It has been a decade since legendary heavy metal horror King Diamond last played the capital. Given his acute rise in metal celebrity over the last few years and this being a rare headlining gig in Europe this summer, it is not unexpected to see him perform at a sold out Forum tonight rather than the significantly cosier Electric Ballroom back in 2006. The announcement that all of career-defining release 'Abigail' will be aired in full only confirms the tickets flying out faster, leaving a troupe of upset fans unsure when they will next be gifted the opportunity to glimpse the King in London again.
The singular support is the well-appointed Angel Witch, formed during the New Wave of British Heavy Metal movement in the late '70s. Opening with 'Gorgon', the sound is unnaturally bass-heavy and chokes the guitar but this is remedied marginally as the set progresses. All songs fired out are from the self-titled debut, save the epic 'Dead Sea Scrolls' from 2012's reunion album 'As Above, So Below'. These older tracks have been imbued with a modern heavy metal sound, darkening the tone of the riffs and arming them with grit.
Angel Witch's popularity is largely indebted to their eponymous heavy metal anthem 'Angel Witch'. Indeed it is an outstanding song in its own right but the audience is subdued for the vast bulk of their set as the band pounds through the likes of 'Angel of Death', 'White Witch' and 'Atlantis'. The quartet themselves certainly come across better live in a more intimate venue that they're undoubtedly more used to. When the curtain-calling aforementioned popular song arrives, the venue violently animates and the crowd forcefully sings along to the chorus, concluding the set with smiles and applause.
Angel Witch's baphomet backdrop conceals the set-up of King Diamond's stage show during the draining 45 minute change over and when the flag is removed, a stage with two levels adjoined by a staircase at either end is revealed, decorated with various horror/occult accoutrements including gargoyle statues and inverted crosses. A taped 'Out of the Asylum' has fans excited as they know what is coming next – 'Welcome Home' from the album 'Them'. Vocalist King Diamond has a particularly healthy falsetto (emitted from a man who underwent triple bypass heart surgery in 2010) with his signature vocals piercing the venue, flanked by sinister-sounding heavy metal, all complimented by flawless sound.
King Diamond performances are more akin to a musical featuring actors – this opener seeing the singer wheeling around a wheelchair-bound grandmother – set changes and dramatic lighting. They may be performing all of 'Abigail' in its entirety but not before some highlights from King Diamond's career, including 'Sleepless Nights,' 'Halloween' and 'Eye of the Witch'. Alongside this, two tracks from King Diamond's prior band Mercyful Fate are inserted into the set – the tender ballad 'Melissa' and the more traditional heavy metal soundscape of 'Come to the Sabbath'.
With these tracks enthusiastically devoured by the crowd, there is a pause in the set as the stage dims and the taped intro of 'Funeral' is aired out to a roaring ovation, while a coffin with 'Abigail' printed on its side makes its way to the centre of the stage. This leads into the fantastically crafted 'Arrival', with stellar guitar work from Andy LaRocque. The story narrates the possession of Miriam Natias (played by an actress tonight on stage) by a stillborn baby Abigail and her husband Jonathan LaFey's attempt to kill Abigail. Galloping through the likes of 'The Family Ghost', 'Omens' and the title track proffer a level of sheer entertainment that the vast majority of metal acts can only fantasize about achieving. The music itself cycles through an assortment of moods to create memorable as well as horrifying music within the heavy metal spectrum. Despite 'Abigail' being released in 1987, this unique approach in composition shelters the music from sounding dated and probably the reason for King Diamond's recent accumulation in popularity. The last song of the night 'The Black Horsemen' perfectly wraps up the set but the house lights do not switch on immediately, cruelly giving the fans hope for an encore but they are left empty-handed.
As most predicted, tonight's show was an exemplary paradigm of what a live music experience should encompass – profuse effort, infinite entertainment and, most crucially, outstanding musicianship forging excellent songs. The demand for King Diamond will not slow and this show lured residents from abroad as well as nation-wide. Surely none of the attendees regretted their decision to come tonight.
FUTURE GIGS
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