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Long been a fan of both bands, although the enthusiasm has ebbed and flowed from release to release. However, just a week before Christmas, they stopped by the Electric Factory, in Philadelphia. In fact, day of show, with just a few dates left on the current tour, In Flames announced they'd be back to North America (including a hefty amount of Canadian dates) early in 2015.

With a sea of blue strobes welcoming them to the stage, In Flames offered a kaleidoscope colored light show and plenty of headbanging, especially from the trio of original members up front: guitarist Bjorn Gelotte, bassist Peter Iwers and singer Anders Friden, who again wore (local brewery swag) Yards t-shirt. A red lit "Trigger" was up early in the 75 minute set. Beforehand, the frontman chastised some in the crowd. Picking out someone near the barricade, he said, "You're almost in the front row. Every night there's someone like you, looking at a (mobile phone) screen. You paid to be here. Every once in a while, I hope you look at the stage." Then he joked, "It's not every night you have a Swedish body to look at," before returning his attention to the inattentive, the fan still filming. "Some people just don't get it. You can watch it on crappy crappy video tomorrow."

Both Bjorn and Anders were surprised to see yours truly in the photo pit, prompting the singer to say (into his mic), "Oh my! Holy Hell." Hunched over, one foot atop the monitor wedge, Friden spasmed in hurky-jerky motions to "Cloud Connected". Gelotte, gray creeping into his beard, spotlighted under white, the rolled up sleeves were clearly visible. Later, the singer told the audience, "Thank you for coming and paying attention to what we do." Cue "Only For The Weak", with its simple staccato riff. Afterwards, Anders offered his advice, "Never trust a man without a beard," recognizing that they'd all "embraced facial hair." Orange shown across the stage, fittingly, for "Rusted Nail", followed by "The Quiet Place". A pulsating, green lit "Take This Life" closed the evening triumphantly, Friden thumping hand to heart, showing his appreciation.

Black, head-to-toe, a sunburst design belt buckle around his waist, shoulder length hair and mustached Opeth main man/guitarist/vocalist Mikael Akerfeldt looked like a 70s porn star. Onstage, there was little movement and plenty of colored lights. While airing nothing off Orchid nor Morningrise, there were hallmark moments of acoustic guitar and dual vocals, similar to bands like Bread or America. In many respects such twin voiced minimalism would be best suited to a smokey jazz club (which I believe Akerfeldt would be TOTALLY at home with), the thunderous reprise transcending the genre. "Not much to offer, just five middle age guys playing rock" is how he characterized his band, now with full-time keyboardist visible onstage. Teal lit, the pre-recorded acoustic intro to the crescendo building, spoken word ballad "Cusp Of Eternity" sounds like U2, via Sweden. Nice to hear "The Moor", off Still Life, (complete with gruff vocals) still my favorite, after the initial pair. Seems Akerfeldt was chuffed too, visibly showing emotion when he announced the album title. Much of the understated, humorous banter between songs is missing, then again, they only offered seven songs, although classics like "The Drapery Falls", "Windowpane" and a set closing "Deliverance".   

Death metal's loss is progressive metal's gain.