Photos by: Brittany Barkasi
King Diamond surely requires no introduction. One of the most iconic acts in metal history, starting with the punk band Brat, then the legendary Mercyful Fate, and from the ashes of that band’s first split came King Diamond. The man himself is legendary for his glass-shattering falsettos and iconic corpse paint. He also owned Gene Simmons, which is a huge plus for yours truly. Moreover, the King’s live shows are that of theatrical legend. Having caught King Diamond twice over the years – 2013 at MetalDays and 2014 in Pittsburgh – the realization that it had been over a decade (that show was 10/19/14) set in while writing this. I’m truly surprised it had been that long, but alas, here we are for his latest North American romp. To be somewhat fair to myself, late 2019 was the last time the band toured anywhere near us, and a few months later, yadda yadda, the world shut down.
When the St. Lucifer’s Hospital 1920 tour was announced, we immediately marked off that date in the old Google calendar. Joined by thrash legends Overkill – who we also hadn’t seen for a hot minute – and the ascending old school heavy metal warriors in Night Demon, the full bill was a damn fine one. Furthermore, King Diamond was coming with a brand new stage show based on, according to the man himself: “Another timeline in 1920, where I experienced some hard times, and they have to come to our time to steal from us to survive.” Also boasting the band’s most intricate stage show yet, how could one go wrong?
This obviously opportunity wasn’t going to be missed, though there was a bit of a fear that this particular show would happen at all. You see, that bastard hurricane Milton had ravaged West Central Florida not too long prior, and St. Petersburg had been hit incredibly hard with wind damage and massive flooding. The Mahaffey Theater had a few cancellations and postponements due to the storm’s aftermath, but through it all, this thankfully wasn’t one of them. Also by this point, we hadn’t been able to live at home due to a combination of power and internet outages for over 2 weeks. It was a trying time for many, though thankfully our place was back to functionality just when the show was rolling around, and we’d be heading back the following day. So in a lot of ways, this show represented a bit more to the wife and myself than the usual.
Notably, the photo setup at the venue was literally the strangest we’ve ever seen in going to well over 1,200 shows in our lifetime. All photographers were positioned near the back of the venue, which is incredibly strange. Photographers also weren’t allowed to hold onto their cameras, and had to check them with security after each set. Can’t get a photographer’s camera in the way of hundreds of cell phones raised over everyone’s heads for entire sets, right? That said, the staff was friendly as can be, and we thank everyone for their professionalism and courtesy. However, the Mahaffey’s policy for photographers needs some serious changes, as it made capturing the show incredibly challenging.
With that out of the way, onward!
Night Demon
This way for visuals of a trio of heavy metal demons.
There are plenty of bands who have contributed to the revival of classic heavy/speed metal, and none so more than Night Demon. Having written some of the most engaging, shred-filled songs in the style for quite some time, they’ve been a band on my list to catch for some time. For one reason or another, the ripping three piece have been quite elusive. Avoid me no more, fellas! This was one of those instances where the wait was ever worth it.
With the crowd still filing in from the lengthy merch line and other shenanigans, the initial number of folks there was disappointingly low – much less than Night Demon deserved. As any concert going veteran knows, don’t skip on opening acts if you don’t know them, folks! You may be missing your new favorite band. Undeterred, the band launched forth with “Outsider” from their latest LP Curse of the Damned. Brimming with energy, vocalist/bassist Jarvis Leatherby and crew exploded out of the gate with fury and a point to prove. Leatherby’s delightfully melodic croon, Armand John Anthony’s crunchy riffs, and Brian Wilson’s pace-setting percussive wizardry enthralled the now tuned in onlookers with an assertive grip.
“Screams in the Night” followed, keeping the undeniable energy escalating while the crowd filled their seats. Yup, this was a fully seated venue. An obvious rarity that reminded me of the Megadeth/Testament/Exodus tour back in 2010 for the Rust in Peace 20th anniversary tour that was also set at a seated venue in Greensburg, PA. This crowd was a bit less rambunctious and out for violence than that evening, but it still felt a little strange. Undeterred, the galloping guitars and rhythms of “Hallowed Ground” kept Night Demon’s momentum with a deft touch and top-notch skill.
To date having released an EP, three full-lengths and a compilation of singles and covers, the band have a solid number of tracks to choose from to fill their all too brief 30 minute set. Wisely drawing from all over the spectrum of their career, the latter half consisted of rippers such as “Ritual” and “The Chalice” from their self-titled debut 2012 EP, as well as the delectable “Escape from Beyond” from their latest.
The band did acknowledge the seated elephant in the room, proclaiming that this is a metal show and everyone should stand up, blasting into their namesake track “Night Demon.” During which, Letatherby and Anthony charged into the crowd at near sprint speed, while continuing to shred away to everyone’s delight. Absolutely one of the highlight moments of the evening, to which left an impression on the now filled crowd.
For those who had seen Night Demon previously, we’re willing to bet that they were unsurprised and elated with the performance put forth. To anyone unfamiliar with the band until then, they sure as hell were now aware of what Night Demon is all about. No doubt making new fans and having a good time doing it. We’ll hopefully take in a Night Demon show again in the future, as they surpassed my lofty expectations and then some.
Overkill
Check out more images from the gutter.
If you know thrash metal, you know Overkill. The brazen New Jersey natives have been a major part of the scene for over 40 years. To be exact, 44. How is that possible? Time is cruel, but it hasn’t been to Overkill’s output. Having to date released 20 albums, they’ve been consistently churning out material at an impressive clip. Even more impressive, their later material can be counted amongst Overkill’s strongest, further cementing their longevity and workhorse mentality. Having seen them headline many times, it was somewhat unfamiliar to not see them at the top of the bill.
The Wrecking Crew began with a heavy helping of fiery vitality with the title track of their most recent album Scorched, and what a choice of starters. Their latest has received many plaudits – including from our own Matt Coe – and represents all of the major elements of the band fused together. Hearing “Scorched” and “The Surgeon” live in this 45 minute set showcased that their new stuff fits together seamlessly with the old, and it’s all very much Overkill. It’s hard to ask for more than that.
Naturally, classic cuts such as “Rotten to the Core” and “Hello from the Gutter” made their way into the evening, coming off as exuberant and vital as they always have. The band still has that presence in the live arena that’s impossible to teach. Frontman Bobby Blitz wields his distinct, sharp snarl as well as ever – orchestrating the frenetic crowd with ease. He’s truly a one-of-a-kind performer and human who connects with the audience in a special way. In several interactions over the years, he’s always been a real human who is as authentic as can be, and that personality helps make the performer that he is. This night, he was “on” as one can be.
Bassist and original member D.D. Verni really drives the rhythm section, and his importance can never be understated. He looked as energetic and dialed in as he did when I first saw the band well over 20 years ago. It’s definitely good to see him back and healthy after a shoulder surgery that sidelined him for a few tours, and hopefully he’s feeling as good as he played. Drummer Jeramie Kling did a fine job blasting away on the skins, with big shoes to fill after Jason Bittner’s departure earlier in the year. He fit in nicely with the group, with Blitz giving him due plaudits between songs.
Guitarists Dave Links and Derek Tailer have been here for quite a time, and their contributions are obvious – the duo’s work in the band is amongst the best they’ve had, and it shows. They especially showed their collective chops on the effusive monster “Ironbound” and the riffy “Elimination.” With such a vast catalog, one can only imagine how difficult it is to put together a set list – especially in a shorter set than Overkill is used to. However, they were up to the task, pulling together a tight mixture that showcases the band’s wide array of accomplishments.
Naturally, Overkill signed off not caring what you say. You should know the rest, and if you don’t, well “Fuck You.” The crowd joined in kind to the defiant chorus, and it was a fitting conclusion to the thrashers’ part of the evening. These veterans may not sprint around running stage marathons like they used to, but that bright green fire burns ever brightly for these thrash legends. It’s always fun to take in a show from the Wrecking Crew, and I’ll gladly be dragged into the proverbial gutter when these dudes come around.
King Diamond
Let us go inside and see what’s on “Their” mind. “They” are still alive…
King Diamond really thrives on stage. Their visuals and elaborate production is an integral piece to the band’s ethos that needs to be experienced in person to get the full experience. “It’s good to be the King,” as Mel Brooks as King Louis XVI in History of the World, Part 1. For us, it’s good to see and experience the King, who has been on top of his live game ever since his return years ago. This time, for the first time in over 20 years, his wife and the band’s backing vocalist and organist Livia Zita would not be joining the band on tour, instead focusing on her quickly growing voice acting career. Definitely good luck to her! Joining for this live trek is the hugely talented Myrkur, who has made quite the name for herself in recent years with her solo black/folk metal project.
When the set was revealed, it indeed was huge and ornate, with large staircases, an ice-laden balcony, and other pieces. The mood was indeed set substantially as “Funeral” echoed throughout the theater. Soon after, the band made their “Arrival” with gusto. See what we did there? Tearing into the set immediately with a trio of tracks from their legendary Abigail album was a wise decision, with “A Mansion in Darkness” making up the latter part of the first section of their performance. King’s voice was in top form, from his forceful barks and shouts to his falsetto screams, while displaying that commanding presence in a style that only he can.
Guitarist (as well as a damn fine producer) Andy LaRocque riffed and shredded along with intense precision, showing that he still has the chops and then some. LaRocque is one of the reasons I picked up a guitar, and seeing him perform is such a treat that isn’t taken lightly. His singular playing style rang through the high ceilings of the Mahaffey Theater, with onlookers dazzled by his prowess. The seasonally fitting “Halloween” from the incredible Fatal Portrait record was one of his many top moments, as was the following “Voodoo.”
Briefly moving into Them territory is the haunting self-titled interlude track, which was utilized as a set up for a new cut in “Spider Lilly” that will be part of the band’s upcoming new album. King stated that a music video was being shot in a few days at the famed Pennhurst Asylum, and is about a little girl that he protected at St. Lucifer’s Hospital in a 1920s timeline. The song itself is an energetic, melodic piece that is pure classic King Diamond.
“Two Little Girls” – during which an actress interacted with two little girl dolls in a wonderfully creepy fashion – was used to set up the speedy “Sleepless Nights.” The middle part of the set contained a lot of theatrical bits with the usage of these interlude tracks, which was done to maximum effect. The stage show is integral for King Diamond, and those elements were excellently choreographed and executed.
“Out from the Asylum” kicked off a section of classic Them songs, to which the crowd was all anticipating eagerly. “Welcome Home” came complete with King donning a creepy geriatric mask while wheeling about our collective, delightful Grandma about the stage. The mesmerizing guitar leads and licks of “Invisible Guests” was next, with guitarist Mike Wead giving the crowd a lead guitar masterclass while LaRocque ripped away with rhythmic bliss. These two have a chemistry that simply works, with this song being a runaway example of their combined dexterity.
The ghostly keys and organs of “The Candle” kept the momentum flame stoked; burn, burn, burn. A personal favorite that was an obvious inclusion, but one that we were overly excited to hear nonetheless. Myrkur helmed the organ with presence and skill, adding her stamp to the proceedings on this song as well as the show as a whole. We do miss Zita being here, but Myrkur was as fine of a choice as one could hope for. The 2019 single “Masquerade of Madness” fit into the set nicely to keep the show going, giving the fans another cut from more recent King Diamond output, no doubt whetting the appetite for the future new album.
A duo of cuts from The Eye began counting down the set in a grandiose fashion; “Eye of the Witch” being a more mid-paced, subdued and haunting piece while “Burn” echoed forth with power and emotive moments. Another new track titled “Electro Therapy” was the conclusion, with a coffin-like apparatus with a woman enclosed was subjected to electrical shocks via our King throughout. This song has a dark, brooding undertone that shows a bit of a different side of the band. It works, and it’ll be interesting to see how this song contextually fits into the new album. King stated after the song wrapped up, “I’m not even a doctor, but I’m just a priest. I think this was a success, huh?” before thanking the crowd and making his exit via a door under in the stage setup.
As we all know, this wasn’t the actual end of the set. In kind, the band returned quickly to play the famed “Abigail” to the audience’s delight. Predictable? Maybe. The right decision? Undeniably. The crowd ate it up, erupting in approving screams and fists in the air, giving the band the loud sendoff they truly deserved.
Conclusion
My personal journey into heavy metal music involves King Diamond’s music in the early discovery of the genre, and being able to see them now makes one realize the indelible impact they’ve had on my musical leanings ever since I came across a used copy of Them and a late 90s reissue of Mercyful Fate’s Melissa at a now defunct shop in Pittsburgh. It’s been a long and fruitful journey, and the King’s music is a huge part of it.
There certainly isn’t anything that King Diamond needs to prove at this point in their illustrious career. Yet, when they come out on the road, you’re guaranteed a show that will dazzle and entrance you audibly, visually, and psychologically. The fact remains that there isn’t anything quite like a King Diamond show (unless it’s Mercyful Fate, of course), and on this evening, we got what was hoped for and then some.
It was really cool to see a diverse crowd in attendance; both grizzled scene veterans, legendary musicians (Cannibal Corpse’s Rob Barrett was near us for part of the show, having an absolute blast), and younger fans who may have been experiencing these bands in person for the first time. The entire package put forth their best – Night Demon keeping classic sounds alive with their effective and fresh perspectives, Overkill showing that thrash is stick defiantly kicking, and King Diamond humbly producing a live experience that is difficult to match.
Be grateful that acts like this are touring and making music in our current time, and be sure to not pass up an opportunity to take in a performance. This tour runs through early December, so if it’s coming anywhere close, you know what to do. Until then, we’ll wait with anticipation of when more details of this new album will be revealed. No doubt, it’ll be a release fit for a King. It’s good to be the King, indeed.