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Having witnessed stadium headlining shows in Germany, Finland and major venues in China and England, here in North America, it's been slow, gradual progress. When I first jumped aboard the tour bus, during the era Tarja Turunen fronted the band, the Finns were playing small clubs and, in big cities, the occasional theater. During a southwest US jaunt with Anette Olzon, the usual metal haunts were still the name of the game, supplemented by high profile gigs in LA, NYC and Disney. Now in support of Endless Forms Most Beautiful, the first album written with Floor Jansen in mind, Nightwish are bona fide stars on these shores, regularly selling out 3000+ capacity rooms: the last stop before reaching the acclaim they've enjoyed overseas for more than a decade. Amazingly the people onstage/behind the scenes retain the same (often silly) sensibilities they've always had, which is no easy feat in the circus that is the music biz.

Contrary to their touring partners, who seem to live ad hoc, flying by the seat of their pants, Nightwish make glorious plans. This is akin to a Broadway performance, showcasing seven tracks from the new album, complete with backdrop/set changes. As the house lights dim and intro music begins, the crowd voices rise as one. What's atypical (but welcome), for a metal show, is the number of youngsters and females in attendance, the shrill squeals rising above the prerecorded din. Opening with the track that kicks off the new album, "Shudder Before The Beautiful" gives everyone a brief, introductory spotlight, especially black leather jacketed founder/composer Tuomas Holopainen and black button down attired Emppu Vuorinen, who trade keyboard and guitar licks, respectively. There are humanoid mounds (of clay?) that serve as mic stands and a low rise keyboard support that makes the mainman more visible than previous tours. Sounding like it could be a leftover from the Wishmaster sessions, follow-up "Yours Is An Empty Hope", makes better use of bassist Marco Hietala's vocals.

Already towering over her bandmates, Floor is a striking vision, an electrical fan blowing her hair throughout. No costume changes tonight, as she remained in a shoulder baring corset. During "Amaranthe" she claws in the diminutive guitarist's direction, as it's clear (even without the green/purple lighting) that the band is having fun. Prior to "She Is My Sin", Marco introduces new drummer Kai Hahto, as the stage turns a blinding shade of purple. Following the title track, it's the first appearance of piper Troy Donockley. Under the pink/purple hues, Hietala unveils his double neck bass, utilizing the lower fretboard for an appropriately blue tinted "The Islander". A seat is produced as a chant of "Marco" goes up. Always the comedian, he responds, "If this is the reaction I get from sitting down, I should do it more often." Alone onstage, the crowd claps/sings along. This seems spotlit moment seems a payback for his otherwise subjugated vocal role.

Under white lights, with purple highlights, "Elan", with it's "Come taste the wine" lyric dear to Holopainen's heart (a bottle stashed beneath his keyboard), comes next, as Tuomas loses the leather. The voiceover from the new disc heralds "Weak Fantasy", with a drum/keys flourish and flashing strobes. A string of three tunes for the more recent Nightwish converts came next, beginning with "Storytime". Head down, hair draped over the keyboarist's face, he occasionally lurches upward, revealing his visage to countless admirers. Lit in blue, midway through Emppu and Marco fist bump, before returning to opposite sides of the stage, ultimately concluding with Jansen center stage, arms outstretched. The guitarist poses, with foot atop the monitor, for "Nemo", which is predominately sung by the audience. Red lights shone into the crowd's face as Troy begins "I Want My Tears Back".

For such an integral part of the band, it's shocking how isolated, onstage, Toumas remains, only occasionally visited by Emppu, otherwise fortified by his banks of keys. Newbies satiated, it's time for a little old school Nightwish, dropping a pair off their '98 Oceanborn album, starting with a lively "Stargazers". Floor acknowledged, "Its not been played in ten years. OK, we played it yesterday, in New York," cue a flurry of lights. A somewhat comical scene, Emmpu high-fiving (accent on the word high) Floor, after she nails the performance. A stand-alone single that was absent from the original Finnish CD, but added to subsequent global re-issues, "Sleeping Sun", was inspired by a solar eclipse, which dovetails nicely with the current/ science-themed material. The Amazonian singer is highlighted against a blue backdrop. Purple and pink are the choice for the reprise, which sees Donockley alone, leading into another voiceover, as the stage bursts into a fit of colors for an abbreviated rendition of the 24 minute "The Greatest Show On Earth".

For the encore, blue lights are pointed towards the crowd, as Tuomas is alone and prerecorded rhythms announce the return of the remaining cast, for "Ghost Love Score" and then, fittingly, the "Last Ride Of The Day" finale and group bow.

Perhaps it's the newness of the tour, or finally coming to grips with success, but unlike past encounters, both Tuomas and especially the often reclusive Emppu were visible backstage, at the after party, warmly meeting and talking to the guests. Smile boys, you deserve it! Hope to see you again, on your return engagement, this Fall.