Kamelot
One Cold Winter's Night

THE REVIEW

The latest release from Kamelot is a live album that follows, and almost entirely reprises, their latest studio album from 2005, "The Black Halo," perhaps the most mature entry in their young but already substantial discography.

Let us say right away that the production work is excellent from every point of view, with crystal-clear images and sounds, clean and precise, so much so that one could, to be a bit cynical and picky to the end, suspect post-production tampering... but that's not the case! No objections, therefore, as this DVD manages to bring the enthusiasm and warmth of the audience and the energy generously poured forth by the band right into your living room. Hence, I recommend getting the limited edition with double CD + double DVD instead of just the double CD.

Yes, because unfortunately, the audio-only experience would inevitably lose some points if not also supported by the visual side. This live is a true gem, technically enhanced by a barrage of cameras, 18 to be exact, expertly directed by Patric Ullaeus. Let's finally feed the disc into the player and get comfortable!... the intro pays a welcome tribute to us as it is the slight and very brief "Un assassinio molto silenzioso" sung in Italian, to say the least, by Cinzia Rizzo.

After this opening track, the tone changes dramatically: it's time for "The Black Halo," the title track from the previously mentioned album. I would say it's appropriate to open a parenthesis here that I want to title "The Voice of Khan"... I find Khan's voice to have something magical; for me, it is already in itself the essence of melody, an additional musical instrument to guitars, drums, and the whole shebang... the fact of "playing at home," given that he is Norwegian and the evening takes place precisely in Oslo, can only serve as an incentive for him to deliver an outstanding performance, hence... no hesitation in ranging from panty-dropping ballads to rhythmic gallops that could not be more intense.

After this personal impression that I felt compelled to give, back to the music! Mesmerized by very well-orchestrated light shows, mostly in shades of red and blue, we go through an array of the most beautiful tracks, almost making this work a "the best of" in live version. Stunning and intense "Soul Society" is perhaps the song that, among all, makes me shake my head and sweat my hands the most. Tracks like "The Edge of Paradise" and "Center of the Universe" are on the same wavelength. In the latter, however, Khan skillfully avoids a couple of high notes (present in the studio version) that could lead to potential embarrassment.

An oriental rhythm introduces "Nights of Arabia," remarkably illuminated at the end by the intervention of Elisabeth Kjaernes. From here begins the particularly extensive list of guests: it ranges from Mary Youngblood, wife of the guitarist Thomas, appearing in three pieces ('Center of the Universe,' 'Abandoned,' and 'Elizabeth') to the wonderful (in every sense, believe me!) Simone Simons from Epica, who duets with Khan like no one else can in "The Haunting." The vocal performance is so perfect and faithful to the original that it becomes moving. But in terms of intensity and emotion, nothing surpasses the wonderful duet between Khan and the aforementioned Mary Youngblood in "Abandoned," perhaps the most intense ballad by Kamelot; swept up by a fake snowfall, the two launch into a truly... chilling duet!! In the subsequent "Forever," the golden voice involves (or perhaps challenges?) the audience with very extended choruses, more suited, however, to a stadium setting. Special mention goes to the drummer Casey Grillo: a war machine, a steamroller of the double bass drum, a human immersion blender perhaps a tiny bit narcissistic, with every hit of the snare drum corresponding to a twirl of sticks between fingers, spectacular but exaggerated, like an Albertosi parade!

In the second part of the concert, special mention goes to the concept song "Elizabeth," a masterpiece of refinement and good taste where you really find a bit of everything. This piece is both devil and holy water, the caress and the punch to the gut, accompanied by the mirrored performance of Mrs. Youngblood. The delicate keyboard embroidery of unprecedented subtlety in the first part is counterbalanced by the powerful Middle Eastern rhythm of the second, which truly makes you want to grab a six-string and start bouncing around the room. As for the rest, nothing that hasn't already been said, the usual melodic gallops of "Forever," "Moonlight," "When the Lights Are Down" and "The March of Mephisto."

In conclusion, a decidedly thumbs-up for a live that seems spot-on from the title itself: "One Cold Winter's Night," recalling last winter, exceptionally harsh, which hit northern Europe and Norway in particular, not without significant damage. So much cold outside, but an infernal warmth in the parterre of the legendary Rockefeller Hall in Oslo, I wish I could have been there... Tusen takk Kamelot!