Back to play their hometown after last year's show at the Underworld, it is good to see Threshold in the significantly larger O2 Academy in Islington at what is their only UK date. Given that this band has been creating sublime progressive metal since 1988 and are on metal heavyweight label Nuclear Blast, it seems preposterous that they do not have enough attention to justify a full UK tour but unfortunately Threshold's success is more visible in, say, the Netherlands than their home country.
Support comes from Overtures a heavy metal act with power metal moments from Italy formed in 2003 with three albums to their name. Their first time playing in London, there is plenty of enthusiasm from the band members themselves but the music sounds somewhat dated and typical of insipid heavy/power metal acts in the 2000s with their music akin to fellow countrymen Rhapsody. Nonetheless the audience reaction is positive, although not raucous but perhaps the Threshold fanbase is not one that traditionally goes hand-in-hand with Overtures' brand of melodic metal.
Before the band is even on stage, Threshold singer Damian Wilson ventures into the audience greeting and striking up conversations with the crowd, cementing his position as metal's most friendly vocalist. When all of the members are onstage, the band launch into the energetic 'Slipstream', a definitive fan favourite from 2007's 'Dead Reckoning'. Initially, the guitars are too low but quickly this is rectified and the audience can enjoy England's more enduring prog metal act in crystal clarity with a high standard of musicianship from all members, alternating between the emotive and the heavy with atmospheric and skilful keyboards.
This year sees the release of tenth album 'For the Journey' so naturally, the setlist donates a sizeable portion of its time on this full-length. 'Unforgiven', 'Lost in Your Memory' and 'Watchtower on the Moon' are some of the selections, with Threshold moving to a more keyboard-centric sound with simpler song structures all while still retaining those signature melodies. However, the fans react stronger to material of the album before 'March of Progress' with 'The Hours', 'Liberty, Complacency, Dependency' and 'Coda' representing the release. Completely avoiding falling into a nostalgia act and leaping from strength to strength with later releases, Threshold have managed to create a setlist that focuses almost exclusively on material from the tail end of their career and while successfully winning the audience's approval entirely.
But Threshold are a band that revel in annihilating stereotypes. Wilson's stage presence is incredibly interactive with the singer frequently vacating the stage to go into the crowd – a far cry from the perceived image of prog bands standing still and staring at their instruments when on stage. The beloved ballad 'Pilot in the Sky of Dreams', one of the six-piece's most popular tracks, sees Wilson attempt to recreate a wall of death – albeit the audience fail to separate for more than a foot of distance in between. There is an air of trepidation in the crowd at the thought of any kind of violence occurring but in the end, Wilson uses the space as an opportunity to stride up and down among the audience as he encourages them to sing along.
New song 'The Box' closes and sees the band leave the stage. Wilson returns to embolden the audience to cheer further to lure the rest remainder of the band out for an encore which is 'Ashes', the opener of 'March of Progress' with many a healthy portion of the audience singing along to the chorus. When the song ends, the concert is not quite over yet. Wilson returns to the stage explaining to the crowd that he wants to demonstrate in London – like he has for the other dates on this European tour – how to stage dive safely, following his failure at landing on a wheelchair user at Threshold's show in 2007 back at the now destroyed Mean Fiddler. There is apprehension in the audience as Wilson yet again tries something more suited to a younger audience than a Threshold one but they undoubtedly feel relieved as Wilson is informed by security that he cannot stage dive. The killjoy in question receives a deserved round of boos and Wilson again ventures into the audience to talk to the fans.
It is said that English fans and critics have an aversion to home-grown talent, presumably in favour of American, German and Scandinavian acts and this is the kind of attitude that sees Threshold getting barred from the recognition they deserve. Perhaps a slot at Bloodstock festival is what is needed to redirect the British metalheads' attention to such an outstanding and lively act. Tonight once again, the leave behind a highly entertaining performance that will always see people travel a distance to catch them – as is the case for this London only date. They deserve a full UK tour.
FUTURE GIGS
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