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Hell's Heroes VIII: Best of the Rest (Day 2)

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Hell's Heroes VIII: Best of the Rest (Day 2)

HOUSTON — For those who attend multi-day festivals, a game within the game is often selecting which day had the best bands and performances.

To those who attend for the experience and to see more artists than you can count on both hands, well, that may be like choosing your favorite child.

Hell’s Heroes VIII dowtown at White Oak Music Hall from March 18-21 provided difficult decisions indeed. First there was the Wednesday night pre-party. Then the official first day included Helstar’s Houston homecoming (coverage here), Jag Panzer playing its 1984 debut album Ample Destruction (coverage here), headliner Doro “The Queen of Metal” Pesch performing mostly Warlock tracks (coverage here) and the likes of original W.A.S.P. guitarist Chris Holmes, 3 Inches Of Blood making their first Texas appearance in a decade, Swedish black metallers Hellbutcher playing their first American gig ever and Leather Leone and her band unleashing ‘80s tunes from Chastain (coverage of all here).

And while life got in the way of ATM being able to attend the third and final day that featured Blood Fire Death’s tribute to Bathory plus Enslaved, Tankard and Virgin Steele, Day 2 offered up its own raucous enjoyment.

Udo Dirkschneider headlined for the canceling Loudness and played an extended set that included the entire 40th anniversary celebration of Balls to the Wall (coverage here), and Cleveland masked marauders Midnight ensured that White Oak’s grass would need a makeover post-festival (coverage here).

But it’s not like the best of the rest of Day 2 consisted of mere leftovers. That’s because Voivod, Sanctuary and Eternal Champion didn’t need to do a whole lot to get an energetic crowd to let loose with its enthusiasm and whatever angst had built up inside of them.

Voivod’s original duo of vocalist Denis “Snake” Belanger and drummer and band founder Michel “Away” Langevin joined guitarist Daniel “Chewy” Mongrain and bassist Dominic “Rocky” Laroche in bringing their unorthodox brand of Canadian metal to Hell’s Heroes with huge doses of fun and history.

Centering mainly on the first three albums from 1984-87 in War and Pain, Rrroooaaarrr and Killing Technology, Voivod “killed everyone here” according to Midnight frontman Athenar. Judge for yourself by watching ATM footage below of “Tornado” and “War and Pain.”

The Motorhead T-shirt clad Belanger then dedicated the band’s 1984 eponymous track to Phil Campbell, who passed within the week, as well as Lemmy Kilmeister and Phil “Philthy Animal” Taylor.

After Midnight’s set, Sanctuary took to the main stage outside at 6:40 and performed all of 1988 debut album Refuge Denied.

Guitarist Lenny Rutledge and drummer Dave Budbill remain from the original lineup and have been fronted by Joseph Michael since the 2017 death of Warrel Dane. And although it’s been nearly a decade since Dane’s passing, it would’ve been nice to hear at least one instance of acknowledgement of the former vocalist, but it never came.

Along with bassist George Hernandez and new touring guitarist Will Wallner, Sanctuary shined while playing the album that was co-produced by Dave Mustaine when Megadeth was only on its third album So Far, So Good . . . So What! Watch ATM footage below of album finale “Veil of Disguise” before Sanctuary tore into the lone non-Refuge Denied track “Taste Revenge.”

And just how special of an occasion was Hell’s Heroes for even the musicians? Michael declared to the audience: “I haven’t had a drink in five months, and I’m doing it for you motherfuckers!”

Loudness was scheduled to headline Day 2 but canceled due to visa issues from Japan a mere 72 hours prior to the festival’s start. That put Hell’s Heroes organizer Christian Larson in a major bind (and it couldn’t stop the fact “Loudness” was already printed on the fest’s T-shirts), but he was fortunate to add Austin natives Eternal Champion and move Dirkschneider up to the headlining slot after the former Accept vocalist agreed to play a longer set.

Eternal Champion, which formed in 2012, has released two full-length albums in 2016’s The Armor of Ire and 2020’s Ravening Iron. They also have been playing with heavy hearts following the 2024 death of bassist Brad Raub. Vocalist Jason Tarpey let the crowd know that the band was playing with “our fallen brother’s tracks.”

Tarpey, drummer Connor Donegan and guitarists Arthur Rizk and John Powers helped save the day with an inspiring performance, as can be witnessed below via ATM footage of “The Last King of Pictdom” and “The Cold Sword.”

Tarpey inadvertently summed up the general feeling of being present at the fest when he said, “It’s kind of a last-minute gig for us. But we’re happy to be here and be invited.”

Toss in, and toss back, a few brews, peruse the multiple booths of T-shirts, food, patches and jewelry and walk the grounds for three days with your current and new friends — many of whom came from other states — and Hell’s Heroes could once again be deemed a success. And a much-needed void filled for those who can’t get enough heavy metal.

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Broad daylight doesn't stop satanic royalty from striking Midnight

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Broad daylight doesn't stop satanic royalty from striking Midnight

HOUSTON — One of the beautiful aspects of attending a music festival is watching an artist play live for the first time among the ones you paid your hard-earned money to see. Maybe even discovering such bands outright while they’re on stage.

For instance: Hell’s Heroes VIII at White Oak Music Hall, the brainchild of Necrofier vocalist / guitarist and Night Cobra singer Christian Larson, presented on a silver platter the utter punk-influenced butchery and savage dominance of masked marauders Midnight.

A one-man band from Cleveland known as Athenar who plays all instruments and sings on his studio efforts and recruits a drummer and guitarist for live shows, Midnight took to the downtown main stage March 20 at 5:25 p.m. and incited vicious mosh pits and crowd surfing in garbage bins among the masses on a steamy 90-degree Spring Break day.

Following eight years of demos, splits and EP releases, Athenar unleashed his debut full-length album Satanic Royalty in 2011 and used Hell’s Heroes to celebrate it as part of a 15-year anniversary.

Taking the stage as if they were about to rob a bank with guitars and the kit, the chain-clad Athenar and his trio made an instant fan of yours truly with their assault on the masses (watch ATM footage below of “Violence on Violence,” “Savage Dominance” and “Holocaustic Deafening”).

Midnight’s brutality of short punk-infused Motorhead-influenced underground metal tunes was only half of the reason the band made such an impression. Proving that they’re not to be taken too seriously, Athenar provided a litany of humor that may have overshot some members of the audience. Highlights:

*Referring to the fact Day 2 headliner Loudness canceled its appearance 72 hours before the festival began, Athenar stated: “I have some news. Manowar is going to play tonight instead of Loudness. Christian wanted to keep it a secret. And they’re only going to play their new album.”

*“This is our 19th time playing this festival.” Unbeknownst to the frontman, his statement caused at least one fan to turn to his friend and ask, “How is that possible if there’s only been eight of them?”

*After one song, he declared: “There it is, in its entirety: W.A.S.P., The Crimson Idol.”

*Keeping the crowd hydrated, Athenar asked who wanted a water bottle, then while it was midair, he added, “Who wants herpes?” He then made an Eddie Murphy: Comedian reference by saying, “Shit’s like luggage.”

*Taking the stage after Voivod’s performance (coverage forthcoming) and as can be seen below in the video, Athenar told the audience: “It fucking gave me great pleasure to see the snuffville that Voivod did by murdering all you fuckers today. That was great. Thank you, Voivod. Come on! Thanks, Voivod. They just fucking annihilated you all. They literally murdered every single person here. Thank you for killing people. Very technologically they did that” as an ode to the group’s Killing Technology album from 1987.

Being signed to arguably metal’s top record label Metal Blade certainly doesn’t hurt Athenar’s cause. And with a performance such as the one Midnight put on at Hell’s Heroes VIII, it wouldn’t be overstating things to say theirs was one of the best of the three-day festival.

Royalty of the church, visible faces and 100 percent truth telling be damned.

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Dirkschneider dazzles Hell's Heroes VIII with 40 years of 'Balls to the Wall'

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Dirkschneider dazzles Hell's Heroes VIII with 40 years of 'Balls to the Wall'

HOUSTON — Perhaps the most obvious indication of how timeless songs, or an entire album, prove to be is how quickly fans anywhere in the world react to hearing them years after they hit the public’s ears.

A lesser sign, though no less important, is when the artist of said timeless material announces he’s no longer going to play any tunes from his former band, let alone the ones fans always clamor for, only to not only revisit them eventually — but celebrate them.

Enter Udo Dirkschneider.

Perhaps the only musician on the planet who has one band for his first name and another for his surname, Dirkschneider brought his latter outfit to Hell’s Heroes VIII on March 20 and marked 40 years of the album from the band (Accept) he’s most known for that still resonates like no other: Balls to the Wall.

While the title track is by far and away Accept’s most popular song, the rest of the album is nothing to gloss over. Dirkschneider treated the Day 1 crowd of the three-day downtown festival at White Oak Music Hall to the record in its entirety (watch ATM footage below of “Balls to the Wall” plus its final three tunes: “Losers and Winners,” “Guardian of the Night” and “Winter Dreams”).

Due to the fact original Day 1 headliners Loudness canceled a mere 72 hours before their scheduled appearance because of “visa issues” from their native Japan, Dirkschneider, who was originally scheduled to go on before Loudness, agreed to play an even longer set (see setlist in 18-photo gallery).

Backed by his son Sven Dirkschneider on drums, original and longtime Accept bassist Peter Baltes and guitarists Fabian Dee Dammers and Alen Brentini — the latter joining Dirkschneider’s band this past Oct. 27 — Udo and Co. bookended the album with three songs before and after Balls to the Wall.

While other nations had already witnessed and heard a special performance all the way through from Dirkschneider of Accept’s 1983 record (and fifth overall), the German frontman with the unmistakable raspy voice had just listened to his inner metal heart — and had a change of that heart — and given the people what they wanted at Hell’s Heroes.

And that was music to everyone’s ears who was lucky enough to be there.

Danke schon, Dirkschneider.

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Jag Panzer, Hell's Heroes VIII show how generally hostile destruction can be

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Jag Panzer, Hell's Heroes VIII show how generally hostile destruction can be

HOUSTON — When it comes to albums released in 1984, arguably a time when metal was just beginning its crescendo into its mainstream musical peak period, that year’s title track by a certain band named Van Halen comes to mind. Other titles such as Out of the Cellar, Tooth and Nail and Defenders of the Faith find their way to the forefront as well.

Through no fault of their own, Ample Destruction by Jag Panzer tends to get lost in the shuffle. And the band might not have it any other way.

While heavily influenced by the New Wave of British Heavy Metal when formed in 1981, Jag Panzer has always relished a mix of the underground scene and the hardcore dedication of fans around the globe its music has inspired.

And just because it’s 2026 doesn’t mean Jag Panzer and its legion of devotees can’t still party like it’s 1984. That was on display last Thursday outside White Oak Music Hall downtown during Day 1 of the three-day Hell’s Heroes VIII festival in which Jag Panzer unleashed its 1984 full-length debut and follow-up to 1983 Tyrants EP in its entirety.

Well, almost in its entirety.

Original vocalist Harry “The Tyrant” Conklin, original rhythm guitarist Mark Briody and original bassist John Tetley took to the stage at 4:05 p.m. on an upper-80s Spring Break afternoon with lead guitarist Ken Rodarte and drummer Jacob Lee Coleman throwing all commercialism out the door.

And the fans? Message received.

The barrier and security staff earned their keep as the crowd surfers plowed their way over in conveyor belt-like fashion, forcing those in the photo pit to keep one eye on the stage and one behind them. Fans raised the ante at times by riding the wave of metal in garbage bins while Conklin flew the flag of the Ample Destruction cover and wore its T-shirt (see 38-photo gallery).

Although Jag Panzer went through a lineup change between the final recording and release of the album in the mid-’80s, Briody and Tetley have churned out 13 albums in all — most of them with Conklin on vocals — up to 2023’s The Hallowed.

But Hell’s Heroes VIII was all about Ample Destruction, and you can watch a taste of it below via ATM’s footage of “Generally Hostile” and “The Watching” with the former including a cameo by Helstar vocalist James Rivera, whose own band tore up its hometown with a 1:45 p.m. kickoff set (ATM coverage here).

The band had to cut out final tune “The Crucifix” and a planned bonus song, 1986 title track “Shadow Thief,” because it ended up being allotted 40 minutes just like preceding bands Helstar and Leather even though the original set times had given Jag Panzer an hour to fit in the entire album. But that unfortunate blip didn’t come close to dampening the enthusiasm and sheer energy of the band and fans.

The ferocity and fun of Jag Panzer’s set helped set the tone for a memorable first day of Hell’s Heroes 2026. Briody, Tetler and Coleman later joined the metal masses walking around, handing out guitar pics and posing for photos — just one example of how Hell’s Heroes, the brainchild of Necrofier singer/guitarist and Night Cobra vocalist Christian Larson, isn’t your typical metal gig.

The booze was flowin’, the metal was riffin’ and the heads were bangin’ in large part to Jag Panzer. And for that, you can’t blame anyone if they’re already counting down the days to Hell’s Heroes IX.

For more of Alamo True Metal’s Hell’s Heroes coverage, click the ‘Views page on this site (then click “View Post” under the cover photo). You can also visit Alamo True Metal on Facebook and subscribe to YouTube channel Hawkeyedude93.

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All triumph, no agony for Queen of Metal at Hell's Heroes VIII

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All triumph, no agony for Queen of Metal at Hell's Heroes VIII

HOUSTON — The term “influential” may get tossed around the metal community as often as hair headbanging in a swirl and horns pointed to the sky. And though it applies to Doro Pesch, “Queen of Metal” is how metalheads have come to know the former vocalist of Warlock.

“Dedicated Doro” also works. After all, how many musicians of either gender have purposefully withdrawn their name from any chance at holy matrimony in favor of a full-time life of making heavy metal and rocking out for thousands upon thousands all over the world that the 61-year-old refers to as her family?

That dedication, rock enthusiasm and trip down Warlock’s memory lane came this past Thursday as Pesch and her solo band headlined Day 1 of the three-day Hell’s Heroes VIII outside and downtown at White Oak Music Hall.

Accompanied by former Warlock guitarist Tommy Bolan and two musicians who have played in the Doro band for more than 30 years — bassist Nick Douglas and original Britny Fox drummer Johnny Dee — plus Savatage and Trans-Siberian Orchestra guitarist Christopher Caffery, the delightful Doro came out scorching with 1985 classic and traditional opener “Earthshaker Rock.”

Pesch’s set was advertised as a Triumph and Agony performance pre-festival by Hell’s Heroes founder Christian Larson, whose efforts and tireless work to bring so many artists to the fest and have it run as smoothly as it does despite cancellations and other assorted curveballs tossed his way since 2018 cannot go unnoticed.

Although Pesch didn’t perform all 10 tunes from Warlock’s most successful and 1987 album, she did do half of them including “I Rule the Ruins,” “East Meets West” and of course the band’s most famous song thanks to MTV: “All We Are” (setlist in 15-photo gallery).

The native German, who lives in New York and had her home there destroyed in 2011 by Hurricane Irene, enthusiastically told the audience on several occasions she would be spotlighting “old school metal,” and that was evidenced by the title tracks to Warlock’s first three albums: Burning the Witches, Hellbound and True As Steel (ATM footage of which can be viewed below).

It would’ve been great to hear one of Warlock’s “Headbanger’s Ball” hits from 1986, “Fight for Rock” or even a semblance of her blood curling scream on Triumph and Agony’s “Touch of Evil” — the latter of which was on the printed setlist. But Pesch omitted that tune as well as “Metal Tango” due to time constraints.

Pesch has also been influential in terms of the metal friends she has made among her peers over the years, with two of her closest ones having passed several years ago in Ronnie James Dio and Lemmy Kilmister. Pesch wrapped up her set with the latter’s “Ace of Spades” as an ode to Kilmister and Motorhead guitarist Phil Campbell who passed only five days earlier.

Not to be outdone, Pesch has collaborated with her fellow German and vocalist Udo Dirkschneider, who headlined Hell’s Heroes the following night (coverage forthcoming), Rob Halford and Blaze Bayley while having solo albums produced by Gene Simmons.

Influential? Dedicated? Queen of Metal?

Call her what you want. And call us lucky and fortunate to have her.

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Hellacious festival return home for Houston heroes Helstar

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Hellacious festival return home for Houston heroes Helstar

HOUSTON — As a pioneer of H-town heavy metal beginning with its 1984 debut album Burning Star that considers the Alamo City more than a second home, Helstar has made just a few sacrifices along the journey into 2026.

For vampirish vocalist James Rivera, however, none may have been more attention-getting or impressive than agreeing to not only whittle a 42-year career into a six-song set, but to do so at the bloodsucking brutal time of 1:45 in the afternoon.

But when it comes to playing its hometown — particularly for the eighth annual Hell’s Heroes festival at White Oak Music Hall that is the brainchild of Necrofier singer/guitarist and Night Cobra vocalist Christian Larson — this past Thursday’s performance was all in a day’s work for Rivera and his partner in crime, band founder and guitarist Larry Barragan.

Adorned in his customary black cloak and fang-like teeth jutting from the corners of his mouth, Rivera was no worse for the wear vocally despite the abnormal start time in 90-degree Texas heat.

On the contrary, Helstar brought heat of its own, making the most of its brief itinerary with five tracks from the first four albums plus “Carcass for a King” from terrific new effort The Devil’s Masquerade (setlist in 36-photo gallery). But it was the inclusion of the final track on second album Remants of War from 1986 — “Angel of Death” which Rivera said the band hadn’t played in 20 years — that wowed the audience just a little extra and stamped Helstar’s latest showing as magnifique (ATM footage below).

Barragan, who also plays lead in Spanish-singing metallers Santa Oscuridad, riffed his way with sheer intensity that woke up any fans still hung over from Wednesday night’s pre-party.

Rivera, who more than dabs his way around San Antonio stages also as part of James Rivera’s Metal Asylum and the South Texas Legion, found time after the set to make a cameo with Jag Panzer as that band performed its own 1984 debut Ample Destruction in its entirety (ATM footage here).

Along with veteran drummer Mikey Lewis — who also woke up those hurting from the night before with his ferocious pounding of the skins — and bassist Garrick Smith, Helstar’s latest addition is another component of its San Antonio-Houston connection: Alan DeLeon Jr., who joined two years ago, is also the guitarist for S.A. black metal group Fluxus Mortis as of last year.

Luckily, Helstar’s hard work in putting out new music four decades into its career has given fans another cause to check out the band anytime it plays live in the Lone Star State even though its members have every reason to rest on their laurels.

Then again, that wouldn’t be the Helstar or Texas way. No matter the time of day — or blood screeching night.

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Hell's Heroes VII caters to entire metal community, shows festival organizers how it's done

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Hell's Heroes VII caters to entire metal community, shows festival organizers how it's done

HOUSTON — When it comes to the quaint gathering known as the metal festival, Hell’s Heroes doesn’t have the notoriety of Rocklahoma. It may not have the pomp of Louder Than Life or the circumstance of Aftershock.

What it does have is so much more meaningful: resonance with those who matter the most.

The artists and the fans.

Hell’s Heroes VII concluded another stellar year Saturday, March 22, at White Oak Music Hall, culminating the four-day, two-stage affair with a lot of something for everyone (see 185-photo gallery).

Enjoy your metal with a side of Satan? Goatwhore was happy to oblige spotlighting its 2000 debut album The Eclipse of Ages Into Black.

Fan of the New Wave of British Heavy Metal? Saxon headlined the finale with a special “The Eagle Has Landed” set 24 hours after playing Wheels of Steel in its entirety at the Tobin Center (coverage here).

Want to be a part of history? S.A. Slayer reunited for its first performance in 40 years (coverage here).

How about possibly reliving your high school years with a trip down Memory Lane from a guy who shouldn’t even be alive? That would be original Danzig guitarist John Christ highlighting that band’s first two game changing albums from 1988 & 1990 despite the fact he was nearly killed in an auto wreck in 2004.

Then there was Celtic folk / black metal band Primordial from Ireland, whose vocalist A.A. Nemtheanga performs with a noose around his neck.

And that was just scratching the fretboard.

The architect of Christian Larson, Hell’s Heroes VII may not be on the same platform as the bigger-name fests or performed on a cruise ship. Nevertheless, a big phat set of horns needs to be raised to Larson and his cohorts because it was a raging success with those who witnessed it no matter from where they came, independent of whether they were there one day, all four or somewhere in between.

Larson is the vocalist of heavy shredders Night Cobra, which kicked off Saturday’s festivities at 12:30 p.m. How many festival founders would put their band on first when the least amount of fans would be in attendance?

But Larson did just that, demonstrating he’s not interested in any sort of ego interfering with how his festival would be run.

And what a run it was.

Though Alamo True Metal was there only for the final day due to paying the bills and covering the aforementioned Saxon, Riot V, Lizzy Borden gig the night before in the Alamo City, the fest made quite an impression in many ways.

Despite the fact it was an 80-degree day in March as opposed to a brutal 100-degree muggy affair in July, both photo pits were stocked with cases of bottled water that security offered up for free to the hardcore fans that spent hours by the barrier.

There were no fights or visible signs of trouble. Instead, there were hours of safe metal mayhem accompanied by food trucks, and vendors selling everything from T-shirts and beanies with your favorite band’s logos to dog and cat jean jackets (somebody say MUTT-allica?).

Larson undoubtedly also put his band on first so he could spend the remainder of the fest overseeing the goings-on while admiring the fruits of his and the White Oak staff’s labor.

Larson, who also sings and plays guitar in black-metal outfit Necrofier, which headlined Hi-Tones in San Antonio on Jan. 26 (coverage here), fronted a slew of songs from Night Cobra’s 2020 debut EP In Praise of the Shadow and 2022 lone full-length Dawn of the Serpent.

Bass player Trevi Biles, meanwhile, offers up a different type of double duty. According to Encyclopaedia Metallum, he teaches high school students Precalculus and Algebra II Accelerated.

Speaking of double duty . . . drummer Dave McClain, who’s also in Sacred Reich and known for his time in Machine Head, went from S.A. Slayer’s reunion to providing the backstop for Danzig guitarist Christ less than 90 minutes later.

A stagehand resembling Glenn Danzig, complete with the sideburns, introduced the band simply by bellowing, “Do you wanna cross that line,” to which the crowd erupted, “ ‘Cause it’s a Long Way Back From Hell!”

That would be just one of the eight Danzig songs Christ, McClain and Co. would perform as part of a 45-minute set.

Each minute Christ lives, let alone plays guitar, is a victory in and of itself. While driving a truck in 2004, a tire blew out. Christ’s vehicle rolled, ejecting him into oncoming traffic and leading to years of physical and mental therapy.

Prior to launching into “Snakes of Christ,” (ATM footage below), Christ used a sense of humor to regale the audience about his frightening experience.

“I wanted to go for a helicopter ride, right? The only way I found out (how) to do it was to get thrown out of a truck on the freeway and get run over by traffic going the other way,” Christ said. “But I got my helicopter ride. I shut down the freeway in both directions in L.A., and I almost kicked the bucket. Broke half my body, and it took five years to be able to play guitar again. I had to learn how to talk everything and walk. Some people say I still can’t talk or walk at the same time. But anyway, and now it’s 20 years later. I’m back. I missed you guys.”

Christ, who stamped Danzig’s sound on the first four albums after a stint with Glenn Danzig in Samhain, was playing his first gig in Houston since 1995. The crowd ate it up on classic riff-laden opener “Twist of Cain,” “She Rides,” “Am I Demon” and of course, the hit that broke Danzig’s MTV bank: “Mother.”

“MTV hated us until ‘Beavis & Butt-head’ loved us in ‘93,” Christ said.

There was also Swiss trio Coroner, still being spearheaded by singer/bassist Ron Royce. It was a little surreal standing in line with them at one of the food trucks immediately after their set, but that’s the intimacy you get at Hell’s Heroes that doesn’t happen at all festivals.

There was Scotland’s Hellripper, packing them in during the hottest part of the afternoon while marking their first trip to America.

There was San Antonio’s own Las Cruces, which learned only about a week before that they’d be replacing the absent Blood Ceremony. Vocalist Jason Kane was a headbanging and singing machine, while guitarist Mando Serna, bassist Jimmy Bell and band leader George Trevino made the Alamo City proud throughout the set, a taste of which can be seen below on ATM’s footage of “Ringmaster” and “Cocaine Wizard Woman.”

Lest anyone call it a night early, they would have missed Saxon putting a metallic bow on another year of Hell’s Heroes.

At one point, vocalist Biff Byford lamented the discrepancy in Saxon’s appearances at festivals overseas compared to the dearth of American ones, saying, “We should play more festivals in America. We don’t get asked to play festivals here. It’s a bloody shame, really.”

But all it took was the performance of a few tracks Saxon didn’t perform at the Tobin Center such as “This Town Rocks” plus “And the Bands Played On” to make things right again immediately after thundering through “1066” and “The Eagle Has Landed” (ATM footage of both below).

Following the latter, Byford told the crowd Saxon would play “a few extra songs.” He gave the people the choice of hearing the two aforementioned ones along with their cover of San Antonio native Christopher Cross’ “Ride Like the Wind” before yielding, “Maybe we’ll do two of them. Or all three.”

After ending the trifecta with the remake, Byford instructed of Houston: “Don’t tell San Antonio we played that one.”

The generosity, however, came at a small price. As Saxon began to exceed the 11 p.m. curfew, the venue pulled the plug after the first verse of finale “Princess of the Night.”

It was the only blemish on the evening, if you could even call it that.

Barely a breath after the final note, Hell’s Heroes was already reaching out to fans asking for which bands they want to have at next year’s fest. A good start would be the groups that couldn’t make it due to visa or travel issues such as the aforementioned Blood Ceremony and Onslaught.

But again, Hell’s Heroes has something for everyone. Whatever the choices, they’re bound to be worth the time and price of admission you’re willing to invest in it in 2026.

Next time, you might want to bring your pet. Just don’t forget to raise those horns, and paws, high to the sky.

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40-Year Reunion of S.A. Slayer hits home at Hell's Heroes

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40-Year Reunion of S.A. Slayer hits home at Hell's Heroes

HOUSTON — When the five men in black hit the main stage outside last Saturday at White Oak Music Hall, it may have appeared as an ordinary metal concert.

It may have looked as if yet another festival band was playing the fourth and final day of Hell’s Heroes VII. But upon closer look, even with the recognizable star power coming into focus at that moment with each individual’s credentials morphing into the formation of a modern-day supergroup, the significance of the show about to unfold was not lost upon the masses.

Because there on stage, for the first time in four decades, was one of the pioneers of early San Antonio heavy metal. With four-fifths original or nearly original members fronted by the only vocalist appropriate to carry on the legacy of — not replace — the band’s late voice, S.A. Slayer had risen from the ashes.

Guitarist Bob Catlin, bassist Don Van Stavern and drummer Dave McClain — all there during the group’s formation in 1982 — were joined by 1983 guitarist Ron Jarzombek and South Texas Music Walk of Fame and Texas Music Hall of Fame vocalist Jason McMaster for a 45-minute concert 40 years in the making.

After opening with the title track to 1983 EP Prepare to Die, the band didn’t need a 40-year absence to be reminded of the perils of technical difficulties when Catlin’s guitar amps didn’t cooperate during second song “To Ride the Demon Out.”

McMaster utilized the time to tell the audience that initial talks of S.A. Slayer’s reunion involved the other members asking, “What’s Jason doing? Give Jason a call” when searching for the ideal complement to vocalist Steve Cooper, who died in 2006.

Cooper, who had replaced original vocalist Chris Cronk in 1982, also made his mark on S.A. Slayer’s lone full-length album Go For the Throat, which was recorded in 1984 but not released until four years later, well after the group had disbanded.

But of course, along the way came the famous Slayer vs. Slayer show on Nov. 30, 1984, at The Villa Fontana in San Antonio.

Touring in support of their Haunting the Chapel EP from 1983, the eventual Big 4 of thrash Slayer came to the Alamo City to play a gig with the Slayer that was only well-known to San Antonio locals and that, eventually, added S.A. to its name to avoid confusion among the two bands. That Villa Fontana show included the likes of Syrus and Militia, and those on hand to witness the Hell’s Heroes reunion included vocalist Mike Soliz of the latter.

And for those wondering how and why a band with S.A. in its name has thus far failed to announce a San Antonio date for its reunion ahead of Houston and next month’s scheduled gig at the Keep It True festival in Germany, take solace: conversations were spearheaded backstage by Helstar vocalist James Rivera, tossing around with various band members the idea of a Texas and European swing that would involve Helstar, S.A. Slayer and Militia.

Stay tuned.

In the meantime, the long-awaited return delivered the goods with a 10-song set (see setlist in 63-photo gallery). Watch ATM’s footage of four of those tunes below.

Jarzombek and McMaster have been leading the reunion charge as of late, having resurrected their progressive metal trio Watchtower in September 2023 (ATM coverage here).

Not to be outdone was McClain, the Sacred Reich drummer known for his tenure in Machine Head, who would pull double duty by taking the inside stage 90 minutes after S.A. Slayer’s performance to drum for original Danzig guitarist John Christ’s solo set (coverage forthcoming).

But nobody may have worked harder during the past week than Van Stavern. The Riot bassist kicked off Hell’s Heroes with his main band during Wednesday’s pre-party, headlined with Riot during its 50th anniversary celebration Thursday at Come And Take It Live in Austin, supported Saxon at the Tobin Center for his hometown show Friday (coverage here), then made the 3-hour drive back to Houston for Hells’ finale.

Time will tell whether the aforementioned trio of South Texas stalwarts will bring it in sports-huddle style and collectively take to the road in the Alamo City and beyond. One thing’s for certain: they can’t afford to wait another 40 years to make it happen.

So if you weren’t at Hell’s Heroes to enjoy and witness history, can’t afford to make it to Germany and won’t stomach the patience to wait for a local return, have no fear. Alamo True Metal just brought it to you here.

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