Avatar
Friday 28/09/2026
Northcote Theatre
Expectations are high as the sounds of thunder crackle over the speakers. The blue hue of downcast lights and haze of misty smoke drift across the stage creating a sense of ominous tension as the lights drop to black. A dark figure moves to the front of stage holding a lantern, while the band remain concealed in the shadows, instruments ready. A variety of music lovers, from die hard extreme metalheads and black metal fans to nu- metal stalwarts are present in the crowd. Also interesting is the variety of ages present showing the broad appeal of the Gothenburg melodic death metal band. Johannes Eckerström’s mesmerising hand curls and snakes out, as a dark and ominous voice echoes from under the hood much like the dark summoning of the eternal spirits of the underworld. “Captain Goat” gives a smooth rhythmic start to the gig. The lyrics and vocals are subdued and moody, but the first solo of the set is formed from juicy melodic slide guitar. The crowd erupt in applause at the end of the song, and a masked subservient figure runs on stage to collect the capes in preparation for what is to come. The sombre, gothic ambience gives way to an explosion of hair windmills as the band unleash their technical prowess, and frantic riffing in “Let it Burn”. The fantastically animated frontman Johannes Eckerström, drawing on influences as varied as Billy idol, Bruce Dickinson, Axl rose, and Devin Townsend, is mesmerising. His insane vocal range filling the hall and saturating the ears of listeners.
The crowd is filled with diehard fans that are able to sing all the words. “The Eagle Has Landed” brings a quirky and fun atmosphere before crescendoing into a deadly barrage of heavy lows and thundering double kick. The crowd once again showing they know all the words. They wave their hands in the air and stomp their feet in unison so much so that you can feel the floor shake. If this was a ship on the ocean it would be rocking and rolling, steeped in rum and beer. Johannes Eckerström pauses taking a drink from a gasoline canister while a second solo is belted out at blistering speed. Johannes disappears off stage while an instrumental lyrically explores a charmed and contented audience before Johannes pirouettes back onstage. The arm length black gloves are literally and figuratively off as the crowd follows his cue. His insanity and energy filling the room with each gesture and mimed action. There is a sense that anything could happen at any time. With “In the Airwaves” the mood changes and the band show they are a force to contend with.
Despite the insanity on stage, their technical skills match even the best speed metal bands. The band are insanely tight and rehearsed, easily reading each other, and switching between the modes in the song effortlessly. Avatar have truly carved out a niche for themselves being able to switch atmospheres at a drop of a hat. They have mixed brutal heaviness and upbeat melodic choruses that translates to an electric atmosphere live. Johannes and the band show masterful control of the audience as there is a scene change and the lights drop to red. Bathed in red light the full scope of this circus metal act is revealed. “Bloody Angel” and “Death and Glitz” keep the mood high and the focus squarely on the stage. This accompanied by a top hat and cane as Johannes welcomes everyone into the circus tent while being accompanied by a grinding Swedish death metal tone. The great appeal of this band is that their unpredictability and insanity is couched in a highly professional and accomplished focus.
The band are so comfortable and rehearsed that it starts to feel like a full-on theatrical production or musical. It feels bigger, more meaningful, more elaborate with each song – as if a painful story is being told. “Get in Line” and “Crying Fire” ensures a sense of fun and dare I say happiness. Somehow the band have kept a quirky boppy sound while simultaneously crushing your skull. If you had to sum up the band in one word, it is acrobatics. The guitar riffs and leads do acrobatics, the vocals do acrobatics, and the stage show literally does acrobatics or feels like it is about to. The band has learnt the art of lifting everyone up, spinning them round, jumping up and down, giving a big kiss on the cheek and sending them on their merry way before they even know what has happened. And in this, is what makes this band unique. They unashamedly own their sound; look; and atmosphere while making it a safe space to be whatever you want to be all the while headbanging and smiling at the same time. And never once does it get boring.
But then there is another side to this band and that’s the aggression. That untapped rage sits just below the surface and constantly threatens to explode out making the whole performance feel dangerous. “Death and Glitz” actually provides a break or a sort of palette cleanser with soaring vocals and intricate guitars. And the vocals sound big – as big as a big top tent with a hundred clowns and trapeze artists at the bottom. The band are comfortable and settled into the set and hitting their stride. Great to see a furious circle pit erupt during “Get in Line” and this ensures no one is left with any doubt that this is a metal concert – the driving sound of bass ripping through the floor. And as horns raise to the ceiling and Johannes stands centre stage the circle pit just gets crazier. A short interim leads into sirens and it is difficult to know what to expect next, but the band prove exactly why they are an act to be watched. Downtuned guitars punch everyone in the face. A form of sparkling dazzling diamond lighting mimics the sparkling vocals.
The band don’t give an inch, playing the best solo of the evening. Gone is the jovial upbeat band at the beginning of the set. It is an interesting shift as the whole set becomes something darker and heavier. If there is a circus then it is a nightmarish circus of deluded dreams and haunted visions. It has a cinematic scope and feels like the entire hall is being sucked into a vortex. The timing is perfect and the band exit the stage to choral choirs. If the musicianship hadn’t already been shown, a piano interlude lightens the mood. And the studded leather jacket and sweating face paint, mixed with humbleness and genuine affection for the crowd make it raw and authentic, and vulnerable. It takes courage to play piano at a metal gig. But part of the charm of the band is that they are not afraid to be vulnerable. “Silence in the Age of Apes”; “Colossus”; and “Torn Apart” are some of the highlights of the gig.
The gig turns a bit poppy at this point for a single song. but the band show intricate timing as they rip through tricky guitar. Any mistakes would be plainly apparent. But they don’t make mistakes. They are deadly tight with every note accentuated and it is all quickly followed by “Howling at the Waves”, “The Dirt I’m buried In”, “Tonight We Must Be Warriors”. As an audience you feel safe in their hands. After a brief encore a lone red balloon crosses the stage and somehow the band come out bigger and louder. After a long interlude of slightly unhinged flirting with the crowd, they rip through “Don’t Go into the Forest”; and “Smells like a Freakshow”, which is clearly the crowd favourite of the night and the heaviest breakdown. Finally. they end as they started with hair flying everywhere on “Hail the Apocalypse” and a huge soaring culmination of energy, light and atmosphere.
Words by Marc Stapleberg
Behind the lens Amanda Lee Starkey
