It has been a long European tour, and it is set to conclude back home in the Nordics. Soilwork frontman Björn Strid is happy to be in a city where he can finally speak in the Skåne dialect again. He is so pleased that he speaks in rhyme, sharing that the new single “Spirit Of No Return” is about “the pit in the middle.” The audience joins in, responding with a small mosh pit. The song itself is built on classic Soilwork quality, featuring a tasteful bass melody that emerges during the last chorus. Bassist Rasmus Ehrnborn also contributes well with backing vocals, and even though Björn Strid is one of the genre’s top vocalists, a little support is always welcome. Guitarist Sylvain Coudret leads on “Death Diviner”, which includes a Tool-like riff and a bit of blues rock. The band, in general, has an abundance of good song material and could just as well have been the headliner of the evening. They finish the set with the powerful “Stålfågel,” possibly not optimal to choose a last song with a slightly calmer tempo, but there’s still crowd surfing and a great atmosphere. The audience largely showed up early, and I believe there were many who received a pleasant surprise from Soilwork. 5/6
Arch Enemy blasts in with the opening song “Deceiver, Deceiver.” The band seems almost overly coordinated. The blonde Jeff Loomis is out, and red-haired Michael Amott has ordered new hair dye, so we’ve got all four guys in matching black. Alissa White-Gluz, who has now been “the new vocalist” for a full ten years, still appears in blue, perfectly matching the ice-blue pentagram in the backdrop. The band is a collection of superheroes set to save the world with “Pure Fucking Metal”, and it is incredibly entertaining both musically and visually. I especially want to highlight Daniel Erlandsson, who is not only a skilled drummer but also visually interesting without resorting to excessive antics. Today’s best drummer!
One of many highlights on the setlist is the old jazz song “My Apocalypse,” and the beautiful instrumental middle section becomes even more stunning as the entire audience waves their mobile lights. The new song “Dream Stealer” is more varied, containing a bit of awkward, jabbering monster vocal, but also some absolutely fantastic power metal screams. Alyssa can appear a bit tired and uninspired at times during the evening, but she is good at stepping back and giving room for the others in the band, and she continually returns to impress with new feats and vocal performances. Sonically, there is little to complain about. I hear little backing vocals from the band, but the audience makes for a solid choir, and as usual, there is great sing-along on “Sunset Over The Empire.” Arch Enemy concludes with the classic “Nemesis,” where the audience is presented with balloons in Halloween colors. We expect quality from this band, and they always deliver. But I hope for a bit more variation in song selection and some new entertainment tricks before the next tour. 5/6
We are ready for the last band of the evening. Behind a partially translucent curtain, each member of In Flames is illuminated and celebrated one by one, before the curtain drops and they open with “Cloud Connected.” In Flames comes from a similar musical historical background as the two other bands of the evening but stands out in several slightly negative ways. Visually, it is mainly marked by blinking lights and hipster beards; I can imagine this could be some sort of disco version of the musical “Fiddler On The Roof,” with vocalist Anders Fridén playing the role of Tevye. Musically, there is of course a lot of positive, as there is a group of experienced musicians on stage doing what they do best, and they have some relatively catchy songs to offer. But for my part, it becomes a bit too mainstream and “old man”-like.
In my defense, I have tried several times to like the band, ever since I got hold of the promo CD with the album “Whoracle” in ’97, and I made another attempt ahead of this concert. But there are so many other bands that do this better, that I can’t fully grasp the enormous popularity of In Flames. It is never directly bad, but both Arch Enemy and Soilwork have better vocalists, better musicians, better solos, and above all, better songs. But I am just an insignificant music reviewer. The audience seemed to have a great time, and in that sense, we must say that In Flames had a successful evening. 3/6
Text: Karstein Helland
Photo: Anne-Marie Forker
Related
Interview Between Time.news Editor and Soilwork Frontman Björn Strid
Time.news Editor (TNE): Welcome, Björn! What an exciting time for you and Soilwork, wrapping up a long European tour and returning to your roots in the Nordics. How does it feel to be back in Skåne?
Björn Strid (BS): Thank you! It feels fantastic to be back. There’s something special about being in a place where I can speak in my dialect again! It’s like returning to my old friends. You know, there’s a certain energy that resonates more deeply here.
TNE: Your new single, “Spirit Of No Return,” has been well received, and I loved the line you shared with the audience about its theme—“the pit in the middle.” Can you elaborate on that concept?
BS: Absolutely! The “pit in the middle” metaphorically represents that dark space we all find ourselves in at times. It’s a place of introspection and struggle, but also a point of potential transformation. The idea is to reach out from that pit rather than succumb to its depths.
TNE: That resonates deeply. And it sounds like the audience really connected with that message during performances. How does the live setting influence your music and the way you deliver it?
BS: When we’re performing live, it’s all about the connection we have with our audience. Seeing them respond with enthusiasm—like forming a mosh pit—energizes us and adds more layers to the experience. It’s electric! The last chorus of “Spirit Of No Return” felt monumental with the bass melody texture added—it’s a rewarding moment when you feel the music uniting everyone in the venue.
TNE: Speaking of live performances, I heard that your set concluded with “Stålfågel.” Some people commented on the choice of a calmer ending. What was the thought process behind that?
BS: [laughs] You know, not every ending has to be a grand, explosive affair! “Stålfågel” has a powerful atmosphere and a kind of nostalgia that I felt would resonate well with the crowd. Plus, even a “calmer” song can still inspire crowd surfing and enthusiasm! It’s about the journey through the set, not just the finish line.
TNE: Your European tour included a range of fantastic bands, including Arch Enemy, who surely put on a show of great dynamics and entertainment. How do you view your collaborations with other artists on this tour?
BS: It’s an honor to share the stage with bands like Arch Enemy. While each band has its unique style, we all share a passion for metal that creates a sense of camaraderie. Watching their fans and ours merge adds to the magic of the night! Their performance and energy challenge us to elevate our shows, too.
TNE: You’ve mentioned before that music acts as a form of therapy. Has this tour served a therapeutic purpose for you in any way, especially after the challenges many artists faced during the pandemic?
BS: Without a doubt. Tour life has a way of rediscovering joy amidst the chaos. It allowed us to reconnect with fans, which is essential for any artist. The energy in live performances is cathartic; it reminds me why I do what I do. Each night on stage is a release, a return to my essence.
TNE: It sounds like the band is thriving! Any hints about what’s next for Soilwork after this tour wraps up?
BS: We’re definitely looking forward to continuing to write and grow. There’s always new music in the making. Perhaps some surprises for our fans on future tours? We’ve got loads of ideas brewing!
TNE: We can’t wait to hear what you have in store! Thank you for sharing your insights with us today, Björn.
BS: Thank you for having me! It’s a pleasure to chat about our passion for music and connect with fellow fans. See you on the road!