Review & Photography by Manny Manson for MPM
Over the years I’ve been lucky enough to catch Apocalyptica on more than one occasion. The latest being when they toured “Cell-0” in 2020 on a Co-headline tour with Simone Simmons and the Symphonic Rock band EPICA.
If you’ve never had the experience of “Apocalyptica”, you’re certainly missing out on one of the most ground-breaking acts to ever emerge from the Nordic metal scene. Formed in Helsinki, Finland in 1993, Apocalyptica turned the heavy music world upside down by blending their classical cello roots with the fury of metal. For three decades, they’ve defied expectations, refusing to fit neatly into any box. Their unique blend of classical elegance, metal grit, and fearless experimentation has earned them a place at the high alter of modern rock’s most influential bands.
Up first though we have THE RAVEN AGE. A band helping to smashing down the doors of modern heavy rock with melodic riffs and thunderous energy, “The Raven Age” have firmly proven themselves to be one of the most exciting, new names in British rock/metal today. Since their humble beginnings in 2009, this London-based band has taken the torch from the likes of Iron Maiden (with a family connection we’ll get to) and delivered their own brand of dynamic, hard-hitting, melodic rock to the eagerly awaiting masses.
The Raven Age’s story begins with “George Harris”—yes, the son of legendary Iron Maiden bassist Steve Harris—and guitarist “Dan Wright”, who both, shared a vision to blend intricate melodies with aggressive metal tones. The two began writing together and, by 2013, formed the first official line-up with drummer “Jai Patel”, bassist “Matt Cox”, and vocalist “Michael Burrough”. Their early work was heavily influenced by both the British heavy metal greats and a newer, melodic take on the genre, creating a distinct sound that amalgamated soaring harmonies with punchy riffs.
The Raven Age made their recording debut with a self-titled EP in “2014”, with the now classic tracks “Eye Among the Blind” and “The Death March. “These early releases perfectly sum up their mixture of melodic magnificence and crushing heaviness, there by indicating their road to greatness.
Touring became a key aspect of the band’s rise, and they quickly found themselves supporting none other than “Iron Maiden” on their “2016 ‘The Book of Souls’ tour”, playing to sold-out arenas around the world. Touring with Maiden provided them unparalleled exposure, but The Raven Age made sure they stood out as themselves ang got the support slot on their own merit, despite having a famous Dad. They proved their worth as their live performances were nothing short of ferocious, with Harris’s precision guitar work and Burrough’s commanding stage presence cementing an undeniable chemistry.
2017 saw the release of their highly anticipated debut album, “Darkness Will Rise”. This full-length effort was a bold statement, blending storytelling and atmosphere with relentless aggression. Tracks like “Angel in Disgrace,” “Salem’s Fate,” and the epic “The Dying Embers of Life” further embraced the band’s ability to merge metal’s dark, gothic undertones with a more modern melodic touch.
“Darkness Will Rise” explored topics ranging from personal struggles to historical and fictional tales, much like their predecessors in the NWOBHM (New Wave of British Heavy Metal) movement. The album was well-received, gaining huge critical praise for its technical musicianship and Harris’s blossoming song-writing ability. The apple certainly doesn’t fall far from the tree.
Shortly after their first album release, the band faced a significant line-up change when vocalist Michael Burrough parted ways with the group. In his place came “Matt James”, whose deeper, more aggressive vocal style added an extra, spicey layer of intensity to the band’s sound. This transformation led directly into their sophomore album, “”Conspiracy”“ (“2019”), which marked a pivotal shift in their musical direction.
Released in 2019, “Conspiracy” took the band’s signature melodic sound to new heights. Singles like “Fleur De Lis” (now a staple in the live set) and “Seventh Heaven” displayed a broader range, with soaring choruses, dynamic tempo shifts, and progressive elements thrown into the mix. Other standout tracks, such as “The Day the World Stood Still” (what a film!) and “Betrayal of the Mind,” balanced the gut-punching riffs with catchy, anthemic moments.
New boy, Matt James’ vocals brought a new level of aggression, and the album’s tighter production emphasised both the complexity and the evolving sound. Critics were quick to note that the band had begun to move beyond its earlier influences and establish a newer, stronger identity in the heavy metal scene.
The Raven Age’s success continued to grow as they joined “Killswitch Engage” and “Anthrax” on major tours, as well as headlining their own shows across Europe and North America. By 2020, their relentless touring schedule, infectious live performances, and dedicated fan base positioned them as one of the UK’s most promising metal acts.
Their third album, “”Blood Omen,”“ released in 2023, showed a band more comfortable than ever in their own skin. Featuring standout tracks like “Forgive & Forget”, “Serpent’s Tongue”, and the brooding title track “Blood Omen”, this record is the latest result of years of perfecting their craft. The band has seemingly refined their approach, focused on more impactful song-writing without losing the melodic flourishes and technical prowess that originally brought them too fore. The album also marked a thematic shift, with darker, more introspective lyrics dealing with personal trauma and social upheaval.
The singles “Parasite” and “Nostradamus” see the band delving deeper into progressive and experimental territories while maintaining their core melodic foundations, in doing so it once again proved the bands worth in today’s modern metal genre.
The Current 2024 Line-up:
As of 2024, The Raven Age continues to dominate the scene with a powerful line-up:
– “George Harris” on guitar, who remains the driving force behind the band’s intricate, riff-laden sound.
– “Matt James” on vocals, whose dynamic range has become a hallmark of the band’s sound.
– “Matt Cox”, still holding down the rhythm on bass, providing the heavy, thunderous foundation.
– “Jai Patel”, their original drummer, who has returned after a brief hiatus, re-energizing the band’s live performances with his precision drumming.
– “Tommy Gentry”, a new addition on rhythm guitar, who brings fresh energy and technical skill to their already formidable live shows.
Over the years The Raven Age have grown in reputation, proving themselves as one of the defining modern metal bands of the new generation. Their ability to evolve, both musically and line-up-wise, has kept them relevant while expanding their sound and reach.
As they embark on a world tour in support of their latest offering, “Blood Omen”, one thing is clear: The Raven Age are flying higher than ever, and the future, well it looks incredibly bright for these British metal titans. Get ready, because they’re only just getting started. And tonight, they are on show 3 as they support the Finnish giants Apocalyptica on their “Plays Metallica – Vol2” UK tour.
THE RAVEN AGE at ROCK CITY 4th October 2024
“Rock City, Nottingham”—a venue that is steeped in pop, punk, rock and heavy metal lore—was already buzzing hours before the doors opened. The queue of metalheads snaked around the block, an ocean of patched-up battle jackets and “The Raven Age” tour tees proudly on display, with eager fans talking about tonight’s opening act as much as the headliner, “Apocalyptica”. There’s a sense of anticipation in the crisp night air, and as the doors finally swing open, the legendary Rock City fills up quickly.
By the time the house lights drop, a fog cloaks the stage in a sinister haze, setting the mood for the impending onslaught. Then, as if summoned by some dark force, under the dim lights the band take to the stage, and quickly, the opening riffs of “Serpent’s Tongue” cut through the hazy atmosphere, and The Raven Age explodes into action.
The ominous lead riff of “Serpent’s Tongue” slithers out of George Harris’s guitar like a venomous creature, met by a synchronised roar from the audience. Frontman “Matt James” stalks the stage like a man possessed, clad in a long, dark ‘duster’ jacket, his raspy growl getting the crowd’s immediate attention. The relentless drums from “Jai Patel” drive the song’s frantic pace, while “Matt Cox’s” bass rattles the very foundations of the venue. The melodic interplay between Harris and “Tommy Gentry”, their newest addition on guitar, his half-shaved head and long white locks, helping set the tone for what’s to come—an intricately crafted set that balances melody with sheer brute force. James beckons the crowd to raise their horns, and by the second chorus, the entire floor is moving in unison. The night is off to a roaring start.
With barely a moment to catch their breath, the band rips into their latest single, “Nostradamus”, which has been lighting up their recent live shows. The gothic undercurrent of the song is enhanced by the dark, flickering lighting—bright reds and moody purples pulsating to the rhythm of the track. James throws his all into the towering chorus, and the crowd echoes it back at him with near-religious fervour. It’s clear that this track, still fresh off the release of their 2023 album “Blood Omen”, is already becoming a fan favourite.
“Nottingham, we need to see more movement!” Matt shouts, his voice booming over the breakdown. The crowd obliges, a pit forming in the centre, feeding off the frantic pace and infectious energy.
The battlefield that is “No Man’s Land” follows, and it’s here that the band display their ability to shift between intense aggression and melodic beauty. The haunting intro riff is accompanied by dim, lights that cast a spectral glow over the crowd. This mid-set anthem delivers soaring hooks, and James’ vocals are on full display, gliding from clean melodies into powerful screams with consummate ease. The Raven Age’s onstage chemistry is undeniable—Harris and Gentry’s twin-guitar harmonies are razor-sharp, while Cox’s thunderous bass lines lay the underpinnings to the song’s atmospheric depth. The audience sways and shouts along to the anthemic chorus, fists raised in defiance as the band immerses them in a sonic battlefield, there is a very partisan crowd in tonight and they want to be heard.
As soon as the first notes of “The Day the World Stood Still“ ring out, a rumble of excitement spreads across the room. This, another fan-favourite from their ”Conspiracy” album is met with an explosion of cheers. The lights flicker dramatically in time with the relentless rhythm, plunging the venue into chaos as the band delivers a precise, crushing performance. Ever smiling Patel’s drumming is especially monstrous here, each snare hit like a gunshot, while Harris unleashes a blistering solo that leaves the crowd with smiles on their faces.
James takes a moment to address the crowd: “Nottingham, we’ve missed you! Let’s make this night one to remember.” The some of the fans respond by chanting the band’s name, their voices a powerful tribute from the fans The Raven Age has built over the years.
Slowing things down for a moment of respite, “The Journey” transports the crowd to a more self- reflecting space. The stage is awash in soft, golden light, and a sense of calm sweeps through the room. This ballad-esque track is an example of the band’s ability to pen evocative and emotional music. Then, James’ clean vocals soar, filling every corner of Rock City with an air of melancholy and hope, while the guitars continue to weave a web of succinct, soulful harmonies. Hands rise in the air as the crowd seemingly sway in time with the music, a sea of phone lights ( it would have been lighters back in the day ), illuminating the scene. It’s a stunning moment of fan unity.
Just as quickly, the energy shifts back to a heavier mode as “Essence of Time“ kicks in with its massive riffs and relentless pace. The band’s trademark blend of melody and aggression is back in spades, as is perfectly demonstrated once again with the rhythm section providing a driving force that has the crowd, light in their loafers, as they start bouncing again. Harris’ guitar work takes centre stage, his intricate solos slicing through the thick air, while the pounding drums slam into everyone’s’ chest with the aggressive regularity of Vinnie Jones doing chest compressions!
As the haunting melody of “Grave of the Fireflies“ begins, the mood becomes sombre, yet fiercely intense. The track builds like a funeral march, with its dark, brooding atmosphere filling the venue. A wave of emotion crashes over the crowd as James delivers one of his most visceral performances of the night, spitting his vocals out with venomous intent. The brooding lightwork—deep reds and smoky shadows—heightens the song’s tragic energy, as Harris and Gentry’s twin guitars add to the haunting melodic backdrop. There’s a sense of catharsis in the room, with some fans singing along to the heartfelt chorus, their voices raw with emotion as they cry out over the wall of sound engulfing the room.
The set comes to an epic close with the predictable “Fleur de Lis,” no The Raven Age set is complete without this banger of a tune. This is the band’s undisputed anthem. The opening riff is met with a deafening roar, and the room is transformed into a bouncing sea of bodies The heavy, galloping rhythm charges forward like a stampede, while the crowd chants every word back at James, their collective energy at an all-time high they have been building up to this one. Spotlights sweep across the stage as the band delivers this, a jaw-dropping finale, Harris and Gentry trading solos with precision, while Cox and Patel hammer out the earth-shaking rhythm. And as the final note rings out, the band stands triumphantly before their roaring audience.
The Raven Age have delivered a performance worthy of headlining any night, proving they have arrived, guns a blazing, into the upper echelons of the heavy metal world. If tonight was anything to go by, they’re ready to take on bigger stages, Let the apocalypse wait—tonight, The Raven Age reigned supreme.
As the stage is cleared for Apocalyptica I though it wise to include something about the band and their meteoric rise to being one of the most influential modern ‘classical’ bands out there. Here goes:-
Apocalyptica’s journey began at the prestigious “Sibelius Academy” in Helsinki, where founding members “Eicca Toppinen”, “Paavo Lötjönen”, “Antero Manninen”, and “Max Lilja” honed their classical craft on the cello. Their love of heavy metal—especially Metallica—led to the creation of something the world had never seen before: classical cellists covering metal. After playing Metallica covers in small Finnish clubs, they soon gained attention for their unlikely fusion of genres. And in 1996, they released their now-iconic debut album, “Plays Metallica by Four Cellos”.
The album was a revelation. Taking on Metallica classics like “Enter Sandman” and “Creeping Death,” Apocalyptica completely transformed these songs, the cellos brought a haunting, almost ethereal depth to the familiar metal riffs, stripping away the distortion but maintaining all the aggression and intensity of the originals. This was metal reimagined, and it struck a chord with fans across the globe, almost overnight Apocalyptica became one of the most innovative acts in the genre.
Though Apocalyptica’s early success was rooted in their Metallica covers, it was clear that this band had a lot more to offer than just classical reinterpretations of metal songs. “Inquisition Symphony” (1998) saw the group introducing their own original material for the first time, alongside more covers of metal heavyweights like “Pantera” and “Sepultura”. Their sound was growing darker and more aggressive, as they explored the vast emotional range of their cellos.
By 2000’s “Cult”, Apocalyptica had fully embraced their identity as composers. This album featured mostly original compositions and saw the band experimenting with even heavier, more complex arrangements, blending melancholy with metal fury. Tracks like “Path” and “Hope” demonstrated their talent for creating intricate, sweeping melodies within a framework of powerful riffs. At this point, it was clear: Apocalyptica wasn’t just a novelty act—they were legitimate metal musicians with a voice all their own.
With “Max Lilja” departing in 2002, the band evolved again, bringing on powerhouse drummer “Mikko Kaakkuriniemi” in 2005. His addition brought an even heavier edge to their sound. “Reflections” (2003) marked a darker, more aggressive direction, but it was “Apocalyptica” (2005) that pushed them into the mainstream. Collaborating with artists like “Ville Valo” (HIM) and “Lauri Ylönen” (The Rasmus), they proved they could ‘compose’ not only instrumental epics but also hit singles with a broader rock appeal.
Their international breakthrough came with “Worlds Collide” (2007), featuring an impressive list of guest vocalists including “Corey Taylor” (Slipknot/Stone Sour), “Cristina Scabbia” (Lacuna Coil), and “Till Lindemann” (Rammstein). This record saw Apocalyptica pushing the limits of what their sound could achieve—combining their classical mastery with full-blown metal anthems.
In 2016, to celebrate the 20th anniversary of their breakthrough debut, Apocalyptica revisited their roots with a remastered version of “Plays Metallica by Four Cellos”, followed by a worldwide tour that rekindled fans’ love for their ground-breaking interpretations of Metallica. The tour was so well-received that it inspired them to record a sequel: “Plays Metallica – Vol. 2”, released in 2024.
With “Vol. 2”, Apocalyptica expanded their repertoire of Metallica covers, taking on later classics such as “The Unforgiven,” “Battery,” and the more complex “Wherever I May Roam.” Once again, they managed to distil the essence of Metallica’s aggressive power into their string arrangements, proving their approach was not a gimmick but a genuinely artistic reinterpretation of metal. This album has reaffirmed their mastery of blending classical music’s emotive depth with the raw intensity of thrash.
Apocalyptica’s sound is born from the unlikely marriage of classical and metal, with their primary influences spanning a wide range of genres. Their classical training grounds them in the works of composers like “Shostakovich”, “Beethoven”, and “Sibelius”, while their love for metal is rooted in legends like “Metallica”, “Slayer”, “Sepultura”, and “Pantera”. What sets Apocalyptica apart is how they’ve never sacrificed the essence of either genre—they’ve found a way to integrate the technical precision and emotive depth of classical music with the visceral power and aggression of heavy metal.
Their collaborations with metal vocalists have allowed them to explore different facets of the genre, from the grunge-laden growl of Corey Taylor to the gothic overtones of Ville Valo. Yet at their core, Apocalyptica remains committed to pushing their instruments beyond traditional boundaries, creating a soundscape that is both ethereal and crushing.
One of the most remarkable aspects of Apocalyptica is their ability to bring together audiences from vastly different musical backgrounds. At an Apocalyptica show, you’re just as likely to find battle vest-wearing metalheads as you are classical music aficionados. Their live performances are nothing short of spectacular—just imagine the intensity of a metal concert, but with the stunning, precise beauty of a classical ensemble.
The band’s dynamic stage presence is enhanced by the sight of headbanging cellists tearing into their instruments with a level of aggression that rivals any metal guitarist. Latest drummer, Mikko Kaakkuriniemi thunderous drumming adds a layer of heaviness that gets the crowd moshing, while the haunting beauty of the cellos captures the more meditative aspects of the music. Their concerts are a communal experience, the raw power of metal with the emotional gravitas of classical music, are the ingredients that appealing to a broad spectrum of fans.
Three decades in, Apocalyptica’s legacy continues to grow. They’ve succeeded not only in creating a subgenre of their own—“symphonic cello metal,” perhaps—but also in crossing musical boundaries in a way few other bands have. Whether they’re delivering crushing, riff-laden metal epics or delicate, heart-wrenching melodies, Apocalyptica have always shown their ability to evolve while staying honest and true to their roots and themselves, thereby ensuring that they’ll continue to inspire and innovate for years to come.
From their classical beginnings to their role as metal pioneers, Apocalyptica has shown us, yet again, that music truly knows no limits. And with “Plays Metallica – Vol. 2”, they’ve given us a nudge to remind us just how thrilling their boundary-breaking sound is!
And now onto the gig!
APOCALYPTICA at ROCK CITY 4th October 2024
Tonight, was a night where classical music meets thrash metal, “Apocalyptica” bring their much-anticipated “Plays Metallica Vol. 2“ tour to a sold-out crowd at “Rock City”, and, as expected, the moment the first note hit, it was very obvious to all that this would be no ordinary Friday night gig. As the backlit stage filled with thick white smoke, an eerie silence fell over the venue. The tension grew, anticipation buzzing through the air. Then, from the mist, the silhouette of a cello could be seen, and the unmistakable intro to “Ride the Lightning” began sending a shockwave of distorted notes flooding through the room.
Opening with the title track from Metallica’s 1984 sophomore album, “Ride The Lightning” (from “Ride the Lightning”, 1984). Apocalyptica launched the night with a Thunderous Energic fury. The cellos were instantly transformed from their classical roots into weapons of pure metal destruction, each bow stroke cutting through the haze like lightning itself. The crowd erupted, some even headbanging along to the cellists who were, now, completely immersed in the chaos of thrashing strings. The band continued to attack their instruments with such aggression it was easy to forget these were classical players—until the harmonies kicked in, reminding everyone just how unique Apocalyptica’s blend of metal and symphonic skill truly is.
The booming intro riff morphed into fast, fluid bow work from “Eicca Toppinen” and “Perttu Kivilaakso”, their heads whipping back and forth in sync with the rhythm, while “Mikko Kaakkuriniemi” behind the drums provided a pounding heartbeat that shook the room to its core. As the last notes of “Ride the Lightning” echoed away, the unmistakable lullaby riff of “Enter Sandman”, (from “Metallica”, 1991) crept through the speakers. The lights dimmed, and shadows danced across the band as smoke rolled in waves over the stage, turning Rock City into a brooding dreamscape. The crowd roared, everyone chanting along with the iconic riff that has been a staple in metal for decades.
Apocalyptica’s take on the song retained all the haunting dread of Metallica’s original, but the cellos brought an additional layer of dark beauty. Toppinen’s wah-wah pedal sprang into life here, bending notes in ways that sent chills down the spine, while Kivilaakso leaned into the heavy chords, thrashing his instrument with relentless intensity. Every time the breakdown hit, the crowd threw their fists in the air, and along with myself we howled along to every “Exit light, enter night.”
The intensity continued to ramp up as the band tore into “Creeping Death,” another from “Ride the Lightning” classic. The blanket of fog engulfed the stage as the opening riff exploded, Apocalyptica’s cellos mimicking the crunch of guitars with precision. The stage lights flickered between icy blue and fiery red, helping to capture the war-like atmosphere of the song’s biblical, anthemic theme. The thrumming of the cello bows was ferocious, while Kaakkuriniemi’s drumming hit harder than a sledgehammer, each beat sending tsunami-like, shockwaves through the crowd. At the infamous chant of “Die! Die! Die!”, the entire venue erupted, with hundreds of voices screaming along as the band headbanged. It was one of those moments of pure catharsis, both raw and primal.
The haunting chimes of “For Whom the Bell Tolls”, (another from “Ride the Lightning”, 1984), echoes across the room, the stage bathed in cold, blue light. Toppinen and Kivilaakso slowed the pace but added weight with each slow, deliberate bow stroke. The crowd were in awe, as the cellos wailed in unison, turning Cliff Burton’s iconic bass lines into haunting string arrangements. As the song reached its powerful crescendo, the pounding rhythm from Kaakkuriniemi’s drums giving the track an almost tribal feel, a war march into oblivion. Heads were banging, held captive by the sheer emotional force of the devastating performance.
Any brief reprieve was obliterated when the band erupted into the blistering intro of “Battery“ from “Master of Puppets” (1986). The cellos were being shredded with furious precision, their bows flying across the strings at breakneck speed. The entire stage was once again bathed in flickering red and white lights, perfectly timed to the furious tempo, as the crowd enjoyed this, another full-throttle frenzy. The rapid down-picking on the cellos, combined with Kaakkuriniemi’s double-kick drumming, make it feel like a classical thrash assault. Apocalyptica’s take on this thrash anthem proved they could bring as much fire and fury as any guitar-laden version out there.
As “The Call of Ktulu” begins, the lights shifted to a swirling mix, creating yet another perfect backdrop for this eerie, instrumental masterpiece. Apocalyptica’s take on this song was nothing short of epic, the cellos mimicking the sinister tones of Metallica’s version but with an added level of depth. The cello harmonies were haunting, summoning a foreboding sense of doom as they built the song’s swirling momentum. The entire crowd was hypnotized, swaying with the slow, menacing rhythm, while the cellists worked their bows like magicians casting spells.
With a jarring shift in tone, the band launched into the divisive “St. Anger.” (from “St. Anger”, 2003), Apocalyptica’s version stripped away the clunky production of the original and instead brought a tight, brutal edge to the track. The repetitive, chugging riffs were hammered out with ferocity, the cellos sounding almost as abrasive as the guitars on the original recording. Kaakkuriniemi’s drumming on this track was particularly intense, each snare hit resonating like a gunshot through Rock City. Despite the song’s polarizing reputation, the crowd reacted with sheer enthusiasm, singing along to every line with vim and vigour.
Few songs can deliver the same slow and heavy, bone-crushing weight as “Sad But True,“ (from “Metallica”, 1991) and Apocalyptica, again take full advantage of its groove-laden power. With cellos tuned to the lowest possible register, the intro riff sounded monstrous, sending shockwaves through Rock City. Kivilaakso hammered his cello with brutal precision, each bow stroke thundering out across the venue as the band headbanged in unison with the crowd. The slow, grinding tempo gave the entire performance a ritualistic feel, and when the chorus hit, the entire venue was a sea of fists pumping to the groove. This was Apocalyptica at their heaviest and most punishing.
The cellos turned into stampeding horses for the Galloping fury of “The Four Horsemen,” as the band ripped through this thrash classic from Metallica’s debut “Kill ‘Em All” (1983). The frenetic pace whipped the crowd into a frenzy, the crowd surging as the band unleashed a whirlwind of furious riffs. The bow work on this song was particularly frenetic, as the cellists pulled off rapid-fire melodies with all the intensity of guitar shredders. The song’s galloping rhythm and complex time shifts were flawlessly executed, as the band thundered through every tempo change with razor-sharp precision.
When Apocalyptica launched into “Blackened,” (from “…And Justice for All”, 1988), it was pure thrashing chaos. The strobes blazed as the bows flew at an insane speed, thus creating a whirlwind of sound and fury. The crowd were once again, thrown into a maelstrom of energy as they banged their heads and screamed along with the violent rhythm. Kaakkuriniemi’s drumming is explosive, keeping up with the intense thrash energy of Lars Ulrich’s original timekeeping to the song, while the cellos bring the intricate melodies to life with vigorous, ferocious passion.
The opening notes of the Symphonic Masterpiece “Master of Puppets” sent the crowd into a frenzy, the cellos perfectly replicating the legendary riffs of one of metal’s most iconic tracks, (from “Master of Puppets”, 1986). The harmonies are nothing short of breath-taking, as the band perform the complex song with surgical precision. The mid-song breakdown being a headbanging utopia, the band and crowd alike thrashing in unison to the colossal riffs. The call-and-response between cellos during the solos was simply mesmerising, each player displaying virtuoso skill while maintaining the very raw, visceral energy of the 1986 original.
A kinda hush fell over the room as the haunting intro to “Nothing Else Matters” begins. The cello harmonies were delicate and beautiful, Emotive and elegant, transforming this power ballad from “Metallica” (1991), into a sweeping orchestral piece. The emotion in the room was intense, with swaying in the crowd and many fans singing along, their voices a soft accompaniment to the music. This was Apocalyptica at their most elegant, every note dripping with emotion and sincerity. It was a powerful another reminder of the band’s ability to create beauty in the midst of heaviness through their classical roots.
The unleashing of the bestial aggression returned tenfold as the band tore into “Seek & Destroy,” from “Kill ‘Em All”, 1983) .The cellos roaring like chained beasts, attacking the song’s main riff with a relentless fury. Kaakkuriniemi’s drumming was once again an explosive force, driving the song forward as the crowd, again came alive with a feverish energy, this time screaming the chorus back at the band, fists in the air as they shouted, “Seek and destroy!” It was the rallying cry, a ferocious call to arms as the night neared its end.
Apocalyptica finished the night with a monumental eight-minute performance of “One.” (from “…And Justice for All”, 1988) This was the perfect finale, the opening clean riff being played with haunting precision, the delicate cello work resonating through the smoke-filled air. As the song built to its climax, the band unleashed everything they had, the heavy riffs crashing down like a tidal wave. The inclusion of “James Hetfield’s” recorded narration sounding out over the playing, added a layer of authenticity, making the performance even more poignant. By the time the final, machine-gun riff hit, the entire venue was shaking. Lights flashed in time with the relentless double-kick drumming, and the crowd were lost in the music, completely overwhelmed by the raw power of Apocalyptica.
As the last note rang out, the band stood before their audience, cellos held high in victory. Apocalyptica had yet again, delivered an unforgettable night, turning Metallica’s classics into something entirely their own—yet every bit as powerful and memorable .
