Finnish symphonic metal legends Nightwish return to our shores, pushing their self-confessed grandiose boundaries with the launch of Imaginaerum, an audio and visual production.
Their all ages gig at the Enmore theatre attracted an audience as eclectic as the band itself, confirming their cross genre appeal.
Local supports Darker Half did not miss an opportunity to draw on the excited buzz that hung in the air, amping up the crowd with their energetic, rock-laced, melodic metal.
It was hard to tear the eye away from Brad Dickson’s impressively frantic and fluid shredding, as he strutted back and forth onstage. Frontman Vo Simpson’s shrill, resonating voice demanded satisfaction, as it echoed around the room.
They ended their set with “Take the Plunge”, its fast paced punk beats inciting an enthusiastic outburst of movement up front.
It seemed, as the body count swelled for Swedish power metal giants Sabaton, that Nightwish weren’t the only drawcard. It was their first visit to Australia and they did not disappoint.
An entrance to Europe’s “The Final Countdown” was punctuated by chants of “Sa-ba-ton!” as frontman Joakim Broden claimed the stage, his bald head and armoured vest gleaming under the lights.
Sabaton’s war inspired music focuses on the historical battles that shaped Europe (Sweden’s neutrality is not lost on the band). Broden’s rumbling voice, enhanced by his rolling accent, heightens epic songs such as “Gott Mit Uns” and “Carolus Rex” transforming them into anthemic battle cries.
Recent addition Chris Rorlund executed generous guitar licks with great panache, delivering one howling solo after another.
Shell shocked by the crowd’s overwhelming response, the band appeared humbled and appreciative; “we’ve heard Australian hospitality is second to none, but what a fucking welcome you’re giving us!” Broden exclaimed.
“40:1” was then unleashed, its drum and bass vibrating like heavy artillery fire, accentuated by well-timed lighting and smoke. “Cliffs of Gallipoli” – inspired by Australian history – was another standout before “Metal Crue” concluded the set, a gunner-esque scream and harmonic backing, building to a grand finale. With spirits still high, the band bowed with arms linked, to an ecstatic crowd.
The ominous sounds of Hans Zimmer’s “Crimson Tide” heralded the thunderous spectacle that is Nightwish. Front lady Floor Jansen was a vision in shimmering gold, her powerful operatic voice soaring to opener “Storytime”.
The scene appeared fantastical; Marco Hietala looked every bit the enchanted wizard with his Gandalf mane, as he strummed along to the roaring beats and pinching synths of “Dark Chest of Wonders”.
“Wish I Had An Angel” released a roar, as deep red beams swept across animated keyboardist Tuomas Holopainen.
Jansen was pleased, “wow Sydney you’re turning out to be a loud audience, and I like it LOUD”. The performance spanned two hours with a mix of well-chosen tracks, ranging from fairy-tale delicate notes which exploded to blazing riffs in “Amaranth”, to the eerie sounds of children reciting “Ring of Roses” in “Scaretale” – a bewitching orchestral affair .
“Slow, Love, Slow”, a sensual jazz tune layered with bluesy licks, left the men a little slack jawed by Jansen’s wiles. Special guest Troy Donockley added spark and Celtic flair with his Uilleann (Irish bagpipe), flute, and whistle accompaniments.
“I Want My Tears Back”, “Nemo” and “Last Of The Wilds” came alive with vibrancy from his playing, as the audience merrily half moshed/half jigged along, some unsure of what to do with their limbs.
Hietala proved an entertaining character, exclaiming “welcome to spaceship Ingrid we’re going to take a trip into the fire of the sun” before leading into “Planet Hell”, where the combination of Hietala’s and Jansen’s vocals compliment perfectly, dramatic and otherworldly.
A cover of Gary Moore’s “Over the Hills” brought an awe-inspiring moment, filled with romance, freedom, and survival. Jansen proved equally entrancing in her quieter moments, exuding graceful beauty during “Ghost Love Score” and “Song of Myself” showcasing her incredible pipes.
“Last Ride Of The Day” provided an unequivocal finale to a riveting and ethereal night, but the band did not provide an encore.
Despite this unorthodox end, Nightwish exhibit excellent showmanship and versatility as musicians, as they continue to challenge themselves and their fans.
