Written by: Ashley Parrish Otteman

Photos by: Amy Asche

From the moment I woke up, I just knew it was going to be a great day. I cannot understate how happy it makes me when I can avoid the grueling rush-hour commute to Denver and catch a show in my hometown. Don’t get me wrong, I will drive hundreds of miles across state lines for the right band, but it’s so nice when you don’t have to. Besides, the Aggie Theatre holds a special place in my metal-loving heart; it’s where I experienced many of my first shows back in high school and where I got my first bloody nose in a mosh pit. Built in 1906 but converted into a music venue in the late eighties, the Aggie isn’t just a staple of the Northern Colorado music scene — it’s a big reason it exists here at all.

Last Word
Kicking off the night was Fort Collins's own, Last Word. I knew nothing about this band beforehand, but seeing Cierra White (Oak, Ash & Thorn) behind the drums was a very good sign. Sure enough, they delivered a powerful and impressive set. Their sound was a blend of groovy melodic death metal and thrash. Cierra’s impeccable timing and the band’s infectious energy set the tone. The heavy bass reverberated through the venue, perfectly complementing the impressive guitar leads and solos. By their third song, the crowd was in a frenzy, with a mosh pit forming and the energy steadily building. Lead singer Chris Johnston announced it was his first time back on stage in eight years, but you wouldn't have guessed from their tight performance. They unveiled their new album, Trial Of God, mixed and mastered by David Sanchez (Havok). What stood out the most was how the tension increased as the set progressed. This set them apart from many bands I've seen.

Draghoria
Keeping the momentum going, Draghoria was up next. They opened with "Nadir," the first track from their latest EP, Asunder. But it was when they launched into "H.Y.O" that the crowd went ballistic. I had to cling to the barricade but managed to get a glimpse of the swirling pit behind me, battle jackets illuminated by strobing white spotlights as the crowd sang along with frontman Riggs. This was my third time seeing Draghoria live, and something new stands out each time. John Colucco's rich bass tone and stage presence were immediately noticeable. The interplay between his bass and Alex Carillo on drums drove a powerful rhythm you could feel deep in your chest. On guitar, Ron Carillo's solo during "Terror Hypnosis" and Ryan Nevin’s energetic guitar work, especially his part in "Crutch," were also highlighted, adding to the intensity of their set. They closed with "Dangerous Species." It was a tight performance with high energy.

Exmortus
Next up was Exmortus, a four-piece from California known for their unique blend of old-school thrash, death metal, and classical music. This intrigued me as someone who has a strong appreciation for classical music and has been really into the way these two elements come together in the world of heavy music. They started the set with “Oathbreaker,” and from the first note, a circle pit erupted, and the foggy stage was flooded with green lights. Inflatable weapons appeared out of nowhere, floating above the crowd and raised in the air as they chanted along. Some highlights included the new track "Mind of Metal" from their album Necrophony and an incredible neo-classical cover of Vivaldi, which they call "Storm of Strings," finishing off their set with the fan favorite, “Metal is King.” Frontman Jadran "Conan" Gonzalez and guitarist Chase Becker’s intricate guitar work, along with Luke Cohen filling in on bass, brought energy to the stage. They showcased their impressive technical abilities paired with Adrian Aguilar’s rapid drumming. Their mix of fast thrash with intricate, melodic structures had an epic feel that swept through the venue, further priming the audience for the night’s headliners.

Havok
“If you want a picture of the future, imagine a boot stamping on a human face—forever.” A faint blue light illuminated the empty stage as a sample from Orwell’s 1984 played to an already screaming crowd. The lighting suddenly shifted from blue to red, bathing the stage in an ominous glow as Havok emerged, launching into "Point of No Return." They were in constant motion from that moment until their set concluded, possessing a stage presence I hadn’t expected. Though I've known about them for as long as I can remember and have heard their music, I had never seen them play live before, and I was impressed by their intensity.

There were noticeable lineup changes, with Chase Becker pulling double duty on guitar for both Havok and Exmortus. Alan Cassidy from The Black Dahlia Murder filled in on drums, driving a relentless pace with precision. Nick Schendzielos was a whirlwind on bass, adding significant depth to the sound, not to mention the infectious energy he brought to the stage. Frontman and guitarist David Sanchez’s aggressive vocals maintained their distinct tone and clarity, cutting through the mix. New music announcements were met with roaring approval, especially when they played the unreleased track “Death is an Illusion.” The pit never really died down; the energy in the small venue only grew. They played favorites like “Hang 'Em High,” “Give Me Liberty... Or Give Me Death,” and “From the Cradle to the Grave,” with the crowd shouting along. They closed the night with “Time Is Up,” leaving me surprised at how not ready I was for the night to end.

At this point, I have reviewed my fair share of concerts, and it's not always easy to stay until the end. Sets can drag on, and feet start to hurt, but that was not the case for this show. The entire lineup was fantastic, with each band bringing unique contributions to thrash metal. The Aggie Theatre once again proved to be the perfect venue for an unforgettable night of music, nostalgia, and high-energy performances. Leaving the venue, I felt appreciation for the local music scene and the incredible talent it continues to foster. 

This night was a testament to the enduring power of live metal shows and the community they build.