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Yes it was, but not the band's celebration. That was for Cleveland college radio legend, Bill Peters, who has had a weekly metal program, for four decades. During that time, he's helped countless bands and the guys in Night Demon wanted to honor his work, by flying in from California, on their own dime, for a pair of shows, with no repeated tracks on the successive nights. Truth be told, I've known Bill for pretty much that entire span. Initially on a "rival" station in town, our paths crossed repeatedly, eventually becoming fast friends. We've attended hundreds of shows together, in CLE, as well as accompanying his Auburn label bands to Rochester, Detroit, even meeting up in Germany. He managed our softball team, I was at his wedding. In fact, back in the ‘80s, when local publications wanted a metal expert, Bill deferred them my way, so he was instrumental in starting me on the writing/photography sidelight that has seen me travel the world and experience amazing things. So naturally, I leapt at the chance to emcee this special weekend. He remains such a humble guy (a true rarity in the music/entertainment world) that he deflected the purpose of the weekend to include donations for the local animal shelters. Each night, support came from a local band, as well as another out-of-town guest: Friday: Olathia and Cali-based Resistance (who played Cleveland, pre-pandemic, as part of one of Peter's Holiday charity events) Saturday: Vandallus and Pittsburgh area Lady Beast, who have also made several previous stops in Northeast Ohio.

The first night kicked off with a shot of leather bound, traditional metal, courtesy of Resistance. In addition to promoting the Skulls Of My Enemy (out via German label Pure Steel), the boys were filming a concert video for "Metallium", which was aired, along with newbie "Nordic Witch". Sadly they didn't bring along the album artwork models who lay fawning at the foot of the Viking throne, like the similar bevy adorning KISS' Love Gun. The band truly found their niche with 2017's Metal Machine, a good portion of the set is culled from the same. Searchlights burn down from above, on "The Metal Machine" and the sing-along chorus of "Hail To The Horns" closes the set. "Earthshaker" sees frontman Robbie Hett, decked out like a mini-Halford, headbanging, at the edge of the stage. High energy intensity. A great start.

Olathia, an established act who have two full-lengths to their name, as well as a current EP, entitled Madness Reigns In Cleveland, where the jovial Chris Emig and boys offer a killer rendition of Savatage's "Hall Of The Mountain King", as the Floridians performed it, at the Agora, back in '87. Said cut was the set closer, complete with backing vocals from a couple of interloping fans, this scribe included. Of their original material, it's an infectious mix of heaviness, speed and powerful, albeit melodic vocals, especially on the live front. Of note was an emotive "Black Widow" (ironically also a Night Demon song title), as well as working in some new tunes, including something called "Shotgun" and "Meat Grinder". Sort of surprised "Hellhound" was missing from the eight song set, but maybe their trying to move beyond the material off the '15 debut. Still a great song though.

Night Demon only have three albums and the initial EP (although a new full-length is scheduled for March 2023, with a tour to follow), so the premise of two shows, without any repeats, meant scouring the repertoire. As such, there were more than a couple deep cuts, resurrected solely for the night, some dating back to the earliest days, right up to the present, with only the second performance (other than an impromptu airing, overseas) of their latest cut "The Last Day" (a pre-release teaser, issued solely as a flex-disc, via Decibel, magazine, although now on-sale at the band's merch booth). To prepare for these show, guitarist Armand John Anthony told me they added songs in, throughout the European tour, and some nights even took requests, shouted from the crowd. Fifteen songs, each night (including a couple of covers), BOTH shows were recorded, for possible later use! 

Anyone who has witnessed a live Night Demon gig knows there's a non-stop, almost punk delivery. While bassist/singer Jarvis Leatherby does acknowledge the crowd, repartee is quick and typically directed towards song introduction, seeking to squeeze as much music into a limited timeframe as possible. Years back, they began a European festival set BEFORE their allotted slot, just to sneak in a few extra songs. So once "Heavy Metal Heat" commences, hold on for a fast paced thrill ride. Blue and green hues as the speedy "Empires Fall", closer to thrash than the NWOTHM pacing of the initial pair, perhaps hinting at a more aggro songwriting mindset, moving forward. Given ample room onstage, Leatherby and Anthony race from side to side, as Dusty Squires hammers away on the drums. Anthony, as the one not anchored to the mic stand (although he does provide backing vocals), frequently stands atop the wedge monitors, guitar lifted vertically overhead. A cover of Diamond Head's "Lightning To The Nations" is a nod to their influences, as well as proving a bit of a respite  It's not long before the band are sweaty, wet, stringy hair plastered to the face. No matter, as a classic swathe of rarely heard (these days) offerings includes "Ancient Evil", "Satan" and tribute to the band of the same name "Maiden Hell". The latter referencing the Brits' song/album titles within the lyrics. 

Prerecorded intro to "The Howling Man" gives the guys a moment to grab a sip, or re-tune the guitar, before bounding on, Leatherby's head is seemingly on a spring, the metal bobblehead. Love the bushy moustache and shoulder length hair! The reworked Thin Lizzy classic, "The Sun Goes Down" is up next. The pedestrian play-through, on the initial half, is as Lynott intended, but the Demons rock out the final portion, making it all their own. Speaking of which, "Are You Out There", a true ND original, albeit an homage to Lynott, inhabits much the same cloth. If you're going to air both, makes sense positioning them back-to-back. "Break" over, the tempo enlivens once again, with "Run For Your Life", but goes into hyper-drive for "Dawn Rider", a punishing, drum basher. The instrumental "Flight Of The Manticore" gives the boys a chance to jam. Traversing the stage, it also displays a little technical prowess (thanks to the slow, jazzy, mid-section/Anthony's guitar solo). "Curse Of The Damned" sees an appearance by the beloved/bedeviled mascot, Rocky. Until tonight he's only arrives during "The Chalice", brandishing the namesake drinking vessel. However, since the ground rules said no repeats, that tune can only be played once this weekend and Rocky needs to be included. People now expect it. Thus he came bouncing onstage, the choice not exactly the most menacing ND beat. The chill (haunting?) "Darkness Remains" is a mild send-off, so the band returns for a rousing version of their signature tune, sending everyone home happy, for Day 1.

A certain portion of the audience returned, for a second helping, the next night. Here, Lady Beast lead-off, a fiery performance. Now into their second decade as a recording act, saw them at Hell's Heroes, in Texas, last April. Expressive, contorting frontwoman Deborah Levine is a photographer's friend, while the music is a hard hitting combination of traditional metal and Euro power metal. "The Gift" was up early, followed by the twin guitar interplay of "Seal The Hex". Levine announced "Vow Of The Valkyrie" was being presented for just the second time, the only previous airing, the record release show for 2020's The Vulture's Amulet. More traditional sounds, coming from "Bind The Runes", before ultimately ending with the signature track. Levine is like a cheerleader for her band onstage and it infiltrates those willing to watch/listen. Vandallus is one of the various outfits from the brothers Vanek. People have favorably compared the hard rock sounds to Dokken. Shaun (guitar) is Commandor Vanik, in Midnight, often seen throwing himself around the stage and rolling across the floor. This music sounds nothing like that outfit, nor is it classic Motörhead obsessed, Whitespade. Jason handles vocals. Together, the prolific duo have released four studio platters under the Vandallus moniker, plus several more, via other endeavors. "On The High Side" is a great example of their fun time rock ‘n’ roll.

For the second game of the doubleheader, Night Demon came charging out of the gate with "Welcome To The Night", a frequent opener, on tour. The aforementioned flexi-single "The Last Day" followed on its heels, Squires handling the drum shuffle at max speed. As Leatherby exercises/strains his neck muscles once again, Anthony shreds during an otherwise bouncy "Ritual". Guess it depends where one entered the Night Demon musical universe, but each night has an opportunity for a few lesser known/more obscure/newer cuts. Cue a chugging, mid-tempo "Kill The Pain". When not skanking across the stage, Armand is obsessed with standing atop the wedges, at the stage's edge, even moreso than last night. There's a great number of fans packed close up, more than a few wielding cellphone cameras, hoping for cool pics. Perhaps that's part of the allure drawing Armand forward. After "Save Me Now", it's back to speed, for "Black Widow". Man, these three minute songs just stream by. Ditto the aptly named "Full Speed Ahead" follow-up. 

More deep cuts: "Stranger In The Room" and old school infused "Life On The Run". Next "Hallowed Ground" offers the bigger sound that's characterized the music since Darkness Remains, compete with plenty of Jarvis' bass rumble. Speaking of which, it's more akin to second lead guitar, than just low end accompaniment. Still headbanging madly, Jarvis switches to the opposite side of the stage, for "Screams In The Night", the guitarist having vacated the area for his stagefront perch. "Killer" is another nod to the long running fans,while the dig at viral hysteria of the last few years, aka "Vysteria" feels more recent. Rocky makes his scheduled appearance during "The Chalice", much to the delight of those assembled. Don't believe more than one or two have left early. There's only two gigs left this year, both overseas and it will be at least half a year until any of us see them onstage again. Before leaving, they once again pull out a concluding "Wasted Years". They also closed ther Beachland Tavern recording, which turned into the Live Darkness CD package, with the Iron Maiden chestnut. As much a sing-along goodbye, with fans, than anything else, it's a brilliant move, given all the content with which they've already graced us. 

A great two-day event. Thanks to all who were involved. Can we do it again for #50?