Progressive metal tours do not visit Britain as often as continental Europe so it is entirely ill fortune that prog power metallers Symphony X’s return to the capital in five years coincides with the second London show of the world’s most popular prog metal act: Dream Theater. Fortunately for the latter, tonight’s show is deservedly sold out anyway.
Support comes from Tunisia’s Myrath, who began life in 2001 under the name Xtazy and covered Symphony X songs. Opening with 'Storm of Lies’, the five piece infuse their progressive metal with folk elements originating from their native land, not too dissimilar to Orphaned Land. While this certainly reduces the possibility of Myrath resembling most other bands in their genre, it is the only real operative of their sound that positions them as a breath of fresh air, the progressive metal itself somewhat tepid without the Middle Eastern traits. Guitars alternate between the rhythmic abrasiveness featured in plenty of modern progmetal acts and cleaner melodies supported by keyboards influenced by film soundtracks.
Vocalist Zaher Zorgati showcases more of a signature style, his voice drawing influence from Arabic folk classes often with a meandering depth. He is a convivial frontman and along with the rest of the band, puts on an emphatic performance. The audience are certainly appreciative of Myrath’s presence, proffering solid responses at the end of each song – most of the set is composed from very new album 'Legacy''and given the spectators' presumed lack of familiarity with the release, the Tunisians receive nothing but praise. Closer 'Duat' sees the band vacate the stage and the punters' response is certainly more rousing than what regular supporting acts attain.
Following an intro tape of 'Overture''from last year’s outstanding 'Underworld''opus, prog power metal headliners Symphony X grace the stage one by one, the final member vocalist Russell Allen spurring a thunderous response from the attendees. The first song is the dynamic 'Nevermore’, the perfect matrimony of the band’s newer heavy groove paired with the melodic earlier years of their career. Guitar virtuoso Michael Romeo is unbelievable as his fingers dance at astonishing speeds up and down his fretboard while keyboard player Michael Pinnella provides similar wizardry where individual riffs are formed from miniature solos. The instrumental performance is impressive but Allen does not struggle too hard to maintain a generous portion of the audience’s attention, donned in rockstar sunglasses and providing an entertaining stage presence as his vocals alternate between a stony roughness and a melodic Ronnie Dio-inspired voice.
As announced beforehand, tonight Symphony X are playing 'Underworld''in its entirety – an wholly laudable decision given the impressive nature of this album. To make the evening a little less predictable, Allen announces that they will not perform it in order but mix up the setlist’s order. Each track is performed with a stunning level of expertise, including the dramatic 'Kiss of Fire’, 'To Hell and Back''which although clocking in at nearly 10 minutes flies by faster than Romeo’s solos, the tender 'Without You''and the particularly classic Symphony X-sounding 'Charon’. Compared to when other acts play their latest release in their entirety, the fans look consistently enthralled with a sizeable portion of the crowd singing along. The appreciation is so high that someone launches a bra at the band, which Allen picks up and mounts on the stage – a rare trophy at a prog/power show indeed.
Unlike Dream Theater’s most recent tour, Symphony X have allocated some time of their set to older favourites outside of the new material. Following the moving 'Swansong' that Allen dedicates to those whom have passed away, the band launches into 'The Death of Balance / Lacrymosa' from 'V: The New Mythology Suite’, a rarity that illustrates the band’s creativity and lavish talent. This is followed up by Symphony X beloved one-two punch of 'Out of the Ashes''and 'Sea of Lies' both from 'Divine Wings of Tragedy' and with particularly powerful choruses that summons the crowd to sing along to each word.
Following this, the headlines leave the stage but the hall’s walls rattle with audience ovation and stomping of feet that the band have to return, unveiling 'Set the World on Fire (The Lie of Lies)''from their most popular album 'Paradise Lost'. The reduction of melodies gives way to thrash-inspired groove riffs that make for good headbanging material with sublime heaviness in the live environment. By this point, fans of 'Underworld''notice an admission from the album and this box is ticked as the outstanding 'Legend''ends the night and the band leave behind one of the best metal shows that this review has seen in some time.
Symphony X deserved to sell out this show and those prog metal adherents who attended Dream Theater’s show in favour of this (despite Dream Theater playing the exact same set the night before) should hang their heads in shame; Symphony X are a far rarer spectacle in the capital these days and coupled with an album and live show that are currently outperforming Dream Theater’s newest efforts, it seems like a no-brainer.
FUTURE GIGS
sorry, we currently have no gigs listed for this act.