“Difficult music for smart people.” That’s how Opeth succinctly describes their own music in a nearly sold-out AFAS Live. Frontman Mikael Åkerfeldt finds it strange that six thousand fans (“why so many?!”) have gathered to listen to their complex compositions. But anyone who was there on Saturday night will agree: this was one of the most impressive shows in recent years, with the new material standing out in particular.
Text: Sebastiaan Quekel and photo’s: Ans van Heck
Since their debut album Orchid (1995), Opeth has been known for their technical virtuosity. On Saturday night, in a dizzying set lasting over two hours, they once again prove why they are still at the top of the progressive metal scene.
The show, nearly sold out except for a few hundred tickets, is their biggest production ever. A massive stage, an elegant screen behind the band, an LED strip shifting with the lighting colors, and two elongated screens displaying haunting visuals add to the intense atmosphere. Above the band, three additional screens project album covers. The entire setup is stunning and seamlessly complements their crushing death metal.
The night kicks off spectacularly with S1 (pronounced “Paragraph 1”), the opener from their new album Last Will and Testament. Thanks to the dark visuals, the stage immediately resembles a haunted house. Master’s Apprentices, rarely played live, follows under fiery red lights and ominous imagery of narrow, dark corridors. Opeth performs at their peak, virtually flawless. The remarkably young drummer, a recent addition to the band, elevates the entire performance to an insane level with his impeccable timing.
With The Leper Affinity, the harmonious passages shine, as Åkerfeldt frequently “duels” with the guitarist. The sheer musical brilliance is undeniable, and Åkerfeldt’s signature clean vocals at the end earn thunderous applause.
The ever-jovial frontman, now past fifty, then takes a moment to highlight the band’s birthday-celebrating keyboardist. The audience sings for him, prompting Åkerfeldt to wittily remark that the birthday song “sounds like shit,” blaming it on the supposed weed smell in the venue. Of course, there is no such smell, it’s just a joke (one of many to follow).
One of the weaker moments of the night comes with Häxprocess from the album Heritage. The audience responds with noticeable indifference. The song feels somewhat lackluster within an otherwise impressive set. However, Åkerfeldt stands by the choice: he simply enjoys playing it, he says. Fortunately, it’s followed by In My Time of Need, one of Opeth’s most beautiful ballads. The crowd passionately sings along in the final chorus, a cappella, creating a magical moment.
For die-hard fans, The Night and the Silent Water is a treat. This old track features many acoustic passages and raw grunts, but to be fair, Opeth has written much stronger compositions throughout their career. Another epic track or a more recent song might have been a better fit here.
On the flip side, §3 is an absolute highlight of the evening. The performance is brilliant, featuring a mesmerizing blend of progressive rock, jazz influences, and shifting rhythms. This is Opeth at their best: challenging, dynamic, and technically sublime.
As Ghost of Perdition begins, the (mostly bald) heads start bobbing again. That opening riff, the pitch-black grunts, the dreamy midsections, everything is on point. Opeth leaves no doubt: this is simply one of the greatest death metal songs ever written, and tonight it sounds heavier than ever. The sound at AFAS Live is perfectly balanced, and the visuals amplify the dark atmosphere. The lightning effects on the screens complete the experience.
As mentioned, Åkerfeldt is a jokester, and he keeps it up until the very last minute. At one point, he jokingly announces that A Story Never Told is the final song of the night. Everyone knows that’s not true. “But don’t jinx it,” he adds with a wink. It turns out to be one of the evening’s most beautiful ballads, featuring a stunning guitar solo in the finale, a wonderful alternative to the unusual fade-out on the album.
After an hour and forty-five minutes, it’s time for the encore. As has been tradition for years, Opeth closes with Sorceress and Deliverance. Yes, they’re brilliant songs, but why not shake up the setlist for once? Hardcore fans know this routine by now. But in the end, only the most nitpicky would complain about that.
After more than two hours, Opeth once again proves why they still belong at the top of progressive metal after 30 years. This summer, the Swedes return to the Netherlands for a headlining show at Dynamo Metal Fest. Anyone who wants to hear death metal at the highest level would be wise to get a ticket.
