Supports: Avarin, Hemina
Manning Bar, Sydney University NSW
6th June, 2013
Winter had started and the queue to get into the venue was substantial. Sounds from the first support band Hemina, such as keyboards, guitars and vocals, could be heard wafting across as the band kicked off tonight’s show. Second on the bill in the support slot was five piece progressive metal band Avarin. Their set was around 35 minutes and was chock full of falsetto vocals, loud guitar chords, some galloping riffs and strong stage presence.
Opening with ‘Broken Wings’, Avarin’s tight drumming continued throughout. Third track ‘The Unwilling’ from their debut album exhibited an almost blast drum feel before half time verses with operatic vocals took precedence. Title track ‘Requiem’ galloped whilst ‘Dust To Sand’, which closed their set, delved into a heavier rhythm figure, accented on the drums. When not trying to be too ambitious with over the top vocal parts, their songs took on a solid approach with clarity in the arrangements. Avarin provided a commendable and apt support set to the influential headliners.
Kamelot fans gathered eagerly awaiting the first Sydney show of their symphonic power metal heroes from Florida, taking photos of the backdrop of album cover artwork and chatting away. As a big pre recorded dramatic intro with a film soundtrack feel came over the PA, the five piece and additional backing vocalist of the very fetching Alissa White-Gluz from The Agonist, took to the stage. Front man Tommy Karevik was engaging from the start as the large framed new recruit demonstrated his considerable lung capacity. Founding member and guitarist Thomas Youngblood grinned with glee, flicking his long mane of hair and launching into driving opening song ‘Rule The World’ which was followed by ‘Ghost Opera’ and ‘The Great Pandemonium’. The latter two songs had melodic catchy choruses, fast guitar solos, Alissa’s clear voice floating in mix and a full sound from virtuoso keyboard player Oliver Palotai.
Chopping between back catalogue classics and new material from their latest album Silverthorn was done brilliantly showing rehearsal skills as well as how successfully the new vocalist’s style has melded into the Kamelot sound. For example, new song ‘Veritas’ had a descending chorus and Eastern flavour against sustained guitar sounds whilst the powering classic track ‘Centre Of The Universe’ took the bouncing riff and fast gallop into a loud, European power metal styled sounding chorus. It wasn’t until the new album ballad titled ‘Song For Jolee’ appeared that the pace changed completely for a quiet piano and vocals led track with keyboard strings.
Any lost momentum picked up again with the drumming prowess of Casey Grillo on display in a solo section. For the drummers, there was plenty of fast tom-tom rolls, different rhythms, multiple cymbals hit and impressive synchronised double bass drum attack. It served well as an introduction to ‘When The Lights Are Down’ which continued with powering drumming and bassist Sean Tibbetts pushing the rhythm section at pace, happy to whip his beaded hair strands about and offer the enthused audience an array of rock poses. Again with a large chorus, the acquired taste for lyrics of this genre worked for non converts mainly due to their conviction to the material as well as the ridiculously skilled musicianship. Keyboard and guitar solo tradeoffs and harmonies in this track were brief but impressive to see done live.
Another new track was aired with ‘Sacrimony [Angel Of Afterlife]’ that contained the usual pomp and bounce into a brooding verse and resonant chorus with deft use of key change modulations. Soon enough, Thomas addressed the crowd stating that a return tour is probable before a keyboard solo section took place. It was a mini recital in a way with classically flavoured with flourishes jumping intervals to high end trills with dramatic bass chords and then some amusing soundtrack material. The main set was then closed with the crowd rousing song of ‘Forever’ that included heavier sections plus a call and response part to the audience using the chorus melody line.
The opening part of the encore then made the minor error of including a bass solo straight out of the 80’s with tapping, a basic rhythm part, some finger picking and slapping. The playing was fine but it was jarring in the flow of things. Fortunately, the monstrous ‘Karma’ ploughed into another exotic sounding gallop and a tasty wah pedal effected outro guitar solo for good measure. A military style drum roll introduced the final track ‘March Of Mephisto’ with the stage immersed in red lighting. It was a dramatic song complete with the front man and backing vocals duet adding theatrics to the lyrics and with the latter in yet another costume change. All up, Kamelot fans were overjoyed by the ninety minute set and floated away happily into the ether like a symphonic vocal. Kamelot are well worth seeing in a live setting and do the material that their genre demands far better than most contemporaries.
Setlist:
Rule The World
Ghost Opera
The Great Pandemonium
Veritas
Centre Of The Universe
The Human Stain
Song For Jolee
Drum Solo
When The Lights Are Down
Sacrimony (Angel Of Afterlife)
Eden Echo
Keyboard Solo
Forever
Bass Solo
Karma
March of Mephisto.