KAMELOT ft. Alissa White-Gluz and Elize Ryd – Sacrimony (Official Live Video)

A Monumental Snapshot of Kamelot Live

Symphonic metal masters Kamelot present a commanding document of their stagecraft with I Am The Empire – Live From The 013, released via Napalm Records on August 14, 2020. Captured at the renowned 013 Poppodium in Tilburg, Netherlands, the set unfolds across twenty-one songs and more than 100 minutes, drawing on the band’s rich catalog and their flair for theatrical, melody-forward heavy metal. The evening was amplified by special guests Alissa White-Gluz, Elize Ryd, Charlotte Wessels, Lauren Hart, the string ensemble Eklipse, producer and guitarist Sascha Paeth, and more, deepening the production’s orchestral scale and vocal color.

The Setting and the Vision

013 Poppodium is a favored stage for heavy music, and Kamelot treat it as both a home base and a launching pad. With a focus on contrast and momentum, the band move from shadowy atmospheres into full-bore choruses, balancing precision riffing with wide-screen symphonic textures. The presence of Eklipse adds an organic string sheen that interlocks with Oliver Palotai’s keys, while the rhythm section keeps tension tight beneath Tommy Karevik’s soaring vocal lines. The result is a live narrative that feels cinematic yet grounded, meticulous yet visceral.

Sacrimony and the Silverthorn Arc

The official live video for Sacrimony (Angel of Afterlife) anchors the release and revisits the conceptual heart of 2012’s Silverthorn. The song stands at the threshold of a new chapter for Kamelot, introducing the Silverthorn storyline of tragedy, guilt, and redemption, and marking Karevik’s first studio appearance with the group. On stage, the piece sets its tone with ominous vocal motifs and suspenseful orchestration, then surges into a muscular main riff and a chorus engineered for catharsis.

The arrangement thrives on dynamic design. Double-kick impulses from the drums and tight-downstroke guitar lines drive the verses, while cinematic keys and strings bloom in the bridges. Alissa White-Gluz’s harsh vocals carve through the mix, heightening the song’s darker narrative edges, and Elize Ryd’s crystalline harmonies broaden the melodic arc. Their exchanges with Karevik create a three-voiced tableau, shifting from confessional fragility to operatic intensity. Live, those layers translate with striking clarity, each timbre occupying a distinct emotional register.

Vocal Chemistry and Theatrics

Sacrimony thrives on interplay. Karevik navigates the melody with agility, leaning into dynamic phrasing and dramatic pauses that leave space for the guest voices to ignite. Ryd’s lines add brightness and a sense of uplift, while White-Gluz’s growls serve as narrative counterpoint, a reminder of the weight that underpins Silverthorn’s plot. Rather than stacking vocals simply for volume, Kamelot use placement and contrast to build tension, so that every return to the chorus feels earned.

Guests, Arrangements, and a Collaborative Tradition

Kamelot have long embraced collaboration, and the Tilburg performance amplifies that identity. The string players of Eklipse accent recurring themes and transitions, lending chamber-like detail to a sound often associated with digital orchestration. Appearances from Charlotte Wessels, Lauren Hart, and Sascha Paeth elsewhere in the set underscore the group’s community-minded approach, where different voices and textures serve the narrative thread rather than fragment it. The result is a show that plays like a curated anthology of the band’s aesthetics, from neoclassical flourishes to muscular power metal drive.

Production and Sound

The concert film was produced by Jens De Vos for Panda Productions, with mixing and mastering by Sascha Paeth. The audio emphasizes balance and separation, so fast-picked guitars and intricate keyboard passages sit comfortably beneath the vocals without overwhelming the strings or rhythm section. Paeth’s mix keeps attack and ambience in check, capturing the band’s punch while preserving the space needed for orchestral detail. The production favors clarity over excess, which suits a set that pivots frequently between hushed interludes and high-impact climaxes.

What the Release Offers

I Am The Empire – Live From The 013 is available as a live album and visual release, complete with backstage interviews featuring the band, guests, and fans. The package operates as both a gateway for new listeners and a keepsake for longtime followers, mapping Kamelot’s evolution with a focus on performance, arrangement, and the communal energy that fills the room when the songs connect.

The Band on the Night

Tommy Karevik – Vocals
Thomas Youngblood – Guitars
Oliver Palotai – Keys
Sean Tibbetts – Bass
Alex Landenburg – Drums

Artist Statement

Tommy Karevik on Sacrimony (Angel of Afterlife): “We can now proudly announce that the first video to be released from the show will be ‘Sacrimony (Angel of Afterlife)’. The song marks the beginning of a new era as it was one of the main songs on Silverthorn, the first Kamelot album with me as the singer. Enjoy!”

Why This Document Matters

For a band defined by tension and release, melody and magnitude, the Tilburg set captures Kamelot at full focus. Sacrimony, in particular, crystallizes the group’s strengths: storytelling that invites multiple voices, arrangements that embrace both weight and air, and a commitment to performance detail. It is a potent reminder that symphonic metal, when presented with care and conviction, can be as immediate as it is expansive.