Sweden’s Covenant are marking 40 years of activity this year. This version of “Call the Ships to Port” features both Eskil Simonsson’s locks and Joakim Montelius on stage.
Futurepop took the structure of EBM, the hooks of synth-pop, and the atmosphere of modern club music as its starting point. Then, it sharpened and focussed them into something that merges the harder edges of electronic music with melodic elements. Taking form in the late 1990s, it traded industrial abrasion for clean sequencing and a distinctly forward-looking sound, without losing the nocturnal mood that linked it to the wider underground. The result was music that could feel euphoric and controlled at the same time: built for dark rooms, flashing lights, and the long push through the middle of the night.
The genre’s key names quickly became a scene shorthand: VNV Nation, Covenant, Apoptygma Berzerk, Assemblage 23, Icon of Coil, Neuroticfish, Rotersand, Mesh, Solar Fake, and Ayria all helped define its shape. What unites them is not a single formula but a shared instinct for motion and melody. Futurepop works best when it sounds like the future imagined from inside a club, and these tracks show exactly why.
The selection in this feature has been curated to show the range of possibilities when EBM meets EDM. It’s not a definitive history; it’s a taster. Use it as a starting point to explore.
Covenant – Call the Ships to Port
Covenant, formed in 1986 in Helsingborg, Sweden, are one of futurepop’s defining bands. The group was founded by Eskil Simonsson, Joakim Montelius, and Clas Nachmanson, and it formally began releasing music in 1992. “Call the Ships to Port” is a near-perfect example of why they continue to be one of the towering forces in the scene. The song balances cold precision with a strong melodic core; turning machine pulse into something expansive rather than rigid. It is a classic scene track: purposeful, direct, and built to carry the crowd onto the dancefloor.
What makes songs like this endure is the investment in clarity. Covenant never lose the electronic discipline that keeps futurepop distinct – but they also understand how to make a refrain feel larger than the arrangement around it. That combination of restraint and lift is central to the genre’s appeal.
As 2026 marks Covenant’s 40th year of operation, they are organising a number of shows and events that ought not to be missed.
VNV Nation – When Is the Future?
VNV Nation, formed in London in 1990 by Ronan Harris, are one of futurepop’s central names. The project is led and shaped by Harris to this day, and the project has been the backbone of the genre since its earliest days. “When Is the Future?” is a strong modern statement of its core values.
The song leans into the typical mix of uplift and tension, mixing a driving beat with a clean, anthem-like shape. VNV Nation have always understood futurepop as something more than a label. For them, it is a way of turning momentum into feeling. This track does exactly that.
Apotygma Bezerk – Until the End of the World
Apoptygma Berzerk, formed in 1989 in Norway and led by Stephan Groth, are another of the pioneers of futurepop. “Until the End of the World” sits right at the point where melody, sentiment, and machine-implemented rhythms meet. It illustrates the high-energy, rhythm-driven production approach that makes them central to the futurepop canon.
Assemblage 23 – Believe
Assemblage 23, the project founded in 1988 by Tom Shear, is one of the genre’s most important American voices. Shear writes the music and lyrics and records the project himself, making it a largely solo endeavour. The project is routinely grouped with the genre’s leading acts. What Assemblage 23 bring to futurepop is a sharper emotional directness, with songs that often sound like private thoughts set against industrial architecture.
“Believe” makes socio-political resilience sound danceable. Futurepop at its best is rarely about uncomplicated positivity; it is about pushing through pressure. Assemblage 23 do that with particular clarity – turning emotional weight into something that still moves hips on the floor.
Ayria – Vicious World
Ayria was created in Toronto by Jennifer Parkin following her departure from Epsilon Minus. The act has long occupied the overlap between futurepop, synth-pop, and harsher electronic styles. She occupies different points on the Venn diagram, depending on her mood, but Ayria has more than twenty years of history in the genre.
“Vicious World” shows how Ayria pushes the futurepop template toward something more aggressive without abandoning melody. That tension between accessibility and bite is central to the appeal. Ayria’s work helps show that futurepop was never just about smooth surfaces; it could also carry abrasion, attitude, and a distinctly urban edge.
Neuroticfish – Silence
Neuroticfish, a German project formed before the turn of the century in Bochum by Sascha Mario Klein, is one of the genre’s most recognisable names. Klein is the sole member, and the project’s styles borrow from EBM, futurepop, and synthpop. Their presence here is almost mandatory.
Rotersand – Electronic World Transmission
Rotersand bring a slightly more refined and melodic approach to futurepop, but they remain firmly within its core set of reference points. Like the other major names in the genre, they are regularly grouped with the late-1990s and early-2000s wave that gave futurepop its identity. What they add is a smoother, more articulate sense of songwriting that broadens the style without softening it too much.
Mesh – Exile
Mesh, formed in 1991 in Bristol, England, by Mark Hockings and Richard Silverthorn, have long been one of the more durable names in the broader synth and futurepop ecosystem. While they are more often classified as synth than strict futurepop, the genre has always depended on acts that could maintain the essential balance between danceability and emotional distance.
The best futurepop tracks tend to be built on clear phrasing, strong hooks, and a steady sense of forward movement, and Mesh have always understood that language. They help show how the genre could be accessible without becoming lightweight.
Solar Fake – Sick of You
Solar Fake represent the more modern face of futurepop. The genre often thrives on emotional fatigue turned into motion, and Solar Fake understand that instinct well.
Icon of Coil – Dead Enough for Life
Icon of Coil are another foundational futurepop name, and one that captures the genre’s club-oriented side very effectively. The project was started in 1997 by Andy LaPlegua, with Sebastian Komor brought in as a live collaborator, and it quickly became associated with futurepop and EBM. Like much of the best work in this style, their sound is constructed with the sense that every element has been arranged for maximum impact on the floor.
“Dead Enough for Life” represents that precise blend of melody and mechanical pressure that defined the genre’s peak years. It’s exactly how futurepop reads on the screen – and a reason why it has been so durable.
Is this really only the first year of the Trump administration? It feels like a lifetime has passed since the Cheeto Mussolini and his cabal of white supremacist billionaires retook the reigns of the Empire. On the Rebel side, there has been organisation against the racism, cruelty, and murderous intent of Trump, including some of the largest street demonstrations since the Vietnam War. We are entitled to ask of artists: in the face of this threat – which is playing out in many countries in different forms – what have you done?
Music can inspire and motivate. It can also divert and intoxicate. The response of some artists to the pressures put upon them has been to protect their careers and strangle the words in their throats. Others have valued their principles and humanity more than the ability to earn a few dollars.
The SXSW festival experienced unprecedented cancellations by artists who were unhappy about its connections to the arms industry. The London version of the event experienced resistance from artists who objected to it platforming the odious British war criminal, Tony Blair.
In Europe, Zanias took a courageous stand against the Amphi Festival when they threatened to censor her support for the cause of peace in the Middle East. Instead of bowing to their demand for silence, she acted with great integrity and said, “No!”
It will take more Zanias’ to effect change, but the crisis in music is part of the wider economic and political crisis affecting the whole world. When Spotify is reducing musicians to digital serfs, while its executives ally with the arms industry, who can afford to remain aloof? When the planet is being permanently polluted, who can be sanguine?
There are lost souls in the music scene who champion racism and misogyny, acting as cheerleaders for Tommy Robinson and Elon Musk. There are also voices raised to defend human rights and turn the tide against the brutality of the Trumps and Faragists. Assemblage 23 and Twice a Man are examples of the latter – and their output is significantly higher quality than the Depeche Mode imitators who seem to dominate the former camp.
There are people who demand that artists be silent about politics. These are the fools who complain about Heaven 17 reissuing “(We Don’t Need This) Fascist Groove Thang.” They brey to be entertained and soothed, as if the world’s problems can be solved by shouting over an Oasis concert while downing six pints of lager. Call that what you like, but don’t call it culture.
We’ve been here before. As Brecht wrote for a previous generation:
The demand of the times is not to stop writing love songs. It is to remember that love can encompass humanity, freedom, ecology, and peace. They are all under threat, and music has a role in the resistance. In a world threatened by the malign influence of the Empire, be a Rebel.
This year, we lost Douglas McCarthy (Nitzer Ebb), Steve Luscombe (Blancmange, East India Company), Dave Ball (Soft Cell, The Grid), Clem Burke (Blondie), and Mani (Stone Roses). This is your annual reminder to show your appreciation for artists while they are still with us.
25. Test Dept – Industrial Overture
The original politicised metal-bashers have mined the archives for a 4-CD collection, encompassing 40 live and studio tracks from the period, 1982-1985. Their vitality jumps from the bitstream with Stakhanovite efficiency.
24. Assemblage 23 – Overthrow
It’s been a good five years, but Tom Shear brought back Assemblage 23 with a set of energetic, body-moving tracks and messages shaped by the sharp divisions in American politics.
As Shear told ELECTRICITYCLUB.CO.UK in a recent interview:
I’d say it’s in the ultra-wealthy’s best interests if we are fighting about something else rather than they are robbing everybody… the poor are getting poorer, the rich are getting richer… we are now seeing obscene wealth, like more money than anyone needs! I feel there are issues to deal with in immigration and racism but at the end of the day, those are tools being used by people who want to keep their way of life… it is greed at the end of the day!
23. Greenhaus feat. Dave Baker – Weightless
One of the surprises of the year was Dave Baker‘s turn at the mic with Greenhaus. He contributed to a number of songs, taking a break from his Lonelyklown project. Plaintive and poignant, the material had the emotional heft that Lily Allen only wishes she could offer.
22. Die Sexual – Desire
The Fabulous Florianos, Anton and Rossellini, return with more dark-electro deliciousness. Leave your crypt to dance and be seduced by the nocturnal offerings of Die Sexual.
21. Rohn-Lederman – Forbidden Planet
Emileigh Rohn and Jean-Marc Lederman paired up again for a moody, synth-driven album that doesn’t always resolve into melody or comfort. Forbidden Planet feels like drifting through synthetic spaces. It is unsettled and introspective – one to listen to while repairing your space station.
20. Thunder Bae – Mirage (All the Best)
The German songstress, Thunder Bae, stepped out with a sleek and minimal track that us dark but danceable. It doesn’t hit you over the head with Berghain beats – it seeps under your skin.
19. Anna von Hausswolff – Iconoclasts
Chased away from a French venue by Catholic fundamentalists, Anna von Hausswolff didn’t let anyone keep her from playing organ. The show must go on.
With this year’s Iconoclasts album, von Hausswolff gives the religious fanatics another kicking. The drones, organ, and expressive vocal treatments make for an unsettling experience that will have them clutching their rosaries even tighter.
18. Cosey Fanni Tutti – 2t2
The irrepressible Cosey Fanni Tutti took some time away from writing books and scoring films to release an unbelievable solo album. The follow-up to her pre-pandemic record, TUTTI, 2t2 is invested with an emotional rawness and technical sophistication that few can match.
As we said in our review:
The layers are assembled with the technical skills and trade secrets that come from a half-century of experimentation, but the artistic quality is like nothing else on the scene.
17. Lau Nau and Sontag Shogun – Päiväkahvit
The prolific Lau Nau had two albums this year that warranted attention. She is currently touring her jazz album with Jonah Parzen-Johnson, which is excellent, but we were captivated by this work with Sontag Shogun. We love the Finnish composer and musician’s voice and delicate treatment of sounds, which is really like no other.
16. echoGenetic – Live in Chemnitz
Gareth Jones‘ experimental project, echoGenetic, had a rare outing in Germany for the MachineMan Festival. It quickly found its way to Bandcamp, as a teaser for an album coming in January 2026.
The performance unfolds as a shifting terrain of modular electronics: gritty pulses, corrosive noise, and dark ambient washes. In its immediacy, the release feels like a broadcast from the fringes of experimental sound – visceral, unpolished, and more alive for it.
15. Propaganda – A Secret Sense of Rhythm, A Secret Sense of Sin/Remix Encounters
Propaganda were the most majestic of 80s artists; their compositions a head above their rivals in the charts. A 6-CD box set, curated by Ian Peel, serves as their Collected Works from the ZTT era. Collectors will aready have most of the tracks, but who is complaining at getting them in one place?
The band also revealed a set of remixes of tracks from last year’s magnificent, eponymous comeback album. Rhys Fulber, Moby, and Pyrolator are among the artists who took a turn at playing with the material.
14. Twice a Man – The Coloured Breeze Is a New Dimension
The legendary Swedish artists return to express their concerns about the ravaging of the environment. We said:
As usual, the band makes great use of textures. As you listen to the album, you can find layers in the mix that demonstrate a subtlety that most of their peers lack. The naturalism of the material is combined with abstractions and sonic designs that imbue it with a warmth that is missing from a lot of electronic music. The Coloured Breeze… is an immensely human record with a humanistic message. To borrow from Brecht, again: “Change the world – it needs it.”
13. White Birches – A New Reign
The return of White Birches is more than welcome. A New Reign is a brooding, austere effort. The Swedish warm-wave duo wrap heavy bass and precise electronic percussion around icy synths and melancholic melodies. Vocalist Jenny Gabrielsson Mare delivers the material with a fragile touch, giving the songs a haunting air. The result is a set that leaves a lingering resonance.
12. I Satellite – Streamline
From Kalamazoo, where they make guitars, comes this eclectic and retro-sounding album from I Satellite. The material was created ages ago, using authentic analogue equipment (and no guitars!), but not assembled into album format until this year. Good things come to those who wait.
11. LIKK – Don’t Lie
Toril Lindqvist (Le Volt, Alice in Videoland) sounds angry. Really angry. This is a great, hard-edged dance track, with a strong message for someone who is in a whole heap of trouble.
10. Fragile Self – OCD
The packaging for the edition of OCD we received was too beautiful to open. That should not be surprising, coming from the duo of Anil Aykan and Jonathan Barnbrook.
What was surprising was how infectious the material was. Like the ticking of Poe’s heart, the sound stays with you even when the speakers are silent.
9. Zanias – Cataclysm
Zanias’ Cataclysm lands with razor-sharp emotional clarity. It is one of Zanias’ most fully-realized works: atmospheric, cathartic, and unafraid to stare directly into the storm.
It’s also a work of consciousness and conscience. As Zanias told White Light//White Heat:
I feel a strong responsibility to contribute something to the somewhat dwindling supply of hope in the world. In dark times like these, it’s so important for us to step up and play whatever role we can in changing things for the better, and artists have far more power than most of my peers realise. We are the creators of culture, and culture is a primary influence on behaviour. If we can create a culture that is hopeful, just and compassionate, then humanity might stand a chance of surviving the meta-crisis it has constructed for itself.
8. Psyche – Dance After Curfew
Born in Canada and tranferred to Europe, Psyche was inspired by the theatrics of Fad Gadget, the torch song flair of Soft Cell, and the horror film stylings of Nash the Slash. The bandaged alter ego of Toronto musician Jeff Plewman was a one-man band who played thrash with an electrified mandolin and hacked rhythm machines in unsettling ways.
To mark the launch of the documentary, Nash the Slash Rises Again, Psyche had a go at one of the great Torontanian’s dancefloor classics.
7. Die Krupps – Will nicht – MUSS! SINGLE OF THE YEAR
The end of Front 242 and the loss of DAF’s Gabil Delgado has left Die Krupps to carry the baton for the first generation of EBM acts. Their 2025 tour was a stormer, and the release of this thundering track proves that there is still creative fuel in the tank.
6. Covenant – Andreas EP OF THE YEAR
The five-track Andreas EP, conceived by Covenant as a tribute to their late bandmate, Andreas Catjar‑Danielsson, is a thoughtful reckoning with grief and memory. From the sparse, echoing cover of Lee Hazlewood’s “A Rider on a White Horse” to a mournful reinterpretation of Yazoo’s “Winter Kills,” the material has emotional weight from Catjar-Danielsson’s own contributions.
The recordings were laid down by the late keyboardist and guitarist alongside singer/producer Eskil Simonsson, and the tracks include songs Catjar-Danielsson co-wrote or championed. That fact turns the EP from a eulogy into a final statement: a farewell not just for the man, but his last creative voice with the band. The result is deeply human – and more powerful for refusing to dress up sorrow as anything else.
5. Mark Stewart – The Fateful Symmetry
The loss of Mark Stewart in 2024 was keenly felt. The big man was a potent voice against the Establishment and all of its trappings. The album he left behind, which Mute put out this year, was more sensitive and poignant than much of his earlier work; and Stewart’s rage came across more balanced and pointed. His words will ring in the ears of the last Emperor.
4. Emmon – ICON
The arrival of a new Emmon album was always going to be welcome; but, to borrow a line from Michael Caine, we only expected it to blow the bloody doors off. Instead, ICON came as a blast that cleared the ground with its rhythms, Some Great Reward soundscape, and stylish Emma Nylén vocals.
3. Kite – Kite on Ice
After the Royal Opera, with a 16-piece orchestra, and the Avicii Arena, with a legion of figure skaters, what spectacle can Kite offer next? Kite in Space?
The Swedish duo took over the hockey arena in Stockholm, earlier this year, for the most dynamic electronic music performance we have ever seen. The Pet Shop boys have costumes, and Jean-Michel Jarre has lights, but Kite went further with Nina Persson, Anna von Hausswolff, an array of video boxes, and dancing Zambonis.
The recording of the show is only one part of a multimedia campaign that includes a film and a book. The music is glorious and evocative; and, really, Kite deserve much more attention outside of their homeland.
1. Edvard Graham Lewis – Alreet? ALBUM OF THE YEAR (TIED)
We have two albums tied for first place this year. Graham Lewis‘ solo record, Alreet?, easily claims its position as a spectacular of sound design and leftfield pop. As we wrote in our original review:
The album opens with a swelling guitar tone and the observation, “You will not pass this way again.” Geography and grooves combine in “Kinds of Whether” with emphatic richness; fused by word play and rhythmic sensitivity. Pity Trent Reznor that he never managed to bottle the lightning of He Said the way he wanted. It shines from this vessel very brightly.
1. Page – Inget motstånd ALBUM OF THE YEAR (TIED)
Conny Plank might not have seen this coming, but Sweden’s Page pivoted, this year, towards the Krautrock sound he shaped in his kitchen. Inget motstånd [EN: No Resistor or No Resistance] is a circuit activated with the charges of Neu!, Harmonia, and even Kraftwerk. It is significant that Plank also worked with Ultravox, who have exerted a large influence on Eddie Bengtsson‘s stylistic choices for recent albums.
This album is pure Page with a Teutonic vibe. It deserves its place at the top of the chart because it is infectious and melodious; drawing inspiration from Moebius and Rodelius. A modern classic.
Lifted from the Andreas EP, Covenant mine the depths of melancholy and pain with this Yazoo cover. A tribute to their fallen comrade, Andreas Catjar-Danielsson, it is poignant and bitter.
The annual Subkult festival is an important event in the Swedish alternative music calendar. Krichan Wihlborg took his Leica along to this year’s event and returned with images from some of the scene’s biggest stars. The set includes Covenant, Spetsnaz, and Emmon.
Tomma Intet
Hatari
Kårp
Suicide Commando
Suicide Commando
Tomma Intet
Tomma Intet
Karin Park
Karin Park
Karin Park
Karin Park
Selofan
Camouflage
Camouflage
Camouflage
Covenant
Spetsnaz
Spetsnaz
img_0816-1
Suicide Commando
Spetsnaz
Spetsnaz
Spetsnaz
Selofan
Selofan
Rotersand
Rotersand
Selofan
Coppia
Rotersand
Rotersand
Emmon
Covenant
Coppia
Coppia
Coppia
Covenant
Andreas Catjar-Danielsson didn’t make it to see the release of Abu Nein’s third album, but his contributions are deeply impressed into this single. The band have described “Wir Leben” as “glow-wave,” after Catjar-Danielsson’s statement that the song is a manifestion of his inner light. It certainly has a tone that merges with eternity. With proceeds to his children, there is every reason to buy it on Bandcamp.
Sad news reaches us that Andreas Catjar-Danielsson has passed away, aged 51, after a battle with cancer. The Swedish musician was closely associated with Covenant and Abu Nein, but he also created his own music and worked in theatre – at home and in Germany.
We send our condolences to his family and many friends.
There might be a heatwave in parts of Europe and the UK now, but the hottest news is the return of Electronic Summer, the Swedish music festival.
First organised in Gothenburg in 2012, the event quickly established itself as the best programmed festival in the Nordics. It was joined by slightly smaller Electronic Winter shows, with the same high quality of acts and organisation. The seasonal festivals attracted a loyal following among Swedish and European fans, as well as an international reputation. Featured acts included DAF, Covenant, VNV Nation, Portion Control, Page, Sista mannen på jorden, and Apoptygma Berzerk. The conclusion of the series in 2017 left a hole in the festival calendar that hasn’t been filled.
We are delighted, therefore, that Electronic Summer 2022 sees the event return to Gothenburg’s Brewhouse for a 10th anniversary take-over. From 4-6 August, a mix of EBM, futurepop and synth artists will take to the stage in front of an army of black-clad fans.
The organisers have published the following line-up and details of a special event sponsored by Cold War Night Life:
Lineup:
Thursday:
Covenant (SE)
Nattskiftet (SE)
Octolab (SE)
Friday:
Welle:Erdball (DE)
Mesh (alternative set) (UK)
Dive (BE)
Sierra (FR)
Göteborgselektronikerna (SE)
Aesthetic Perfection (acoustic with T.Jansson) (US)
Saturday:
Mesh (UK)
Aesthetic Perfection (US)
Piston Damp (NO)
Sex Kino (SE/UK)
Niels Gordon (SE)
A.Hofman & T.Jansson (SE)
+ A Talk With Brian Griffin on stage. Brian is the legendary photographer behind all the early Depeche-albumphotos and much more. During the festival Saturday we will have a chat with him on stage and we will also have 4 signed prints made in only 100 copies each for sale. More about these prints soon.
The Brian Griffin-appearance at the festival is arranged together with our friends over at Cold War Night Life.
More bands & DJs will follow.
August 4-6 2022 @ Brewhouse, Gothenburg
Age: 18+
Tickets: Tickster.com
Our festival hotel will be Spar Hotel Gårda as before! If you want to book now then you can do so by e-mailing or phoning the hotel and give the booking code: Electronic.
Spar Hotel Gårda
Norra Kustbanegatan 15-17,
416 64 Göteborg
Phone: +46 (0)31-752 03 00
E-mail: garda@sparhotel.se
Covenant are back with the Fieldworks Exkursion EP. A five-track collection, it shows the Swedes developing their interests in philosophy, sampling and rhythm.
With elements of the sound captured from environmental sources – a la Chris Watson – the band have turned their surroundings into sonic sources. The results are sculpted and moulded around the kind of synthetic scaffolding that they are known for.
For this EP, which is the first of a cycle of releases expected under the “Fieldworks” rubrik, each band member has taken the helm for one song. The resulting variations in style are more subtle than might be expected.
The opener, “Pantheon,” takes us to the sites of ancient temples via a Spanish airport and Kraftwerkian vocoder work. In places, it recalls Brian Eno’s commission from NASA, which makes sense if the temples connect us to spaces we can only glimpse from great distances.
“All That Is Solid Melts into Air” takes its name from a quote by Karl Marx. The lyrics focus on the dual horrors of capital and war, but Covenant manage to avoid the Pet Shop Boys’ bare didacticism. Eskil Simonsson’s distinctive vocals neatly carry the lines over the rhythm of small arms fire.
The French singer Grabyourface makes an appearance on “False Gods,” which pulses insistently with critical synths. The Mayan creation myth inspires “Popul Vuh,” which combines a tale of lost continents with industrial loops and a synth line evocative of Laurie Anderson’s own story-telling accompaniments.
The EP wraps with “Das Nibelunglied (Erstes Abenteuer).” A German voice intones a tale over piano and bass tones, in a form perhaps familiar to Neubauten fans. It is brooding, mysterious and dark. The sounds between the notes are where the feeling lies, and the resonance lingers well after the recording ends.
[vc_row][vc_column][vc_column_text]Covenant
02 Academy Islington
17 March 2018
It is reported that a new kind of material has been developed by British researchers, which can absorb 99.5% of visible light. Commercial applications for Vantablack must surely include stage design for Covenant, Sweden’s biggest EBM export.
Spotting singer Eskil Simonsson in the darkened fog is a task for young eyes. While dedicated spots pick out Daniel Jonasson and Daniel Myer at opposite ends of the stage, Simonsson emerges from a shroud of smoke like an eel from a cavern; his figure revealed only by glints of light on his glasses. His lines intoned, Covenant’s front man recedes into the darkness.
Simonsson’s voice is another story. It fills the room, pushing its way through a large and enthusiastic crowd. It draws hands skyward and raises the pulses of the fans in their fishnets and elevator shoes. The pulse of Covenant’s synths is its heartbeat, but Simonsson’s vocals are its soul.
The show opens with “Death of Identity” from the Psychonaut EP, setting an experimental tone. What follows is a tour through Covenant’s back catalogue, drawing in early compositions like ”Edge of Dawn” and ”Shelter” from 1994’s Dreams of a Cryotank.
With decades of material behind them, Covenant are spoiled for choice in the compilation of setlists. Tonight’s touches on a lot of highlights without becoming a Greatest Hits event: from ”Like Tears in Rain” to the closing ”Call the Ships to Port,” fans have the chance to sing along to well-loved songs.
For the encore, Simonsson trades places with Daniel Myer on ”Lightbringer,” the Architect man put his own print on the track. ”Let’s do this!” roars the German, and the energy surges again before Simonsson takes back the lead microphone for ”We Stand Alone.”
By the time the house lights push back the darkness, Covenant have already withdrawn. A river of black files out into N1, the night finally ready to receive it.
Thank you to Frank Drake at Flag Promotions.[/vc_column_text][/vc_column][/vc_row]
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