The conversations after a concert can tell you a lot about the show. Walking out of the Pickens County Performing Arts Center on Friday, October 23, I kept hearing people talk about Michael Sweet’s voice. Those high notes had made an impression, and fans were still marveling at them as they headed home. After watching Stryper that night in Liberty, South Carolina, I understood exactly why.
Local rock and roll band Chuck W. Chapman opened the evening. Before Stryper’s set, two representatives from the South Carolina Entertainment & Music Hall of Fame stepped out to introduce the headliners and recognize bassist Perry Richardson. A Conway native, Perry was inducted in 1995, long before joining Stryper in 2017. Their enthusiasm for welcoming him to the stage gave the evening a nice South Carolina connection.
With the stage dark, a recording of “Battle Hymn of the Republic” filled the room. As it neared its end, the band members emerged one at a time and took their positions. It was a simple entrance that built anticipation before the live music began.
What followed was a set with plenty of reasons for longtime fans to get excited. “Calling on You,” “Free,” “Loud ’n’ Clear,” “In God We Trust,” “Always There for You,” and “Soldiers Under Command” brought the early years into focus. Those songs remain a huge part of the appeal of seeing Stryper, and hearing them together made for a fun night.
The newer material held its place alongside those favorites. “No More Hell to Pay,” “When We Were Kings,” “The Valley,” and “Yahweh” showed how much the band’s catalog has grown beyond its early successes. “The Valley” is one of my favorites, so that was an especially welcome part of the show. Michael also mentioned that they are working on new songs.
For all the music on the setlist, one of my favorite moments came from something that appeared completely unplanned.
Michael noticed a fan near the front wearing a Thin Lizzy shirt. He pointed it out and recalled that Stryper used to play one of their songs, although he needed a moment to remember it. The rest of the band watched while he worked it out on guitar.
Then he turned toward Robert Sweet.
You could see Robert nodding along, trying to catch what his brother was playing. Once he found it, he joined in on drums. Perry and Oz Fox, meanwhile, stood watching the two of them. Their expressions made the whole exchange even better. It looked like everyone was finding out about this little detour at the same time.
I did not recognize the Thin Lizzy song, but the brief jam lasted about 20 seconds before Michael stopped and acknowledged that he had reached the end of what he remembered. It was a funny glimpse of the musicians enjoying themselves, and it gave the crowd a moment that went beyond simply hearing the hits.
Michael’s singing was a highlight throughout the performance. The high notes were there, and judging by the comments afterward, I was far from the only person paying attention. After more than four decades with Stryper, he can still deliver the moments fans wait for in those songs.
Beside him, Oz Fox impressed me with both his guitar playing and vocals. Having followed what he has been through with brain surgery, seeing him perform was particularly meaningful. He moved around less than I remembered from earlier shows, but there was still plenty to appreciate in his playing.
Robert had his kit positioned sideways in his familiar arrangement, with cymbals surrounding him. It makes him easy to watch, and that is part of the experience. His drumming was as good as ever, and the setup let the audience take in more of what he was doing behind the kit.
Perry brought an obvious enjoyment to the performance. I have always appreciated how humble and friendly he comes across, and he looks completely at home with this band. There is something infectious about watching a musician who clearly enjoys being onstage with the people around him. He is a great fit for Stryper.
I shared the evening with my friends Eric, Wayne, Glenn, Steve, and Sally, along with my son Max. This was Max’s first time seeing the band, and he loved it. Having that mix of friends and family along made an already enjoyable show even better.
“To Hell with the Devil” closed the night, putting a familiar crowd favorite at the end of a set that covered a lot of ground. Between the classics, the later material, and that unexpected Thin Lizzy moment, Stryper gave us plenty to talk about on the way out.
The praise I heard around me matched my own reaction. Stryper sounded great, looked like they were having fun, and delivered exactly the kind of rock and roll night I had hoped for.
Artist: Skillet EP: After the Storm Release Date: October 9, 2026 Record Label: Hear It Loud (Independent) Production: David Cowell and Korey Cooper Publicity: Atom Splitter PR Genre: Hard Rock / Alternative Metal Length: 6 songs, approximately 22 minutes
Nearly three decades into their career, Skillet continues to prove that they are far from finished. With millions of records sold, billions of streams, and a loyal fan base that spans generations, the band could easily continue releasing familiar radio-friendly rock songs and calling it a day. Thankfully, that is not what they have done with After the Storm.
Released October 9, 2026, this six-song EP finds John Cooper, Korey Cooper, Jen Ledger, and Seth Morrison returning to a heavier, more aggressive sound while maintaining the massive melodies that have made them one of the biggest names in modern rock.
What makes After the Storm particularly interesting is the emotion behind the music. These songs were born out of difficult seasons involving betrayal, grief, anger, and personal struggles. Instead of allowing those experiences to defeat him, John Cooper has turned them into music about perseverance, faith, and hope.
The EP opens with “Scream,” and the title alone should tell listeners that Skillet has come ready to make some noise. Aggressive guitars, pounding drums, and Cooper’s unmistakable vocals establish the direction of the record. The band combines modern hard rock production with an intensity that longtime fans of their heavier material should appreciate. When Cooper unleashes his harsher vocals, it adds another dimension to a band that has never been afraid to experiment with its sound.
“Lift Me Up” follows with the kind of enormous chorus that Skillet has mastered over the years. It brings together crushing instrumentation and infectious melodies without sacrificing the emotional weight of the song. There is something powerful about music that acknowledges life’s struggles while encouraging listeners to keep moving forward.
Then comes “Grave Stomper,” one of the EP’s most aggressive tracks. The guitars hit hard, the rhythm section drives the song forward, and Cooper delivers his message with conviction. Inspired by personal experiences involving false accusations and betrayal, the song is about refusing to let lies and negativity determine your future. It is the kind of defiant anthem that should translate exceptionally well to the concert stage.
The title track, “After the Storm,” provides another example of the band’s ability to balance heaviness with melody. Its memorable chorus and strong guitar work help make it one of the EP’s standout moments. Seth Morrison continues to demonstrate why he is such an important part of the band’s sound, bringing the guitar-driven energy that keeps these songs firmly rooted in hard rock.
“Heaven Help Us” offers a change of pace, bringing a more reflective atmosphere to the collection. Skillet has always been capable of delivering emotionally charged slower songs, and this track gives the record some breathing room. The vulnerability fits naturally alongside the heavier material, reminding listeners that strength does not always mean pretending everything is fine.
Closing track “Come and Find Me” brings the EP’s themes together with a longing for restoration and hope. Rather than finishing with another relentless musical assault, the band leaves listeners with something more personal. It is a fitting conclusion to a collection that explores both the pain of difficult experiences and the possibility of finding peace on the other side.
One particularly exciting aspect of After the Storm is the return of John Cooper’s harsher vocal approach. While his melodic delivery remains a defining characteristic of the band, the additional screaming and aggressive instrumentation give the EP an edge that some fans may have missed on recent releases.
Production duties were shared by David Cowell, known for his work with Sleep Theory, and Korey Cooper. The result is a polished but powerful sound that allows the guitars, drums, and vocals to hit with plenty of force.
Another noteworthy development is the return of John Cooper to the recording environment of his hometown of Memphis, something the band had not done since 2003’s Collide. That connection to the past seems appropriate for a release that revisits some of the group’s heavier musical instincts.
At just under 22 minutes, After the Storm does leave the listener wanting more. Six songs fly by quickly, especially when there is not much room for unnecessary filler. However, that is also one of its strengths. Every track contributes to the overall message, and the EP never overstays its welcome.
With Skillet recently celebrating 30 million RIAA-certified units across its catalog and the massive success of songs like “Monster,” which has reached seven-times Platinum status, the band is enjoying extraordinary longevity. Yet After the Storm demonstrates that commercial success has not eliminated their willingness to get personal or turn up the heaviness.
For longtime fans, this EP offers plenty to appreciate. For listeners who may have drifted away from Skillet over the years, it provides a compelling reason to give them another listen.
After the Storm is more than a collection of new songs. It is a reminder that even after nearly 30 years, Skillet still has something meaningful to say and the musical firepower to deliver it.
The storm may have been difficult, but the music that emerged from it is powerful.
Standout tracks: “Grave Stomper,” “Scream,” and “After the Storm.”
Final Verdict: A heavier, emotionally charged release that successfully combines Skillet’s signature melodies, aggressive guitars, and messages of faith and perseverance. It is a welcome addition to their extensive catalog.
Disciple | Faith Renewed Church | Mauldin, SC | October 16, 2026
After more than three decades of making music, Disciple continues to prove why they are one of the most respected bands in Christian hard rock and metal. On Friday night, October 16, the Knoxville, Tennessee, rockers brought their hard-hitting music and unapologetic message of Jesus Christ to Faith Renewed Church in Mauldin, South Carolina, for a sold-out show.
With at least a few hundred fans packed into the venue, it was clear that the Upstate of South Carolina still has plenty of love for Disciple.
This was my 20th time seeing the band, and I had a feeling I knew exactly what to expect. Great music, a high-energy performance, and Kevin Young sharing the Gospel. Once again, they delivered.
What made this night even more special was getting to experience it with my kids, Leo, Kalli, and Max, along with two of their friends, James and Elijah. There is something special about taking your children to see a band you’ve been following for decades and watching them experience the same music you’ve enjoyed for so many years.
The night also turned into something of a reunion. Everywhere I looked, I was running into friends. Stephanie and Johnathan Johnson and their family were there, along with Steve, Sally, and their granddaughter Evie. Steve was attending his 38th Disciple concert, making my 20 shows seem like rookie numbers!
I also enjoyed catching up with Pastor Terry, Angel, and their family, Seth Marrow and his daughter Ester, Joshua Gilmore, and so many other good friends. Great music is always better when you’re surrounded by people you care about.
As for the concert itself, Disciple did what Disciple does best. They brought the rock!
Frontman Kevin Young, the band’s sole remaining founding member, continues to lead the charge with the same passion that has made him one of the most recognizable voices in Christian rock. Alongside guitarists Andrew Stanton and Josiah Prince, drummer Joey West, and bassist Dane Allen, the band delivered the kind of performance longtime fans have come to expect.
The band even treated the crowd to a new song, which received an enthusiastic response. After releasing 13 studio albums, it’s encouraging to see Disciple continuing to write new material and keep fans excited about what’s coming next.
One thing I’ve always appreciated about Disciple is that they have never been afraid to share their faith. Their concerts are about much more than entertainment.
As expected, Kevin Young took time during the evening to preach the Gospel and share the message of Jesus Christ. This wasn’t simply a quick mention of faith between songs. Sharing the Gospel has always been a central part of what Disciple does.
By the end of the night, eight people had made the decision to follow King Jesus!
Of everything that happened that evening, that was undoubtedly the most important moment. The music was great, the fellowship was wonderful, but seeing eight people respond to the Gospel is something worth celebrating.
Another thing that caught my attention was the band’s commitment to helping others. Their merchandise table stayed busy throughout the evening, but fans also had an opportunity to sponsor a child in need somewhere around the world.
Kevin shared about the young girl his own family sponsors, making the invitation personal rather than just another announcement. I appreciate seeing a band use its platform not only to share the Gospel but also to encourage fans to make a difference in someone’s life.
Disciple has been doing this since 1992, building a career that includes 13 studio albums, multiple Dove Awards, numerous Christian rock hits, and thousands of live performances. Through changing musical trends, lineup changes, and more than three decades on the road, the band’s mission has remained consistent.
And that’s one of the reasons I keep coming back.
After 20 concerts, I can say that I have never walked into a Disciple show wondering whether they were going to deliver. I know I’m going to hear great hard rock music, see a band that gives everything they’ve got, and hear the name of Jesus Christ proclaimed without apology.
Friday night in Mauldin was no exception.
A sold-out crowd, a new song, hundreds of fans enjoying the music, plenty of familiar faces, and eight people making decisions to follow Christ. What more could you ask for?
Twenty Disciple shows down, and I’m looking forward to number 21!
Release Date: September 30, 2026 Record Label: Mascot Records Publicity: Atom Splitter PR Music Video Director: J.T. Ibanez
How does a band that has released so many great albums, delivered countless memorable songs, and helped define an entire genre continue to top itself? Well, P.O.D. just showed us how, with a tip of the hat to Cory Brandan of Norma Jean!
The nu-metal legends are back with their new single, “Outbreak,” and this longtime fan couldn’t be happier. This is easily one of the hardest-hitting songs P.O.D. has released in a long time, and I would go as far as to say it is their best release since Satellite.
P.O.D. has always been a band that could blend heavy riffs, groove, melody, and meaningful lyrics into something special. With “Outbreak,” they crank everything up a notch and bring along another legend of heavy music, Cory Brandan, frontman of Norma Jean, to help deliver the punishment.
And what a combination!
From the opening moments, the song creates a sense of urgency. The guitars are aggressive, the rhythm section hits hard, and Sonny Sandoval delivers his signature vocal style with the kind of intensity that helped make P.O.D. a household name in the nu-metal scene. Then Brandan enters the picture, adding another level of aggression with his unmistakable screams.
The combination of these two vocalists works incredibly well. Sandoval brings the familiar P.O.D. sound, while Brandan adds an extra kick that pushes this song into even heavier territory.
And then comes that breakdown!
The band slows things down just enough to set you up before delivering a crushing breakdown with screams of “OUTBREAK!” It’s like getting smacked in the face with a record thrown by Shaun and Ed! The guitars, bass, and drums come together with an impact that reminds you exactly why P.O.D. has remained relevant for more than three decades.
Lyrically, “Outbreak” takes an interesting approach. While the song and video revolve around an apocalyptic outbreak, I hear something deeper than just another zombie story.
The outbreak seems to represent moral decay, with people becoming lovers of themselves while the world around them falls into chaos. Society is unraveling, people are consumed with themselves, and everything appears to be spinning out of control.
It’s an interesting way to address the condition of the world while wrapping the message in an aggressive, apocalyptic metal song. There is plenty here to make listeners think beyond the surface.
And let’s talk about that music video!
I love seeing bands put the time, effort, and money into producing a quality music video instead of releasing just another lyric video. P.O.D. delivers exactly that with “Outbreak.”
The video opens with people sitting around receiving emergency notifications on their phones. There is an immediate sense of disbelief as everyone tries to process what is happening. Surely this can’t be real, right?
But it is.
What follows is a world descending into chaos as the outbreak spreads. The apocalyptic imagery fits the song perfectly, creating a frantic atmosphere that complements the heavy guitars, pounding drums, and aggressive vocals.
Directed by J.T. Ibanez, the video feels like a miniature horror movie, and it is exactly the kind of visual production a song like this deserves.
What makes “Outbreak” even more exciting is knowing that P.O.D. is still capable of delivering music this powerful. These guys are legends of the nu-metal movement, and they have nothing left to prove. Yet here they are, continuing to push themselves and reminding everyone why they helped put this genre on the map.
Having Cory Brandan join them was a brilliant move. His vocals don’t simply make a guest appearance. They become an essential part of what makes this song so memorable.
Released September 30, 2026, through Mascot Records, with publicity handled by Atom Splitter PR, “Outbreak” marks the band’s first new original music since their 2024 album VERITAS.
For longtime fans like myself, this is the kind of release that makes you excited about what might come next. It’s heavy, aggressive, memorable, and unmistakably P.O.D., while still bringing something fresh to the table.
P.O.D. has delivered plenty of great music over the years, but “Outbreak” stands among their strongest releases in a very long time.
This is the new single from an amazing band, and believe me, this is not a test!
The fifth annual Immortal Fest brought three days of Christian rock and metal to the BMI Event Center in Versailles, Ohio, September 11–13. The lineup stretched across generations, bringing together artists connected to Petra, Bloodgood, Barren Cross, Sacred Warrior, Whitecross, Bride, Daniel Band, Messiah Prophet, and many more.
As great as the music was, Immortal Fest has become about much more than bands for me. There is a huge emphasis on community. Sanctuary International has long used the phrase, “We are metal, we are family,” and that really sums up this weekend.
I love hanging out with the people here. Steve Morse road-tripped with me, while George Rose came down from Michigan and stayed in the same house with us. We got to spend time with people we only see once or twice a year and finally meet others we had only known through social media.
One of the things that makes this festival special is how accessible everyone is. Most of the people you see onstage can later be found walking around the venue, talking with fans and taking pictures. There is very little separation between the artists and the people who came to see them, and we love that about Immortal Fest.
Pastor Bob Beeman once again emceed the festival and did a great job. Through Sanctuary International, Beeman has been involved in Christian heavy music ministry for decades.
Our routine has also become part of the weekend. Steve, George, and I will grab breakfast, sometimes just the three of us and sometimes with other friends from the festival, hit a local record store, and then get to the venue early. We have been doing some version of that for years now.
It was also great seeing Bryan Kemper there with the Rock for Life booth. I ran the Rock for Life South Carolina chapter when I was in college, so seeing the organization come back and continue standing for the right of all human life was personally meaningful. I was also proud to pick up one of the new shirt designs.
Day One
Les Carlsen and Michael Drive kicked off the festival with a blast of familiar tunes.
I have seen both of these guys many times, and they have never disappointed me. This weekend was no different. Les Carlsen and Joyce Carlsen’s voices soared beautifully over the backing tracks as they mixed newer material with Bloodgood classics.
Michael Drive followed with a killer performance, bringing a variety of songs and covers to the stage. His voice still has the power that made Barren Cross immediately recognizable.
I was disappointed that the promoter did not have the budget to bring complete bands for these performances. Les, Joyce, and Michael still delivered, but hearing those songs backed by full bands would have taken both performances to another level.
Then came the first major surprise of the weekend.
Furious Love, the only ’80s and ’90s Christian hard rock and metal tribute band in the U.S., was not a band I knew much about going into Immortal Fest.
That changed quickly.
They absolutely blew us away.
Their set dug into the classic Christian rock and metal catalog, paying tribute to bands such as Holy Soldier, DeGarmo & Key, Idle Cure, Messiah Prophet, and others. They did not simply play the songs. They brought the energy and excitement that made so many of these bands special in the first place.
Leading the charge was vocalist Randy Janee, whose amazing voice and talent were impossible to miss. She more than held her own on material originally performed by some of the great voices in Christian hard rock and metal, delivering the songs with power, range, and plenty of stage presence.
Solo artist Daniel O’Connor joined Furious Love for the festival and delivered some serious guitar work, while Derek Ferwerda was also part of the lineup. Drummer Dale Erickson, a longtime concert promoter who helped form Furious Love, drove the band from behind the kit.
The set also included some great connections to the original artists they were honoring. Adam Gibson of Novella joined the band on drums for several songs, while original Messiah Prophet drummer David Thunder joined Furious Love for one Messiah Prophet song.
Those guest appearances added something special. This was not just about revisiting great songs from the past. Musicians connected to that history were standing onstage helping bring some of it back to life.
By the time Furious Love finished, they had become my favorite performance of Friday and one of the two biggest surprise highlights of the entire festival.
Furious Love photo credit to Concert Fotos by Chad
Arsenal was up next. The female-fronted Christian hard rock band originally emerged from the late-’80s and early-’90s scene with Christine Steel on vocals. For longtime fans, this was their only opportunity in many years to see Arsenal perform live again.
Friday closed with GHF, short for God Has Forgiven, and they did not disappoint.
GHF includes three original founding members of Petra: guitarist Greg Hough, bassist John DeGroff, and drummer Bill Glover, joined by keyboardist Pastor John Moser. This lineup reaches all the way back to the earliest chapter of Petra’s history, before the later eras most fans associate with vocalists Greg X. Volz and John Schlitt.
They dug into old Petra material and did those songs justice. The stage performance was great, these guys still have it, and I was honored to finally have the opportunity to see them perform live.
Three Generations of Petra in One Weekend
One of the coolest parts of Immortal Fest 2026 was having three different chapters of Petra history represented across the weekend.
Friday’s GHF took us back to the founding era with original Petra members Greg Hough, John DeGroff, and Bill Glover. This was before Petra became identified with the lead vocalists who would later help define its best-known eras.
Saturday’s Petra represented the John Schlitt era, with John Schlitt handling lead vocals alongside founding guitarist and primary songwriter Bob Hartman. The lineup also included longtime keyboardist John Lawry, bassist Greg Bailey, and drummer Cristian Borneo.
Sunday’s CPR, Classic Petra Resurrection, represented the classic Greg X. Volz era. Greg X. Volz handled lead vocals, joined by longtime Petra keyboardist John Lawry and drummer Louie Weaver.
For Petra fans, having the band’s founding history, the Volz era, and the Schlitt era all represented during one festival weekend was something special.
Day Two
The published schedule included Ken Tucker’s Blues Band, but they did not perform. That meant Invincible effectively kicked off Saturday’s band performances.
And they were incredible.
There was so much talent standing on that stage. Crystal Mancaruso led the band with her powerful vocals, while her husband, Joey Mancaruso, absolutely killed it behind the drums.
Crystal’s voice soared over the music, while George Ochoa brought his years of experience and masterful playing to the guitar. The bass work did a fantastic job filling out the space and giving the songs the weight they needed.
Crystal and George are also members of Worldview. Their Worldview bandmate and Sacred Warrior vocalist Rey Parra was not part of Invincible’s lineup, but he joined them as a special guest for one song. Rey’s distinctive voice added so much to the performance and immediately got a reaction from the crowd.
As if that were not enough, Invincible closed their set with Deliverance’s “Slay the Wicked” and absolutely slayed the song.
That is how you make a debut.
Legacy followed, and I had only heard a few of their songs online before the festival. I was pleasantly surprised. They did a great job and put together a really enjoyable set.
That is another reason Immortal Fest works. You may arrive primarily to see bands you already know, but you can leave talking just as much about somebody you barely knew before the weekend.
Then Fear Not hit the stage and delivered a powerhouse performance.
I have seen this band play here every year, and there is a reason they keep getting invited back. Every musician in this band has been recognized for his musicianship. Bring them together to create something for the glory of the Lord and you get one amazing hard rock band that will make you want to bang your head against a wall while pointing people to Jesus.
It is no surprise that Fear Not received two Josie Music Awards nominations this year. “Crashin’ Down” is nominated for Song of the Year in the Rock Duo/Group category, while Weight of the World is nominated for Gospel/Christian/Inspirational EP of the Year.
Sacred Warrior is another band that plays Immortal Fest year after year, and for good reason. They have a large fan base that comes out to see them, and they remain one of the crowd favorites.
Their sound and Rey Parra’s vocals separate them from any other act here. They have fantastic stage presence and really know how to connect with the crowd.
One of the highlights of their set is the closing performance of “Holy, Holy, Holy.” It has become a crowd favorite, with many friends joining the band onstage to sing along. It is a great way to end their performance and captures the sense of community that runs through the entire weekend.
Then it was time for Petra.
This was the most packed I saw the venue all weekend.
People certainly had their favorite band or two that they came to see, but when Petra took the stage, everybody seemed to be there for the experience.
The John Schlitt-fronted lineup really gave it their all. They played the fan favorites and did not miss a beat. When a band has been carrying its music and ministry forward for more than 50 years and can still command a room like that, it says a lot.
Day Three
Rex Carroll and Stone Blue Revival kicked off Sunday by bringing their brand of rocking blues to Immortal Fest.
And really, it would not be a Rex Carroll show without an amazing guitar solo.
Rex remains one of those guitarists whose playing immediately tells you who is holding the instrument. His blues influence, tone, and ability to rip through a solo made for a great start to the final day.
Then came my second big surprise of the weekend: The Livestock Band.
Most of the people I spoke with that day, myself included, either had never heard of them or knew very little about them.
For this performance they came out as a three-piece led by Lawrence Bishop II, a pastor, professional rodeo rider, professional musician, singer and bassist who also spent years playing bass with Bride. Joining him was a drummer who formerly played with the Jeff ScheetzBand, along with a guitarist from Lawrence’s church worship team.
Here we were at a metal festival, and these guys walked onto the stage wearing cowboy hats and boots. A few of us looked at each other like, “What are we in for now?”
Then they hit that first hard-hitting chord.
We were hooked.
The Livestock Band may have country and Southern roots, but this is not your typical country or pop-country music. This is hard rock country with enough muscle to fit comfortably at a rock and metal festival, and Lawrence’s life as a pastor, professional musician, and rodeo rider fits naturally into what the band brings to the stage.
Hard-hitting songs like “If God Is Dead,” “Bad Day for the Devil,” “What If It’s True,” “The God Life,” and “Jesus People” showed exactly what this band is about.
At one point Lawrence brought out one of the coolest instruments of the entire weekend, a custom bass shaped like a bull’s head complete with horns.
You could tell how many people they won over by looking at their merch table afterward. The line said everything that needed to be said.
The Livestock Band was the surprise highlight of Sunday.
Next came Daniel Band.
What can I say about this amazing Canadian band? They never disappoint.
These guys are excellent musicians individually and incredibly tight together. I especially loved hearing three new songs that will be on their much-anticipated new album.
These vets still got it.
David and the Giants followed. They are one of those bands I have always known about and own several albums from, but I am not nearly as familiar with every song in their catalog as I am with some of the other bands at the festival.
They are legends, though, and that experience shows as soon as they take the stage. They were really good, incredibly seasoned, and everything they do points toward King Jesus.
They have been ministering through music since 1963, and there is also a fascinating piece of television history sitting behind the drum kit. Keith Thibodeaux, also known professionally as Richard Keith, played Little Ricky on I Love Lucy before becoming part of David and the Giants.
Finally, CPR, Classic Petra Resurrection, closed Immortal Fest.
What a perfect band to end the weekend.
Seeing Greg X. Volz on lead vocals alongside longtime Petra keyboardist John Lawry and drummer Louie Weaver brought another major chapter of Petra’s history to life.
Greg’s voice is inseparably connected to the classic early-’80s Petra era, while John and Louie played major roles in the band’s history through some of its most beloved years.
They gave the fans exactly what they wanted and expected. The songs, musicianship, memories, and history made CPR the perfect conclusion to the weekend.
Everyone seemed delighted, and after a set like that, it was hard to leave in anything but a good mood.
We Are Metal, We Are Family
That is really what I keep coming back to with Immortal Fest.
Yes, we saw some incredible performances. Furious Love and The Livestock Band became the two unexpected highlights of the weekend for me. Invincible made one heck of a first impression. Fear Not and Sacred Warrior reminded everyone why they remain festival favorites. Having GHF, Petra, and CPR across three nights also allowed fans to experience different chapters of Petra’s history during one weekend.
But the bands are only part of why I keep coming back.
It is breakfast with friends. It is hunting through record stores before the doors open. It is talking with musicians in the hallway after watching them perform. It is seeing people from different states who you might only see once or twice a year. It is finally meeting someone face-to-face after knowing them through social media for years.
There are bigger festivals. There are festivals with larger budgets and more elaborate productions.
What Immortal Fest has built, though, is something that cannot simply be purchased.
It has built a family.
For three days in Ohio, that Christian metal family came home.
Nearly 30 years into their career, Skillet continues to prove just how much staying power their music has.
The band has now reached 30 million RIAA-certified units across 21 titles, with several of its biggest songs earning new multi-Platinum certifications. Leading the way is “Monster,” which has now been certified an incredible 7x Platinum. “Hero” has reached 4x Platinum, while “Awake and Alive” and “Feel Invincible” have both climbed to 3x Platinum.
Those numbers are impressive on their own, but they also show how well Skillet’s music has carried across generations. Songs like “Monster,” “Hero,” and “Awake and Alive” are not simply tracks people remember from when they were released. New listeners continue to discover them through streaming, social media, gaming, and sports. According to the band’s press release, “Monster” alone has now surpassed 5 billion global streams.
Other certifications being recognized include “Not Gonna Die” at Platinum, along with Gold certifications for “Falling Inside the Black,” “Finish Line,” “Rise,” “Sick of It,” and “Back From the Dead.” The Unleashed album has also reached Platinum status.
I have watched Skillet change considerably over the years. I first saw them touring behind their self-titled debut with Grammatrain, when they were a three-piece grunge rock band. Since then, they have gone through several musical changes while building one of the most recognizable sounds in modern rock. Seeing songs from different eras of that career continue to grow is pretty cool.
What makes the timing even better is that Skillet is not simply celebrating the past.
Their six-song EP After the Storm arrives October 9 and finds the band returning to a heavier sound. It also reunites frontman John Cooper with producer David Cowell, also known as Sleep Theory, and marks the first time Cooper has returned to his hometown of Memphis to record since 2003’s Collide.
The newer material has already shown plenty of promise. “Scream” has surpassed 5 million global streams, while “Lift Me Up” brings the kind of hard-hitting sound I have been hoping to hear more of from Skillet. The guitars are heavy, the drums stand out, and Cooper’s voice fits the aggression of the song perfectly.
There is also a much more personal side to these songs. Cooper has described After the Storm as music written during a difficult season involving betrayal, anger, depression, faith, perseverance, and hope.
“This EP is special to me. It reignites what Skillet was always meant to be—which is music that helps lift people out of dark times.”
That has always been one of Skillet’s greatest strengths. The band can hit hard musically without losing the hopeful message that has connected with listeners throughout its career.
Thirty million certified units is a massive achievement, but what stands out even more is that Skillet still sounds hungry. With After the Storm on the way, these certifications feel less like a career retrospective and more like another milestone along the road.
Skillet has built an impressive legacy, and they clearly are not finished adding to it.
Resurrection Fest brought the Resurrection Records family to Resurrection Church in Greer, SC, on August 29. Label artists Ziggie and the Suffering Gift, Brent Tatum, and Tricord were joined by local opener Igniting the Sky for a night of Christian rock and metal.
I arrived early with three of my kids and had a great time hanging out with everyone during load-in and merch setup before the doors opened.
Igniting the Sky kicked things off with a different lineup than I remembered. Instead of Cody handling the vocals alone, three singers shared the duties. The harmonies and screams worked well together, while Kristen once again killed it on guitar. They were exactly the kind of band needed to wake everyone up and get the night moving.
Ziggie and the Suffering Gift were down a guitarist, but you would not have known it from their performance. Ziggie’s Led Zeppelin-influenced vocals did not disappoint, and his guitar work remained strong. William kept a tight beat behind the kit while Mike stayed firmly in the pocket on bass.
Brent Tatum had to perform without his band due to circumstances outside his control, but he made the most of it. Armed with his guitar and a miked kick drum, Brent played the entire set without backing tracks. Mad props for that. His stories behind the songs gave the audience an opportunity to connect with both the music and its message.
Headliner Tricord closed the night, and the crowd quickly moved toward the front. With two members now living in Tennessee, the band still came together and delivered. Jermaine knows how to command a room, and songs including “Liar,” “Watcha Got,” “Fix Me,” and “Born to Be a King” kept the crowd engaged.
One of my favorite moments remains seeing Jermaine’s son, Keighan, join him on “Born to Be a King.” After seeing Tricord four times, that father-and-son moment never gets old.
August 15, 2026 | Hop Springs, Murfreesboro, Tennessee
Fear Not’s album release concert at Hop Springs was much more than a four-band show. With Devin Williams, Applehead, Whitecross, and Fear Not on the bill, plus an incredible number of Christian rock and metal musicians in attendance, it became a gathering of several generations of the scene.
I drove up from South Carolina with my 10-year-old son, Leo, and was honored to help promote the show and set up a Christian Metal Group banner beside the Rock for Life table. Getting there early gave me time to catch up with friends from several states and finally meet others I had previously only known through social media, podcasts, or the music community.
The audience included people connected to bands such as Narnia, Rob Rock, Deliverance, Recon, Guardian, Barren Cross, Tourniquet, Vengeance, Motivik, Rusty Shipp, and many others. It was one of those nights when you could look around the room and see Christian metal history everywhere.
Fear Not started things early with a special five-song acoustic performance for meet and greet ticket holders. The intimate set was a great contrast to what was coming later. The band also announced that they had received two Josie Music Award nominations and revealed that a special edition of their new release will be available exclusively at Immortal Fest 2026.
Devin Williams opened the main show with a strong dose of straightforward rock and roll before Applehead delivered one of the biggest surprises of the night.
Applehead was a real treat, and you could tell many musicians in attendance were especially interested in seeing them. The live lineup included Jaymi “Pinkbassman” Millard on bass and Jim Chaffin on drums.
Then Luke Easter joined the band to sing The Crucified’s “Your Image,” with Bryan Kemper on background vocals. For fans of The Crucified, it was about as close as you are likely to get to hearing the band represented live today.
As if that was not enough, with former Vengeance bassist Roger Dale Martin in attendance, Easter ended things with an impromptu performance of Vengeance Rising’s “White Throne.” It was one of those completely unexpected moments that made the night special.
Whitecross followed and absolutely slayed their set. Of course, no Whitecross show would be complete without a Rex Carroll guitar solo.
The current lineup continues to prove that Whitecross is not simply living off its history. Michael Feighan and Benny Ramos remain an impressive rhythm section, while David Roberts has proven to be an excellent fit on lead vocals.
The crowd also received two special guitar appearances. Anthony Focx, who co-wrote “Who Will You Follow?”, joined the band for the song, while CJ Grimmark of Narnia and Rob Rock also came out to play with Whitecross.
Before Fear Not took the stage, Bryan Kemper of Rock for Life gave a passionate message about the value of human life and the importance of standing up for those who cannot speak for themselves. His statement that being pro-life is a verb, not a noun, summed up his challenge to the audience.
Then it was time for Fear Not.
This was my fifth time seeing the band, and they continue to deliver excellent hard rock while remaining completely unashamed about sharing King Jesus.
The set mixed newer material such as “Blind Leading the Blind” with older favorites including “Fields of Sorrow” and the crowd favorite “Voluntary Madness.” Their version of Kenny Wayne Shepherd’s “Blue on Black” was another highlight.
One of the most personal moments came before “It Was You, It Was Me,” when Eddie Green became emotional while explaining the meaning behind the song and how difficult it was to write.
Fear Not closed with “We Have a God,” the song that put the band on the map, and it could not have been a better ending.
The performances were great, but what made this a night to remember was seeing so many people connected to Christian rock and metal together in one place. Musicians, fans, friends, and several generations of the scene came together to celebrate the music, the relationships, and the faith behind it.
Getting to experience it with my son made the night even better.
Cannibalistic approaches heavy music with intention and clarity. Ascension is not built around trends or ambiguity. It is a direct, faith driven EP that blends modern metal aggression with a clear spiritual purpose.
The vision for Cannibalistic began with Alex Garza, who had the original idea for the band and started forming it after reaching out to Alfredo “Fred” Garcia. The two had crossed paths previously in different bands, and Alex was drawn to Fred’s vocal style. After reconnecting and working on early songs including “My Window” and “Daniel,” the direction of the band became clear. Together, Alex and Fred decided on the name Cannibalistic, embracing its biblical meaning and missional weight.
From there, the rest of the lineup came together organically through relationships, shared faith, and prayer. Each member joined not just for musical compatibility, but for unity in purpose. What formed was not simply a metal band, but a ministry built on conviction, accountability, and obedience.
Musically, the EP hits hard from the start. “Daniel” opens with what can only be described as “sick riffs from the beginning,” immediately setting an intense tone. The mix of vocal styles works well, and the breakdowns feel earned rather than excessive. The song draws from the biblical story of Daniel, framing the world itself as a modern lion’s den where faith is tested daily.
“From the Ashes” leans heavily on the rhythm section. The drums drive the song forward, giving it urgency and momentum, while the balance of harsh and clean vocals adds depth. It is a track that feels both heavy and resolute, emphasizing perseverance rather than despair.
“My Window,” originally released as a single in 2020 and later included on Ascension, delivers bone crushing power with strong guitar work and layered harmonies. The song’s ending slows down and lands on the line “love will find a way,” providing a reflective contrast to its intensity and reinforcing its emotional weight.
“Crucifixion” is the EP’s most dramatic moment. It opens with an ominous spoken word declaration of “crucify Him” and leans into theatrical elements that enhance the message rather than distract from it. The track builds toward a powerful conclusion, emphasizing that salvation is found in Christ alone, highlighted by the screamed line “Father forgive them for they know not what they do.”
Beyond the music, Cannibalistic is unapologetically mission focused. Vocalist Alfredo “Fred” Garcia summed up the band’s heart clearly:
“I always pray, God, give me the words You want me to put to this so that we can reach as many people as possible.”
That mindset defines Ascension. This is heavy music meant to challenge, confront, and point listeners toward truth. For fans of modern metal who value substance alongside intensity, Cannibalistic delivers a focused and conviction filled release.
Metal has always been a place of honesty. From the beginning, Christian musicians have stood within heavy music and addressed the full range of biblical truth. Scripture speaks openly about suffering, hope, warfare, judgment, deliverance, salvation, resurrection, and the holiness of God. These themes are not foreign to heavy music. They are part of its emotional vocabulary. Across decades and genres, Christian metal artists have written lyrics that treat theology with seriousness and conviction. Some quote Scripture directly. Others paraphrase biblical passages or explore doctrine with depth and clarity. Together, these bands demonstrate that the Gospel does not merely exist within heavy music. It is powerfully expressed through it.
It is important to clarify what this article is and what it is not. Many well-known bands throughout rock and metal history have drawn inspiration from biblical stories, imagery, or historical events rooted in Scripture. Artists such as Metallica, Megadeth, Helloween, Pink Floyd, Iron Maiden, Black Sabbath, Sabaton, and Sonata Arctica have incorporated biblical references, spiritual themes, or religious symbolism into their work. In those cases, Scripture often serves as inspiration, allegory, or narrative framework.
The bands highlighted in this article operate from a different foundation. These artists intentionally engage with Christian theology in their songwriting. They study Scripture, wrestle with doctrine, and seek the guidance of the Holy Spirit as they write lyrics meant to speak directly to people. Their purpose is not symbolic storytelling or philosophical reflection alone. Their goal is proclamation. The theology in their music is not incidental. It is central. Each band included here uses biblical truth with the express intent of pointing listeners to Jesus Christ and communicating the Gospel through heavy music. This is not an exhaustive list, but a curated cross-section highlighting different genres where theology is intentionally proclaimed.
Theocracy(Power Metal) “I AM” from As the World Bleeds reflects God’s self-identification in Exodus 3:14 and Revelation 22:13. “Easter” from Ghost Ship follows the resurrection narrative of Matthew 28. “Laying the Demon to Rest” from Mirror of Souls reflects the inner struggle described in Romans 7.
Wytch Hazel(Heavy Metal / Hard Rock) “He Is the Fight” from III: Pentecost echoes Psalm 18:2. “Dry Bones” from IV: Sacrament directly reworks Ezekiel 37. “Spirit and Fire” from II: Sojourn reflects Acts 2 imagery.
Tourniquet(Technical Thrash / Progressive Metal) “Ark of Suffering” from Stop the Bleeding is rooted in Proverbs 12:10. “Bearing Grief” from Pathogenic Ocular Dissonance reflects Isaiah 53. “Vanishing Lessons” from Vanishing Lessons explores Romans 12:2 and spiritual transformation.
Disciple(Modern Metal / Hard Rock) “God Is With Us” from Horseshoes and Handgrenades reflects Romans 8:31. “Invisible” from Scars Remain parallels Psalm 139. “Dear X” echoes Ephesians 4 and the transformation of identity in Christ.
Saint(Traditional Heavy Metal) “In the Night” from Time’s End reflects Matthew 24 and Revelation 19. “Space Cruiser” from Warriors of the Son draws imagery from Ephesians 6. “Holy Rollin’” from Too Late for Living aligns with Romans 10:9.
Bloodgood(Heavy Metal) “Crucify” from Detonation retells the crucifixion narrative as presented in the Gospels. “The Messiah” from Bloodgood references Isaiah 9:6. “Top of the Mountain” from Rock in a Hard Place reflects Revelation 21.
Chaotic Resemblance(Hard Rock / Heavy Metal) “Jesus Is King” from Chaotic Resemblance EP reflects Philippians 2:11. “Sound of the Saints” from Get the Hell Out draws from Revelation 12:11. “Caged” reflects Romans 6 and spiritual freedom in Christ.
W.A.S.P.(Heavy Metal) On Golgotha, W.A.S.P. delivers a lyrically direct, Scripture-centered album focused on the crucifixion, repentance, and redemption through Christ. The title track “Golgotha” reflects the Gospel accounts of Jesus’ suffering and sacrifice, while the album as a whole engages themes of sin, forgiveness, judgment, and grace.
Shamash(Melodic Extreme Metal) “Sanctify the Temple” from Hallowed Be Thy Martyr reflects Isaiah 6 and the holiness of God. “Voice of the Covenant” draws from Deuteronomy 4 and the call to faithfulness.
Schaliach(Melodic Death / Doom Metal) “A Father’s Mourning” from Sonrise reflects the crucifixion accounts in Luke 24 and John 20. “You Maintain” echoes Philippians 3:9.
Extol(Progressive Extreme Metal) “Pearl” from Burial references Matthew 13:45. “Gloriana” from Undeceived reflects Ephesians 1:7 and redemption through Christ’s blood.
Antestor(Unblack / Extreme Metal) “The Return” from The Return of the Black Death reflects Matthew 6:13 and Psalm 140. “A Sovereign Fortress” from The Forsaken reflects Psalm 46:1.
Mortification(Death / Thrash Metal) “Terminate Damnation” from Scrolls of the Megilloth reflects 2 Timothy 4:1. “This Momentary Affliction” from Post Momentary Affliction parallels 2 Corinthians 4:17.
Paramaecium(Doom Metal / Death-Doom) “The Unnatural Conception” from Exhumed of the Earth recounts Luke 1. “Injudicial” reflects the resurrection narrative of Matthew 28.
Crimson Thorn(Brutal Death Metal) “Your Carcass” from Unearthed directly quotes Romans 3:23. “Unearthed” reflects 1 Corinthians 15:52.
Discern(Death Metal) “The Narrow Mind” from Redeemed reflects Matthew 7:13–14. “Foolishness of the Wise” from To Praise with Perpetual Silence echoes 1 Corinthians 1:25.
Bond of Iniquity(Death Metal) All three albums: Revelation Metal,Let Us Also Go, That We May Die With Him, and The Great Commandment consists entirely of Scripture-based lyrics drawn from Psalms, Proverbs, Isaiah, and Revelation.
Pulpit Vomit (Death/Grind) “The Filth” reflects humanity’s internal corruption and creation’s decay as described in Jeremiah 17:9 and Romans 8:22, while echoing God’s persistent call amid ruin in Isaiah 30:21. “Spewing Vomit from the Pulpit” directly confronts false spiritual leaders, drawing from Isaiah 28:7–8 and Christ’s warning about blind guides in Matthew 15:14.
Living Sacrifice(Metalcore / Groove / Thrash) “No Longer” from Conceived in Fire reflects Romans 6 and Galatians 2:20. “Reject” from Reborn centers on repentance and separation from sin. “Bloodwork” from The Hammering Process reflects sanctification rooted in Hebrews 12.
For Today(Metalcore) “Devastator” from Breaker reflects Revelation 12:11. “Foundation” from Ekklesia reflects Matthew 7:24.
Sleeping Giant(Hardcore) “Tithemi” from Kingdom Days in an Evil Age reflects John 15:13. “Eyes Wide Open” from Sons of Thunder echoes Romans 12:1.
Wolves at the Gate(Post-Hardcore / Metalcore) “East to West” from Types and Shadows quotes Psalm 103:12. “The Bird and the Snake” reflects Matthew 10:16.
Oh, Sleeper(Metalcore) “Son of the Morning” from Son of the Morning draws from Isaiah 14 and Revelation 12.
The Great Commission(Hardcore) “Draw the Line” from And Every Knee Shall Bow reflects Philippians 2:10.
With Blood Comes Cleansing(Deathcore) Recent material emphasizes biblical martyrdom, reflecting Revelation 6:9–11 and Acts 7. Earlier work such as “Golgotha” recounts the crucifixion.
I Am Terrified(Post-Hardcore) “To the Service” from I Am Terrified EP quotes Psalm 121:1.
Memphis May Fire(Metalcore) “The Redeemed” from The Hollow reflects John 8:36.
Irae(Hardcore) “War Psalms” from War Psalms reflects Psalm 144:1. “Banner of the Most High” reflects Psalm 60:4.
Closing Thoughts
Scripture does not glorify darkness. It brings light into it. Throughout the Psalms, Job, Lamentations, the prophetic writings, and Revelation, the Bible confronts suffering, judgment, persecution, warfare, and death in order to reveal the holiness of God and the hope found in Him. Heavy music is uniquely suited to carry that tension because it allows biblical truth to be expressed with emotional honesty rather than abstraction.
Across every style represented here, theology remains central. Whether expressed through melody, aggression, sorrow, or proclamation, these artists anchor their lyrics in Scripture and point consistently to Christ. Even the heaviest expressions ultimately proclaim redemption, truth, and the authority of the Gospel.
Christian metal is more than a genre. It is a testimony. Rooted in Scripture and centered on Christ, it remains one of the most uncompromising and faithful expressions of biblical truth in modern music.
As heavy music continues to evolve, so does the way Scripture is expressed through it. The artists highlighted here represent only a portion of a much larger movement. What bands or artists would you add to this list?
