Sabaton Turn Zurich Into a Battlefield of Legends

Sabaton Declare War on Zurich with a Legendary, Fire-Soaked Act II

Buckle up – because Zurich’s Hallenstadion wasn’t finished yet. After a breathtaking opening set by The Legendary Orchestra (review here), delivering a masterful reimagining of Sabaton’s catalogue, it was finally time for the titans themselves to prove why this tour is called The Legendary Tour. And no – it’s not just because of the album title.

Zurich’s Hallenstadion barely had time to breathe before history itself marched back onto the battlefield. Because Sabaton aren’t just stepping on stage, they’re stepping into character. And apparently, every historical ego in existence is determined to fight for the spotlight. A battlefield of legends – literally.

“I will conquer all, I will rule you”, Napoleon once proclaimed. At least according to Sabaton. And on the night of November 18^th, he absolutely did, at least for a moment. In the middle of the packed audience pit, a small secondary stage erupted in flames. Fans chanted “Sa-ba-ton!” in perfect rhythm … only for the wrong emperor to appear.

Napoleon strutted onto the stage, setting the tone for the next chapter of this historical fever dream. But his triumph didn’t last long. Moments later, Genghis Khan stormed in, questioning Napoleon’s legendary status. After all, who could possibly outshine the undefeated Mongol warlord?

Well, maybe Julius Caesar. He came, he saw, and he conquered – the stage, at least. Cue snarky threats, historical one-liners, and one question hanging in the air: Who is the true legend of the legends? Enter Jacques de Molay, leader of the Knights Templar, accompanied by four armoured knights. “The history belongs to the people”, he declares – and he is not wrong. Especially when Sabaton are the ones reinterpreting it.

Templars — and Sabaton Reveal Themselves: The majestic, choir-laden intro of “Templars” resounded as an enormous runway bridge descended into the crowd, connecting the small pit stage to the colossal main fortress. Those four Templars? Not monks, not actors. But Sabaton themselves: Joakim Brodén on vocals, Pär Sundström on bass, Chris Rörland and Thobbe Englund on guitars. And high above them, perched on a drum riser held by massive metal talons: Hannes Van Dahl, everyone armoured like warriors of old.

A medieval epic soaked in cinematic grandeur, the perfect opener to Sabaton’s half of the night. The bridge carried the band forward like a victorious army advancing towards its people. The crowd? They followed every step with wide, shining eyes. And of course, nothing screams “Sabaton is here” like pyro detonations shaking the entire arena.

Hordes of Khan – Sabaton Go Full War Mode: The moment “Hordes of Khan” hit, the temperature skyrocketed to 40°C. Aggressive, fast, unstoppable – tribal drums, explosive bangs, and the band in their signature military cargo pants and black tops. The flames? Spectacular. Your eyebrows? Probably gone.

Napoleon Returns – With Cannons: Then came his moment. Napoleon marched back onto the stage with French officers rolling in actual cannons. “I, Emperor” exploded into the arena – grand, imperial, triumphant. The cannons fired in perfect rhythm, sending the crowd into a frenzy. Kids on parents’ shoulders, heads thrown back in awe – cinema made real.

Caesar Strikes Back – “Crossing the Rubicon”: But triumph never lasts long in Sabaton’s universe. Caesar resurrected himself from the dead and declared: “It’s my story. I cannot kneel. I was created to rule”. “Crossing the Rubicon” thundered in – sharp, martial, dramatic. A turning point in the set, perfectly aligned with themes of destiny and inevitability.

Costume changes, Joakim’s roaring vocals, Thobbe and Chris unleashing electrifying solos, Pär Sundström’s relentless rhythm section – all crowned by Hannes Van Dahl’s hammering strength.

Stormtroopers – Sabaton Literally Blow Up The Stage: And yes, they played “Stormtroopers”. And yes, the stage literally exploded. Joakim pressed a detonator. Something blew up. Silence.

Just kidding. Hannes shattered the tension by launching into a massive drum solo as “A Tiger Among Dragons” rose. His drum kit lifted into the air on those enormous talons, ascending like some mythical beast. With both guitarists switching to oversized drums on each side of the stage, Joakim briefly grabbed a guitar himself. It didn’t last long, but the fans did get a rare moment of four-guitar Sabaton.

A Quiet Thank You, A Loud Christmas Truce: Between songs, the band exchanged jokes until Pär Sundström took the mic and grew emotional, reflecting on the band’s climb from nothing to selling arenas worldwide. Then the choir of The Legendary Orchestra, led by Noa Gruman, appeared high above the stage.

Cue “Christmas Truce”. The arena went dark. Under Pär’s instructions, thousands of phone lights transformed the Hallenstadion into a glowing Swiss Christmas tree. It wasn’t just beautiful. It was unity.

Soldier of Heaven – And a Special Surprise: “Soldier of Heaven” followed – dramatic, theatrical, chilling. And then: Noa Gruman returned for a surprise duet with Joakim, sending the audience into turmoil.

Attack of the Dead Men – Gas Masks On: Fans knew exactly what was happening the second Joakim entered in a gas mask. “Attack of the Dead Men” unleashed chaos – mosh pits, choir harmonies from Noa and the orchestra, and the band marching through the crowd in full theatrical immersion.

Primo Victoria – The Sabaton National Anthem with an Earthquake Edition:  Let’s keep it short and sweet. The crowd detonated. Unity, volume, pure electricity. A highlight that absolutely defines the “Sabaton live experience”.  For the second-to-last track “To Hell and Back”, the Hallenstadion turned into a giant trampoline. Thousands jumped in unison, feeling like the sold-out arena was attempting to start an earthquake.

Encore: Master of the World – Confetti Apocalypse: No bombs for the finale, this time, Sabaton unleashed a confetti explosion. A blizzard of colour engulfed the hall as children on shoulders waved wildly, parents’ spines cracking under the enthusiasm.

In Conclusion: Sabaton Out-Sabatoned Themselves: Sabaton exceeded even their own standard of theatricality, delivering a show that was historically charged, musically explosive, emotionally massive, visually overwhelming, and theatrically unmatched. A masterclass in how to turn history into heavy metal mythology.