the mentality in Japan, the sum is greater than the individual parts, so they came to share a sampling of their extensive catalog. Sadly, some departed, but then most don't have a reference point (or know what they're going to play). Didn't help that they chose to kick off with "Destroy The Boredom", whose first two verses are essentially ALL sung in Japanese! The one guitar four piece rocked "Venom Strike", the bassist looking like he stepped straight off an ‘80s video. Although Morikawa moved around, a bit, the other two stayed in their respective sectors, offering the occasional backing vocal. "Overload" sees some audience participation, fists held high. The initial offering from last year's excellent Crimson & Jet Black is "Master Of Disaster" heavier and faster than anything, thus far. Isn't long before another newbie, "Wheels Of Fire" appears, in a storm of white lights. The bass and guitar get together, briefly, center stage. 

Instrumental "Omega Man", begins with shred, like a vintage Accept track, then opts for a more classic Schenker/‘70s Scorpions guitar workout. After his rest and return, singer Yukio was without his black leather coat, just in a t-shirt as they tore through the aggro, red/yellow lit "Blood Brothers" (also off the latest disc), which he says is "about the bound between us and you, metalheads." If the speed weren't enough, there are four simultaneous eruptions of fog. Thumping "Hunting Time", from '89, gives way to the purple lights of "Awake". Speaking of being awake, it was early afternoon, Sunday, when Anthem were onstage. 

Green means go and the fast moving "Immortal Bind" was so colored. "Bound To Break" ends the proper set, under blue/green lights, but not before the bassist actually joins the guitar, on stage left. Meanwhile, the singer is his most animated, jumping up and down. Returning for an encore, everyone onstage is sporting the Anthem shirt on sale in the merch booth. "Snake Eyes", the final Jet Black cut aired, starts. They invite the promoter onstage (Ty) and he converses with them in their native tongue, before singing "Destroy The Boredom" (yes, the same song that began the set). Even at his own event, with a favorable crowd, no doubt he acquitted himself well (on what surely must have been a lifelong dream, singing with Anthem, in Japanese). While it could have ended there, band wanted to end on their own terms, finishing with "Wild Anthem", providing everyone with quite the (re)introduction to/education on Anthem.

In 2025, Mad With Power will take place June 6th - 7th, and while most of the line-up has been announced, there are still three bands to be revealed. Make plans now!

Day 2 photos here.