Disturbed Ignites The O2 With 25 Years of Sickness, Fire, and Fury!

Disturbed Ignites The O2 With 25 Years of Sickness, Fire, and Fury! The Sickness 25th Anniversary Tour Sunday, October 26, 2025!

On a dark wet October Sunday, the cavernous O2 Arena didn’t just host a metal gig, it became a pressure cooker of theatrical aggression, industrial terror, and anthemic power as Disturbed unleashed the London stop of their highly-anticipated The Sickness 25th Anniversary Tour, delivering an uncompromising, two-part masterclass that proved their legendary debut album is as vital and confrontational now as it was a quarter-century ago. Supported by thrash titans Megadeth, the night transcended mere music, exploding with pyro and drama as David Draiman led his band through a definitive, devastating tribute to their own seismic legacy.

Part I: Reliving the Madness

The anticipation, thick enough to cut, was intensified by the elaborate pre-show spectacle. The screens flickered to life, offering a powerful montage: old footage of the band’s early days and iconic live moments were interspersed with a ticking clock graphic, a perfect cinematic countdown to the past. The sequence culminated with the simple, stark image of The Sickness album sleeve.

The lights then cut, replaced by a blinding white backlight illuminating a massive curtain. The silhouettes of David Draiman, Dan Donegan, John Moyer, and Mike Wengren appeared, instantly galvanizing the crowd. As the sheet dramatically ascended, the audience erupted: there, at the front of the colossal, industrial-themed stage set, was Draiman, restrained in a chair, a chilling throwback to his early-career stage persona as the sinister, percussive intro to “Voices” began. The sight sent a shockwave of cheers and recognition through the O2. The song was a thunderous statement, with fire exploding dramatically during the breakdown, driving the sound further into the crowd’s chests. Donegan and Moyer cemented the aggression, moving to the front of the extended stage walkway to tower over the ecstatic front rows, earning a massive cheer at the track’s conclusion.

The pace was ferocious and relentless. “The Game” immediately followed, marked by flashing blue lights that had the entire arena punching the air to the rapid-fire rhythm. Draiman, now unleashed from the chair, stalked the stage, moving to the front to interact personally with the audience, locking eyes with fans and demanding participation. The sheer force of the sound was matched by the visual intensity, with the back lighting flashing violently as Draiman commanded, “Let me see your motherfucking fists in the air, let’s go!” before the bone-crushing breakdown.

The emotional temperature rose for “Stupify.” The stage bathed in a menacing orange glow, a single spotlight fixing on Draiman as he paused for a moment of collective tension. The crowd hushed, leaning in as he declared, “My brothers, my sisters. My blood, speak to me,” before launching into the track. Vertical flame jets shot into the air during the chorus, intensifying the heat. The connection was clear as Draiman ventured down to the barrier, while Donegan and Moyer perfectly mirrored the song’s intensity, jumping in unison to the driving beat.

The O2 was then plunged into darkness before the signature opening riff of “Down with the Sickness” tore through the silence. The crowd sang along to every word, generating a sound loud enough to challenge the speakers. The breakdown was a glorious, sensory assault, with an overwhelming display of  pyro and sparks bursting into the air. The rare deep cut, “Violence Fetish,” followed, draped in purple and blue lighting that sliced through the darkness, punctuated by bright white search lights. A huge cheer marked its powerful conclusion before the stage went black once more.

The tribal rhythm of drums heralded “Fear,” and Draiman wasted no time, calling for everyone to “jump!” as the intro was ignited with red lights and more pyro. The frontman once again worked the crowd, coming to the front of the stage to interact, ensuring every person felt part of the spectacle. The stage went dark, only to be filled with industrial electronic rumblings preceding “Numb.” A smoke mist filled the arena, and permanent flames rose from the industrial scaffolding, establishing a menacing, claustrophobic atmosphere. Draiman’s simple gesture—waving his arm side to side—was instantly replicated by the crowd, uniting thousands under the spell of the song.

The momentum continued through “Want,” with Moyer briefly taking to the front walkway before the entire band converged around Mike Wengren’s drum kit to finish the song in a tight, thunderous knot. The relentless energy of “Conflict” was marked by pounding drums and flashing red/white lights, with pyro exploding on every impact. John Moyer’s ringing bass took center stage, placing him in the middle of the extended walkway for a brief, powerful solo moment.

The Final Act of The Sickness

As the cheers faded, Draiman took a moment of profound reflection, acknowledging the audience: “25 years of The Sickness” and reminding them, “look at what we did together, gather yourselves.” This heartfelt pause led into the explosive cover, “Shout,” delivered with genuine sincerity. Dan Donegan sat on the front of the stage to play, connecting intimately with the front row as the crowd sang along powerfully with the chorus. “Droppin’ Plates” arrived with jarring green flashing lights and a vigorous crowd punching the air along with the rhythm.

The final track of the classic album, “Meaning of Life,” was prefaced by a startling theatrical moment: a water sound and graphic, followed by thunder and flashes, and Draiman’s unsettling laugh over the PA. The call-to-action was chilling: “Come on Draiman it’s time.” The frontman was led out in an orange prison jumpsuit and manacles to a prop electric chair at the front of the stage. Special effects mimicked an electrocution, with sparks flying, while a pulse graphic moved across the top of the stage. As the song began, Draiman stood in the chair with arms aloft, soon joined by the rest of the band, also in orange jumpsuits, bringing the entire album portion to a thematic climax. The inclusion of the vocal snippet of Ozzy’s “Crazy Train” in the middle of the song was an unexpected, joyous surprise. The full-throttle first act concluded with Draiman’s unsettling laughter echoing through the O2, surrounded by one last burst of pyro.

Part II: The Triumphant Hits and Emotional Depth

The fire and noise were suddenly replaced by the smoke and silence of the intermission. When the band returned, the screen curtain rose, and Mike Wengren’s drum kit was now raised high on its riser, signaling the start of the “Greatest Hits” portion of the show.

They launched immediately into “I Will Not Break.” This was pure, unadulterated power: pyro erupted again with the opening riff, and John Moyer mounted the steps of the drum riser, unifying the band’s presence for a massive cheer at the song’s end.

The stage theatrics scaled up for the titular track, “Ten Thousand Fists.” Draiman commanded the room, “London, let me see those fists,” and the crowd instantly responded. The pyro intensified, with vertical flame jets firing in perfect time, and spectacular diagonal pyros adding dimension.

The energy was pushed higher still for “Bad Man,” with the giant, menacing inflatable Guy mascot rising behind Wengren’s drum kit and beginning to move as the band transitioned seamlessly into “Land of Confusion.” Dan Donegan took to the stage edge, connecting intimately with the front row while the crowd sang along powerfully.

The transition into “Indestructible” was marked by the blare of air raid sirens and sweeping searchlights. The visual drama hit a fever pitch; additional flames now flared from the scaffolding rigging as well as from the screens. Donegan’s solo was a masterclass, and the song finished in a towering crescendo, the whole structure seemingly catching fire during the outro, the band gathering close to Wengren at the kit.

The fire was replaced by a deep hush for “The Sound of Silence.” A piano was wheeled out to the front of the stage, smoke billowing from beneath it. A breathtaking cathedral backdrop appeared as Draiman sang. The audience created a spectacular canopy of torch lights with their phones. The piano itself was set on fire before Wengren and the acoustic instruments joined in.

Draiman returned to the stage under a single spotlight for a moment of profound connection, thanking the audience for the last “25-30 years.” After acknowledging the darkness in the world, he offered the mantra of hope: “sometimes darkness can show you the light.” He requested the final crowd participation of phones and lighters for “The Light.” As the words were sung, all the crowd lights went up, transforming the massive venue into a galaxy of light.

The show concluded with a spectacular eruption of energy and flame for “Inside the Fire.” Orange lights and flames instantly covered the stage, and the whole back structure appeared to be on fire. Moyer and Donegan played at the front of the T-shaped stage. The song ended with Draiman’s trademark maniacal laugh and powerful chants of “Hey!” The show concluded with the final, unifying declaration: “Say our name with us, we are Disturbed. We are all Disturbed.”

This anniversary show was a triumph. Disturbed delivered a near-perfect blend of raw, nostalgic power in the first act, and emotional, high-production mastery in the second. The O2 witnessed a band not just celebrating its past, but proving its absolute dominance in the present. After this display of raw power and conviction, it is clear that Disturbed remains truly Indestructible.

Setlist

Back in Time (Huey Lewis and the News song)

Part 1: The Sickness

Voices
The Game
Stupify

Down with the Sickness
Violence Fetish
Fear
Numb
Want
Conflict
Shout (Tears for Fears cover)
Droppin’ Plates
Meaning of Life (With vocal snippet of Ozzy Osbourne’s “Crazy Train”)

 

Part 2: Greatest Hits

I Will Not Break
Ten Thousand Fists
Bad Man
Land of Confusion (Genesis cover)
Indestructible
The Sound of Silence (Simon & Garfunkel cover)
The Light
Inside the Fire

Photos and review by Louise Phillips Music Photography

All photos are owned by Louise Phillips Music Photography