So below I have to write a report about the ARIA concert dedicated to their 20th anniversary. I'll depart from usual practice and not write the band's history or the main milestones of their development — everyone knows them. Probably more than half the people in this country who listen to heavy music started with this band; I'm not counting the older generation who came to metal from BLACK SABBATH and DEEP PURPLE. Criticising or praising the band is pointless. Of course, one could point out right now that the riffs are primitive, the solos not particularly interesting, the lyrics mostly translations of Western bands' texts, and the band excessively pompous — and all of this would be perfectly true. At the same time, heading to the concert on October 8th, I felt a certain nostalgia — though almost all of it evaporated when I arrived at the Sportivnaya metro station.
What explains this is hard to say, but seeing the crowds of devoted ARIA fans, I experienced quite an unpleasant feeling. People of various ages, dressed differently, in various moods — but the 15–16-year-old teenagers stood out particularly, primarily through their active attention-seeking behaviour, which generally provoked indulgent smiles from everyone else. ARIA merchandise was visible on 80% of the people making their way there; already at the exit before the escalator several police officers stood guard, and there were even more outside. Joining the general flow I made my way toward the Luzhniki Sports Palace, where the concert was taking place. The walk was not short, but getting lost was impossible. Finally the Sports Palace gates — queues positioned in an extremely strange manner that seemed to lead nowhere in particular. Later small metal barriers became visible, where the same officers let people through one at a time — checking for tickets and the contents of particularly large bags. The next checkpoint was at the entrance to the sports palace itself, where the detachable stubs were torn from tickets. Then a few metres further on, checkpoint three: a metal detector frame. Finally came the ascent — to the actual stands, where yet another attendant stood checking that the sector number on the ticket matched.
Having made my way inside, I took my seat — the most remote from the stage that could possibly exist — roughly 80 metres away; the stage barely visible, though honestly I wasn't terribly upset about it. The stands were already about 70% full (the time was around seven; the concert was officially scheduled to begin at that hour). That cold air was blowing strongly through cracks in the walls I didn't realise immediately (I had carelessly removed my jacket, forgetting that Luzhniki is rather cold), but I worked it out fairly quickly. Where I was sitting didn't exactly pulse with fan energy — in the standing floor section, I imagine, it was boiling.
Now about the audience — again, our beloved crowd — what they were shouting: first place that day went to "Kipelov," second to "Aria," third to "Detsyl loh." Somewhere around half past seven — perhaps a little earlier — the lights in the hall went out while a light show began on stage, and soon five people appeared on it. No need to name them; Berkut sang "Happy Birthday," then invited Sergei Mavrin on stage. The individual in question immediately ran out, delivered a quantity of heartfelt (how sincere — that I don't know) words, called ARIA "band number one," and announced that he would be congratulating the band not alone but with his band MAVRIK. They performed three songs — "Khranitel," "Poka Bogi Spyat," and to close, "Mat' Rossiya." Not bad; the new vocalist is too young — the voice's lack of development is too audible — and it has nothing to do with age: we all know that Michael Kiske sang on the first part of Keeper... when he was only 18. But in this case the voice has not yet fully formed, though the potential is there and is quite good. No complaints about Mavrin himself — he played all his solos excellently. Personally, "Mat' Rossiya" ruined the moment for me simply by existing. As a great admirer of IRON MAIDEN, that song can only offend me — the brazen plagiarism of the great song "The Number Of The Beast" in the verse section has always distressed me.
After the MAVRIK set the next "invited" band was MASTER — no surprises there. Four songs were performed; the second was "S Kem Ty," originally an ARIA song from the band's eponymous second album; then "Kresty." The closing performance was one that genuinely pleased me: Granovsky and the other musicians played a song sharing the band's own name — a song written in the genre at which the band excels best. Sadly, in recent years the band has almost forgotten it can play very decent thrash.
And now the evening's main event: ARIA themselves. It all began with an Intro — consisting of a video sequence and an instrumental medley from band compositions: "Maniya Velichiya," "Torero," "Shtil" and "Poteryannyy Ray." The video sequence provoked the greatest animation when photos of Kipelov came up. The hall, incidentally, continued to chant his name throughout practically all of this time, while Arthur Berkut heard no cries in his own honour that day. The intro concludes; a brief fireworks display — and the band opens the concert with "Na Sluzhenii Sile Zla." Then "Volonter," followed by Berkut greeting the audience and announcing "And now… Kolizey." And indeed this composition from the band's latest album — inextricably linked with the film Gladiator — rings out. Shortly after came the next track from that album — this time the title track — "Kreshcheniye Ognyom." Before it began Berkut lit fires on the upper section of the stage with a torch, and the performance continued. For the next song he appeared in a hooded robe, which made it immediately obvious that "Palach" ("The Executioner") would be performed — and so it was.
A brief repositioning; Kholstinin, Udalov, Dubinin, and Berkut move to one side of the stage. Then, from the other side, Margarita Pushkina appears and congratulates the band — arguably the most ambiguous moment of the concert. After the congratulations she said the following: "Guys, I really do love all of you very much; thank you for putting up with me, with all my... I sometimes go to the side, to Kipelov's, for instance" — at which name the hall nearly erupted. The situation then became more awkward still, as Pushkina added that "Valery Aleksandrovich is not here today, unfortunately; he couldn't make it — he has a concert in Oryol; he listens to his management." Laughable and that's all. The exit was not graceful — just when the "Kipelov" chants had seemed to subside, they started all over again.
The band takes up a formation reminiscent of the EAGLES' "Hotel California" video — "Bespechnyy Angel" and "Oskolok Lda" are performed with acoustic accompaniment. Quite heartfelt, it must be said; it came out nicely — and at precisely that moment I could say with certainty to myself that Arthur Berkut's voice is in no way inferior to Kipelov's. The talk from many quarters that without Kipelov it isn't a real concert is unfounded.
M. Pokrovsky is invited on stage, where he plays the well-known "Maniya Velichiya" on synthesizer — a composition that for many years now has served as the traditional intro at the band's concerts.
While the acoustic section played, the upper part of the stage was closed off; now it opened again to general view, and everyone saw the orchestra. Even from a distance one could recognise that it was being conducted by the same clown who a few years ago performed a striptease at the NASHESTVIYE festival — Konstantin Krimets with his "Globalis" orchestra. His behaviour that day was essentially in the same vein: dressed as a king, he stood facing the hall, making circular motions with his arms while also dancing. My suspicion is that the first violin is actually doing the conducting; in another context the orchestra is left to its own devices — and they played not so badly, which would be unlikely under the latter scenario. "Antikkhrist" is performed in an instrumental version — the song is orchestrated excellently, with some added passages. "Shtil" and "Torero" were performed with orchestral accompaniment; during the latter, A. Granovsky joined the band. The orchestra departs; so do the musicians. Only Berkut remains, performing "Tam Vysoko" — to my considerable surprise — accompanying himself on keyboards.
"Proshchay Norfolk," followed by "Zombi" — at Berkut's prompting, "ZOMBI!" was chanted by all three stands of the Sports Palace in succession. Then "Noch' Koroche Dnya" and "Geroy Asfalta"; Mavrin is on stage again.
"Nebo Tebya Naydyot" begins, but literally after the first verse the riffs of "Angel'skaya Pyl'" ring out, which grows into "Krov' Za Krov'" — honestly, a questionable choice in my view: many people consider this the best song ARIA ever wrote; it's liked even by many who don't consider themselves fans. One verse was performed, the chorus, and the slow lyrical section that follows; then the medley wasn't finished — a fragment of "Obman" sounded, and the whole compilation ended with an excerpt from "Ballada O Drevnerusskom Voine."
The main portion is done; nearly two hours have elapsed since the concert began. After a brief interlude the band is back on stage. Berkut sings "Ulitsa Roz," and the concert concludes (this time definitively) with the entirely logical choice of "Volya I Razum," performed with Bolshakov and Mavrin.
The outro sounds — the ever-present "Maniya Velichiya."
Regardless of one's opinion of the band, the concert was excellent from every standpoint. Well planned, beautifully executed, virtually without mishap. This is about the spectacle. As for the musical side — Kholstinin clearly stumbled several times; Udalov's riffs also came out indistinct on more than one occasion. As for Arthur Berkut — no complaints whatsoever; he sang the entire concert brilliantly.
The orchestra was very much a good addition — provided you don't count the patient from Ward Six as a conductor. The setlist overall was very, very good — genuinely the best songs from 20 years. Throughout the entire concert camera operators roved and shot everything happening on stage, so a concert DVD release seems quite likely — which I'd recommend purchasing regardless of your opinion of ARIA, as the concert was excellent.
About the staging design I'll deliberately say nothing. Leo Khao is, as always, at the highest level.
In essence, that's everything I can say about this concert. My current attitude toward the band is rather cool; perhaps if I were a fan I'd have described the spectacle more emotionally and vividly.
**
Report by Alan
Special thanks for the accreditation provided.
**
Setlist:
Intro (Maniya Velichiya / Torero / Shtil / Poteryannyy Ray / Maniya Velichiya) + Video Na Sluzhbe Sily Zla Volonter Kolizey Raskachaem Etot Mir Kreshcheniye Ognyom Palach M. Pushkina's speech Bespechnyy Angel Oskolok Lda Maniya Velichiya on synthesizer (K. Pokrovsky) Antikkhrist (instrumental, performed by orchestra) Shtil Torero (with Granovsky) Tam Vysoko (vocals and keys) Proshchay Norfolk Zombi Noch' Koroche Dnya Geroy Asfalta (with Mavrin) MIX (Nebo Tebya Naydyot / Angel'skaya Pyl' / Krov' Za Krov' / Obman / Ballada O Drevnerusskom Voine)
Encore: Ulitsa Roz Volya I Razum (with Bolshakov and Mavrin) Outro (Maniya Velichiya)