Opeth
In Live Concert at the Royal Albert Hall

THE REVIEW

In 2010, on the occasion of their twentieth career anniversary, Opeth celebrated this significant milestone with a tour called "Evolution XX: An Opeth Anthology", consisting of six dates across Europe and the United States. From the performance on April 5 in London, "In Live Concert at the Royal Albert Hall" was derived, the band's third live album.

What distinguishes the album from the previous "Lamentations" and "The Roundhouse Tapes" is the presence of a truly hefty setlist that offers the Swedes the opportunity to best express their abilities, backed by a well-honed and cohesive lineup, where every member plays a crucial role.

The first half of the concert is occupied by the full execution of the album that in 2001 launched them towards international success: "Blackwater Park". Much has already been said about it, and from my end, I can say it is played impeccably, without flaws: the execution flows smoothly and the Swedes are metronomic but not without passion, quite the opposite! The first set offers very intense moments (The Leper Affinity, Blackwater Park) and pleasant surprises (a delicate and seductive Harvest) but the best is yet to come...

It is time for the "Opeth Anthology": one track from each album, in chronological order. It begins with the epic Forest of October and Advent, from "Orchid" and "Morningrise" respectively, the first two albums, considered by many as raw and incomplete works that, however, hinted at the insights of a band that would make their mark. Fifteen years later, it can be said with certainty that Opeth have come a long way, and what was once raw is now more mature than ever: the songs shine with a new light and keyboardist Per Wiberg contributes significantly to enriching the sound, weaving dark and captivating atmospheres at the same time. Following, two other gems: April Ethereal ("My Arms, Your Hearse") and The Moor ("Still Life"). The technical level begins to rise and, with it, the compositional creativity but the quintet does not miss a beat and performs excellently. The evolution continues: from Deliverance comes the ferocious Wreath, executed with unprecedented ferocity (Axenrot even adds a blast-beat at the end!) while Hope Leaves represents the melancholic candor of "Damnation": the true protagonist is Fredrik Akesson, who carves out his personal moment, inserting a grand and effective solo at the end, chilling. From "Ghost Reveries", one of the most complex pieces was chosen, Harlequin Forest, one of the best performances of the entire concert, both for precision and intensity. The task of closing the show is given to the song that best represents the new course of Opeth, The Lotus Eater, from the album "Watershed". Genius, irreverent, direct, multifaceted... adjectives abound for this track, which hits the mark and majestically concludes an exceptional concert.

All in all, it can be said that, apart from some debatable details (such as the too dry sound, or Mikael Åkerfeldt's excessively dry growl), "In Live Concert at the Royal Albert Hall" offers a precious testament to a band, for better or worse, in peak form, capable of delivering strong emotions through difficult music, not at all immediate, but with a unique and unmistakable style.

Thank you once again, Opeth, for twenty years of great music!