SABATON – The Tour to End All Tours Film
Ziggo Dome, Amsterdam
Score: 4 ½ / 5
Swedish power metal band Sabaton, have played many successful festival and headlines shows throughout the world. Given the roaring success of their tenth studio album from 2022, The War to End All Wars, which was a concept album sequel to their 2019 release The Great War, together with their over-the-top stage production, a live film made sense. The concert film of this sold-out show, which was part of their 2023 European tour, was filmed at Amsterdam’s colossal Ziggo Dome, in front of a huge crowd of around 16 thousand people, and will be screening across 650 odd cinema screens, with a staggering global coverage of 25 territories. It allows fans to witness their massive stage show in all its glory, as opposed to the sheer logistics limiting stripped back tours we’ve had in the past.
Both the commercial reception of the tenth album internationally, and the energetic live show production decked out with literally truckloads of staging, pyrotechnics, and theatrics that embellish their songs based on real-life historical war events, cements their reputation as one the best and biggest bands in the genre. Whilst their style might be an acquired taste for some, there is no denying the phenomenal stagecraft, and finely honed musicianship, that is tightly rehearsed and delivered here with a sense of passion and purpose.
Some of the tracks commence with History Edition introductions of the last two releases, from narrator Bethan Dixon Bate, which when combined with some acting and costumes, has mixed results but overall, it is done respectfully to the topics and gives the extraordinary vignettes from various theatres of war some impetus. There is not a lot of glorification of warfare within this music as there many tales of common soldiers overcoming the futility and madness of war with enlightening acts of bravery.
The first live track preformed is “Ghost Division” from The Art of War and sees drummer Hannes Van Dahl smashing away at this drum kit which is perched within the turret of a stage mounted tank, with the main gun barrel pointed towards the audience. Rising stage platforms, flank either side of the tank, as do front stage platforms, with a centre stage raised platform, various staircases, with sandbags and barbed wire aplenty, adding to the overall feel of Sabaton’s works.
Recognisable vocalist Joakim Brodén, in his signature metal plated six pack vest, commands the stage, and is ably assisted by solid backing vocals from all band members. During “Bismark”, guitarists Tommy Johannson and Chris Rörland work together as the pace quickens to allow Johannson to unleash some tasty, melodic guitar soloing. Bassist Pär Sundström is also audible in a truly great mix, which is likely to add to the fantastic cinematic experience. Throughout this, and other tracks, there is a sense of camaraderie between the band members at they move around the stage, make fun of each other and engage in hijinks such as sticking plectrums to Brodén’s head.
Visuals are shot crisply, and edited with a pace that fits the songs, and the lighting is spectacular, enhancing the old stage tricks of smoke machines, mix with drum accent pyro bursts. The stage backdrop is also of interest as it seems to vary between existing sone specific Sabaton video content alongside close-ups of band members in full flight, as it were. The overall sound mix is impeccable, with all instruments clear, and with their relevant parts played well, in time, and with, pardon the pun, military precision.
“The Last Stand” sees both guitarists atop side platforms, and by the time “Into the Fire” rolls around, there is plenty of twin guitar harmony, audience handclaps, fighter bomber visuals, and some jovial interaction from Brodén. The Swedish version of “Carolus Rex” sees the band, sans drummer, all don long regal coats, and even in Swedish, that time honoured song structure technique known as the key change is executed flawlessly.
“Winged Hussars” from The Last Stand gets a riotous reception, with some initially slower melodic soloing from Rörland, and some sustained vocal power from Brodén. It is swiftly followed by “Sarajevo” from The War to End All Wars, whereby a slower breakdown section gives the chorus reprise more powerful delivery. It also lets Johannson engage in some brief guitar acrobatics. The subsequent track, “Stormtroopers” also from The War to End All Wars benefits from the use of stage prop flame throwers wielded by stage actors in costume to add gravitas to the Sabaton delivery. Again, Johannson solos with neoclassical speed, and adds plenty of flashing finger tapping runs, as Brodén ends the track by firing a shotgun strapped to his back for most of the song into the side platform, no doubt taking out one of the aforementioned German infantrymen. It is all very tongue in cheek and borrows from the same formula that Iron Maiden trots out with Eddie’s pantomime stage invasions.
A solid rendition of Motörhead’s “1916” is done respectfully, and without silliness, as a drum major leads the track, with the lighting providing a suitable black and white flair, that only takes on coloured lighting at the front of stage. It is quite an evocative track and a surprise given both artists musical differences yet commonality in interests in military regalia.
Another highlight is “Soldier of Heaven” from The War to End All Wars, which has that Swedish melodic pop sensibility. The song itself concerns the tragic story of White Friday, whereby induced avalanches wiped out numerous soldiers of the Alpine Front at Italy’s Mount Marmolada in late 1916. Rörland’s solo demonstrates guitar techniques mastery and again, a key change is used to great effect, as the visuals show a sustained image of a crowd member’s raised arm, offering the sign of the horns, aka the malocchio. It might seem a bit cheesy but, in a cinema, with the right audience, it would probably work well.
“Dreadnought”, another track from The War to End All Wars, about the dominating battleships of the era, is a mid-paced marching track. The dramatic instrumentation, backed by Brodén’s keyboard tracks add varying intensity, as do the visuals that again hint at a black and white sensibility. Johannson’s guitar soloing has a melodicism here that is very reminiscent of earlier works of guitar virtuoso Tony MacAlpine. It works well against the keyboard melody lines, with additional pyro effects thrown in for good measure.
Two tracks from The Great War follow, starting with what looks like a dinky triplane being wheeled onstage by a goggles and aviator gear sporting keyboard player, which becomes evident is actually a Hammond organ behind the tri-plane prop, as “The Red Baron” is performed with plentiful crowd singalongs, led by a slightly mischievous Brodén. As the more ominous arrangement of “Father” from Weapons of the Modern Age is performed, Brodén goes to the tank turret to sing, as an actor plays at a chalkboard full of equations, in the process of discovering toxic gases used in warfare. At the stage barrier, crew hand out fake blood covered masks which some may consider a questionable concert souvenir, but the audience embrace the idea and that continues into the somewhat Iron Maiden sounding, twin guitar harmonies of “The Attack of the Dead Men”, with fluid guitar soloing.
Sundström provides some anecdotes on how Sabaton started out playing Amsterdam to fifteen people, and thanks the thousands present for making their dream tour a reality. Closing out their main set, “Christmas Truce” from The War to End All Wars sees the arched steel war memorial moniker of The Tour to End All Tours have the lettering flash green and red in various permutations. Smart phones are held aloft, waving in time, lighting up the entire arena, which is quite an impressive sight, and for cynical viewers, might offer a moment to reflect on the global domination of smart phone technology. Keyboards on stage, actors in uniform, and green and red confetti, adds to the power of a track celebrating a unique moment in 1914 that evidently displeased generals of fighting nations. The gentle piano and vocal driven track demonstrates Sabaton’s song writing skills, with a soaring chorus that laments the folly of conflict, which remains strikingly apt today.
Of course, the encore is suitably over the top, with the galloping power metal of “Primo Victoria” see the guitarists traversing the stage real estate, plus some band hijinks, such as throwing drumsticks to one another, and adding the odd cymbal smash. A call and response audience screaming competition is instigated by Johannson during the mythology drenched tune, “Swedish Pagans”, the second track aired tonight from The Art of War. The silliness is slightly derailed with a drum solo that demonstrates Van Dahl’s drumming skills, reinforcing earlier pre-performance footage where he discusses how a good night flows effortlessly for live performance. Resuming with handclaps and contesting Rörland’s side of the stage for screaming, all three guitarists are soon centre stage, with Sundström in the middle, smiling enthusiastically.
To close the show, “To Hell and Back” from Heroes is delivered with notable energy, with a last final push over the line, as the band completes the fantastic and highly entertaining live set with bombast, pyro, and a dash of crowd surfing. Both guitarists trade their outro final flashes of soloing bursts and once the show completes, “Man of War” plays over the slow-motion credits, much like in the live show as the song plays over the PA.
Sabaton delivers a massive live show, and this live document proves beyond a shadow of doubt that their hard work touring ethic and a mammoth stage production, together with powerful melodies intertwined with remarkable war time stories is a winning formula. More power to them.
Set List:
Ghost Division
Bismarck
The Last Stand
Into the Fire
Carolus Rex [Swedish version]
Winged Hussars
Sarajevo
Stormtroopers
1916 [Motörhead cover]
Soldier of Heaven
Dreadnought
The Red Baron
Father
The Attack of the Dead Men
Christmas Truce
Encore:
Primo Victoria
Swedish Pagans [with drum solo]
To Hell and Back
Man of War [pre-recorded outro track].
Watch the trailer for Sabaton – The Tour To End All Tours: