AVATAR – Brisbane, Australia 27th August 2023
Avant-garde metal troupe Avatar, from Sweden arrived in Australia for the first time to entertain and dazzle at The Triffid in Brisbane.
Avatar possesses the ability to genre blend melodic metal into a carnival show and their popularity is rising fast. They create a show that will leave you screaming for more and they are going to continue bringing the roof down off every venue they enter. Joining them on this ride is Brisbane-based Krave and while only a 3 piece they emit raw power and energy.
Vocalist and bassist Siana Davis has a unique vocal range transitioning between clean singing and powerful growls. She has robust strong vocals and can shift her pitch with ease. A circle pit erupts and the moshers all wave their limbs as the pit opens wider. Ryan White is an animated guitarist pulling brutal faces and thrashing at the strings. The mosh pit turns into a can-can dance as the heavy thrashing shifts into a nice groove. Drummer Lachlan Shirley hits hard with a unique style and together they create a powerful trio. Krave encompassed energy and fun into their performance, and they were a fantastic addition to the bill.
It is now time for the highly anticipated Avatar to take the stage. As the crowd looks on in anticipation we are greeted by a gimp-masked helper who proceeds to hand out instruments ritualistically to the members ready for battle. Standing motionless as the intro to “Dance Devil Dance” pulses through the venue. They hold their instruments like statues frozen in time as the crowd screams in a frenzy. In harmony they all wield their instrumental weapons setting up the stage that this is much more than a show this is a theatre of choreographed synchronicity.
John Alfredsson counts in on the drums as the guitars explode with sound and the crowd yells in excitement. Vocalist Johannes Eckerström struts onto the stage grinning ear to ear as he growls into his microphone, peering at the audience like a raving mad jester. His eyes painted in the vaudeville style black and red on his grinning face, he is the ringmaster as he swings his baton owning the stage.
Guitarists Jonas Jarlsby and Tim Öhrström are in perfect unison with bassist Henrik Sandelin windmilling their long hair. Eckerström stamps his feet and waves his arms like a maniacal marionette. Alfredsson hits his drums in a rudimental rhythm and the guitarists follow with the riff for “The Eagle Has Landed”. Eckerström waves his baton over his head as he sings “Ladies and Gentleman”. The crowd reciprocates the wave and roars powerfully back. Alfredsson hitting his drums and swinging his head from side to side the troupe are in sync. Jarlsby steps forward and fervently strums a fast guitar solo and Öhrström runs over to him. He takes over the solo finishing it with just as much ease as he sweeps his nimble fingers at an accelerating pace. “Valley of Disease” is breakneck fast and it causes a circle pit to unleash in the crowd.
Eckerström emits deep gutturals as the fans run in a circle showcasing his extensive vocal range. He commands “Open it up Brisbane” as the circle pit widens for him and many are caught up in the excitement as fans run wildly around in the giant pit that has formed. Eckerström shifts his attention off the crowd, turns to his orchestra and conducts the stage members as he is the maestro.
When the song ends, Eckerström seductively removes his coat and delights the audience with comedic banter between songs. He pulls down one strap of his suspended overalls and quickly pulls it back onto his shoulder. “I saw the ticket price, this is all of the strip tease you can afford,” he says with a smirk. “Puppet Show” encompasses the heavy carnival sound and displays his deep vocals.
Suddenly he disappears and reappears out of the balcony at the back of the venue with a long balloon. He showcases another of his talents as he bends the balloon into a balloon animal which he throws into the crowd. He picks up a trombone and plays it for he is a multi-talented ringmaster, who also provides stand-up comedy between songs. Öhrström and Jarlsby end the song by showcasing their shredding skills and rapid sweeping of the strings.
Alfredsson belts his drums and waves his stick-wielding arms energetically whilst staring eagerly into the crowd. Avatar proves they aren’t just a costumed gimmick band and Alfredsson’s electrifying fast blasts are showcased in “Black Waltz”. Accelerated Eckerström sprints down the stage and gallop skips back with his baton resting on his shoulder. He sings into the microphone and looks at the crowd with his devilish signature smile. He swings the baton orchestrating the crowd and he knows they are at his beckoning. The pace slows as Eckerström sits at a keyboard and treats us to a song for “Tower” exhibiting yet another musical talent of the front man.
In perfect synchronicity, every member headbangs to “Colossus” as the catchy vocals and heavy bass reverberate through the speakers. After a huge crowd building introduction for the next song, the tone dramatically changes in style yet again for “Smells Like a Freakshow”.
Eckerström demonstrates his clean smooth vocals for this slower track. He can belt out perfect falsettos highlighting his versatile vocal range. The night has to end eventually and they end on a high with “Hail the Apocalypse”. The song erupts as the troupe windmills their long hair and the song explodes with the audience screaming along. A final belting falsetto from Eckerström and a winding down drum blast from Alfredsson the crowd cheers as the drum solo closes the evening.
Avatar proved in their almost 2-hour long set that they are a blend of musical genius twisted with a devil’s carnival for the smoothest roller coaster you will ever ride. Their on-stage synchronization and precision are mastered in their art. On a spectacular evening, we were taken on a journey through a carnival of madness and not to be missed if this travelling metal circus comes to a city near you.
Reviewer: Nikki Christina
Photographer: Davey Rintala @fastlanephoto
