Opeth
Live @ Alcatraz, Milano 24.11.11

The release of "Heritage" literally split Opeth fans into two camps. Some appreciated the decision to veer towards a damn vintage seventies-style progressive rock and others criticized the decision to abandon the death metal component that has always been their trademark; as some have also noted, beyond the stylistic choice taken, there is a lack of ideas that results in a decidedly derivative product with little personality. But apparently, the first group seems to have prevailed.

The release of the album was followed by the start of the official tour, which also includes a date in Milan, specifically at Alcatraz. From the first dates performed in the USA, everyone could notice that the setlists (with both new and old songs, as always) are completely devoid of songs containing parts sung in growl. Subsequently, the band's leader Mikael Akerfeldt himself confirmed the intention to abandon the use of growl, which is now obsolete for his tastes, as well as damaging to the vocal cords in the long run.

Surely, the decision will not have been warmly received by metalheads around the world. And if I'm to be honest, I was surprised (and perhaps not just me) to find out that the Milan date (for which I already owned a ticket from early October) sold out more than ten days in advance. Evidently, the band still generates interest in this new form and I'd say that's a positive thing. Attending the concert, I got further confirmation: there were many metalheads present, showing that they are indeed much more open-minded than one might think. If they weren't interested in attending a concert where their idols are stripped of the aggressive component that has always characterized them, they probably would have stayed home.

Opening the concert were their fellow countrymen Pain Of Salvation, and probably their presence increased interest in the evening for many progsters. However, during their roughly forty-minute set, the audience seemed a little unresponsive; those who appreciated the band rightly got involved by singing and getting as wild as possible, while many seemed a bit dull... Probably people who didn't know PoS and thus came only for their idols Opeth; from a girl behind me and my three companions, I even heard an exasperated "enough!" PoS performed mainly songs from their last two works, namely the two parts of "Road Salt," plus the two classics "Ashes" and "Diffidentia." The most present and expressive appeared to be, as usual, leader Daniel Gildenlow and guitarist Johan Hallgren, always very lively. For him and keyboardist Fredrik Hermansson, this is the last tour with PoS, as they will leave the "band" at its conclusion.

But when Opeth comes on stage, everything changes and the evening comes alive. The "infernal" scenery inspired by the latest album makes the performance warmer than expected. The audience is quite present this time, lifted by a great Akerfeldt. The setlist is practically known since it remained unchanged over all previous European dates, and it includes both songs from the new "Heritage" album and older songs that do not use growl (some fans hoped for a change of mind, as seen by the "please growl!" banner held by some fans in the front rows). However, the choices are excellent: the audience appears very enthusiastic when gems like "Face Of Melinda" and "A Fair Judgement" are performed.

Moreover, it must be said that the decision to give up distinctly fast-paced songs allows the musicians on stage to better showcase their compositional and performance qualities; for those watching, it's more sublime to see the instrument handled with skill and precision than simply battered with classic riffs (but Opeth has never been just that). And the heart of anyone attending a concert is moved more by seeing a singer intone melodic verses than powerful growls.

Nevertheless, the moment when the audience seemed most captivated was the splendid drum solo staged in the central section of "Porcelain Heart." In any case, it was Mikael Akerfeldt who engaged the crowd and brought some humor. His always witty and at times almost cabaret-like remarks are commendable... His continuous light-hearted teasing of Eros Ramazzotti earned all my admiration.

Less flashy but still important was the performance of the special guest Joakim Svalberg, the keyboardist replacing the departing Per Wiberg, who left after recording "Heritage." In his equipment, there was also a synthesizer that, when used, represented an extra weapon; Akerfeldt emphasized his skills by giving him a small showcase at the end where the keyboardist got to perform some typically vintage styles. A showcase also given to the guitarist Fredrik Akesson, who at times was able to show a seventies old-style hard-rock approach. There were many cheers in support of bassist Martin Mendez who, besides Akerfeldt, is the longest-standing member, having been in the band since around 1998 while the others are relatively new.

In conclusion, an exciting evening. Despite the lack of metal and using only "clean" vocals, Opeth gave their fans a night to remember for the emotions experienced. Admittedly, since it was the first time I was seeing Opeth as headliners (I had seen them two years ago at the Progressive Nation but there they were supporting Dream Theater) I would have preferred a concert in their old style, but it was also nice to hear Opeth in this form, and I'm glad to see that many metalheads are happy to follow the band in this new era.

Now my mind is directly catapulted to February 21 when the legendary Dream Theater will arrive in Assago, but for now, I enjoyed this beautiful evening.