It has been eight long years since the mighty Opeth have played live in New Zealand, the outstanding show at Powerstation still etched in the memory of many a fan.
However, when Opeth stepped out onto the stage last night, all qualms were forgotten.
Headed by Koert Wegman whose vocals live were worthy of the international stage, tracks from their debut album Of Valleys and Mountains, certainly made it the perfect start to the evening.
Following a small intermission, the lights soon dimmed, anticipation crackling through the attendees as Opeth’s name appeared on the giant screen behind the band.
A sonic wave swept over the arena, spotlights penetrating the thin haze of smoke, as §1 made it ridiculously hard for those in the seated section to not jump to their feet with elation.
Whoops and cheers rang out as the band made light work of the track from their latest offering The Last Will and Testament released last year.
The album marked a return of harsher vocals and is Opeth’s first concept album since 1999’s Still Life, and the show last night offered fans a chance to experience some of the songs live for the first time, and judging by the unified head banging going on which made for a sight not often seen in New Zealand, it was certainly being well received.
One thing is for sure – as Åkerfeldt suddenly tossed his hat to the side of stage – is that his vocals were still very much on point, even over three decades down the line.
While it is impossible to know how the performance sounded from every point in the room, for the front sections at least it was an auditory smorgasbord, the accompanying visuals that veered from blood red etched lines to scenes of a darkened forest only adding to the overall feel.
Song requests shouted out were quickly batted away with one-liners, Åkerfeldt not afraid to tell them to shut up as he delivered another quip about standing in a bar while jet lagged and thinking about Metallica’s Kill Em All album.
Those who are particular fans of the Prog-Metallers were soon salivating as the trio of The Devil’s Orchard, To Rid the Disease – which saw Svalberg rise to the occasion on keys – and of course the massive The Grand Conjuration with that instantly recognisable intro pummelled them in quick succession. The latter seeing many in the seated sections jump to their feet momentarily as the excitement on hearing the juggernaut of a track overcame them.
Evil Åkerfeldt declared with a wry smile.
Taking the opportunity once again for a chat, he went on to explain that he had hit the wrong button as they were using new stuff, which prompted a tech to come running over who was then quickly dismissed with a No, sorry, I’m ok.
Once again showcasing their latest album, §3 was a triumphant display of musicians who have honed their craft into perfection. Guitar solos that were so sharp that they sliced the air, bass lines that were voluptuous, and of course Väyrynen on drums who was impeccable.
With fourteen studio albums under their belt, it would be impossible to select a set list that is going to make every fan happy, but last nights was certainly not to be sneered at.
Returning to their 2005 album Ghost Reveries once again, Ghost of Perdition had the standing section losing their minds, the just over ten minute opus saturating the room, and plastering a grin of pleasure over the faces of everyone.
Returning to 2002 they finished with the title track to their album Deliverance, and for many it was the icing on the cake, as Åkerfeldt once again displayed his absolute prowess on not only the guitar but vocally.
The debate over why the show was seated and for what reason will likely rage on for some time – with both pros and cons being pointed out by many attendees.
But what everyone will be sure to agree on, Opeth laid down an evening of exceptional quality and one that will not soon be forgotten. As Åkerfeldt would unashamedly say, they were fucking great!
Sarah Kidd
Photography by Mark Derricutt
Opeth
Pull Down The Sun
With no mention of the rushing the stage to overwhelm security!