Live Review: Opeth, Caligula's Horse

Locals Caligula's Horse must have left a lasting impression when they supported tonight's esteemed headliners on the Brisbane leg of their previous tour, because here they are again — only, this time, they've got the whole national slot in the bag.

From the outset, they don't come across like the kind of band that would really appeal to the aesthetic pallet of many Opeth fans, but they go a long way in crossing this divide with their sheer professionalism. They are a well-oiled machine and this live set hits with the kind of precision that is bound to spark interest among the audience. Their momentum is rapidly increasing throughout each year, and tonight projects a horizon that looks ever more promising for these Brisbane lads.

It took 14 years from the point of their inception for Opeth to make their maiden voyage to these shores, finally arriving in the early Autumn of 2003, near on the eve of Damnation's release. Fourteen more years on, and they should probably just be granted dual citizenship already. Here they are, taking The Tivoli stage once again, to kick off what is an incredible ninth tour of this country. There's been some noticeable shifts in the audience since those early days: the change of course taken on the three most recent albums left many a purist reeling toward the exit doors, but many faithful remain, and the sense of a time-honoured rapport between band and audience still permeates the room.

From the moment Opeth commence tonight, with stunning opener Sorceress, they are thunderous enough to shake loose the proverbial shackles of nostalgia. They may not quite be making the same kind of music as those 'glory days', but in the live arena the logic and appeal of these new songs becomes more evident. And it's a smooth transition from here into Ghost of Perdition, which kicks things straight into high gear, hitting home with all its characteristic intensity, before another golden oldie, Demon of the Fall, is wonderfully contrasted alongside the next of the new offerings, The Wilde Flowers.

Everything seems to fall effortlessly into place tonight: they are free of the minor technical difficulties that plagued their last Brisbane show, and they have every reason to stand with assured confidence, particularly frontman Mikael Akerfeldt, who, as ever, is very playful with his between-song banter. He comes across as an engaging combo of stand-up comedian, cock-sure entertainer, and sharp-tongued retaliator. However peculiar in its charm, it certainly provides the performance with a more humanising quality, which could otherwise be all too easily pushed into the shadows by the titanic proportions of the sound emitted.

Of course, it's not all titanic displays when it comes to Opeth. They are sure to remind us of the depths of their dynamism and vulnerability with Face Of Melinda and In My Time Of Need. On the former, the most recent change to the line-up, Joakim Svalberg, proves to be an invaluable recruit, his keys and gorgeous backing vocals marrying wonderfully with the rich melodic tapestry of the original composition. It's a short stay in the soft embrace of their sweeter side, and the room is soon echoing the "God is dead" chorus of Devil's Orchard. The galloping riff of Cusp Of Eternity draws us further in and, without resting for a moment's pause between, delivers right into the mouth of madness with set highlight Heir Apparent. This watershed gem shows a glimpse of Opeth at their creative peak; never have they been so fierce, technically complex, or so conceptually deranged, and tonight they nail it to a tee.