Saturday saw Delain bring their Dark Waters (Part 2) tour into Wolverhampton. The stop at KK’s Steel Mill was just the second stop on the Dutch Symphonic Rockers’ current UK trek. Supported by local heroes Stone Broken and the solo acoustic Damian Wilson (more on both to follow), the diverse crowd were treated to a thoroughly entertaining and hugely enjoyable evening.
Delain
KK’s Steel Mill, Wolverhampton – 16 November 2024
Words: Sophie James
Photography: Jason Samuels
This was my first opportunity to catch new vocalist Diana Leah and the whole revitalised Delain line-up, who were a joy to behold. Much of what was on offer this evening has recently been captured on Dance With The Devil, the extended EP which was released just over a week ago (please see review, here).
As the lights dimmed, the atmospheric processional intro led into the majestic harmonies of The Cold. Diana gained an enthusiastic reception as she made her entrance after her bandmates.
Suckerpunch perfectly characterised what was in store for the remainder of the performance with its intricate orchestral arrangements allied to the compressing rhythms. Given the locality, one may have expected an enthusiastic but less than euphoric reception, but make no mistake, this was very much their crowd. 
The third number in saw the appearance of the first new song in The Reaping, whose swirling keys combine with penetrating guitars to brew a sonic vortex. As I said in the aforementioned review, of all their recent material, this probably steers closest to the style of Martijn’s former band Within Temptation, and this evening’s rendition reinforces my belief.
The ascending melodies of Burning Bridges were gloriously underpinned by trademark rhythms, while the harsh growls provided an utter contrast.
The unmistakable prelude of what is unquestionably their most streamed number, April Rain, was met with a huge cheer. As it gathered momentum, the propelling bass line reinforced the delicate, almost whimsical melody.
“Do you want me? Do you want me?”
I have never picked up on it before, but the ‘Bondish’ refrain simmering beneath Army Of Dolls was most distinct.
I have noticed that this trait increasingly permeates throughout the genre. But why wouldn’t it when some of the world’s best contemporary composers have scored those unforgettable themes?
Listening to the studio version since, how did I miss it all these years? Even with its attack, paradoxically, the arrangement appeared most orchestral without veering too symphonic, if that makes sense?
The Quest And The Curse was an archetypal example of how delicate vocals can be allied with growls and, infectious rhythms and symphonic orchestration. Diana executed the soprano passage so impeccably that moments like these elevate live performances into something approaching the spiritual.
“I once had an understanding that everything would go my way.” The lullaby-ish, musical box melody intro of Here Come The Vultures is at odds with the lyrical sense of disillusionment and rejection of societal expectations and the slower brooding mass of the arrangement.
“I’m no Jesus Christ, I’m the one mistake that you love to hate.”
Get The Devil Out Of Me is one of the many irresistible, driving arrows of Delain’s musical arsenal. As they say, the joint was now bouncing.
To devoted fans, Queen Of Shadow’s overture is instantly recognisable as the melody goes on to permeate your senses. Full credit to guitarist Ronald for reproducing Paolo Ribaldini’s vocal parts so adeptly.
When Diana was caught in a barrage of strobes while centred on the rear drums and keyboard riser, it made for a visual highlight of the show. 
Speaking of male singers, Damian Wilson reappears to perform, and dare I say surpass, the vocal parts of Marco Hietela on the staccato cadenced Your Body Is A Battleground, which is no mean feat. What a true powerhouse of a vocalist.
Surprisingly, The Gathering was the sole inclusion from their 2006 Debut, especially when one considers a re-recorded Sleepwalkers Dream appeared on the new EP. However, given its meaning, why not celebrate with those who have congregated to worship in this electric church?
The lesser-known Don’t Let Go leads into the frantic, commercially edged, air-punching but utterly rapturous Moth To A Flame.
As with The Reaping, Dance With The Devil was performed live for only the second time after its debut in Glasgow the previous evening.
“Yesterday, we fucked up,” admitted Ronald. No such worries this evening, as it was met with the equivalent warmth as the rest of their accomplished songbook.
This is a classic example of the continual refinement of their compositional skills, condensing all their signature ingredients into a contagious sub-four-minute banger.
With no encore (I wish more artists would do this), the angelic vocals of Not Enough led into the essential anthem to the ‘alternative’ community that is We Are The Others. This commemoration of that senseless, barbaric attack on an innocent resonates just as powerfully today and serves as an unfollowable finale.
In summary, it was a slick, accomplished performance from the whole band, whereby the seductive melodies within each song brought them all to life with such vivacity. Far too many highlights to select just one.
While Diana’s voice was moderately low in an otherwise faultless mix, one had to focus to fully appreciate the precision and uniformity of her pitch throughout.
Steering closer to Battle Beast than Nightwish, on present form, Delain have taken control of the centre ground of Symphonic Metal.
