Theatricality has been at the heart of rock and metal from its very beginnings. From Ozzy's bat-beheading antics, to Maiden's notoriously epic stage productions and from Alice Cooper's shock rock through to Creeper's vampire rock opera aesthetics, and Ice Nine Kills's horror movie indebted on-stage bloodbaths, the spectacle has become as much a part of live shows as the music. Over the past few years, few bands have honed their stagecraft to such lofty heights as Sabaton, putting them right up there with countrymen Amon Amarth for sheer visual wonder and intensity. Tonight sees the Falun boys bring their power metal war machine to Nottingham as part of the European tour to celebrate newest album Legends. We're promised many surprises along the way and, boy, are they about to deliver on that promise. Given that the UK leg of the tour only comprises three dates and Sabaton don't tend to hit these shores that often, it's a surprise that it's not quite sold out. Still, there's much to see before the main event, at least once we've negotiated the queue of people who seem to view lining up for merch as a marathon and not a sprint.
Only a band with the gall, nay the gumption, nay the absolute balls, of Sabaton would pick an orchestra as a support act and, not only that, have said orchestra play an hour long set of Sabaton songs, to get the crowd in the mood. That, however, is exactly what we get from THE LEGENDARY ORCHESTRA. Formed especially for this tour by Sabaton bassist Per Sundstrom, they comprise a full orchestra, backed by a choir, and held together by soloists Mia Asano (violin) and Patty Gurdy (hurdy-gurdy). Conductor, operatic vocalist and Scardust frontwoman Noa Gruman presides over everything. It's a spectacular opening. A thunderous Ghost Division leads into a threatening and ethereal Bismarck and the crowd are hooked. Blistering solos abound and the backing choir, draped in robes, elevate the songs to new heights. There's a new dimension and depth to the songs and, for the next hour, we're treated to Sabaton performed in a way you'd never expect. The Unkillable Soldier is a particular rip-roaring highlight. Throughout, Noa's soaring vocals blend in perfectly with the backing troupe. The backdrop of a giant castle set, soundtracked by rampaging strings and propulsive double percussion, gives the feel of a Viking rave at a Traitors wrap party. To say the reception is rapturous is undercutting it. The final notes of Swedish Pagans ring silent and the orchestra bid their farewells to cacophonous applause. It's a perfect amuse bouche for what's to come. All (yes, all) metal bands should perform with an orchestra. It's an elevating and uplifting experience.
SABATON haven't made it 26 years into their careers without having a USP. In their case, power metal songs about military history puts them at a level of scope and ambition only really rivalled by Iron Maiden. Clearly, frontman Joakim Broden, and his bandmates, have been taking copious notes from Bruce and the boys. Sabaton shows are always a combination of metal show and history lesson and things here kick off with what comes across as an historical comedy show. Actors cosplaying as Napoleon, Genghis Khan, and Julius Caesar introduce the theme of the current album. Legends chronicles the exploits of famous leaders and commanders from across time. The three characters argue about their respective legacies before Caesar is murdered. So far, so slapstick and so Sabaton. Despite the serious nature of some of the events their songs cover, they can never be accused of taking themselves too seriously. The crowd obviously get the joke. Napoleon (whose accent seems to have been cribbed from reruns of 'Allo 'Allo) is booed every time he speaks. Eventually, the on-stage banter is interrupted by a member of the Knights Templar who, it must be said, does look like he's taken the evening off from guarding the Holy Grail, and then the band arrive, jumping straight into album opener Templars. A rambunctious The Last Stand follows, before our three stage characters return, this time one by one, to introduce the respective tracks about them from the new record. The stop-start nature of the opening to the set doesn't go down well with all of those present but the majority are thoroughly immersed.
Such is the breadth of material at their disposal, it's not too difficult for Sabaton to throw together a set of bonafide bangers and that's exactly what the rest of the evening entails. The fact that they're able to do so without repeating any of the songs from the support set tells you all you need to know. The band are on imperious form, steered and commanded by Joakim. The stage show is something to behold. We're treated to mock cannons, sparks, explosions, gunfire that makes everyone collectively cack themselves during Stormtroopers, fire, drum solos, plenty of onstage banter, more fire, Joakim in the crowd, in a gas mask, shooting mock gas, during a particularly harrowing and menacing The Attack of the Dead Men, and, somehow, more fire. Indeed, the sheer volume of pyro would suggest that someone in Sabaton's crew has Parkway Drive on speed dial. The temperature of the room has risen several degrees before we're even halfway through. This is more than a metal gig. Throughout, there are periodic voiceovers detailing the horrors of war. Which in itself gets to the crux of the message behind Sabaton's songs. Behind every battle, every war, every skirmish and every leader, there are genuine human stories. The fact that Sabaton can bring these to life in such a way that the power of the songs doesn't diminish the impact of the tales they tell, is a testament to how hard they've worked on this vision. In and amongst the visual spectacle, they're still not done surprising us. The Legendary Choir, and Noa herself, return for the second half of the set, taking their place on the battlements of the castle, next to the drum riser, to lend yet more theatricality, in case that well was in danger of running dry. Positioned so as to look out across proceedings, they carry an air of harbingers of doom. Their presence enhances and envelopes, the perfect complement to Joakim's harsh, gritty vocals.
It being December, we're even treated to a Christmas song. A mesmeric version of The Christmas Truce almost peels back the layers of time. Similarly, Night Witches is a thunderous summoning of death from above. The frenzied stomp of Primo Victoria tramples all before it. It's worth mentioning that pulling off a show of this scale and complexity would not be possible without the musicianship on display. Drummer Hannes van Dahl (AKA, Mr. Floor Jansen) is a whirlwind of limbs and precision. He might be the youngest member of the band but he attacks his kit like he's been here from the very beginning, leading to the obligatory mid-set drum solo. Chris Rorland and Thobbe Englund, with their Maiden-aping twin leads, are locked in like they're two heads of the same beast, whilst Per Sundstrom's basslines throb effortlessly underneath. Joakim runs around like a man possessed, his gruff delivery perfectly suiting the urgency and poignancy of the songs. In short, this is a band who have not only taken an idea and run with it, but dialled it up to the nth degree into an all-conquering, earth-scorching, tank-flattening metal machine. The whistle intro for To Hell and Back gets the biggest cheer of the night in a crowded field. Masters of the World brings things to a climax with a wall of fire and an explosion of confetti from the rafters. This is more than a job well done. This is a barnstorming, demolition job well done. When Maiden eventually call it a day, a sizable door will open for a band who can turn a gig into a spectacle and make every show an event in itself. Don't be surprised if Sabaton are knocking that door down.
Sabaton Setlist
Templars
The Last Stand
Hordes of Khan
I, Emperor
Crossing the Rubicon
Carolus Rex (Swedish version)
The Red Baron
Stormtroopers
Drum Solo
A Tiger Among Dragons
The Christmas Truce
Soldier of Heaven
The Attack of the Dead Men
Night Witches
Primo Victoria
Steel Commanders
The Art of War
To Hell and Back
Masters of the World
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