Living near Berlin entails the obvious benefit of always being just one step away from the next heavy event. Life made an offer and I took it: Scar Symmetry came to the capital! My tickets were bought faster than you can say ‘Metalhead’, even though the Swedish act was merely the guest band accompanying Epica from the Netherlands and the Swiss Folk Metal band Eluveitie on their European Enigma tour.
I had the pleasure to experience a band I adore, no matter how short their show. Scar Symmetry played an agreeable set in a very enthusiastic manner – sadly enough in front of what could hardly be called a crowd. I and my-boyfriend-the-Metalhead enjoyed every second of their concert, heads banging, singing along at the top of our battered voices. The band’s performance was like weekends: great, long awaited, and way too short. For a band of their renown, skill and experience, Scar Symmetry’s touring as support band seemed far too tiny, too modest a role. They, however, appeared to have preserved a down-to-earth attitude. Their set done, the band mingled with the crowd. I took my chance and asked Lars Palmqvist for a photo. He gave me a hug and we squeezed on a photo with my boyfriend and Roberth Karlsson. The result is simply cool and I got it printed to adorn my living room, reminding my every day of how good it feels to have some Metal in my life.
Eluveitie played an energetic concert including songs sung in Swiss German (To tell you the truth, I expected this to sound hilarious, then was impressed.) and sing-along parts. I would not call myself a fan of Eluveitie, but they are inventive songwriters who play with obvious zest, rendering their show worth a visit. Epica, the concert’s main act, then made a dramatic entrance, followed by a show built around the figure of their singer Simone Simons. It was neither Eluveitie’s Swiss singing nor Epica’s keyboard-style grandeur which intrigued me most, though, but the composition of and atmosphere among the audience.
Firstly, the audience appeared tame to me who is experienced in Machine Head and Skindred concerts with hairy hardliners turning their dreadlocks into whips and beer cans into missiles. With the folk calm and peaceful, moshing and jumping were no option and headbanging was rare. It was easy to simply stand among the crowd doing nothing and not even be touched by anyone. Secondly, the concert stood out by the powerful presence of women of every age and making. My comparably meagre concert experience had made me expect an underrepresentation of my sex, but perhaps the fact that both Eluveitie and Epica include female members attracted an exceptional audience.
Female Heavy Metal musicians are rare. I wonder, why. And are female fans of Heavy Music equally rare? I’d like to delve deeper into this intriguing issue in my next post, before hopefully returning to the promising topic of heavy lyrics.