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Apocalyptica Date: 5/6/19 Venue: Ikeda Theater, Mesa, AZ Report By: Jack Mangan

Apocalyptica May 6 - Ikeda Theater The “Apocalyptica - Plays Metallica By Four Cellos” tour sees the band returning to their origins, delivering a set comprised only of Metallica songs. Interestingly, they stick to the early-middle breakout portion of Metallica’s career, wirth major and deep cuts ranging mostly from “Ride the Lightning” to the black album. “Until It Sleeps” is the most recent song in the setlist, and that’s the only one from the “Load” albums and beyond. Likewise, “Seek and Destroy” is the only one from Metallica’s debut, “Kill ‘Em All.” They kicked off this retrospective series of shows in Mesa, AZ, and if I understood Eicca Toppinen’s heavily-accented Finnish correctly, this was the live Apocalyptica debut for newest member, Lauri Kankkunen. Bedecked in sunglasses, Kankkunen played his allotted leads with confidence and pathos. The stage decor was simple, but the events felt elaborately plotted and orchestrated. If a night of music can have spoilers, then this would qualify - - so if you want to see this show, (AND TRUST ME, YOU WANT TO SEE THIS SHOW) and want to be surprised, then proceed with concert spoiler warnings. . . The first portion of the evening features the four cellists and their instruments unaccompanied, performing their debut album in its entirety, from “Enter Sandman” to “Welcome Home (Sanitarium).” The cello is such a hauntingly powerful instrument, and Apocalyptica have always used theirs to find new dimensions and nuances in Metallica’s originals. In some cases, like “Nothing Else Matters,” the covers surpass the originals. It’s never been a gimmick for them - - it’s always been four highly-skilled, classically-trained instrumentalists paying masterful tribute to music they love. If at all possible, get a seat close to the stage, where you can hear the acoustic sound of the cellos along with what comes amplified through the sound system. Highlights from the full album run were “Welcome Home (Sanitarium),” “Master of Puppets,” “Harvester of Sorrow,” and “Creeping Death.” The second half of the evening incorporated superdrummer, Mikko Sirén, where they did a deep geeking of Metallica classics and obscurities. Highlights of the second half were many, including “Battery,” “Orion,” “Nothing Else Matters,” “Seek and Destroy,” “For Whom the Bell Tolls,” “Escape” (I can’t believe they played “Escape!” It’s never been a great song, but they do it well.) And is it wrong that I was tickled to see an elderly couple flee to the exits after “Fight Fire With Fire?” The 16th-note bowing is incredible to witness on the cello. Apocalyptica are consummate performers, pausing occasionally to address the crowd with engaging humility and Finnish accents. During the songs, Perttu Kivilaakso and Toppinen do their trademark hair-flinging head-banging, and they swing their instruments around in ways that would elicit gasps from your typical symphony orchestra crowd. Bass cellist, Paavo Lötjönen, is less animated, but is still clearly having a great time playing these songs with his bandmates. Forget everything you know and think about Metallica as musicians and celebrities; Apocalyptica deliver a fresh, unique take on their music. I’d encourage fans to delve into their entire catalog, but their Metallica cello interpretations are a great place to start. And by all means, see them live, at your earliest convenience - - on the “Apocalyptica - Plays Metallica By Four Cellos” tour, if at all possible.


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Apocalyptica