Manchester is no stranger to the experimental, the unconventional, nor the bizarre, and so it seems only fitting that it played host to stalwarts of the progressive metal genre, Sikth, playing their seminal album Death of a Dead Day in its entirety.

Opening the night’s line up was Damnation Festival alumni Ted Maul, who – despite having the arduous task of being first on – leapt into a rather energetic set of what can only be described as deathcore, heavy on the -core. Despite being largely inactive for about two decades, the band seem to have returned from their long years of hibernation invigorated and eager. Unfortunately, vocalist Solomon J Lucifer Christ was plagued by microphone problems throughout the set, that frequently cut through the mix with heavy interference, but he soldiered on, making up for it with twenty years of brooding making themselves known. Unfortunately, Ted Maul’s brand of nu metal tinged deathcore and harcore failed to truly energise the crowd, but they put in a commendable effort considering their long absence.

Heriot have been making waves of late. After a decade of steady festival appearances, their 2024 debut with Century Media Records put them securely on the map. While it could be argued that they offer little new to the metalcore genre, if there is one thing the Swindon outfit hardly lack for, it’s consistency. Be it festival or club, they certainly command a certain amount of respect that translates to a more willing crowd, which reciprocated with plenty of movement cheers. The sound issues that weighed down Ted Maul were thankfully absent, allowing the moody, downtuned servings of modern hardcore to breathe. If one were not already a fan, this set was hardly going to find new converts, but for those already convinced, this is familiar and comfortable territory.

Sikth is a name steeped in progressive metal prestige. Established before the turn of the millennium, they have played their own modest part in shaping what one might consider the archetypal sound of the genre in the 2000s. While their discography is hardly as expansive as many of their contemporaries considering their longevity, their offerings have clearly been cemented in the pantheon of commendable prog efforts.

One such commendable effort is 2006’s Death of a Dead Day. This year marks two decades since its release, and Sikth are celebrating in style, playing it in its entirety, and are clearly eager to prove it is no less cutting and weighty as it was twenty years ago. Yet despite such an eon between then and now, the band seem to be at the very height of their technical prowess. This is the sound of a band not just competent, but unerringly confident in their craft.

Between some absolutely mesmerising harmonies, unconventional but nevertheless addictive polyrhythms, dual vocal duties, and a sufficiently varied selection of material to run through, Sikth’s set proved only that the band has not languished in the long years since Death of a Dead Day was released. This was a performance that elevated the material, and proved it can stand alongside giants of the genre such as Between the Buried and Me, or Protest the Hero. If anything, it made it all the more strange that Sikth don’t command the same sort of brand recognition as their aforementioned brethren. And for every iota of effort Sikth put in, the crowd gave back, enthusiastically joining in the choruses, and doing their best to create a dramatic entrance to the floor below, judging by the amount of movement in the centre of the room.

One would be remiss to forget a mention of Sikth’s bassist, who unfortunately could not make it to the show, replaced instead by legendary producer and former Periphery bassist Adam Nolly Getgood, who reportedly learned the set in a single day, and if he didn’t, he certainly did a good impression of it, providing a firm foundation for the soundscape to build upon. But much like Nolly, it was noted by the rest of the band that this was the very first time playing a few of these songs live, though one could be forgiven for assuming otherwise. This followed through to the end of the set, with the band capping off the album with a pair of classics any fan could predict, but these seemed to be almost unnecessary considering the finer moments of the latter half of the album, such as the gorgeous leads on Where Do We Fall?

Sikth have recently been announced as performing at Manchester’s Radar Festival this summer, a bill they could not be more suited for, rubbing shoulders with the likes of Protest the Hero and Animals As Leaders. While it might be too early to tell what sort of set they will be playing, it’s safe to say that whatever it is, it will certainly be worth the ticket price, as this is a band that won’t fail to entertain.

Ted Maul (C) Christopher James Ryan Photography

Heriot (C) Christopher James Ryan Photography

Sikth (C) Christopher James Ryan Photography