Opeth’s Mikael Åkerfeldt recently made a confession about his complicated relationship with touring. He revealed his ongoing struggles with the demanding aspects of life on the road in an interview with Blabbermouth.
The progressive metal frontman addressed his well-documented dislike of touring. He also discussed whether his perspective has evolved as the band performs at bigger venues.
Åkerfeldt was candid about his ongoing challenges when asked if his feelings about touring have improved now that Opeth is playing larger and better venues.
“It’s probably for the worse. I don’t particularly enjoy touring that much. There are aspects that I do like. The shows in themselves are the highlight of the day, I would say. But if you’re not feeling it, they can also be a bit of a curse,” he said.
The musician went on to describe the physical and mental toll that touring takes on him.
“I’ve been battling insomnia connected to touring, like nervousness. I put a lot of pressure on myself for some reason — more now than before. The insomnia has made me feel quite wobbly and insecure when we play shows. Once I’m up there, it’s kind of business as usual. After a couple of songs, I don’t feel as wobbly, and after a while, I might be able to enjoy it,” he explained.
Åkerfeldt then made a striking comparison between touring and factory work. He highlighted his creative frustrations with live performance.
“Touring, for me, is like working in a factory. It doesn’t feel ‘musical’ to me. We’re chasing the recorded versions and trying to play them as perfectly as we can. Of course, we can never do that. We sound good; I think the band sounds better than ever. I sing well. We’re tight. We are better than ever, but we’re still chasing a ghost, I think, up there. I don’t necessarily feel that it’s creative work,” he said.
“It’s repeating something that you did, in some cases, many years ago. When I’m in the zone and feel confident, I like that type of interaction with the crowd. Of course, I’m fucking amazed that people are coming to see us, more so now than ever. We’re doing really well. I feel like an ungrateful bastard for not enjoying it as much, but it’s always been like that for me. I love the creative work. I really want us spend more time writing music, as opposed to repeating old music,” he continued.
Åkerfeldt revealed this has been an ongoing internal debate when pressed about whether he might eventually stop touring altogether.
“It’s been an ongoing conversation for 10 or 15 years. I constantly say that. I constantly feel that, but I also feel responsibility toward the band, our crew and our fanbase. I do it more for them than for myself. If I don’t move, nobody moves. It sounds like a glorious position to be in, but it’s a bit of a cross to bear. I feel a bit stressed about that. It also goes against my nature because I chose this line of ‘work’ because I wanted to do what I wanted to do. Now, sometimes, I’m not doing what I want to do when I’m touring,” he said.
Åkerfeldt’s comments come at a time when Opeth continues to experience significant commercial success and fan enthusiasm despite these personal struggles.
The band is currently in the midst of promoting their latest work. Their official tour website announced extensive touring plans for 2026 in support of their 14th album The Last Will and Testament. This latest release marks a significant return to form for the Swedish progressive metal pioneers. It features Åkerfeldt’s return to growling vocals after years of focusing primarily on clean singing.
Brooklyn Vegan reported that the band’s upcoming North American tour with Katatonia will begin at Montclair, New Jersey’s Wellmont Theater on February 5, 2026. The extensive tour schedule demonstrates the continued demand for Opeth’s live performances. This comes even as their frontman grapples with his personal relationship to touring.
Live Nation confirmed that the band’s 2026 tour dates span multiple continents, including shows across North America, Europe, and Australia. This global reach reflects Opeth’s status as one of progressive metal’s most enduring and influential acts. They have built a dedicated international fanbase over their decades-long career.
The irony of Åkerfeldt’s touring dilemma becomes even more apparent when considering the band’s current trajectory. While he describes the experience as factory-like work, fans and critics continue to praise Opeth’s live performances for their technical precision and emotional depth. The disconnect between artistic fulfillment and professional obligation that Åkerfeldt describes represents a common struggle among veteran musicians. These artists have achieved commercial success but yearn for creative freedom.
Åkerfeldt’s comments highlight the ongoing tension between artistic fulfillment and the demands of maintaining a touring career in the music industry despite Opeth’s current success and popularity.
