May 18th, 2026
Operatic metal powerhouse Fleshgod Apocalypse seduces Montreal
It’s 5pm on the day of the show and I’m just about to enter a fitness class. I haven’t yet received the go ahead to cover Fleshgod Apocalypse, one of the more epic, symphonic black metal bands out there. An hour goes by. I exit the class, sweating buckets- I mean dripping, completely soaked- and head to my locker, with a deep sense of foreboding.
Picking up my phone, I activate the screen with an entirely unnecessary amount of taps. I notice a message from my editor-in-chief.
”You’ve been approved.”
See Also: Dethklok at Bell Center, Montreal
Great. Now, I get to go see an amazing band while the Montreal Canadiens are set to play their final, series defining 7th game against the Buffalo Sabres. My face contorts into what probably looked like a stroke to anyone passing by.
Thankfully, I was alone.
Obscurcis Romancia
Obscurcis Romancia is a Montreal based black metal band that has been active for about 30 years. That’s quite some time.
During their intense performance, they displayed the expected amount of grim, anti-smile attitude I would expect from a group channeling their emotions through black metal. Though, I must say, I’m pretty sure I caught the singer smiling at some point. A devious, evil sort of smile, so that’s acceptable.
Musically, the band was super tight, had surprising depth that I wasn’t expecting and was fun to watch. A great discovery, though I’m not certain their recordings hooked me as much as their live show. Clearly, they had many fans present up at the front lines- there were many Obscurcis Romancia shirts in the crowd or your lordlings donning their gothic accoutrements. This is a band whose personality bursts forward from their instruments. They unabashedly put their musical ability on display, though perhaps comes at the cost of overall showmanship.
But hey, this is not Bruce Dickinson, tall-ho-hippity-hop to war, jaunty time. It’s godamn black metal!
Frozen Soul
From the dark, hellish and sometimes tasty place that is Texas, comes the next band, Frozen Soul. I’m immediately in love with the bassist, Samantha Mobley, spinning her hair like a windmill. She could power an entire town, if only the power of her hair could be harnessed. This band’s music weighs a metric, heavy metal tonne.
At this point, the Habs are leading 2-0 and they seem to be controlling the game. Second period is up next and we’ll see if that sticks. Now, visually, Frozen Soul creates quite a stir. On each side of the stage are stakes, which comfortably support the half disintegrated remains of a human skeleton. The lighting though, is hitting everything on the stage except the musicians, which is an unfortunate but all too familiar scenario, mostly for me, but also for the average jackoff trying to enjoy the awesome spectacle, which they quite frankly delivered.
This wasn’t just any performance for them, however. It’s now the middle of their set and lead singer Chad Green stops the car and breaks character. The crowd listens intently as he ‘”drops the tough guy routine”. He explains to the masses that the next song they are about to play reminds him of his brother, who had passed away 3 years ago. Not only that, but his father had passed away not 2 days prior. Then came their track Arsenal of War.
Frozen Soul is an amazing death metal band and acts as a strong supporting argument to the statement: “Everything is bigger is Texas.”
Fleshgod Apocalypse
The art of Perugia, Italy’s Fleshgod Apocalypse is something to behold. Their microphones, topped with skulls, are pieces of art. Spilling from the mouths of these stained, human skulls and onto mic stands of stained wood, were lengths of dusty, red rope- the kind you might imagine hanging here and there in a centuries old theater. The kind of rope that awaits accidental pulling, only to bring about murder most foul.
Fleshgod Apocalypse is a feast for the senses. Or at least, 2 senses: auditory and visuals. Taste, I can’t say. The smell was pleasant but not memorable. A bit smoky, perhaps.
The pianist, Francesco Ferrini, haunts the back of the stage and acts as one of the band’s central figures. Frequently, he leaves his epic instrument and waltzes up to the front to sing.
Providing perhaps the strongest presence of the band, is Veronia Bordachinni. Wielding her singular, operatic vocal skills, she provides much of the profound narrative edge that Fleshgod Apocalypse is known for. You won’t find many bands with this type of talent combined on stage.
However, the Montreal Canadiens are really starting to make me rip out my hair with stress. They’ve not only allowed Buffalo to catch up in the score, equalizing at 2-2, but Jakub Dobes, their goaltender, is getting assaulted left right and center with physical bombardments.
Watching the ongoing musical spectacle, I notice from afar that The Beanfield Theater is not only a concert venue but an enormous, creaking ship whose sails are powered by death metal and operatic vocals. The tall background artwork behind the band reinforces this idea, it’s visuals taken from their 2024 album, Opera.
Read More:
>> The Meteors at Foufounes Électriques, Montréal
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>> Poison Ruin at Petit Campus, Montreal
An utter auditory explosion, albeit of the melodic and symphonic kind, Fleshgod Apocalypse delivers the goods.
Exiting the venue, the Habs series finale was headed into overtime. Jumping into the first decent bar I found, I witnessed this final, epic act play out, to the sweet sounds of hard earned victory.
