Live Review: Opeth

Sans support act and delivering two sets totalling two hours and 45 minutes (minimal intermission included, which caught many punters off guard), this wasn't a scenario for the casual Opeth fan, if such an animal exists.

The famous surrounds and sense of occasion didn't elude frontman Mikael Akerfeldt who, after unleashing bowel-loosening growls moments prior, articulated that it was the first time the venue's Concert Hall had encountered death-metal vocals. His dry-as-sandpaper wit ("I love you too, Austria") also came in handy when combating grunting hecklers seemingly attempting to one-up each other - via varying degrees of humour - as well as bellowing requests. This regrettable trend has become more prominent at their gigs during the past half-decade.

Whether the majority of punters vocalised the sentiment in this manner or not, these prog-metal veterans had the packed (and seated) room captivated. Although one of only three cities worldwide to host this specially tailored setlist, the Swedes were in tight form throughout and boosted by crisp, clear sound. The opening half referenced the majority of their records. Stirring versions of new cuts, a la The Wilde Flowers, freshened up matters, but it was understandably stone-cold classics Demon Of The Fall, Face Of Melinda and The Drapery Falls that were most-widely approved. Head-banging at the Opera House - who'd have thunk it?

The second suite leaned on the bipolar Damnation/Deliverance companion releases from the early '00s. Those who had waited eons to get an earful of, for instance, By The Pain I See In Others (only being aired at these expanded shows) and its sublime solos in the live arena finally got their fill.

Any questions of whether unconventional, uncompromising music of this nature was truly intended or custom-built to flirt with mainstream acceptance in this regard was irrelevant after witnessing the evening's near-peerless execution. Opeth will surely never afford Australia another performance quite like it.