Metal Chick of the Month – Laura Guldemond

Lock, lock, lock her in the tower!

As the fires of summer continue to burn in the Northern Hemisphere, there’s nothing better than dedicating an entire article to one of our beloved Burning Witches, more specifically the one responsible for turning the band’s lyrics into sheer power and energy through her soaring, undisputed vocals. Not only a classy vocalist and frontwoman, she’s also a diehard metalhead, always ready to show her love for old school Heavy Metal, and always ready to rock our world with her incredible voice and charisma. Her name is Laura Guldemond, a crazy wild child and frontwoman for one of the must-see names of the current metallic scene, and once you know more about her career, her personal life, and her passion for heavy music, there’s certainly no turning back, as you’ll be under the spell of one of the most talented “witches” of the worldwide metal community. Having said all that, are you ready to be locked in the tower by the phenomenal Laura Guldemond here on The Headbanging Moose?

Born on July 31, 1988 in Zoetermeer, a city in the Western Netherlands, in the province of South Holland, Laura doesn’t exactly come from a family of musicians, but there was still a lot of music surrounding her in her early days. “It’s funny, because my parents weren’t into music, but my grandparents were musicians – they played the double bass and the violin. They travelled around playing music, and I guess the next generation was fed up with that, so it had to continue with me! My mum’s half-sister still plays the flute, too.” Although she could sing a little bit and was comfortable with some notes, she had to learn the high notes by taking singing lessons, and at one point she decided she wanted to become a professional singer. Then she went to a conservatory in Eindhoven called The Metal Factory to continue with her studies. “When I was about twenty years old, I decided to take things a little more seriously, and that’s when I started taking singing lessons. Later on, I decided that I had to study music somehow. I auditioned for the Haarlem conservatory and ended up in the preparatory course for it, but then I came across the Metal Factory, and I was part of the first batch of students there.”

Laura has been immersing herself in Heavy Metal and Hard Rock for most of her life, saying it was a big discovery for her when she was younger. “My parents never really went any heavier than Queen. Which I like, but then I discovered Within Temptation, and I loved it. That was probably mainly because it sounds a little mysterious. That’s what I liked about it, at least. When the time came that I had enough allowance to buy albums, I found W.A.S.P.’s Dying for the World right next to Within Temptation. I really like W.A.S.P. as well. From then on, I started listening to more and more different things. Quite quickly after that, I decided that I wanted to play guitar. And I did have a guitar, so I did try to play it, but I had no lessons, and I ended up giving up. I did already sing, and that’s what I kept doing,” she commented.

It was in 2019 when Laura joined the amazing Burning Witches, replacing the band’s original vocalist Seraina Telli, and she fit the blank spot perfectly with her undisputed vocal potency, being immediately embraced by the band’s diehard fanbase. That same year, she released her first song with the band, the excellent Wings of Steel, following by the EP Wings of Steel, also in 2019, and her first-ever full-length opus with the girls, Dance with the Devil, in 2020. That same year, the band released an EP titled Acoustic Sessions, followed by their full-length albums The Witch of the North (2021), The Dark Tower (2023), and more recently Inquisition (2025), all available on Spotify or any other streaming platform. Furthermore, you can also check Laura and the girls kicking ass on the official videos for songs like High Priestess of the Night, The Dark Tower, The Witch of the North, and Unleash the Beast, or check their official YouTube channel for those videos, full playlists and other content including interviews and live footage of all of their tours.

When Laura joined Burning Witches, she said they were all very welcoming, helping her overcome any initial challenges as she said she’s the type of person that needs a lot of time to get used to other people. There was of course a lot of rehearsal time required in the beginning until they all got used to Laura’s vocal style and vice-versa, but as expected there’s also a lot of fun involved in the overall process. “We go out to dinner sometimes, we hang out after rehearsals, so that is nice,” she commented, also having some nice words to say about the freedom she has while writing material for the band. “When it comes to writing my melodies and lyrics, I have a fairly large amount of freedom. Sometimes they come up with something they like, but even then, I am free to try something else, or we can discuss various ideas. It’s always fairly open. It kind of depends on how attached they are to the ideas they already have. There are plenty of times when there is no idea at all yet, and I can just make up whatever I like.”

Needless to say, the band’s diehard fans were all very welcoming when Laura became a member of Burning Witches, even when you take into account they already had two very solid albums released prior to her joining the band. Laura was actually more prepared for the feedback from the audiences than her bandmates in the end. “To be completely honest, I think it had been a much more emotional process for the rest of the band than it has for me. In a way, I had kind of already prepared myself for such reactions. The stories are out there. Like Tarja and Nightwish, for example. You still hear people complaining about that these days, which makes me think: guys, seriously, still? You know it is going to happen, and you know it is going to keep happening. So I was mentally prepared for that. Some of those people have returned, others haven’t. That’s just how things go.”

Before becoming the frontwoman for the indomitable Burning Witches, Laura was the vocalist for an array of very interesting bands and projects. It looks like her first Heavy Metal band was Utrecht, Netherlands-based Progressive Metal act Synergy Protocol, having played with them from 2013 until 2015, and having recorded their 2014 debut three-track demo. Around the same time, from 2014 to 2015, she was also the vocalist for Epic Rock Choir, a Netherlands-based group of singers specialized in major rock and metal opera projects like Arjen Anthony Lucassen’s The Theater Equation, and founded an Experimental and Electronic Rock and Metal project named Generation Lost together with Marco van der Hoorn, but nothing has ever been released under that flag.

The other two bands that Laura was a member of were Dordrecht, Netherlands-based Progressive Metal/Rock project Magoria, working as one of their vocalists between 2017 and 2018, and of course her main band before she joined Burning Witches, the excellent Eindhoven, Netherlands-based Symphonic Power Metal band Shadowrise, fronting the band from their inception back in 2009 until they split up in 2019 (one of the reasons being of course her full-time commitment with Burning Witches), having recorded with them the 2016 EP Escape from Shadow Island, and their 2018 self-titled full-length, both available on BandCamp and on Spotify.

Not only that, Laura can also be found as a guest musician in several different bands and projects, showcasing her absolute energy, dynamism and versatility, allowing her to sing basically any music genre you can think of. For instance, she was a guest vocalist on the song Valkyries in the Sky, from the 2024 album Gods of Metal (Year of the Dragon), by German/Italian Heavy Metal band All for Metal; choir vocals on the official video recording of the 2016 album The Theater Equation, by Dutch Progressive Metal/Rock icons Ayreon; vocals on the song Schwestern aus Stahl, from the 2025 Damokles, by German Heavy Metal/Hard Rock band Blindgänger; vocals on the song The Path That Never Ends, from the 2026 album Sons of the Abandoned, by Spanish Melodic Death Metal outfit Bloodhunter; vocals on the song Back on the Streets, from the 2022 album Back on the Streets, by UK Power Metal band Chrysalïd; and vocals on the 2025 single Fierce, by Swiss Symphonic Metal band Deep Sun.

If you think this is it, you’ve got another thing coming, as Laura was also a guest vocalist on the song Receptor, from the 2025 album Receptor, by American Progressive Metal act Dissona; vocals on the song Poison Tears, from the 2025 album Unbreakable, by the indomitable Heavy Metal/Hard Rock duo Ellefson-Soto; vocals on the song False Faced Demon, from the 2022 album Inquisition, by Dutch Symphonic Metal band Epinikion; female vocals on the song Blind Souls, from the 2017 album The Endless River, by Jordanian Melodic Death Metal band Eternal Insomnia; vocals on the 2022 album Malleus Maleficarum, and on the Avatarium cover The Fire I Long For, from the 2023 album Ventus Metallum, by German Heavy/Power/Progressive Metal project FB1964; and vocals on the song For Blood & Glory, from the 2021 album Serpent Chariot, by Austrian Blackened Thrash Metal band Golden Blood.

Do you want some more? Well, Laura was also featured as a guest vocalist on the song Stand United, from the 2022 album Dealer of Souls, by Swiss Heavy/Power Metal band Gomorra; on the song All Women in Me, from the 2023 self-titled album by Dutch Progressive/Symphonic Metal band Heavenqueen; on the song Sleeper, from the 2025 album Gilgamesh, by Ukrainian Progressive Metal/Rock act Korypheus; vocals on the song The Great Masquerade, from the 2025 album Remnants of Rapture, by Canadian Heavy Metal outfit Lycanthro; on the song Alone, from the 2024 album Shadow Empress, by Progressive Metal warrior Nino Helfrich; backing vocals on the 2015 album Wayward Sanctuary, by the now defunct Dutch Progressive Metal/Rock project ReSolve; vocals on the song Your Time Has Come, from the 2024 album Blood of the Witches, by German Heavy Metal/Hard Rock guitarist Stephan Georg; choirs on the 2015 album The Diary, by Dutch Symphonic/Progressive Metal/Rock duo The Gentle Storm; vocals on the song Neverealm, from the 2026 album Neverealm, by Greek Heavy Metal band Valiant Sentinel; and vocals as one of the “Pirate Queens” on the song The Pirate Queens, from the 2022 album Lost, by Dutch Symphonic Power Metal project Woods of Wonders.

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As you can see, Laura is one of the best vocalist of the current Heavy Metal scene worldwide, with countless bands recruiting her as a special guest in their new albums, and of course with her career with the striking Burning Witches being the icing on the cake. However, it’s important to say that before being such an accomplished vocalist, she’s also a true metalhead, nurturing deep passion for the same rock and metal icons as any of us, as well as some of the most interesting names of the non-metal scene. “Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice,” she commented.

When asked which song she loves the most in her life, her answer was the purest, most incendiary form of Heavy Metal you can think of. “I love Painkiller by Judas Priest because the drums start playing and you immediately feel the energy.” Moreover, she considers the one and only Metal God Rob Halford as a role model, saying he’s one of the people who’ve inspired her the most in terms of how she sings with Burning Witches now, as well as the indomitable Bruce Dickinson. “What I love is that he has so many songs with a lot of vocal dynamics. So I would say both he and Bruce Dickinson inspired me. I’ve heard Bruce a few times when people are listening from a bit further away and it sounds hyper-laden. I think it’s because I have a bit of memorization there too.” Dio is also a huge influence in her life, and the fact Burning Witches recorded a cover version for the all-time classic Holy Diver also shows how much she loves his unique voice.

Speaking of cover songs, Laura also maintains a really entertaining YouTube channel as her “solo project” (which you can also find alongside all of her other links and social media by clicking HERE), recording multiple cover songs with very special guests the likes of Courtney Cox and Sara Jolís as her support band, among other interesting videos. For example, you can enjoy Laura’s soaring vocals in killer cover songs including W.A.S.P.’s Wild Child (which is by the way one of the bands she used to listen to the most when she began listening to metal music), Iron Maiden’s The Trooper, Cradle of Filth’s  Nymphetamine Fix, AC/DC’s Highway to Hell, Slayer’s Raining Blood, Pantera’s Walk, and Judas Priest’s Painkiller, among several other incredible videos where she will melt your faces with her scorching, sharp vocals.

Speaking of her vocal technique and how she prepares for the intense life on the road, Laura, who currently uses a Neumann U 87 Ai (a legendary large-diaphragm FET condenser microphone, featuring cardioid, omnidirectional, and figure-8 polar patterns), mentioned in one of her interviews how difficult it is to bring to stage what’s recorded in the studio. “Recording a song is one thing, but singing it at the same level every night is a different matter.” Owner of very versatile and dynamic vocals, as already mentioned, she said she always enjoys trying new things with her voice. “The others in Burning Witches like it when my voice sounds relatively deep, so we have been playing around with lower keys in recent years,” she commented. “These days, I have been trying to learn to use vocal fry better than I could before. So who knows? Maybe I will be doing something with that in the future. But it has to get better first. Singing clean with a bit of distortion on it is something I know I can do well at this point. If I add something that doesn’t sound quite as good, and you can actually hear that difference in quality, it will just end up sounding weird.”

She also commented about the importance of maintaining a good health, in special when your voice is your instrument of work. “I am often afraid of getting a sore throat, so my main priority is keeping nice and warm. During summers, I hardly ever have a sore throat, but once winter rears its head, I have to be careful. And to be fair, during spring and autumn as well. Also, when I work out too hard, and my body gets tired, I get a sore throat as well. That is something to watch out for.” She also mentioned it’s extremely important to build up her stamina before a headlining tour starts, alternating between singing and resting until she’s warm enough for the band’s longer-than-usual sets. “Especially if I have just been on vacation, and I haven’t sung for a while. Then it truly is important to build up my stamina, as I’m really going to feel the difference once I have to do a longer set.”

This might sound repetitive, but Laura is not only an extremely talented vocalist; she’s also a vocal coach ready to help any newcomers to the world of singing with her professional and dynamic approach. You can find more details about Laura’s services as a vocal coach (in Dutch, English or German) on her official website, including the subtypes of services available such as singing lessons, workshops, and growling. “I always try to find ways to make them practice things step by step. There are certain techniques that require you to use a little more power, which means they are potentially more dangerous, as more power is a bigger burden on your vocal cords if you do it wrong. That’s why I try to explain things step by step, so they can actually warm up to it step by step, allowing them to do things properly from the moment they start to add more power to it.”

In the end, after witnessing Laura kicking some serous ass live for the first time earlier this year in Toronto, I felt the urge to write this tribute to such a phenomenal vocalist, and after knowing more about her and her focus and hard work to keep delivering high-quality Heavy Metal for the masses, we must all agree she’s more than just another frontwoman. She’s the epitome of heavy music, a woman that puts her heart and soul into her music, delivering breathtaking vocals with endless charisma it doesn’t matter if she’s singing with Burning Witches, if it’s recording a cover song for her YouTube channel, or if it’s as a guest for another rock and metal band. Laura will most certainly hypnotize you with her stunning vocals and screams, lock you inside her tower of Heavy Metal, as I warned you in the beginning of this tribute, and throw the key away. Well, I bet you’ll be more than happy when that happens.

Laura Guldemond’s Official Facebook page
Laura Guldemond’s Official Instagram
Laura Guldemond’s Official YouTube channel
Burning Witches’ Official Facebook page
Burning Witches’ Official Instagram
Burning Witches’ Official YouTube channel

“Lots of awesome metal bands have influenced me during the years. To name a few I listened to a lot as a teenager; Within Temptation, W.A.S.P., Judas Priest, Iron Maiden, Halestorm, Eluveitie, Death Angel and Kamelot. But also great contemporary singers like Sia, Christina Aguilera and Beyonce. This is reflected in the versatility of my voice.” – Laura Guldemond

Concert Review – Cradle of Filth (The Opera House, Toronto, ON, 06/04/2022)

Existence might be futile, but witnessing Cradle of Filth live in Toronto every single time they come to the city is more than essential.

OPENING ACTS: Phantom High and Frayle

I always find it truly impressive how the traffic to get in and out of Toronto during the spring and summer seasons, mainly when the weather is clear and the temperatures are above +20oC, is multiplied by a thousand or more, making it impossible to arrive wherever you have planned on time. That’s the main reason why it took me hours to get to The Opera House this Saturday for the Existence Is Futile Tour with the bands PHANTOM HIGH, FRAYLE and the almighty CRADLE OF FILTH (not to mention American Thrash Metal act Misfire, who are missing part of the tour due to Covid-19 related issues), and because of that I sadly missed most of the awesome concert by Toronto’s own Glamcore/Death Pop/Alternative Metal outfit PHANTOM HIGH. Anyway, the few minutes of their performance I was able to witness were excellent, with their frontwoman Peril Erinyes showcasing all her talent, charisma and passion for what she does. I hope I can see them again in a not-so-distant future as their music and onstage performance are outstanding, and next time I promise I’ll beat traffic (even if that’s humanly impossible).

Band members
Peril Erinyes – vocals
Seven Six – guitars
Greg Shier – guitars
Faraz Jabbari – bass
Joey Prolx – drums

After a (very) quick break it was time for Cleveland, Ohio-based Doom Metal/Occult Rock band FRAYLE to kick some ass onstage with their massive, low-tuned, sluggish sounds, spearheaded by the angelic vocals by their stunning frontwoman Gwyn Strang, who by the way grew up on the east coast of Canada in the province of New Brunswick (which is why she said “I’m home” to the crowd several times during their performance). Playing a mix of songs from their awesome 2020 album 1692 plus a brand new song entitled Treacle & Revenge, from their upcoming album Skin & Sorrow (to be released on July 7), Gwyn and the boys put on a mesmerizing show, with Sean Bilovecky extracting sheer electricity from his guitar while bassist Eric Mzik and drummer Pat Ginley added endless heaviness and groove to the music. Nobody was capable of taking their eyes off Gwyn during their entire set, as not only she was at the same time the personification of good and evil, but her minimalist, delicate vocals and moves were a thing of beauty. There weren’t any mosh pits for obvious reasons, but everyone at The Opera House loved what Frayle had to show us, and Toronto is waiting for Gwyn to “return home” whenever she wants with her whimsical music.

Band members
Gwyn Strang – vocals
Sean Bilovecky – lead guitar
Eric Mzik – bass
Pat Ginley – drums

CRADLE OF FILTH

The last time I saw the unparalleled CRADLE OF FILTH was at the same venue back in 2019, before all this Covid-19 madness hit the world and still with Lindsay Schoolcraft on keyboards, and as you can see from their 2019 setlist only two songs were the same this Saturday, those being Nymphetamine (Fix) and Her Ghost in the Fog, with everything else being either based on their 2021 ass-kicking opus Existence Is Futile, such as Existential Terror, How Many Tears to Nurture a Rose? and Necromantic Fantasies, or some welcome surprises the likes of Nocturnal Supremacy, I Am the Thorn, A Gothic Romance (Red Roses for the Devil’s Whore) and Lustmord and Wargasm (The Lick of Carnivorous Winds). Was it better, the same or worse than their 2019 performance? Well, I don’t like to compare concerts, as I strongly believe each performance has its own taste, its own details and its own energy, but what I can say is that Dani and his horde were as electrifying as expected, inspiring the fans at the venue to slam into the nonstop circle pits (even if you’re on a power mobility scooter) while screaming together with the band in the name of evil.

Most fans of course had an absolute blast with classics such as the aforementioned Nymphetamine (Fix) and the closing song Her Ghost in the Fog, but I might say their new songs Crawling King Chaos and Us, Dark, Invincible sounded simply superb live, proving once again how alive the band is and that we can expect at least a few more decades of pure filth from those devilish metallers. Dani, Ashok, Daniel Firth and Marthus were on fire as usual, but I must mention how powerful the performances by guest guitarist Donny Burbage (of Melodic Death/Folk Metal act Æther Realm) and the gorgeous keyboardist Zoë Marie Federoff (of Symphonic Metal act Catalyst Crime) were as well, translating into an even more incendiary concert by one of the trailblazers of Symphonic Extreme Metal. As a Cradle of Filth fanboy I think they should return to Toronto next week already, but of course I think all fans who attended another memorable concert by Dani and his crew will be more than happy to wait another year or so for the band to come to our beloved city again. The traffic back home was just as bad as when I was going to the concert, but who cares? It’s CRADLE OF FUCKIN’ FILTH, a metal institution that deserves all our admiration, and if next time they come to Toronto I have to walk 40km to get there, so be it.

Setlist
The Fate of the World on Our Shoulders
Existential Terror
Nocturnal Supremacy
Lilith Immaculate
I Am the Thorn
Crawling King Chaos
Nymphetamine (Fix)
A Gothic Romance (Red Roses for the Devil’s Whore)
How Many Tears to Nurture a Rose?
Scorched Earth Erotica
Us, Dark, Invincible
Portrait of the Dead Countess
Lustmord and Wargasm (The Lick of Carnivorous Winds)
Necromantic Fantasies
Her Ghost in the Fog

Band members
Dani Filth – lead vocals
Marek “Ashok” Šmerda – guitars
Donny Burbage – guitars
Daniel Firth – bass
Zoë Marie Federoff – female vocals, keyboards
Martin “Marthus” Škaroupka – drums

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Concert Review – Cradle of Filth (Phoenix Concert Theatre, Toronto, ON, 03/06/2016)

As Toronto turned 182 years old yesterday, nothing better than celebrating the anniversary of our beautiful city with a gargantuan amount of fuckin’ “filth”.

OPENING ACTS: Ne Obliviscaris and Butcher Babies

COF_Inquisitional Torture 2016What a lovely day in our stunning, charming and multi-cultural city of Toronto. It might not be Summer (and not even Spring) yet, but sunny Winter days with temperatures above the freezing mark like this Sunday are such a thing of beauty they make us completely forget how harsh Winter can be sometimes. Perhaps that was Mother Nature giving her “birthday gift” to all Torontonians who were celebrating the 182nd anniversary of their beloved city. And what could have been better than hosting one of the most influential Extreme Metal bands of all time at the Phoenix Concert Theatre to properly commemorate the date? Finally, after five long years, the iconic Cradle of Filth returned to the “Land of the Moose”, as Dani Filth himself stated during the show.

This metallic feast started at around 7pm, when Australian Extreme Progressive Metal band NE OBLIVISCARIS hit the stage with their fusion of Symphonic Metal, Black Metal, Heavy Metal, Folk Metal and several other subgenres of heavy music blended in their sound. It took a few minutes for those guys from Melbourne, Australia to actually warm up and start entertaining the crowd, but once their concert took off it was indeed a nice experience, especially due to the amazing performances by Tim Charles with his violin and left-handed guitarist Benjamin Baret with his wicked riffs and solos. I confess I didn’t know much about the band before this gig, which means I’ll obviously go after their music to truly understand what they’re all about. And, of course, it’s good to know there’s more high-quality metal music coming from Down Under.

Setlist
Devour Me, Colossus (Part I): Blackholes
Of Petrichor Weaves Black Noise
Xenoflux
Painters of the Tempest (Part II): Triptych Lux
Pyrrhic
And Plague Flowers the Kaleidoscope

Band members
Xen – harsh vocals
Tim Charles – clean vocals, violin
Benjamin Baret – lead guitar
Matt Klavins – guitar
Cygnus – bass
Dan Presland – drums

When their concert was over and we all had a few minutes to rest and have a beer before the next attraction, I have to say it’s always nice when people come to talk to you about anything without being too wasted or high. That happened to me when a guy from Oshawa wearing a Bad Religion T-shirt approached me to say he liked my Pantera T-shirt, and from then we started chatting about music in general, focusing on bands such as Anthrax, Megadeth, Iron Maiden and Volbeat. So kids, next time you go to a concert try not to be so wasted, falling like a bag of potatoes on everyone around you, or too “Justin Bieber-ish” that no one else can touch you or talk to you. There’s always somewhere in between that works a lot better for everybody, got it?

IMG_1117Getting back to the concert, it was then time for the dynamic duo comprised of Heidi Shepherd and Carla Harvey, known as the BUTCHER BABIES, to kick some serious ass on stage and make everyone in the audience go absolutely mental before the main attraction of the night. It was also my first time seeing them live, and I must say those girls know how to put up an entertaining show. Armed with their demonic voices and supported by very competent musicians, especially bassist Jason Klein, those two girls from Los Angeles, California (dressed like an evil version of Babymetal) didn’t stop banging their heads and screaming for a single second, showcasing their deep passion for heavy music while playing every song of their setlist, which was mostly based on their 2015 album Take It Like a Man. There were a few technical issues with their sound, but no one seemed to care about that. All people wanted were more “excuses” to slam into the pit and do some stage diving, and both Heidi and Carla knew exactly how to ignite that fire with their Alternative Metal, playing some high-octane songs such as National Bloody Anthem, The Butcher and, my favorite of the night, Monster’s Ball. Girls, Toronto loves you and we can’t wait to have you back in the city!

Setlist
National Bloody Anthem
Blonde Girls All Look the Same
The Butcher
Gravemaker
Igniter
Jesus Needs More Babies for His War Machine
Monster’s Ball
Magnolia Blvd.
The Deathsurround/Goliath/I Smell a Massacre
Axe Wound

Band members
Heidi Shepherd – vocals
Carla Harvey – vocals
Henry Flury – guitar
Jason Klein – bass
Chris Warner – drums

CRADLE OF FILTH

IMG_1144It was around 9pm when the diabolical intro Humana Inspired to Nightmare announced the gates of Hades were open wide, therefore releasing the devil’s favorite dark angels to spread hell on earth with their unparalleled Extreme Metal. Promoting their latest opus Hammer Of The Witches under their current tour entitled Inquisitional Torture 2016, British titans CRADLE OF FILTH began to mercilessly discharge a flawless mix of classics with brand new chants, driving all fans at the venue utterly crazy. When a concert starts with Heaven Torn Asunder and Cruelty Brought Thee Orchids, you know it’s going to be a fuckin’ massacre.

The most interesting fact for me about their setlist was that it was divided in two “acts”, like a theatre play. There was an intro for each act, followed by a sequence of blasting classics (covering almost all of their albums) that put a huge smile on the face of this guy here, a longtime fan of Dani and his crew. I simply love songs like Lord Abortion, Honey and Sulphur, Her Ghost in the Fog and my top Cradle of Filth song of all time, the insane From the Cradle to Enslave, but their newer stuff such as Right Wing of the Garden Triptych and Deflowering the Maidenhead, Displeasuring the Goddess work so well when played live I’m sure they’ll become a constant part of their future tours. In addition, Dani (who was the demon himself last night), as a treat to all fans for waiting patiently for the band’s return to Toronto, dedicated to all of us For Your Vulgar Delectation, from their previous album (which unfortunately could not have a Canadian tour due to visa issues).

dani_toronto2016_02The whole band was on fire and Dani’s performance was epic, screaming like a rabid demon and wearing his Stygian attire and corpsepaint the way we all love, but I have to say last night belonged to the adorable keyboardist and singer Lindsay Schoolcraft. Although she’s not exactly from Toronto (technically, she’s from Oshawa), she was so excited and pleased to play together with Dani and his crew in her hometown she couldn’t stop smiling, waving to the fans and headbanging like a maniac during the entire concert. I guess I don’t need to say how memorable the night was for our talented Canadian girl, right? The only band member I couldn’t really watch well was drummer Martin “Marthus” Škaroupka, who was “hiding” not only behind his drums, but also behind some kind of aquarium/glass cell to the left of the stage. That was a weird stage setup, by the way, as if they were keeping Marthus caged before he could escape and kill someone, but nothing that would make the whole concert less memorable.

dani_toronto2016And can you guess why Dani, Lindsay, Marthus and the other band members played so well and were so electrified last night? That’s exactly it, because of us, loyal and demented Cradle of Filth fans. I don’t remember seeing a crowd so insane and in sync with the band like that. What the fans did during Gilded Cunt, growling the lyrics together with Dani, and the furious mosh pits during Nymphetamine (Fix), which is in fact a heavy ballad and not a sick blasting tune, was truly outstanding. Even Gimli, the brave dwarf from Lord of the Rings, was among us weating a Testament T-shirt! If you were there, you know who I’m talking about. Anyway, Cradle of Filth provided us fans another memorable metal night at the Phoenix Concert Theatre, and I’m pretty sure we also made the night memorable to the band as well, especially to Lindsay. I just hope Mr. Dani Filth and his horde of darkness do not take another five years to return to the Land of the (Headbanging) Moose. Actually, how about celebrating each and every anniversary of this distinct city together with the band? That’s the type of “filth” I’m sure no one would complain to have around all the time.

Setlist
ACT I
Humana Inspired to Nightmare (Intro)
Heaven Torn Asunder
Cruelty Brought Thee Orchids
Blackest Magick in Practice
Lord Abortion
Right Wing of the Garden Triptych
Malice Through the Looking Glass
Deflowering the Maidenhead, Displeasuring the Goddess
Gilded Cunt

ACT II
Walpurgis Eve (Intro)
Yours Immortally…
Nymphetamine (Fix)
Honey and Sulphur
For Your Vulgar Delectation
Her Ghost in the Fog
From the Cradle to Enslave
The Principle of Evil Made Flesh
Born in a Burial Gown
Blooding the Hounds of Hell (Outro)

Band members
Dani Filth – lead vocals
Richard Shaw – guitars
Marek “Ashok” Šmerda – guitars
Daniel Firth – bass
Lindsay Schoolcraft – female vocals, keyboards
Martin “Marthus” Škaroupka – drums