In North America, this concert film was shown in theaters, just two days: before and on Halloween. Like Ghost (who also issued a movie, then packaged it for home viewing), this cinematic release seems destined for the DVD market, the only question being whether they can have it ready for Christmas gift giving this year (Europe got a glimpse of the lavishly lensed spectacle a few weeks early, albeit a similarly limited engagement).

Like any such project, this will not replace the live experience: the racing heartbeat, standing amongst a moving, sweating/singing crowd (physical limitations aside, if you're seated during Sabaton, you're doing it wrong!), the heat from the pyro (when available), the amplified music pounding off your chest, etc. What the movie does allow, is a small glimpse of the band/members, who most will never get a chance to talk to, in-person, and offers (especially) American audiences (who, thus far, have been denied the use of pyrotechnics) a look at the full Sabaton production. 

Man, what a fiery display and I've witnessed it overseas, both briefly, in the photo pit and for the duration of a set, in the backstage wings, at Summer Breeze. Either way, impressive. That said, this is by no means a definitive Sabaton concert. Touring in support of the War To End All Wars album (their second edition of WWI history), there are songs that invariably will not be on future shows, along with visual accompaniment (actors/props) that flesh out the story.

Initially, it's just a regular Sabaton gig, kicking off with "Ghost Division", which remains one of the best/most rousing openers in music. Actually, before the show starts, there's a few seconds with each band member, talking about the pre-show vibe. Once onstage, there's no interruptions for dialogue/commentary, but mirror sunglasses and Mohawked frontman Joakim Brodén is his usual loquacious self. Even co-founder/bushy bearded bassist Pär Sundström gets misty eyed (more on that later). Not sure how many cameras were used (plus indoor drones), but you can practically see every pore, close-up and drummer Hannes van Dahl comes off particularly well.

One thing that doesn't translate is the recurrent Dutch chant/jibe to take one's pants off and put them on your head. Fans know of the German "Noch ein bier" chant from numerous live recordings, but the origins of this strange request date back to Brodén's behavior at a Tillburg (Netherlands) show, in 2015. Doesn't stop the crowd from asking for a repeat performance, not only from the singer, but drummer and bassist, as well. None oblige. Prior to "Into The Fire" the vocalist talks about some fans wanting older songs and/or faster songs (count me in, on both counts), hence the inclusion of said speedster that night. With the WWI cycle apparently now complete, would love to see something like that return to the set, more permanently (especially in North America). We'll see. 

A Swedish language "Carolus Rex" (complete in blue/yellow military overcoats) is something most are unlikely to see/hear, domestically and "Winged Hussars" is another "deep cut". So after a half dozen non-WWI tunes, the focus shifts to the album of the moment, using the female voiceover that introduces (and periodically narrates throughout) the record. Almost delivered sequentially, there are a few change-ups/additions/deletions, most notably, the inclusion of the partially a cappella "1916" (Motorhead cover). Like much of the album, the music and tone are (understandably justified) slower/somber. Doesn't make for the liveliest concert, so Sabaton dress it up (literally), with the aforementioned actors/props. 

With guest keyboardist on a red painted, tri-Fokker set-up (and a few notes from former-synth player-turned singer Brodén'), the bouncy "Red Baron" is a highlight. Can't say the same for "Soldier Of Heaven", "Father" (an odd choice, about the scientist that created chemical warfare. OK, it was a single at the time, but is already passed its sell-by date) and on-stage piano led "Christmas Truce", none of which afford great spectacle. Well, the ballad about the temporary cessation of hostilities, to exchange Xmas pleasantries, between the warring sides, is special (this night) for other reasons. Alone onstage (the others watching backstage, as we're allowed to eavesdrop), Sundström relates how, 20 years earlier, no one in Holland would book Sabaton. 

Eventually they found one club to play, but it had a sound governor, that the simple rasp of the snare drum would cut all power to the building. Somehow they played, to just 15 people and he recounts this in front of 15,000 or more folks, in a sold out Ziggo Dome arena. When he asks them all to illuminate their cellphones, in an otherwise dark hall, it's as much for the star sprinkled visual as to hide the tears welling up in his eyes. 

His smile says it all. Must have been a grand, life affirming moment! As elsewhere, true emotions (and goofy in-band camaraderie) are evident through the film. The only exception being guitarist Tommy Johansson, who since filming has departed the band. In retrospect some of his comments ring hollow.

Following the Christmas carol (where Sabaton makes it "snow" indoors, for the second time tonight), it's back to an un-themed assortment of material, beginning with lively (both band and crowd pogoing in place) "Primo Victoria". Not sure how Christina Aguilera and the late Tina Turner would take to being mockingly name-checked as members of Sabaton during the call & response crowd competition, for "Swedish Pagans", but as I said, that's just some of the corny band banter that they (and most fans) enjoy. They like to have fun and don't take themselves too seriously, despite being one of the biggest metal bands on the planet. The night ends with heartfelt good wishes and "To Hell And Back"

Glad I saw it, to sort of bring closure to a historical/story arc that started before the pandemic. Like those harrowing days, not sure how often (if ever), I'll be interested in revisiting, but now it's time to move on!