Before Opeth's set, though, the growing crowd was treated to a high-octane and off-kilter set from the Canadian thrash/progressive metal act Voivod. I have been familiar in Voivod in name only for years, so when I saw that they were going to be part of this tour I thought it would be a good opportunity to check them out. I did not really know what to expect, apart from that their sound is a bit 'out there', but I enjoyed the band's time on stage. They are often termed a thrash act, but not much of what they played yesterday sounded all that thrashy - instead the songs were weighty, groove-orientated, and quite mechanical - with the strange vocals of frontman Denis 'Snake' Bélanger sitting atop the cacophony. There were hints of thrash at times when the band picked up the pace, but there were also hints of punk, plenty of prog, and also a sound similar to some of the more modern tech metal acts like Tool. I know little of Voivod's history, but I would not be surprised to learn if much of that modern scene can be traced back to Voivod's strange sound - but many of the songs played were still memorable despite the band's overall approach. Some of the songs went over my head somewhat, especially the first handful of numbers played, but the more that the set progressed the more I found myself enjoying it. I am not sure if the latter few songs were more melodic, or whether I was just getting used to Voivod's sound, but the second half of the set definitely stood out more for me. Whilst Bélanger is a great, understated frontman, the standout player for me was Daniel 'Chewy' Mongrain (guitar/vocals). Given the band's progressive sound, and the simple make-up of the band instrumentalist-wise, the amount that was coming from Mongrain's guitar was impressive. His riffing throughout was extremely busy, but there was still a hooky side to his playing - and the few solos and lead lines that he played when taking a break from riffing showcased a more typical overall sound. Bélanger, despite having a strange voice, still had a melodic side to his voice, too. Some of the songs that were played towards the end of the set showcased this - with a track like The Prow including a big chorus that seemed to excite the crowd. It was clear that there were a few Voivod fans in attendance, too, as the band were greeted warmly throughout. Considering that the band tend to play venues like the Camden Underworld when they visit London, the large surrounds of the Apollo would have likely been new to them - but their sound filled the room, and when they brought their set to a close with a demented cover of Pink Floyd's Astronomy Domine the crowd certainly showed their appreciation. It was great finally getting to check Voivod out, and I enjoyed much of what they had to offer - so I will need to give them a proper listen in the future.
About half an hour following Voivod's set, the lights went down and Opeth took to the stage - launching immediately into the heavy, yet densely organic, Ghost of Perdition. Given that this current tour celebrates the band's 30th anniversary, Opeth made sure to cover all of their history in one evening. A special 13-song set, with one track from each of their studio albums, was put together with the help of a vote by the fanbase - meaning that setlist ended up being a good mix of real fan-favourites and a few long-requested deeper cuts. The setlist was perhaps safer than some real hardcore fans would have wanted to hear, but for me it was pretty much perfect. The songs played all flowed nicely together, too, and showcased all of the band's many sides perfectly - from the crushingly heavy to the most laid back. Ghost of Perdition is a song that really showcases Opeth's diversity, so it was a perfect way to kick the night off. The snaking riffing of Mikael Åkerfeldt (vocals/guitar) and Fredrik Åkesson (guitar/vocals) drove the song from off - and the few slower, more melodic sections allowed for brief moments of respite. The set was structured in such a way that there was a good balance of light and shade, too. There was perhaps slightly more of a focus on Åkerfeldt's clean vocals than his growls, but there was still plenty of heaviness throughout. Demon of the Fall, up next, was crushingly heavy - and the gothic track really brought the best out of new drummer Waltteri Väyrynen, who already seems to be at home in the band. His pummelling double bass patterns drove the piece, and it was one of the heaviest moments of the night. The band then moved into more psychedelic territory with Eternal Rains Will Come, which was one of my overall highlights of the night. The opening track from 2014's Pale Communion kicked off with some great guitar and keyboard interplay, but the 1970s-esque folk vocal harmonies are what really stood out for me - and the soaring guitar solo from Åkesson then took things to the next level. This break from the heaviness was short lived, though, as the band then turned the clock right back to the beginning for a rare outing of Under the Weeping Moon. The raw, extreme metal of the piece certainly made a strong impact - and the added keyboards from Joakim Svalberg added new layers to the song. I like how the band have expanded their older songs with new keyboard arrangements and they all sound better for them - but it was perhaps the next song that contained some of the set's best keyboard playing. This is because Windowpane was up next, a song drenched in mellotron which Svalberg nailed - whilst Åkerfeldt sung the song with real emotion, and laid down a number of guitar leads and solos with ease.
Harvest then had a similar vibe, although the track is much more folky in its delivery - with very memorable vocal hooks that the crowd latched onto. I should note at this point that the crowd were in fine voice and spirit throughout, and the atmosphere was excellent as a result. Each song was greeted as warmly as the last - but perhaps the biggest cheer was reserved to the mammoth Black Rose Immortal. The song from 1996's Morningrise had never been played live until this tour, and it has long been requested by the fans. At over 20 minutes in length, though, I can understand the band's previous reluctance to play it live - but this tour proved to be the perfect opportunity to do so, and even Åkerfeldt admitted to enjoying tackling it. The track generally stuck to the band's heavier side, but the intricacies of the riffing and some of the soloing throughout really impressed. It was great to hear the track live even thought it has never been a particular favourite of mine - and I am sure that it was a highlight for many. Another highlight for me, though, was what followed. Svalberg's piano intro heralded the arrival of the excellent Burden - a gorgeous rock ballad that always always impressed me. Like Windowpane, it was a real keyboard showcase. Following the initial piano melodies, Svalberg then focused on his Hammond organ - and the song was drenched in it, including a lengthy solo. It was great hearing him let rip on the organ, but the closing harmony guitar leads were just as good, too. By this point, the end was somewhat in sight - but there was still quite a bit more music to enjoy. The Moor returned to heavier territory, but it was the snarling hard rock of The Devil's Orchard that was my next standout cut. I have always been a big fan of the song, and it is one that always comes across well live. Again, the organic keyboard playing helped it to sound huge - whilst the melodic chorus really shone the spotlight on Åkerfeldt's excellent voice. The main set then came to a close with Allting Tar Slut, the last track on their most recent album. Personally I would have preferred it if the band had played the English version, All Things Will Pass, although I feel that I am probably in a minority there - but the dynamic and surprisingly weighty track proved to be a strong way to end the main set. There was not much time left at this point, so the band could not afford to mess around. A very brief step off the stage was stopped by the jazzy intro of the chunky Sorceress kicking in. Svalberg nailed the complex melodies, whilst the bass playing of Martín Méndez ensured that the piece was another highlight thanks to his grooves. The song has always been a favourite, so it was great to hear it live again, before one last burst of heaviness thanks to the ever-present Deliverance rounded out the evening in style. The heavy song allowed for one last round of headbanging - and there was even some moshing going on down in the Stalls. It was the perfect way to round out around two hours and 20 minutes of excellent prog - and I am sure that everyone went home happy, with Hammond organ ringing in their ears. The setlist was:
Ghost of Perdition
Demon of the Fall
Eternal Rains Will Come
Under the Weeping Moon
Windowpane
Harvest
Black Rose Immortal
Burden
The Moor
The Devil's Orchard
Allting Tar Slut
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Sorceress
Deliverance
Given the setlist and the excellence of the band's performance, last night's show at the Apollo is easily my favourite of the four Opeth shows that I have now seen. I had a great vantage point to allow the music to really wash over me, and it helped that a number of my personal favourite songs were included in the set. Opeth are a band that continue to impress me, and I will definitely be making the effort to see them again in the future. Perhaps one day I will indeed be a die-hard fan, but until that point I will continue to be impressed by their creativity and retro sound.
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