Alice Cooper @ Partille Arena, Gothenburg, Sweden 28/9-19

Posted in Concerts, Music, Uncategorized with tags on September 29, 2019 by Sara Hammerzmith

If there is one band I’ll always religiously attend shows to it will be this man and his crew. I dare to even go as far to say that there is not other band nor musician that I respect and love as much as I do this one. Being the grandfather of everything we today know as theatrical metal (excuse the term) he is still extremely humble.

For the day, we left our homes around 13ish and headed down toward Gothenburg. It was an easy and smooth ride, and we arrived by the venue by 17 and headed into the “mall” to have a quick dinner before doors opened. Got the chance to very quickly say hello to my good old friend Robert before getting in line.

As we got inside, we stopped by the merch and then into the venue. At this point, not a whole lot of people had come, so we got some pretty decent spots on Chuck’s and Ryan’s side of the stage. Better than nothing right?

And soon enough, Black Stone Cherry started the gig.

Black Stone Cherry

Supportband for this grand evening was Black Stone Cherry. They are a band that I’ve been trying to listen to for many years but quite never really fell for. But even though I may not be a massive fan of their music per se, I still appriciated the show for most parts – they had a great stage prescence and kept the spirit up, at least a bit.

They played for 45 minutes before it was time to close the curtain and set up for Mr Alice Cooper.

Alice Cooper

The talking intro started… And first song of the evening was, a bit to my surprise, “Feed My Frankenstein”. As the banner fell down, it revealed to us a large castle setting with Nita and Ryan on top of each of a tower before ascending down the stairs to join the rest of the band. A few gadgets here and there – a casket, some heads and beautiful chandliers in the roof set probably one of the most beautiful stage settings I’ve seen him have. As the song progressed, we’d discover the scientist elements were gone. But why not?

Next song on the list, followed up very quickly was the crowdpleaser “No More Mr Nice Guy”, which is just as terrific as always. “Bed of Nails” was followed just up before we went back in time to “Billion Dollar Babies” era and launched into “Raped and Freezin'”

From the oldies straight into new material as “Fallen in Love” was the next song. Maraccas was brought out and “Muscle of Love” was fired off before a large surprise for me came.

“He’s Back (The Man Behind the Mask)” was next on the list, and this song has grown to be one of my top favorite songs, and I was delighted to have it performed again. And this time, with the stageshow – Teenage girls running around the castle getting murdered by Jason Voorhees.

Sometimes I wonder, at what point do you notice you’ve seen a band too much? Well, it’s a riddle because you can never see a band too much, but I noticed that for some odd reason I could predict “I’m Eighteen” being the next song and I don’t know how I knew it. But splendid, as per usual.

“Billion Dollar Babies” followed suit, and instead of the sword with the money he’s now gotten himself a money canon. Why not? “Poison” was next on the list, and I guess at this point I have to again voice my displeasure with Swedish crowds. As the song starts, a group of people just launches into the spots we’ve been standing in since before Black Stone Cherry, all of us who stood there, just because “Poison” was being played.

GET HERE IN TIME.

STAY IN YOUR SPOT.

How hard can it be? I don’t get it.

Up next was guitarsolos, time for the stringbeders to show what they’re made of. And after this, “Roses on White Lace” with Sheryl Cooper being her most amazing self as the white lady, dancing around. “My Stars” was taken off before it was time for the band to jam – more to be specific to “Devil’s Food” and “Black Widow” before he comes back out through the doors of the castle in the straight jacket brought out by people wearing baby masks to perform “Steven”. As this song happens, a window in the castle opens and a giant baby head starts bouncing around.

He ends up killing the baby, and the famous execution scene came to happen.

Chuck performed “I Love The Dead” with a GIANT FUCKING BABY running across the stage holding Alice’s severed head. He then later came back performing “Escape” before wrapping the set up with “Teenage Frankenstein” and HERE – Frankenstein came to join us. Hence, why he wasn’t really present in the opening song.

After this, the band thanked for themselves and left the stage.

They returned quickly to start off the encores with “Under My Wheels” and then we heard the schoolbell toll and “School’s Out” was a fact. But, there was something special that happened on this particular night.

One of my best friends, Robert, had the day before been invited to take part in Alice’s stage show as a balloon guy. So as the guitar solo started, he entered the stage to deliver the baloons for the party. And remember what I wrote earlier about respect? The fact that he invited him on stage, just like that… It’s incredible. And I was so proud and so happy for Robert I could barely contain my excitement.

After this, the show was done for good and the band say good night. It was once again an incredible show by the Man himself, and I can’t wait to see him again soon enough!

After the show we stopped by the merch again and then steered the wheels home. Thank you, and until next time!

// Sara

Crashdïet – Rust

Posted in CDs, Music, Uncategorized with tags , on September 25, 2019 by Sara Hammerzmith

Very well. Here we are. At a point that I guess not a lot of us were entirely sure we’d see. After Simon Cruz’s odd departure some years ago, we were left wondering. What happens now? But we needed not worry it seems – From the ashes into the fire, Crashdïet announces new singer Gabe, and an album is in the production. And now, we hold it in our hands.

So, what do we expect? What will we get? Singles like “Legion” and “Reptile” gave us a taste, but will it live up to the expectations?

A big fat YES is what I’ll ring out to that. At first when you put on on the album, you are greeted with the titletrack and last single of the album “Rust” which is a song that sends you straight back to 1989 with its “Dr Feelgood” vibes, which has everything! The heaviness, the melodies and the lyrics – it is the perfect start of an album.

The album itself continues in the same great vein – it’s all very typical Crashdïet, although I feel the most similarities to “Generation Wild” which I personally consider being one of the best albums in the genre all in all, but we can easily consider this album being the rebirth of a band that has struggled in ways most bands never have had to do.

The start being heavy and aggressive, the album merges out in more melodic stuff with great rhythms and angry lyrics that we’re all used to – it got the typical more partylike tunes such as “Idiots” before mellowing down into “In The Maze” which directly brings the thoughts back to closing song “Beautiul Pain” from aforementioned album.

But, my personal favorite of the album has to be “Crazy”. An upbeat party tune about an insane girl, to put it mildly. I don’t know if it’s because I relate – or if the song is just that great, but to be honest it is. It’s all in the chorus – I could listen to this to the end of times.

Loving the fact it’s followed straight by a song like “Parasite”, about unwanted people in your life. Exactly what we all feel right? The album continues in the same vein – the anger, the heaviness and attitude. The thing I’d dare to say we are kind of used to with this band.

Gabe needs to get some recognition as well. He’s doing a phenomenal performance on the album, and he has the attitude and the voice to fit the sound perfectly. I hope, and believe, he is the answer. That this time it’s for good. I’m looking forward to see him more in action besides what I already saw. He’s a gem.

So all in all. This is the rebirth of the Crashdïet we know, and they came crashing through the doors in a way we could never imagine.

// Sara

Twilight Force – Dawn of the Dragonstar

Posted in CDs, Music, Uncategorized with tags , on September 16, 2019 by Sara Hammerzmith

After a long journey of three years the stars has aligned once more and granted us with a Twilight Force collection – The tale of the  “Dawn of the Dragonstar”. Changes to the fellowship of the Force has been made since, as Chrileon has wandered off on different endavours, having Allyon now coming along for the adventures.

So, with the new tale along the road, shall we perhaps take a deeper look into the new lore?

The new tales of enchantments opens up with a rather epic and bombastic tune, much similarly to as it opens on the previous adventures, yet not in the near the same. “Dawn of the Dragonstar” serves us with just about the premonitions needed to excel further on this mission.

The adventures and tales continues on in the same vein as the opening – epic fanfares telling you of the adventures of the “Thundersword” coming up ahead, a tune which brings the thoughts back to elder scrolls such as “Powerwind” – yet without the similarity. What really brings my attention is the end of the tune – with its heavier and yet epic, last chorus. And the banjo? Loving it. 

From one adventure to another – cheerful melodies telling us of the crowning of a king, giving us butterflies in our tummies as we hear the jumpy and happy verses accompanied by the large choruses. A song that again, in the arrangements, brings the thoughts back in time. If you hear it, you hear it. 

We continue on our journey with the tale of another journey, just as epic as the ones before before heading straight into Lord of the rings with “Winds of Wisdom” – which opens with an intro like sapphire, and a nice lowkey verse and building up in the chorus instead. Feeling it being a bit of an extension of “Enchanted Dragon of Wisdom”. 

The clocks are ticking as we head into the probably only more aggressive tunes of the album, in “Queen of Eternity”, which isn’t necessarily speaking of an enemy, but still got a complete different mood as the rest of the album. The song has an amazing arrangement – dark opening, more melodic throughout the song and some incredible off scaled choirs. 

After getting through this, we are back on the yellow path again – but only for the music. The story tells the tale of guarding your gold against cunning men, and doing it so in again one epic way.

One of my personal favorites of the album comes up in ”Hydra”, telling the tale of an old monster from the sea – with interesting arrangements. One more song shows its way before it’s time for one of the most epic endings I’ve yet to hear from an album.

It opens up with a serene piano only to head straight into pure epicness. The shifts in tempos as well as style – going through a bit of an Asian inspired style before getting back into the verse makes it a very pleasant song to listen to, although arrangementwise it sometimes brings the thoughts back to earlier material.

Overall, I think it’s a generally good album. I enjoy Allyon’s vocals a lot, and it’s a very typical Twilight Force album, if you ask me. A lot of the arrangements brings the thoughts back to the backcatalouge, but there are not distincitve repeats, which I like a lot. Well done!

Favorite song:  A tie between “Thundersword” and “Hydra”.
Least Favorite: “Night of Winterlight”
Dance-friendliness:  4/10
Headbang-friendliness:  10/ 10
Crowd-friendliness: 9/10

// Sara

Sabaton – The Great War

Posted in CDs, Music, Uncategorized with tags , on September 6, 2019 by Sara Hammerzmith

So here it is people. The long awaited, tenth studioalbum from Sabaton. I do realize my review is way overdue, but better late than never right?

So, on November 11th, exactly 100 years after World War I broke out, they started the songwriting process and no less, the subject of the album is selfexplanatory – World War I. The Great War, a war so grime that it was said to end all wars. Previously in the library, Sabaton hasn’t touched this subject all too much, making it very interesting, to say the least.

So lets move on to the album?

The album opens up with a lowkey kind of intro, with distant bombs and other mechanical songs before exploding in an epic chant which sets off the album with a melody line and arrangements which brings the thoughts back to “Stalingrad” off “Primo Victoria”, dealing with the subject of the future of warfare. And with that, you can say the mood for the album had been set. If it had only stayed that way.

Already in the next song the mood is picked up with “Seven Pillars of Widsom” which carries a lot of resemblance to “White Death” off “Coat of Arms”. The song is a nice addition though, and if we weren’t getting the mood up here, it sure will bring us up in the next song, as we continue on these anthem-like songs in “82nd All The Way” which, just like the previous one, carries a resemblance, but this one to “Shiroyama” off the last album. However, I really like this one.  An incredible anthem to pay tribute to Sgt. Alvin York and what he achieved during the war.

In the next moment, we are taking a step or three down from the anthem’s, and are instead greeted with an unsettling intro of gas before being launched into a marching rhythm with accessories setting a certain mood to it. As the verse starts, I’m delighted to hear that this is actually something relatively new for being Sabaton. And I really like what I hear.

However, this break didn’t stay long until the album headed for another anthem, that is walking in some more traces of times passed. “Devil Dogs”, about the US Marines gives us an extremely powerful and cheerful anthem, bringing the thoughts slightly back to “Smoking Snakes”, but still enjoyable.

And then.. it arrives. The eerie, circus and carnival-like intro which its funny melody, giving you a funny feeling inside before setting off in a hysteric song that chugs on and on, still with the eerie organ in the background – making this song one of the top of the album. While still nodding back, still something new – like “Blood of Bannockburn” was on the preeceeder. While it may not be the most technical or difficult, this is also the guitarsolo I enjoy the most. This song as a whole – is just so god damn great.

Speaking of great, the great anthem of this album is just around the corner. The Titletrack is, not to my surprise, is a large and epic anthem, just like on many of the albums before this – and this has very quickly made its way to my personal favorite. With the quiet first verse, epic and bombastic choruses, the aggressive second verse and almost hopeful bridge, this song is the shit. And the lyrics, talking about the lyrics. This is some of the best lyrics I’ve seen from the band. While the lyrics of “Red Baron” has its charms and twists, it doesn’t come near this soldier perspective song dealing with the duality of feelings about the conflict as a whole. Yes. YES.

Two filler songs come after this – and I do want to give “A Ghost In the Trenches” A little heads up for that ending – that was real good.

Upon my first hearing of this album I hadn’t done a song count, so when this low, slow musical intro started, I assumed in my head that this was “In Flanders Fields”, and I started to slowly drift of to the serene tunes… as the song then went completely bonkers. “The End of the War to End All Wars”, starts off nicely and then launches into attack mode. I guess a bit like war. The song itself talks about the war that was supposed to be the end of all wars, and this song is an emotional rollercoaster. The verses are uneasy and hysteric, and the choruses are beautiful, epic and heartbreaking.

“In Flanders Fields” is the perfect ending to this album, mesmerizing arrangement and I’ve found myself putting this on repeat. Is there some hypnosis in this? Who knows.

So.. That’s a walkthrough. What are my feelings about the album then?

In general I think this is a pretty good album. While it may contain a little too many nod-backs that I can’t completely ignore, the gems of the album – “Red Baron” for instance – makes completely up for it. Overall, it’s a slick production that holds water, no matter what.

Favorite song: “The Great War”, followed tight by “Red Baron”. But please ask me again in six months.
Least Favorite: “Fields of Verdun”
Dance-friendliness:  4/11
Headbang-friendliness:  8/ 11
Crowd-friendliness: 7/11

// Sara

Unboxing – Sabaton: The Great Box

Posted in CDs, Uncategorized with tags , , on September 4, 2019 by Sara Hammerzmith

At last it arrived! Pre ordered some time in March or April, and delayed for a month and a half for whatever excuse they gave, it’s here at last. I am a bit unhappy with the delay – when the Tank from the Tank Edition was late, Nuclear Blast DID in fact ship out the rest of the content before it was done, and I feel they could have done that here as well. I do not understand nor know the obessession they have with always keeping everything until the last missing item is there, causing a huge dissatisfaction amongst their clients. We can only know, huh? They say production was late, but why didn’t they start already before they put it up for sale?

So on to the box. The box is a lot smaller than the prototype insisted originally – Originally it looked more like the History Version CD, and although we know that wasn’t the final box on the image, it still.. Is a little weird, don’t you think? That it differs that much. The box on the image was a full big box, and we got a pizza box size item.

I will however gice them cred for the details. I liked the fact that the recipients country is stamped on the box, as well as the metal hooks holding it together.

And when you open it, it looks like this

So, lets move onto the contents?

All in all, this is the content of the box, and my box more specifically. Three vinyls – regular vinyl, History Edition with a lot of blabber between every song and an instrumental “soundtrack” edition.

Earbook containing the same things as mentioned above, but on CD. With large artwork!

Five different photographs of the members of the band, not signed, but they look cool.

The poem “In Flanders Fields” together with a poppy+ Sabaton Logo pin. The Poppies are a memorial symbol for the people who lost their lives in the World War I.

And last but not least, one of the propaganda posters. Sabaton has since this tour started to spit out propaganda flyers about every song on their shows – and here we randomly get a poster depicting one of the flyers. My poster represent the song “The End of the War to End All Wars”

I must admit – something that makes me really unhappy with these posters is the need to slap the Sabaton + The Great War logo onto them. I have looked up what the others look like, and they all would really look so much better without the logo slapped everywhere, and just the quote.

So.. What can I say. I’m all in all pretty happy. At the end of the day, I knew, all of us, knew what we were getting. I guess I personally perhaps wish we could have gotten all the posters. Because why not?

As a bonus, I’ll throw in the propaganda flyers – so you can see what they all look like. Although, I suspect this is a misprint since the poppy has the quote from The Great War, and the Great War has the Flanders Fields quote.

These however, you collect during the gigs!

So, that was my few coins about that. In a few days, my review of the album shall be up as well.

// Sara

 

U-Rock @ Umeå, 20/7 -19 Part 1

Posted in Concerts, Music, Travels, Uncategorized with tags , , , on July 20, 2019 by Sara Hammerzmith

Alright people.

You all know I’m dumb. Like, real, fucking, dumb. It’s completely normal for me to be like “Hey, Sabaton plays there, I oughta go!” so I riled up my tourbestie Toivo by whispering that also Raubtier was playing, and with ifs and buts and like last minute decisions, we now found ourselves en route to Umeå.

From where I live, it’s a bit over 900 kilometers, and even further for Toivo. We had a drive time of eight hours – seeing that I first drove an hour to pick Toivo up along the way. So for me, a bit over nine hours, for Toivo around eleven. At this moment, while it isn’t the furthest I’ve ever gone for the band, it sure as hell is the longest we have ever driven for a band.

So… I left for Örebro to meet up with Toivo, and despite being the biggest time optimist, I actually made it there just a little time after his train arrived, and most of this was due to traffic and perhaps his train being a little early, which, by the way, never happens in Sweden. Upon arrival we dumped his stuff in the car and headed into the city to pick up some dinner and then head onto the road.

It was a long drive. But, it was indeed a fun one. We worked our way up through the country, about halfway before we found a nice little resting spot close to a diner with pretty much everything you could possibly need. And a few weird fish and snail signs. At this moment, it was around 2am, and we figured it was a good time to go to bed.

We planned to wake up at 9.30 to coninute our journey, but around 8.30 we woke up and pretty much realized that fuck this, we are dying in this basic sauna and kicked the doors open to the car and got up. Toivo cooked us some noodles for breakfast, and trust me, we had the most scenic view to have our breakfast too. Turns out there is a giant lake next to this place with a walking trail. Loving every second.

But, alas, we had to continue our road upwards and so we did. With new energy and a lot of excitement, we continued upwards and hilarity ensued. Various new songs such as “Umeå” in the vein of Alestorm’s “Mexico” and “Highway to Umeå” was written and a lot of other things.

Just 30 minutes after our initial plan of arrival we roll into the parking lot of the Festival, seeing the most confusing parkingsigns ever and catching up with some of Toivos friends who had arrived for the festival as well.

So, upon arrival we got ready the last bits and then got into line. There was already a bit of a line, but it wasn’t too long. So we weren’t worried. We met a few nice guys who stood behind us and we mostly talked about the difference between Norrland you know, our part of Sweden.

We took the chairs at first, and about half an hour before doors opened we ran back to the car with the chairs, or well, one of us did. And.. a little late the doors opened. But first they had the VIP people entering, and gladly for us, the VIP people were mostly older people or families who simply wanted some seats, and after some running and franticness, we made it to the front row of the stage where we’d spend the rest of our day.

And with that, it was time for the first band of the day

Pretty Maids

So, Pretty Maids is a band I’ve never listened much to ever. A band I never really fell for. I’ve seen them at least once before as far as I can remember, but despite that, they put on a fun show and it was enjoyable. At least the show.

Less can be said about the crowd. I had a mid 50’s man behind me, and despite it being like, 30 people there, he still felt the need to push around and rub up against me. Little did I know, this was only the beginning.

But, with this said, the band left the stage, and in just an hour, it was time for our own personal highlight, or the first one at least.

Raubtier

Okay so this doesn’t start well. The crowd starts getting closer, which isn’t so weird since this is BASICALLY, almost, kind of, a local band, or local heroes. So a big crowd. Here is the problem.

Behind us we get Alexander 22, who is as much of an it-guy as you can be coming from a town like Umeå who partied a little too much on the moonshine, but being “cool” by liking a band like Raubtier. Him and his gang. We already know from the start this is going to be an issue, so when the band opened with “Det Finns Bara Krig” (There is only war, fittingly enough) we might have exaggerated our headbanging a little bit just to establish dominance.

Actually. Just wanna mention one thing. The intro they used for their show is a song called “Be Mig” by folkband Nordman. Which is… Where do I begin about this? Nordman has been a favorite band of mine since I was a child. And “Be Mig” Specifically, has been my favorite song of them, also since I was a child. So that one, went straight to the heart.

So, anyway, that’s how they started and they very quickly followed up with “Från min Kalla Död Hand”. I am not sure if I’ll even keep translating the band names, but anyway. Third song on the list got out as a tribute for everyone from the nordic region of Sweden, “Bothnia Blod” and then straight jumping into “Vittring”, which is one of my personal feel good songs. But because of Alexander and his gang, there was a mild disruption to everything. And it was about to get worse.

“Achtung Panzer” was about to come up, and for some reason, Alexander felt very very entitled to this particular song, and to the front row spot, so he, without a single doubt in mind, leapt for us, and said “I HAVE TO GET FORWARD”. But Toivo, being a long term Raubiter fan and pretty much doing this drive for them, and me, being a rabies infected Sabaton fangirl who will kill anyone, told him to fuck off and kicked him back.  So that was that. The song though, was amazing.

The band was. They really delivered. Next song on the list, was the new single “Ovtjarka” which made Toivo extremely happy. For some reason Alexander didn’t react much, proved my point about his state.

“Dieseldöden” followed suite before it was time to calm things down for a moment with “Polarvargen”. For several reasons this song is difficult for me, and I’ll not deny I teared up the direct moment I tried to sing along, but in a weird way I guess I was happy they played it? Does that even make sense?

“Besten” followed up, and then it was time for “Sveriges Elit” – And Toivo – it was Hulkoff who said it, that I was Sweden’s elite. They wrapped the set up with “Dobermann” for now, and swiftly left the stage only to return moments later to fire off “Världsherravälde”, “Kamphund” and lastly “Låt Napalmen Regna”. Well, there was no napalm rain, but it sure as hell was burning hot during the day. But not by the stage though..

With that said, Raubtier left the stage for the next band to take over. I think this might have been my second time seeing them, and I thought the show was really really good. I am really looking forward to seeing them later this year.

Toivo tried for a long time getting the setlist, and after some ifs and buts he got one. And funnily enough.. Some time later they threw out another one. So both of us now had one. Great huh?

To be continued

// Sara

U-Rock @ Umeå, 20/7 -19 Part 2

Posted in Music, Uncategorized with tags , on July 20, 2019 by Sara Hammerzmith

So, with Raubtier being done, we now had a bit longer wait for our next band of the day – Sabaton. Yes. We pretty much drove this entire way simply to see Raubiter and Sabaton. Fucking come at me bro! We drove a 1000 miles for them, and we’d drive that again to be with them. Themesong of this trip really IS “1000 Miles” by H.E.A.T.

Anyway, enough with the jibberjabbish.

Next band to enter the stage was Nocturnal Rites. Interestingly enough, Raubtier was only meant to play for an hour, but wound up playing 75 minutes. I guess Nocturnal Rites gave up some of their setup time, or something, because they were still on time on stage.

Nocturnal Rites

So, this is another band that I may or may not have seen live before – after about 12 years of touring it’s hard to keep track on every single band you see at a festival or show. But, they delivered a very good set, very enjoyable, and the crowd had a good vibe to it – not an idiotic vibe, gladly. I really enjoyed their set!

So, after them, the wait for the last band before B-Band started and it was time for U.D.O

U.D.O

I always mix up if it’s U.D.O or Dirkschneider that is the Accept tour, but I worked out pretty quickly that this was not the Accept one. I’ve had the oppurtunity to review some of U.D.O’s albums in the past, but besides that, it’s not something I’ve been listening a lot to.

The band did do very good though – they delievered more than okay, and put a smile on my face.

There was one thing though that I noticed.

And it took me some time.

I was looking at one of the guitarists, seeing his guutar clad in the Swedish shield. Three crowns and a lion. And I didn’t get it. Why would a german guitarist have a Swedish shield guitar? But then again, why not? What do I know about this band, maybe they have it for all countries.

And I kept staring for a few good songs before it hit me. And perhaps it didn’t even hit me until I saw the other stringbenders with instruments clad in city camo paint. Then it hit me.

This was not their guitars. This was Sabaton’s guitars. And in case I hadn’t worked it, Udo himself would mention it a little bit later. I really am stupid, aren’t I?

But with that said, after a really good show they wrapped it up and it was time for us to wait for the main act.

And seriously. As the crew started assembling Sabaton’s stage, which is somewhat similar to trying to assemble a piece of IKEA furniture, for some reason, the people in the crowd would do nothing but scream for Sabaton. And not just scream their name, but be like “Why aren’t you starting already??” Well probably because the stage is still basically a manual and some screws? What do I know?

And this kept on. And remembering how I in my last entry about this, wrote about how things was just about to get worse? Well this was the part. Firstly, a lady comes from behind and start acting very elitist, worse than me. Proclaiming she’s been here for hours (haven’t seen her before?) and upon us telling her how far we drove and how long WE’VE been staying she calms down and instead starts talking about how she’s at least see them before. Honey, this was my 32nd Sabaton show, but please tell me more?

Second problem was a lady from the side. Her boyfriend or something had stayed next to me during U.D.O and he was fine. But her? She started talking about how she was going to push us away during Sabaton so he could stand next to her instead of behind her. Fuck that. And I figured, to myself, that it’d be the other way around. She’d be the one who is gone. It usually happens like that.

The endless screaming went on and on for a good half an hour to 45 minutes… Until the intro started rolling. At this point, no one cared. No one noticed. Except me. I remember even saying to people like “Look, it’s fucking starting now why aren’t you screaming?” Funny people, really.

Sabaton

So, the eerie new intro… haha. No. It’s not eerie, who am I kidding? The new intro is a bit silent, much like “Dominum Maris Baltici”, but eventually it picks up it’s pace. It’s a similar intro as to “Nightwitches”, just that now it’s “Ghost Division”. So there goes my long wishes about getting rid of “Ghost Division” as an opener. Oh well. Maybe another tour.

So, as you probably understood, “Ghost Division” was indeed the opener, and again, to practice some kind of dominance I might have burned out my neck at this point – and as the “Winged Hussars” arrived, all the annoying people were gone.

For the third song, Jocke wiped out a guitar and it was time for “Resist and Bite” because apparently that song is now a steady one, as opposed to a Belgian regional. Or perhaps its just for now. Somewhere here, supposedly accidently, the propaganda flyers were sent out. Well, why not?

After this, it was time for Sweden premiere of “Fields of Verdun”. Still, this really isn’t one of my favorite song, but still – I enjoyed it. “The Price of a Mile” was next on the list, and much to my dismay and almost disappointment, the choir is not joining the ranks.

And while speaking of that, a lot of other things were lacking as well. The trenches weren’t there, just the pyro thing. The grand The Great War sign was missing as well – felt like this was just a between show. And to make things worse, the screen didn’t work properly either. And you guys knows what that means, right? If you don’t, I’ll get back to that later.

And after this… it was time for a live premiere. As suspected, we beforehand suspected “Great War” and “Red Baron” would be premiered today, and it was time for “Great War.” Jocke spoke of being nervous for playing this, and evidently he should have been as he completely blanked out the lyrics.

Well, lucky Sabaton that they had us, Toivo, me, Elli and her friend. We all raised our voices and sang instead of him until he got back on track. But, it was magical nontheless! This is slowly becoming my favorite of the album.

Right after this, they fired off “Shiroyama” before embarking on “Bismarck” which was as epic as always. But due to crowd, we couldn’t start off our planned rowpit.

It got silent, and the lowkey intro for “Lion From The North” started coming out of the speakers, and the band got back on stage running out and firing off the song, launching them straight into “Carolus Rex” and later on “En Livstid i Krig”.

And there are two things I want to talk about here. Firstly, the incredibly epic singalong. It was LOUD. LOUD. And the second thing, remember how I talked about that the screen behind them not working?

This also means there was no baby bears. The baby bears is the only reason I enjoy this song live, and the only reason I accept this song live, is because of the baby bears. And if there is no baby bears, is there even a song? Is there even a point? I could almost cry. Baby bears are life.

The band left the stage and then the red blinking lights and sirens started going off alerting us that the “Nightwitches” where near, and such was the next song. “The Lost Battalion” was fired off before it was time for the next livepremiere, which was just as suspected, “Red Baron”.

They performed the song without an intro, much to my.. dislike. I guess I had an idea in my head on how you could have done this intro, but maybe for the tour? I improvied my swingdancing as well – wasn’t meant to but as Toivo asked how I thought about it we figured we would. And everyone probably hated us.

My personal favorite “The Last Stand” came next, thank god, before wrapping the set up as usual – “Primo Victoria”, “Swedish Pagans” and lastly with “To Hell and Back”

With that said, the band left the stage and we were left there. High on life, not sure what we had just witnessed. It was a very predictable set but nonetheless, they performed it very well. Thank you so much, Sabaton!

// Sara