Swedish melodic death metal, that most geographically defined of subgenres. It arose in the mid-90s when our music was at its lowest ebb. Grunge, "alt-metal” and the early spectre of nu-metal have swept away the more traditional confines of our world. Metallica seemingly had turned their back on everything they had built and had started wearing eyeliner and trying to sound like Alice in Chains and a Bruce-less Iron Maiden couldn’t even get themselves arrested. In the middle-class suburbs of Gothenburg lots of bored teens were simultaneously having the same idea, “what if we glued together guttural Entombed vocals with Judas Priest riffs”, and a cornerstone of the current sound of heavy metal was born.

This tour is a celebration of this very particular Scandinavian sound. Whilst, in the shape of In Flames, it consists of only one of the universally acknowledged holy Trinity of melodic death metal, both Soilwork and Arch Enemy can lay claim to being early adopters of the style. The Academy is completely sold out which speaks volumes of the status all three acts now hold in metal's pantheon. Soilwork may well be branded as a special guest in this threesome, but they are still afforded a hero's welcome as they stroll onstage. Over the years they have increasingly leaned into the melodic side of the genre’s moniker. Whilst vocalist Bjorn Stid’s side project Night Flight Orchestra, was meant to provide an outlet for his more sparkly AOR desires, instead it has started to greatly influence the direction and sound of his day job.

Soilwork have never been afraid to use keys to bring a more grandiose pitch to their performance. This evening, they sound sumptuous, deep and luxurious. Yes, they are heavy but it is a beautifully contoured heaviness, full of exquisite depth and lush sonic ravines. The fact that the band has changed so much over the years, both in personnel and in sound, (plus the confines of a short set) means that they draw almost exclusively from the latter chapters of their career. ‘Distortion Sleep’ from their 2003 album, “Figure Number Five” is about as far back as they go. The relative historical proximity of the materially aired doesn't stop the show from being a tour de force of anthemic, widescreen metal.

The outlandish nature of their tour mates stage setups means that they perform in a single horizontal line given very little scope to move in second, third or even fourth dimensions. Bjorn admirably lives within the confined space, twirling his microphone stand around like a baton in absence of his ability to rush around the stage. As stated, he seems to be embracing the increasingly harmonious nature of his band's output and new track ‘Spirit of No Return’ is full of wondrous melodic refrains. However, if you are looking for catchy as hell then they reserve that for final track ‘Stålfågel’, the standout number from their last but one album. It contains a stupendously catchy chorus that makes even the most resolute of the uninterested pumping their fists in joy. The space and time on stage that they are afforded makes a mockery to their considerable heritage, but Soilwork don't seem bothered by this. Instead, they don’t just grasp the nettle, they embrace it and take it dancing. A stunningly wonderful set from one of the auteurs of this genre.

In Flames have had an interesting relationship with both their legacy and their back catalogue. To move forward and embrace the now it has felt as if they have had to disavow or at the very least sidestep what has come before. Which makes tonight's stonker of a set a wonderfully reaffirming experience. As Anders states halfway through “`We read what you say on the Interweb, ‘play old shit’, well we are going to play old shit”. By old shit he particularly means ‘Food for the Gods’ from their third album “Whoracle”, returning to the set for the first time in a decade. But he could also have been referencing ‘Coerced Coexistence’ or ‘Trigger’, both making well-received returns to the setlist. In fact, this evening is the moment that in Flames suddenly look incredibly comfortable with who they are and more importantly where they have been.

It is simply extraordinary how good they are and how effortless they make such a slick performance seem. Anders is on particularly fine form, continually encouraging the audience to throw their friends into the air. He takes particular care in referencing how volatile the world feels of the present moment and therefore how important and sacrosanct communal moments like this actually are. The continual and abiding influence of In Flames has always felt under-baked and underappreciated. However, tonight's reaction is quite simply reverential. From front to back the now heaving Academy sways in awe-inspired ecstasy as they power through a meticulously engineered setlist. Yes, there are three visits to their most recent release, “Foregone”, but tonight is not about parading their current ways. As stated, they own their past with utter glee, dispensing riches from 11 of their 14 albums. The only places not visited are the first two albums and the rather unloved “Battles”.

Understandably ‘Only The Weak’ from the frankly astonishing “Clayman”, is afforded the biggest reaction. The pit grows on Anders’ command and the front section of the audience becomes a seething mass of pulsating limbs. For a track that is now 20 years old, it still feels so fresh and invigorating. This is the point about in Flames. They have not stood still. Yes, they began as a melodic death band, but they have progressed with the zeitgeist, continually keeping up with metal’s eternal evolution. Set closer’My Sweet Shadow’ is yet another welcome returnee, a crisp crescendoing number that beautifully showcases that combination of new and old. By finally embracing their own mythology, In Flames have managed to reach the next stage of their progression. Tonight’s show is the stuff legends are made out of. Welcome to In Flames the imperious phase.

On the now-infamous Clash of the Titans tour, Slayer were always put on last. That was not because Kerry King and friends were a more prestigious name than Megadeth or Anthrax, it was that nobody wanted to follow Slayer. In Flames are just so incredibly good this evening that no matter how much of a precision-engineered live act they are, Arch Enemy are always going to be on a hiding to nothing trying to follow what has come before. They also get a bum deal into two other departments. Firstly, whilst In Flames have been on the road now continually for over two years, incessantly honing their monumentally smooth stage persona, aside from a handful of shows in Asia, Arch Enemy have been in dry dock for the last 12 months recording a new album. They are easing into being back on the road and sadly this shows.

Secondly, completely and utterly in contravention to the perceived rules, the sound quality massively deteriorates for the headline act. ‘My Apocalypse’ which should be an imperious cacophony of glorious sonic reverberations, instead feels muted and muddy. Its nuances are lost in an amplification that just makes all the instruments blur into one. They also don't help themselves with the set choice. After in Flames’ astonishing journey through nearly 30 years of recorded works, Arch Enemy instead decide to major on their three most recent records as well as providing a couple of titbits from their forthcoming effort. The aforementioned ‘My Apocalypse’ and set closer ‘Nemesis’ are the only two tracks aired that could be rightly described as Arch Enemy classics.

However, put aside the negativity they are still a fantastic and captivating live act. Alissa White-Gluz has pulled off an astonishing coup in making you believe she's been around all the time. She looks so natural in this habitat and in no way does it feel like she is living in Angela Gossow’s shadow. The second ace that they have up their sleeve is the guitar God that is Micheal Amott. Whilst the sound quality does him no favours this evening, he still manages to showcase his virtuoso ability on the lead guitar. With his seminal work on Carcass’ “Heartwork” you will forming the blueprint for melodic death, it is only fitting that he absolutely owns this space this evening.

Whilst the crowd does thin out towards the end (a combination of last trains and those who decide to end their evening with In Flames) the front is still a heaving mass of fluctuating human flesh. In fact, whilst there are less people about, the actual reaction seems more frenzied than it is during the first two bands. That frenzied ferocity hits fever pitch as they dole out ‘Nemesis’, a gargantuan track that deftly illustrates what a magnificent "growler” Alissa is.

The outro is a wonderfully wrought-out instrumental version of ‘Fields of Desolation’ from their first album, allowing Alissa to prowl the front thanking all and sundry, including a blonde lady on far stage right whose make-up particularly catches her eye. Yes, this wasn't Arch Enemy at their best and yes In Flames not only stole the evening but then proceeded to do laps with it rubbing it in everybody's faces. However, a below par performance from Arch Enemy is still better than ninety per cent of other band’s finest work. When firing on all cylinders Arch Enemy are quite simply the best out there and at future shows on this tour, when they don't have the expectation of headliner on their shoulders, it is more than likely that they will kick in Flames’ butt all over the shop.

Check the “In The Flesh” page for more photos!
Arch Enemy