Article by Umberto Scaramozzino
For three-four years now the so-called scene “modern metal” – a label of questionable foresight, but a very useful gatekeeper-proof container – has entered a new phase. One of the exciting ones, because it seems to have brought about that long-awaited generational change that seemed destined to never arrive. Among the names that are dominating this new and discussed life of heavy music, the ones that undoubtedly stand out are Bad Omens That, Sleep Tokens aside, they're probably the fastest-rising project to emerge in recent years.
Their live story in Italy outlines a nice escalation. At the end of 2022 the first announcement for the following year: they will play at the Legend Club in Milan. Not even time to mark the appointment in the calendar and the date is sold out. We opt for an upgrade to Santeria, but even the Viale Toscana venue is not enough and therefore we scale up further, choosing Magazzini Generali as the final club. Sold out confirmed for the third time and the following year Alcatraz was already full. In the meantime the beautiful and much appreciated “The Death of Peace of Mind” continues to grow and drag the band towards the top of the reference music scene.
Fast forward two years and we are here, at Music Park Of Milanand the turnout is already that of a sports hall. Videos of Bad Omens' performances at the biggest metal festivals in Europe have been going crazy for days, so it's easy to fall into the naive illusion of having any idea what will happen on stage. But fortunately, in a market that lives and dies on expectations, there are still artists capable of arousing amazement even in the most cynical and savvy. No matter how many reels or TikToks you've seen, no matter how many other times you've seen them live: the voice of Noah Sebastian and the perfect wall of sound of Bad Omens cannot leave you indifferent.
Almost perfect mixing and volumes enhance the great technical expertise of the Los Angeles formation, which does not hide behind visuals, lights and flames, but rather uses the excellent production of this tour to enrich the most important thing: the music. Ironic and also a little sad that it needs to be remembered, but there it is. The new pieces, although not falling within a specific recording chapter, seem to define with extreme precision the current intentions and ambitions of Bad Omens, who are increasingly skilled in blending sound research, impact, storytelling and attention to image.
Noah Sebastian, in particular, once again confirms himself as a formidable leader. Definitely helped by basic tracks and some strategic pitch shifter — in this sense the beautiful effect is worthy of note growl-horror on “ANYTHING>HUMAN” — but these are practices so widespread and clear that we don't need to dwell on them too much.
His voice is undoubtedly the most memorable element of the concert. It seems like there are three of them singing: a singer with an angelic timbre for the clean vocals and a powerful and precise screamer, who every now and then leaves room for a master of growl. These three souls and these three voices converge in one of the most solid and magnetic frontmen on the scene. Just like every vocalization, the movements also seem perfectly calibrated, to also communicate with the body what the music makes resonate throughout the Segrate park.
Another surprising element is the repertoire. Despite the few releases, practically every piece in the setlist sounds like a classic. People sing every verse, they know exactly when to pick up their phone for a short video, but they also know when to open a circle pit. Right the wall of death requires input from the stage, but just a small movement from puppeteer Noah Sebastian is enough to unleash the Italian audience.
There is a great audience, young, participatory, cohesive. The impression is that there are few occasional patrons and it's quite a one to find oneself under the stage community. Thanks to a particularly fertile historical moment for the genre, but also to a fan base that is increasingly aware and less and less tied to the old formal elements that have caged heavy music. What is metal and what isn't doesn't seem to interest anyone anymore. This is why genres disappear and hybridization becomes the North Star. And in this scenario the Bad Omens, now one step away from becoming the upcoming headliners of any major heavy event, they are destined to dominate.
Daniel D`Amico for SANREMO.FM
