The longer that the Finnish symphonic metal act Nightwish goes on, the more apparent it becomes that this isn’t so much a band than a vehicle for keyboardist/composer Tuomas Holopainen’s massive ego. This project is far too dysfunctional to be called a “band”: when your last four albums feature three different lead singers, you have a chemistry problem. Bigger, though, is Holopainen’s inability to work with a singer who is strong-willed. This is ironic because this pioneering band, which has always built its music around an operatic diva of a lead singer, can’t handle it when said diva becomes more assertive and wants to have a bigger say in the creative process. Holopainen, always garishly performing with his comically lavish “look at me” keyboard set-up and wearing a top hat, wants an employee not a frontwoman, and heaven help any woman who dares to think she’s the focal point. Beloved, groundbreaking singer Tarja Turunen starts to think for herself? Fired publicly via open letter. Her successor Anette Olzon dared to inconvenience the musicians by becoming pregnant—those poor boys—and spoke her mind, and was unceremoniously fired in the middle of a North American tour. Basically, if you’re a strong-willed woman, life in Nightwish is guaranteed to be pure hell.