Seeing Opeth live for the very first time was a dream come true—and catching them at Hollywood’s legendary Palladium kicked it up to a whole new level. Mikael Åkerfeldt and company came out on fire and left nothing but scorched earth in their wake after an incredible 2 ½ hour set for the masses. The performance on Wednesday night was nothing short of brilliant and reaffirms why this band is so highly regarded in the world of progressive music.
I love live music and cannot think of a time when I have not. It’s an amazing diversion from the craziness of everyday life, and helps keep me calm in spite of the constant chaos that seems to attack from all angles these days. That said, there was no way I’d be missing Wednesday’s Opeth show at the Hollywood Palladium, and planned my week accordingly to ensure I was there on time for all the usual festivities. This show was shaping up to be special, and I had a front row seat.
First up on the all-Swedish bill was Graveyard. Formed in 2006, this quartet came out swinging and took no prisoners during their 45-minute set. Although their sound was pure rock and roll, it had a psychedelic twist to it with some bluesy overtones that I really enjoyed. Favorite tracks of the evening were “Uncomfortably Numb” and “The Siren,” but others were just as killer. I dug this band and can’t wait to explore their catalog down the road.
Next up was our headliner for the evening, Opeth. Wrapping up their Spring 2020 In Cauda Venenum tour, the band took the stage shortly after 9PM and put on a progressive clinic for the thousands in attendance. The musicianship of Mikael Åkerfeldt (lead vocals / guitar), Martín Méndez (bass), Martin “Axe” Axenrot (drums), Fredrik Åkesson (guitars), and Joakim Svalberg (keyboards) was beyond reproach, and highlighted why Opeth’s live performances are so well regarded around the world.
While I enjoyed some of their newer tracks such as “Svekets prins” and “Hjärtat vet vad handen gör,” it was Opeth’s older work that captivated me during the set. Songs such as “The Leper Affinity” (off of 2001’s critically acclaimed Blackwater Park) and “The Lotus Eater,” off of their 2008 Watershed release, launched this show into a whole new stratosphere which I thoroughly enjoyed. Opeth wrapped up the evening with an encore composed of two of my all-time favorites, “Sorceress” and “Deliverance.” Both kicked some serious ass and placed an exclamation point on what was already turning out to be a show for the ages.
GRAVEYARD
OPETH
