Leprous, Keyan @ The Gov, Adelaide 5/11/2024
The Monolith Festival touring the eastern states is a wonderful thing and even better for Adelaide was the addition of a side show right here at The Gov for the mighty Leprous. To be honest, I’m a bit late to the party with this band but holy smokes these guys are incredible and to see the calibre of this band in such intimate surrounds is a real treat and no doubt we would be the envy of many other cities. The supporter base that turned out for this one are fiercely loyal, passionate and excited to see their band.
Local opener Keyan is a prestigious talent and bigger things are instore for him and band. Their sound is elite and above all world class and they should be spreading their wings broader than Australian because they certainly are able to mix it with the best of them in this genre. The Gov really did suit their sound and stage set up and no doubt picking up some new fans in the process. Set highlight and closer Black was awesome.
Norwegian progressive metal band Leprous are definitely in the upper echelons of the genre and I have to say I was blown away by what I experienced. Their music is technical in nature but executed brilliant playing a stellar two hours of music that offers plenty of light and shade being a darker more bruising affair to something more elegant and majestic.
This tour was all about their new album Melodies Of Atonement with a healthy serving taken from it. Their sum was a case of the sum of all parts with the music, lighting and affects creating a brooding and stirring atmosphere. The tone was set with opener Silently Walking Alone followed by The Price with front man Einar Solberg reflect on their last visit here six or seven years ago suggesting that all he remembers is a few screams. It was hard not to be in sheer awe considering the complexity of their music and the emotive qualities that shine through on I Hear The Sirens and Like A Sunken Ship. Wow!
Solberg asked if “there was anyone out there that was pretending to follow us since like our old stuff? Does anyone like our like old stuff?” The banter made them all the more endearing. Forced Entry was an interesting which was preceded by Solberg asking the question whether people “like song structures and compositions” adding that if you do “then you might not like this one”. The frenetic chaos whipped up this one was like the perfect storm.
Distant Bells and Below were epic moments beyond all proportions and the drum solo performed by Baard Kolstad was played with much technical precision despite him saying he didn’t like doing drum solos. If there was going to be one moment to pick out for the highlights reel it would have been From The Flame was drew the biggest crowd response and close beyond would have been Faceless featuring the “Adelaide Choir” selected by band to perform with them.
With the quote that “all good things come to an end and it would be unbearable if we keep going and this is what makes it good is the fact it comes to an end” finishing on Atonement which morphed in to The Sky Is Red. Feeling annoyed, jokingly, about being clapped back on for an encore having felt jet lagged and tired hoping that the crowd didn’t yell for one more, it was the fan collaborative composition which was live streamed all over the world Nighttime Disguise that served as one last reminder about how incredible the performance we just witness was.
Live Review By Rob Lyon