Review by Paddy Gallagher for MPM
For “The Last Will and Testament Exclusive Summer 2026 Concert Series”, Opeth selected venues across Europe befitting the complexity and dynamics of their music, venues that wouldn’t be on the tour schedule of many bands.
From Anfiteatro Degli Scavi in Pompei to Sequoie Music Park in Bologna, OLT Rivierenhof in Antwerp to the magnificent setting of The Piece Hall in Halifax, England, Sunday 2nd August saw a sold out Bord Gáis Energy Theatre host the fifth stop of eight in a venue located in Dublin’s Docklands that holds the accolade of being Ireland’s largest fixed-seat theatre.
Opeth’s last visit to these shores was in 2019 where The Olympia Theatre on Dame Street was the venue for the “In Cauda Venenum” tour . A lot has changed in the world since then, including Opeth’s drummer; Waltteri Väyrynen replacing Martin Axenrot in 2022.
Tonight’s support is fellow Swedes Hällas who bring a tinge of the 1970’s to proceedings. 4 albums into their career the band is named after the main character in a storyline running through their early lyrics, that of a knight from a parallel, medieval universe. Bedecked in long, dark cloaks with a backdrop scene envisaging the fantasy world of their imagination, complimented with the mix of modern and retro equipment, we are entertained, enveloped in an atmospheric soundscape of psychedelic synthesiser and dual guitars, conjuring memories of vintage Genesis, Hawkwind and Wishbone Ash.
A superb performance that, judging by the reaction of the crowd, will have earned them many additions to their fanbase.
As always, an Opeth gig brings forth a stark contrast between the intensely heavy versus the atmospherically sublime. Sprinkle in a tasteful portion of Mikael Åkerfeldt’s humour and you know you are in the presence of progressive royalty and witnessing one of the gigs of the year in a refined setting all whilst admiring a chic line in fashion modelled by both Mikael and Martín Méndes, who are sporting dapper headwear.
As the lights dim, the buzz of the crowd builds in anticipation as the intro, “Seven Bowls” by Aphrodite’s Child provides an eerie but powerful start as the band members take up position; Waltteri Väyrynen and Joakim Svalberg are first to appear behind their respective raised banks of keyboards and drumkit, followed closely by the frontline trio of Martín Méndez (bass), Fredrik Åkesson (guitar) and Mikael Åkerfeldt (guitar) who casually saunter on to a rapturous reception.
Strategically placed screens both as a backline and evenly distributed across the stage in front of Joakim and Waltteri’s risers spring to life displaying artwork from “The Last Will and Testament”, family portraits in some, depicting characters from the album’s storyline as the footsteps and creaking door opens to Mendez’ pulsating bass line at the start of “Paragraph 1” which is swiftly followed by Walt’s drums, Joakim’s keys and the first chuggingly heavy Opethian riff of the night as the much heralded return of death growls from Mikael repeat the cleanly sung opening line “Draped in death, the howl of lore”.
The setlist is taken from ten of Opeth’s fourteen studio albums, “Orchid”, “Morningrise”, “Pale Communion” and “Sorceress” the four not represented. We brush up on our Swedish for “Hjärtat vet vad handen gör” from 2019’s “In Cauda Venenum” album before a blast from the past in “Godhead’s Lament” from 1999’s “Still Life” album.
Another perk to a night in Opeth’s company is being regaled by tales from Mikael laced with his legendary, witty, dry humour. He jokes about his shoe size and it’s relationship proportionally to his “little” Mikael. The painstaking trek from last night’s gig in Halifax is recounted due to it’s awkward logistics and we find out some Opethians present were also in Halifax.
Introducing “Paragraph 7” Mikael introduces Ian Anderson’s presence, alas on tape only, providing spoken words in the song; the only tape used as the band do not use click track nor any other form of backing tapes. The ever changing graphic displays and lighting add spectacular effect as we proceed through “The Devil’s Orchid”, the beautiful “Windowpane”, “The Grand Conjuration”, “Demon of the Fall” and “Paragraph 3”.
Dublin, and the inseparable connection to Thin Lizzy is recognised between songs with Mikael paying particular tribute to Gary Moore and his influence on him, “Out in the Fields” being singled out and his album “Blues for Greeny” recorded using Peter Green’s 1959 Les Paul Standard which is now in the possession of Kirk Hammett.
Next up we get three covers, Napalm Death’s “You Suffer”, Napalm Death’s “You Suffer”, and Napalm Death’s “You Suffer”; played on repeat until we all got the lyrics right and witty as ever, Mikael self depreciatingly referring to it being a proper song compared to Opeth’s own “shitty” songs while introducing “The Drapery Falls”.
Set closer “Hex Omega” heavily blasts forth, before a time and vibe shift as Mikael sings “Two years in your heart, One moment of doubt”. Throughout we shift between heavy and tranquil, the contrast between lighter, ambient shades and heavy passages taking us to the set conclusion in seven minutes of beauty.
Quite possibly there isn’t another song in Opeth’s repertoire so deserving to serve as encore as “Deliverance”. Breathtaking in its composition, it is near fourteen minutes of perfection, heavy yet relaxing and culminating a gentle acoustic strum and the gently sung “Deliverance, thrown back at me…Deliverance, laughing at me…Deliverance, thrown back at me…Deliverance, laughing at me”. And that closing instrumental four minutes? Spectacular!
What a night in a venue many wouldn’t be familiar with, a point noted by Mikael who implored everyone to relax and be themselves in the posh surroundings. The intensely, intricate heavy music contrasting with lighter passages and countered with Mikael’s between song repartee is complemented by visuals and lighting.
A stunning show performed by a band at the top of its game and practically peerless.
Photography by Eamonn Smyth for MPM
