Interview: Martin Mendez of Opeth Talks Australian Tour

Following the release of OPETH‘s complexly brilliant, fourteenth album, bassist Martin Méndez took the time to talk on The Last Will & Testament and touring ahead of 2025’s Australian headline shows.

SR: Good evening Martin, thank you on behalf of SPOTLIGHT REPORT, and, whatever it may entail, happy festive season!

MM: Thank you so much. It’s been good so far – I’m with my two kids; it’ll be full on but, of course, nice.

SR: For fans, Christmas came early this year with the release of The Last Will & Testament, and announcement of an Australian headline tour to celebrate.

Coined the most “complete OPETH album”, TLW&T has received monumental praise from fans and industry critics alike. I know you don’t like to compare, but has there been something, perhaps, “different” about this record, and the way it’s been received?

MM: As you say, I don’t like to compare because every record is special for their time, and we always try to do our best. On this album though, I can say, we are a matured band. We’ve developed from conversation to performance, and continue developing as musicians and composers, and I think that shows.

Mikael, for example, has always been an amazing composer, but this album? It’s something different. He’s never done these kinds of songs before, and the performance from everyone is outstanding. We’re better players, and we’re really proud and happy with it.

SR: You mentioned there, Opeth’s development and, whilst not necessarily new, certain elements have been seamlessly integrated, reimagining or expanding Opeth’s sound. Death metal growls are back, the prog-sound elevated, and, throughout, TLW&T is infused by literal orchestras and their instruments.

An amazing feat to conceive, what was that creative experience like, and how did the coordination of so many moving parts influence production?

MM: While for some things, like the orchestra which has been featured on many Opeth albums, others, like the harp, we’ve never had before.

One of the newest and biggest things to make a difference, to the album and to the band, giving new energy, is our drummer – Waltteri Väyrynen. This is his first record with us and he really brings something to the band that we were missing in a way. He is younger and has that young energy, which really fits with this album, you know?

But, with all the instruments, all the elements, as you say, Stefan (Boman) did an amazing job; the incorporation of harp, the flutes, the orchestra, and us, with what I think is the “the difference”, Walterryi on drums. We have done so much before, maybe this time it’s in a different way, but it’s still Opeth.

SR: Undeniably epic, TLW&T is not just a musical masterpiece, it is a complexly layered concept album. From unique section symbol titles to the lyrical narrative structure, historical setting and macabre tone, where did this inspired vision come from?

MM: He (Mikael) presented the idea to us halfway – he was writing while we recorded the music, which was done first. He came to us with the theme, the concept, the full story behind it, and, as you say, it’s amazing the way he put it together – every character in the story, the different voices, the narrative changes. It came together, and fits so well with the music.

I’m as amazed as you, and I really like it as well, also.

The whole thing came together, which is… well, when you do this kind of music it can become pretentious, with so much information. It is a lot, of course, it takes many listens to understand it, but I think it came out naturally and is not overloaded.

SR: Definitely. It’s an immensely detailed package but it’s delivered so that it’s incredibly accessible and absorbable. I’ve listened to TLW&T on repeat for days, yet it is damned near impossible to take it all in. To the tour now, in November 2025 you’ll be returning to Australia for the first time in 6 years. Offering sets which traverse TLW&T and other ‘landmark’ moments of Opeth’s music history, what can Australian audiences expect, and what does the band hope for from this eleventh trip down under?

MM: Well, we will do as we usually do; try to cover as much as possible from our discography. We will concentrate on the new album, but we’ll still play our older songs, of course.

What are we expecting? As always, we love to be in Australia and New Zealand. This part of the world is beautiful and we look forward to having a good time – good concerts, good energy. We always love to be with the audience, and the weather! The chance to go to the beach, we don’t always have that when we’re out on tour.

But, yeah, mostly we look forward to playing for you.

SR: Statistically speaking, Opeth has over half a billion music streams to date, and more than a million monthly listeners on Spotify. Beyond numbers though, the fandom is unlike any others. Having seen this passion many times over, do you have any memorable moments that you would like to share with us?

MM: I only have good memories from our fanbase.

It’s overwhelming when people tell us, still today, how much this band and our music is important to them. It makes me so happy, and that’s the fuel that keeps us going.

We don’t do this for money, to get rockstar status. Our music is very complicated and passionate; if you like Opeth then you really do like it. It’s not easy, you have to pay attention and nowadays society is completely different. Some people, they only like 30 seconds before changing and, for a band like us, you have to have the patience to listen. It makes me proud that we still have an audience behind us, and that they really appreciate art in this sense.

“…We don’t do this for money, to get rockstar status. Our music is very complicated and passionate; if you like Opeth then you really do like it…”

Specific fans I don’t know, I just like to meet people and trade this energy, especially during live concerts when you look out and see the happy faces, and Australian audiences really respect that. One time, for example, Mikael threw out his guitar and it went surfing but came back exactly, you know? I don’t know if that would happen at a different concert, or in a different environment.

I don’t know if that answers your question, but it is really nice.