HELLOWEEN

Helloween Bring All Three Singers to Seattle for a Jaw‑Dropping 40th Anniversary Power Metal Spectacle at the Paramount

I’ve got some thoughts about these older legacy bands — and most of them aren’t flattering. There are groups from the 80s still touring the world who, frankly, should’ve hung it up a decade ago. Some vocalists can’t hit the notes anymore, others sound too perfect for their age (hello, backing tracks), and entire bands move with the energy of a retirement home field trip. And yes, a few have been caught straight-up miming. We’ve all seen the videos.

That said… every now and then I still roll the dice. There are 80s bands I’ve never seen live, and curiosity wins. Maybe I’ll catch them forgetting lyrics, blowing out a hip, or — let’s be honest — dropping dead mid‑set. That’s just the reality of where we’re at with some of these acts, and I’m prepared for whatever chaos comes with the ticket price.

But here’s the twist: one of those rare 80s bands that never comes to North America suddenly announced a limited U.S. run, and resistance was futile. When I saw that Helloween were doing a 40th Anniversary Tour with Battle Beast, and that they were hitting Seattle’s Paramount Theatre, it was an instant “Yep, I’m going.”

I’ve never seen them before — and honestly, barely anyone in Western Canada has. They hit Calgary once in 2008, skipped Vancouver entirely, and otherwise stick to the big eastern cities. So this was my shot.

These German legends were one of the premiere power metal bands of the 80s, forming in 1984 and dropping some absolute classics. I wore out my cassette of Walls of Jericho back in ’85, and since then they’ve released 17 albums of consistently solid material. Those early records — Walls of Jericho, Keeper of the Seven Keys I & II — are iconic. Helloween might be one of the most underrated metal bands of all time.  The latest album was birthed last year with Giants & Monsters (2025).  So they are still making the metal.

So what is even going on with this band? They’re rolling into North America with seven members on tour. Seven. And somehow they’ve got three singers sharing the same stage without anyone’s ego detonating. Most bands can barely handle one vocalist without a meltdown, but Helloween decided to bring the entire vocal history of the band on the road.

You’ve got Kai Hansen — the original singer and guitarist. You’ve got Michael Kiske — the golden‑voiced frontman from ’86 to ’93. And you’ve got Andi Deris — the guy who’s held the mic since 1994.

All three, together, trading songs, harmonizing, and basically doing the power‑metal version of the Avengers Assemble. It shouldn’t work, but somehow it does, and it’s wild to witness.

And it’s not just the singers. Most of the band is still original or long‑time members. Michael Weikath has been on guitar since ’84, Markus Grosskopf has held down the bass since the same year, and they’re still out there crushing it. Sascha Gerstner (on guitar since 2002) looks like the young blood in the lineup, and Daniel Löble (drums since 2005) brings the kind of energy that makes you forget this band is over four decades deep.

It’s a bizarre lineup on paper, but in person it feels like the full history of Helloween exploding on stage at once — and it’s honestly incredible

Tonight at the Paramount, I’m a bit stunned by how sparse the crowd looks. The place is barely half full, and honestly, I’m shocked. This is a premiere band — a band that should be packing this venue without breaking a sweat. What exactly am I walking into here?

Helloween were last in Seattle in 2016, a full decade ago, playing the tiny Showbox downtown. Did everyone get their fill back then? Did the city collectively decide, “Yeah, we’re good for another ten years”? I don’t get it. In my opinion, this show should be sold out, no question.

The show kicks off with the Keeper of the Seven Keys himself appearing on the big screen, setting the tone for the magical, over‑the‑top power‑metal evening we’re about to dive into. One by one, the band members creep onto the stage, and before long the opening solo hits. Kiske and Deris immediately start trading lines on “March of Time” from Keeper of the Seven Keys II, and it’s clear this massive stage is exactly what they need. Their setup stretches across the entire width of the platform, with a drum riser that runs the full length and seven musicians roaming the battlefield like they own it.

They keep the Keys momentum going with “Future World,” then slide into “This Is Tokyo.” (new one from Giants & Monsters) Both singers sound fantastic — shockingly good, actually. I was genuinely impressed. At this point I’m thinking, “Alright, this is going to be an incredible two hours.” But the big question still hangs in the air: when does Kai Hansen grab the mic?

Song six.

That’s when Kai steps up and unleashes the track that first hooked me on this band: “Ride the Sky.” And he absolutely destroys it. Hearing him rip through my favourite Helloween song live was a full‑circle moment — and let me tell you, that song hits even harder in person. Holy smokes, his voice was really good too while he plays that speed metal song on guitar.

Another notable part of this show was a drum solo (seeing more and more of these lately) mid way through the set.

Another one of my all‑time favourite Helloween tracks from Keeper of the Seven Keys Part II hits next: “I Want Out.” This was the song that used to loop in my head around hour seven of a soul‑draining office job I once had. Hearing it live again, with both singers absolutely nailing their parts, was unreal. Kiske and Deris play off each other so naturally it’s almost comedic — like a power‑metal Sonny and Cher (Gen X knows exactly what I mean).

Then the mood shifts. Two chairs appear at center stage, and Michael and Andi settle in for an acoustic break (and band smoke break) with “In the Middle of a Heartbeat” and “A Tale That Wasn’t Right.” They even slip into a couple of Beatles snippets — “Blackbird” and “Yesterday” — just to flex a little. You really get the sense these two are genuinely close. At one point I’m thinking, “Alright guys, get a room.”

Near the end of the main set, I’m practically vibrating with anticipation because Kai Hansen steps back up to the mic. And then it happens — another classic from Walls of Jericho: “Heavy Metal (Is the Law).” This is pure, unfiltered, old‑school metal, the kind of anthem that defines an entire era. Hearing it live felt like witnessing the core of where this whole genre came from.

If that wasn’t epic enough, they launched into “Helloween” next — thirteen minutes of pure, over-the-top power‑metal insanity. Searing vocals, shredding solos, massive harmonies… it was amazeballs in the best possible way. For anyone who grew up in that era, especially someone like me who lived through it, this was pure nostalgia-fuelled bliss.

The encore kept the momentum going with “Eagle Fly Free,” “Power,” “Dr. Stein,” and even a slice of the “Keeper of the Seven Keys” chorus. At that point the crowd was fully locked in, and the band looked like they were having the time of their lives. Smiling, interacting, taunting the audience to get louder — it felt like stepping straight back into the 80s.

I found the whole show absolutely jaw‑dropping. Every member of the band was rock solid, and the chemistry on stage was unreal. I’ve always thought of Helloween as Germany’s answer to Iron Maiden — that same level of musicianship, melody, and theatrical flair — and tonight only reinforced that. Seeing all three singers performing classics from across their entire discography in a 21‑song set was a dream scenario for any fan, especially here in North America where we rarely get this lineup.

When the band took their final bows, I felt a little sad, wondering if we’ll ever see this exact configuration again on our side of the world. I really hope so. How many more years do they have left? Hard to say — but based on tonight, they’re playing better than most modern metal bands half their age. The musicianship was top‑tier, the stage visuals were fantastic, and the three massive screens added a ton of atmosphere.

Making the trip to Seattle was absolutely worth it. This was one of those rare shows that sticks with you long after the lights come up — an experience I won’t forget.

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