Monuments – Live in Brazil 2004–2017 never got an official pressing. But every few years, a remastered torrent appears. A Reddit thread. A lost YouTube playlist. Brazilian fans guard it like treasure.
By 2017, Edguy was on indefinite hiatus (Tobi busy with Avantasia). They announced a final Brazilian show at the Audio Club in São Paulo. No costumes. No pyro. Just the five guys, amps, and 2,000 fans who had grown up with them.
The setlist was a fan-voted monster: “Vain Glory Opera,” “King of Fools,” “Superheroes,” “The Piper Never Dies.” During the last song, “Avantasia” (yes, the Avantasia song, but Edguy played it as a tribute to themselves), Tobi stopped singing. He just held the mic out. The crowd sang every word—in perfect English, with a Portuguese accent.
It was May 2004. Edguy had just released Hellfire Club . Tobias Sammet, draped in a ridiculous fur coat despite the tropical heat, stepped onto the stage of a cramped venue called Dire Straits in São Paulo. The crowd of 800 didn’t care about the sweat dripping from the ceiling. When the first riff of “Mysteria” hit, the floor became a living organism—jumping, screaming, crying. Edguy - Monuments- Live in Brazil 2004 -2017- -...
That night, a professional multi-camera recording was made—by the band’s own crew, never officially released due to label disputes. But a low-generation copy circulated. Monuments ends with that recording: 14 minutes of “The Savage Union” into “Falling Down,” the camera shaking as the floor bounced like a trampoline.
That night, a fan named Rodrigo held a MiniDisc recorder above his head. He captured Tobi’s improvised Portuguese: “Vocês são loucos!” (You are crazy!). The crowd roared back: “EDGUY! EDGUY!” That recording would become the seed of Monuments —Track 1: “Tears of a Mandrake” (Live 2004, with a 3-minute crowd singalong).
“Para todos que cantaram até perder a voz. Para Edguy. Até o próximo monumento.” (“For everyone who sang until they lost their voice. For Edguy. Until the next monument.”) Monuments – Live in Brazil 2004–2017 never got
Edguy – Monuments – Live in Brazil 2004–2017: The Unreleased Chronicles
But the Brazilians didn’t leave. They opened umbrellas and held them up like shields. During “Ministry of Saints,” lightning struck a transformer—killing the power for 45 seconds. The crowd kept singing the chorus a cappella . When the lights returned, Tobi knelt on stage, pretending to cry. “You just turned a disaster into a monument,” he whispered into the mic. That moment, captured by a fan’s shaky Flip camera, became the emotional center of Monuments .
Because monuments aren’t always made of stone. Sometimes, they’re made of screaming voices, stolen recordings, and a German power metal band who found their second home in a country that never stopped believing in the power of a silly, glorious riff. A lost YouTube playlist
He said, “We built monuments with our albums. But you… you made them alive.”
The Space Police tour. Edguy had fully embraced their goofy, sci-fi theatrical side. Tobi wore a silver wig and a cape with LED lights. In Belo Horizonte, during “Robin Hood,” a fan threw a stuffed monkey onto the stage. Tobi caught it, declared it the “Minister of Chaos,” and wore it on his shoulder for the rest of the show.
Brazil never just listened to Edguy. It lived them. From the sweaty, cramped clubs of São Paulo in 2004 to the roaring festival fields of Rock in Rio 2017, the country carved itself into the band’s history as a wild, untamable beast of passion. And somewhere, in the hard drives of die-hard fans and bootleggers, existed the myth of Monuments —a fan-assembled audio-visual time capsule spanning thirteen years of chaos, capes, and cachaça.
Five years later. Tinnitus Sanctus era. The band arrived in Curitiba during a freak thunderstorm. The outdoor stage at Master Hall turned into a swimming pool. Drummer Felix Bohnke’s kit was covered in plastic bags. Jens Ludwig’s guitar started crackling like a shortwave radio.