Schijnheiligaards + Surprise Act - Live @ Ancient Belgique, Brussels

It's been a while since Schijnheiligaards released their last album Minnaars onto the world, but it's taken until now for the band to start touring again, bringing an unknown Surprise Act to open up for them. The release of Minnaars wasn't without it's controversy since the album has been rejected by Metal-gatekeepers - dismissing it's more melodic approach as a sellout move - and downright attacked by the type of Andrew Tate-admiring men, victim blaming Laura Broeck for speaking out about her experiences with a former lover. Still, the Ancient Belgique is a full house tonight, with a mostly female crowd. It's clear that a lot of people present have been waiting for this night for reasons that go beyond the music. There is a strange tension of expectancy hanging in the room.

Then the lights dim to announce the unknown opening act and the crowd goes quiet. Suddenly a growling voice whispers through the darkness, 'Brussels, are you ready? From New York, USA, we are Cornucopia!!!!' It takes a second for the crowd to realise just what kind of Surprise Act is being offered to them and you can hear a collective gasp of disbelief as an angelic voice, that can only be coming from Aisling O'Halligan, soars through the room, the lights go on and Cornucopia bursts into Faith, immediately firing on all cylinders. What a way to start the evening, as the song's triumphant tone gives an instant boost to an already bewildered crowd. Clearly, this isn't enough for bassist Caesar, as he keeps running from one side of the stage to the other, stirring up the crowd for more with a wide grin that will not leave his face for the rest of the set. 8 minutes of Symphonic Progmetal Glory with a capital G. The response at the end is instantaneous. Then Aisling O'Halligan takes the floor, 'Brussels, we're very grateful to be invited here tonight. We don't have much time so I'll cut this short. Thanks to Titus and the rest of 'Skinehighlughaerds', yes, I've been practicing, for inviting us over! This one's called Death Is The Kindest! What am energy this band is having tonight! Pounding drums over extensive soloing, while O'Halligan's mezzo-soprano simmers like a nightingale. Without taking a pause, the band kicks into highest gear with The Devil's Castle, saving the best for last as this song is considered the highlight of their debut-album The Broken Crown. This is the moment where rhythm guitarist Aaron Jones gets to shine. His threatening death grunts, while being backed up by Caesar and keyboardist Philip Cannadine, are a clever trick unique to them, as it allows Cornucopia to create melodies by forming chords with this gutteral vocal style. It's a shame there isn't any more time left after this. There's only so much a Progband can do in the timespan of a thirty minute set.

But wait. Before the cheers and roars of everyone present have died down, the band walks back onto the stage and miss. O'Halligan takes the floor again. 'We've just been told we can play you one more. Thanks to you all for the love you've given us. You guys are the best, let's make this one special!' Something special, indeed! A Traveler In Time, their very first release. I can't remember how long it's been since that song has appeared on their setlist. It's more acoustic approach forms a beautiful contrast after the high octane energy of what came before.

After that, it takes a good 40 minutes of waiting for the main attraction. Meanwhile, the atmosphere is being set as Luxxe's Venom Theory is playing in the background. Well, not exactly background, someone has decided to play these Dark Wave tunes at quite the volume. It's clear, and obvious these songs are being appreciated by the fans. Probably has something to do with the album's main theme, an interestingly contrasting approach to the same content as Minnaars.

And again, the music fades, the lights dim and the crowd erupts. This is what everyone here came for. Then the voice of Laura Broeck Starts singing, 'Spiegelbeeld, Spiegelbeeld, Zeg wie ik ben', and the room goes silent as one beam of blue light slowly reveals Laura and the buildup of the album's opener slowly progresses. First there's that voice, then she starts playing her bass, half-brother Jochem Broeck joins in with that tribal pattern on his Toms as Laura voice keeps growing more desperate, that unnerving tension keeps building until Jurgen and Titus Timmermans guitars announce the arrival of the onslaught that is Niks Zonder Mij and the room just explodes. The anger with which everyone in the front row spits out the words along with Laura, 'Gij, Zijt, Niks, Niks zonder mij! Gij, Kunt, Niks, Niks zonder mij!' It's the perfect opening for a night of Catharsis.

Unfortunately, something is off after that opening combo. You can feel that during Zij Die Nimmer Sprak and Bitterzout Tranendal, the energy starts to unravel. The musical performance isn't the problem. Laura's voice is in an exceptionally good shape, Jochem's playing on the drums is as amazing as ever, but why is everyone in the band so dead serious. There is no sense of interaction, not towards the crowd, not even amongst themselves. It's as if the band is too self aware of the entire context that casts a shadow over Minnaars. Everyone can feel it. Laura seems distracted, as her attention is constantly attracted to a certain point, somewhere in the front row.

Then the band kicks into Heer En Meester and it happens. 'Stop!' Laura stops the show and addresses a girl in the front row that was holding up a sign to her. 'Gij! Ja, gij daar, met uw bordje! Gij met uw bordje! Ik heb u gezien! Verstaat ge wat ik zeg? Ik heb ú gezien, en ik wil u bedanken!' Her voice breaks and tears are beginning to appear in her eyes. 'Ik wil u bedanken, omdat ik nu weet dat ik niet alleen zijn. En ik wil ook dat gij weet, dat gij ook niet alleen zijt, nie' meer, want ík heb ú gezien! Ík zie ú! Verstaat ge?'

'Ik wil iedereen hier bedanken! Merci allemaal! Golle weet nie hoe belangrijk golle allemaal zijt! Niet gewoon voor mij, maar voor mekander! En ik wil dat golle allemaal weet da golle belangrijk zijn! Golle zijt allemaal waardevol, en laat u niks anders wijsmaken! Ik zien olle allemaal graag, vanuit de bodem van mijn hart! Onthoudt da! Ik hoop dat golle allemaal gelukkig zijt! Als da nie zo is, geen zorgen! Alles komt allemaal goe! Vroeg of laat zal alles terug goe komen! En vecht! We moeten allemaal blijven vechten voor ons geloof in de liefde! Want ondanks alles, als we da geloof verliezen, dan is alles verloren! Iedereen merci! En gij zeker, merci! Ik weet hoe dat ge u voelt, ik verstaan het! Merci!'

This is where her emotions take the best of her, and Jochem runs from his kit, as he and Titus comfort her in an embrace. Then, out of the blue, Jochem let's go of his little half-sister and jumps into the frontstage.

This sudden gesture of Jochem, changes the entire atmosphere. You can hear a pin drop as everyone is left speechless at what has just happened. When Jochem gets back to his drumkit the band regains itself and starts playing again. This is where the triptych of Heer En Meester, Wil Niet Wat Ik Wou and Slavinnennacht begins. This is by far the part of Minnaars where that album is at it's darkest and cruelest. This is where it happens, where the band suddenly starts playing to the crowd, and the band feels interlocked with one another. Like magic, the band starts rising above itself and by the time the band reaches Slavinnennacht, this has become more than just a metal concert. Just looking at the crowd, how everyone seems to be screaming their lungs out along with Laura, crying their hearts out in the process. This has become a Cathartic experience, a collective sharing of pain and trauma. It makes the last three songs, where the pain and anger makes way for the utter sadness, so much more powerful.

After that, Schijnheiligaards leave the stage, but not before they show their gratitude to the crowd. Everyone in the room seems emotionally exhausted, but when people start to make eye contact with one another a collective message seems to go through to each and everyone.

Watching this performance gives an extra meaning to the album Minnaars. Where the album initially feels like we are left with the person Laura Broeck broken into pieces, tonight we saw a person who slowly, but surely is on her way to finding herself again. No matter what that special someone made her believe, we have seen her now, and she is valuable, as we all are.