Live Review : Sirenia + Temperance + Symphonity @ Club Academy, Manchester on May 11th 2024

Symphonic metal is a rather incestuous affair. Nightwish’s Floor Jansen and Epica’s Mark Jansen both come from the ranks of genre pioneers After Forever. Delain Svengali Martijin Westerholt formed that band after he left Within Temptation and Beast in Black came into being when Anton Kabanen was ousted from Battle Beast. Sirenia, the headliner of tonight’s symphonic metal nights package tour came into being when Morten Veland walked away from the similarly musically orientated Tristania. Basically it's like a game of musical chairs, but with more swirling keyboard flourishes.

There is a particular demographic for symphonic metal. It tends to be older, upwardly mobile, and distinctly adventurous in the depth and breadth of its musical palette. It also shares a large crossover with those who would openly admit to enjoying Eurovision above and beyond the surefire hit of post-modern irony. All of this makes the decision to schedule the Manchester stop of this eight-date jaunt around the United Kingdom, on the Saturday of the ubiquitin Song contest rather a mystery. Whilst all three acts are names within the genre, and have obviously bought representation from their respective fan bases, attendance is sparse and there is a rather embarrassing moment at the end of opening act Symphonity’s set when Josef Ciganek over aims and chucks his sticks over the gathered crowd and into the dead space behind them.

However, all three acts are consummate professionals and even though there are less than 200 people in the room, they create atmospheres that are distinct but also warm and engaging. It is obvious that everybody who graces the stage this evening appreciates those who have decided to ignore the goings-on in Malmo and are intent on providing an imperious a show as possible.

Symphonity have been doing what they're doing for over 16 years now. Whilst they have been victims of a particularly savage revolving door policy (Libor Krivak is the only member who has been around any longer than 2018 and tonight's vocalist David Akesson is not even a full-time member of the band), they still manage to come across as well drilled and immaculately entertaining machine.

There is a cultural ethnicity to their version of symphonic metal. It is rawer and more organic than other proponents of the genre and tonight's performance has an aura of spontaneity and realism. They wear their Czechian heritage on their collective sleeves and there are numerous points where Johannes Frykholm’s keys and Libor’s guitar merge to create a traditional folk sound that brims with real authenticity. They are working a small crowd that is, in the main, not their own but they manage to do so in a deftly entertaining way. David gurns like a good ‘un and he admirably walks the thin line between master of ceremonies and Court Jester. This is symphonic metal with its bombastic nature toned down and its more self-aware posturing proves to be astonishingly enjoyable.

It is immediately obvious that as many people are here to see an Italian virtuoso's Temperance as they are for the headliners. They receive a rapturous welcome,  but to those who are long-time devotees, it is obvious that somebody is missing. Founder, lead guitarist, and purveyor of harsh vocals Marco Pastorino is sitting out this portion of the tour and Kristin Starkey is quick to point out the elephant (or lack of) in the room. To lose such a crucial component of a band sound, would usually put even the most accomplished musical act on the back foot. But Temperance rally spectacularly and duel vocalists Michele and Kristin ably take on a shared leadership role and steer the band through a set where very soon you completely forget that Marco is absent. 

The way that their vocal styles intertwine and embrace is astonishing. It is obvious that every word sung, and every vocal intonation made is being produced here and now on this stage. It is epic, soaring, and fill of sumptuous emotional pathos, but even more importantly it is all 100% life. In this day and age that is frankly astonishing. There is also a beautiful and playful chemistry between the two vocalists. They banter, they swoon, they flirt and they effortlessly complement each other in an incredibly entertaining manner. Kristin wears her New York heritage on her sleeves. For ‘Diamanti’ she encourages us all to make over-the-top caricatures of the infamous American/Italian hand gesture and you can see the delight twinkle in her eyes as the room gesticulates back at her.

Temperance’s sound is cinematic and distinctly widescreen. There are numerous occasions where detours out of symphonic metal and into the intricate prog territories of prime-time Queensryche and Dream Theatre. ‘Of Jupiter and Moons’ is sumptuous and beset with numerous interlinking layers. It feels especially ambitious this evening as they perform it without Marco’s usual interludes, but they still manage to create a dense and elaborate masterpiece, stunning in its scope and convolution. It may all be highly polished, but Temperance’s version of symphonic metal has both a rich elegance and an elaborate intelligence to it. Basically it's Nightwish but with an Italian aesthetic and a PhD in astrophysics. And they achieve all that with a key member missing.

Sirenia have also had to raid the sub's bench as Jamie Hunt has been brought in at the 11th hour to replace Niula Courbaron who is stuck stateside. Like Temperance before they rally well, and within a couple of tracks, it feels like Jamie has always been there on Emmanuelle's right. Whilst there has been an inordinate amount of comings and goings over the years this is Morten’s band and his impressive Nordic frame dominates. Emmanuelle is the fourth incumbent of the lead singer position but over the last eight years she has made it very much her own and this evening she gives the distinct impression of somebody who has always been there. 

Aside from a couple of visits apiece to the rather wonderful “13th Floor” and “Nine Destinies and a Downfall”, the set concentrates on material that has been recorded since Emmanuelle came on board. The crowd may not be substantive but it is enthusiastically fevered and they eat out of Emmanuelle's hand like starstruck puppies. When she requests hands, we get hands and when she requests voices, we sing along with glee. Of all tonight's acts, Sirenia are the one who most looks like they should be treading the boards of the vast arena in Malmo as opposed to the subterranean delights of the club Academy. The material is unashamedly commercial and is laced with grandiose choruses and peppered with earworms more infectious than the bubonic plague.

The sense of playful fun is ratcheted up a further set of gears when they roll out their strikingly irreverent cover of Kitch classic ‘Voyage Voyage’. It allows Emmanuelle to pontificate in a native tongue and the large swathes of empty space at the back of the room are requisitioned for numerous attempts at unashamed dad dancing. Sirenia’s version of symphonic metal is slick and immaculately polished. Whilst it does rely on a hefty chunk of backing tapes (bass and keyboards are both piped into the room) it still manages to be gloriously entertaining and immaculately enthralling.

This is metal for those who want a sense of melodic elegance. It wears its accessibility like a medal and every chorus feels like it is precision-engineered to be sung along with euphoric glee. Solo encore ‘The Path to Decay’ is an outlandish cheesy wonder, stunning in its simplicity and its sumptuous beauty. It immaculately crowns an evening that demonstrates the pure unadulterated beauty of unrepentant symphonic metal. It might be as authentic as a Gucci bag bought on the local market, but God is it gloriously entertaining.

Check the “In The Flesh” page for more photos!
Sirenia, Temperance, Symphonity