FEBRUARY 25th, 2026
OPETH: LAST WILL AND TESTAMENT TOUR
NORTH AMERICA 2026
Review by Steven Richard Hensey
Photos by Peter Ruttan
http://www.metaltitans.com/concertpics/opeth-the-last-will-and-testament-north-america-tour-part-2/
I walked into the Doug Mitchell Thunderbird Sports Centre last night with a electric buzz in the air that only comes from shows you know are going to be something special. Two of Sweden’s darkest, most emotionally rich bands sharing a stage on a cold February winter tour. The Vancouver stop was the final date of the North American leg — and from the moment Katatonia hit the stage, through Opeth’s headline set, every second lived up to that buzz.
Katatonia opened the evening with a slow burn. No over-the-top theatrics, no explosive entrance — just moody lighting washing the stage in deep blues and purples as they eased into their smokey filled set. Their presence felt familiar but fresh with me, a reminder that their ability to craft emotionally heavy passages in a live setting hasn’t dulled with time. Songs from across their catalogue. Jonas Renkse’s vocals carried that fragile strength he’s known for, floating above thick layers of guitar that felt dense but never overwhelming. It’s always heartening to hear stuff like that. And proof that music really can bring everyone together.
That said, not everything was flawless. Sound quality was mixed at times — particularly in the lower end, where bass and drums tended to overpower other elements, leading to some muddiness in the mix. I wasn’t the only one who noticed this issue; several fans around me mentioned that the rhythm section dominated more than it should have during parts of each set. But even when the clarity wavered, the emotional punch held strong — the kind of performance that sticks with you less for sonic precision and more for atmosphere.
After a brief stage reset came Opeth, the venue shifted energy: what had been introspective gloom became expansive progressive waves. From gentle, haunting clean sections into heavier, layered passages, Opeth’s set felt like a journey. The lighting production throughout Opeth’s set elevated everything further. Stark white beams cut through fog during heavier sections, while warm amber tones bathed the softer songs. It felt theatrical without being flashy — an extension of the music rather than a distraction from it. The guitars weaving complex textures, drums hitting with visceral force, and Mikael Åkerfeldt’s vocals soaring with nuance and surprising haunting clarity. His voice moved between haunting cleans and feral growls without strain, and his understated humor between songs gave the audience breathing room from the emotional weight.
Younger fans stood beside seasoned metalgoers, from teens to small kids with there parents to people who might have seen these bands decades ago — all united by the same shared love. Someone nearby summed it up perfectly: it was rare to see such an eclectic cross-section of fans at a heavier show, and it made the whole experience feel communal in a way few concerts do. There were also lively moshing that never felt unsafe but added an edge of raw energy — and even humor when security tried kindly (and unsuccessfully) to calm things down. It's a metal show!
The Vancouver performance wasn’t just a show — it was a testament to how haunting, intricate, and soul-stirring this music can be live. Sound flaws aside, Katatonia & Opeth delivered an unforgettable night for fans old and new — the kind you’ll think about on the drive home long after the venue empties. In a year full of great shows, this one feels destined to be a highlight.
