NIGHTWISH In Vegas: Fire and Ice? Well Maybe Just Lukewarm Water

by Mark Gromen

In the first six months of ’08, Nightwish and I had endured the frozen, heater-less music halls of Communist China and the heat of the moneyed Las Vegas Strip. Talk about your dichotomies! Throughout it all, the Finns (plus newly recruited Swedish-born singer Anette “Arska” Olzon) have remained undaunted, taking these discomforts of life on the road in stride. Arriving the morning of their Vegas show with time to kill, the band decide to see the sights. They were drawn to the roller coaster at New York, New York. The cars are fashioned after NYC taxis. The 67mph speed, loops and 144 ft. descent are only surpassed by the real thing, trying to cross Manhattan at rush hour. Most of the forbidden fruits offered in the adult playground of Las Vegas are rendered moot to Europeans. Master Passion Greed, indeed. It could be the city’s motto! Liquor? Ha! The local barfly in remote corners of the Czech Republic, Norway or Finland quaffs more than a 20-something’s bachelor party in Vegas! In overseas countries that don’t have a red light district, or outright sanction of prostitution, and there’s usually at least a topless photo in the daily newspaper (Germany even has totally nude TV commercials after 11pm). A casino or gambling machines are equally pervasive. Jukka (Nevalainen, drums) confirms that in addition to the neighbor bar, the machines can even be found in some Finnish grocery stores, although the “jackpots” tend to be on the paltry size, less than $50.

What Las Vegas does have (as is true with most things American) is the enormity. Not a few mere building, but an entire town. Speaking of “bigness” there’s no better microcosm of America’s health crisis. Take a look at the propensity of overweight, if not downright obese visitors, gorging themselves on drinks and mammoth buffets. (To say nothing of the elderly in wheelchairs, walkers or battery-operated scooters who right their otherwise infirmed selves to throw dice or play the slots! Even saw a few people wheeling their own oxygen tanks through the smoke choked gaming halls).

The House Of Blues, inside Mandalay Bay played host to Nightwish, even though the band stayed next door, at the Egyptian-themed Luxor. The 1800 capacity HOB features a general admission pit, sunken five feet below stage level and ample (majority?), multi-tier seating in the balcony. Cameras shoot the show onto dozens of plasma screens around the room, varying the emphasis throughout. The band graciously set me up with opera box seating, direct view of the stage and waitress service. However, the table had a $150 minimum! While I could have handled the requisite tab (both financially and gastronomically), especially at those prices, I preferred to remember the show (as well as photograph it) and passed on the reserved seats.

The current trek, especially with the early East coast cancellations, has seen Nightwish bypass the major media centers, hitting smaller US cities (and even a string of Canadian dates), in advance of the September tour, which will once again focus on A-markets. The experience has not been without its oddball incidents, as Olzon relates.

“In London (Ontario, outside Toronto), I had my hair pulled back, no make-up on. Outside the club, this guy who was high, trying to sell us drugs, starts running at me, yelling ‘Crack whore!’ I’m thinking, does this guy think I’m a crack whore? (Not something any woman wants to hear!). OK, I’m not all dolled up but… Anyway, he runs right past me and makes a face. (Marijuana) was everywhere in Canada. To us, Finnish people, a Swede, it’s SO illegal! I never even knew about it until we got on tour. In Amsterdam, the club was filled with smoke (weed and/or hash). We’re onstage and I was like, ‘Tuomas (Holopainen, keyboards/founder), I feel tired.’ I had no idea. The same thing happened (this tour) in Vancouver. You could smell it from the stage.”

After that, Vegas might be tame, but the prospect of a day off (with appropriate diversions) was eagerly anticipated by all. Along with welcome physical rest, it afforded Anette the opportunity to shop (with the mother and sister of the late Marc Brueland, a fan to whose struggles with cancer Tuomas dedicated ‘Higher Than Hope’. The pair having accompanied the band from San Diego). Marco (Hietala, bass/vocals) hit the strip with friend and there was talk of Jukka and guitarist Emppu Vourinen joining the bassist and singer to take in the David Copperfield magic show. Of course, there was also a sit-down dinner, band and some crew at a decent restaurant, rather than the usual staple of pizza/pasta, Chinese food, or worse yet, promoters’ buyout (where the band is paid a flat fee rather than have food provided. Then, they must find their own sustenance, which, given Jukka’s strict vegetarian dietary regiment, can be difficult).

The Jack Sparrow figurine which has decorated Tuomas’ keyboard stand for the last few tours has been replaced by Edward Scissorhands (still Johnny Depp though), the pirate relegated to the smaller, upright keys facing away from the fans. Following a triumphant fanfare, Nightwish enters and opens with ‘Bye Bye Beautiful’, Anette’s entrance staggered until vocals are required. She’s met by piercing shrieks and squeals from the crowd. In a poofy black skirt (I’m no fashion police, but think Bjork-esque tutu that unnecessarily hides her figure) and glittery legging, she commands the stage with even greater presence than before, now a veteran of more than 100 performances. Vourinen and Hietala volley from one side of the stage to the other, mimicking a guitar tandem the band doesn’t need. ‘Dark Chest Of Wonders’ and ‘Whoever Brings The Night’ follow quickly, the latter seeing Holopainen strip off his white suit coat, revealing a red “wife-beater” T-shirt with Chinese lettering. The pocket of females camped in front of him, a mixture of teens and MILFs pressed against the barricade, practically swoon.

The set has changed slightly from last fall’s US tour, as well as the introductory dates witnessed in China. As it will undoubtedly again, before returning this autumn. Masterful lighting was courtesy of the HOB rig, be it purple, the reds which bathed the stage for ‘Amaranth’ or the streaks of rust which shone from above during ‘The Poet & The Pendulum’. There was also a follow-spot, which allowed Anette to be highlighted throughout. This effect was utilized to greatest effect during ‘Sleeping Sun’, a song where the focus (literally and dramatically) is on the vocalist. Slowly, but surely, Nightwish is plundering the Tarja songbook, songs once reserved and revered for their former, operatic singer. ‘Sleeping Sun’ is one such example. Co-manager Toni Peiju was hearing Anette’s live rendition for the first time (having just joined the tour after commitments in Europe). His diagnosis, “Sounds good. A little more rock, sort of Nightwish meets Amy Winehouse.” All the more ironic, given Anette’s experience in London! As the track concludes, the songbird grabs a towel and walks behind Holopainen, drying his sweaty mane and the band launches into ‘Sahara’.

Few, if any notice the small glitch which extends the time the stage is barren after an acoustic, Marco-sung ‘The Islander’ (now, only Anette is seated on bar stool, Emppu and the bassist having chairs to play from), the lone fault in staging. ‘Dead To The World’ (another recent Tarja-era addition) and ‘Nemo’ (spontaneous thundering applause from the start) round out the set proper. Although a showbiz town, the assemblage screams for an encore. As Tuomas leads Anette by the hand across the stage to his keyboard fortress, the crowd is rapturous. Strange then, that the momentum is jettisoned in favour of ‘Last Of The Wilds’. A difficult song to work into the set at any point, but here, the revelry must be re-energized upon its inclusion. Between songs, Marco teases, “I know this is an all-ages show, but afterwards, let’s hit the bars.” When one youngster in the balcony roars approvingly, Hietala points him out, “Your time is coming, but our time is now!” The voiceover intro bellows forth, ‘Wishmaster’ gets the audience jumping up and down. Anette gets metalized, pumping her fist, mounting the drum riser to headbang. The ‘Wish I Had An Angel’ finale sees Nightwish surfing on the crest of adulation, Emppu and Tuomas matching speedy notes.

Final bow and backstage. A few Coronas, some Jager and vodka, although the Sierra Nevada Pale Ales seem untouched (thanks, don’t mind if I do!). Only a couple of visitors backstage. Discussion briefly touches on some feedback in Anette’s in-ear monitor. “The boys have taught me to forget about (imperfections),” says the singer. “There’s nothing you can do about it AFTERWARDS, so why dwell on it? That’s something I’ve had to learn.” About this time, Marco realized that his wet stage gear will have to be packed up, pronto, as the crew leaves for the long drive to Denver right away, the band relaxing in Vegas for a day, then arriving by plane. Unfazed, he strips to his underwear, even though there are more women in the room. Jokes ensue. Emppu shares a bottle of wine with the bassist from opening act, Sonic Syndicate, someone seems to have “stolen” her allotment. After changing her clothes, Anette sits on the floor, like a little child, as she removes her stage make-up. Still dripping in sweat, Tuomas gathers his things, including a bottle of his own, primps in the floor-length mirror before heading off to his hotel room. It’s time to leave the band to their privacy.

To see some live photos from Vegas, click here.

VIP seating for most of the Fall dates are already sold-out. Don’t miss out when Nightwish returns!