Fleshgod Apocalypse @ Lion Arts Factory, Adelaide 27/3/2024
It’s all theatre you know? The stage designs, make up, mood lightning and the character performance up stage. A liberal amount of musical ambience to enhance the on-stage dramatics and you have theatre. Unabashed, delicious theatre.
Italians Fleshgod Apocalypse specialise in theatre. The hazy room, the backdrop of a roundhouse playhouse, the dimmed lightning all add that sprinkle of magic dust that this isn’t just another metal gig, it’s a journey into the dark corners of your soul, the madness, the delirium, the gallows humour.
I’m making this seem so dramatic because it is and it should be. Fleshgod Apocalypse put a lot of effort into what they do. As they enter the stage, candles flickering atop a piano, the band, sorry, performers take their marks. The costumes lavish, the make up striking and the first notes of Healing Through War complimented by a thunderstorm of flickered lightning.
The bands execution on stage is akin to being welcomed to the gates of hell with Fleshgod Apocalypse the soundtrack. Veronica Bordacchini, haunting clean vocals intertwined with her flowing- like-a-spring- stream movements presents herself out front during Sugar while chaotic drum rhythms and guitar patterns bellow underneath.
The first circle pit of the evening arrives during Minotaur (The Wrath Of Poseidon) like an evening dance in a lords manor, led by pianist Francesco Ferrini who conducts as a orchestra leader.
An entirely unique cover of Blue by Eiffel 65 blows into your face like jumping from a plane and realising the parachute isn’t packed before the armies marching onto enemy terrify groove of ‘Pendulum’ hits.
During the night, the theatre elements continue with crowd participation rife, dramatic shift in changes of song, and all hammed up in a delightful way.
Violation has the horns in the air before the fire and fury arrive in a billow of guitars and riffs. The band end with The Forsaking which naturally ends the evening the way it started, a lone pianist playing into dimming light to an appreciate audience.
There’s no seating at this show however judging by the response, Fleshgod Apocalypse would have gotten a standing ovation. When you practice theatre as Fleshgod Apocalypse do, that is the greatest compliment.
Live Review By Iain McCallum