The last time Leprous played in Toronto, was in April 2022, the occasion was not that celebratory. Covid was still making the rounds, and their bass player had to fly to Norway due to a family emergency, so they piped in a live recording of his parts. Frontman Einar Solberg had just driven his girlfriend’s family out of the war zone in Ukraine, and one of their guitar players broke his foot on stage towards the end of their performance. Finishing that set was more an act of defiance than a display of musical prowess. On this week’s show at The Opera House, however, things were a little bit different.
A lot has happened since that performance in 2022: Einar started a side career with the release of his debut album “16” and an acoustic rendition of Leprous’ “The Congregation” effort in full. More recently, the band released the divisive “Melodies of Atonement”, which they’re touring to promote now. Coming off of a successful set at ProgPower USA in Atlanta a few weeks ago, they are now on an extensive touring schedule, alongside Monuments and Fight The Fight on selected dates.
With Nordic precision, the band entered the stage at 9 PM sharp and kicked it off with the syncopated “Silently Walking Alone”, one of the singles from their latest album. From the get-go, it’s noticeable how the new songs grow in a live setting. “The Price” came up next, and “In the pocket” doesn’t even begin to describe how coordinated the band was – not only musically, but the synchronized headbanging of the six guys on stage was a sight to behold.
While the setlist relied heavily on the new album, there was something to please the fans of old-school Leprous, as exemplified by the insanely heavy version of “Third Law”. This was followed by newer songs – “I Hear the Sirens” and “Like a Sunken Ship”, both well received by the crowd.
While their material is very serious, the band does have a sense of humor. When introducing “Forced Entry”, Einar said, “do you like song structures? Then this song is not for you. But if you like a lot of ideas thrown together with no relationship between them, then you’ll enjoy this”. And they dusted off “Forced Entry” indeed, a ten-minute journey with heavy riffage, a million tempo changes, and two elements that were part of Leprous in the past, but not so much these days: guitar solos and growling vocals towards the end.
One of the staples of their set, “Alleviate” came up next, with the explosive vocals on the chorus being one of the most anticipated moments of the night. As Einar reached the high notes on this one, half the crowd erupted in excitement, while the other half pointed their phones towards the stage, to post stories and reels that NOBODY will care about. Seriously people, learn to live in the now while you’re at a concert!
Another hilarious moment ensued, as Einar pointed at two people in the crowd and asked: “are you seriously getting into a fight at a prog concert? What is wrong with you?” Had they continued to fight, security would have been involved, but being called out by the singer was embarrassing enough for them to stop. The balance between old and new continued, with two more songs from “Melodies of Atonement”, and “Below”, from 2019’s “Pitfalls” making an appearance. Coming up next was one of the coolest moments of this tour, with a few fans being brought to the stage to sing backing vocals on “Faceless”.
One of their most delicate songs, “Castaway Angels” came up next, with mesmerizing effect. The hypnotic chorus of “From the Flame” provided yet another high point of the night, with the crowd joining in unison. “The Sky is Red” received an abbreviated treatment, with Baard Kolstad showcasing why he’s currently one of the best drummers of any genre. The show was closed with a fan choice, the raw and emotional “Slave”.
Overall, the Norwegian progressive rock ensemble delivered a captivating set that balanced intricate musicianship with melodramatic intensity. Despite the red and black lights which prevented most of the crowd from seeing the band, unless you were in the nosebleed section, the connection with the crowd only grew stronger as the night progressed.
Their blend of atmospheric soundscapes and technical prowess was on full display. The rhythm section provided a solid foundation for Einar’s soaring vocals, and the operatic elegance of his voice pierced through the dense layers of instrumentation. The material is dense and evocative, with intricate moments and heavy sections sprinkled throughout, and a less experienced group of musicians could face difficulties in navigating these highs and lows. Leprous did it with ease and reminded Toronto why they remain one of the most innovative and emotionally resonant bands in the prog realm today.
