There’s no shortage of spectacle on a Saturday night, but when Yngwie Malmsteen rolls back into town, it brings a certain sense of occasion – this time, a return to Wolverhampton on his 40th anniversary world tour
Less than two years after his last appearance at KK’s Steel Mill, the Swedish guitar legend returns for one of only three English shows this summer. The milestone brings with it a promise of a career-spanning set, and while the format may be familiar, there’s a renewed sense of purpose. Yngwie is touring the world again to celebrate four decades of his music with fans who’ve been there since the beginning – and those just discovering it.
Just before the band takes the stage, there’s an oddly compelling couple of minutes as Malmsteen’s guitar tech rushes to swap his boss’s mic stand with that of the bass player. The stands appear identical, but there’s a frantic reshuffling of mics, clips, cables, and picks – all under growing pressure as the lights begin to drop. There’s probably a perfectly good reason for the last-minute panic, but it’s a baffling watch.
The show begins with ‘Rising Force’, before plunging into ‘Top Down, Foot Down’ and ‘No Rest for the Wicked’ – fast, aggressive, and laced with the kind of fretboard intricacy only Malmsteen can deliver. This gives way to his vocally led ‘Soldier’ – a dramatic shift in tone but no less intense – before the likes of ‘Into Valhalla’, and ‘Baroque & Roll’ pull the crowd further under the spell of his endlessly expressive, virtuosic playing.
It’s not too long before the maestro takes a short break to change his “jet-lagged” signature Strat for another. He addresses the crowd to note that it’s now 41 years since the beginning of his solo career, reflecting on his move from Sweden to America, where he played in just two bands – a nod to Steeler and, more infamously, Alcatrazz, from which he was fired – before striking out on his own.
A wall of Marshalls tower across the back of the stage, looking undeniably impressive even if their necessity is questionable. Early on, technical issues threaten to derail the set – keyboardist Nick Marino is visibly frustrated as his rig drops out, while piercing feedback from Malmsteen’s setup prompts frantic crew activity. A well-timed “Spinal Tap!” heckle from the floor draws laughter, just before the issues are resolved – and from there, the band hits their stride.
Musically, there’s plenty to latch onto from the planned 26-track setlist – though technical delays seem to shave off a couple of songs. ‘Wolves at the Door’ and ‘Toccata’ stand strong beside the likes of ‘Fire & Ice’ and ‘Seventh Sign’, along with the classical detours into Bach and Paganini. With red and yellow light washing over thick clouds of stage smoke, for a surreal glow – Malmsteen plays with command, showboating through guitar spins and lifts, conducting his own fretwork, and flicking picks.
Vocal duties are shared with the impressive Marino, and while it broadly works, a common opinion is that a dedicated frontman would bring a welcome clarity. That said, Marino’s contributions can’t be overlooked – not only taking on vocals, but delivering sharp, melodic keyboard counterpoints throughout. His duel with the main man during ‘Smoke on the Water’ certainly adds character to a well-worn cover.
The ’80s hair-metal blast ‘You Don’t Remember, I’ll Never Forget’ slams the door on the main set, with an encore of the elegant ‘Black Star’ proving the man can deliver beauty as well as blitzkrieg. It’s a fitting close to a set that, for all its familiar structure, still lands with weight and intent. There’s no reinvention here – nor is there meant to be. This tour is about legacy, and Malmsteen stamps it firmly on his own terms: loud and unrelenting.
Review & Photography: Steve Johnston
