Watain performed an incredible set live at Philadelphia’s TLA thisThursday (3/29). With many attendees fresh from a sold-out signing and meet and greet at Philadelphia’s Vinyl Altar, black metal fans were amped to experience the full live ritual on South Street.
The stage was adorned with brilliantly crafted tridents by Canadian artist Sharon Ehman, who has also worked with Behemoth. The Watain flag with skulls on top of it were at either side of the front of the stage and the drum riser and set was carefully put together with a frontage of animal remnants. An altar was arranged in front of the drum kit and vocalist Erik Danielsson performed a number of rituals throughout the experience.
Per usual, the band sounded incredible. Certainly they played old favorites like “Malfeitor,” and “Devil’s Blood” but also treated the audience to new songs from their incredible new record Trident Wolf Eclipse (which we reviewed here). Highlights from the new record were “Nuclear Alchemy” and the breathtaking “Sacred Damnation” which has become one of my favorite tracks on the record.
Indeed Watain has had to deal with some nonsense from North American virtual signalers on this tour. Mostly, criticism has come from those who fail to understand nuance, expression and art – or from those who believe it is their job to tell other Americans what they can and cannot consume. Thankfully, Watain was able to bring their art to the very diverse and extremely inclusive audience here in Philadelphia. There were people there from all walks of life and orientations. Up against the rail, I saw many members of the African American community, the Latino community, the trans community and many others from our mosaic of a city. While some people may have stayed away from the show because of rumor and innuendo about the band, they certainly missed an event that was clearly cherished by all, without boundaries or demarcations of race, class or gender. In fact, I have never witnessed any type of hate, Nazism or other political activity or chatter at a Watain event (or outside the venue at a Watain event). And if you don’t know by now, I am in one of those “groups” who these leftist virtual signalers feel the need to “protect.” What I HAVE experienced at Watain is a myriad of languages spoken, open-mindedness and acceptance of rituals, mores and symbols we all may not fully understand or interpret without requisite effort on our part.
Watain is not going to explain everything to you. You have to perform much of the explanatory work on your own. This will turn many away or cause some individuals to immediately point accusatory fingers with the worst of alleged alliances. The quick dissemination of misinformation via today’s social media tangled mess only leads to the further alteration and confusion surrounding Watain’s actual disposition.
When you experience Watain live you have to give something of yourself. You have to contend with the death – the bones of animals, the skulls, the animal heads that still have flesh on them. There is the blood that is experienced by those up front. The very real possibility that you will have cow’s or pigs blood on your face, your hair, your clothes is a very legitimate morbid reality. This performance was not the first one where I noticed that there were significant numbers of women up in the front and therefore received the bulk of the plasma that reigned over the audience during the third song.
Of course, there is also the smell. I had to chuckle when I watched the security staffer at the stage put on a hat, a bandana and chemicals around his nostrils to mitigate the smell of rotting and rotted carcasses that emanate from Watain’s altar. The band members smell like death, like incense and ceremony. Once you see (and smell) them walking down the street, even those in the most heavily gentrified and fantastical areas of hipster Brooklyn have to quickly realize that these guys are the real deal. This isn’t an act. This isn’t a show or a façade. Death and ritual are Watain’s reality and they wish to share that with you. You may be prepared or not but you certainly won’t forget it. And if it’s too much for you, you can always walk away.
For those of us who approach Watain with an open mind, the band’s live rituals can take you to new worlds, different lands and alternative realities. You can easily lose sight of your reality in the middle of a large American city and its modern conveniences as you watch the intensity of Pelle, the musicianship of the band, and the absolute intensity and focus of Erik on vocals. Having been right up next to Erik at multiple shows in multiple cities in multiple years, there is no doubt to Erik’s dedication and belief in his craft. He is overtaken by the music, the audience and the stagecraft in a symbiotic relationship that is exciting to watch and engage in. It’s likely the main reason there are so few who hide in the back at Watain shows even when they know what’s going to happen and what they’re going to be exposed to.
If you are ready to engage with death and darkness with an open mind, Watain may be for you. If your choice, however, is to continue to swallow your blue pills amongst utopian dreams, you should walk elsewhere.
Watain’s latest record is available via Nuclear Blast.
