On a roasting hot Saturday evening in North East London, the crowds poured into the London Stadium in anticipation of Iron Maiden’s first London stadium performance. The band, who has been around since the seventies, rolled into town accompanied by the sensational Halestorm and local band The Raven Age.
First to play were The Raven Age. This is not the first time the band has opened for Iron Maiden, having completed a similar role for the Book of Souls tour back in 2016. Lead singer Matt James commented that this was “a home town show like no other.” The band delivered a 7-song set to the half-full stadium as the spectators filtered in. The band made effective use of their twin lead guitar setup, delivering intricate harmonies that underpin their brand of melodic metal.
Second to take the stage was Pennsylvanian rock band Halestorm. The band, led by the sensational vocalist Lzzy Hale, was met with a rapturous welcome as they entered. The front woman donned a large cape that must have been excruciating in the late evening sun that was beating down in the arena. Commencing with “Fallen Star,” Lzzy highlighted why her live vocals are so revered. The powerhouse delivered raw emotion through her lyrics. After losing the cape and swapping guitar, the band delivered fan favourite “I Miss the Misery.” Some of the thousands behind the pit area could be heard singing along. Continuing to move through their most popular tracks, the band performed “Love Bites” before the raw emotion at the start of “A Familiar Taste of Poison.” Singing acapella, Lzzy had the audience in awe of her talent before she and the others left the stage apart from younger brother Arejay. The younger Hale, always the showman, delivered a blistering drum solo highlighting all his stick tricks before pulling out oversized sticks to complete the solo. Returning to the stage, Lzzy addressed the women in the crowd: “Where my bitches at, I want to dedicate this to you,” before launching into “Freak Like Me.” The crowd could be heard in full voice for penultimate song “Get Off” before the group performed the title track of their forthcoming album “Everest.” It has been seven years since I first saw the band live in my local town, and I never cease to be amazed by their ability to perform live and am looking forward to seeing them again on their UK tour later this year.
Iron Maiden’s return to London was nothing short of a masterclass in theatrical showmanship, with the band delivering a blistering two-hour set under the intense summer sun. The performance was packed with iconic moments and thrilled the 72,000-strong crowd. With electrifying visuals, now iconic staging, and of course some visits from mascot Eddie, Iron Maiden delivered a night to remember. This was the band in their element — dramatic, powerful, and utterly unforgettable.
The stage was classic Maiden: raised walkways, impressive lighting rigs, and the familiar Maiden imagery that we have come to love over the years. However, instead of the traditional backdrop banners that used to change through the set, the band has now opted for high-definition video screens that allowed for stunning visual storytelling throughout the night. But the most significant change for long-time fans was behind the kit. This was my first time witnessing Simon Dawson stepping in for the legendary Nicko McBrain. While the transition could have unsettled the rhythm section, Simon held his own and fitted seamlessly due to his existing relationship with Steve Harris.
As the Maiden faithful know, the moment UFO’s “Doctor Doctor” plays over the PA, the countdown has begun, and the fans start to go wild.
The set kicked off with two less commonly played tracks in “The Ides of March” and “Murderers in the Rue Morgue” before returning to “Wrathchild,” where Eddie made his first appearance wielding an axe, drawing deafening cheers. Bruce addressed the crowd, asking, “Do you want to know what is behind the big red fucking curtain? The Phantom of the Opera!” before launching into the seven-minute-long track. The pyro-fueled intro to “Number of the Beast” was preceded by a video intro, setting the tone for the chaos that followed. Flames erupted from jets flanking the drummer as Bruce roared into the mic, commanding the crowd to join in.
“The Clairvoyant” was a standout, with Steve Harris’s signature bass intro slowly joined by dueling guitars. The crowd responded with synchronized clapping and jumping during the chorus, peaking as Bruce bellowed “Scream for me, London!” By this point, the band had the stadium completely in their grasp.
The visual narrative continued with “Powerslave,” where red flames danced across the stage and candles flickered on-screen amidst digital pyramids. Bruce, masked and mysterious, again called for the crowd to “Scream for me” before ending to rapturous applause.
Another costume change from Bruce for “2 Minutes to Midnight,” before he addressed the crowd with his usual eccentric charm: “I do believe the sun is going down. Someone has poisoned my whiskey bottle and put water in it,” eliciting a rumble of laughter from those in attendance.
“Rime of the Ancient Mariner” transformed the stage into a nautical nightmare, with storm visuals, aquatic lighting, and eerie fog blanketing the set. Bruce emerged in a tattered robe, ghostlike, as monitors disguised as rocks flickered beneath him. A boat emerged on the background screen and fireworks lit the night sky.
The energy didn’t drop as the band powered into “Run to the Hills,” which, not for the first time, was met with full-voice audience participation from the first note. Flames erupted again, closing the track with explosive grandeur.
“Seventh Son of a Seventh Son” brought a chilly change of pace, with icy projections and fog creating an otherworldly feel. Bruce, in yet another costume, stalked the platform like a mystical entity.
When the opening riff to “The Trooper” rang out, the crowd erupted. All three guitarists lined up front while Eddie, clad in full Trooper regalia, paraded the stage with a sword. Bruce, waving the Union Jack, darted across the risers as red, white, and blue lights flashed above. It was pure Maiden.
“Hallowed Be Thy Name” followed to massive applause. Bruce sang from a cage surrounded by lantern-lit flames, his cries of “Scream for me London!” echoing into the warm summer air. The main set closed with “Iron Maiden,” featuring a massive, animated Eddie on the screens and sweeping searchlights engulfing the stadium.
The encore was a three-song blitz. “Aces High” opened with Churchill’s speech and dogfighting visuals, Bruce in full pilot gear. “Fear of the Dark” saw the moon rise on the screen, Bruce in top hat and coat, leading the crowd in a sea of lights and raised voices. The transformation into a graveyard setting brought added atmosphere, while the band — still visibly energized — leaped across the stage as if age had no bearing.
They closed with “Wasted Years,” a poignant reminder that for Iron Maiden and their fans, the past may be cherished, but the present still screams louder than ever.
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