Apocalyptica: Cardiff Great Hall (05/10/24)

The year is 1993…and HISTORY is happening. Beanie Babies became a thing, cute wholesome little stuffed animals, which people have ACTUALLY fought over in court (November 5th, 1999, Las Vegas, Frances Mountain vs Harold Mountain during a divorce…up to $5000 worth of soft toys? She should have just kept the rabbit! Or the kids, to be fair). Other notable happenings include the release of “The Nightmare Before Christmas”; an iconic cultural film for Emo’s of the future, (Danny Elfman and Tim Burton, take a bow, Gothic idealism, and pop culture are rarely so symbiotic)…the World Wide Web was created, (That’s morally gone downhill quicker than P Diddy on a Slip ‘N’ Slide) and we had the first terrorist attack on the world trade center…(We’ve since learned that planes are more effective than trucks, but I digress). But thankfully we’re not here to talk about that today, no; we’re here to talk about APOCALYPTICA. Please, go with me on this… 

Yes in 1993 a group of Finn’s decided not just they, but the WORLD of heavy music needed something new, something fresh…and what better way to do that, than to take METALLICA, arguably the world’s biggest metal band, and cover them using nothing but cellos! (Daniel P Carter you need a Classic FM rock show my dude!) After finding their feet, and honing their craft, they released “Plays Metallica By Four Cellos” in the mid-nineties, and as the most niche of cover bands, they found global stardom. The symphonic/orchestral presentation of thrash was not only impressive but beautiful, and it allowed them to have the most illustrious career, with a plethora of big-name collaborations cementing them throughout succeeding records, ranging from Ville Valo, Corey Taylor, and Till Lindemann.  

2024 finds the Finn’s returning to their roots, as they released “Plays Metallica, Vol. 2”, before undertaking a UK tour promoting a fresh batch of covers, and All About The Rock was there to capture what went down on the final night in Cardiff’s Great Hall, on October 5th. Bows at the ready… 

There’s a reasonable queue and there’s a noticeable variety in the apparel of the crowd at first glance…you’ve got folk with traditional/classic thrash shirts and denim jackets, obviously here because Metallica themselves would never play a venue this size now, and this is a far cheaper equivalent. Budget metal, there’s a genre for you. You’ve got some Goth-inspired get-up, and you’ve got a lot of casual wear, showcasing Apocalytpica’s broader appeal. It’s going to be an interesting show. The queue slowly trickles through, we get patted down by security in case we’ve smuggled in our own cellos or Class-A’s, and we get robbed by the bar (£10 for a 330ml bottle of Heineken and a bottle of water?!) as we await our only support act of the night; THE RAVEN AGE [6] 

Their set begins with “Changing Of the Guard”, and we’ve got this almost Western-inspired, cinema score; where you’re waiting for the shoot-out. Shit is about to go down. It’s dramatic, it’s intense and it’s got this Spanish guitar vibe that encompasses the tension before the band emerges looking like just another metalcore ensemble. They kick things off properly with “Serpents Tongue” as they are promoting their latest album “Blood Omen”, and it bridges elements of classic metal and hard rock with a more modern feel. Imagine them somewhere between AVENGED SEVENFOLD and BLACK VEIL BRIDES essentially. That’s the overall look and vibe here.  Tracks like “Nostradamus” bring those melodic hard rock aesthetics in abundance, and the lads are on point tonight. They’re a very tight band and give it their all. Older tracks like “No Mans Land” showcase the bands softer side with a more acoustic led-feel and a subtle orchestral backing track, and the emotion here really picks up on the guitar solo. There’s an undeniable quality to the London outfit and they are just about winning this old-school crowd over.  

After a brief vape break, (I’ve quit smoking folks! Sorry Marlboro) the stage is cordoned off and blocked by a white veil with back-lighting, like Pink Floyd on an apprentice budget, but it does build up a sense of anticipation and excitement. You know what’s in store, and the fact that they are playing “The Ecstasy Of Gold” from “The Good, The Bad And The Ugly” over the speakers is a testament to the level of anticipation here tonight. An iconic cinema score, albeit another Western-inspired intro, leads into this showdown and it’s fitting. APOCALYPTICA [9] then makes their presence felt with “Ride The Lightning” and immediately we are immersed in a sense of familiarity. We know the riffs to this iconic track but hearing them played on cellos is utterly mesmerizing. The night however is young… 

We’ve seen Apocalyptica before, but with vocalist Franky Perez during the 2015 “Shadowmaker” cycle, and this is the first time we’ve heard the Finn’s embraced their roots and totally immerse themselves in all things thrash metal and Metallica-inspired. As much as you appreciate the quality musicianship of this ensemble from a classical perspective, this is for Metallica fans and, the night essentially descends into a metal karaoke night. Crowd interaction is one thing, clap-along segments, joining in on the chorus, etc… but no the crowd ARE the vocalists tonight, and there’s a jarring gap between Metallica fans who are giving it their all, and fans who just want to hear the lovely string instrumentation of the cello’s. 

There’s a touching moment as the band introduces “The Call Of Ktulu” in remembrance of Cliff Burton, as they were allowed to use some of his original basslines for the recording, showcasing their respect for the man and the band’s legacy. The permission alone speaks volumes. There are light-hearted moments where Eicca jokes that they play Metallica songs because they are easier than MEGADETH tracks, which get a little heckle from the crowd. Perttu is an absolute MACHINE on his cello throughout the entire night, and he shreds that thing like you’ve given it the old hawk tuah and he strokes it masterfully. Paavo looks like an intense creepy uncle…I’m sorry, he steadies the ship as the bassist of the band, but it’s true.  

As the band performs “Nothing Else Matters” we get arguably the biggest crowd singalong, which is understandable. The accessibility of the track made Metallica the stars they are following on from those first four albums and it set them apart, and in terms of rock ballads, it’s up there with the best of them. The emotion of this track is sublime, and while, from a cover standpoint, doesn’t quite match Dave Gahan’s, it’s still a wonderful piece of music and deserves all of the applause it rightfully gets. There is a drunken guy I can’t help but cringe at as he talks to his younger friend about how the band sold out and how “The Black Album” is overrated, but the crowd singing here really don’t give a fuck about what you think. Elton John loves the track, enough said. 

They then proceed to tear through classic tracks such as “Seek And Destroy”, “Battery” and “For Whom The Bell Toll’s” and the die-hard Metallica fans here tonight are absolutely loving this, ever more so as the beer flows and their voices grow louder. Without wanting to come across as detrimental, tonight was an absolute masterclass in musicianship, that’s undeniable, but it catered to a very specific audience. We know Apocalyptica started off as a Metallica cover band, and yes this is returning to their roots, to pay homage to their influence, but this is essentially an up-market tribute band tonight. This is where you can get conflicted.

HOWEVER, Apocalyptica are THAT good, they render personal taste and any sense of predisposed bias obsolete. What they do as musicians is incredible, and you can’t not admire their commitment to being unique. That alone speaks volumes, and for a guy who doesn’t even like Metallica to come away from tonight with a huge smile on his face says even more. I mean for context they even made “St. Anger” enjoyable! If that doesn’t win you over, well, I don’t know what to say. One of the best live bands on the planet, and whether it’s their own material or covers, they deserve applause and recognition as icons in alternative music. Apocalyptica will always do what they do and do it fucking well…and nothing else matters.