Deep Purple in Oslo: Old Classics, New Discoveries and a Keyboard Wizard Stealing the Show
Oslo Spektrum, Oslo, Norway – 28th October 2026
IMAGES KENNETH SPORHEIM / WORDS THOMAS KIRKEBY
I've never really considered Deep Purple one of my favourite bands. I own several of their albums, but even their biggest classics have never quite had the same effect on me as they seem to have on millions of other fans. Take "Smoke on the Water", for example. One of the most iconic guitar riffs ever written? Absolutely. A particularly exciting song? Not to my ears.
I've also struggled with the band's live recordings. Songs that are perfectly enjoyable in their studio versions stretch into seemingly endless instrumental passages, and I've often wished they would just get on with the next song.
But perhaps I've been missing the point all along.
This was my second time seeing Deep Purple, having caught them at Norway's Tons of Rock festival just over three years ago. I enjoyed that performance and was curious to see what they could deliver this time.
It was also my first visit to Oslo Spektrum since the arena reopened in September. Although the surrounding area is still a building site, the venue was ready to welcome another legendary rock band. What surprised me was the seating arrangement, with chairs even directly in front of the stage.
The last time I remember attending a rock concert here with an entirely seated audience was Elton John's Made in England tour in 1995. On that occasion, everybody was on their feet before the first song was over. Would the same happen tonight?
Before Deep Purple, we were treated to British newcomers Jayler, a band I knew nothing about until a few hours earlier. I'd listened to a couple of their songs on Spotify before leaving home, and they immediately caught my attention.
They were almost halfway through their set when I found my seat, but my first impression was quickly confirmed. Jayler deliver energetic, riff-driven hard rock with obvious Led Zeppelin influences, while the powerful, high-pitched vocals bring Greta Van Fleet to mind.
I enjoyed them so much that I bought a signed copy of their album Voices Unheard afterwards. Considering I'd discovered them only a couple of hours earlier, I can't think of a much better compliment.
As Thin Lizzy's "The Boys Are Back in Town" played over the PA, Deep Purple prepared to take the stage. Behind them, the screen displayed an animated journey through their album artwork, from 1968's Shades of Deep Purple to this year's SPLAT!.
Then came "Highway Star", from 1972's Machine Head.
Instrumentally, everything was spot on. Ian Paice's drumming, Roger Glover's bass, Don Airey's keyboards and Simon McBride's guitar sounded tight and powerful. Close your eyes, and this was Deep Purple exactly as you would want them to sound.
Unfortunately, the same couldn't be said for Ian Gillan's vocals.
The high notes were clearly beyond his reach, and at times it was uncomfortable hearing him struggle. Of course, Gillan is now 81, and nobody can expect him to reproduce the extraordinary vocals of his younger days. But why open with one of the most demanding songs in the band's catalogue? Does his voice cope better with it early in the evening, or is this his way of warming up?
His stage presence didn't help. While the musicians around him appeared fully engaged, Gillan moved slowly around the stage, occasionally staring blankly into the distance. At times, he seemed almost robotic.
Thankfully, things improved.
"A Bit on the Side", from 2024's =1, suited his present vocal range much better. Paice was particularly impressive behind the drums, while Airey's keyboards were already demanding attention. I only wished McBride's guitar had been more prominent in the mix, although that might have been down to where I was sitting.
Gillan handled "Into the Fire", from 1970's Deep Purple in Rock, well, and the band sounded wonderfully tight.
Then he spoke to the audience for the first time.
And he smiled!
Suddenly, the distant figure from the opening songs seemed a little more human.
Gillan introduced Simon McBride, the Northern Irish guitarist who joined Deep Purple in 2022 following Steve Morse's departure after more than 25 years. McBride demonstrated his considerable abilities during an extended solo, although even the most impressive guitar solos can outstay their welcome.
It led into "Arrogant Boy", from SPLAT!, released in July. With everyone still seated, it was difficult to judge the audience's enthusiasm. I wondered whether the band felt the same way. An arena full of seated spectators inevitably looks less energetic than a standing crowd.
After some largely inaudible banter from Gillan, who brought out his harmonica, the band launched into another new song, "Diablo". This sounded considerably more exciting live than it had when I'd listened to it earlier. And that was when something began to click. Perhaps Deep Purple were simply a band that needed to be experienced in person.
Gillan then introduced Don Airey, who took over the keyboards following Jon Lord's departure in 2002. Having worked with Rainbow, Ozzy Osbourne, Whitesnake and Gary Moore, among others, Airey has an impressive musical pedigree. His first extended solo was a remarkable display of technical ability, imagination and humour. At one point, he held a single note while a waiter appeared carrying a glass of wine on a silver tray. Airey raised his glass to the audience, took a drink and casually resumed playing.
Wonderful! The solo developed into "Lazy", another Machine Head classic, and suddenly I was enjoying myself more than at any previous point in the concert. The audience seemed to agree, giving the song the strongest response of the evening so far.
Then came one of the songs I'd most looked forward to: "Sometimes I Feel Like Screaming". Originally released on Purpendicular in 1996, the first Deep Purple studio album featuring Steve Morse, it has a beautiful, haunting guitar melody that had caught my attention again while revisiting the setlist earlier in the day. McBride played the theme beautifully, and hearing it live took my appreciation of the song to another level. Admittedly, the melody is repeated so often that there's a danger of it wearing out its welcome. But for now, I'm firmly under its spell.
The band returned to SPLAT! with "Sacred Land". Musically, it was another strong performance, although Gillan again appeared detached, standing almost motionless and staring ahead as though reading from an invisible autocue. Afterwards, he explained that the song was about Scottish clans before launching into a peculiar story about his cat. Apparently, it weighed 40 kilos. A puma, no less.
There was also something about Gillan drinking whisky, the cat drinking wine and the house suddenly being on fire. Much of the story was lost in the arena's noise, but judging by the laughter, at least some of the audience caught the punchline.
"Lazy Sod", another track from =1, followed, with Airey once again providing excellent keyboard work. Glover, meanwhile, remained relatively anonymous on the left-hand side of the stage, seemingly content to let his bandmates command the spotlight.
Then came Airey's second extended solo.
And this time, he really let loose.
What followed was an extraordinary journey through classical music, thunderous organ passages, heavy rock and moments bordering on space rock. At times, I was reminded of Keith Emerson and the wonderfully unpredictable keyboard adventures of Emerson, Lake & Palmer. Airey moved effortlessly between styles, even incorporating Edvard Grieg's "In the Hall of the Mountain King", which naturally received an enthusiastic response from the Oslo audience. There were majestic, almost cathedral-like organ passages, followed by moments of crushing heaviness. Throughout it all, Airey looked as though he was having the time of his life. This wasn't simply a musician showing off. It was a performance full of humour, imagination and genuine musical excitement.
For me, he was unquestionably the star of the evening.
The solo flowed into the magnificent "Perfect Strangers", the title track from the band's 1984 comeback album. Its dramatic atmosphere sounded particularly powerful in the arena.
"Space Truckin'" brought us back to Machine Head, with Glover finally moving to centre stage. Gillan's voice was noticeably stronger by now, and he handled the song considerably better than he'd managed "Highway Star".
Glover also threw a few guitar picks into the audience. At most rock concerts, this would have triggered a minor battle among the fans at the front. With everyone sitting comfortably, however, the scramble was... rather less dramatic.
Then McBride stepped forward and began playing one of the most recognisable riffs in rock history.
"Smoke on the Water".
This was clearly the moment many had been waiting for. Oslo Spektrum lit up with mobile phone screens as people recorded the performance. Me included. As I've admitted, the song has never been a favourite of mine. But there's no denying the impact of that riff live. Gillan sounded comfortable singing it, and towards the end, the musicians stopped playing to let the audience take over the chorus. The reaction when the song ended was enormous. So enormous, in fact, that Gillan couldn't help laughing to himself.
"Thank you. We ain't done yet."
And thankfully, they weren't.
The instrumental "Guinnesis" led into "Hush", originally written by Joe South and included on Deep Purple's 1968 debut album. The familiar "na-na-na" sections had people singing along, while plenty of heads nodded enthusiastically. Airey and McBride entertained us with a playful call-and-response exchange, trading musical phrases between keyboards and guitar. Great fun, although perhaps a little longer than necessary. Glover then enjoyed a brief, rumbling bass solo before Paice kicked off the final song, "Black Night". The 1970 single provided a fittingly energetic conclusion to a concert that had been far more entertaining than I'd anticipated. And somewhere during those final songs, I realised something. These were songs I'd heard countless times on albums and Spotify, songs I'd often considered perfectly decent but rarely particularly exciting. Yet here they were, sounding bigger, heavier and more alive than I remembered.
Even the extended solos and improvisations, the very things that have always made me impatient with Deep Purple's live albums, suddenly made sense. Watching these musicians interact, experiment, joke and challenge one another is entirely different from listening to the same music at home.
Deep Purple may not be my favourite band, and Gillan can no longer sing everything he once could. His detached stage presence remains something of a mystery to me. But surrounded by musicians of this calibre, particularly the extraordinary Don Airey, he is still part of a remarkably entertaining live band.
I arrived expecting an enjoyable evening with a legendary group whose music I'd never completely connected with. I left with a new appreciation of what makes them special.
Perhaps Deep Purple have always been a live band first and foremost.
It just took me a little longer to realise it.
SETLIST
1/ Highway Star
2/ A Bit on the Side
3/ Into the Fire
4/ Guitar Solo
5/ Arrogant Boy
6/ Diablo
7/ Keyboard Solo
8/ Lazy
9/ Sometimes I Feel Like Screaming
10/ Sacred Land
11/ Lazy Sod
12/ Keyboard Solo
13/ Perfect Strangers
14/ Space Truckin'
15/ Smoke on the Water
16/ Guinnesis
17/ Hush
18/ Black Night
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