Nowadays, the golden age of traditional heavy metal dominating arenas in the U.S. feels like a distant echo from the past, yet across the Atlantic, the spirit that once fueled this genre continues to burn brightly. While North America has yet to experience a full-scale revival of this classic sound, the groundwork may be quietly forming, thanks to the influence of a few European acts making significant waves on the live circuit.
Among these, Germany’s Powerwolf stands out — a band that has spent nearly two decades weaving tales of classical horror into their music, enriched with a theatrical and mock-liturgical flair. Only last year did they embark on their first North American tour, and in the final weeks of this past summer, the much-anticipated sequel to their initial trek landed with a mighty roar. The result? A dozen of riveting shows over just two and a half weeks.
From August 29th to September 15th, fans from Los Angeles to Quebec — both returning from last year and newly converted — witnessed a masterclass in melodic grandeur and metallic fury. The visual presentation was a consistently captivating force unto itself at every venue, as dancing stage lights would illuminate a medley of elaborate LED illustrations at the rear of five black-clad creatures of the night with instrument and microphone in hand.
Leading the charge was Karsten Brill, known on stage as Attila Dorn, whose classically trained baritone voice delivered a marathon performance. Over a grueling two-hour set, he flawlessly replicated the studio quality of 19 anthems, all while engaging the audience like a preacher in the throes of a fiery sermon. Guitarist Matthew Greywolf and bassist Charles, his stage-named brother, roamed the stage with unrestrained energy, while drummer Roel Van Helden’s technical prowess shook the very foundations of each venue.
Vocal helmsman and classically trained baritone Karsten Brill, better known by his stage name Attila Dorn, led the Powerwolf charge, with an Olympic display of stamina, faithfully recreating the studio performances of 19 bombastic anthems over a grueling 2-hour set, and still making plenty of time to work the crowd in a vibrant shout akin to an impassioned preacher mid-sermon. Guitarist Matthew Greywolf and bassist/brother stage name Charles were never shy about exploring the stage, and the technical drum displays courtesy of Roel Van Helden repeatedly shook the pillars of each venue. However, it was keyboardist Falk Schlegel’s organ and synthesizer work that often rivaled Dorn’s powerful operatic wails, adding a rich layer to the auditory experience.
Despite the elaborate visual display and the monumental sound these dark saints from Saarland delivered, the music itself remained remarkably accessible. True to European power metal traditions, established by pioneers like Helloween, the sing-along chorus reigned supreme. From the opening speed anthem “Bless ‘Em With The Blade” to the climactic finale “Werewolves Of Armenia,” Attila’s resounding calls were met with enthusiastic echoes from the crowd.
Some noteworthy points in between where the audience’s fervor was most palpable included the banger rendition of “Demons Are A Girl’s Best Friend”, preceded by an a capella back and forth between Dorn and the crowd reminiscent of the ones Ronnie James Dio inspired over a four-decade career no less, and the equally infectious rocker “Heretic Hunters”, which would also see Attila giving pre-song instructions to make for greater audience participation.
Whether during the high-energy ride of “Armata Strigoi” or the haunting ballad “Alive Or Undead,” every moment kept the audience spellbound in these lycanthrope gatherings.
They say good things come to those who wait, and for the rare few who have followed Powerwolf since their 2005 debut, Return In Bloodred, the long journey that it has taken for this Teutonic titan outfit to become a fixture on the North American tour circuit has been worth every minute.
In an era where music often favors stripped-down performances by solo artists, Powerwolf’s blend of Mercyful Fate-like visual spectacle and a sound that marries the baroque stylings of J.S. Bach with the thunderous speed of Judas Priest stands out boldly. Even in the realm of theatrical North American metal acts, Powerwolf’s brand is a cut above.
As the full moon rises, one thing is certain — this tour is already begging for a sequel to rise from the mists of Transylvania, and these loyal hordes are ready for another profane liturgy from the High Priests of Heavy Metal.
