Concert Review: Opeth, London, UK, 9 November 2006 - Page 2

Course, most of these patrons are only here for one band.

A ten to fifteen minute gap between bands allowed for the outbreak of numerous chants of “Opeth, Opeth, Opeth…” An electrifying spectre was floating over the masses, causing expectations to reach an acme as the seconds cascaded away. And then, the quintet ambled up into the worshipping gaze of the few thousand fans.  

The band flew straight into a rousing rendition of "When". Its clean section segues replicated with full accuracy, and the bludgeoning force of an intense mid-section syncopation was even more potent than the recorded original. Following its denouement, frontman Mikael Akerfeldt welcomed the anonymous fists and hairy spheres to the proceedings and then introduced the next track, the opener of last year's Ghost Reveries, "Ghost of Perdition". Those down-tuned weighty riffs and staccato-phrasing sure ignited much vacillation in the audience, but, alas, this was to be the only song from that most recent of Opeth albums, meaning that they were not to play what is undoubtedly the finest track on that album, "The Baying of the Hounds".  

Taking us on a trip through the entire discography of the band, Opeth regressed as far back as '95’s debut, the melodious Orchid. "Under a Weeping Moon" was prefaced by some wonderful self-deprecatory commentary from Akerfeldt, something to the effect of: “The lyrics to this song are total black metal nonsense.” Ah, how they are, and how we laughed! 

The performance of Morningrise’s "The Night and the Silent Water" was also annotated by remarks expressing a droll self-deprecation: information on how lutes were to have played a part in the recording of said song, and how pretentious they once were. Obviously the highlight of this song was the amazing outro that builds up from an acoustic passage into a full-on density of heaviness, hypnotizing the aural passageways. This section, given the live treatment, exceeded even the high standard set down on the recording.  

Still Life received recognition via a double bill of "The Moor" and "Face of Melinda", both maintaining the chaotic reverberations of the crowd. It may have been a freezing November eve outside, but inside the undulations and ululations of the closely congregated bulk of humanity created a swelter, with an almost visible heat dissipating into the dark void above the throng. In fact, clothed in a heavy winter coat, I was staring into the abyss of the broil at times; luckily a trio of peppy girls were frenetically headbanging in front of me, creating a very agreeable wind-tunnel effect. Worth all the strewn hair heaved at one's face in the world! 

Article Author: Aaron Fleming

Aaron Fleming is a waster and an idler - prone to pomposity - forever enchanted by the filmic and the sonic, words and the aesthetic - given to the most ludicrous appraisal of Culture's finest icons and compositions. He resides in London.

Visit Aaron Fleming's author page — Aaron Fleming's Blog