Devil's Gate Music
Related Articles
Somewhere out there a composer works late into the night on a Broadway/West End musical where the leads are Kamelot’s Tommy Karevik and Ad Infinitum’s Melissa Bonny (also Kamelot’s touring guest vocalist). Or, musical theatre impresario Andrew Lloyd Webber is chugging Absinthe straight from the bottle and watching YouTube footage of the pair in action while concluding that he has discovered the perfect Christine Daaé and The Phantom for some gnarly new production of The Phantom of The Opera that comes complete with harsh vocals.
Such is the chemistry between them – and the versatile talent on show – that it is only a matter of time before the pair have their names in lights on Marquees all over the world. For now, though, it’s a small matter of the finale to Kamelot’s lengthy ‘Awaken The World’ Tour in Manchester.
With the 2023 release of studio album number 13 ‘The Awakening’ bringing the vastly experienced multi-national metal outfit great acclaim from fans and critics alike, any headache over putting together a setlist curated from decades’ worth of material was the result of consistently hitting the mark time after time. A difficult task that’s for sure, but not many tonight could have had any issues with the 17-song setlist that stopped off at multiple junctions in Kamelot’s career.
‘Veil of Elysium’ is a fantastic way to open the set, and through the wall of dark blue lights the shadowy figures of the band are visible as each band member takes to the stage one at a time – Sean Tibbetts didn’t get the memo to remind him that bassists are supposed to be the quiet, studious ones in the band, and sets about to coax heaps of response out of the crowd. Last to take to the stage is of course Tommy Karevik who despite wearing a hoodie in sauna-like temperatures remains the coolest guy in the venue, even the constant bursts of plumes of smoke don’t seem to phase him.
Melissa Bonny makes an early appearance and takes her place on the raised tier of the impressive stage production between Oliver Palotai on keyboards, and Alex Landenburg on drums and she is soon called into action with her deliciously clean vocals working well in tandem with Karevik.
An early dip into the past on ‘Rule The World’ – from 2007’s ‘Ghost Opera’ – highlights the great understanding between Karevik and Kamelot founding member/guitarist Thomas Youngblood, and it’s almost as hypnotic watching the pair circle each other as it is dizzying watching Tibbetts constantly spinning, and pogoing.
‘Opus of the Night (Ghost Requiem)’ is the first visit of the night to ‘The Awakening’, and along with stunning renditions of ‘New Babylon’, and ‘One More Flag in the Ground’ are the choice picks of the new material aired. Bonny is back for ‘Opus of the Night (Ghost Requiem)’ – as well as ‘New Babylon’ – and is wearing a gothic headdress that could have benefited from better lighting to fully appreciate. It’s a dark set-up, and there are genuine fears of Tommy Karevik going headfirst into the front row when he jumps onto the raised box (emblazoned with a large K) that he uses as a platform throughout the set.
‘Sacrimony (Angel of Afterlife)’ is a thrill to witness in the flesh regardless of which vocalist is duetting with Karevik on what is arguably the finest moment on the Swede’s first album with Kamelot: 2012’s concept album ‘Silverthorn’. And when Bonny appears from stage right to perform both clean and harsh vocals (Alissa White-Gluz and Elize Ryd performed the roles on the studio version) it is hard to imagine anything bettering the moment – but ‘March of Mephisto’, ‘Forever’ (complete with confetti cannons), and ‘Liar Liar (Wasteland Monarchy)’ not only match the intensity but take it to another level.
Since the arrival of Tommy Karevik in 2012, Kamelot have gone from strength to strength, with each studio release highlighting the growth within the band. Having Melissa Bonny along as guest vocalist is the icing on the cake; but might one make a suggestion? If you have two of the hottest properties in modern metal sharing the stage, maybe invest in brighter front lighting…just a thought.
Ad Infinitum are the main support and judging by the huge roar that greets the arrival of the Swiss/German quartet, they have brought along their cheering section. Amidst a backdrop of retina-blitzing strobe lights, the prolific outfit (4 studio albums in 4 years) steam into the current single ‘Follow Me Down’, taken from the recently released new album ‘Abyss’. Melissa Bonny’s every move is greeted by screams from the rapidly growing Infinitum Army gathered on the barrier. Bonny (along with Zora Cock who is also on the bill tonight) is one of Metal’s rising stars, and she wastes zero time in showing why she is so highly regarded; ‘Upside Down’ highlights how easy it is for her to slip between clean and harsh vocals, as well as how confident she is as a performer: cajoling audience participation with each move.
Niklas Müller behind the kit must have slipped the soundperson a bribe before the lights dimmed because he is loud, damn loud! So much so that at times there is the danger of Bonny’s vocals getting lost in the mix. ‘Abyss’ is perhaps less harsh than previous Ad Infinitum albums and moments such as the glorious ‘The One You’ll Hold On To’ highlight this, on the flip side of that; ‘Outer Space’ – another new track – showcases a bit of a Spiritbox influence here and there. Set closing track, the majestical ‘Unstoppable’ might prove to be prophetic. Now, some headlining shows, please.
Even the most hard-nosed cynic would have felt sympathy for Dutch Alternative Metal/Gothic Rock outfit Blackbriar. Having waited a lifetime to make their UK live debut, illness struck within the camp and saw their maiden UK show at KK’s in Wolverhampton reduced in length due to Zora Cock’s voice suffering. Although still struggling, it has to be said that even Zora Cock on half-power is still an impressive proposition. Ethereal, fragile, and utterly hypnotic; Cock takes to the stage wearing a veil for the opening lament-like stages of set-opener ‘Mortal Remains’ and immediately the audience can’t take their eyes off her (although bassist Siebe Sol Sijpkens is running Zora a close second as like Sean Tibbetts of Kamelot, he also didn’t get that memo). In a set of many highlights the siren-like call of ‘Deadly Diminuendo’, and the entrancing ‘Cicada’ linger the longest.
With it being a 4-band line-up, opening act Frozen Crown take to the stage very early; but thankfully Manchester got the memo about turning up early, and by the time the Italian power-metal outfit explode onto the stage with ‘Neverending’, the venue is packed. As with a lot of power metal acts, the material can suffer from a lack of variety, and perhaps on another night, with a longer set the band might spread their wings a bit more, but with only a short time to make their mark, the six-piece are not hanging around. Fuelled by 3 incredible guitarists, the set is performed at a breakneck pace, so much so that at times, it is hard to tell when one song ends and the next starts. Niso Tomasini behind the kit is certainly making his presence felt, especially on moments such as ‘Call of the North’, and the Iron Maiden-like ‘Kings’. Jade Etro and Federico Mondelli share vocal duties and it’s a dynamic that works well as both vocalists have different styles, with Etro having clear, precise vocals while Mondelli offers more grit.
Review – Dave
Kamelot photo credits – Nat Enemede/Tom Couture
Ad Infinitum photo credit – Stephan Heilemann
