I had the privilege of attending the concert of the giant Tim "Ripper" Owens, who performed at the RBX hall in Santiago on May 2th, 2025. Sharing the stage with him were two support bands: Camus from the island of Chiloé; and Cathalepsy from Valparaíso—the Jewel of the Pacific—one of the most important bands in the history of Chilean heavy/power metal and "the band that put Chilean metal on the radar of the entire planet," as Cristiano Ruiz rightly points out (more info at: mundometalbr.com/cathalepsy).

The evening was a plethora of talent, passion, and heavy metal. For me, it was a magical night, especially due to the performance by Cathalepsy, whose debut album, "Blood and Steel," I became a die-hard fan of after reviewing it. It was released on July 14, 2023 (the day before my birthday, by the way).

Below, I'll share my impressions of the three bands and the evening in general, as well as my take on the good, the bad, and the ugly that happened at the RBX venue.

Cathalepsy
The band put on a top-notch performance, full of passion, dedication, energy, and metal. Led by the impressive drummer and founder Luigi Ansaldi, along with maestro Fabian Valdez on lead guitar, Diego Alexander on bass, and Miguel Roa on rhythmic guitar, Cathalepsy flawlessly presented a selection of songs from their two albums. The evening kicked off with the impressive "Blood and Steel," a masterclass in how to play Heavy Metal with grit and passion. "Apocalypse" and "Gates of Darkness" from the debut album followed. Next up was "Hammer Heart," my personal favorite and one of the best heavy/power metal works I can remember from the Chilean metal scene. The audience was completely fired up with this song, singing along at the top of their lungs like a war anthem that strengthens the spirit in the face of any obstacle. The cuts that closed the night were "Flight in the Sky," also from the first album, and "Heavy Metal Faith," another anthem that filled the space with groove and camaraderie.

On vocals, Caco Espinoza (Iron Spell) and Juan Carlos Bustos (Glasgow 8) were in charge of telling the stories, in an excellent performance full of grit and heart. With both the talented regular members and their illustrious guests, Cathalepsy in full not only opened the show, but also filled the stage with mastery and fire, making the entire venue vibrate with the power of heavy/power metal made from the heart—metal of excellence—and delivering an impeccable show full of power and strength.

Tim Ripper Owens and Luigi Ansaldi from Cathalepsy

Camus
After Cathalepsy's fantastic performance, it was Camus' turn. Hailing from the heart of Chiloé Island, the band cultivates the most classic heavy metal style—more raw, if you will.

With Sebastián Morales on vocals, Marcelo Plaza on drums, Andres Ibañez and Angel Gonzalez on guitars, and Maximo Pinto on bass, the band took us on a high-powered journey through the history and memories of southern Chile.
The setlist included songs like Tierra y Mar (Land and Sea), Llanto y Dolor (Wreath and Pain), and Desde la Proa (From the Bow). The latter is a heartfelt tribute, full of anger and recognition, to the victims of the sinking of the artisanal fishing boat Bruma, which claimed the lives of its seven crew members and left no trace of them or the vessel.

As a side note, this event occurred in March 2025. It is said to have been an accident, although everything indicates that it was not and that a third party was involved in this catastrophe.

These songs were followed by Newen, Ya Todo Se Vendió (Everything is Already Sold Out) and Fin? (The End?), songs that were sung along to by the audience as they soaked up the spirit of implicit protest that the band imbues on stage through their powerful lyrics. And closing out the evening was Guardianes del Bosque (Guardians of the Forest).
Thus, Camus surprised this mere mortal with a powerful performance, full of meaning, identity, and a spirit of resistance to injustice, thus embodying the indomitable spirit of the man from southern Chile.

Tim "Ripper" Owens
At around 9:30 p.m., the RBX Room vibrated as if all hell were breaking loose! As if a mega-earthquake were occurring—literally; those drums are pure dynamite!
Maestro Tim "Ripper" Owens took the stage, performing classics from his era with Judas Priest, Beyond Fear, and Iced Earth, unleashing a frenzy on the fans in the venue, who began jumping like hell on wheels. The show kicked off with "Jugulator," and my jaw dropped at the impressive voice of Maestro Ripper and the power of his supporting band, which includes Fabio Carito on bass, Marcus Dotta on drums, and the excellent guitarists Bruno Luiz and Walter Cunha. And yes, they're all Brazilian.

The night continued rolling from one storm to the next with The Green Manalishi and Burn in Hell, iconic tracks from Ripper Owens' time in Judas Priest. Then it was Hellfire Thunderbolt's turn, a must-see track from his current band, KK's Priest. Later, Judas Priest classics Beyond the Realms of Death and Blood Stained played, along with Beyond Fear's Scream Machine, KK's Priest's One More Shot at Glory, and Iced Earth's When the Eagle Cries.

Then, in what I consider a monumental display of humility and honor, Owens paid tribute to the dearly missed and beloved Paul Di'Anno, performing an electrifying and heartfelt version of Wrathchild, which truly moved everyone in attendance. "Hell Is Home," the iconic track from Judas Priest's Demolition album, rocked the RBX venue with a furious rumble, reminding us why it's a must-see anthem for any fan of the English band—and of heavy metal fans in general.

And to close out the impressive evening, Owens and his powerful band performed a trio of epic storms: Electric Eye, Living After Midnight, and One on One, culminating in an impeccable, top-notch show, as only true masters can deliver. And Tim "Ripper" Owens is undoubtedly one of them.

The good, The bad, and The ugly.
When it comes to writing an opinion column—as is the case with most reviews—in my country, we talk about "the good, the bad, and the ugly." When we talk about "the good," we refer to the highlights, the memorable, the flawless…well, I think you're getting the drift. "The bad," meanwhile, refers to certain aspects that could have been better, that didn't live up to expectations, or even that went downright wrong, although they can always be improved in the future. And "the ugly" are aspects that cannot be overlooked, nor are they justifiable under any circumstances. No show is immune to experiencing these three aspects. That said, let's dive right in to break down the good, the bad, and the ugly of the evening.

The good
Without a doubt, Cathalepsy. And not just because I'm a fan. The band put on a powerful, impeccable show, in which they made it clear why Christiano Ruiz said they put Chilean metal on the global radar. Both their lyrics and the band's music are on par with any famous European band within the genre. In fact, when I heard them for the first time, I couldn't believe this band was Chilean. And not so much because there aren't great exponents of the genre in my country. Rather, it's the band's ability to improve in every aspect with each release. The dedication, conviction, and passion that Luigi Ansaldi and his team put into everything they do is noticeable, and appreciated. This translates into quality songs, with impeccable sound and rendition that don't lose the core essence of heavy/power metal done seriously. That's to say: with grit, blood, and fire.

All the above was more than demonstrated on stage when Cathalepsy opened the show, delighting an audience that was surprisingly loyal to them—wearing T-shirts, chanting, requesting autographs after the show, etc. This loyalty surprised me, and also Luigi himself, who thanked the audience for their support and presence, giving away some cold beers, more than necessary after the madness that broke out during their performance.

On the other hand, it was a surprise and a pleasure for me to find a band of Camus' level. Still even more surprising and pleasant to learn where they come from: Chiloe, a mysterious and distant island, whose fierce inhabitants face adverse environmental, economic, and social conditions daily. So, finding good metal in those lands truly warms my heart and keeps me believing in the development of the genre in Chile. In the end, there are no excuses not to create quality heavy/power metal, ladies and gentlemen!

In addition to this, Camus's lyrical narrative impressed me with its depth, coherence, and power as an element of denunciation of the many injustices we suffer in Chile. I truly think it is an aspect worthy of highlighting and celebrating. because Heavy Metal isn't just swords, beers, and partying. No! Heavy and Power Metal can also move consciences and become a voice for those who have none.

And well, the great Tim "Ripper" Owens is obviously part of the quintessentially good. His strength, power, and passion, along with his vocal quality not only remains the same but improves year after year. Those elements are always worth highlighting, no matter if the stage is as big as Wacken or as small as a bar.

That's another element I highlight about Owens: his immense humility and closeness with the fans. The maestro had no problem taking photos and signing autographs for the fans who waited for him outside the venue after the show. A true maestro. A true maestro, one of heart, blood, flesh, and bones.

On the other hand, his support band overflows with fury, talent, and passion for what they do, allowing Owens to fully shine. However, they are undoubtedly the foundation on which the story unfolds. Let's not forget that a band is all its members, not just the vocalist. Not even with Tim "Ripper" Owens at the helm. Many will rend their garments at this, but Master Owens will undoubtedly agree with me.

The bad
One aspect that bothered me quite a bit was the fact that Cathalepsy opened the show. Why? It's simple: Tim "Ripper" Owens himself sings "We Are The Warriors," a track from the album Blood and Steel. So, logically, they should have played immediately before Owens.

Furthermore, we're talking about a band with 20 years on the scene, who released an album capable of bringing together some of the biggest names in the genre, and all of this with no other incentive than the quality of the music they created. We're talking about musicians of the caliber of Owens, Ralf Scheepers, Roland Grapow, Ivan Giannini, and Oliver Palotai, to name a few.

As you may see, Cathalepsy has all the credentials to occupy a more prominent place in the lineup. However, for reasons I honestly can't understand, they had to open the show.

It's true, Camus is an impressive, excellent band, and they gave me a pleasant surprise. But in my humble opinion, it was them, not Cathalepsy, who should have opened the show, allowing for space for each band based on their current stage in their artistic journey.

Another point I'd like to mention: I honestly thought the venue's amplification was excessive. When I say the floor shook, I mean it: it shook like hell! The sound quality was excellent, no doubt, but too much for a small venue.
Sound technicians, please take note: if we're at Wacken, blast everything. But if we're in a small bar... DON'T OVERDO IT!

The ugly
This is where things get really tricky. What we call "the ugly" has no justification whatsoever.

And there's no justification whatsoever for Cathalepsy being taken off the stage when they still had two songs left to play: "Fight in the Sky" and "Heavy Metal Faith." It's understood that there are times to be respected. But I felt a very heavy and strange energy from some people I saw on stage. I don't know if it was from the production company or the venue. And the truth is, I don't care. What I don't accept or let go of is that a band of Cathalepsy's level , or even a nobel, debuting band was put through such a bad time. It wasn't enough to just let them open the show. They also had to suffer almost being taken off stage by the fourth song. Fortunately, the brave Luigi Ansaldi stood up from the drum kit, publicly denouncing the situation to the audience and asserting the band's right to finish their show. Upon learning of this, the audience became enraged and began to chant loudly, leaving whoever was the responsable for that situation no choice but to let Cathalepsy play their full set.

When I noticed that, I was outraged because it's a complete lack of respect for the band. For ANY band. In situations like this, I ask myself:

How many bands have been through this?

How many bands, both emerging and veteran, have seen how the venue that invited them to play their music ends up disrespecting their timing, wanting to kick them out before the end of their show?

Do they forget that these bands are the ones bringing them audiences so they can sell their beer, liquor, and food at crazy prices?

This isn't the first time, nor will it be the last time it happens. I've seen situations like that in my life. And I've come to the conclusion that it's all about a lack of respect and humility. It's about failing to recognize that it's not the venues that are doing the bands a sort of favor by giving them space on their stages. It's exactly the opposite: these bands bring in an audience, help them generate income, without earning a penny for performing, beyond ticket sales. This lack of appreciation and respect is one of the reasons why metal is so difficult to cultivate in Chile. And possibly around the world.

This is definitely the ugly, the horribly ugly thing about the evening of May 24th at the RBX venue.

Final thoughts

Bottom line, the evening was a powerful demonstration that nothing—not bad vibes, not disrespect, not a lack of humility, not even an odd lineup—will be able to extinguish the fury, passion, and indestructible force of Heavy Metal.

Because Heavy Metal goes far beyond egos, logistical decisions, or disrespect. It's a fire that burns within those who truly live it, on stage and in front of it. It's a way of living and seeing life. It is a community that, with all its challenges, breathes, lives and dies by the hand of metal. I say this as a metalhead to the very core; that's not going to change. It's not going to die, nor will it stop. That's not gonna happen. Never.

- Elyna Steel

Photo credits to Rubén Gárate (@brutal_pebre_ on IG) and @benjamin_voorhees

Cathalepsy

Camus

Tim "Ripper" Owens