LIVE(STREAM) REVIEW: Avatar @ Age of Dreams

As the time without proper live shows rolls on and on with no real apparent end in sight, it seems as though more and more bands have been delving into the realm of streamed gigs with increasing levels of ambition. Swedish melodic death metallers AVATAR are the latest to have taken the notion and run with it, and are doing so in one of the most expansive ways to date; booking four consecutive career-spanning shows throughout January under the banner of Avatar Ages, and we were lucky enough to be invited into the band’s twisted world for part one – Age of Dreams.

After a five minute countdown accompanied by footage of AVATAR fans across the world chanting the band’s name into their cameras, we’re off, courtesy of a CGI-heavy sci-fi intro which sees the band’s talismanic frontman Johannes Eckerström being pulled from suspended animation in a lab before things fade into our staging proper for the evening. Well, the first staging anyway; on tonight’s agenda, it’s the band’s latest album Hunter Gatherer played in full for the first time ever, plus a promise of some hits sprinkled in to boot. Oddly for AVATAR, things start off in a surprisingly understated plain black room with the band’s logo in lights behind them. Opening cuts Silence in the Age of Apes and Colossus both roar out of the gates though with arguably more fire than their recorded counterparts as the band immediately set about proving the distinct lack of any rust a year of lockdown might have brought about. The riffs are as hulking as ever and Eckerström’s unique vocals sound alternately feral and impressively melodic, in no small part thanks to a stunning sound mix from Hunter Gatherer producer Jay Ruston.

It’s around this point where AVATAR’s inherent theatrics are dialled up to 11 and then some however, as we suddenly transition away from the stage to a new, almost Shining-esque hotel corridor stage as tracks like God of Sick Dreams, the thrashy Scream Until You Wake and the vaudeville-camp-meets-pummelling-metal of Child continue to draw viewers into the band’s own twisted world; the latter seeing Eckerström writhing around on the floor screeching as if possessed as guitarists Jonas ‘Kungen’ Jarlsby (more on him later) and Tim Öhrström deliver a torrent of bone-shaking riffs around him. Justice quickly follows, complete with police-like blue and white strobes, before another set change leaves Eckerström alone in a room with a piano. “Hello, we haven’t properly met yet”, he quips while addressing the audience for the first time before adding, “Welcome to our dreams”. What follows is, rather unexpectedly, a genuine tear-jerker of a moment with the performance of soaring ballad Gun – a track that’s more akin to ELTON JOHN than anything remotely approaching metal.

Naturally, they couldn’t finish off on such a sombre moment though, and the rest of AVATAR are soon brought back with a jump-cut to their initial black room for arguably the two heaviest moments on Hunter Gatherer. Up first, When All But Force Has Failed truly lives up to its name, with Eckerström almost evoking 2001 Iowa-era Corey Taylor in his venomously-spat delivery atop John Alfredsson’s relentless drums and Henrik Sandelin’s driving bassline. It’s an undeniable delight for fans of the band’s heavier moments, and one that’s masterfully followed up with the groove-laden stomp of album closer Wormhole to complete the first part of tonight’s show, as Jarlsby and Öhrström clash with brilliant duelling shred solos amidst a backdrop of graphics of the moon and sci-fi wormholes.

After all that excitement, the lights then go down and we’re treated to a quick two minute intermission to catch our breath, intercut with graphics of the various band members in different costumes and locales. Of course, this is far from the end though, and Johannes soon returns in full ringmaster gear to sit at a piano once more, beginning to tickle the ivories with the chorus of The Eagle Has Landed, before a quick cut returns the rest of the band to our screens clad in full Feathers & Flesh-era getup. A pummelling rendition of For The Swarm quickly follows, before another cut to a hilarious and incredibly tongue-in-cheek promo video “Glory To Our King”, which of course sees Jarlsby taking up his role as Avatar Country monarch ‘Kungen‘ once more in a parody tourism film for the fictional locale.

As you’d probably expect, The King Welcomes You To Avatar Country is next up on the setlist, with a new waving-flag backdrop, white and black stage outfits and obligatory pyrotechnic sparks as Jarlsby is seated on a raised throne, clad in regal-looking furs, crowned by his subjects/bandmates and left to play his parts from this new position. Is it campy and bordering on a little bit ridiculous? Of course, but this is AVATAR, and if you hadn’t figured that out yet, then the sight of Eckerström gulping water from a faux gasoline tank-like prop after the triumphant A Statue of the King, before donning a red coat and quipping “Wooo, costume changes, because I’m that damn famous”, should be more than enough for the realisation to finally sink in.

With the end almost in sight by this point, flame visuals suddenly light up the band’s surroundings, appropriately enough for the punchy Let It Burn, before one final round of stage-hopping sees Bloody Angel and Smells Like A Freakshow both delivered with gusto as the band prepare for their last stand. As you’d possibly have predicted, tonight’s closer is of course titanic fan-favourite Hail The Apocalypse, but what you definitely didn’t see coming was the song’s intro almost immediately being interrupted by a solo Eckerström pushing some kind of crank-driven TV cart into frame, which lights up to depict his bandmates performing in their own space as the demented clown himself performs in front of a giant projection of all sorts of war footage befitting the apocalyptic final number.

Credits then finally roll, and we’re left to try and take in everything we’ve just seen over the prior 90 or so minutes. It’s difficult to predict how the remaining three Avatar Ages shows will look, but if this first attempt is anything to go by, fans are sure to have a blast further immersing themselves in the dark carnival world of one of modern metal’s most inventive acts.

Rating: 8/10