The first time I saw OPETH live was in 2001 at the Academy 3, to a small but appreciative audience of a hundred or so rock cognoscenti who nodded thoughtfully at the band’s complex blend of death metal and prog-style time changes mixed with interludes of pastoral delicacy. Tonight, years of hard work and drooling critical acclaim have finally translated into bodies at gigs, and the far larger Academy 2 is heaving, having sold out weeks ago. The boisterous results are consequently a little odd to those used to the reverential air of old.
Football-style chanting of the band’s name precedes their entrance, and as they take the stage and break into the phenomenal Deliverance a hefty sized mosh-pit erupts. Following this, genial frontman Mikael Akerfeldt mentions that they are going to play one of their singalong songs – an example of his dry wit, you assume, until they play the lovely, mellow 'In My Time Of Need', and lo and behold the crowd sing along, waving their lighters aloft or clapping their hands in the air. Stood there somewhat aghast at this, I realise I have inadvertently become one of those tiresome people who moan about how things were better when the band were less successful. In years gone by, doubtless the band were wishing that audiences would spend a little less time nodding and admiring chord shapes, and move about a bit more. Whatever, there’s an undeniable feel of a band finally having crossed over out of cultdom, and it’s thoroughly deserved.
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With their penchant for songs over 10 minutes length, there isn’t too much room for manoeuvre with the set-list, although they nevertheless drop in couple of rare gems in the form of Still Life’s 'Face of Melinda' and the awesome title track of 'Blackwater Park' – never before played in this country – as well as equally deliriously received newies from their predictably excellent latest album 'Ghost Reveries'. Stand-in drummer Martin Axelrod does a commendable job with the dizzying arrangements, although his style is bluntly straightforward in comparison with the mixture of jazzy filigree and thunderous double bass drums favoured by the absent, ailing Martin Lopez.
A never less than brilliant band both live and on record, it’s nice to see musical justice being done. Best kept secrets may be fine for snob value, but greatness deserves to be experienced by everyone.
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