Opeth play their only UK show in Halifax at The Piece Hall, on Yorkshire Day. Local lads Paradise Lost join the bill, as well as Swedish gloomsters, Katatonia.

KATATONIA

Getting into The Piece Hall feels like a faff. The staff are diligently doing their jobs with a smile and being friendly, but by God it takes a long time to get in! Consequently, Katatonia are already onstage upon entry. In the 35 minutes or so they have, they try to squeeze as much in as possible.

Several of their records are celebrating milestone birthdays in 2026, namely Brave Murder Day. Sadly, there are no reunions with Mikael Åkerfeldt to celebrate its 30th, but this is not who Katatonia are any more. Bringing it more up to date, Old Hearts Fall from 2016’s Fall Of Hearts is a highlight.

Jonas Renkse rarely stands still moving about the stage interacting with his fellow band members and encouraging the crowd. He is in a jovial mood and it really helps the rapport build. It’s early, and people are still filing in for the duration of the set, however Katatonia are excellent and grab the attention. It is a little strange seeing Katatonia in daylight as my experiences of seeing the band have always been smoke ridden, dark affairs. It is nice to see the whites of the eyes. As the band conclude their set, it is My Twin from 2006’s The Great Cold Distance that draws a huge applause as the Swedes depart, teeing up Paradise Lost.

PARADISE LOST

Paradise Lost released one of their finest albums in their long and storied career in 2025. Ascension did just that; it feels like they are up riding the crest of the wave again. This, only their second ever show in their home town, is clearly a big deal. Prior to the show, Gregor Mackintosh revealed via Instagram that their could be some nerves with it being a local show with plenty of friends and family in attendance.

The slow introduction of Serpent On The Cross plays the band onstage with raised fists from the band as they enter. Whilst not all members are specifically from Halifax, you can see that the Yorkshire unit is humbled by the reception. A call of “Come on!” comes from Nick Holmes as the tempo quickens, and when Mackintosh hits the solo, the energy ramps up. There is a special atmosphere in the air.

When they dip further into their influential back catalogue, parts of the crowd come unglued. As I Die, The Enemy and Embers Fire all wow. Holmes’ humour from the stage is brilliant. “You…in the black shirt!” he says signalling someone out in the crowd. Oh to be, British! The power of Hallowed Land pummels the foundation of The Piece Hall as people are transported back to 1995 and Draconian Times.

A SPECIAL GUEST

Jeff Singer propels the band with his drum work, but an appearance from Opeth sticksman Waltteri Väyrynen also stands out. Having recorded a couple of albums with Paradise Lost in the 2010’s, he joins the band for Ghosts. As a highlight though, Smalltown Boy is the one. The Bronski Beat cover complete with ‘Elton John’ on piano has people singing along and throwing their arms aloft in euphoria.

Paradise Lost are currently in great form and if you get the chance to see them, do not hesitate. They have so much great material to choose from that you will never get a bad set. They pack a great amount into a triumphant near hour long set that leaves the home town crowd in adoration of these local heroes.

OPETH

And so, to Opeth. Another band that rarely miss live, or on LP. Whatever your view of Opeth’s sometimes divisive recorded output, you cannot deny that they are an impenetrable force in the live arena. Their musical chemistry is second to none and they are so tight, clear and precise when performing. Add in the immensely charismatic and self deprecating humour of Mikael Åkerfeldt and you have an ongoing recipe for success.

With the sun dipping behind the ornate Piece Hall building, Opeth stride onstage to the haunting sound of Aphrodite’s Child and Seven Bowls. A quick pause ensues as the band lock in and the screens flicker to life. The Last Will & Testament is the first album on show. §1 is the perfect place to start with the picked bass intro gradually being backed by the band. Immediately, there is a clarity in the sound. There is also clarity of sound from too many people spending all their time yacking to each other rather than enjoying the show.

Hjärtat vet vad handen gör (translation; Heart In Hand) is an early highlight with Mikael singing the Swedish version of the song. Hearing Mikael Åkerfeldt sing is a pleasure. His clean vocals are sublime. And he is one of the finest guttural singers around too. That being said, Waltteri Väyrynen’s drums on the track here are epic. The rhythm is infectious and it elevates the song massively. Taking it back to 1999, Godhead’s Lament showcases this. In between songs, Åkerfeldt is notoriously affable. His charm and wit enamours. His acknowledgement of being warned of people chanting “Yorkshire!” sounding like “you’re shit!” is hilarious. Prior to §7 he talks of how Ian Anderson recorded the track with the band. A few punters believe they’re getting a guest appearance by the Jethro Tull man; sadly, they’re disappointed. §7 does not disappoint though. It is gloriously progressive and heavy.

HERITAGE

When Opeth head towards The Devil’s Orchard from 2011’s Heritage, Mikael Åkerfeldt confesses that some people really don’t like it. But, he loves it. So they’re playing it! It is a great track that still sound superb a decade and a half on from release. Its introduction is quite an iconic one in the Opeth pantheon. It builds brilliantly and showcases a side to the band that shows you don’t have to be loud to be heavy. “Did you like that shit?!” he asks after the song. The result is a unanimous yes! Windowpane keeps the hue a bit lighter in that there are no growls in the song. It is an understated classic in the repertoire that provides a moment of quieter repose before a closing volley of brutality.

As the opening drum crack of The Grand Conjuration hits the crowd know that they are in for a treat. From Ghost Reveries, it is a personal favourite and one I am so happy to be hearing. It also drowns out some of the folk who have come for a chat with their mates. Whilst the opening half of the show is absolutely sublime, the closing run is nothing short of majestical magnificence.

The Grand Conjuration is immeasurably heavy. Åkerfeldt turns to his amps to generate a swathe of feedback. When the devilish delivery of his vocals arrive there is a real unease. As the pace quickens to the thumping bass drum of Väyrynen has the crowd clapping along in unison. That special atmosphere that Paradise Lost fostered earlier is built upon here. Fredrik Åkesson’s partnership with Åkerfeldt is great. They play off each other perfectly with both sharing lead and rhythm duties.

THE DRAPERY FALLS

Backing The Grand Conjuration with The Drapery Falls is twenty of the finest minutes of extreme metal you will ever hear. Both songs top out double figures in their runtime and not one moment is not completely splendid. The way Opeth can shift gears is stunning. Not just from song to song, but throughout songs. Opening with “two chords I wrote“‘ The Drapery Falls is one of many standouts from 2001’s Blackwater Park. Martín Méndez’ bass line is delicious as it rolls around underneath the melodic top lines. Joakim Svalberg adds his unmistakable keys sound to the song, not only here, but throughout the night. His silhouette stands out in front of the big screen at the back of the stage as he rocks out surrounded by an array of instruments. The aforementioned play between guitarists is incredible and the vocals come, seemingly, completely effortlessly,

A deeper cut closes the main set. Hex Omega is one of the best cuts from 2008’s Watershed record. By his own admission, Mikael says it is a bit of a deeper choice but it’s one they like to play. Luckily for Halifax, it is an absolute treat. As it kicks off, the initial sound is blistering. It is all rolling drums and dense riffs. A quieter feel in the song shows those early signs that hinted Opeth would go full prog a few years later. Hex Omega soars around the venue with the looming church steeple towering over the venue. Pompeii this is not, but it is a place that has its own mystique.

DELIVERANCE

When the band reappear for a single song encore, they thank the crowd and the venue. They are on a tight curfew this evening so slotting on the quarter of an hour long Deliverance just about fits the bill. It completes a stunning show, and a run of songs in the second half of the show that are unmatched in heaviness.

Opeth are a powerhouse of a band. They are so widely loved and revered that they have already cemented their legacy as one of the best metal bands ever. They’re the kind of band that you feel will never stop making music or performing. And we are all the better for that. Roll on album number 15 and the next new tour!

Opeth: Website

Paradise Lost: Website

Katatonia: Website

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