Gig review: Marty Friedman in Yokohama

Marty Friedman on stage in Yokohama. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Marty Friedman, quite possibly the best guitarist in the world, always has a few tricks up his sleeve when he’s performing. He always delivers and he always pushes the limit. What a guy! What an artist!

Marty Friedman at Motion Blue in Yokohama on 26th November 2019

I shouldn’t be surprised anymore. But I still am. Surprised and in awe of a master artist. There is nothing that Marty Friedman can’t do with his guitar. Every time I see him perform he comes up with something new. This evening in Yokohama, in a beautiful venue inside the Red Brick Warehouse down by the water, Marty Friedman manages to give us plenty of emotional ballads but he also gives us some full-on metal and, most surprisingly, Argentine tango. And he pulls it off like the world-class guitarist and artist that he is. Having made his name as a heavy metal guitarist with Cacophony and Megadeth, since relocating to Japan, Marty has been active in a wide variety of musical styles, both as a solo artist and as part of various projects. In recent years, Marty has put on some very special intimate gigs for Japanese fans with setlists that vary quite a lot from what he plays when he’s on tour in other parts of the world. The entire show is instrumental (it’s billed as an orchestral concert) with Marty and his guitars at the centre of it all. He plays both electric and acoustic guitars and manages to give us a great and very varied show. The audience largely consists of diehard Marty fans who know every song and every note.

Marty Friedman on stage in Yokohama. Photo: Stefan Nilsson, Roppongi Rocks

He opens the evening with the beautiful song “Lovesorrow”, from his 2003 album “Music for Speeding”, followed by his splendid cover of Yutaka Ozaki’s “I Love You”. One of most beautiful pieces of music I have ever heard, the song “Night” from Marty’s 1992 solo album “Scenes”, gets an outing here and it is one of the highlights of the evening for me. Another one is when Marty treats us to some Argentine tango with the song “Adios Nonino”. Different, but very good. Marty isn’t afraid of taking his skills and his guitars into for him new territories. He also gets closer to his metal roots with some serious heaviness on the exquisite “Whiteworm” from his 2017 solo album “Wall of Sound”, before he ends the evening with “Dragon Mistress” and, of course, “Thunder March”.

Marty Friedman on stage in Yokohama. Photo: Stefan Nilsson, Roppongi Rocks

Throughout the show Marty is using hilarious self-deprecating comments between the songs – all of it delivered in Japanese. He also picks out an audience member who gets to come up on stage and play a song with Marty and his terrific band. While Marty frequently rotates members of his backing band, he is always backed up by world-class musicians. This evening in Yokohama, he has a backing band consisting of drums, rhythm guitar, keyboards, cello and violin, all of them played by ridiculously good musicians. For me, bassist Toshiki Oomomo is the standout performer and a rock-solid bassist. He’s a very different bassist from Kiyoshi (Marty’s regular bassist), but he’s equally good. In addition to occasionally playing with Marty’s solo band, he has played with Marty in the fab metal band Metal Clone X and he also played on several tracks on Marty’s “Inferno” album.

What a night! What a band! What a collection of songs! Ladies and gentlemen – Marty Friedman! What a privilege it is to experience him in concert up close and personal.

Marty Friedman will tour Australia in December with shows in Sydney, Brisbane, Melbourne and Canberra. Get your tickets here:

Marty Friedman on stage in Yokohama. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Candlemass opens the door to doom in Tokyo

Drummer Jan Lindh and bassist Leif Edling of Candlemass on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

Sweden’s Candlemass opens the door to doom for the Japanese fans with a flawless heavy metal show in Tokyo.

Candlemass at Club Quattro, Shibuya, Tokyo on 13th November 2019

Johan Längqvist and Lars Johansson of Candlemass on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

It’s 29 years since I saw Swedish doom metal masters Candlemass live for the first time when they were playing at a metal festival in an ice hockey arena in Sweden. I already liked their early albums but seeing them up on stage took the love for this band to another level. Having then, many years later, witnessed their first-ever Japan gig in 2016, my expectations on the band’s second Japan visit are sky high and they don’t disappoint. The setlist this evening in Tokyo is flawless. It’s sheer doom awesomeness from start to finish. The first half of the set consists of songs from the albums “Nightfall”, “Tales of Creation”, “Ancient Dreams” and the latest album “The Door to Doom”. The second half is all dedicated to Candlemass’ 1986 debut album “Epicus Doomicus Metallicus”. In the “Epicus” section, we get to hear “A Sorcerer’s Pledge”, “Demon’s Gate”, “Crystal Ball”, “Under the Oak” and “Solitude”. Magnificent!

Leif Edling of Candlemass on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

The current line-up of the band combines its most classic line-up from the late-80s/early 90s – Leif Edling on bass, Mats “Mappe” Björkman on rhythm guitar, Lars Johansson on lead guitar and Jan Lindh on drums – with the return of original vocalist Johan Längqvist. Längqvist departed the band following the release of the debut album and stayed away from the limelight until his return to the band last year. His voice is splendid and live in concert he commands the doom troops from centre stage. The only question on my mind is: what has he been doing for the 32 years he was away from the band? Whatever he’s been up to, his voice is in terrific shape.

Mats “Mappe” Björkman of Candlemass on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

It is difficult to pick out highlights in such a terrific show, but let’s try: The opening with “The Well of Souls” from “Nightfall” is world-class. The live version of “Astorolus – The Great Octopus” from “The Door to Doom” is magnificent, not least because of Lars Johansson’s exquisite guitar playing. The heaviness of “Bewitched” shakes the whole venue and, of course, ending the show with “Solitude” is how it should be done.

Epicus Doomicus Fantasticus!

Johan Längqvist of Candlemass on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Crazy Lixx in Tokyo – Swedish melodic hard rock is alive and well

Crazy Lixx on stage in Tokyo. Photo: Yuki Kuroyanagi

By Stefan Nilsson, Roppongi Rocks 

When Swedish melodic hard rockers Crazy Lixx finally made it to Japan, they crushed it. Their signature mix of melodic yet riff-happy metal is part of a proud Swedish tradition that the Japanese fans love.

Crazy Lixx at Club Quattro, Shibuya on 25th September 2019 

Crazy Lixx on stage in Tokyo. Photo: Yuki Kuroyanagi

Japan’s love for melodic hard rock from Sweden goes back to 1983 when they discovered Joey Tempest and Europe. Since then, a long row of Swedish bands have sold a lot of records and toured in Japan. Crazy Lixx, founded in 2002, has had a following in Japan since they released their debut album in 2007. But they never toured Japan until now. The advantage of them making having their first Japan gigs with six studio albums below their belts is that we get a killer setlist. It’s all hits and no fillers. We get a big serving of the best songs from the band’s latest album, “Forever Wild”, which was released earlier this year, as well as all the earlier hits from the band’s career. It’s quite a treasure trove of rock’n’roll. Crazy Lixx’s signature sound is a terrific mix of melodic yet riff-happy metal with dashes of AOR, glam, sleaze and, yes, hair metal. It boils down to feelgood party rock.

Crazy Lixx on stage in Tokyo. Photo: Yuki Kuroyanagi

They open the show with the terrific song “Wicked” from the “Forever Wild” album and follow it with “Blame It on Love”. The crowd is with them from the second they walk on stage. We get a long set and some of the highlights include “Hell Raising Women”, “Lock Up Your Daughter”, “Children of the Cross”, “XIII” and “21 Til I Die”.

Crazy Lixx on stage in Tokyo. Photo: Yuki Kuroyanagi

Founding members Danny Rexon (vocals) and Joel Cirera (drums) form the backbone of the band together with bassist Jens Sjöholm (who joined the band in 2012). The newest additions to the band, guitarists Jens Lundgren (formerly of Bai Bang) and Chrisse Olsson (Dirty Passion), both fit in very well. There’s chemistry between them and they add something to the band that was perhaps missing in the past. Now there seems to be more unity in the band that shines through in the music.

Crazy Lixx on stage in Tokyo. Photo: Yuki Kuroyanagi

Vocalist Danny Rexon gives the rest of the band a break when he brings out an acoustic guitar and gives us a solo performance of the songs “Love Don’t Live Here Anymore” and “Make Ends Meet”. The scaled-down versions are beautiful and show that Rexon is more than just a standard rock singer. Here he shows us he has some serious emotional quality to his vocals that are not always obvious in the more fast and loud songs.

The band closes a terrific night of melodic hard rock with “Never Die (Forever Wild)”. Crazy Lixx is a band whose members don’t take themselves too seriously, but they are a great band who play excellent melodic hard rock very well.

Review: Evoken Fest with Alestorm, Grave Digger, Bloodbound, Epidemia and Victorius

Patrik Selleby of Bloodbound on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

What a splendid night in the name of metal we got at Evoken Fest. Three power metal bands, an old-school true German metal band and a bunch of good-fun Scottish rockers proved to be a great mix of music that kept the audience entertained.

Evoken Fest with Alestorm, Grave Digger, Bloodbound, Epidemia and Victorius at Duo Music Exchange, Shibuya, Tokyo on 30th August 2019 


Victorius on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

German power metal band Victorius open this evening of Evoken Fest with a great set. Their take on European-style power metal is good and it works well to get this party going. Their latest album, 2018’s “Dinosaur Warfare – Legend of the Power Saurus”, is European power metal in a nutshell: tongue-in-cheek fantasy/folklore/fairytale themes delivered by a great bunch of musicians.


Epidemia on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Ever since I saw the splendid Russian band Kruiz perform on Swedish TV in the mid-80s, there is something exotic and appealing about Russian heavy metal bands. You just gotta love that combination of trying to look like a cross of Manowar and Judas Priest, straightforward and melodic metal and lyrics sung in Russian. Epidemia is a great power metal band with good musicians and songs. But it is vocalist Evgeny Egorov that makes them stand out from the pack. What a voice and stage presence! Brilliant stuff! I want to see and hear more of this terrific band.


Bloodbound on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Their set is only seven songs plus an intro, but the members of Swedish power metal band Bloodbound make the most of it. It is power metal at its best. Plenty of guitar riffing, keyboard soundscapes and melodic metal songs. Vocalist Patrik Selleby is terrific. He has a voice made to sing this kind of material and he also knows how to put on a show. His dragon mask and horn make him stand out as much visually as his voice does musically. But behind him, there is also a terrific band of musicians and songwriters led by co-founders Fredrik Bergh on keyboards and lead guitarist Tomas Olsson. They open strongly with “Battle in the Sky”, manage to squeeze in favourites such as “In the Name of Metal” and “Dragons are Forever” before they finish a flawless set with the splendid “Nosferatu”, a song that would not be out of place on an Iron Maiden album. Bloodbound was founded in 2004 and the band has since released eight studio albums, most recently “Rise of the Dragon Empire” earlier this year. But this is their very first Japan visit. Hopefully, we will see them return for some headline gigs with a full-length show.

Bloodbound on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Grave Digger

Grave Digger on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

German heavy metal veterans Grave Digger are still going. Original frontman Chris Boltendahl’s long hair has turned white with age, but his voice is as good as it ever was. The current line-up of the band is terrific, where especially lead guitarist Axel Ritt stands out. Germany has a proud metal tradition and while less known to the masses than bands such as Accept, Scorpions and Helloween, quality-wise Grave Digger is right there in the leading pack. They put on a great heavy metal show at Evoken Fest. We get straightforward proper heavy metal and the band proves that there is clearly still a present and a future for this veteran band, something evident in the band’s setlist which this evening only contains one song from the 1980s, “Heavy Metal Breakdown”.


Alestorm on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Evoken Fest headliners Alestorm are different from most things out there. Despite all the gimmicks with a giant inflatable duck, kilts, sandals and all the other crazy stuff this band wears and does, they are great musicians with great songs. They are entertainers and they’re great at what they do. Between songs, we get crude and boozy jokes and colourful comments by frontman Christopher Bowes. They entertain us with their very own brand of melodic metal with folk metal touches. Jokey kind of bands are perhaps not my thing (it really isn’t), but these jolly men are very good and they certainly know how to entertain a crowd. Their tour shirts say “We came to drink your beer” and that sums it up quite nicely.

Bloodbound on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Danko Jones at Crowbar in Sydney

Danko Jones on stage in Sydney. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

Canadian rocker Danko Jones made a triumphant return to Australia with his trio. Every song in the setlist is a hit. One of the greatest live rock shows this year. Punky rock’n’roll at its best.

Danko Jones, Black Heart Breakers and Screaming Eagle at Crowbar, Sydney, Australia on 7th September 2019 

Crowbar is a great music venue in the Sydney suburb Leichhardt. It is focused on serving beer and putting on heavy metal and hard rock performances. The Metallica and AC/DC pinball machines in the bar area set the tone for what kind of place this is. Local promoter Silverback Touring has become an important part of the Australian live scene as they keep bringing great international rock acts down under.

This evening, talented local Aussie bands Screaming Eagle and Black Heart Breakers did a great job of warming up the beer-fuelled Sydney audience at the Crowbar. The venue slowly filled up and by the time the evening’s headline act Danko Jones walked on stage, the place was packed. It’s been fifteen years since Danko’s last headline tour in Australia. The wait was worth it. We got a proper lesson on how a rock show should be done.

Danko Jones and his trio – consisting of John Calabrese on bass, Rich Knox on drums and Danko Jones himself on guitar and vocals – were dressed all in black. They performed in front of a backdrop with just the Danko Jones logo. Visually there’s nothing fancy here, but bloody ‘ell, they did put on one helluva sweaty and fabulous rock show! Every song is a hit. I don’t think Danko is capable of writing bad songs. At least there are none in the live show. They opened the show with the splendid “I Gotta Rock” from 2017’s “Wild Cat” album. The bulk of the show was focused on newer material, including songs from Danko’s latest album, “A Rock Supreme”, which was released earlier this year. This evening most songs were played back-to-back. There was non-stop energy from the band. They were sweating buckets, but they never tired. They just kept going. On the few occasions when Danko spoke between songs, it was mainly a humorous and self-deprecating monologue. He looked rather aggressive and spoke angrily, but behind all that, he’s a great artist who feeds off the love and admiration of his audience. He’s in a band and he loves it as he sings in the autobiographical tune “I’m in a Band”. Other highlights in what turned into a flawless rock show, included “First Date”, “Dance, Dance, Dance” and “Burn in Hell”. The show had everything I had hoped for. I couldn’t possibly have put together a better setlist than what the band delivered this evening. At the end of the night, this had turned into one of the best shows I have seen this year. This is punky rock’n’roll at its best. Now let’s get working on bringing Danko Jones back to Japan. It’s been way too long since this explosive Canadian trio played in Japan.

Danko Jones on stage in Sydney. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Marty Friedman up close and personal in Shibuya

Marty Friedman on stage in Shibuya. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

Marty Friedman and his guitars, a smashing Japanese backing band, a near-flawless setlist and a Rock Fujiyama reunion. Not bad for a Friday night in Shibuya.

Marty Friedman at Living Room Café & Dining, Shibuya, Tokyo on 5th July 2019

Marty Friedman on stage in Shibuya. Photo: Stefan Nilsson, Roppongi Rocks

Billed as “Guitar Spirit of Unagi Night”, guitarist Marty Friedman once again offered his fans in Tokyo, his adopted home town, a very special evening in an intimate venue. At the end of the evening, this show has turned into the best Marty Friedman gig I have ever seen.

Rock Fujiyama reunion with Rolly, Kenny Guy and Marty Friedman. Photo: Stefan Nilsson, Roppongi Rocks

The evening kicks off in an easygoing fashion with a half-hour Rock Fujiyama reunion. Rock Fujiyama was a TV Tokyo show broadcast in 2006-2007. The show’s hosts included Marty Friedman, Rolly and Kenny Guy and this evening the three men reunite for some storytelling, casual jamming of rock tunes such as “Hound Dog” and “Summer of 69” and plenty of banter. It’s a laidback and very fitting start to a great evening.

Marty Friedman on stage in Shibuya. Photo: Stefan Nilsson, Roppongi Rocks

After a brief interval, Marty returns to the stage with his terrific Japanese backing band. Marty opens the set with “Devil Take Tomorrow” followed by “For a Friend”. The setlist is close to flawless. We get emotional Marty, we get funny Marty, we get rocking Marty and – most of all – we get ridiculously talented Marty. He is no doubt one of the best and most original guitarists in the world right now. It doesn’t matter if he’s playing a ballad or rocking out, whether he’s playing an acoustic guitar (as he does on a splendid version of “Midnight in Paris”) or shredding away on an electric guitar. He’s still top dog, king of the hill, leader of the pack. His all-Japanese backing band consists of world-class musicians with not least bassist Kiyoshi showing us why she’s one of the best in the business. New drummer Senri Kawaguchi looks rather innocent but she’s a beast behind the drums.

Marty Friedman on stage in Shibuya. Photo: Stefan Nilsson, Roppongi Rocks

The show is basically instrumental and the focus is more on ballads and calmer songs, although we do get some heavier music as well. Combining Marty’s guitar with a string section consisting of a cellist and a violinist creates magical music. There is so much beautiful emotion in many of the songs performed this evening. The absolute highlight of the evening for me is an exquisite and explosive version of “Whiteworm” from the 2017 album “Wall of Sound” where not only Marty but all the band members get to shine. Another standout moment is a perfect version of “Night” from Marty’s 1992 solo album “Scenes”. Music doesn’t get much more beautiful than this. Other terrific moments include “Lovesorrow”, “Tears of an Angel”, “I Love You”, “Undertow”, “Yuki no Hana” and “Thunder March”. We also get to hear the beautiful “Japan Heritage Official Theme Song” and “Romance no Kamisama”. Among all the good stuff from Marty’s extensive solo catalogue, Rolly makes a reappearance at the end of the show to perform his recent glam-rock single “Eejanaika”. Marty and the band then close a fabulous show with Marty’s version of Sayuri Ishikawa’s classic enka song “Amagi Goe”.

Marty Friedman on stage in Shibuya. Photo: Stefan Nilsson, Roppongi Rocks

The sold-out venue, a music, art and dining space in the middle of Shibuya, is excellent for this type of show. People come early and have a bite to eat and a few drinks before the show kicks off. The audience is seated and everyone present is up close and personal with Marty and the band. After the show, Marty joins his fans and spends a long time chatting and signing autographs. Marty knows how to treat his fans well. 

Marty Friedman never disappoints me on stage, but this evening goes beyond that. This is the best show I’ve seen with him. So far…

Marty Friedman on stage in Shibuya. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Thunder marks 30th anniversary by showing Japan how British rock is done properly

Danny Bowes of Thunder on stage in Kawasaki. Photo: Emili Muraki

By Stefan Nilsson, Roppongi Rocks 

British rockers Thunder celebrate three decades of rock with special Sit Down/Stand Up shows in Japan showcasing great songs, a great band and the exquisite voice of Danny Bowes.

Thunder at Club Citta, Kawasaki on 9th June 2019

Thunder has over the past three decades matured into one of the best-ever classic rock bands from England. I have seen them live numerous times, first in England 22 years ago and then multiple times here in Japan. This band always delivers. They seem incapable of having an off night. This Sunday evening in Kawasaki the band is as solid as ever with a rhythm section consisting of Harry James on drums and Chris Childs on bass, guitarists Luke Morley and Ben Matthews and vocalist Danny Bowes. On this Japan visit, they have brought along keyboardist Sam Tanner who adds some flair with a great overlay of keyboard wizardry. The Japan shows are divided into two sets – first, a sit down semi-acoustic set which, after a brief interval, is followed by a full-on rock set. Thunder excels at both. 

During the Sit Down set we get treated to “Serpentine”, “River of Pain”, “Bigger Than Both of Us”, “Future Train”, “Blown Away”, “Girl’s Going Out of Her Head”, “A Better Man”, “Empty City” and “Stand Up”. It’s a great collection of bluesy, grown-up songs. It’s a nice and efficient way of getting this evening off to a lovely start. The scaled-back versions of the songs really show us how good the songs are and how good the band is.

Thunder on stage in Kawasaki. Photo: Emili Muraki

When the band returns to stage for the Stand Up set, they are ready to rock. Luke Morley is sporting a Flying V-style guitar to show us that now it is indeed time to stand up. They kick off the second half with “Loser” and follow it with “Higher Ground”. This is how proper British rock is done. Danny Bowes is one of the absolute best British voices of rock. Every time he starts singing, I am in awe. That voice, that feeling he has in his voice, is a very rare talent. During a fantastic evening of Thunder music, the absolute highlight for me is “Love Walked In”. But there are many more great moments this evening, including “River of Pain”, “Resurrection Day”, “Black Water” and “Backstreet Symphony”. Basically, there are no dips in this terrific 22-song show. We get some rarely performed songs such as “Once in a Lifetime” and “On the Radio”. They finish a fab evening with an encore consisting of a playful version of Wild Cherry’s classic “Play That Funky Music” and, of course, “Dirty Love”. They may have been around for 30 years, but I hope this band will be with us for many years to come. 

Thunder on stage in Kawasaki. Photo: Emili Muraki

Gig review: Girlschool and Venom Inc – a terrific celebration of NWOBHM

Kim McAuliffe and Denise Dufort of Girlschool on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks

British bands Girlschool and Venom Inc headline a splendid celebration of New Wave of British Heavy Metal in Tokyo. What a great Sunday in the name of heavy metal!

Girlschool, Venom Inc, Sabbat, Survive, Hell Freezes Over and The Babes at Club Seata, Kichijoji, Tokyo on 23rd June 2019

Venom Inc on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

We all know what Sundays are for. That’s right – to rock. For those about to rock, we salute you! Metal we bleed! Japanese promoter UPP-tone Music decided to celebrate four decades of New Wave of British Heavy Metal (NWOBHM) with a Sunday packed with great music from both yesteryear and here and now. With a six-band line-up combining two splendid veteran (but still very relevant) British bands with three Japanese bands and a great new band from Australia, this was a proper Sunday in the name of metal music. NWOBHM was always a very diverse scene with bands with very different sounds and based all over Britain – with London, Birmingham, Newcastle and Sheffield among the more prominently featured cities in the scene. Just like the original NWOBHM scene was rather diverse, so is the music this evening in Tokyo.

The Babes on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

The Babes

Australian band The Babes kicks off the festivities with a high-energy set of what they call underdog rock. With a great EP already under its belt, the band will soon release its debut full-length album. Three of the band’s four members are siblings and they seem to bring that personal chemistry with them to the stage. Despite this being their first-ever Japan gig, they have the Japanese audience with them from the first song. The band looks pleasantly surprised at already having Japanese fans who even sing along. It is a short 30-minute set but it does the trick. What a way to introduce the band to Japan! The set gets this Sunday off to a great start.

The Babes on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Hell Freezes Over

Treble Gainer of Hell Freezes Over on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Next up is young local thrash/speed metal band Hell Freezes Over. It is great seeing this young band continuing to grow up over the past few years. The foundation of their music is in thrash and speed metal of the 1980s and 90s. They retain the attractive roughness and rawness of, say, early Exodus, and perform their metal with great enthusiasm.

Tom Leaper of Hell Freezes Over on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks


Nemo of Survive on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Japanese metal band Survive’s frontman Nemo is back in full force following having had to cancel some shows earlier this year due to a serious illness. Seeing Nemo back on stage is nothing short of fabulous. Survive currently one of the best metal bands in Japan is always great. But this evening they are more than great. The highlight of the set is no doubt the terrific “Immortal Warriors” which has now become a band anthem. The band’s new stage clothes and make up bring Behemoth to mind and the visuals add to the overall experience.


Gezol of Sabbat on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Japanese metal band Sabbat has some obvious Venom-style black metal influences in its music. Sabbat’s sound is very much uncompromising early 1980s old-school heavy metal. Time has stood still in the world of Sabbat and that is not a bad thing. Finishing their set by playing Venom classic “Lady Lust” with Tony Dolan on guest vocals is a very fitting finale.

Venom Inc

Jeff “Mantas” Dunn of Venom Inc on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Venom Inc is back on stage in Japan for a second time on the ongoing world tour in support of 2017’s album “Avé”. It is, however, the first Japan show with new drummer Jeramie Kling, who adds some proper stability backing up Jeff “Mantas” Dunn on guitar and Tony “The Demolition Man” Dolan on bass and vocals. They open their set with what has now become a Venom Inc anthem – the terrific “Metal We Bleed”. This evening’s set combines classic Venom songs with newer Venom Inc material. We get four terrific songs from Venom Inc’s “Avé” album: “Forged in Hell”, “Metal We Bleed”, “Time to Die” and “War”. The rest of the set is made up of Venom classics such as “Rip Ride”, “Live Like an Angel (Die Like a Devil)”, “Warhead”, “Don’t Burn the Witch”, “Lady Lust”, “Dead of the Night”, “Witching Hour”, “Black Metal”, “Bloodlust”, “Countess Bathory”, and, of course, “Welcome to Hell”. It’s fantastic. The band came to Japan straight from Hellfest in France without much sleep. They’re tired but when they walk onto the stage, they deliver like it’s nobody’s business. Japan loves them and they give us a show to remember. A new album is in the making and will hopefully be released in the spring of 2020. Can’t wait to hear what this trio of scholars and gentlemen in the name of heavy metal will treat us to on the new album.

Venom Inc on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks


Kim McAuliffe of Girlschool on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Seeing Girlschool for the first time, my expectations are high. This is a legendary British band with a reputation for putting on great shows. This evening the band by far exceeds my expectations. They are on fire this as they open their set with “Demolition Boys” and, of course, “C’mon Let’s Go”. They have a great catalogue of songs: classic songs from the late 70s and early 80s, but also fabulous newer songs such as “Take It Like a Band” and “Guilty as Sin”. Returning bassist Tracey Lamb adds some great groove to the band. She also sings lead on “Watch Your Step” which gives lead vocalist and guitarist Kim McAuliffe a bit of a breather. In addition to McAuliffe, the band’s co-founder Denise Dufort is still behind the drum kit. Rounding out the current line-up is the “new girl”, lead guitarist Jackie Chambers, who’s now been a member for twenty years.

Jackie Chambers of Girlschool on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

The band chemistry is great and there are plenty of self-deprecating jokes and comments in the show. The banter never stops. It is part of the charm of this terrific band. When they play “Bomber” (a Motörhead classic that Girlschool recorded for the “St. Valentine’s Day Massacre” split EP with Motörhead in 1981), Tony Dolan appears on guest vocals. After a terrific Girlschool set (what a great live band!), they are joined on stage by Venom Inc and the two bands perform a playful version of ZZ Top’s “Tush” to close a very enjoyable evening.

Venom Inc and Girlschool on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Concert promoter UPP-tone Music is really turning into a great niche promoter in Japan with fab shows with bands like Raven, Oliver Dawson Saxon and Anvil. They put on fabulous metal shows which (unlike the sterile shows that are often put on by the big corporations) all have a great community feeling to them with artists and fans hanging out together before, during and after the shows. I hope UPP-tone will continue to put on these great metal shows for many years to come.

Girlschool on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Lucifer | “Black Sabbath meets Fleetwood Mac” on stage in Tokyo

Johanna Sadonis of Lucifer on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

By Stefan Nilsson, Roppongi Rocks 

Lucifer, one of the best rock bands in Sweden right now, returned to Japan with a close to flawless rock show of the best kind.

Lucifer at Club Quattro, Shibuya, Tokyo on 10th June 2019

Lucifer on stage in Tokyo. Photo: Aki Fujita Taguchi

It’s a rainy Monday evening in Tokyo. But it’s OK as Lucifer from Sweden is here to entertain us with a terrific rock show. To call Lucifer a Swedish band is a bit of a stretch. The band formed in Berlin, Germany in 2014 with no Swedish members. From those early days of Lucifer, only German lead singer Johanna Sadonis remains. The band is nowadays based in Sweden and three of the five members are Swedes: Nicke Andersson (The Hellacopters, Imperial State Electric, Entombed, MC5) on drums, Linus Björklund (Vojd) and Martin Nordin (Dead Lord) on guitars – and some awesome coordinated stage moves. The current line-up also features Austrian bassist Alexander Mayr.

Lucifer’s music is doomy, at times dreamy and always very good. Backstage after the show, Nicke Andersson describes Lucifer’s music to me as “Black Sabbath meets Fleetwood Mac” and that is a fitting description. Lucifer’s song material is strong, very strong. Initially, Sadonis wrote songs with legendary Cathedral guitarist Gaz Jennings. Gaz was an original member of Lucifer who made his mark on the first album and the first few tours. Nowadays, Sadonis writes the songs together with her husband Nicke Andersson, who joined the band in 2017 after Gaz had departed.

Nicke Andersson of Lucifer on stage in Tokyo. Photo: Aki Fujita Taguchi

This evening at Club Quattro in Shibuya we get a tremendous 19-song set. We get all the nine songs from the band’s most recent album, 2018’s “Lucifer II”, including the Rolling Stones cover “Dancing with Mr D”. From the band’s 2015 debut album, we get treated to five terrific tracks: “Abracadabra”, “Izrael”, “Morning Star”, “Purple Pyramid” and “Anubis”. We get a few more covers: “Snowblind” (Black Sabbath), “Bomber” (Motörhead) and, a husband-and-wife duet by Nicke and Johanna, “Beer Drinkers and Hell Raisers” (ZZ Top). We also get an absolutely fantastic version of “Take Me Away (Together as One”) from KISS legend Paul Stanley’s 1978 solo album. It’s a fitting song choice as Johanna Sadonis, like Paul Stanley, is a complete entertainer that commands attention. She has a terrific voice that gets to shine on all songs. But she’s not just a voice, she has a stage presence and charisma second to none. She has the whole package and is a dominating force on stage that leads her band from the front.

Lucifer on stage in Tokyo. Photo: Aki Fujita Taguchi

There seems to be nonstop energy on stage throughout the show. This is a band that doesn’t stop – they are here to perform and will do so no matter what. The show’s highlights for me include the smashing tracks “Dreamer”, “California Son” and “Purple Pyramid”. A brand new and yet unreleased song, the splendid “Ghosts”, shows us that the band already has started to create some great new material for the band’s third album which is expected to be released in the spring of 2020. This is one fine evening of exquisite rock delivered almost flawlessly by a terrific band. Swedish or not, this is, without doubt, one of the most interesting and best bands in Sweden.

Johanna Sadonis of Lucifer on stage in Tokyo. Photo: Stefan Nilsson, Roppongi Rocks

Gig review: Tobias Sammet’s Avantasia – a three-hour melodic metal extravaganza

Tobias Sammet and Ronnie Atkins on stage with Avantasia in Tokyo. Photo: Takumi Nakajima

By Stefan Nilsson, Roppongi Rocks 

Tobias Sammet’s Avantasia gives Tokyo a three-hour melodic metal extravaganza with some serious star power.

Geoff Tate and Miro Rodenberg on stage with Avantasia in Tokyo. Photo: Takumi Nakajima

Tobias Sammet’s Avantasia at Akasaka Blitz, Tokyo on Thursday 9th May 2019 

With Avantasia, German musician Tobias Sammet has created a wonderful magical world. Obviously, I knew the Avantasia albums were great, but experiencing this live on stage for the first time, I am just in awe. Avantasia has no fewer than 13 artists on stage during their Tokyo show. I don’t know how Edguy’s Tobias Sammet manages to get this all together. But, somehow, he does and we should all thank him for it. He is a world-class songwriter and performer. The Avantasia show is incredible. One notable thing about Avantasia is that, despite all the veteran rock stars on stage, none of them gets to sing any of their past classics. They only perform Avantasia songs (well, there is the Avantasia version of the “Flashdance” movie soundtrack “Maniac”). With Avantasia, Tobias Sammet has created a wonderful fantasy world of rock opera-meets-metal musical. Musically, it is a dramatic mix of power metal, melodic rock and West End musical.

Eric Martin on stage with Avantasia in Tokyo. Photo: Takumi Nakajima

In addition to Sammet himself, who kicks off the show with the terrific song “Ghost in the Moon”, we get splendid vocal performances by Ronnie Atkins of Pretty Maids, Jørn Lande (ex-Masterplan), Geoff Tate (ex-Queensrÿche), Eric Martin (Mr. Big) and Bob Catley (Magnum). Geoff Tate sounds absolutely fantastic like it’s still 1988. Him performing “Alchemy” is one of the absolute highlights of the show. Another peak during the evening is “Twisted Mind”, Tate’s duet with Eric Martin. At 71 years old, Bob Catley is the elder statesman in Avantasia. His voice is still beautiful and he rocks out on stage, clearly loving to perform in front of his fans. Among all the big star names on stage, there is a lesser known name that is no less a terrific singer and performer: Adrienne Cowan. She has a terrific voice and she also has the stage moves to go with her vocal talents. For most of the show, she’s in the background, but on songs such as “Book of Shallows”, “Moonglow” and “Farewell” she gets to step into the limelight and shine like the terrific lead singer she is. Back-up vocalist Herbie Langhans also steps up to perform some of the lead vocals on “Shelter from the Rain”. But Avantasia is not all about the fabulous voices. Tobias Sammet also has a rock-solid band of musicians: drummer Felix Bohnke, bassist André Neygenfind, guitarists Sascha Paeth and Oliver Hartmann and keyboardist Miro Rodenberg.

It’s one thing to put together a concept album. Taking all these ingredients and making it work as one band performing a show on stage isn’t easy, but Tobias Sammet pulls it off. It’s been 20 years since Sammet started this magical journey. I hope he will keep Avantasia going for many years to come. 

Avantasia on stage in Tokyo. Photo: Takumi Nakajima