As Opeth frontman Mikael Akerfeldt remarked halfway through this astonishing evening, this gig is now set in history as the “shit show”. The Swede’s famous banter between songs revealed his “bowel emptiness” following a rich curry the night before the show, prompting chants of “you shit your pants” from the buoyant audience. Several tales of faecal distress followed from the amiable frontman, but despite his humorous pleas to cease, the chants continued. Next time Opeth play in Bristol, expect more of the same.
Opeth – Grand Magus
Bristol Beacon – 25 February 2025
Words And Photography: Paul Hutchings
Comedy interludes are now commonplace in an Opeth show, as the Swedes flex their musical magnificence with a jocular and relaxed interplay with the crowd.
Part comedy show, part religious experience, and part idolisation, over 30 years since their debut album Orchid was released, Opeth continue to demonstrate their imperious quality with every show.
With the release of The Last Will And Testament in late 2024, something Akerfeldt jokingly refers to as “our attempt to stay relevant,” Opeth once more explored their own styles and desires. That they produced one of their finest records of all time, which featured in nearly all top ten lists of 2024, merely tells those gathered in the historic venue everything they already know.
Opeth is a band who are continuing to evolve, at their own pace and in the right direction. 
Anyone who has seen Opeth live over the past decade will have noted the slow but steady transformation on stage. Not just the stunning musicianship but the lavishly increased size of the set, the huge screens, the amazing lightshow and videos that are tuned organically into the intricacy of the songs.
This is a band who were always able to think big, and whilst Akerfeldt would deny the existence of a masterplan, one could map it as a demonstration of sheer determination to follow one’s own path against the odds and to come up smiling. The pig in the proverbial perhaps? 
Having headlined Bloodstock 2024 with such assured confidence, there is little reason to expect anything less than the spectacular tonight. Such is the position that Opeth have placed itself in, it is almost expected that the musicianship on display will be nothing less than phenomenal.
That is all well and good, but to witness them down-tune and then up-tune in the middle of §3 or to tackle the complexities of 2011’s Häxprocess from the maligned Heritage album is simply wonderful to experience. 
Throw in a singalong of huge proportions during In My Time Of Need and the cheers that greet old favourite The Night And The Silent Water from 1998’s Morningrise, as well as explosive versions of Masters Apprentice and Ghost Of Perdition, which ignite a small but visceral pit, and you have a set that takes the breath away.
It is to the Bristol audience’s credit that you can hear a pin drop during the quieter parts of the set. There is almost reverential silence between songs, apart from the odd roar in a broad West Country accent that raises a smile.
Strip back the stage show, and Opeth remain consummate musicians. Some of the lead work that Akerfeldt and Fredrick Åkesson display is jaw-dropping. Aided by a crystal-clear sound, Åkesson plays perhaps the solo of the evening during the final track of the main set.
A Story Never Told, the finale to The Last Will And Testament, sees Opeth at their progressive best with light and dark, heavy and gentle passages combining.
Akerfeldt is at pains to point out that the band are having to use a few ‘extras’ for some of the flute parts on tracks from the new album. “Where’s Ian,” shouts a wag, referring to Jethro Tull legend Ian Anderson. “I know where he is,” says Mikael, “He’s in Cornwall,” to howls of laughter.
Apart from this flourish, the rest of the music is generated between the five musicians on the stage. Behind his bank of keys, Joakim Svalberg, now sporting a fine beard, rocks back and forth. He adds beautiful harmonies to the songs, adding bite with Åkesson.
But whilst the guitarists and vocals may catch the glory, it’s watching the sublime drumming of Waltteri Väyrynen and the unassuming bass of Martin Mendez, now over a quarter of a century in, that is just as compelling.
They soar majestically through the set. It’s uplifting, breathtaking, at times totally magical. I find myself catching my breath several times, turning to a friend with a smile of disbelief and astonishment.
They encore with a blasting Sorceress before Akerfeldt asks Åkesson to play the final intro. He leads into Deliverance, the band’s staple finale. I’ve seen them play it over a dozen times, but it’s just imperious tonight.
The crushingly heavy ending rolls through, and although it’s a 12-minute song, it flies by. Over two hours have gone by in an instant. I feel elated and overjoyed that I will be heading to two more dates on this tour. 
Grand Magus
If you want reliable, traditional Heavy Metal, then look no further than Grand Magus. The Swedish trio has been going almost as long as their friends who are headlining; indeed, 2026 marks their 30th anniversary.
Maybe it is the way that Opeth’s crowd have diversified over the years that sees many a blank look around the already swollen stalls as Magus blast into I, The Jury. 
For those who are familiar with JB, Fox and Ludde, this is a mere taster of what the power trio can deliver. JB refers to their 2020 show at The Fleece, one that I was at and which was rather magnificent. The band work just as hard here, mixing up their set with a couple from latest release Sunraven sitting comfortably alongside anthems like Ravens Guide Our Way and When The Oars Strike The Water. 
Regardless of whether you are an established fan or discovering them for the first time tonight, it is hard not to warm to the leather-clad Fox, the sunglasses-wearing JB (who starts the show with them perched on his head before realising) and drummer Ludde, who hammers his kit without mercy.
JB is a comfortable frontman, laughing at himself when he gets all tongue-tied before introducing Ravens Guide Our Way. It’s good stuff and makes me feel like thrusting my fist in the air as the anthems power out.
Steel Vs Steel gets fans singing, and as the band dive into Hammer Of The North to conclude matters, everyone in the auditorium is rightly joining in.
Grand Magus do not get quite the love that they perhaps should. Maybe this tour will give them just a little bit more attention.
