Release Festival celebrated its tenth anniversary with a diverse lineup spanning a wide range of musical genres. It also marked the final edition to be held at Water Square (Platia Nerou), the festival’s home for so many years. Starting next year, Release moves to a new location.
Of the festival’s three metal-filled days, I chose the most traditional one to attend. Headliners Helloween were celebrating their own milestone—40 years as a band—while legends Saxon and Ashes Of Ares, a group with a loyal following in Greece, rounded out a bill that promised a memorable evening.
I arrived at the festival grounds early and spent the time indulging in my favorite pre-show ritual: talking music. The weather could hardly have been better. Clouds offered occasional shade, rain stayed away, and a steady breeze kept the temperature surprisingly comfortable. In fact, it was one of the mildest days I’ve ever experienced at Platia Nerou.
The gates opened right on schedule at 6:00 p.m., and throughout the day the timetable was followed with impressive precision. However, this is where the organizers receive their first yellow card. Ashes Of Ares took the stage at 6:15, leaving very little time for fans to enter the venue, visit the merchandise and token booths, and make their way to the stage. Even though I was among the first people through the gates, I still missed the band’s first two songs. Many attendees undoubtedly missed an even larger portion of the set. Opening the gates at 5:30 would have solved the issue.
Although Ashes Of Ares had performed in Greece only a few months earlier, that hardly meant fans had had their fill—especially those still hungry for Iced Earth material. The band certainly didn’t disappoint.
Their setlist was almost evenly divided between Ashes Of Ares originals and Iced Earth classics. Matt Barlow was in outstanding form, delivering a flawless vocal performance from start to finish.
Whether anyone likes to admit it or not, most people in attendance were waiting for the Iced Earth songs. That’s a shame, because Ashes Of Ares’ own material deserves far more recognition. Still, the Greek audience’s well-known bond with Iced Earth was impossible to ignore, and the response to classics like “I Died For You” and “Burning Times” was nothing short of overwhelming.
Setlist: New Messiahs, Wake Of Vultures, Dark Saga, I Died For You, Violate, Vengeance Is Mine, The Iron Throne, Burning Times, Dante’s Inferno (excerpt), The One-Eyed King
Next came the living legends of Saxon. Over the years, I’ve lost count of how many times I’ve seen them live, and they’ve never failed to deliver. I also refuse to believe the ages listed on their passports. If Biff Byford is really 75 years old, I might as well tear up my own driver’s license.
With only an hour at their disposal, the band had little choice but to focus on the essentials. Frankly, Saxon could fill three hours playing nothing but classics. Instead, they packed their sixty minutes with songs that have shaped generations of heavy metal fans: “Strong Arm of the Law,” “Crusader,” “Princess of the Night,” and many more.
Unfortunately, several technical issues—mostly involving the guitars—interrupted the performance, but the band handled them like the seasoned professionals they are. Decades on the road teach you how to keep a show moving.
Two moments stood out in particular. The first was Biff’s trademark humor: “It’s really hot here—almost as hot as in England,” he joked, referring to the European heatwave. The second was his announcement that Saxon’s next studio album is scheduled for release in January, giving fans yet another reason to look forward to 2026.
Setlist: Hell, Fire and Damnation, Power And The Glory, Dogs Of War, Motorcycle Man, Heavy Metal Thunder, Dallas 1 PM, Strong Arm Of The Law, And The Band Played On, Denim And Leather, Wheels Of Steel, Crusader, Princess Of The Night
As darkness finally settled over the festival, it was time for the evening’s main attraction: our beloved Pumpkins.
Three years after their previous Release appearance—and exactly forty years after the band’s formation—Helloween returned armed with another excellent studio album and a spectacular live production.
The Germans delivered a generous set of around 22 songs, complete with a drum solo and the climactic finale of “Keeper of the Seven Keys.” In recent years the band has been operating at an incredibly high level, presenting a show that celebrated both its rich history and its continued creative vitality. After all, this is one of the bands that helped define European power metal.
Thankfully, they didn’t rely solely on nostalgia. As they did three years ago, Helloween showcased material from their latest releases, including “Gravity” and “This Is Tokyo,” alongside several songs from the Andi Deris era. The only disappointment was the complete absence of anything from The Dark Ride, once again.
Naturally, timeless anthems such as “March of Time,” “Future World,” and “I Want Out” sent the Release crowd into a frenzy. The band sounded exceptionally tight and professional throughout the evening. Their sound was noticeably better than that of the previous two acts—although this also earns the organizers a second yellow card, as there was still room for improvement earlier in the day.
The production itself deserves special mention. Beyond Dani Löble’s enormous drum kit, the massive digital backdrop was among the most impressive I’ve seen at any concert. Stunning animated visuals accompanied every song, at times creating an almost three-dimensional effect. Pyrotechnics, confetti, and giant inflatable pumpkins transformed the performance into a true celebration.
Vocally, all three singers were outstanding, though Andi Deris once again stole the show for me. The constant rotation between vocalists kept the performance fresh while giving each singer moments to shine. Michael Weikath’s trademark facial expressions were as entertaining as ever, Markus Grosskopf remained an absolute powerhouse on bass, and the “newer” members proved once again why they belong in Helloween. Dani Löble is an extraordinary drummer, while Sascha Gerstner is far more than simply a rhythm guitarist—he’s an exceptional musician in his own right.
As for Michael Kiske and Kai Hansen… I’ll refrain from saying too much, otherwise I’ll be accused of bias. Suffice it to say that they were absolutely flawless.
Helloween’s performance lasted well over two hours, yet it still felt far too short. I could easily have watched another two. It was around 11:30 p.m. when the final curtain fell.
Since the reunion of its classic lineup, Helloween has proven beyond any doubt that it is far more than a nostalgia act. Rather than relying solely on past glories, the band continues to release high-quality music while delivering performances worthy of its legendary status. Forty years into its career, Helloween remains one of heavy metal’s finest live acts—and Release Festival’s anniversary celebration couldn’t have asked for a more fitting finale.
Setlist: March Of Time, The Kings for A Thousand Years, Future World, This Is Tokyo, We Burn, Twilight Of The Gods, Ride The Sky, Into The Sun, Hey Lord!, Universe (Gravity For Hearts), Hell Was Made In Heaven, Drum Solo, I Want Out, In The Middle Of A Heartbeat / A Tale That Wasn’t Right, Heavy Metal (Is The Law), Halloween, Eagle Fly Free, Power, Dr. Stein, Keeper Of The Seven Keys (just the chorus)
Michael Ntalakos
