Words – @rixoncaptures
Photos – @djsedick
It was time for some melodic death metal in Melbourne on Saturday night. In all my years of gigging and concert-going, I’ve somehow missed ever coming to the Croxton before; a venue complete with red damask wallpaper and a black chandelier in the entryway. The opening time for doors was delayed by half an hour, meaning the early to arrive fans became very well acquainted with one another as the front bar of the venue quickly filled as compactly as the mosh would be inside.
The night began with Orpheus Omega. The stage was awash with red lights as the band’s drummer Matt Themelco took to the stage alone, and slowly joined by the remaining four members; three clad in ominous hoods and one in a mask. I couldn’t spot the lead vocalist as the harsh screams began, as the two mics on stands were unattended, until I realised that the Hannibal Lecter style open-mouthed mask WAS the microphone. Lead guitarist Chris Themelco roamed around the stage freely through tracks Emberglow and Beacons without being trapped behind a mic stand as the perfect combination of vocalist and guitarist, with the ability to reach out and gesture boldly to all parts of the crowd like a vocalist but also headbang and jump around like a guitarist. I haven’t seen anything like it before and I commend the ingenuity.
The band announced that tonight’s show would be drummer Matt’s last show with them after 18 years, and launched into his favourite track Winds of Change. The mosh pit split open for the first time of the night, with a circle pit orbiting around videographers filming Orpheus Omega’s set. The band held control over the crowd from this moment onwards, commanding a sea of phone torches to illuminate Lighthouse and a wall of death during Sealed In Fate as rhythm guitarist Luke Ashley and bassist Leon Monaco stop atop the barrier to play the final breakdown of their set. While their sound has the classic combination of anthemic choruses, fast paced power chords and double kicks driving each song, Orpheus Omega have a uniqueness that makes them stand out among their peers both with keytar player Campbell Hill providing synths and clean vocals in place of backing tracks, and their on-stage personality of high energy antics.
Returning to Australia for the first time in 6 years, our main support band for tonight was Omnium Gatherum. The Finnish group burst onto stage and had the crowd bewitched from the beginning. Opening with Slasher, vocalist Jukka Pelkonen acknowledged the punters at the barrier with fist bumps, direct pointing and metal horns, and this personal recognition made their set feel like a true dedication to everyone in the room. This was continued with guitarists Jope Koto and Markus Vanhala, and bassist Mikko Kivistö all leaning forward over their foldback speakers and stage risers as far as possible to offer their music directly to the crowd through tracks Reckoning and Soul Journeys. Their sound was methodical; heavily layered with harmonised guitars and backing vocals from keyboardist Aapo Koivisto as well as Jope, Markus and Mikko. Drummer Atte Pesonen made his job look easy as he smiled through the near constant double kicks and cymbal hits of Skyline. The driving beat was accompanied by wide power stances and synchronised headbanging from all.
Their synchronicity continued as I noticed that the six band members were all clad in matching denim vests and wrist sweatbands featuring the band’s logo: the shape of two hands throwing metal horns with the fingers pointing in towards each other, which many a fan were spotted holding up instead of regular horns. These all black outfits contrasted the all white instruments, a calculated decision to make their on stage appearance as clean and eye-catching as possible. With this level of crowd participation and shared energy between band and fans, it could have been believed that Omnium Gatherum were tonight’s headliners, finishing their set with New Dynamic and standing arm in arm with a grandiose bow.
The room lights dimmed and the stage glowed a foul, acidic green. The sound of the acoustic guitar intro of 1696 flooded the speakers before Insomnium took to the stage, luring the crowd closer and any punters still outside to forward in. Vocalist Niilo Sevänen opened with “Show me the horns, Melbourne,” and I don’t think those metal horns lowered back down for the entire set. Omnium Gatherum member Markus Vanhala reemerged on stage as part of the headlining act as well, performing double duties on guitar with no indication of tiring out from his previous set. He knocked guitar necks with fellow guitarist Ville Friman like saying cheers to a shared beer during 2022’s single White Christ. Two rows of lights illuminated kept drummer Markus Hirvonen well lit at the back of the stage (much to the delight of my photographer pal Dan. You’re welcome, Dan) even with his low-sitting cap and cymbals perched high on their stands obscuring his face.
And Bells They Toll felt like a half time break as the song’s tempo slowed and gave the crowd a moment to catch our breaths, however after that the energy of the night didn’t quite recover to the same level as the start of the set. Perhaps that was due to the half an hour delay pushing this moment well beyond 11pm, or maybe the crowd simply tuckered themselves out with their previous push-pitting. During Witch Hunter, as guitarist Ville took up the role of vocalist and sung the bridge, Niilo stepped away from his microphone and came to Ville’s side to perform the harmony over his band mate’s shoulder in a moment of brotherhood. While the usual encore build up was somewhat soft and tired sounding, I spotted what I think was the first crowd surfer of the night during While We Sleep as the crowd submitted their last reserves of energy over to the band, closing with 2019 album Heart Like A Grave’s title track.
After 8 long years between Australian tours, Insomnium were welcomed to the stage like an old friend. With a career spanning 3 decades, the Finnish powerhouse of melodic death metal took us through tracks from all stages of their musical lifespan and proved to us that they’re not slowing down. As long as it doesn’t take them the better part of a decade to visit us again!
Huge thanks to The Croxton crew and CULT ETIQUETTE PR fro having us.
EVERYDAY METAL – SUPPORT LOCAL HEAVY METAL
