We are still in catch up mode. Evergrey were meant to visit these shores just as Covid first reared its ugly head. They then made another doomed attempt last Autumn as the pandemic’s tailwind still thrashed around the world. But finally, over two years late we are on. However, so much water has passed under the bridge they are now here to promote not one but two new records produced during the global slumber. Selective appeal is tonight’s watch word. Academy 3 is not particularly heaving but everybody here seems to both know and revere all of the three of the acts on offer.

Virtual Symmetry might have started life as a solo endeavour for Italian axe mystero Valerio Villa, but over the years they have morphed into a real band-based endeavour. Yes, Dream Theater comparisons are plentiful but they manage to do imitation that doesn’t feel like plagiarism. Everything is based around a balance of heaviness and gentility which is produced with such flare and conviction that you forgive them the flagrant lack of originality.  Marco Pastorino has a highly impressive pair of pipes, and his subtle and nuanced vocal delivery adds additional interest and texture. They may not be innovators, but they still do what they do remarkably well.

French metal has always had a penchant for doing things differently. Fractal Universe feel like a free-form jazz act doing metal. There are times they reach well beyond the confides of prog and happily wander into the unexplored pastures of avent garde. Theirs’ is a swirling mix of different variants of metal and varying tempos, beats and mood, and in the most part it works terrifically well. Vince Wilquin’s vocals switch from growls to Gregorian chants within a hairs breath and this just adds to that overwhelming feeling of unpredictability. Yes, others have mucked around with structures and conventions like this before but there is still a very real feeling of insecurity, as quite simply you don’t know what is around the corner. The other unique component in their already heady mix of a distinctiveness, is their use of the saxophone. The sax is essentially the sound of a broken heart and in no context is it a happy or upbeat instrument. It adds a haunting melancholy to all the tracks it is unleashed upon. Mind bending but weirdly fascinating and intoxicating, conclusive prove that there are still plenty of frontiers for metal to expand into.

After the blatant complexity of their touring partners, there is a danger that Evergrey could come across as, well, a little too safe and traditional. I needed not have worried as whilst their brand of melodic metal, could be viewed by some as plain and simple, it still comes across immaculately well. They don’t do pompous orchestration or symphonic grandeur and instead have always relied on the strength of their songs as opposed to the concept. They are not here to show off their musical dexterity and there is no “shredding” or unessaiccarly elongated solos. Instead, we have fourteen beautiful constructed songs, as much rooted in the primal waters of blues rock as they in the more experimental straits of prog.

Whilst Virtual Symmetry and Fractal Universe were enjoyed, this is very much Evergrey’s audience, and they heartedly sing along with every vowel and every syllable. There is something wonderful joyous in the level of euphoric abandonment on show here tonight. Arms are held aloft, and voices are raised in a communal celebration of, quite simply, being alive. As stated Evergrey weren’t idle during the blip and half the set comes from the two albums they diligently produced whilst there rest of us sat around in our underwear watching shit on Netflix. As I keep saying there is no egotistical showing off here, just beautifully sculptured pieces of emotionally driven melodic metal. For the main we stay firmly rooted in the last seven years but it as we reach the end of the set that they send us careering back in time with a storming rendition of ‘A Touch of Blessing’ from 2005’s stunning concept album “The Inner Circle”.

An encore is lustfully demanded and Tom S. Englund and crew are more than happy to oblige. The title track from 2004’s “Recreation Day” is greeted with much furore and proceeding are brought to a magnificent crescendo with ‘King of Errors’ from “Hymns for the Broken”. Evergrey may disappear under the radar because they lack the pomp and circumstance of their peers but tonight they proved once more that it isn’t about length or technically ability. This rock n’ roll game is at the end of the day about bloody goods songs and that is one thing that Evergrey have in utter abundance.