Rock City were treated to an extravaganza of metal with a co-headline tour from Apocalyptica and Epica...
This was a show that it felt was destined to never happen. Previously postponed twice because of the pandemic, the day had finally arrived.
This is a co-headline tour from Apocalyptica and Epica, with support from Wheel. All three metal bands, but each with a very different feel to their sound.
To be honest, I was as excited to see Wheel as the main acts. I had previously seen them on the Rock City Beta stage back in February 2020, just before the pandemic hit, supported by The New Death Cult. The small crowd that night (me included) were blown away.
Formed in 2015 in Finland, their lead singer/guitarist James Lascelles, actually hails from London, moving to Finland to immerse himself in their vibrant metal scene. Their debut album Moving Backwards was released in 2019, followed by 2021’s Resident Human. Their style is progressive rock/metal, and would appeal to fans of the likes of Soen and Tool.
A short four or five song set tonight, but thankfully some of the tracks are long! I didn’t get to see the set list, but recognised their 2022 single Blood Drinker, and the excellent Wheel and Vultures from 2019’s Moving Backwards.
Wheel have a complex and intricate sound using some more unorthodox time signatures. James and Jussi Turunen’s guitar parts compliment each other beautifully and sit above a wall of rhythm created by Aki Virtanen’s pounding bass riffs and a heavy tom beat being bashed out by Santeri Saksala (especially evident in the extended intro to the great track Wheel). Indeed it is this rhythm sound that drives their tracks along so well.
In some ways, Wheel were the odd one out in the line up, their progressive metal sound, jarring and heavy, but they delivered an excellent, if short set to an eager crowd. I’m sure they won over some new fans tonight.
After the usual set make over, the lights dimmed before the blinding spots came on as Epica took to the stage. Led by Simone Simons, Epica are often described as operatic metal, and it’s easy to see why. Simone’s soprano voice is exquisite, powerful and with an incredible tone. What I found interesting with Epica is the mix of styles.
Half the tracks are crafted around her stunning voice, and for the others guitarist Mark Janssen takes over with a guttural black metal style of growling vocal delivery, which sets them apart from other orchestral metal bands. What is great, is how well the two balance and mix together, adding depth and heaviness to the set.
Right from the opening bars of Abyss Of Time – Countdown To Singularity through to the grand finale of Consign To Oblivion, the performance is immaculate. There is a light hearted nature to the performance as well. Keyboardist Coen Janssen, with his curved MIDI controller keyboard, joining the guitarists at the front, performing for the crowd, pulling faces full of energy and enthusiasm for his craft.
Jansen and Isaac Delahaye have some serious guitar skills and pose for the crowd smiling as they weave their way round the stage. Perhaps about a third of the set came from the 2021 album Omega, which because of the pandemic the band were not able to tour with.
Highlights of the set for me included The Essence of Silence and Rivers but it’s when an extended version of Beyond The Matrix starts that the place is fully set on fire, and the band flex their metal roots with some incredible riffs. The set concluded with Consign To Oblivion before they slowly left the stage, waving and posing for the fans, who were cheering heartily. A great set from start to finish.
Another break as the stage is cleared and readied for the arrival of Apocalyptica, the drum kit taking time to assemble with it’s unusual array of cymbals. Again the lights dim, and the crowd erupts as Apocalyptica run out into the light, cellos in hand. Formed in Finland in 1993 by classically trained cellists Eicca Toppinen, Paavo Lötjönen, and Perttu Kivilaakso, and jazz drummer Mikko Sirén.
Over the next sixty to seventy minutes, they wow the crowd with a virtuoso performance. There’s absolutely no doubting the talent of Eicca Toppinen, Paavo Lötjönen, and Perttu Kivilaakso, who play the cello with flair and passion moving the big instruments around with ease. They make the cello a rock instrument and it doesn’t feel out of place. Indeed, the sound generated by just three cellos and a drummer in immense and you don’t notice the lack of guitar or bass...
Well known for their incredible covers of classic Metallica covers, we’re entertained by lively versions of Nothing Else Matters and Seek & Destroy, but we also get tracks from their albums Cell-o, Worlds Collide and the title track from Shadowmaker. The band are joined on stage by singer Franky Perez, who has a stunning voice.
Almost half way through the set we get their hauntingly beautiful track Rise which slows things down and shows the delicate nature of the cello. Shortly afterwards though, we are shown just how heavy things can get as they hit us with Inquisition Symphony, the classic Sepultura track. Bows a blur as they let loose with an incredible intensity, the wall of sound produced deafening.
Apocalypotica and a sight well worth seeing, and they bring a different style to the metal genre. To be honest, this is as cultured as I get! It’s an incredible sight to see, just how powerful an instrument the cello is.
Three bands, with very different styles, that demonstrate just what an incredibly diverse world metal can be, progressive rock from Wheel, symphonic (and black metal growls) from Epica and then virtuoso from Apocalyptica. The three compliment each other so well, and it’s a night that will live long in the memory.
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