By Mark Gromen

With nearly a foot of fresh snow on the ground, MANOWAR pulled into Cleveland for back-to-back concerts at the venerable Agora. For champions of the metal spirit, Manowar is pretty Stalinist in approach: no press (pay your own way) and no photos (images will only be provided after submitting a review, undoubtedly for their approval). Sorry, doesn’t work that way in the real world, especially after I fork over $75 for admission (to say nothing of airfare and hotel bill), thus the file shots. I like the band, but come on, why all the secrecy? In this day and age, when fans routinely photograph from cell phones in the front row, if not record entire songs for later posting on YouTube or worse yet, bootleg the entire concert, what are Manowar worried about? Would think they’d be interested in authorized, high quality representations of their art. Their fans are loyal beyond compare (so the potential for lost revenue streams seems an unlikely fret) and the band rightfully deserves credit for spawning the power metal genre’s fascination with mythology and dynamic orchestration (so fears of imitation/stealing conceptual ideologies is likewise unfounded).

On both nights, the Kings Of Metal performed their Battle Hymns debut, in its entirety, along with a varying set of classics, to a multi-national gathering. Folks flew in from around the globe to catch these exclusive dates, to say nothing of the sizeable contingent of Northeast Ohio faithful. In some areas of the country, spring has begun, thus the freezing temps and harsh weather undoubtedly were a shock to those unfamiliar with Cleveland winters. The Friday show almost didn’t happen, as the power consumption of the Manowar backline blew the circuits of the aged facility. At the eleventh hour, generators were secured, just in case. As it turned out, the local utility was unable to fully restore the power and the lights and sound had to rely on those generators! If that weren’t obstacle enough, Agora management checked their insurance policy, in case of structural deterioration caused by the concussive amplified cacophony. Manowar are loud! Thankfully fans and the building survived the double dose.

HOLY HELL, signed to Joey DeMaio’s Magic Circle label, were the lone opening act. Ohio native Maria Breon, who bears a resemblance to NCIS’ quirky Goth forensic researcher Abby, took the stage all metalled out, throwing the horns and eventually removing the leather jacket to reveal her lithe frame. Guitar whiz Joe Stump conjured his inner Blackmore, whipping the chord against the pick-ups, as Travis Bickle (aka John Macaluso) pummeled the drum kit. Live, the band is a little stiff. Haven’t been to a club show with follow-spots in decades (Hell, I even operated one, on more than one occasion, back in the 80s). For the encore, Holy Hell trotted out ‘Holy Diver’ (Dio), a bit too much piety for one night: get away, get away, get away.

Sipping $4 tall boy Heineken cans during the intermission, most fans were appalled by an Italian couple who’d brought their two-month old to the show. Thankfully, they had ear protection for the football sized infant, but subjecting such a fragile body to those blasts can’t be good. Nice to see stupidity is universal. In a scene recalling the live stage in Van Halen’s ‘Unchained’ ’81 video, 32 speaker cones flanked the drum riser, the Battle Hymns eagle logo proudly displayed overhead. As the light dimmed, the audience lucky enough to get one of the scarce seats rose in unison. Unprovoked, they hailed the band’s entrance with the requisite sign of the hammer salute. While set to play the aforementioned record completely, Manowar began with their signature tune (which actually appears mid-album), introduced by the goosebump inducing voiceover by Orson Welles. Epic isn’t a big enough descriptor!

The first night’s fans seemed less intense, merely tolerating the Battle Hymns material with eager for what would follow. Whereas the next night, fans were into it from the world go. Saturday was the original date and after it quickly sold out, the precursor was added and only about 2/3 capacity. While there was a large out-of-town contingent both evenings, the line to enter the merch area (Man-o-store/Mall-o-war) was several hundred deep. One claimed it took 45 minutes to get their free shirt. Props to the band. Although tickets were $75 a piece, anyone from outside Ohio (who pre-registered online) received a free white t-shirt, imprinted with the band logo and Road Warrior. It also creates a marketing database for the future. Despite the freebie, it looked like Black Friday Christmas sales, fans filling their idols’ coffers.

Before ‘Manowar’ was finished, the volume rose, twice. DeMaio whipped his skinny neck bass around his body like he was swatting flies. On Friday, Carl Logan launched into ‘Death Tone’, only to abruptly stop as the stage blackened. He re-started it again, a few seconds later. Throughout the old album run-through, I was struck with how much of a guitar showcase those songs were/are (originally for former Dictators guitarist Ross The Boss). During the first half of the concert, it was Logan who most often appeared spotlit, or singled out. As he was to kick off ‘Metal Daze’.

As the sound got progressively louder, the four warriors pounded on, amply joined by hundreds of voices. Battle Hymns progressed almost uninterrupted, no real stage banter, nor exaggerated solos. Realize they aren’t used to playing for native English speaking audiences, but if Eric Adams was paid even a dollar per spoken word, he couldn’t have afforded a ticket to the show! Saturday, he was more talkative. ‘Shell Shock’ see Logan squeeze all sorts of distortion form his axe. DeMaio’s megaton bottom end rumble introduces ‘Dark Avenger’. If it weren’t in poor taste, I’d make allusions to the tsunami producing Japanese earthquake. Wondered how lyrics about going off to Nam (‘Death Tone’) or father being a drinker since’43 (‘Fast Taker’) would go over in 2011, but most of the crowd was over 30, so they at least had a reference point.

For the title track, the fans go apeshit. Legs splayed, like some classic Italian Renaissance chiseled physique, DeMaio intensely stares at each note from his fretboard, as if it were a potentially damaging Wiki-leaks revelation. Talk about dynamic, the subtle sections of the titular number and a guitar intermezzo that ends the album (into ‘Sun Of Death’), sees Logan pulling off hammer-ons and overhand soloing that leads right into ‘Brothers Of Metal’.

‘This is where the two setlists diverge: a total of seven different tracks on Saturday (at 23, one longer than Friday), which should make for an extra long recording (Hopefully they will string the best Battle Hymns takes together, with the catalog material, rather than two complete, albeit repetitive shows). The band, Adams in particular, is certainly more animated/interactive from ‘Blood Of My Enemies’ on, breaking out of the invisible barrier that seemingly kept the three figures in front of drummer Donnie Hamzik separated during the whole album playback (Mime-o-war in a box). Atop the drum riser, Eric and Joey have their backs to the crowd as Logan solos. ‘Thor (The Powerhead)’ see Adams, one of metal’s greatest voices (yet unheralded as such) clipping his high end. Later, there’s a minor glitch in ‘Heart Of Steel’ and noticeable backing tapes on ‘The Power’, but come on, it’s still fucking Eric Adams for Christ sake!

The stage goes black temporarily and DeMaio reappears for what seems to be his blower bass solo, but no such indulgences Friday. Instead, he directs the audience to clap along, as the a cappella Adams launches into ‘Heart Of Steel’. The crowd joyfully sings along, except the German stanza, threatening to top the revved up amplification. Prior to his solo/’William’s Tale’, DeMaio acknowledges Hank LeConti in the crowd, the octogenarian owner of the Agora legacy. It’s the juxtaposition of cacophony that erupts from such a pedestrian intro that makes Manowar great! Logan joins the bassist and eventually the rest of the band, for ‘Hail And Kill’. In a scene reminiscent of The Wall film, a sea of people throw “the hammer” overhead, as triumvirate stands three abreast for the first time. ‘Thunder In The Sky’ is a bit of a surprise (then again, it’s not been recorded live yet), preceding ‘Hand Of Doom’. ‘King Of Kings’ follows, then the clickety-clack delivery of ‘The Power’, all the more ironic given the problems of the afternoon.

The band leaves the stage and DeMaio returns to read a roll call of assembled states and countries represented by paying customers. Impressive pull and that’s just the lighter attended show. No real rant (a kinder gentler Manowar? Just wait till tomorrow) but does endorse the new DAS audio system and says a Manowar shirt signifies you as “an ass kicker, not an ass kisser.” Surprised that hasn’t adorned the back of a tour souvenir yet! ‘Warriors Of The World United’ and ‘Kings Of Metal’ finish off the proper set Friday night, followed by a two-song encore of ‘Black Wind, Fire & Steel’, plus ‘The Crown And The Ring’.

Saturday sees a later start time, most of the sold-out crowd slowly snaking through the merch mall. Both nights, the bars were busy, an old school (European?) drinking metal crowd. Unfortunately, a few liquored up youngsters had to be escorted out during Manowar’s set. Given the hefty price tag, definitely more money than brains there! Noticeable inclusions second time around include ‘Kill With Power’, on the heels of ‘Brothers Of Metal’ and ‘Fighting The World’, where the throng shouted every word. Under purple lights, Eric and Joey jokingly pantomime fighting each other. The elongated bass solo (seemingly scrapped the night before, perhaps due to concerns with the power issue) gave way to ‘The Gods Made Heavy Metal’. The nearly a cappella start to ‘Hail And Kill’ approaches a file tape of a Nuremburg rally: the rapt crowd vocalizing as they thrust the hammer salute skyward. Logan sways side to side during ‘Hand Of Doom’ and blue spotlights introduce ‘The Power’. Smoke plumes and asymmetrical green lights shine for ‘Kings Of Metal. The closing trio remaining the same as the night before.

During his beer guzzling shout-out to the crowd, a solitary DeMaio proclaims he’d “rather be dead than disappoint one of you,” much to the delight of the assembly. ‘Black Wind, Fire And Steel’ couldn’t be replicated verbatim, so there was just more smoke. ‘The Crown And The Ring’ once more sent the fans on their way. Hail To Cleveland! With that, the three date, one week North American tour was over. It served its purpose, to bang the rust off the band and crew before heading overseas. Who knows the next time they’ll play domestically, but I for one hope to be in attendance then too.