Gig review: Amaranthe + Aurateque at the Metro, Sydney

Live review: Amaranthe and Aurateque at The Metro, Sydney on Friday, August 30 2024

By PAUL SOUTHWELL

SWEDISH melodic metal band Amaranthe were finally in Australia for the first time ever and touring on the back of seventh album, The Catalyst. It was going to be interesting to see what the setlist would entail. But based on the turnout this evening, there were no concerns. The line waiting to get in stretched through the alley, right back to the parallel street. It also contained a lot of bewildered younger indie set fans for another act that was appearing at the same venue, in the side room. But once that confusion was addressed, the two crowds did not overlap.

The support band this evening was Sydney based alternative metal act, Aurateque, whose energy from the outset provided the necessary impetus to get the room moving. Aurateque are fronted by Lauren Coleman and her stage presence gave the opening song”Hurricane”, from The Dragonfly Pursuit EP, an impassioned feel, with down-tuned riffs from guitarist Luke Denniss enhanced by the muted guitar figures from co-guitarist Matthew Bortolin, and swift drumming from drummer Tristan Lacey. Yes, the band did not have a live bass player but that was obviously dealt with sonically in other ways. But with the combination of tartan pants, PVC knee high boots, a frilly red dress, and ripped jeans, with plentiful angst and enraged crouching for lyrical emphasis, the variety of interesting guitars on display was overshadowed by the band’s overall unique aesthetic.

“Bitch Schnitzel” had a raw System Of A Down feel to it, “Pink Casket” had a similar approach between breakdowns and sonic onslaughts, albeit faster and more hardcore in delivery. Guitar chords sliced the air as did Coleman’s aggressive vocals, complete with unsettling vibrato. Excited with the audience response, the band launched into “Empty Familiar”, introduced with dashes of electronica. This saw busy guitar playing from Bortolin, with the odd high note tapped, before the song lulled into a quieter emotive interlude before tapping into an outpouring of screaming vocal rage, which continued for the next track.

“Genesis” allowed the dynamics of the band to shine, with Coleman jumping off the deeper stage risers, as the song moved between full sound to moody arpeggios, with Coleman’s vocals floating well across the arrangements. Finishing their set with “Renegade”, Bortolin’s playing bouncing between heavy, low strung riffage that borrowed slightly – and probably unintentionally – from the strange world of Primus. Coleman alternated between long sustained vocal lines to barked, screamed blasts of vocal ferocity, accompanied by suitable music. Not a bad effort at all, and probably one of the biggest audiences they’ve played to thus far.

As the changeover took effect, it was clear that Amaranthe work digitally. It was a sparse, clean stage, with three raised platforms, embellishing the two higher platforms bookending the drum riser, adorned with screen cloths of futuristic metallic debris, punctuating the backdrop of the upper scalp portion of the artwork from The Catalyst. The platforms allowed the band’s three vocalists and mobile guitarists to engage the audience more readily. For this tour, due to personal concerns, vocalist Mikael Sehlin was replaced by Samy Elbanna. But Elize Ryd and Nils Molin were both in attendance. 

Some dialogue backed by keyboard and orchestrated string swells, then marching beats reminiscent of soundtrack stylings, set the mood. Amaranthe’s power pop harmonies were of course soon in effect, kicking off with the whip fast “Fearless” from Manifest. This was backed by interspersed guitar riffs from founding guitarist Olof Mörck, who synchronised his playing perfectly tonight with the rhythm section of powerful drummer Morten Løwe Sørensen and enthusiast bassist Johan Andreassen. 

“Viral” continued with the upbeat vibe, with Ryd’s hair tied back, sporting heels, patterned stocking-like trousers, a reflective black ankle length overcoat, with eyelashes, red lipstick and unbeatable stage presence. Mörck, with his long locks, was similarly sartorially elegant in a patterned silver coat over a black collared shirt, and black leather pants that enhanced the look of his striking white Caparison guitar. Amaranthe’s look is no accident: they present well and it adds perfectly to their varied musical flavourings, concocted by the genius core songwriters of Ryd and Mörck. Massive Addictive‘s “Digital World” flew past at pace, quickly followed by “Damnation Flame” from The Catalyst, which included harpsicord figures to flesh out the song.

Ryd’s stage moves and delivery were captivating, as even without the long coat, her choices were tastefully elegant. Andreassen and Mörck would move around the stage without upstaging either. Even as Molin loomed large, jumping across front stage platforms with swirling hair and metal presence, it’s fair to say all eyes were on Ryd, except when Mörck unleashed fluid guitar solos, such as during “Maximize” from Maximalism. Also from that album, “Boomerang” let the cultural appreciation angle work a treat, adding elements of hip-hop, and barraging metal. The vocal trade-offs in this track were truly impressive, showing how well rehearsed Amaranthe are, and untouchable at this point in their set.

“Strong” saw more vocal duet skills but the standout, “365”, had the audience singing along, as the PA pumped out heavier sounds, including a variety of apt synthesiser. The energy continued with “PvP”, Amaranthe’s 2021 anthem for Sweden’s World Cup team, as Sørensen smashed kit within an inch of its life. Offering varied contrast, “Crystalline” saw Ryd using the front stage platform to half recline as she effortlessly sang breathy vocals, with her signature warmth and projection, accompanied by backing track strings and keyboards, plus live drums, to then duet with Molin. 

Three tracks in a row from The Catalyst followed, evidently well-rehearsed, musically interesting and audience-engaging. “Interference” had harmonies galore amongst the beats and electronica elements, as did “The Catalyst” which bounced along with melodicism and audience handclaps, as only the Swedish music machine can do. They were alternating between heavy barrages and briefly sparse arrangements, complete with an Eastern feel to the vocals and a brief slinky solo from Mörck. Next track “Re-Vision” might well be the best current example of where Amaranthe’s sonic direction is headed, with electronica and metal styles embracing perfectly with those Swedish vocal harmonies. Mörck’s soloing had Ryd pointing a microphone at his guitar at one point, so the sense of camaraderie was clear. 

Phones were held aloft as lamps, whilst a keyboard figure and Ryd’s stunning vocals filled the room for “Amaranthine” from the first album. Molin’s vocals ensued, with some contributions from Elbanna, alongside the band, as Ryd dominated the chorus with soaring vocals, as the audience sang along. The title track from The Nexus, picked up the pace and groove and vocal melodies capturing the audience, as they jumped along, enthused. Closing out the main set, “Call Out My Name” was gladly received, with keyboard flourishes that melodically had some Abba aspects, and a dash of neoclassical, mixed with dance beats. How Amaranthe delivers this melting pot of musical influences is quite remarkable to witness live.

Encore time hit with three songs provided for the eager audience. “Archangel” from Manifest was introduced with some dialogue and chanting monks over the PA and soon enough the band returned to the stage and the energy kicked in. Led with harsh vocals, it was soon clean vocals that took over once the chorus was in full swing. Andreassen and Mörck criss-crossed playing hands as Ryd high kicked and her vocals reached high soprano notes with full vibrato. The audience went nuts at this point. 

Soon enough, after some audience participation for crowd response volume, the skipping pop and metal hybrid of “That Song” from Maximalism got an airing, aptly enough with a portion of Queen’s “We Will Rock You” added in, fitting the stomping groove. To conclude the show, their hit track “Drop Dead Cynical” from Massive Addictive was the perfect way to end proceedings. Ryd moved with confident ease across the stage, as the rhythm section bolstered her vocal delivery, and keyboard pulses kept the audience clapping along. Amaranthe are remarkable, but live, they are truly incredible, professional, melodic, engaging, and most importantly, endlessly entertaining. A definite performance highlight and thus far, one of the best shows of the year.