Review by Gary Spiller for MPM
Just like that and we’re into the final month of 2025, the year is winding towards the inevitable finalities of the beholden calendar. Above, in between brooding clouds, the moon is waxing towards its concluding fullness until the new year whilst all the while, as we enter the darkest weeks nature can assemble, the winter solstice approaches.
In seeking solace from the drab weather and some much-needed fortifying to steel us through the insanity of the season we slip into the fringes of the Cardiff city centre on a Tuesday evening to catch Finnish rockers The Rasmus in action. It’s a night of firsts on a couple of levels; the first occasion The Rasmus have performed in the Welsh capital and additionally the first time we’ve seen them live. Whilst we have no knowledge of the Finns the quartet come very highly recommended, so we’re keen to see what the buzz is all about.
Speaking to the South Wales Argus a couple of week previous vocalist Lauri Ylönen noted “I have a friend who’s from there, it’s a familiar name city, but I don’t think we ever played there. If I’m correct, this is the first time” going on to add “On this tour, we have couple of new places, like, at least first time in Serbia and some other places. And also, you know, some new cities like Cardiff and so it’s, it’s always a special thing.” Over 30 years since forming, whilst in high school, and the passion remains burning just as bright.
The evening’s openers Block of Flats take to the Great Hall stage as the unlikely strains of Don McLean’s ‘American Pie’ echo from the PA. With the gleaming white of Jesse Kataja’s guitar and Kauri Koponen’s bass contrasting sharply with the band’s all-black garb the four-piece set off with exuding a rare confidence for a unit so early in their rock n’ roll infancy.
However, we shouldn’t be too surprised as, after all, this is a band whose vocalist Jonne Nikkilä boldly stated, in an October interview with Amped Magazine, that “We want to get to what we want and that is being the biggest band in the world.” They’re young and energetic to boot and with the rapid-fire punch of opening number ‘Set The World On Fire’ the Cardiff crowd take them to their collective hearts.
With the alt-metal / pop punk blend of ‘Lifeline’ and the buzzsawing ‘I Got Your Back (If You Got Mine)’ a clearly defined furrow is being ploughed and as the set advances I can’t shake some troubling thoughts. I’m clearly at odds with a good percentage of the early doors crowd who are gleefully lapping the Finns’ output, but I’m not wholly convinced with the despatch.
‘Dread Inside’ appears to lean upon a backing tape and a preference to posturing over substance is beginning to creep through. Apt for the time of year ‘Darkest Days’ is a set highlight with its rumbling breakdown but overall, what should be an outright pummelling comes across with all the demolition prowess of a feather.
There’s potential in the ranks for sure, I don’t wish to be dismissive, but putting some meat on the bones would elevate matters substantially. The set-closing pairing of ‘Lake of Fears’ and ‘Feels Like’ could pack a whole pile of ‘oomph’ but I can’t shake the lightweight feeling of it all. Perhaps it’s the band’s alloying of pop melodics in a much darker alt-metal arena that jars on a personal level but whatever I feel, as a sole observer, Cardiff has enjoyed their half-hour introduction to this Helsinki-based outfit.
Dedicating the rousing ‘Holy Water’ to “All of you, it’s about living your dreams!” The Funeral Portrait’s effervescent frontman Lee Jennings explains that this is the band’s first ever European tour. Formed in Atlanta, Georgia in 2014 this is a moment which Jennings explains they have been “Training for eleven years for!”
The now quartet have piece by piece carved out their own niche with last year’s sophomore album ‘Greetings from Suffocate City’ providing a veritable elevating springboard. In fact, the trio of singles lifted from it, having all hit the higher echelons of Billboard magazine’s US Mainstream Rock charts, provide an uplifting triplet to close out an enterprising 40 minutes that captures the hearts of the assembled within the Great Hall.
From the very moment The Funeral Portrait casually saunter on to the stage with the ‘heralding’ of Cher’s ‘Bang Bang (My Baby Shot Me Down)’ to the dying notes of the set-closing anthemic ‘Suffocate City’ they command their place of work with grace and presence. Launching into the rat-a-tat artillery delivery of ‘Generation Psycho’ Jennings greets Cardiff with a jovial “Howdy motherfuckers we’re the goddamn [The] Funeral Portrait!” It’s engaging from the offset and instantly there’s an uplift.
The hypnotic bouncing metal of ‘You’re So Ugly When You Cry’ continues the engagement with a sensation that swathes of new fans are being won over. Jennings is the archetypal rock n’ roll preacher leading his bandmates into ‘battle’ in his chapel of choosing. The stomp of the behemothic ‘Blood Mother’ tramples and crushes all along its way as it proceeds darkness creeping in. There’s a “Hell” from one side and a “Yeah” from the other as Jennings works the enthused crowd.
With soaring riffs ‘Voodoo Doll’ sails upon a melodic sea of infectious heartfelt emotives; the deal is inked this is most certainly a band whose charms I’ve fallen for. ‘Chernobyl’ is dark and dystopian as the band steer in a divergent direction, its breakdown roars with thundering aplomb. There’s plenty enough meat on these particular bones.
Jenning’s stirring vocals in the truly ethereal ‘Hearse For Two’ rise upon high. Whilst the instant focal point there’s a band of more than equal about him but they’re content to hand the spotlight to their engaging frontman. If you love the smart horror-drenched lyrics of South of Salem and Creeper, then this band will be right up your alley.
With a nod towards Creeper the hooky rage of ‘Dark Thoughts’ is arena-ready; larger venues seemingly beckon. Slipping seamlessly into the biblical ‘Holy Water’ The Funeral Portrait turn the corner at high-speed and full throttle speed into the home straight with the jump-along anthemics of ‘Suffocate City’.
If you’ve somehow missed The Funeral Portrait be sure to catch them the next time they return to the UK for this is a band with a clear identity and an undeniable sense of fun whilst all the while despatching banging tune after infectious tune. The contagion levels are high within this beast. First time seeing them live and I can’t recommend them more highly; they’re firmly upon my must-see list.
Tunes from the likes of Linkin Park, System of a Down, Papa Roach, and Ghost countdown the interval minutes as we await the entrance of the expansive soundscape of Finns The Rasmus. It’s just a few days before their homeland’s Independence Day celebrations and the last dates of a month-long tour are harkening.
It’s just over three years since their last UK visit – Live and Never Die 22 – and whilst it can be argued that their commercial peak is behind them the release of their eleventh studio album ‘Weirdo’ can easily counter these debates proving that this is, in my opinion following my first introductions, a band that remains extremely relevant and essential listening.
There’s a diversity in their sounds that via masterful crafting doesn’t come across disjointed or jarring but purely homogenous within an undeniably sincere identity. The Rasmus’ indelible musical fingerprint is in variety itself. Stars sparkle in an otherwise darkened sky as a portentous bass quakes as sharp-sounding footsteps echo in the basement dungeon. Silhouetted by a bright video screen backdrop the four band members emerge to loud Welsh cheers.
Guitarist Emilia Suhonen and bassist Eero Heinonen ship out spiky, precise backing vocals in the joyous nu-metal of opening manoeuvre ‘Rest In Pieces’ that goes down an absolute storm as The Rasmus break through the static. Slipping into a melodic downturn of tempo, with the Cardiff crowd in fine voice, with ‘Guilty’ The Rasmus despatch a one-two from ‘Weirdo’ and ‘Dead Letters’ the two albums that will dominate the evening’s proceedings with six complete tracks apiece. The latter, does however, sneak into ‘the lead’ with ‘Still Standing’ forming the heart of a conflagrant three-track medley – coupled with ‘Bullet’ and ‘Shot’ – early on in the set.
‘No Fear’ pugilistic in its bristliness possesses the beauty of the newly emerged butterfly with a blazing solo from Suhonen at its beating heart. ‘Time to Burn’ is a gentle moment with heartfelt emotions but nonetheless impactful as it’s more pugilistic stablemates. Coupled together with the balladic sentiments of ‘Justify’ their serene embrace soar above the loftiest of clouds.
From the latest long player ‘Break These Chains’ is emo-drenched and energies that surge into the Offspring-infused lightning strike of ‘Immortal’. The most recent addition to the band’s ranks Suhonen shares the spotlight with Ylönen; their vocals entwining magically in the serenity personified of ‘October & April’.
‘First Day of My Life’, with Ylönen blasting out the initial lines unaccompanied, has the crowd singing heartily as the track romps before the vocalist exclaims “I’m so happy; kitty, kitty, kitty!” at the opening of ‘Creatures of Chaos’. The pop punk / emo brew being greeted like a long-lost friend. A loud cheer resonates with the opening notes of the elegant charm of ‘Not Like The Other Girls’; its angst-ridden infused with a Nordic charm that unexpectedly harks of fellow countrymen The Von Hertzen Brothers with its hastening of the flight of the snow owl.
The ever jaunty ‘F-F-F-Fallin’ leads into the beefy climes of ‘Banksy’ treads in the realms of pop-rockers Roxette as does the muscular ‘Livin’ in a World Without You’. It’s darker but the catchy hook is unmistakeable. The set builds towards to a climatic crescendo with the hard-hitting ‘In My Life’ paving the way for ‘In The Shadows’ its companion from ‘Dead Letters’. Instantly recognisable it ensures that Cardiff erupts on volcanic scales an utterly timeless moment akin to The Goo Goo Dolls’ anthem ‘Iris’. Its strident tones and fake ending elicit a hero’s welcome, one which is repeated at the ending proper.
‘Weirdo’ – featuring TFP’s Lee Jenkins guesting on shared vocals – detonates as the raven flies ahead of the darkened storm kinetics. Noisily received it wraps up the main body of the evening. After just a few crepuscular moments Ylönen returns, alone, with just an acoustic six-string for company for a stripped-back ‘Sail Away’ that, raw and bleeding, raises goosebumps. The much loved ‘Love Is a Bitch’ provides a jabbing Scandic pop-rocking showstopper. Suitably impressed colour me in shades of a newly found fan of this impressive band.
Photography by Kelly Spiller for MPM
