Epica Delivers Symphonic Power at The Masquerade Atlanta, May 8th

The veteran Dutch Symphonic band Epica has been around a hot minute now, so long that they are approaching their 25-year anniversary soon. It’s hard to believe some of these bands that I was deeply immersed in as a young adult fresh out of high school are still producing music consistently. This veteran rock and metal publication has covered the band live numerous times over the years, most recently in New York City when they were on tour with Sabaton. They’re always exceptional live with their masterful blend of choir and orchestral integration. Their collaborations and duets with other renowned vocalists in the genre are consistently impressive, as are their visual productions.

I anticipate what you’re thinking… “But we didn’t get any of that in Atlanta at the Masquerade.” You’re correct; in fact, the bass player Rob van der Loo for Epica was absent. I won’t speculate on the circumstances as I have no information about it, nor do I recall any announcements on social media regarding this matter. Perhaps it was related to the challenging logistics of these extremely brief tour dates—only 3 cities were announced: NYC, Atlanta, and LA—before the band journeyed to Mexico for approximately 9 performances, I believe. We’ll address their performance without the bass player later in this review.

Regarding our journey there, since I began photographing concerts professionally, I have been making a concerted effort to cover more international bands that rarely tour in the United States. You may recall I covered Powerwolf last year in Atlanta at this same venue—completely sold out. The show coincided with Prog Power week, attracting that dedicated audience, and what a phenomenal performance they delivered. This is not an easy commute; it’s a solid 3 to 3.5-hour drive from my residence to Atlanta, which isn’t a city I typically favor for concerts unless the event is particularly noteworthy. This qualified as such. Navigating Atlanta’s rush hour traffic is arduous, and the return journey equally challenging, but I digress.

Despite the congested traffic, we still arrived thirty minutes before doors opened. Fortunately, our press credentials were properly arranged without complications. We waited for the opening act Seven Kingdoms, who interestingly also performed without a bass player, though I don’t believe this significantly affected their sound. To my knowledge, they may have never had a permanent bass player. I must acknowledge their guitarist Camden Cruz, one of the band’s founding members. He’s not merely a musician—the gentleman owns a touring company, CCE, responsible for coordinating numerous major tours and providing services for international bands touring the United States. He’s remarkably industrious, while simultaneously delivering impressive guitar work and captivating stage presence.

The entire band exhibited extraordinary energy from the beginning of their set. Camden’s wife, Sabrina Cruz, serves as their lead vocalist, and she was truly exceptional with her vocal prowess and range. On a lighter note, can we appreciate a professional vocalist performing in burger-themed footwear during a concert? It was amusingly unconventional and refreshing. The band’s performance was impeccably tight; honestly, they deserve greater recognition than they currently receive. They’re steadily gaining prominence, and rightfully so, as their live performances are genuinely outstanding.

Epica’s crew prepared the stage for the Dutch Symphonic titans to ascend the elevated platform in Atlanta. The band erupted with intensity, opening with “Fight to Survive” and “Menace of Vanity.” As previously mentioned, Rob van der Loo was absent. The circumstances remain unclear—perhaps logistical, perhaps personal—I genuinely don’t have that information. For longtime enthusiasts who have witnessed multiple performances throughout the years, you might detect elements missing without the bass player present, and if you’re among those reading this review, I respect your perspective. Personally, I wasn’t overly concerned about the absence of bass; this is a common occurrence in live music. Bands performing without bass players frequently compensate by tuning guitars to lower registers, utilizing specialized effects pedals, incorporating additional keyboard elements, or enhancing their percussion to fill the sonic space typically occupied by bass frequencies.

I particularly appreciated Simone’s vocal performance in “T.I.M.E.,” and continually admire the melodious undertones that complement the band’s heavier elements when Mark Jansen introduces his more formidable vocal style. The contrast between growling vocals and Simone’s operatic delivery has been a distinctive characteristic of the band’s signature sound for years, and it remains impressive—perhaps even more compelling in a live setting than in studio recordings. My personal favorite from their latest album Aspiral is “Arcana,” which translated exceptionally well to the live environment. The rhythm is remarkably robust, even without bass accompaniment. The orchestral arrangements are meticulously crafted, and the chorus is simultaneously powerful and climactic. It was particularly nostalgic to experience “Design Your Universe,” a record that evokes significant memories from its 2009 release. Prior to that selection, they performed “Cry For The Moon” and “Aspiral.”

Regrettably, we departed before the encore, consequently missing the final three selections… I would have particularly appreciated experiencing “Beyond the Matrix” live, but the extensive return journey was a significant consideration. Additionally, inclement weather was developing north of our location, prompting our early departure to avoid hazardous conditions. In all honesty, despite the traffic challenges, the lengthy drive, and the Thursday evening scheduling, the experience was worthwhile, primarily because these European ensembles rarely perform in the United States and when they do like many European counterparts – it’s limited dates. We frequently emphasize this point, which was a fundamental motivation for expanding our coverage to international venues—to highlight bands that seldom tour North America. To this day, this publication has endeavored to document international acts and provide our transatlantic audience with coverage of potentially unfamiliar artists, whether through festival reporting, album critiques, or artist interviews. We remain committed to this mission.

In conclusion, I must acknowledge the remarkable parallels between one of my all-time favorite bands, Kamelot, and Epica. It’s noteworthy that the relationship between these groups is particularly significant, as Epica actually derived their name from Kamelot’s album of the same title. Simone is, of course, married to Oliver Palotai, the keyboardist for Kamelot. The musical aesthetic between both ensembles shares certain similarities. While this genre may be considered specialized, one cannot deny personal preferences, and Epica has consistently maintained exceptional quality throughout their discography. Experiencing their performance live for the first time justified the extended day of travel. Best wishes to the band for their remaining tour dates!