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American formed, multi-national metallers Kamelot are really spoiling their fanbase with the release of the lavish live bundle; ‘I Am The Empire: Live From The 013’. Recorded at the legendary 013 in Tilburg, Netherlands, it features four discs in total, 2CD, 1DVD, as well as the option to go hi-def with the Blu-Ray version, all housed in a stunning package complete with a booklet featuring shots from the event. Prefer wax? There’s also a vinyl version to keep vinylphiles happy. This is a bundle put together with love and the aim of giving something back to a loyal fanbase. One look at all the different national flags hanging over the barrier shows how far some fans had traveled.
There’s nothing quite like a curtain-drop to build the atmosphere and get the adrenaline flowing. Silhouettes can be seen through the curtain as the band takes their positions with ‘Transcendence’ piping through the PA. The curtain drops, the noise level increases as the audience scream as one, and the band barrel into ‘Phantom Divine (Shadow Empire)’.
Vocalist Tommy Karevik adds an air of mystery to the proceedings by performing the first track hooded, more like Ezio in Assassins Creed rather than a chav with a hoodie robbed from Sports Direct. The galloping bass drum sound from Alex Landenburg is incredible and propels the band forward with a head of steam. The first of many guest appearances has Lauren Hart appearing from the staircase in between the drums and the keyboards to lend her vocals to the pacy opener. No time to catch a breath as Karevik cajoles the crowd into keeping the party going on the intro to ‘Rule The World’. The Arabian/Middle Eastern arrangements add an atmospheric touch to the evening, as Karevik works the crowd as all good frontmen should.
The stage production is immense without being too overpowering; the set design has drummer Alex Landenburg and keyboardist Oliver Palotai on a risen tier running the length of the stage, with Karevik, guitarist Thomas Youngblood and bassist Sean Tibbetts each taking it in turns to go visit them on the mezzanine. Fantastic lighting ensures that even those at the back of the hall aren’t peering through the darkness trying to catch what is happening onstage. Pyro lights up the stage in amongst CO2 bursts and later on, Roman candle fireworks as they fall from the ceiling. Another pleasing aspect is that the audience is up close and personal. There aren’t any great distances between the crowd and the band, and when Karevik uses the small extended section of the stage, he is almost in amongst the crowd. He goes one better later on during ‘Here’s To The Fall’ when he appears on a small platform next to the sound desk, to give those at the back some cellphone footage to remember.
Setlist wise; the early moments have the band blasting through the hook-laden ‘Insomnia’, while ‘The Great Pandemonium’ has the crowd bouncing, and ‘When The Lights Are Down’ features some admirable windmilling from Sean Tibbetts.
The special guests keep coming and female string quartet EKLIPSE introduces ‘My Confession’ with a short orchestral piece before the band joins in, and Amaranthe vocalist Elize Ryd makes the first of a handful of appearances. Those in attendance are treated to the first-ever live performance of Tommy Karevik and Delain vocalist Charlotte Wessels performing ‘Under Grey Skies together. Originally featured on 2015’s Haven album, it’s a genuine thrill watching two of the best vocalists in this genre doing what they do best. With both displaying a deft touch of pop sensibilities to their singing throughout their respective careers, is it only a matter of time before both appear on Broadway? Or a big-budget Disney soundtrack?
Renowned guitarist, producer, and mixer Sascha Paeth lines-up alongside Thomas Youngblood on ‘Ravenlight’ before taking centre stage for a solo/battle with Oliver Palotai and his spinning keyboards. Kamelot reaches into the back catalog for 2005’s ‘March Of Mephisto’ which features Elize Ryd reciting the medieval chant on the intro, two of EKLIPSE on standalone drums, and Arch Enemy’s Alissa White-Gluz weaving her magic wand as she delivers another trademark commanding performance. Loads of windmilling going down from Tibbetts, which looks spectacular against the backdrop of Roman candles. The standout collaboration of the evening occurs on ‘Sacrimony (Angel Of Afterlife)’ where Karevik goes toe-to-toe with both Ryd and White-Gluz. The cameras capture a great moment when the song ends and just as White-Gluz leaves the stage, she stops to high five Tibbetts on the way past. It’s these little moments that leave a lasting memory.
Kamelot are great players, so when Palotai and Landenburg give the rest of the band a breather with a short keyboard and drum jam, followed by a full-on drum solo from Landenburg, very few in the crowd seem to have hit the bar, or the toilets. Sean Tibbetts obviously never got the memo which said bassists are supposed to be the quiet ones in the band. A very visual performer, peeling off thumping bass lines with ease. Band-founder Thomas Youngblood is a revelation on the guitar, a fantastic player with decades of experience. His playing features heaps of beautiful, melodic tones, never flash. At times he plays like he has an identical twin brother on the opposite side of the stage from him. He might not have a brother onstage with him, but he does have his son; Thomas Dalton Youngblood (please let his middle name be a tribute to Patrick Swayze in Roadhouse!), who appears with a children’s choir on ‘Burns To Embrace’ which brings the main set to a joyful conclusion.
Encore time has Tibbetts taking over from Karevik as he conducts the crowd before the band launch into what else but ‘Liar Liar (Wasteland Monarchy)’. White-Gluz returns to the stage and reprises her role on the standout track of the ‘Haven’ album. All hell breaks loose as the last notes fade out with pyro, CO2, and ticker-tape all setting off a thousand cell-phones.
A stunning bundle from a spectacular one-off gig. Kudos to all involved, including the team responsible for filming the live footage, how many live concert DVD’s have been ruined by that annoying fast-cutting style of filming which leaves the viewer nauseous after a few songs? None of that trickery here, ensuring that the viewer has the best seat in the house, without reaching for the sick bucket.
Damn, I miss gigs.
Review – Dave
All images – Tim Tronckoe
Purchase ‘I Am The Empire: Live From The 013’ through Napalm Records here.
