Kamelot brought their Dark Asylum World Tour to the O2 Ritz in Manchester on Tuesday 3 November 2026. Two support acts travelled with them: Temperance from Italy, and Exit Eden, an international project of three female singers. The three groups gave three different views of melodic and symphonic metal, from operatic harmonies to heavy guitar riffs and darker orchestral writing. The evening ran on time and without delays, and each support set lasted roughly 30 to 40 minutes.
Temperance opened the night with melodic and symphonic metal that placed vocal harmonies and strong choruses at the front. Heavy guitar riffs shared the stage with keyboard lines. The songs moved between hard instrumental sections and calmer, almost classical vocal passages.
Kristin Starkey was the most impressive member of the band. Her voice was powerful, and she changed easily from regular metal singing to an operatic style. Guitarist Marco Pastorino sang as well, and Michele Guaitoli gave the group a third strong voice. The three of them handed the melody to one another much as members of a small choir would. The musicians worked well together and reacted to each other throughout. Several times they asked the crowd to clap along, and the crowd did. As an opening, it set the direction of the evening.
The set included ‘The Magician: Into the Fire’ and ‘Of Jupiter and Moons’. ‘The Devil: Sin, Sin, Sin’ came next, followed by ‘The Tower: Lean Into Fear’ and ‘The Last Hope in a World of Hopes’. Three of these songs belong to Arcani, their 2026 album. The band relied on musicianship and good songs, and the mix of voices gave the set its character.
Exit Eden played second and brought three singers with different musical backgrounds. Anna Brunner from Germany and Clémentine Delauney from France were joined by Chiara Tricarico from Italy, who sang in place of Marina La Torraca on this tour. Each voice had its own character, and that was the main attraction of the set.
Guitar, bass and drums supported the singers, who stood at the centre of the stage in matching black outfits. The idea behind the band was easy to describe. It takes songs that people already know and plays them with heavier guitars and strong female vocals, with orchestral touches added.
Journey’s ‘Separate Ways’ was an early highlight. Lady Gaga’s ‘Paparazzi’ drew a lively reaction, because many people knew the song and sang along. The band also played Mylène Farmer’s ‘Désenchantée’. These familiar melodies made the set easy to follow for anyone who had not heard Exit Eden before.
The band had original songs as well. ‘Femme Fatale’ and ‘Dying in My Dreams’ showed that side, and ‘Buried in the Past’ did the same. The vocal arrangements were often operatic, with strong harmonies and sudden shifts in intensity. The three voices sounded like separate instruments inside one arrangement. The guitars gave the music a heavier base, and some passages were technically impressive, with tapping and fast shredding. The musicians headbanged and played with plenty of energy. The singers stayed in regular contact with the audience.
During ‘Run!’, Michele Guaitoli of Temperance appeared as a guest, which linked the two support acts. The set ended with ‘Impossible’, originally performed by Shontelle. Exit Eden offered a different version of symphonic metal, with pop songwriting set against heavier instruments. It was an entertaining set and a good introduction to a project that unites three distinctive voices from different countries.
Kamelot came to Manchester to promote their latest album, Dark Asylum, which was released in August 2026. The American band has a recognisable sound. It takes the speed and technical precision of power metal and joins them with symphonic arrangements, and it adds darker, atmospheric passages and memorable vocal melodies. The music moves from aggressive guitar riffs to elaborate keyboard sections and keeps its identity throughout.
Tommy Karevik sang, and Thomas Youngblood played guitar. Oliver Palotai played keyboards and Sean Tibbetts played bass. Alex Landenburg was on drums. Karevik was an engaging frontman. He sang with strength and spoke to the audience often. On stage he looked fully at ease. His clean, expressive voice suited the mix of power metal and symphonic arrangements, and it rose above the band much as a lead violin rises above an orchestra.
The show opened with the atmospheric introduction ‘Sanctorium’, and ‘Ashen World’ followed. That song set the darker tone of the new material. ‘The Great Pandemonium’ and ‘Rule the World’ brought earlier material back, and ‘Liar Liar (Wasteland Monarchy)’ was another familiar highlight.
The first guest appearance added another dimension. Ignacia Fernández joined the band early in the set and sang with a noticeably heavier edge. Her growls formed a sharp contrast to Karevik’s clean delivery. Clémentine Delauney appeared later in the show and gave the vocal arrangements more depth. Both guests also sing on the album Dark Asylum.
‘Godlike Alchemy’ and ‘Karma’ continued the set, and ‘Revolution’ brought another interesting vocal pairing. The contrast between the high vocal notes and the guitar work was effective. At certain moments it was difficult to tell whether a sound came from the guitar or from one of the female vocalists. It was one of the more unusual musical details of the evening.
The visual side of the show mattered a great deal. Kamelot used stage platforms on several levels and carefully placed spotlights. A good deal of smoke filled the stage. The darker lighting suited the new material and gave the show the feel of a theatre production.
Palotai was entertaining to watch. At times he stayed behind his keyboard setup, and at other times he moved to the front of the stage with a portable keyboard. His part was essential to the band’s sound, and his keyboard solo later in the concert gave a welcome chance to hear his technical ability.
The next part of the set included ‘Nocte Veritas’ and the title track ‘Dark Asylum’. In the title track Delauney made another striking appearance, in a long black dress and a mask. Her stage presence and voice contrasted well with the heavier contributions of Fernández.
‘Ivy, My Dear’ came next, and then Landenburg took his place for a drum solo. The band returned with ‘One More Flag in the Ground’, which came with a large black flag. Palotai then had his moment with the keyboard solo.
One of the most memorable scenes came during ‘Sanctuary’. A throne became part of the stage setting, and the two guest vocalists appeared again. The costumes and lighting matched the playing, and the throne and the two costumed singers gave the scene the look of an opera tableau. It showed how the band used visual elements to support the music.
The main set ended, and the audience wanted more. The band returned for an encore. The final moments held another theatrical scene, with the guest performers back on stage. It was a strong finish to a show that had mixed material from the new album with established favourites.
Kamelot gave a performance that depended as much on presentation as on musical precision. Each musician had room to show skill, and Karevik remained a confident and convincing frontman.
To summarise, the evening at the O2 Ritz showed how varied melodic and symphonic metal can be. Temperance opened with a strong melodic set, and Exit Eden placed familiar songs in a heavier setting. Kamelot delivered a carefully crafted headline show with strong musical and visual detail. Each band offered something different, and that variety made the night work. Kamelot were the natural highlight, with powerful vocals and theatrical production, and they gave Manchester a good reason to spend a Tuesday evening at a metal concert.
