Firstly, on January 11th, 2026, Bonfire posted the following to their official Facebook page:

“ WELCOME BACK, ALEXX!

He’s back.

Welcome back alexx steel

Keep the Bonfire burning!

“Hi guys,

You asked us why Dyan is no longer with Bonfire – and because unfortunately rumors are circulating, we would like to clarify that clearly and honestly today.

Fact is: Dyan left Bonfire. He wasn’t fired.

I was on winter break and came home when a good friend asked if I had seen Victory’s post: Dyan is scheduled to play three shows with Victory in early January. This came as a surprise to me – I knew nothing about it.

Important part: It was clearly agreed from the beginning that Dyan is the exclusive singer of Bonfire.

If Dyan had talked to me maybe we would have found a way together. But this conversation never happened.

You have to imagine it this way: you build a new singer as the frontman of Bonfire – and suddenly he sings in another band without an agreement. It should be understandable that you’re not enthusiastic about it.

I wrote to Dyan and asked him to confess to either Bonfire or Victory by 12/31/2025. I have not received an answer.

Talking with Ronnie also found out that Dyan was dissatisfied – he wanted to play more shows, live solely off the music, not have to work anymore. These are legitimate wishes – only: he’s never said this to me.

I wrote to him again afterwards and said clearly:

I don’t want to change the singer again. If he wants to sing in other bands, we can talk about it – but please, be open and fair beforehand.

There was no reply to this email either.

What about the 31st of December was crossed, I wrote to him that he obviously no longer has interest in continuing the path with Bonfire – and that our paths separate because of that.

To portray this as “fired” now, as some are doing, is just wrong.

We made a good album with Higher Ground, that’s sticking around.

I am even happier, though, that we are now back where Bonfire belongs to me – because Alexx embodies Bonfire like no other.

Thank you for your support. Keep the Bonfire burning Hans”.

“Bonfire & I have parted ways as most of you already know. I have taken time to reflect on the recent public statements made about me. They do not reflect my intentions, or the way I conducted myself professionally during my time with Bonfire.

The situation that led to my departure arose from a professional disagreement regarding the scope, interpretation, and long-term sustainability of exclusivity particularly in the absence of financial compensation, consistent communication, or viable stage activity. At no point was I informed that my vocal performance, professionalism, or artistic contribution was an issue. On the contrary, the feedback I received was consistently very positive and I was living my dream. There were also concrete reasons that led me to conclude that continuing under these circumstances was no longer the right decision for me professionally. It was not about ego, disloyalty, or misuse of the band’s name.

From the beginning, the understanding was that I would not sing exclusively as a permanent singer for another band. At the same time, it was understood that guest appearances, particularly with cover bands and bands of the same or higher professional level, could be acceptable also as a form of positive exposure for Bonfire provided there were no scheduling conflicts.

In the case of Victory, I agreed to three shows only, purely as short-term assistance following their singer’s departure. I did not join the band, did not seek a permanent role, and did not act with the intention of replacing anyone or harming Bonfire in any way. These appearances were temporary, non-exclusive, and scheduled during a period when Bonfire had no shows but only selected special performances for 2026.

Over time, it was clear to me that the situation was no longer workable. I repeatedly received negative responses to requests that would have allowed me to remain active as a musician including paid offers I had to decline, recording opportunities, and even the possibility of developing a solo project. Promises of compensation for declined work were made but never materialized, making it difficult for me to rely on assurances rather than concrete arrangements.

I was also starting to become concerned by internal inconsistencies and a growing lack of shared direction within the band. In private conversations, other band members shared views and doubts about the band’s future in its current form and concerns about not being able to match the fees and conditions of similar bands at the same professional level. These views mirrored my own growing concerns about sustainability and long-term viability. This internal disconnect further reinforced my conclusion that remaining in the band under these conditions was no longer the right decision for me.

I am 34 years old. I want to be on stage, to perform, to grow, and to live from music. Due to health-related limitations, which I fully respect and would never blame anyone for, the level of live activity I personally need cannot realistically take place.

Communication was also a decisive factor. Direct communication between Hans and me was largely absent, with most matters having to go through third parties. This created misunderstandings and, ultimately, situations where I was later told that certain things were “not known,” despite having been discussed indirectly. This way of working is not something I can personally continue with.

I want to clarify that, while I did not inform Hans in advance about the Victory shows, I did notify him by text on WhatsApp immediately after Victory’s post was published. Informing him earlier would have been the correct approach, and I acknowledge that mistake. However, instead of a direct conversation, I received a formally worded legal email, with his lawyer CC’d, stating that my position in Bonfire was at risk due to my agreement to help Victory. (In today’s reality where information spreads instantly online, it would have been obvious that this would come to light quickly. There was no intention to conceal anything). At that point, it became clear to me that constructive dialogue was no longer possible.

The reason I did not reach out earlier about Victory is simple: by that stage, I felt that my position, my concerns, and even my personal financial hardship had been consistently minimized. When I did not feel supported during a genuinely difficult period, I no longer felt that asking for permission to help fellow musicians for three shows would meaningfully change anything.

I am not sad that this chapter has ended. That decision was ultimately mine. What saddens me is the way this has been handled publicly through one-sided narratives that reduce a complex professional situation to questions of character.

I am also not saddened by misrepresentation itself, but by the fact that the commitment, effort, and sacrifices I made over three years giving 101% with the goal of achieving the best possible outcome for the band have gone unacknowledged. Instead, all responsibility is being placed on me, which is concerning.

I understand the significance of protecting the Bonfire’s and Hans’s Ziller legacy. I also believe this can be done without questioning another person’s integrity or turning professional internal disagreements into public accusations.

I will not engage in public debate or personal attacks. I stand by my conduct and by the work I did in Bonfire. Despite everything, I am sincerely grateful for the three years we shared together in Bonfire. I am thankful for the trust placed in me and proud of what we created together. I remain deeply respectful of the band’s history, a band I admired and loved since I was 14 years old. Having the opportunity to be part of that legacy is something I will always carry with me and I will always support and follow Bonfire and the vision Claus and Hans had! I am also genuinely happy to see Alexx return to the band. I believe his presence represents continuity for Bonfire, and I sincerely hope the fans and the wider Bonfire community support him as well as the band in this new chapter. I wish the band and everyone involved nothing but success and the very best for the future.

Thank you everyone for all your support making this 3-years-run an unforgettable period of my life! I am moving forward with clarity, gratitude, and peace.“.

Το άρθρο BONFIRE AND DYAN MAIR PARTED WAYS εμφανίστηκε πρώτα στο Myth Of Rock.

Sunday, August 31, and we set off for the Golden R. Festival, eager to experience a day full of diverse, highly interesting, and quality music! We arrived just before the soundcheck finished, and as soon as we got settled, the first band took the stage.

by Dimitris Zacharopoulos 

photos by Iro Kalligeri (@irokalligeriphotography)

Secret Range: Secret Range kicked off the third and final day of the festival with energy, playing some of their own compositions as well as covering classic metal songs, including “Holy Diver” (Dio), during which Marios Iliopoulos joined them on stage to sing. Having recently returned to the scene, Secret Range warmed us up for what was to come, while also managing to showcase some of their own ideas. Overall, I saw a band with real talent — both in songwriting and technical skill — driven by ambition and determination. With plenty of hard work, they are sure to achieve great things.

Blacken: From Secret Range, we moved on to Blacken, a band from Volos that plays in modern/heavy/southern rock styles. I really enjoyed their songs, as well as the confidence and ease they showed during their live performance. Blacken have a certain boldness in their music that comes across strongly and directly in a live setting, along with passion and dedication to what they do — a combination that the audience can clearly feel. Although their set wasn’t long, they still managed to win over the crowd. I’m definitely looking forward to hearing Blacken’s studio work!

Telma:  The festival continued, and it was time for Telma! Another band from the Greek scene that’s definitely worth checking out and keeping an eye on. That afternoon in Volos, Telma delivered an explosive performance! Their alt/groove metal, with touches of thrash, sounded thunderous and blew our weary ears away. During their set, Telma showcased their skills, and with excellent sound, they thrilled every metalhead in attendance. Special mention goes to the vocalist — his voice and stage presence perfectly matched Telma’s overall musical style. It was a performance that truly raised the bar.

Afterimage: But Afterimage managed to raise the bar even higher with their amazing performance! Truly, this band, which follows a highly progressive metal style with touches of power metal, captivated us with their lyricism and grandiose approach. I want to highlight the unique vocals of Christos Papadakis, who sang every single word with a remarkable, almost proverbial precision. Of course, their guitar work was outstanding, especially since they had three guitarists on stage! Yes! Their songs are catchy, and I loved them even though it was my first time hearing them. And what melodies! They truly deserve all the praise!

Blues Wire: Now we move on to another historic Greek band, one of the top names in their field, electric blues. I’m talking about Blues Wire, a band that has spent their entire lives on stage, and that night in Nea Anchialos, they took us straight to heaven — which was no surprise! The power trio dove right in, playing the blues in their own deeply expressive way. It was obvious that this band loves the blues and pours their soul into every performance. Their execution was outstanding, and they seemed ready to play for another two or three hours. However, they had to stop after about an hour approximately, as Kostas Tournas was up next.

Kostas Tournas: One of the pioneers of Greek pop/rock, one of the finest representatives of Greek music, a beautiful, distinctive voice, and an accomplished composer — ladies and gentlemen, Kostas Tournas, who honored the Golden R. Festival with his performance. Many attendees had come to the festival that day just for Tournas, so by the time he and his band took the stage, a large crowd had gathered in front. The Greek musician began to perform and play his guitar, immediately captivating us, taking us on a journey, sending chills down our spines! We heard all his biggest hits, feeling so uplifted, romantic, and radiant. His band was perfectly in tune, providing the ideal support for Tournas to deliver the signature melodies of his songs flawlessly. At the end, we also heard two hits from Poll. Truly one of the festival’s standout moments!

Bonfire: Just before Bonfire took the stage, we got the news: Nazareth wouldn’t be performing after all due to flight issues, but their singer, who was already in Greece, would jam with Bonfire on some Nazareth songs. I was disappointed, but thought at least we’d get to see Bonfire as headliners — and that’s exactly what happened! Bonfire appeared on stage in a very impressive and commanding way — though one issue: their sound was initially extremely loud, to the point where it felt a bit distorted. Fortunately, the sound soon leveled out, and we could fully enjoy Bonfire. As mentioned, they started strong and kept the momentum going. Performing their classic hits, the German melodic hard rock/metallers kept us entertained and having a blast for quite a while! All the members were cheerful and lively — special mention goes to the fantastic stage presence and vocal performance of Bonfire’s Greek singer, Dyan. Yes, one of our own is on the microphone, and he has an amazing voice and charisma, fully deserving praise! Bonfire’s show closed the Golden R. Festival in style and included a jam session with Nazareth’s singer, Carl Sentance, who joined them on stage amid loud applause. Accompanied by three Bonfire members, he performed “This Flight Tonight”, “Love Hurts” and “Hair of the Dog” — a fantastic moment that gave us a great dose of Nazareth classics! Bonfire continued with more of their own songs, including my personal favorite, “Don’t Touch the Light”. With the crowd headbanging and swaying to their melodic hard rock/metal, Bonfire wrapped up their set and drew the festival’s curtain. I have to say — always such experiences, please!

And so, another Golden R. Festival passed into history, written in golden letters in the annals of the Greek rock/metal scene. Overall, the festival didn’t draw a huge crowd, but it was an absolute success! Kudos to the organizers, to the bands and their crews, and to everyone who came to Nea Anchialos to enjoy great rock and metal music! The most of the names for next year’s lineup have already been announced!

Το άρθρο GOLDEN R. FESTIVAL 2025 – DAY THREE (3) (BONFIRE, KOSTAS TOURNAS, ETC.) εμφανίστηκε πρώτα στο Myth Of Rock.

by Dimitris Zacharopoulos

The story starts in 1972, in the Bavarian town of Ingolstadt, Germany. A teenage guitarist named Hans Ziller had a dream – to form a rock band. Together with his brother Karl Ziller and a group of local friends, he created a band called Cacumen. The name came from a Latin word meaning “the top of a mountain”, which Hans had seen in a school test. For years, Cacumen played in small local venues, slowly building a loyal fan base in their hometown. They were young, passionate and hungry for success. By 1978, the line-up included Hans and Karl Ziller on guitars, Horst Maier (later Maier-Thorn) on guitar, Hans Hauptmann on bass, and Hans Forstner on drums. But the band needed a strong vocalist – and this is where Claus Lessmann entered the picture. Claus, a fellow student of Hans, had already performed in bands like Ginger and Sunset. His voice, full of melody and power, was the perfect fit. With Lessmann onboard, Cacumen began to play outside their hometown and started to dream bigger. In 1979, they recorded their first single, “Riding Away”, with “Wintertale” on the B-side. This opened doors for more shows – in clubs, schools, even parking lots. By 1981, Cacumen released their self-titled debut album, which included a re-recorded version of “Riding Away”. Their next big step was in 1982, when they recorded the album “Bad Widow” at a small studio owned by Hanns Schmidt-Theissen, who also played keyboards for them live. This collaboration helped the band get more attention, even though money was tight. By 1983, the line-up changed again: Robert Prskalowicz joined on bass, replacing Hauptmann. This formation became the most famous version of Cacumen. Still, success was slow, and the band realized they needed a fresh image and a new identity.

In 1985, everything changed. Cacumen signed a deal with BMG, but the label suggested something important – the name Cacumen was too hard to pronounce and not very marketable internationally. The band agreed to change it, and after brainstorming, they chose Bonfire. The name was simple, powerful, and memorable. In May 1986, Cacumen officially became Bonfire, and the band got ready for the next chapter.

The band’s worldwide debut as Bonfire came in June 1986, with the album “Don’t Touch the Light”. It was a pure 80s hard rock record – big guitars, melodic hooks, powerful vocals. Songs like “Starin’ Eyes”, “Hot To Rock”, “You Make Me Feel” and the title track became fan favorites. This album gave Bonfire international attention, especially in Europe and Japan. But the real explosion happened in 1987 with their second album, “Fireworks”. Produced with a bigger budget and featuring polished songwriting, Fireworks became Bonfire’s most iconic album. Tracks like “Sleeping All Alone”, “Champion” and “Ready 4 Reaction” defined their sound – melodic hard rock with a metallic edge. However, during the recording of ‘Fireworks”, drummer Dominik Hülshorst left the band due to musical differences. The band recorded the drums with Ken Mary from Fifth Angel, and continued as a four-piece.

As Bonfire toured and promoted Fireworks, problems started to appear. Guitarist Horst Maier-Thorn had to leave in 1988 due to health issues (rheumatism), and was replaced by Angel Schleifer from Mad Max and Pretty Maids.

By 1989, internal tensions grew. Hans Ziller had disagreements with the label and management, partly due to family commitments. He was fired from Bonfire – a shocking move that left the band without its founder. Ziller formed his new band, EZ Livin’.

Still, Bonfire kept going, releasing more albums. But when grunge took over in the early 90s, the situation worsened. After the disappointing response to their fourth album, “Knock Out”, Claus Lessmann left in 1992. His departure was a big blow. Bonfire tried to continue with Michael Bormann (later of Jaded Heart), but the momentum was gone. By 1994, Bonfire played their last show and went silent – without an official breakup.

Meanwhile, Lessmann and Ziller (who had already formed a new band – EZ Livin’) never lost their friendship. After Bonfire fell apart, they reunited for a project called Lessmann/Ziller, releasing the German-sung EP “Glaub Dran” in 1993. In 1995, this project turned into a band called Ex, with former Bonfire members Joerg Deisinger and Dominik Hülshorst joining. But both Claus and Hans knew one thing: to win back their fans, they needed the name Bonfire.

In 1996, legal steps were taken, and on July 3, 1996, Claus and Hans regained the rights to the Bonfire name. The comeback was official. They reissued “Glaub Dran” with English versions of the songs and started working on new music. The line-up now included Claus, Hans, Chris Lausmann (guitar/keyboards), Uwe Köhler (bass), and Jürgen Wiehler (drums). Bonfire was alive again – and stronger than ever.

From the late 90s into the 2000s, Bonfire kept releasing albums regularly and toured worldwide. They even celebrated their history with the five-part CD series “The Early Days”, which included reissues of all the pre-Bonfire material (Cacumen, EZ Livin’ and Lessmann/Ziller).

In 2006, Bonfire marked their 20th anniversary, and in 2008, they did something unique: they released a rock opera album called “The Räuber”. Bonfire also made a long-awaited return to the U.S. at Rocklahoma 2009. In 2010, they briefly signed with Universal Music and released the single “Deutsche National Hymne” for the FIFA World Cup on South Africa.

In 2015, things changed again. Longtime singer Claus Lessmann left after disagreements with Hans Ziller. Along with him, bassist Uwe Köhler and guitarist Chris Limburg also departed. Hans decided to keep Bonfire alive, bringing in David Reece (ex-Accept, Bangalore Choir) on vocals, Ronnie Parkes (bass), and Frank Pané (guitar). Reece stayed only until mid-2016, when Alexx Stahl joined as the new permanent singer. Stahl’s powerful voice gave Bonfire a new boost, and with this line-up, the band entered a fresh creative phase. In 2016, they released “Pearls”, a double album featuring re-recorded classics. Since then, Bonfire has continued to release new albums, proving they are far from done. The German hard rock/heavy metal myth has released the following albums: “Byte the Bullet” (2017), “Temple of Lies” (2018), “Legends” (2018), “Fistful of Fire” (2020) and “Higher Ground” (2025). Bonfire continues to tour and its current line-up is: Hans Ziller (guitars, backing vocals), Ronnie Parkes (bass, backing vocals), Frank Pané (guitars, backing vocals), Fabio Alessandrini (drums) and Dyan (lead vocals).

… Bonfire is a symbol of resilience and musical dignity. From the local Bavarian scene to international fame, through many changes, issues and rough circumstances, Bonfire never gave up. Their melodic hard rock/metal sound, combined with German precision and passion, influenced countless bands in Europe. Songs like “Ready 4 Reaction”, “Sweet Obsession”, “You Make Me Feel”, “Starin’ Eyes” and “American Nights” remain anthems for hard rock/metal fans worldwide. Their albums “Don’t Touch the Light” and “Fireworks” are considered classics of the genre. Even today, Bonfire celebrate their incredible journey. For more than 50 years, from Cacumen to Bonfire, the fire still burns bright.

Our melodic hard rock/metal rendezvous is at Golden R. Festival 2025 in Volos, Greece #GRF25

Το άρθρο GOLDEN R. FESTIVAL 2025: BONFIRE εμφανίστηκε πρώτα στο Myth Of Rock.