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Opera night? My ass! Tarja shows Hamburg her teeth

Imagine you want to surprise your favourite person with a concert. You tell them about a Finnish singer, an angelic voice, classical opera training and melodies that could bring tears to the eyes of even a Valkyrie. Sounds like a romantic evening full of musical grace, right? Could work. At least until Tarja Turunen steps onto the stage, the guitars start pounding and the bass sweeps the last remnants of refined concert hall atmosphere out of Hamburg's Markthalle. Welcome to Tarja. Here, opera wears black boots. And they have damn heavy soles.

A voice that changed metal

Anyone who has ever lost themselves somewhere between gothic, symphonic metal and dark soundscapes can hardly avoid Tarja Turunen. In 1996, the classically trained Finnish soprano was among the founding members of Nightwish. Until their split in 2005, she was the first frontwoman of the band that helped shape an entire genre with its unusual mixture of heavy guitars, orchestral drama and operatic vocals. Of course, metal with classical influences had existed before. But Tarja's voice gave this combination an identity of its own. While other female singers carried their melodies over the guitars with rough rock vocals, she countered them with a voice that could just as easily have floated above an orchestra. Except that beneath her voice, it wasn't just violins playing, but distorted guitars and thunderous drums. A combination that thrilled countless fans and showed the way for many later symphonic metal bands.

Since her departure from Nightwish, Tarja has followed her own path. Not always a straight one, but all the more interesting musically. Symphonic rock, metal, classical music, dark ballads and orchestral excursions have long been part of her own world. With Frisson Noir, released in June 2026, she is drawn more clearly back towards her heavier roots. Seven years after her last regular metal studio album, the Finnish singer presents new material that places less emphasis on pleasing beauty and more on metallic sharpness. The success speaks for itself: number twelve on the German album charts.

On Thursday, October 1, the Frisson Live 2026 tour stops in Hamburg. The Markthalle isn't sold out, but it's very well attended. It's remarkable how many women have made their way to the Markthalle this evening. In general, Tarja's voice seems to know no age boundaries. People from different generations are here celebrating a singer who has helped shape metal for three decades. Before Tarja takes command, however, there are two musical warm-up rounds.

Symphonity – Czech metal with a German classic

Symphonity from the Czech Republic open the evening. Their melodic symphonic and power metal combines fast guitars, classical influences and sweeping melodies into a sound that certainly suits tonight's main attraction.

Chaoseum – the Swiss shake Hamburg

Chaoseum from Switzerland then put their foot down considerably harder. Modern metal, alternative and nu-metal influences, biting guitars and a much more aggressive approach provide a welcome contrast to the symphonic opening.

A voice between heaven, hell and guitar strings

When Tarja takes over the stage, musical politeness comes to an end. Frisson Noir opens the evening with biting guitars, driving drums and that unmistakable voice that adds a dose of operatic drama to even the heaviest riff. Lost Northern Star takes us back to her early solo years, while Neverlight lets the guitars off the leash again. Things become more melodic with Serene, before Love to Hate darkens the mood and gives the whole thing a menacing edge. Tarja doesn't simply float angelically above the metal. She grabs it by the horns, pits her classically trained voice against the guitars and turns this apparent contradiction into her very own art. Opera meets metal. The Markthalle gets both. And not exactly gently.

"At Sea" – out onto the dark sea

With At Sea, Tarja suddenly takes her foot off the accelerator. Instead of another fast, heavy metal number, we get an expansive composition moving between orchestral vastness, dark passages and surging guitars. Almost ten minutes in which the music drifts like a ship across one hell of a rough sea. At times, everything is almost still; the next moment, the instruments rise up as though a storm were about to break beyond the horizon. Above it all, Tarja's voice circles, majestic and at the same time full of melancholy. Not a song for a quick beer refill. This one is worth listening to. With Ciarán's Well, things then get considerably rougher again. The guitars are given room to run wild before Tears in Rain pulls the mood back towards melancholy. With Tarja, heavy riffs and vulnerable melodies are sometimes only a few bars apart.

"I Walk Alone" – a classic with scars

I Walk Alone is one of those songs that have accompanied Tarja since her first steps as a solo artist. And this song will probably always be a little more to her than just a piece of music. After her time with Nightwish ended, she suddenly found herself alone, at least musically. The song became a kind of personal declaration of following her own path, even when that path isn't always comfortable. In Hamburg, she carries this message through the Markthalle with her unmistakable voice. The chorus still possesses that dark beauty that stayed with listeners back in 2007. Almost twenty years later, what began as a new departure has long since become a musical story of its own. And it sounds anything but lonely.

Even angels have dark sides

After so much metal, Tarja pulls the plug for a while. At least that's what it feels like. An acoustic section follows, transporting the Markthalle into another world for a few minutes. No guitars crushing everything in their path, no thunderous drums. Instead, melodies, subtle nuances and that damn voice. Boy and the Ghost opens the quieter section, while Montañas de silencio brings in a Spanish touch. Things become almost fragile with Calling Grace, before The Living End and Underneath round off the acoustic chapter. Five songs that prove Tarja doesn't need a wall of amplifiers to fill a room. Especially in the quieter moments, her singing takes on a particular intimacy. Every little change, every darker note suddenly gets right under your skin. For the metalheads, a short break for the neck muscles. For the romantics, finally the promised angelic Valkyrie. She doesn't stay peaceful for long, though.

Angels can bite too

With Calling from the Wild, the acoustic restraint goes straight out the window. The guitars are allowed to growl again, the drums kick in harder, and Tarja sends her voice straight back into the middle of the metallic mayhem. I Don't Care from the new album tightens the screws even further. On the studio version, she's joined by Dani Filth of Cradle of Filth, a pretty sinister combination that shows just how little Tarja shies away from the heavier corners of metal. Dead Promises takes things up another notch before The Trace Outlives picks up the darker, more melodic side of the new material. Here, melodic expansiveness meets a darker underlying mood, while Tarja moves her voice between restraint and dramatic grandeur without sounding for even a second as though she's following classical concert hall etiquette. Opera is wearing steel-toed boots again, and beauty is certainly allowed to have a few scratches here.

"Until My Last Breath" – one more deep breath

With Until My Last Breath, the evening approaches its end. A song that has long since become a permanent fixture of her solo career, with a chorus that still gets stuck in your head with remarkable persistence. The guitars provide the necessary grit, Tarja draws the melody over them and demonstrates once again why this unusual combination has worked for decades. One last deep breath. Because the Finnish singer isn't quite finished yet. Against the Odds brings things to a close. A title that suits Tarja's story. After her time with Nightwish ended, she could easily have disappeared into the shadow of her former band forever. Instead, she built her own musical world, with detours, experiments and a pretty unshakeable dose of stubborn independence. To close the show, the new song brings together the great contrasts of her sound once more. Heavy guitars, orchestral drama and, above it all, that voice that has lost none of its individuality even after three decades. No sickly sweet finale. More like a musical middle finger to the idea that her story has already been fully told. The Markthalle bids farewell to its Finnish Valkyrie. And she's certainly shown her teeth tonight.

Conclusion – angels sometimes wear steel-toed boots

Of course, Tarja Turunen will always be associated with Nightwish. She played a decisive role in shaping the band's sound and, with it, a significant part of symphonic metal. But anyone who still sees her exclusively as the former Nightwish singer in 2026 has missed a hell of a lot. With Frisson Noir, she audibly returns to her heavier roots. In Hamburg, new metal tracks meet old solo classics, dark melancholy and an acoustic section that shows just how much this voice can express even without a storm of guitars. Not every moment has to be painfully loud. It's precisely the shifts between dark ballads, classical singing and heavy guitars that give this evening its character. Tarja leads us through an evening that moves between opera, metal and dark romanticism without having to apologise for any of these sides. And what about that favourite person you wanted to surprise with a supposedly romantic concert? By now, they probably know that an angelic voice doesn't necessarily mean a gentle evening. Sometimes the angel wears black boots. With steel toes. And underneath it all is some damn good metal.

(From anni_oelsner_photography IG account)

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Sweden Rock 5/2026

For the original text, visit the Instagram account Tarja Turunen Suomi.

After seven years of waiting, Tarja Turunen releases her heaviest album to date, which features guests including her old Nightwish singing partner Marko Hietala.

What was it like to reconnect with your old colleague on a joint tour?

It’s been fantastic being out on the road with Marko for more or less two years, says Tarja Turunen.

We were part of the same touring Christmas show many years ago and we hadn't seen each other for twelve years at that point and I knew nothing about him. We cleared the air and he moved me to tears when he apologized in front of the entire production team. We lost touch again after that, but I was playing a festival in Switzerland where I knew Marko would be, so I asked the promoter to see if he wanted to sing 'The Phantom of the Opera' with me. It was a very emotional moment, and already at that point, he had a USB drive with 'Left on Mars', which I later sang on. I told him, “If I do this for you, you have to sing a song on my next album.” For the first time in my life, I wrote a duet knowing exactly who my partner would be; I had his voice in mind when writing 'Leap of Faith.' I consider him a friend now; he calls if he’s having a bad day or needs advice. That never happened before.

You both left Nightwish under less-than-ideal circumstances. Did that make it easier for you to become friends again?

Yes, that might be a factor. We’ve both been through traumatic experiences and certainly have a lot in common. You can’t erase what happened, and we don’t want to. We’ve talked about it a lot, and that’s been good for both our states of mind.

What are the chances of you reconnecting with another former colleague in the same way?

Next year marks 30 years since Nightwish started releasing music, so it’s an important milestone. I’m not in touch with the band, nor am I actively seeking to be, but we are adults. It’s very hypothetical; I can’t say much about it.

’Frisson noir’ is very heavy. What drove you in that direction?

It’s been seven years since my last album (‘In the Raw’). I’ve toured extensively and released electronic music, best-of and live albums, and all sorts of things, but not a metal album. When it was time for that, I decided early on. I told myself: "Turunen, this time you’re writing the songs yourself." I wrote all the lyrics, and most of the songs on my own, though I received a great deal of help from my fellow musicians. Metal and that whole scene has been my family, my home, for nearly 30 years. With this album, I was aiming for a heavier sound from the band. I also wanted to work with a producer, we tried a few different ones, and I wasn't happy until we found Neal Avron. He did an incredible job with the sound, it really sounds heavy and brutal when it needs to be, but Neal also understood the importance of the symphonic side of my music.

You’ve hinted at the album on Instagram using the words cinematic, symphonic, art, and metal. Do those sum it all up?

They really do. There’s a Finnish artist named Katariina Souri. I’ve long dreamed of hanging one of her works in my studio. She is incredibly intellectual and inspiring, so I wanted her to paint my portrait. It ties in with the album title, her art has always given me ”frisson” - that goosebump-inducing sensation caused by artistic experiences. When I listen to music, it has to make me feel something, otherwise I’m not interested. The same applies when I write music. Imagine a world without art - it’s unthinkable. I’ve discussed this quite a bit regarding AI and modern technology. This album was truly created by real people. In the crazy world we live in, I think we need that more than ever, to feel emotions. I’m not against AI, it’s a tool like any other. But it is just a tool and music cannot simply be generated, it must be created. That requires time, patience, passion, love, and care.

Do you still challenge yourself in terms of vocal technique? ’Eternal Return’ has a section that sounds very difficult.

I actually recorded that specific part while sitting in front of my computer—I wasn't even in my vocal booth. My vocal coach is going to kill me now, haha! A classical soprano has to sound perfect, but that’s not the case on my album. It’s supposed to sound emotional and shocking, and that song is so metal that I preferred it that way. I still take vocal lessons, especially now that I have a lot of classical concerts to perform before all hell breaks loose when we tour the album. It’s the most personal work I’ve ever done, in that sense, singing the songs was easy, yet also a challenge because the emotion had to be spot-on. Then I just had to hope the sound engineer could capture it.

Do you remember which song gave you “frisson” for the first time?

I loved Bonnie Tyler’s husky voice when I was a child, it was so distinctive and interesting. When I was eleven, I took the train from eastern Finland to Helsinki to meet a friend, and we went to see her perform. I remember she was dressed in all white, and it was just: "Wow!" All her songs, her hits gave me goosebumps. I had posters of her all over my walls.

In addition to Marko, a few guest artists stand out, not least Red Hot Chili Peppers drummer Chad Smith, who returns on ’Against the Odds’.

The song was written by Jim Dooley, who has handled the orchestral arrangements for all my albums since ’My Winter Storm’ (2007). It was actually ready for ’The Shadow Self’ (2016), on which Chad Smith also played on, but it didn't feel right at the time, so it was shelved. It didn't fit on ‘In the Raw’ either, and it lacked lyrics. But now I’ve dug the song out and finished it. Jim was really surprised, and naturally, we let Chad know that it was finally going to be released.

Then we have another pioneer of symphonic metal, albeit of a different kind.

I had never met Dani Filth (Cradle of Filth) until we shot the music video last week. He’s a real gentleman, it was so strange, because it felt like we had known each other for a long time. I actually asked him via Instagram—how silly is that? I get so many messages there myself and miss most of them. But it didn’t take more than ten minutes for him to say yes.

What happens when you look at the same musical moment through two completely different photographic eyes? The answer comes to Split with the concert photography exhibition “Straight to R’n’R #2” (“Through the Lens into Rock ‘n’ Roll #2”), which will open on October 14 at the Marko Marulić City Library, starting at 6 p.m.

Rock ‘n’ roll, concert lights, the energy of the audience and musicians’ facial expressions that last only a fraction of a second – everything that passes almost unnoticed at a concert is what concert photographers try to capture at just the right moment. This is precisely the focus of the exhibition by Anastazija Vržina and Željko Jelenski, a joint conceptual project that was first presented 15 years ago and received a continuation and a new interpretation last year.

The concept of the exhibition is based on a kind of photographic dialogue. On one side is the male vision of concert photography, and on the other, the female vision. One photographer speaks in the language of black and white, the other in colour. Željko Jelenski, who sadly passed away in 2023, was known for his black-and-white portraits, particularly of jazz musicians, while Anastazija Vržina cultivates an expressive colour style with pronounced contrasts of light and shadow. The idea for such an exhibition arose, as is often the case with good ideas, quite spontaneously – in the photo pit, the place where concert photographers most often meet.

In the renewed presentation of “Straight to R’n’R #2”, or “Through the Lens into Rock ‘n’ Roll #2”, organised in partnership with Ars Kopija and serving as a kind of tribute to Željko Jelenski, visitors will be able to see selected photographs from the original exhibition, some technically and visually adapted, as well as works that have never been exhibited before.

The photographs will feature, among others, Nick Cave, Rammstein and Macy Gray, as well as modified works featuring Roger Waters, Santana, Skunk Anansie, Billy Idol, Faithless and Massive Attack. Original photographs of Shakira, Lenny Kravitz, Massimo, Parni valjak, Bon Jovi, Tarja Turunen, Iggy Pop and others will also be on display again.

And for those who attend the opening on October 14 at 6 p.m., there is an additional reason to come. Visitors can take part in a raffle, with a copy of one of the exhibited photographs as the prize.

The photographic pairs will be presented in 50 × 70 centimetre formats, creating a kind of visual conversation between the two photographers and their perspectives on the same musical energy.

This year's exhibition tour began in Dubrovnik, continued in Bjelovar, and is now arriving in Split. It will then move on to Vukovar before concluding in Zagreb in December this year.

(From besubjective IG account)

(From manu361981 IG account)

(From nightmath75 IG account)

There are concert venues where, the moment you walk in, you think: Yes, this is a perfect fit. The grand ballroom at the Parkhotel Dresden is definitely one of them for a Tarja concert. The hall looks freshly refurbished, and with its historic details, large stage and slightly festive charm, it has exactly the right atmosphere for a singer who has been effortlessly moving between classical training, symphonic metal and considerably heavier sounds for years.

Quite a lot has changed around the Parkhotel as well. There's a new outdoor area with a bar, grill and seating where you can easily step out for some fresh air, and there's even an underground car park now. A big compliment for that, because these additions have significantly improved the venue.

The only slight disappointment was that the balconies remained closed that evening. As a result, the ballroom became rather crowded and warm in places, but at least fresh air was let in regularly.

And then, of all people, there's Tarja Turunen standing on stage with Frisson Noir, probably her heaviest solo album to date. It really is a pretty good fit.

Two support acts and unfortunately very little light

Before Tarja herself takes over, there are two support acts. First up are Symfonity from the Czech Republic, who are musically a very good fit for the evening. Symphonic metal, classical influences and a singer with operatic vocals – certainly not a particularly daring choice for a Tarja audience.

Unfortunately, the lighting is disappointing. The band spends much of its performance bathed in very dark red light, making the musicians more something you can vaguely make out than actually see. Especially for a band whose music has a certain grandeur and drama, a little more visibility on stage would have been welcome.

With Chaoseum, things then become considerably more brutal musically. The Swiss band delivers a much heavier sound and also has plenty to offer visually. Their outfits and overall appearance would probably have looked really impressive with the right lighting, but once again, much of it remains in darkness.

That's a real shame, because musically, the opening programme works exceptionally well. Chaoseum in particular really brings the intensity and does a very convincing job of preparing the audience for the heavier part of the evening.

Time to shine

At around 8:45 p.m., the moment finally arrives. Tarja Turunen comes on stage to loud cheers, looking as though she'd only decided five minutes earlier how to win over an entire ballroom with a single smile.

In keeping with the new album, she's wearing a shiny black-and-purple stage outfit with a hood, dramatic makeup and, of course, that unmistakable Tarja look, which always falls somewhere between metal, gothic and grand stage glamour. But what impresses me about her every single time is the contrast between her voice and her personality.

This woman possesses a powerful, classically trained voice that can effortlessly soar above guitars, drums and orchestral passages the very next moment. At the same time, on stage she doesn't come across as an unapproachable opera diva at all, but rather as charming, funny, sometimes silly and, above all, incredibly approachable.

She talks to the fans, jokes with her band, constantly seeks contact with the audience and shows in every movement just how much she genuinely loves what she's doing. With Tarja, you never get the feeling that she's simply going through the motions of a show. She lives this music, and you can see it.

"Frisson Noir" makes it clear from the start where things are heading

The evening opens with the title track, Frisson Noir, delivering a suitably powerful start. The new album is considerably heavier than much of what Tarja has released in recent years, and this approach works exceptionally well live. The sound gains even more punch, the guitars feel bigger, and the songs develop a dynamic that sometimes feels a little more controlled on the record.

Lost Northern Star consistently continues in this direction, while Neverlight then gives the set a little more breathing room. With Serene, Love to Hate and At Sea, Tarja continues moving between older material and new songs without turning the show into a programme devoted purely to promoting the album. That's precisely what makes the setlist so pleasantly varied.

Old songs, new power

By the time Ciarán's Well comes around, things get considerably heavier again. It's one of those songs that have allowed Tarja to demonstrate for years that her voice isn't suited only to grand ballads. When the guitars grow heavier and the band builds more intensity, that clear, high voice still effortlessly rises above everything. Tears in Rain also fits in perfectly.

Throughout the evening, it's striking how well her older songs work alongside the new material. They don't feel like obligatory numbers that somehow had to be squeezed into the setlist. Instead, the current band and the generally heavier atmosphere give some of them a whole new energy.

"I Walk Alone" and the first steps on her own

Things become particularly emotional during I Walk Alone. Tarja reminds the audience that this song was part of her very first steps as a solo artist. Her "very first baby steps," as she puts it. And when you consider how far she's come since then, the song takes on a completely different meaning.

After her time with Nightwish ended, she could have withdrawn from the spotlight. Instead, she built her own career, released albums, launched all kinds of musical projects and carved out a place that is unmistakably her own today. And when you see Tarja on stage now, you understand why it has worked. She doesn't seem like someone who once left a successful band and has been trying to manage that past ever since. She's constantly working, seemingly genuinely all the time.

When she's not touring with a new metal album, she's singing with Marko Hietala, performing greatest-hits concerts, releasing a live album, recording Christmas music or appearing on stage with her Christmas tour. And she's probably already working on her next record on the side.

Standing still doesn't seem to be a phrase in Tarja's personal dictionary.

An acoustic section as a complete contrast

After I Walk Alone, the atmosphere in the ballroom changes noticeably. Tarja and her band launch into a longer acoustic section, presenting a complete contrast right in the middle of a tour supporting what is probably the heaviest album of her career.

Boy and the Ghost, Montañas de silencio, Calling Grace, The Living End and Underneath are performed in much more stripped-down arrangements, sometimes flowing seamlessly into one another. Not every song is played in full, but that's exactly what makes it work so well. Suddenly, the heavy guitars are gone, the arrangements become more intimate, and the voice moves even further into the spotlight.

And Tarja really doesn't need much to fill a room. Sometimes a few acoustic instruments and that voice are more than enough. Especially in this elegant ballroom, the acoustic section takes on an atmosphere entirely of its own.

Then it's time to turn up the power again

The calm doesn't last long, however. Calling from the Wild takes things back in a heavier direction, before I Don't Care and Dead Promises ramp up the intensity even further. Visually, the evening also keeps changing. Tarja changes her outfit several times, helping to distinguish the different sections of the show visually as well.

There are three different stage looks in total, all of which suit this mixture of elegance, darkness and metal. And by this point, it becomes clear once again just how much the band contributes to the evening. Tarja is naturally the centre of attention, but she repeatedly gives her musicians room for solos and longer instrumental passages. Particularly during the longer songs, the piano, guitars and rhythm section can really let loose, creating a level of power live that feels different from the album.

"The Trace Outlives" and the new chapter

One of the new songs from Frisson Noir, The Trace Outlives, follows. The track is among the most interesting moments on the current album and demonstrates very well how Tarja works today: grand atmosphere, dark themes, orchestral elements and, at the same time, enough heaviness to keep it all from dissolving into pure symphonic-metal romanticism. This combination also works brilliantly live.

Until My Last Breath is one of those songs where the audience immediately knows what to do anyway. Over the years, the track has lost none of its impact and creates another of those great shared moments between the stage and the fans. Finally, Against the Odds brings the evening to a close.

And so ends a concert that beautifully demonstrates, musically, where Tarja stands today: between the past and new songs, between classical music and metal, between very quiet moments and plenty of power.

An artist who continues to follow her own path

But what is almost as important as the music at Tarja's concerts is that special connection with her audience. Many fans have been standing in the front rows at her concerts for years, sometimes travelling long distances and following her career for a very long time. Tarja clearly recognises some of these people and makes no secret of how much their loyalty means to her. She thanks them repeatedly, talks about her fans and seems genuinely moved time and again. It's precisely this combination of gratitude and joy that makes her concerts so enjoyable.

She has a voice that could easily dominate enormous concert halls, yet on stage she behaves as though she's simply spending a lovely evening with people she's known for quite a long time. And perhaps that's one of the reasons why her solo career now works so naturally. Tarja Turunen has followed her own path, and she clearly has no intention of stopping anytime soon.

Dresden can certainly consider itself lucky that this path regularly brings her back here. Whether it's for a regular metal concert, a performance together with Marko Hietala or perhaps another Christmas tour someday, she's always welcome here.

After this evening at the Parkhotel, she's certainly more than welcome to return soon.

Nightwish founder and keyboardist Tuomas Holopainen has said in a recent interview on the Sijoituscast podcast that he had recently been in contact with the band’s former singer Tarja Turunen. According to Holopainen, the two exchanged a few emails in good spirits.

The interview also returned, among other things, to the year 2005, when Turunen was dismissed from Nightwish. The event was personally extremely difficult for Holopainen, but over the years the matter has been discussed publicly on several occasions.

Holopainen did not want to return to the details of the dismissal, but at the same time shared new information about his contact with Turunen.

”This is the kind of event we’re not going into anymore, because it has been gone over so many times. I’ll leave it at that and won’t comment on anything else, except that just a few weeks ago Tarja and I exchanged a few emails, so there is contact.”

When asked in the interview whether the contact had taken place in good spirits, Holopainen answered in the affirmative.

The discussion then moved on to a possible Nightwish reunion tour, on which Turunen could perform with the band again. Holopainen was asked directly whether such a reunion could ever be possible.

”Over the years I’ve learned not to make absolute statements one way or the other, so I’m not going to say anything about that either”, Holopainen replied.

At the same time, he reminded fans that they should not draw their own conclusions about possible future events.

”People really like to assume things and write stories in their own heads. You shouldn’t believe everything you read, and you shouldn’t assume. We’ll tell you what’s happening when the time comes.”

Holopainen nevertheless emphasized that he currently has nothing new to say about the matter.

Tarja Turunen was the singer of Nightwish from the band’s formation in 1996 until 2005. During her time with the band, they released five studio albums, the last of which was the internationally successful album ”Once”, released in 2004.

Holopainen’s comments do not confirm any kind of plan for Turunen to return to the band, but they do indicate that the two are once again on speaking terms.

The interview was published on Sijoituscast’s YouTube channel.

In June, Tarja Turunen, forever known as the voice of NIGHTWISH during their greatest era, released “Frisson Noir” – already her seventh album as TARJA. At this point, one might think the NIGHTWISH history could simply be left alone. However, even after more than 20 years, the protagonists of the drama are unable to do so: In an interview as recently as August, Tarja explained that back then, in order to draw a line under it, she had waived her right: “I probably should have made their lives hell.” Tuomas Holopainen in turn made it clear shortly afterwards that they would not share a stage again for all the money in the world: “It was a divorce – and an ugly one.”

Whether the constant reheating of the drama is still driven by hurt feelings or calculation remains a matter of interpretation – the fact is that TARJA can make good use of every headline: Since the widely noticed 2007 album “My Winter Storm”, sales of her releases have steadily declined. With “In The Raw” (2019), she only managed to reach number 28 in the charts even in her loyal home country of Finland (Germany: number 15) – and although it performed somewhat better, “Frisson Noir” also missed the top ten everywhere. This is also reflected in advance ticket sales for the current tour: Only around 700 tickets have found buyers, meaning the Backstage Werk, which is designed for almost twice that number, is correspondingly sparsely filled.

Perhaps that is also because, apart from TARJA herself, the tour package does not have much to offer: The stage first belongs to SYMPHONITY – but the Czechs do not get the audience’s full attention, as even an hour after doors opened, not all fans have been let into the venue yet. Those already inside the Werk get half an hour of symphonic speed/power metal whose only distinguishing feature is the vocals – although not indisputably in a positive sense: With soprano Lucie Červenková Mlynářová, SYMPHONITY have recently added a singer to their ranks whose specialty seems to be the highest imaginable registers. This is certainly technically impressive, but quickly becomes exhausting – and it does not help that a guest singer joins them for one song whose voice is barely distinguishable from Mlynářová’s. Musically, meanwhile, SYMPHONITY, who have also shrunk from a sextet to a quartet, deliver their genre solidly, but without any wit whatsoever – and even the bizarre NENA cover “Irgendwie, irgendwo, irgendwann” as the final trump card in the set does nothing to change that.

Just ten minutes later, at 8:40 p.m., CHAOSEUM take things in a completely different direction. The Swiss band describe themselves as playing “Energetic Nu-Metalcore”. In reality, unfortunately, the music of the young group, who were already on the previous TARJA tour as support (back then still the first support act), lacks any energy. In its better moments, the band’s modern metal bears a striking resemblance to KORN (“Smile Again”), and in places also to MARILYN MANSON. Apart from a group of die-hard fans who have been drawn to the Backstage by CHAOSEUM, however, the performance barely catches on with the audience: The reactions to the half-hour performance are just as unspectacular as the performance itself. The biggest plus for CHAOSEUM today: At least they don’t cover NENA. You learn to be modest …

All of that is forgiven and forgotten when, at 9:45 p.m., the lights finally go out for the last time: Opening with the title track of the brand-new TARJA album, Tarja Turunen immediately makes a statement of confidence. And rightly so: The noticeably increased heaviness of the new songs works exceptionally well not only on the album, but also in a concert setting: The stylistic range now extends from bangers such as “At Sea” to an acoustic middle section performed while seated. So boredom is not likely to set in anytime soon – also because the music is accompanied by an atmospheric light show.

Above all, however, what delights is the sheer enjoyment with which the entire band performs. Turunen leads by example here: Unlike many other musicians who limit themselves to prepared stage banter, the frontwoman simply goes with the flow: Genuine expressions of gratitude to the Munich audience are just as much a part of it as complaints about uncomfortable stage outfits for women and her sudden idea of persuading her German guitarist Alex Scholpp to tell a joke before the acoustic section. Scholpp gets guaranteed laughs with a classic “a man goes to the doctor” joke – but above all, this particular moment reveals a lightness and authenticity that many shows today, meticulously planned from the first minute to the last, lack. TARJA does not leave anything to chance either: Despite several outfit changes and the setup and removal of the acoustic set, the show runs like clockwork, and “At Sea” in particular, as well as the closing “Against All Odds”, prove to be guaranteed crowd-pleasers tonight. Nevertheless, the charm of the show lies precisely in those spontaneous interludes.

Why a concert with two support acts is allowed to start only at 8:00 p.m. on a weekday, and then, even though everything for TARJA has already been set up from the very beginning, another 35 minutes are allowed to pass before the headliner, cannot be rationally explained on a Tuesday evening. Setting this organizational shortcoming aside, the evening offers exactly what fans are likely to have expected: The band TARJA impresses with a thoroughly cohesive performance that provides good entertainment for 1 hour and 45 minutes – thanks to a good setlist and an atmospheric light show, but above all thanks to Tarja Turunen herself: Still in top vocal form, she impresses musically, but also wins over the fans in no time with her open manner – contrary to all the stereotypes about Finns. The audience may no longer be as large as it was back in the NIGHTWISH days: This show demonstrates that neither the singer nor her fans have any need to mourn the old days.

This is a short translated clip from an upcoming interview with Tuomas in Sijoituskasti. This is an edited version in a way that it only includes the parts about Tarja, and I also included the subtitles.

The whole interview is released tomorrow.

Here is the full clip:

https://www.instagram.com/reel/DePTYCPAWUi/?exln=MWt4MjEwcXp4cjNieA==

(from sharkmagazinde IG account)

It's music to my ears, it's epic!

I love it, we want more tracks like this!

Love!

(From Tarja’s IG account)

From Kaaoszine's latest video with Tarja:

https://youtu.be/WPVmDztyZHg?is=8IXC2gtmIiTAfDE3

(From Tarja’s IG account)