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I have essentially already written 22 variations of this review. As promoter Glenn Harveston counts down to his 25th and final ProgPower, (would have already been there, had it not been for the pandemic), over the next two years, attention will turn to the final line-up and then a sweet send-off, once it takes place. Therefore, as a veteran of all the previous events, will spend some time, this year, in addition to talking about 2024, with a look back, at the evolution of this beloved institution. The current line-up proved that the original ProgPower moniker is a bit of a misnomer, as it has been, for a while now. 

As initially conceived (around Harveston's musical tastes) when he booked his first show, in 2001 at JJ Kelley's in suburban Chicago, the progressive and power metal sub-genres were the only choices. Over time, as the promoter's ears have grown to embrace far-reaching sounds, he's added classic 80s thrash acts, his rabbit hole diving "odd balls" (his characterization, not mine) and just last week, Winger. Some things he's tried might not even be considered metal, under the most liberal umbrella. Doesn't matter, a hardcore, dedicated audience makes the annual pilgrimage to what has become America's first destination festival. If you build it, they will come, and boy, do they. Faithfully.

Expanding upon a good idea, what began as a Thursday pre-party, morphed into an international showcase and starting in '08, a full blown four day roster (Wednesday through Saturday), with Harveston ceding control of the first two nights to other promoters. Financially, the backbone of the festival has always been supporters, who pledge a sum of money to "represent" one of the bands (also grants them access to the musicians throughout the weekend, and for the last few years, a spot in the photo pit, to watch part of the show). 

In the early days, many of these folks partied hard, often with the bands, in the upstairs loft (overlooking the stage). Over time, this expense was scaled back, as attitudes changed and some bands are no longer in Atlanta for the entire weekend. Some are on tour (or just beginning one), so they move on, after playing ProgPower. Like everywhere, Vinyl, the adjoining, once bustling CD/merchandise packed anteroom (that offered pub fare and showed college football, on Saturday afternoons) has become sterile, what with the de-emphasis of physical product. So the area now doubles as a second location for the signing sessions that typically wind through the busy hallways of the Center Stage venue. Then there's the legendary hang-out/after-parties at the Artmore hotel (RIP), bands and fans alike, until the early hours of the morning. Progpower is so much more than just a music show. 

Speaking of places to stay, the landscape in and around Earthlink Live (as the venue was formerly known, and hilariously lived on, for a few extra years after adopting the current handle, thanks to a poorly attempted, blacking out of the old name, on the main stage curtain) has changed, so much. Initially, hotels and food options were few and far between, in what was a ghost town area of the city. Vacant lots dotted the sidewalk. Sure, amenities surrounding Georgia Tech were just a mile or two away, but in the pre-Uber days, most weren't making that trip. Initially staying in a nearby motel, or a lengthy late night stroll away were the only options. 

Now a high rise choice of rooms is virtually on every street corner. How many remember buying beer and snacks at the one and only gas station, or a late night run to Domino's? With liberal in-out privileges at the show, at some point, many exited for dinner, often at Da Vinci's (who in later years would actually sell sanctioned slices of pizza, inside the venue), practically a few steps from the venue. The neighbor sports numerous eateries and there's a Whole Food market and Publix with "walking" distance. Glenn also made the extra effort to upgrade the overall customer experience (and add a couple dollars to his bottom line) by authorizing vendors to sell food inside Center Stage. In 2024 that was a Korean BBQ place that offered chicken sandwiches, rice bowl and Asian dumplings. Despite there really being no reason to leave (unless you smoke/vape), after each band, there's a mass exodus from Center Stage. That's a newer trend. 

So, with all the needs/wants, likes, dislikes and distractions, plus reconnecting with old friends (including the guys in Elegy, some 21 years after playing our BraveWords show), invariably, there are some things that go by the wayside. As the years progress, the human element has grown in importance, at the expense of some musical performances. Thus, this is far from a comprehensive report of the onstage activities. Apologies to those left out. Being a school teacher precludes me from taking three days off, at the start of the year to enjoy some music, but can get away on time to catch the later half of Day 2 and then the rest of the fest. Much like the original concept, the first two evenings tend to alternate between prog and power, leaving the weekend to entertain any of Harveston's flights of fancy. 

First band witnessed was the revamped Twilight Force. Have to sort of suspend reality to enjoy the Swedish septet (dual sex vocalists, a pair of guitars and keyboardist, who doubled on ominous voiceovers and narration). The male singer looked like Star Wars' Kylo Ren, the female vocalist with a double curly horned headdress akin to Tim, The Enchanter, from Monty Python & The Holy Grail. The rest were an assortment of frilly shirt and lederhosen wearing Hobbit clothes.  Initially, they all seemed to be competing against one another for stage room and photo ops. Saw them open for Accept & Sabaton in Manchester, UK, back in '17, but this was a new line-up, in fact, the first performance by the current incarnation. 

As they tore into the galloping "Dawn Of The Dragonstar", the crowd saluted the onstage throng by raising several dozen inflatable/plastic swords. The folky lilt of "Dragonborn" (do I sense a theme here?) saw people dancing about/pogoing, on both sides of the barricade. Some of those who were unarmed were distributed swords, courtesy of the band, in support of a rollicking "Thunder Sword", as the high pitched (near falsetto) male vocals continued. More props, for "Flight Of The Sapphire Dragon", as a dragon-shaped pool floatie bounced across the heads, and eagerly outstretched arms, of an adoring crowd. Fun, in small doses.

In discussion, someone astutely mentioned there are bands I'll listen to and there are bands I want to see and they're not necessarily the same thing. For me, case in point, Leprous. Beyond an impressive light show (backlit, strobes, deep solid colors, etc.), there was no real visual draw to "seeing" the band live. 

Speaking of images, not sure which member(s) of the ProgPower organization Mikael Stanne possesses compromising photos of, as the man has not only been on the bill two years running ('23 with Halo Effect and this year Dark Tranquillity), but his latest entity Cemetery Skyline will be at the next Atlanta confab! Good thing he's such a personable bloke, who loves to mingle and share a drink, with the fans, before and after the show. Onstage, the Swedes (who were on tour in North America) opted for a longer set, playing four cuts off the new Endtime Signals. Surprising, only "Shivers And Voids" was reprised from the show Brave Words saw at Summer Breeze, in Germany, a few weeks earlier (just as well, since "Our Disconnect" didn't work as well as the others. Talk about truth in advertising!). 

The band wore matching, all black outfits, the constantly moving Stanne (one of the most difficult individuals to photograph, never in one place, for very long, even kneeling, center stage) in leather jacket. As a spacey clouds & stars video plays onscreen, behind the band (ProgPower having gone high tech, no more hanging, logo backdrops), the Tranquils take the stage to "The Wonders At Your Feet". Congratulating the crowd for being so open-minded, Stanne introduces newbie "Unforgivable", saying, "Let's play some death metal." Later, the understated singer would admit that it's been 35 years for some of their material, "Thanks for listening." Always great to hear the speedy bludgeoning of "Terminus" and the ending triple play of "Therein" (fans singing along to guitar harmonies, while a lyric video was shown onscreen), powerful "Lost In Apathy" and perpetual closer "Misery's Crown.”

More photos: Day 2

DAY 3
Shows start at 2 PM, some of the fans barely getting in the building within the half hour between doors and showtime. Having toured extensively and been part of other festivals, sort of surprised to see Striker on the bill. Nothing wrong (in fact, great to see a band that is actively enjoying playing live), just that Glenn typically opts for exclusivity. No one out-dressed the Canucks, opting for wild patterns, sunglasses, ripped jeans (tiger stripped guitar!) and Day-Glo colors. Frontman Dan Cleary paces side-to-side and the others alternate positions almost as frequently. "Best Of The Best Of The Best" is an early fan favorite, complete with synchronized stage moves. There's a brief bass/drum duet (just the two together, neither in solo) prior to crowd sung "Thunderdome" (2 men enter, one man leaves). Striker have learned the secret to the ‘80s, big dumb simple beat and repetitive lyrics (witness "Sucks To Suck"). At times the music get close to the retro-synthwave sound of someone like Nestor, but Cleary's soaring voice keeps it differentiated. It's twin leads to kick off "Former Glory" and piped in sax for "Give It All", which recalls many of the aforementioned decade's soundtracks. 

Fifth Angel was easily my most anticipated act of the weekend. Despite being a big fan of both Eighties releases, never got the opportunity to see them. Well, until a German festival in 2010, no one had, as they'd never played live. Ken Mary had some success with Chastain (and now also drums for Flotsam & Jetsam), while Ed Archer (guitar) and John Macko (bass) remained exclusively loyal to Fifth Angel. While singer Steve Carlson has no direct lineage to the band's past, he handles the considerable weight of role excellently. Wisely, they chose to begin with some well-loved classics, temporarily plug last year's stellar When Angels Kill, before ending with another ride down memory lane. Yes! Even though I'm not sure some of the younger set understood what they saw/missed: half a dozen cuts from the eponymous debut, three more off Time Will Tell, including the title track and another trio from the "modern" era. High energy rock, as Carlson, shirtless beneath a black leather vest, is quite the visual, with shades, dark beard and blond wrestler's mane. 

Archer and Macko are stage right, while flashy guitarist Ethan Brosh is situated on the left. "The Night" opens followed by "The Fallout", which gets a little audience call-back. "Time Will Tell" seems to be one most recognize, before the Angels downshift the tempo for "Cry Out The Fools". It's a rapid fire opening from Mary, on "When Angels Kill". Throughout the set, most songs sport backing vocals from at least two, if not three of the guys. Carlson runs a quick tutorial for call & response on the titular chorus of "We Are Immortal". Under yellows and pulsating red lights, some clap along and most can handle the appropriate phrase. Pre-recorded intro greets "Resist The Tyrant". 

Brosh gets a full blown guitar solo, heading into "Wings Of Destiny". Purples and blues for enlivened "Call Out The Warning". Following "Cathedral", it's the chugging signature tune ("they call the fifth angel") and end with "We Rule". How were these guys not bigger? No image or hyper sensationalized story, in the ‘80s. Damn shame, but see them now, if you get the chance. Can't wait for my next opportunity to re-live the past!

Been more than two decades since Elegy (or at least three of them: singer Ian Parry, bassist Martin Helmantel and drummer Dirk Bruinenberg) were in the USA, at the BW&BK 6-Pack Weekend (Cleveland, OH). This time they brought along original guitarist Henk van de Laars. Ever the cheerleader, Parry works the stage, imploring the crowd, but also receiving adulation. With the returning van de Laars in tow, the band included samples from all incarnations of the band, even the days before Parry was involved, like "Anouk". Pink/purple hued "Visual Vortex" sees the frontman punch the air. The man can't stand still, as he jumps around and moves from one side of the stage, to the other. All that cardio exercise, the singer gets a break, once Elegy launch into the instrumental "1998 (The Prophecy)", on a nearly dark stage. Four spotlights fall on no one, then converge on Bruinenberg's kit, to begin "Spirits". Parry has lost his jacket and now sports a tee. There's a rumble as "Loser's Game" kicks in. Henk, goes off, on his purple guitar. After "Frenzy", Parry does an old school band introduction, giving each guy a moment to shine, then on to "Manifestation Of Fear". The band is off to play a few gigs in Japan, and then down to work on a new album. Fingers crossed!

Asian rockers have long had to fight for credibility, at home (due to their unconventional lifestyle/occupational choice, in a culture that praises conformity) and overseas. The women of Lovebites undoubtedly have had to overcome even greater odds, merely by the fact of their gender, typically viewed as a second class citizen, in their own country. So it's great to see ProgPower include some diversity, breaking up the all-white, male stereotype within hard rock/metal. The gals were all attired in some sort of white outfit, some lace, others looking like prom dresses, both conservative and more cutting edge. But does it rock, I hear you ask. 

Well, yes, the ladies are talented on their instrument of choice and the music comes across heavier than expected. It's not some watered down, K-pop version of metal, but there's a lack of emotion (heart/soul?) in the sterile, clinical approach to the live show. Cold and calculated, little interaction, or even acknowledgement that they were in front of an audience (who was anything but sedate, screaming their heads off, from the word, "Go!"). Might as well have been listening to an album/CD, or they could have been in a studio, given the "sell" on their part. Maybe it's an overall lack of experience (or so, with Western audiences?), but given a rabid audience (easily, THE most anticipated band of the weekend, in terms of numbers), they'd do well to tap into that emotion and exhibit some personality, moving forward. 

Closing out the night were longtime BraveWords friends, Amorphis. Have known the band since the '95 tour w/ Paradise Lost and just in the last two years, reoccurring get-togethers at Summer Breeze, 70K cruise, Tons Of Rock, etc. Each performance has highlighted a different aspect of their expansive catalog, from an all-inclusive Tales From The Thousand Lakes to almost exclusively the Tomi Joutsen era. Either way, never disappoints. Tonight, bathed in what has seemingly become their trademark blue hue (plus lots of strobes), the Finns played basically the same set they've used throughout the North American tour. A mix of the two previous options, they'd throw in catchy groove of "The Smoke", as an extra. Joutsen possesses both a slightly high-pitched, clean vocal and the necessary gruff, death metal roar, on the older material. 

"Northwards" kicks off, with Esa Holopainen alone, to Joutsen's left, while guitar partner Tomi Koivusaari and bassist Olli-Pekka Laine (along with drummer Jan Rechberger, the original members) to his right. Throughout the night, only the four-stringer will switch sides, the guitarist’s content to sit back in the shadows, especially Koivusaari. Apart from introducing song titles, the singer is a man of few words (let the music do the talking, as the Joe Perry Project once said). The band is in virtual silhouette for "The Moon". 

The first classic oldie, red/green lit "The Castaway", complete with whacka-whacka bass and synth, elicited the strongest reaction, even before Joutsen got the fans to yell and thrust fists skyward. Some fan sing-along for "Silver Bride", the two guitars offer twin leads, from the edge of the stage. Majestic "Amongst Stars" has a bit of a Gaelic lilt to it (with piped in accompaniment, courtesy of Anneke Van Giersbergen, ProgPower alum/ex-The Gathering). 

The ending run of "Black Winter Day" (band clearly visible under white lights!), "My Kantele" (alternating reds/whites, lighting, not wine choices) and the usual closer "House Of Sleep" are worth the late hour, but the guys come back for one more, "The Bee". Good night and good night!

More photos: Day 3

DAY 4
Hailing from Italy, the triple guitar threat (2 females, one male) of six piece Frozen Crown have just the opposite issues of Lovebites, plenty of emotion, at the expense of the occasional mistaken note, but completely engaged (or trying to be) with the crowd. Not sure how many gigs they have under their belt, but there's an endearing School Of Rock, exuberant naivety about the whole thing. Front woman Jade Etro might need less repetitive stage banter and they should coordinate their calls for audience participation (at one point, stage right was demanding outstretched hands overhead, swaying to the music, while guitarist Federico Mondelli, who also doubles on some vocals, was asking fans to yell and punch the air), but live, the energy is the draw. Initially, it was just the five musicians onstage tearing through the instrumental "Arctic Gales" and the preliminary to "Neverending".

Was getting worried they'd left the vocalist at home and we were in for an "improvised" set, but fear not... They seem to know just one speed, hypersonic, as each song is a race to the end, with stretches where Etro is either offstage or in the background, as the neo-classical guitars dominate. "The Lone Stranger" is an atypical mid-tempo gallop. "Kings" begins with the two female guitarists together, center stage, each with a foot up on the wedge monitors. The older bassist towers over the others and seemingly could be their father! No matter the kids continue to shred, often dropping to one knee, either solo, or in tandem. A piercing high and trio of guitars, side-by-side, introduces "Far Beyond". The lighting tech seemed enamored with the board, seemingly throwing every switch/using every effect during the set. Quite impressive. Refinements, including some differentiated songs/tempos will pay dividends. 

More like the old days, today's running order alternates between "power" and prog sensibilities. Watched a bit of Disillusion, a twin guitar fivesome, with keys. A noisy mix of other acts on the bill, something akin to Soen and a less energetic Dark Tranquillity. Began lively enough, but slowly dissolved into a slower/depressive mode. Sorry, impossible to like everything. Sycophants be damned! Illumishade, a one-guitar symphonic metal quintet from Zurich, Switzerland were a late addition to the ProgPower line-up, when Eleine dropped out, in June. Took a little extra to get onstage tonight, which caused a couple of songs to be cut. Might have been the gi-normous old school backdrop (complete with running circus lights) causing the delay, as the other bands (apart from Winger) were content with a digital version. More Girl Power, with singer Fabienne Erni and teal haired keyboardist. When not contorting about the stage, Erni likes to pinwheel her raven tresses.. "In The Darkness"  was a straight ahead rocker. 

OK, so Harveston contracted Winger to play the Pull album in full, a one time deal, especially for Kip Winger, who revealed onstage, "Most difficult (show) ever. (Pull)'s a motherfucker to sing. This is the only time we're going to do this!" Day of show, Winger decided no photographers in the pit, something about recording this exclusive show (or portion thereof). The album would be played, straight through (some tracks for the first time, ever!) and then end with some "hits". With a green, pole-mounted 12-string acoustic, Kip started "Blind Revolution Mad", guitarist Reb Beach (who frequently added backing vocals) to his left. In fact, there were at least three, if not four guitars, at all times. Despite all the logistics/difficulties, Kip seemed to have a good time, handling calls from the crowd, taking it all in stride, even when they had to re-start "Junkyard Dog", jokingly blaming Beach for the screw-up. Kip wore straight let jeans, Reb was in flares. Some southern fried slide guitar and harmonica on "Down Incognito", neither from Beach.

Kip put away the guitar/bass for "In My Veins", hunched over, singing to the vacated pit. There's often 3 or 4 backing vocalists, including Beach. When the guitarist is not actually singing, he often pantomimes the words. "No Man's Land" sees the trucker cap wearing keyboardist strap on a guitar. For "Like  A Ritual" Kip is again minus a guitar/bass, but does pound on an electric drums keypad situated in front of the riser. With all the acoustic treatment, can understand why many '80s acts moved to Nashville and went country. Not as gravitational shift as it would appear, on paper. Speaking of which, it's the green acoustic again, for "Who's The One", which is followed by "Rainbow In The Rose". The album running order exhausted, the band leaves the stage, including Kip's brother Paul (who had helped out on guitar and even received a "Paul, Paul, Paul" chant) as Reb is afforded a gritty/distorted solo spot. It's the real metal moment of the evening. Have seen Tom Keifer (Cinderella) and Heaven's Edge lately, and both still translate as hard rock/metal. This, not so much. "Headed For A Heartbreak" signals a start of the hits portion, but apart from that, it's all lost on me. No reference point.

While Winger was technically the headliner (demanding the earlier timeslot so "the older guys could get to bed, they don't party like they used to," explained Harveston) the night ended with the return of PrgPower favorites: Pagan's Mind. The Norwegians returned to Atlanta for the first time since '09. Is it just me or does frontman Nils K. Rue look a bit like actor John Stamos (check out the photos)? It wasn't only "Osiris' Triumphant Return", but the Norge outfit's, as well. The band began under pink lights, until Rue (the dapperly attired ringmaster, in suit jacket and vest) strolled onstage. By the end of "Aegean Shores", he'd lose the jacket, but kept the black vest atop white t-shirt, throughout. Under flickering red/yellow lights, a bouncy guitar riff launches "Resurrection (Back In Time)", reportedly the first time they've ever performed that number. Near it's conclusion, Jørn Viggo Lofstad steps to the lip of the stage for a guitar spotlight. 

A flurry of double bass and snare greets "God's Equation", upping the tempo (and intensity), at least temporarily. "Ebony" is a new, slower, ballad number, debuted in Atlanta, with a mid-section jam between keys, bass and guitar, facing each other, as they encircle the singer. Maybe it was more familiar territory, or the thrill of completing the new one, but "Intermission" saw the band in much looser form, Rue interacting with those down front and getting some vocal audience participation, while Lofstad put on a fretboard tapping display. Osiris (and his eyes) would return (pun intended) towards the end of the set, the mammoth long (even for a band that composes lengthy tunes) "Through Osiris' Eyes", much to the delight of those still in attendance, who knew every word. Ends with pink/purple lit "Alien Kamikaze", a rather atypical Pagan's Mind sound, but maybe a metaphor for the weekend. Hopefully they will continue to play (more frequently) and that new music is just around the corner. Welcome back lads!

Additional photos: Day 4

The 24th edition will be held September 3 - 6, 2025. Line-ups for the final three days have already been announced and tickets will go on sale next month. Head to progpowerusa.com for information.