Images and words by Mark Gromen

By far the largest indoor venue I've had the pleasure of seeing the Finns occupy. Much bigger than any North American club stage, yet the Dusseldorf's ISS Dome (hockey arena) is still dwarfed by their Wacken performances. However, it's not even the largest stop on this tour. That distinction was reserved for the 16,000 seater in Hamburg. The ISS Dome is the same venue DORO headlined for her 25th anniversary show, so going in, it was known pyrotechnics were not only legal, but expected. Man, they didn't disappoint!

Gone are the cyber-Borg adornments attached to Annete Olzon's temple at the Universal Studios show, back in January. Instead she sported a makeshift splint on her right (microphone holding) hand, courtesy of Dr. Ewo. While she hadn't undergone any real medical attention, there was concern she may have broken a finger or two in Copenhagen, a few nights before, accidentally smashing her hand onstage, but the shows must go on.

Guitarist Emppu Vuorinen was perched behind the monitors, getting one last cigarette as the lights dimmed. The band was shielded by a translucent white wall of shredded linens (looked like someone had “toilet papered” the stage). Some appeared to have once been embroidered tablecloths, now reduced to rags. Fog covers the stage, as Marco Hietala sits in a rocking chair, reciting the Finnish language 'Taikatalvi' that also opens the Imaginaerum album. As the music tempo increases, he overturns the chair, throwing it out of his way and takes hold of his bass. The music to 'Storytime' begins, the band all at their proper posts, yet the curtain remains intact for a few bars, obscuring the band from their fans just a little longer. Then it drops to the floor, revealing NIGHTWISH with a thunderous applause and plumes of fire. Mainman Tuomas Holopainen is situated behind a bunker of halved old school organ pipes.

Olzon appears, in black halter topped skirt that has a sheer, dress length covering, except in the front. Overhead, on a giant video board that spans the width of the stage, circus/carousel lights are flashing. From the photo pit, the effect didn't impress, but when reprised (as I was in my industry seats, up in the second tier), it was more three dimensional and quite a striking visual. Throughout the night, various still and rudimentary animated images were broadcast to the crowd. 'Wish I Had An Angel' keeps the crowd pumped, as does the purple lit stage for the flame thrower accompanied 'Amaranth'. Two big early surprises.

Following 'Scaretale', maybe Olzon's best vocal performance on the new disc, things take a sudden turn, as the band takes a seat, literally, Hietala introducing 'Slow, Love, Slow' by talking about pleasurable things, including sex, “There are so many of you at least your parents knew about sex. Whatever you do, do it slow.” With that, they kick into the sultry, jazz piano lounge inspired number, guitarist Vuorinen able to take the first part of the song off.

For the raucous, and over too quickly, 'I Want My Tears Back', the feather-in-her-fedora attired Olzon speaks French, requesting of the guitarist, “Monseur Vuorinen, sil vous plait.” Piper Troy Donockley is seated on Vuorinen's side of the stage, which gives the diminutive blond stringbender a chance to visit/interact with Hietala and Holopainen. The aqua lighting interchanges with orange and the stage is bombarded with flames and pressurized streams of pink colored fire zig-zag across the stage, diagonally! In white spotlight on an otherwise lavender stage, Vuorinen gets to kick off the new/alternate version of 'Come Cover Me', slowed down and less metal than when it was recorded for Wishmaster. A pair of disembodied angels wings hang overhead.

With 'The Crow, The Owl & The Dove', Donockley adds a third voice to Anette and Marco, while onscreen, a pair of eyes, ringing bells and compass/clock faces parade by. At its conclusion, the stage goes black, only the sounds of the sea can be heard, then a lighthouse becomes visible, as Hietala requests cell phone screens and lighters to add to the atmosphere of 'The Islander'. Apart from Tuomas, all are seated once again, although Olzon is really just leaning on the drum riser. Jukka Nevalainen comes from behind his kit, to do some hand drumming, or as Marco says, “He's got some letters from the tax man that he's going to beat.” The final verse of the Hietala sung ballad turns into a clap-along, most of the near capacity venue, a majority of whom appear to be female, join in. They stay seated for another reworked oldie, one of their biggest hits, the now acoustic 'Nemo', which ends with a light rain of confetti, glistening in the follow-spots like a gentle snowfall.

The entire band leaves the stage, as Donockley's haunting solo introduces 'Call Of The Wilds', with the audience almost simultaneously clapping in time. This strikes a note in the German people, as their folk music tradition (never mind rock/metal) embraces similar catchy, participatory melodies. As the instrumental continues, images of the Scottish Highlands are shone above the boys, Olzon getting a rest on this one. Speaking of taking a break, Tuomas gets a few gulps from his omnipresent wine bottle, concealed in his monstrous keyboard fortress. Despite its vocal-less nature, it's one of the more headbanging tunes in the middle part of the set, judging by the dandruff flying around me (not really. Flailing hair, yes, white flakes, no).

'Planet Hell' sees a return of the shooting lava, ultimately ending with more fog and fire plumes. Blue/aqua lights greet 'Here we go, here we go down', as meshing gears are visible onscreen, then a sort of Star Wars inspired point of view flyby between buildings. The aforementioned amusement park lights return for 'Dead To The World' and then Olzon announces the final song of the proper set. Meanwhile, Holopainen, now in sleeveless black t-shirt, drops to his knees, hidden from all but the upper deck's view, as he polishes off that bottle of vino. When 'Over The Hills & Far Away' begins, an Imaginaerum marquee styled banner flashes across the screen. It's been 85 minutes, to this point.

As the others leave the stage, Hietala reminds the crowd they are in control of what comes next (meaning no screams, no encore, or at least it's implied). Fear not, the shouts are deafening and the low moan of keyboard, courtesy of NIGHTWISH mastermind Holopainen, is broken by the piercing lilt of Donockley's pipes, as fog cascades across the otherwise unoccupied stage. This time, it's an all blue Imaginaerum moniker during 'the same old dead boys song'. Highly orchestrated, the adaptation of native son composer Jean Sibelius' 'Finlandia' sees a red visage of a woman intercut with multiple skulls and flashes of flame. A feast for the eyes, a component where a one guitar, keyboard grounded outfit needed some improvement. Don't blame Holopainen, as the keyboardist headbangs wildly, practically bent into an L, as he moves in time with his music.

'Song Of Myself' has quickly garnered encore status, deservedly. Speaking of apropos 'Last Ride Of The Day' is not only the final song of the evening, but accompanied by those circus/amusement park/carousel lights onscreen. Confetti cannons at the front of the stage launch a torrent of shredded paper that KISS would be proud to call their own. And while I had to wonder aloud about the wisdom in following the final paper shards with an indoor firework display and more excreted fireballs, it made for a show-stopper finale. World class, in execution and staging. Maybe one day North Americans will be able to experience the full-scale spectacle.

More photos from the Dusseldorf show can be seen here.