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Road warriors, Sabaton are constantly on the move, conquering new territory. While they easily could headline their own domestic tour, the last couple of times out they opted to play the underdog, opening for Amon Amarth and now Nightwish. Both have a bit of musical overlap with the Swedes and more importantly, a strong sense of having fun onstage that's sure to steal them a few new fans in each city. There are a few guarantees when the matching camouflaged troop charges onstage: plenty of energy, as all the performers repeatedly navigate the stage (however small), Mohawk frontman Joakim Brodén will be sporting mirror sunglasses and a perpetual Cheshire grin as he entertains the crowd with self-deprecating humor. Hair flailing, bearded founder/bassist Pär Sundström serves as cheerleader, kicking the air as he lifts the four-string overhead. He's often perched, on foot atop the wedge monitors and adds backing vocals, yet keeps a watchful eye on the performance (for later self-critique). The audience will be called on to participate, singing along (which is almost instinctive, with such infectious melodies), jump and even vote on which song comes next in the set. What's not to love? Apparently Iron Maiden does, having handpicked the band to open in the US and Europe, each of the last three years!

Behind a backdrop of the album artwork, the band took the stage to "Ghost Division", which is still, in my opinion, the greatest opener in metal history, although tonight the recorded keyboards were screaming atop the live band. In addition to his affable personality, a sleeveless Brodén was outfitted in steel plated flak jacket, flipping the wireless mic as he runs from side-to-side, pumping his fist and striking as many poses as a 'roid raging bodybuilder, who trailed in a tournament's pose down round. Only the smile gives him away! First-timers might not realize the lyrics are historically accurate, odes to military conflicts/personalities, often surrounding (but not limited to) World War II, witness the syncopated "To Hell And Back".

Between songs, there's a 'Sabaton' chant. "Carolus Rex" sees the Par hoist the bass vertically, poised atop his knee. When Brodén honestly assesses the evening, offering his appraisal that "tonight is better than New York, even though there's a thousand less people," Philly responds with an impromptu "Fuck New York" chant. Instead of "40:1" we're treated to a fog lit, orange colored "Solider Of 3 Armies", with the audience clapping overhead. Afterwards, the singer engages in a bit of comedy, offering to play guitar: a few chords of the rudimentary "Smoke On The Water", before a triple guitar rendition of "Resist And Bite", clapping along as there's four musicians affront the stage. With vertical bass balanced on his knee, Sundström begins the 4/4 old school "Swedish Pagans", which I', willing to bet most in town are unfamiliar with, as it's not from the last two studio efforts. Regardless, the 'whoa whoa' chorus quickly wins a new crowd.

White spots, with red backing, greets "Uprising", which I don't believe they've played on these shores, as yet. That said, it was amazing to hear the proto-thrash of "Night Witches", everyone with a foot up on the monitor wedges., the two guitarists eventually squaring off, trading licks center stage. asked if they will sing/jump along, "Primo Victoria" meets with no resistance. Spotting a young girl in the crowd, Joakim asks 10 year old Madison to join the band for "Metal Crue", the ear protected child rocking out, side of the stage, until they call her over (much to the crowd's delight, even chanting her name). When more "focused", Brodén pinches the nipples of of guitarist Chris Rörland. All in all, they were two minutes over their allotted time. Not bad for swapping one song and adding another, over the night before.

The future of metal is camouflaged!