Words and Pictures: Adrian Hextall / (C) MindHex Media
Date: November 8, 2025 Venue: Electric Ballroom, Camden, London Lineup: Lord of the Lost, Julien-K, Skarlett Riot
By the time Lord of the Lost rolled into Camden’s Electric Ballroom on November 8th, the UK leg of their Opus Noir tour was nearing its final breath. There is often a specific kind of energy reserved for the end of a tour run—a mix of exhaustion and exhilaration where bands leave absolutely everything on the stage because they know they don’t have to save it for tomorrow. With the Opus Noir Vol. 1 album having dropped back in August, this tour felt like a victory lap for a band that has successfully transitioned from Eurovision glitter back to their darker, industrial-gothic roots.
Julien-K
Opening the night and clearly bringing a lot of support themselves, Julien-K, the US industrial-rock outfit founded by Ryan Shuck and Amir Derakh of Orgy fame. Their inclusion on the bill was a smart move; they bridge the gap between the electronic and rock elements that Lord of the Lost also inhabits. Bathed in mood lighting, they turned the Electric Ballroom into a dark dance club for forty minutes. Opening with the pulsating Futura (DTA Mix), their set was a slick, synth-heavy trip through their catalog. Tracks like All That Glitters and Fractured sat comfortably alongside the driving energy of Night Mover and Stronger Without You. The connection to the 90s industrial scene is clear, yet songs like Shut Down Your Soul prove they don’t sound dated. The highlight, inevitably, was their cover of New Order’s Blue Monday. It’s a brave choice to cover such a staple in the UK, but they gave it a gritty, guitar-heavy edge that went down a storm, setting the perfect tone for the headliners.
Skarlett Riot
The night began with Skarlett Riot, a UK-based quartet that has been grinding on the circuit for years and now feels polished and ready for bigger stages. Frontwoman Chloe ‘Skarlett’ Drinkwater commanded the room immediately. Often, support acts struggle with sound issues or indifferent crowds, but Skarlett Riot hit the ground running with a heavy, melodic set that woke up the early arrivers. Tracks like Chemicals and the anthemic Gravity showcased their blend of modern metalcore riffs and catchy hooks. It’s a stye that moves them away from the music they’ve been playing in recent years and they’re better for it. They aren’t reinventing the wheel, but they spin it with enough force to get heads banging. The band’s tightness was impressive, and by the time they closed their short set, the room was full and firmly on their side.
Lord of the Lost
When Lord of the Lost finally took the stage, the shift in energy was immediate. The band has always been theatrical, but the Opus Noir era sees them embracing a sleeker, more unified aesthetic. Opening with the dramatic Moonstruck, the six-piece band looked less like a music group and more like a gang. The song built the tension perfectly before they unleashed the heavier, frantic energy of I Will Die in It and Damage, tracks that prove the band hasn’t lost their bite despite their recent commercial success.
The most significant change to the lineup in recent times is the official inclusion of Benji Mundigler. For years, Benji was a behind-the-scenes hero—part guitar tech, part stage manager, and occasional fill-in. Seeing him now as a fully fledged member, standing stage right, feels like the final puzzle piece has clicked into place. He isn’t just filling space; his contributions on additional guitars and keyboards add a massive layer of depth to the live sound. He moves with the confidence of someone who has earned his spot, and the camaraderie between him and the rest of the band is obvious. It turns the band from a standard rock outfit into a massive wall of sound.
However, the core visual and sonic dynamic of the show remains the interplay between frontman Chris Harms and guitarist Pi Stoffers. Harms is a consummate ringmaster. His deep, resonant voice held the audience captive, but it’s his interactions with Pi that give the show its heart. Pi is a whirlwind of energy, thrashing around the stage and providing the counter-energy to Harms’ sometimes stoic, sometimes melodramatic presence.
This dynamic was perhaps best illustrated during the high-octane Destruction Manual and the Latin-infused metal party of La Bomba. Here, the two seemed to be feeding off each other’s intensity, trading smiles and knowing looks that only come from years of touring together. Harms often takes the center, directing the crowd’s emotion, while Pi acts as the live wire, sprinting across the stage and engaging with the front row. It breaks down the barrier between “performer” and “star,” making the show feel inclusive rather than distant.
The setlist was a well-curated journey through their history. While the new Opus Noir material like Bazaar Bizarre fits seamlessly, the band knows how to honour their influences and their past. A standout moment was the inclusion of Children of the Damned. Covering Iron Maiden in London is a bold move, but having toured with the legends, Lord of the Lost have earned the right, and they delivered a respectful yet distinctly gothic rendition. This was balanced by their now-classic cover of Bronski Beat’s Smalltown Boy. Harms stripped away the synth-pop bounce of the original, replacing it with a heavy, melancholic yearning that silenced the room before building to a crushing crescendo.
Later in the set, the emotional weight shifted with The Sadness in Everything, featuring a guest appearance by Anna Maria Rose. Her vocals blended beautifully with Harms’, adding a haunting texture to the evening that stood out amidst the heavier riffs.
They didn’t let the energy dip for long, however. The finale was a masterclass in crowd control. Blood & Glitter brought the Eurovision-style spectacle that many newer fans were waiting for, turning the venue into a sea of raised hands. But rather than ending on pure glitz, they closed the night with the powerful One of Us Will Be Next. It was a fittingly heavy and anthemic conclusion, leaving the audience with a final reminder of the band’s musical prowess.
As the final notes rang out and the band took their bow, it was clear that Lord of the Lost is in their prime. The addition of Benji has strengthened their sonic foundation, and the bond between Chris and Pi remains the engine that drives them forward. The UK tour may be over, but on this showing, they will need bigger venues when they return.
SETLIST:
Moonstruck
I Will Die in It
Damage
Drag Me to Hell
Smalltown Boy (Bronski Beat cover)
Destruction Manual
Die Tomorrow
Blood for Blood
La Bomba
Children of the Damned (Iron Maiden cover)
Where Is All the Love
Loreley
The Curtain Falls
Bazaar Bizarre
Ghosts
The Things We Do for Love
The Sadness in Everything (with Anna Maria Rose)
Light Can Only Shine in the Darkness
Blood & Glitter
One of Us Will Be Next
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