Opeth read from The Last Will & Testament, as well as other classic readings from their storied back catalogue. Support comes from fellow Swedes, Grand Magus.

THE LAST WILL AND TESTAMENT

When The Last Will And Testament saw release in November 2024 (our review here), it marked another shift in the Opeth sound; one that took a look back. The death growls returned with plenty of the folk/prog influences that have come to characterise Opeth in their storied career.

In Manchester, Opeth deliver a career spanning masterclass in progressive death metal.

GRAND MAGUS

It is apt for Grand Magus to take the stage to the sounds of one of the greatest power trios. ZZ Top’s rendition of Jailhouse Rock welcomes the Swedish trio and an immediate rapport ensues with the crowd clapping along.

Embodying the true spirit of hard rock and heavy metal, Grand Magus are a no frills, pure clad, hard rocking combo. There are tidy solos from the aviator sunglasses wearing JB, tight rhythms from drummer Ludwig Witt and thundering bass and vocals from chief cheerleader Fox Skinner.

“Good evening Manchester!” says JB after Skybound, “this is a proper fucking heavy metal crowd in here tonight!” Saturday night in Manchester is a good idea for a heavy metal show. Queues formed well before doors and it is clear that plenty are here to see the evenings whole package.

Steel Vs Steel evokes that Manowar Brothers Of Metal vibe with great shared vocals and a fist pumpingly good chorus. Let The Ravens Guide Our Way harks back to 2010’s Hammer Of The North record; even further back is a pounding Like the Oar Strikes the Water from 2008’s Iron Will.

In a brilliantly measured set, Grand Magus close out with an emphatic version of Hammer Of The North. A dedication is offered to the early arrivals and the guys in Opeth. The entire crowd play on backing vocals. It is a glorious sight as the trio depart in bathing in white light. “Stay heavy,” requests JB as they leave.

OPETH

In the changeover, the air of anticipation rises. Suitably haunting and ethereal backing music is cut by the dim murmur of people ready for something special. Seven Bowls by Aphrodite’s Child plays the band onstage to its unnerving incantations. The crowd go wild as Opeth enter the stage and delve straight into The Last Will And Testament with §1. The chug of the guitars and the swirling musical maelstrom that Opeth offer rises for the first of many highlights.

What makes this iteration of Opeth so exciting is that there is a shift back to the extreme vocals of yesteryear. Whilst the group has evolved over the years with more heavy prog/folk influences, the new record still retains this identity, added more extremity into the mix, vocally.

From an opening newbie, the crowd are flung back to Deliverance’s Master’s Apprentice. It is a head-bangingly great track that Opeth knock out of the park. What a treat to kick off. The treats continue with a foray back to The Leper Affinity, from Opeth’s seminal Blackwater Park record. As opening half hours of shows go, this one has to be up there. Mikael Åkerfeldt looks like he is having a lot of fun as he shifts seamlessly between clean and harsh vocals. Truth be told, the entire band look like they are having a blast.

THE RINGLEADER

Mikael Åkerfeldt is one of rocks most enduring figures. With close to four decades fronting and leading Opeth, he has created an erstwhile legacy. It is, however, a multi-faceted legacy. He is a stellar musician and performer, avid record collector, ringleader, and an incredibly funny man. His between song patter can go on; he interacts with the crowd as they shout things from the front rows. Tales of Chicago (the band) liking Opeth, wanting to steal one of the windows from tonight’s ornate venue and liking Oasis are all on the agenda. Whilst Opeth know they are good, nay great, there is still self deprecation in comments about their ‘shitty riffs’ and ‘other shitty songs.’ If Åkerfeldt ever publishes a memoir and does the obligatory spoken word book tour, it will be a must attend event.

§7, §3 and A Story Never Told are all aired from The Last Will And Testament. Many remarks are made about the complexity of the songs and Åkerfeldt and guitarist Fredrik Åkesson having to down tune and re-tune their guitars mid song. §7 features a crushingly heavy opening with enchanting instrumental sections in the centre of the song.

§3 allows Joakim Svalberg one of many chances to dazzle behind a collection of keyed instruments. He basks as the wizard of the keys up top, raised up next to drummer Waltteri Väyrynen. Martín Méndez keeps time with Väyrynen on bass. His playing is precise; like all the band. The rumble he creates moves the floors of the Albert Hall. A Story Never Told goes on to close out the main set in a slew of wailing guitar solos and unbridled adulation from a capacity crowd. It has a hint of Jeff Wayne’s Forever Autumn in some of the melodies.

HERITAGE

In amongst the obvious heaviness that Opeth bring, their career is also full of tender songs that pull more firmly on lighter musical tastes. Häxprocess, from 2011’s Heritage, is a lilting piece. The rhythms are wild and the delivery of the song is brilliant. Åkerfeldt’s call and response with Svalberg’s keys is beautiful; the crowd stand still in awe.

“It is a pleasure to play these different songs of a different genres to a different crowd that accepts them. I understand we’re an acquired taste,” muses Åkerfeldt.

More charming banter is shared from the stage about the use of pedals to create those different feelings. “I need a cosy feel for this one,” states Åkerfeldt before In My Time Of Need from 2003’s Damnation LP via a tease of Pink Floyd’s Shine On You Crazy Diamond. Whilst Häxprocess has the crowd quiet, the chorus line of In My Time Of Need sees Manchester erupt in song once more.

Summer is miles and miles away
And no one would ask me to stay
And I should contemplate this change
To ease the pain

It is a beautiful moment that bowls the band over. You can see that they are genuinely taken aback by the reaction. Saturday night in Manchester, eh?! Åkerfeldt ruminates on the venues they’ve played in Manchester over the years and how the attendances have gone up/down/up/down and up again, to SOLD OUT at Manchester Albert Hall. It is a deserving accolade for a band that have earnt every ounce of respect.

YOU SUFFER (WONDERWALL) & HITS

Another mid song bout of Åkerfeldt’s wisdom leads to a cover of Napalm Death’s You Suffer but with the added twist that the lyric(s) are changed to Wonderwall. It is another example of the endearing nature of the band.

A real treat for the die hard ‘lifers’ comes in the form of The Night & The Silent Water. Taken from 1996’s Morningrise LP, the epic slice of avantgarde prog death is wondrous. Again, the entire band shine through another wildly intricate and ardent piece. The acoustic section in the song sounds as close to classic folk as you can get before a punishingly heavy return to the bombastic sound of the band comes back in. Each and every song is a treat, but hearing this one might be the topper.

Ghost Of Perdition, from 2005’s Ghost Reveries, is as close to a hit that the band have, according to Åkerfeldt. It is greeted as such; 20 years on it is as fresh as anything the band has ever produced. The initial blast of vocals and drums still sends a shiver down the spine as it crashes in. Snaking vocal melody lines traverse and creep around sinister guitars and drums. The solos are pitch perfect and the vocal is dreamy. Another highlight on a night full of highlights.

ROCK’N’ROLL STARS

When Opeth return for an encore, the rhythm section and keys return first, playing the intro to Sorceress. As Åkerfeldt and Åkesson enter, they cut rock star shapes in the white light before the glorious chug of the song ensues. Sorceress is a different kind of heavy from Opeth. There is the musical heaviness, but the lyrics are evil.

In the same way that Master’s Apprentice started the back catalogue trip, it is the same album that closes. Deliverance’s title track is one of Opeth’s many calling cards. At close to fourteen minutes long, it is a masterclass is progressive death metal. As the last notes ring out, it is clear that Opeth have had a great time. “When bands thank the crowd, they always say that the crowd is the best,” says Åkerfeldt, “but I have to say it, you guys have been fucking awesome.” The sentiment is wholly reciprocal.

Opeth are a band for the ages. A shining example of how to evolve whilst always staying true to yourself. Yes, Opeth are an acquired taste, but isn’t variety the spice of life? Opeth have variety by the bucketload, as well as oozing charm, humility, humour, and great heavy metal. Long may they reign.

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