German power metal legends HELLOWEEN kicked off their “40 Years Anniversary Tour” Friday night (October 17) at Rockhal in Esch-sur-Alzette, Luxembourg.

The band’s setlist was as follows, according to Setlist.fm:

01. March Of Time (first time performed live since 2018)
02. The King For A 1000 Years (first time performed live since 2008)
03. Future World
04. This Is Tokyo (live debut)
05. We Burn (first time performed live since 2016)
06. Twilight Of The Gods (first time performed live since 1987)
07. Ride The Sky
08. Into The Sun (live debut)
09. Drum Solo
10. Hey Lord! (first time performed live since 2004)
11. Universe (Gravity For Hearts) (live debut)
12. Hell Was Made In Heaven (first time performed live since 2014)
13. I Want Out
14. Singin’ In The Rain / Pink Bubbles Go Ape / In The Middle Of A Heartbeat (acoustic)
15. A Tale That Wasn’t Right (acoustic snippet, then full song)
16. Power
17. Heavy Metal (Is The Law) (with Kai Hansen)
18. Halloween (first time performed live since 2018)
19. Eagle Fly Free
20. A Little Is A Little Too Much (live debut)
21. Dr. Stein
22. Keeper Of The Seven Keys (snippet)

Fan-filmed video can be seen below.

HELLOWEEN is touring in support of its latest album, “Giants & Monsters”, which came out in August via Reigning Phoenix Music (RPM). The LP follows HELLOWEEN’s self-titled No. 1 2021 record and is said to be the most versatile and dynamic release of the band’s career. Mixed at the legendary Wisseloord Studios (IRON MAIDEN, JUDAS PRIEST, DEF LEPPARD) in Hilversum, Netherlands, “Giants & Monsters” reaffirms HELLOWEEN’s position at the pinnacle of the metal world.

“Giants & Monsters” pushes the boundaries of HELLOWEEN’s sound, thanks to the instincts of producers Charlie Bauerfeind and Dennis Ward, as well as the band’s relentless pursuit of excellence. Per example, drummer Dani Löble recorded all tracks using three different drum kits to capture the perfect vibe for each song, a testament to their attention to detail and love of experimentation.

The band’s chemistry continues to drive their success. “What keeps motivating us is the fact that we’re extremely different. It generates creative energy,” says guitarist Michael Weikath. Guitarist/vocalist Kai Hansen adds: “We try not to take ourselves and everything around us too seriously.” Singer Andi Deris sums it up: “In the end, we’re just seven guys who want to make music and enjoy the incomparable force that arises when we’re together. HELLOWEEN is way more powerful than the sum of its parts.”

In a recent interview with Hakos Pervanidis of the Metal Hammer Greece TV program TV War, Deris and Hansen were asked if they would agree that “Giants & Monsters” sounds “more focused and direct” than 2021’s self-titled effort. Hansen said: “Yeah, I would agree. I mean, we have diversity, but we’ve grown together as HELLOWEEN and the individual members, so you could hear the differences between the songs and the songwriters still, but there’s a straight red line. And we’re more connected now.”

Deris chimed in: “So far I’m happy to say that there were lots of little things being put into your song by the other guys, which was much easier this time. Honestly, we had so much more time, actually, so everybody had tons of time to listen to each and everybody’s tracks and come up with own ideas. Kai, for example, he added I would say a whole new song into my song. ‘Giants On The Run’, the whole middle part is a new song which Kai put in, and it’s just perfect; it fits. That’s something I love and I always wanted to have, but, honestly, back in the day, like [on] the [previous] album, everybody was minding his own business. You have to write super songs for the new upcoming album and the expectations are so high because Michael [Kiske, HELLOWEEN singer] and Kai are back. And so there was no mindset to actually put your shit into the other songs and vice versa. And this time it just played out easily because the pressure was gone. I think when you just had such a successful album, it takes away so much pressure because you know you were on the right track. So play with it. Don’t stress it. Just play with it. And that was a lot of fun.”

Regarding the “Giants & Monsters” album title, Deris said: “The first title says it all. It’s ‘Giants On The Run’, and it talks about us as mankind. We are actually giants. We are gods inside. But then you could come up with a conspiracy theory. Are we on purpose, purposely put down that the god side, that giant thing that we all have inside, is not allowed to express itself or to come out? But at the end of the day, everybody, each and every individual I know, they are much bigger inside with their dreams, with their possibilities they would like to have, than they’re actually allowed to have or allowed to be in our society. And there you could come up with that conspiracy theory. Are we held down on purpose? I personally think when I listen to my inside, I know everybody from the band and all my friends I know, they’re so much bigger inside. They’re great, great people. And they have great ideas, but in our world, you’re not allowed to express it.”

Kai added: “It takes all efforts. You have to fight the monsters. That’s the point. And I think the title leaves a lot room a for interpretation. You could say the giants is your great ideas that you might have, your aims, your goals. But then here come the monsters, the demons you have to fight and everyday struggle. Then you could go to the Anunnaki, the return of the gods from outer space, giant people and so on. There’s a lot of room for fantasy, I think.”

Andi continued: “But I just went back also to the Bible. I said, ‘Okay, look, it’s even written in the Bible.’ There were giants walking on earth, and who says that the giants are not still here in ourselves? I mean, we are still the giants, and as Kai said, you constantly have to fight the demons, the monsters in your life. And I thought that’s a super metaphor. And I think everybody knows what I’m talking about because sometimes when you’re with yourself thinking about yourself, your own life, you realize you would be much more if only you are allowed to be.”

Asked if HELLOWEEN purposely approached songwriting this time around in a way where the vocals and the first chorus come in very early in each song, Andi said: “Yes and no. I mean, honestly, if it would destroy the song, I’d rather not, me personally. I think everybody in the band would agree, because if the song yells for it and shouts for it — keep it short; otherwise it’s getting boring — then I keep it short.

Hansen added: “It’s good to have that on the commercial tracks, all the — how do you say it? — the hit singles. It’s very hard. Personally, I don’t mind if it takes longer to go into the chorus if it makes sense for a song. So there is no general thought or rule when you approach songwriting to say, ‘Oh, no, the chorus has to come after one minute or so.'”

Deris continued: “If we talk about looking what the commercial side would be, and back in the days, I remember you’ve been forced by the record company to put it short into maximum three-minute songs because otherwise it couldn’t be a single. Fuck it. I mean, honestly, no. If I have to keep it short, then probably, because I’m a stubborn asshole, I would do the opposite. But nobody tells me what to do, so I just personally write the way I feel. But then again, it’s very important, when we have guys in the band who say, ‘This is a great song, and I could hear it even better when we not keep it that short.’ For example, ‘Giants On The Run’. [Kai’s] part is at least three minutes and stretches the song to eight minutes something, which used to be something like round five minutes, and it’s totally worth it. But if it’s not worth it, why would you? That was another question: ‘Do you always have to write these long songs?’ And Kai said, ‘No.’ It’s just what it is. When you’re in the process of songwriting and it yells for another part and here’s an idea, and yeah, I could do this lyrics, so I need another part, otherwise the story is not round, and maybe you end up with 10 or 12 minutes.”

Hansen added: “And it’s fun to do those long songs. To me, it’s fun. It’s a kind of challenge, but I don’t do it on purpose to say, ‘I need a long song.’ It’s just if the song gives it to you, then you do it.”

Deris explained: “And if the story is two sheets of paper. You can’t possibly put all the lyrics in a three-minute song; that’s not possible. So then you’ve got different feelings depending on the lyrics itself. Suddenly there’s a romantic section, for example. Ah, yeah, definitely you have to go down and do something romantic around it arrangement-wise. You probably cannot go all metally with that romantic thing. And so it cries, it, it yells, it shouts for another part.”

On the topic of how they balance fans’ expectations with being creative and trying new things with their music, Hansen said: “It’s a challenge and it’s always like a walk on the edge. Because if you consider that you want people to be pleased with what you’re doing, but on the other hand, when you do your thing, you should not consider that. You should not write with that purpose in mind, because, first of all, you have to be a fan of what you’re doing. To me, it’s a very egoistic process. I write for myself, and I want to be a fan of what I’m doing. And then I’m glad if other people think so too.”

Deris added: “Yeah, that’s my way too. I don’t wanna say I don’t give a fuck, but when you are writing, there should be nothing in the back of your mind. It’s just you and your music. And as Kai said, if you goosebump goes up, it’s great for yourself, first of all. And then when you finish the song, on the second thought or second guess would be, ‘Would they like it out there?’ But during the songwriting process, it’s not important. You are important because you have to actually give your thoughts, your feelings into whatever you do in the very moment. And yes, sometimes it’s not good enough that the people would say, ‘Yeah, I love it.’ But I always say that the possibility that I am completely happy with my song and my goosebump goes up, considering myself a super-normal guy, so when I say I love it, my goosebumps go up, because I consider myself a mediocre guy, I would say the normal person out there would feel the same [as] I do. That’s what I always hope.”

Hansen continued: “You develop a feeling. I mean, when you write a song, and you trust yourself, if you like it, then there will be a lot of others that would like it too.”

Deris concurred, saying: “No guarantee, but that’s the way to work.”

“Helloween” was the first HELLOWEEN album to feature the band’s expanded lineup, consisting of returning singer Michael Kiske and Hansen along with Deris, guitarists Michael Weikath and Sascha Gerstner, bassist Markus Grosskopf and drummer Daniel Löble.

HELLOWEEN released a live album, “Live At Budokan”, on December 13, 2024 via Reigning Phoenix Music (RPM). The colossal effort immortalized HELLOWEEN’s September 16, 2023 performance at Tokyo’s legendary Nippon Budokan.

HELLOWEEN is:

Michael Kiske – vocals
Andi Deris – vocals
Kai Hansen – guitars, vocals
Michael Weikath – guitars
Sascha Gerstner – guitars
Markus Grosskopf – bass
Daniel Löble – drums