The Eclipse Europe Tour brought Xandria, Seven Spires and Tulip to Zagreb’s Boogaloo on October 1, 2026, delivering an evening that demonstrated just how richly diverse contemporary symphonic metal can sound. Unfortunately, the impressive musical package was confronted by a lower turnout, with the venue far from full—a real pity considering the quality of the performances.
Opening the evening, Texas-based Tulip immediately established an intriguing atmosphere with their blend of symphonic metal, alternative rock, groove-oriented riffs and cinematic textures. Their compact seven-song set, including “The Fall”, “The Witch”, “Midnight in the Desert”, “Ghost of Kyiv”, “Lost Boy” and “Clone” was delivered with confidence and enough sonic weight to make their brief appearance count.
Seven Spires then raised the intensity considerably, proving why they have become one of the more ambitious names in modern symphonic metal. Their music thrives on the collision of power metal, melodic extremity, progressive detail and dark theatricality, while Adrienne Cowan remains an exceptionally versatile frontwoman capable of moving convincingly between clean, operatic and aggressive vocals. Their nine-song set, stretching from “A Fortress Called Home” and “Almosttown” through “Succumb”, “Love’s Souvenir” and “Gods of Debauchery” to “Through Lifetimes” showcased both their technical precision and emotional range.
By the time Xandria entered the stage, Boogaloo had acquired an atmosphere far larger than the crowd itself suggested, with the audience responding enthusiastically to every major musical peak. The German veterans have spent decades refining their symphonic-metal identity, and their current incarnation combines cinematic arrangements, metallic force and Ambre Vourvahis’ commanding vocal presence into a remarkably cohesive live sound.
The set opened strongly with “Syzygy”, “Eclipse” and “Colours”, before moving through “Ravenheart”, “Universal”, “Forevermore” and “The Grand Delusion”, balancing newer material with songs that connect directly to the band’s long history. Vourvahis proved particularly effective at giving the material both grandeur and vulnerability, while the instrumentalists maintained the precision required by Xandria’s dense arrangements without sacrificing the raw impact of a live metal performance. The closing stretch of “Northstar”, “Reborn”, “Valentine”, “Nightfall” and “Lore” provided the kind of dramatic escalation expected from a headlining symphonic-metal performance.
What ultimately defined the Zagreb concert was the contrast between the modest attendance and the strength of the audience response: those who came were fully engaged, creating a surprisingly warm and energetic atmosphere. There was no sense that the bands were playing beneath their level; instead, all three performances benefited from an audience that rewarded musicianship, passion and genuine stage commitment. Xandria in particular demonstrated that symphonic metal can still feel monumental in an intimate club setting, transforming Boogaloo into a cinematic space of soaring melodies, crushing guitars and theatrical emotion. The crowd size may have prevented the concert from reaching its full potential, but musically this was an evening that deserved considerably more attention. For those present, however, the reward was three distinctive bands delivering polished, passionate and genuinely memorable performances.
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