![]() ![]() More fast drumming and a hi-hat rhythm kept the song’s pace light. The crowd jumped along to ‘ Primo Victoria’, retaining energy as ‘Shiroyama’ from The Last Stand sped along with a groove metal beat as van Dahl’s snare and cymbal work demonstrated a good use of attack to accentuate vocal parts.īrodén thanked the crowd, the set was concluded with the ‘To Hell and Back’, introduced with the unmistakable keyboard whistle riff over the PA. ‘Cliffs of Gallipoli’ followed and a fairly tame yet predictably irritating circle pit erupted and recorded additional keyboards were obvious, not that anyone cared. Guitar solos were traded effortlessly and then ‘Night Witches’ was introduced with an air raid siren as Brodén darted across the red lit stage, in line with the song’s fast energy that included more feisty guitar soloing. Brodén then sported a guitar and offered some Michael Jackson commentary with a brief attempt at the ‘Beat It’ riff before the band kicked off ‘Resist and Bite’ from the Heroes album. Playing the title track from their most recent The Last Stand album, the band’s impressive vocal harmonies were in full force. Brodén briefly left the stage whilst the guitarists convened centre stage for some twin guitar harmony leads. Hannes van Dahl hammered his drum kit with conviction. It had been five years since Sabaton had initially invaded our shores but given the crowd reaction, there were plenty here tonight who would have been at that initial performance. The energy continued as the Carolus Rex title track gave the crowd interaction a boost. ‘Winged Hussars’ followed in which seven string guitarist Chris Rörland took centre stage to play his solo whilst newer six string guitarist Tommy Johansson flung his hair around pulling a vast array of rock poses before he introduced ‘Swedish Pagans’ after a bit of humourous call and response banter with Brodén. Front man Joakim Brodén, instantly recognisable in his trademark vest with metal plates and sporting sunglasses, launched straight into the set, announcing ‘Ghost Division’ from The Art of War whereby the band tore into the song with tightly rehearsed precision. ![]() On marched the band, decked out in camouflage pants as ‘The March to War’ played and lighting arrays shone down. Lights dimmed and various keyboards and vocal chants were lightly played over the PA for an unusually lengthy twenty minutes, gradually increasing intensity until lights dimmed further and the pre-recorded cover of Bolland & Bolland’s ‘In the Army Now’ from Carolus Rex introduced the Sabaton set. As the room filled up, Sabaton’s large backdrop was illuminated in blue light and subtle smoke machine bursts. Inside the venue huge merchandise line snaked around the room. Both bands are very different stylistically yet strangely enough worked well together giving great value for money with a broad appeal for metal heads with varied tastes. By contrast, Amon Amarth is like a battering ram of melodic death metal that is deeply entrenched lyrically and visually in Viking folklore. Sabaton take power metal and harness it with military related stories of various levels of familiarity but with an infectious sense of fun. So it was that tonight’s Swedish double header of Sabaton and Amon Amarth had the UNSW Roundhouse venue seriously packed. Of course, many bands on the bill also conducted tours in states where their fan base was likely to turn out in force. The announcement of Download filling that space has meant smaller steps to establish a solid market share with the first annual festival being held only in Melbourne. It has been a while since a large heavy metal festival has been operational and financially responsible within Australia. The Butterfly Effect at UNSW Roundhouse.Monolith Festival – Sydney Bella Vista Farm, Bella Vista NSW.Winter Magic Revival Festival Katoomba, NSW.Private Function Oxford Art Factory, Darlinghurst NSW.The Butterfly Effect Eatons Hill Hotel, Brendale QLD.Goatwhore: Angels Hung From The Arches Of Heaven.
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