Opeth / Symphony Hall / Birmingham
There are some bands that a must see on any gig goers wish list, and tonight I got to tick one off mine, as I headed to the Symphony Hall in Birmingham to catch the mighty Opeth on their 2025 “The Last Will and Testament” world tour. A stunning venue known mainly for its classical performances, I was sure the acoustics would be stunning…. Here we go !
First up on stage we have Grand Magus, a three-piece heavy metal band from Stockholm, Sweden that draws influence from classic heavy metal bands and elements of doom metal. Formed in 1996 the current band line up is Janne "JB" Christoffersson (vocals and guitar), Mats "Fox" Skinner (bass) and Ludwig "Ludde" Witt (drums). Grand Magus released their self-titled debut album “Grand Magus” in 2001, through Rise Above Records. In total they’ve released ten albums, the latest being 2024’s “Sunraven”.
In such an impressive auditorium, the three Swedes seem dwarfed by their surroundings, but their sound made maximum use of the acoustics, delivering a
powerful set focusing on themes of war, mysticism, and strength.
With more than a nod to a traditional metal sound their songs are a mix of thunderous and powerful riffs, intense vocals, and lyrical. All of which has earned them a strong and faithful following.
Janne’s vocals are the perfect mix of power and accuracy as he belts out the lyrics in his deep tones, set against some impressive riffs which cut through the air, reverberating off the venues walls. The place is filled with sound.
One of the highlights of the set is a fantastic delivery of Ravens Guide Our Way taken from the “Hammer of The North” album from 2010 which is packed with energy. A Nordic mythical storytelling epic, again Janne’s vocals lead the way booking out as if summoning the Viking horde.
The richly atmospheric storytelling theme continues with Like the Oar Strikes the Water from 2008’s “Iron Will”. A slow haunting start, the track builds in intensity. Mats on bass delivers some fantastic deep brooding tones that echo around us creating a background for the crisp and clear guitar tones to cut through like a knife.
As the set draws to a close, we end on Hammer of the North taken from the album of the same name from 2010. This one is a behemoth of a track, rich and powerful, delivering a majestic climatic finale. As the finale tones ring out from the amps, Janne, Mats and Ludwig stand together and bow, the audience on their feet showing their appreciation for a stunning set of old school Nordic metal.
What a start !
Setlist
I, the Jury
Skybound
Steel Versus Steel
Ravens Guide Our Way
Sunraven
Untamed
Like the Oar Strikes the Water
Hammer of the North
After the interval, the audience wander back in from the bar early and grab their seats, eager not to miss a moment of what’s to come. The lights dim as the anticipation rises for the introduction of Opeth.
Formed back in 1990 in Stockholm, Sweden Opeth are a progressive metal band. Their sound encompasses elements from folk, blues, classical, and jazz influences. For a progressive metal band their journey has been unique, their early days heavily influenced by death metal with growls and intense dynamic shifts, but they have changed introducing more diverse elements including acoustic guitar and mellotron sections.
Opeth are Mikael Åkerfeldt (vocals & guitar), Martín Méndez (bass), Fredrik Åkesson (guitar), Joakim Svalberg (keyboards) and Waltteri Väyrynen (drums), and they have released fourteen studio albums from 1995’s debut “Orchid” through to
2024’s opus “The Last Will and Testament” which we reviewed HERE in November awarding it a perfect 10.
Tonights set is a mix of some of Opeth’s best known classic hits, mixed with highlights from the new album.
As the show starts, the stage lights up, with an impressively large backdrop, showing paintings and family photos hung on papered walls, recreating the atmosphere of a parlour between the wars (the setting for the latest album, the reading of the will of a family patriarch between the wars). The effect is stunningly impressive.
The first track is §1 (paragraph 1, as the new album is broken into paragraphs instead of songs), Mikael Åkerfeldt stands centre stage and is an impressive figure, dressed smartly in black, with a vintage ‘70s air about him. The sound is haunting and complex with a dramatic melancholic edge. Cutting through the guitars, you can clearly hear the classic Hammond organ sounds and delicate cymbal taps and crashes.
The audience sit in mesmerised silence, taking in every nuance, and every note of the performance. Each element in perfect harmony, and it’s clear as musicians they have an impressive chemistry together.
This is followed by Master's Apprentices from 2002’s “Deliverance” and “The Leper Affinity” from 2001’s Blackwater Park which both go down well with the enthusiastic crowd.
The we turn back to the new album for §7 (paragraph 7). As he introduces this one Mikael tells us it’s a song he loves to listen to, more than he likes to play…. Which is a problem as he points out he has to play it, and its so complex ! What follows is a stunning opus of a track, which is hypnotic, complex with shifting rhythmic structures and key changes as well as some delicate and intricate guitar work. With a dark brooding, melancholic edge it follows the theme of life and death seen through the eyes of this family drama unfolding around us. Mikael’s vocals are stunning, switching between clean vocals and growls at ease and they give the track that added edge of intensity.
Häxprocess from 2011’s “Heritage” shifts the atmosphere once again with its power and eddying riffs and tones.
Following The Night and the Silent Water from 1996’s “Morningrise” we enter the hauntingly beautiful realms of §3 (paragraph 3). With an erratic structure it bursts into life, the lights adding to the effect with powerful spots blasting to into the auditorium. §3 is a storytelling masterpiece, held together by Martin’s skillful basslines. A picture of calm in the maelstrom around him, he blasts out come complex combinations of notes creating a sonic cloth on which everything else is built. Mikael’s vocal range is fully put to the test in §3 alternating between deep tones and long high notes. It’s stunning stuff.
As we progress through the set Opeth give a nod to their death metal roots and to Meriden, West Midland natives Napalm Death, with a cover of their classic track You Suffer….. all 1.3 seconds of it ! (Guinness World Record shortest song !). It brings a hearty cheer from the Birmingham crowd.
The final song from “The Last Will and Testament” is the only one with a full name, A Story Never Told, and it’s a classic winding progressive metal track, sweeping and dramatic packed with complex technical sections. It’s scary watching Opeth, and how easy they make this stuff look ! The whole audience is transfixed in awe at what is unfolding in front of them, a stunning mix of audio and visual elements.
The night ends with Deliverance the title track form the 2002 album of the same name. And what an ending ! It’s a huge number, powerful and intense in equal amounts and it fully utilises the acoustics of the impressive venue, racing round the walls and hitting the listener from every angle.
“The Last Will and Testament” is a stunning progressive story telling opus in the grand tradition of prog rock, and live, the complex tracks are delivered perfectly. It’s a truly inspiring experience, and dovetails in to their other materials so well.
Opeth have a unique ability to be both delicate and visceral in equal measure, and deliver a sonic experience like no other. A stunning night.
Setlist
§1
Master's Apprentices
The Leper Affinity
§7
Häxprocess
In My Time of Need
The Night and the Silent Water
§3
Ghost of Perdition
You Suffer (Napalm Death cover)
A Story Never Told
Sorceress
Deliverance
