Opeth

w/ Contrive

The Tivoli, Brisbane – 22nd November 2009

While the rest of Australia was off watching the scourge of reality TV and the music industry, Australian Idol, a select few were having their minds expanded and gently fucked by the Swedish progressive giant that is Opeth. Supported by Contrive, they prove that while the machine continues to churn out carbon copy pop stars, originality and progression still exists.

Melbournians Contrive are the lone support band of the evening, and unfortunately their performance is as contrived as their namesake. Capitalising on the pseudo popularity of drummer Andrew Haug, best known as host of Triple J’s Full Metal Racket, this seems to be only thing the crowd are interested in. The band have been said to be comparable to Sepultura, but unfortunately that seems more like an insult to the Brazilian metallers.

Contrive are technically proficient enough, but are let down by Paul Haug’s headache inducing vocals – proving that it is indeed possible to scream out of tune. Haug lacks the guttural screaming ability of vocalists in the metal genre, and his attempts sound more like pitchy yodelling. Fortunately Contrive’s tracks are laced with disproportionately long instrumentals, sparing the crowd from any ear bleeding.

As he demonstrates later in the set, however, Haug does appear to have some semblance of singing ability, and one can’t help but wonder why he doesn’t opt for that more often. His vocals are almost as pitchy as his scrodelling (read: scream yodelling), but far less atrocious. If Haug went and worked on his singing ability, Contrive would receive a warmer reaction than a one-man moshpit and some polite applause.

The atrocity then gives way to ferocity, as Opeth make their way to the stage. The band are fairly low key as they emerge from backstage, the subjects of raucous screaming and chanting but looking more like they’re about to bow and shake your hand. This Aussie tour wasn’t on the heels of any album release, but to the crowd there’s no issue of relevance. It’s Opeth, and they’ll have them any fucking time. Mikael Akerfeldt, Fredrik Akesson, Martin Mendez, Martin Axenrot, and Per Wiberg slide into 2003’s Windowpane, and kick off the evening.

Opeth are known for having drastically different setlists each time they visit, changing them depending on what the country did or didn’t hear last time.  This time there’s less Watershed, more variety, as the band work through Ghost of Perdition, The Leper Affinity, April Ethereal, Face of Melinda, and Reverie/Harlequin Forest. Fans of Blackwater Park and Your Arms My Hearse get to hear some old shit, while new converts enjoy The Lotus Eater, Hessian Peel and Hex Omega.

Perhaps it’s their veteran status, or perhaps it’s a Swedish cultural thing, but Akerfeldt is surprisingly composed in his performance. It’s the small things that matter, as he drinks the same bottle of water throughout the set, making a point to screw the cap on and place it back in its holder attached to his mic stand. That’s not to say Akerfeldt isn’t kickass however, as he makes jokes throughout the evening – lamenting on how fucking hot it is, and calling bassist Martin Mendez a “fat motherfucker“.

The crowd are then treated to a ripping solo by lead guitarist Fredrik Akesson. Opeth are known for transcending genres, incorporating acoustics and occasionally foraying into flamenco, so it shouldn’t be surprising that Akesson’s solo is completely old school. Akerfeldt then takes the helm again, spoiling the surprise by telling how they’re going to pretend to leave the stage, then return for an encore.

Opeth depart the stage, leaving the crowd to do the obligatory “OPETH” and “ENCORE” chant before returning once more. With the average length of an Opeth track hitting the 10 minute mark, tonight’s set has stretched to nearly 2 hours, but the crowd don’t seem to be letting up. As the band slip into Deliverance, the atmosphere calms and the crowd savour their last (albeit 13 minute long) moment with the Swedish metallers.

After almost 2 hours and some serious hair envy, Opeth depart the stage as politely as they entered. The ambience continues to pervade the room long after they’ve left – fascinating, considering ambience seems like the last thing that should be associated with metal. There’s no doubt that Opeth are progressive, combining death metal, prog rock, flamenco, and acoustics and doing it bloody well. If you can last the 2 hours, your mind will thank you for it.

Rating 8.5/10

Jerry Dazzlepants