[Live Review] OPETH

Enmore Theatre, Sydney
Friday March 15, 2013 :

Opeth’s legendary status was cemented long ago on the back of a handful of albums many regard as modern metal classics. Their ambitious song-writing, consistency and longevity in the scene continues to hold strong despite the fact the band has arguably surpassed its creative peak. Regardless of where you might stand with their recent output, Opeth remain one of the most popular and respected metal acts of the modern era, and a fine live act to boot.

Tonight the Swedish heavyweights drew in a diverse metal crowd at Newtown’s always charming Enmore Theatre. Before the heavily anticipated main act took the stage, high-profile support band and fellow countrymen Katatonia delivered a tight, heavy set. The veterans were in fine form, engaging the crowd throughout a hefty 11-song set. Although starting out as a doom/death metal hybrid, Katatonia long ago completed a transition into melodic, heavy rock territory and tonight’s set reflected their post-millenium career. Frontman Jonas Renkse’s melancholic croon cut unobtrusively atop the thick, crisp musical backdrop. The band played several tunes off their recently released Dead End Kings album as well as scattered songs from their lengthy discography. The emotion charged hooks and heavy rhythms of ‘Ghost of the Sun’; the beautiful melodies and soft/loud dynamics of ‘Forsaker’; and the haunting ‘Day and Then the Shade’ were several standouts. They closed an entertaining set with the heavy crunch of ‘Leaders’.

Following a shortish break the buzzing chatter of the crowd turned to rapturous cheers as the lights were cut and Opeth got down to business with the taut, prog-rock of ‘The Devil’s Orchard’ from their most recent Heritage album. Opeth’s professionalism and band chemistry shone positively throughout the set, and despite the line-up changes they endured a few years ago, the band has lost nothing of their potency in a live setting. Singer/guitarist Mikael Akerfeldt is not only an extremely gifted individual but a true gentleman. Whether using his intimidating death growls or haunting clean vocals, his performance was full of intensity and emotion. His interactions with the crowd were warm, humble and frequently humorous. The rest of the band were firing on all cylinders, with particular mention of drummer Martin ‘Axe’ Axenrot for his tight and nuanced drumming. The lighting and sound were exemplary as well, complimenting the tight, flawless performance of the band.

Perhaps mildly disappointing to some of their old-school fans, Opeth generally geared the set towards their most recent output. Ghost Reveries (2005), Watershed (2008) and Heritage (2011) made up over half the set-list. Still, while it would have been nice to hear the likes of ‘The Drapery Falls’, ‘April Ethereal’ or ‘Godhead’s Lament’, the sublime performances, warmth and dark beauty of Opeth’s music created an enchanting live experience. They switched effortlessly from their trademark proggy death metal crunch to serene acoustic passages and vintage progressive rock. Their softer side was construed through the sublime ‘Hope Leaves’, haunting melodies of ‘Atonement’, and the delicate prog-rock of ‘Haxprocess’. These songs sat comfortably amidst the heavier musings and lengthy, complex arrangements of ‘Ghost of Perdition’, ‘White Clusters’ and the incredible ‘Deliverance’. They pulled a brave move by converting one of their heaviest tunes and fan favourite ‘Demon of the Fall’ into acoustic mode. The results were a little odd at first but it mostly worked a treat, whipping the trademark song into a haunting piece of restrained beauty. The evening came to its epic conclusion in the shape of a wonderful rendition of ‘Blackwater Park’. Set-list preferences aside, tonight’s performance was a resounding portrait of Opeth’s mastery as a live entity and the creators of truly powerful, timeless music.

Reviewer: Luke Saunders
Photographer: Louie Abigail

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