A band that never slows down: Smash Into Pieces live at Åhaga, Borås – concert review
Relentless is perhaps the most fitting word to describe Smash Into Pieces. The Örebro-based quartet have carved out a distinctive space within modern alternative rock, blending cinematic electronics, arena-ready hooks, and a polished fusion of rock and metal influences. Their sound moves effortlessly between radio-friendly choruses and heavier, rhythm-driven passages, allowing them to command both mainstream stages and the European rock circuit.
Over the past year, their momentum has been impossible to ignore. Throughout 2025 alone, they maintained a near-constant touring schedule across Sweden while releasing new material, including the album Armaheaven.
More recently, they returned to Melodifestivalen, Sweden’s national selection for the Eurovision Song Contest, with the single “Hollow”. Co-written and produced with Philip Strand of Normandie, the track carries subtle traces of his influence, making the connection I noted during their Trädgår’n show last autumn – where songs like “Broken Halo” brought Normandie to my mind – feel even more fitting, highlighting the band’s evolving and increasingly crossover-friendly sound.
And just weeks after stepping off the Melodifestivalen stage, Smash Into Pieces were back on the road again, showing no signs of slowing down.
Back in Borås
On 24 March 2026, the band made their return to Borås, this time taking over the stage at Åhaga. Just over a year had passed since their previous stop in the city at Borås Kongress in February, 2025 – wasting no time in between. In nearby Gothenburg alone, we caught the band live twice; first at Liseberg in June, followed by Trädgår’n in November.
The Åhaga show was scheduled for 18:30 on a Tuesday evening, clearly tailored to an all-ages audience. It created a welcoming and accessible atmosphere, where younger fans could attend without sacrificing the next school day. From the photo pit, that shift in audience was impossible to miss. Among the crowd stood a pair of young fans holding a handmade sign reading “Smash Into ‘Pices’ – Hollow”, a charming and telling sign of how far the band’s reach has expanded following their recent television exposure.
Efficiency over excess
Much like previous performances, Smash Into Pieces kept things moving. The set was delivered at a brisk pace, with songs flowing into each other and minimal downtime between them. There was little room for extended banter or detours, with the exception of a short drum solo from Apoc.
The main set wrapped up after roughly 45 minutes, followed by a concise encore. In total, the performance clocked in at just under an hour. It was a tightly structured show that prioritised momentum over spontaneity, and while some might miss longer interactions, the format suited the band’s polished and production-driven identity. For those seeking more direct engagement, the band held their usual signing session after the show, set up among the merchandise.
A carefully balanced setlist
The setlist struck a balance between familiar highlights and heavier material. Tracks like “Heroes Are Calling”, “Glow in the Dark” and “Let Me Be Your Superhero” delivered the expected singalong moments, while “Flow” and “Devil in My Head” added weight and intensity. This duality is key to the band’s appeal. Their more accessible material opens the door for a broader audience, while the heavier tracks ensure they remain firmly rooted within the rock and metal landscape, effectively positioning them as a gateway act into the genre.
One notable shift came early in the set. “Six Feet Under”, often used as a closing number, appeared as the third song. This opened the door for a different kind of finale, with “Hollow” taking the closing spot during the encore. It was a smart move, giving newer fans a clear focal point and ending the night on the band’s most current and widely recognised track.
Setlist – Åhaga, Borås
- Man or Machine
- Venom
- Six Feet Under
- Glow in the Dark
- Wake Up
- Arcadia
- Let Me Be Your Superhero
- Heroes Are Calling
(Drum solo) - Devil in My Head
- Boomerang
- Flow
- Like This!
Encore
- Big Bang
- Hollow
Two audiences, one band
Smash Into Pieces continue to occupy an unusual position. On their upcoming European tour, they lean into a heavier identity, sharing stages with metal and metalcore acts such as Enemy Inside and Dark Divine. At home in Sweden, however, they often appear in more family-friendly contexts, including events like “Barnens Festivaldag” at Huskvarna Folkets Park, where they share the bill with entirely different names such as Lilla Al-Fadji, a fellow Melodifestivalen act.
In that sense, their role as a gateway band becomes even clearer. For younger or newly introduced listeners, often drawn in through Melodifestivalen, Smash Into Pieces offer an accessible entry point into a heavier sound without losing the scale and hooks of mainstream pop.
The Åhaga show leaned towards the latter. Even without any support acts, the early timeslot and mixed-age crowd created an inclusive atmosphere without diluting the band’s core sound. It highlighted their ability to operate in two different spaces without losing coherence, something few acts manage as effectively.
(Images courtesy of Smash Into Pieces and Huskvarna Folkets Park via Facebook.)
Atmosphere within limits
Compared to larger productions, the visual setup at Åhaga was more restrained, but not without structure. The band still brought a defined stage build, with Apoc elevated on a raised platform at the centre of the backline and a large LED screen positioned behind him.
The main limitation came from the venue itself. With no overhead lighting rig, much of the visual emphasis had to come from ground-based lighting and lasers. From the photo pit, this became especially noticeable when shooting upwards, where the angled ceiling of the old locomotive hall replaced the usual framework of trusses and lights.
Even so, the lighting design managed to carry the performance, maintaining the band’s signature sci-fi aesthetic despite the constraints.
Apoc remained a central figure throughout. On stage, his presence is controlled and enigmatic, particularly during the intro sequences where his movements feel almost mechanical. Off stage, he is known for a far more playful persona, which makes the contrast all the more striking.
Still winning where it counts
They may not have won Melodifestivalen this time, but Smash Into Pieces continue to gain ground where it matters most. With every performance, they attract new listeners while maintaining a loyal core audience.
Towards the end of the show, Chris Adam Hedman Sörbye addressed the crowd directly, thanking fans and emphasising their importance to the band. It was a simple moment, but an effective one. In a career defined by constant movement, it grounded the performance in something more personal.
There is a clear parallel here with acts like Lord of the Lost, who turned a last-place finish at the Eurovision Song Contest into a springboard for long-term growth across the European live scene. Smash Into Pieces appear to be following a similar path, steadily expanding their reach beyond the constraints of competition results.
Final thoughts
Smash Into Pieces delivered a focused and efficient performance at Åhaga. While the venue limited the scale of the production, it did not diminish the impact. If anything, the more compact setting highlighted the strength of their songwriting and stage execution.
They remain a band in constant motion, and for now, there are no signs of them slowing down.
We’d also like to extend a big thank you to tour manager and right-hand man Emanuel Magnil for the opportunity to cover and photograph the show, including access to the pit.
This show was shot with
Camera bodies
- Sony a7 IIIWideangle shots
- Sony a7R IIMidrange/telephoto shots
Camera lenses
- Tamron 16-30mm f2.8Wideangle Zoom
- Samyang 35-150mm f2–2.8Midrange/Telephoto Zoom
Concert photo gallery
