Three Bands, One Inferno! Volbeat, Bush, and Witch Fever Erupt at Wembley!

Three Bands, One Inferno! Volbeat, Bush, and Witch Fever Erupt at Wembley!

From the moment I inhaled the electrified air of the arena, I felt the OVO Arena Wembley throb with raw energy on Thursday, November 13th, 2025. This felt less like a scheduled stop on a tour and more like an unholy rock and roll pilgrimage. A thunderous culmination of rock history brought together under Volbeat’s banner for ‘The Greatest Of All Tours.’ For me, packed in with thousands of other devoted fans, it was an explosive, cathartic reminder of rock’s enduring, essential power, culminating in one of the most unforgettable nights of the year.

The atmosphere was dense with anticipation, the excitement heightened by the knowledge that this lineup spanned generations, from the freshest rage of modern doom-grunge to the stadium veterans. But before the headliners could command the space, the stage belonged to Manchester’s own powerhouse, Witch Fever.

Witch Fever: Unbridled Fury and Confrontation!

The burden of opening a show this enormous, especially to a crowd whose primary loyalty lay elsewhere is immense. Witch Fever, however, didn’t just meet the challenge; They absolutely annihilated it. Stepping onto the vast Wembley stage, the four-piece proved that their raw, uncompromising sound is built for a devastating scale.

From the first discordant, grinding chord, Witch Fever established their set as a deliberate act of defiance and confrontation. Guitarist Alisha Yarwood and bassist Alex Thompson unleashed a crushing foundation, combining doom-laden sludge with the furious, relentless pacing of punk. At the heart of this storm is drummer Annabelle Joyce, whose powerful, precise drumming provided the necessary, unforgiving backbone for the chaos. Their music is heavy, dark, and politically charged, tackling themes of misogyny, religious trauma, and empowerment with a gut-punching, visceral intensity.

Vocalist Amy Walpole is the undeniable nucleus of their ferocious, untamed energy. Her presence perfectly embodied the spirit of the stage warrior; it was stunning to witness. Walpole didn’t merely occupy the space; she laid desperate, ferocious claim to it. Dressed in stark attire, she moved across the expansive runway like a predatory animal, her movements oscillating between coiled tension and explosive release. One moment, she was leaning out to the crowd, delivering guttural screams directly into the faces of the front row during tracks like “Dead to Me!” The next, she was receding, a small, yet terrifyingly magnetic silhouette against the wall of noise, before surging forward again with a mesmerizing, almost hypnotic gait. Her intensity is captivating, she possesses an aura that commands rapt attention, making every word, whether a howl of defiance or a spoken-word indictment, land with unnerving, righteous precision.

It was thrilling to hear material from their brand-new, second full-length album, Fevereaten, which was released just two weeks prior on October 31st. I have to tell you, this record is a darker, heavier, and more expansive evolution of their sound. Tracks like the title cut, “Fevereaten,” showcase a newfound confidence in blending their core punk and grunge roots with moments of slow-core tension and even cinematic, shoegaze-esque soundscapes. If their previous work was a declaration of war, Fevereaten is a tactical victory, demonstrating that Witch Fever is not just riding a wave of critical acclaim, but building a formidable, genre-defying career. While the crowd may not have been entirely familiar with their songs yet, the band’s sheer force and Walpole’s gloriously visceral onslaught ensured they left the stage having converted several thousand new disciples. Witch Fever is undoubtedly one of the most exciting and essential bands in British rock today, and this album is required listening.

Bush: Vintage Grunge Power, Reinvigorated

Following Witch Fever’s dense, raw sound was Bush, who delivered a set that reminded me exactly why they remain one of the biggest names to emerge from the 90s alternative boom. Given their rock and roll pedigree, their position as main support was a genuine surprise, but one they seemed determined to validate with every perfectly executed song.

Bush’s performance was nothing short of explosive, white-hot brilliance, and I was mesmerized by the vital energy and vigour of their frontman, Gavin Rossdale. He was, quite simply, as achingly cool and vocally compelling as he has ever been. Rossdale is a populist, a natural arena commander who used the entire space, connecting with the fans in every corner of the vast venue. Crucially, the dynamic within the band felt tight and unified, a cohesive unit built for stadium rock, with Chris Traynor’s sharp guitar work and the rhythm section providing a muscular, relentless foundation that felt utterly current.

Their setlist was an aggressive blend of vintage hits and recent heavy material. They launched straight into the blistering urgency of “Everything Zen,” which immediately transformed the arena into a nostalgic sweatbox, swiftly followed by the driving, aggressive rhythms of modern tracks like “Bullet Holes” and the powerful “The Land of Milk and Honey.” It is a testament to the band’s songwriting prowess that their material from across the decades felt just as vital and heavy as their mid-90s output.

But the emotional core of the set arrived midway. As the lights softened, Rossdale took a moment to address the audience with sincere vulnerability before launching into the deeply personal track, “Swallowed.” He spoke from the heart about how he was dedicating the song to someone he’d recently lost, inviting us to light up our phones and do the same for anyone we missed. What followed was a sacred, unforgettable communion, and I participated as the entire arena was illuminated in a hallowed, ethereal sea of light, a thousand small, shimmering tributes flickering in the darkness. It was a shattering, deeply intimate solo rendition that showcased the profound, unspoken bond between the band and their audience, proving that even in a massive arena, true rock connection can feel incredibly intimate.

The presence of the emotional title track “I Beat Loneliness” in the set confirmed the band is still focused on creating potent, personal material. Their set closed with the soaring anthemic power of “Flowers on a Grave,” confirming the consensus that Bush remains a relevant, commanding rock force, far removed from any “nostalgia circuit” tag. I remember thinking they left Volbeat a very tough act to follow.

Bush Setlist:

1. Everything Zen
2. Bullet Holes
3. The Land of Milk and Honey
4. Come Together (The Beatles cover)
5. Identity
6. I Am Here to Save Your Life
7. More Than Machines
8. Swallowed
9. I Beat Loneliness
10. Flowers on a Grave

Volbeat: The Rockabilly Metal Carnival!

A colossal curtain, draped like a shroud, tortured the crowd with giant, looming silhouettes of the Danish rockers. The moment the curtain dropped, revealing a stage setup complete with multiple microphone stands and a runway stretching into the audience, the OVO Arena erupted in a cacophony of cheers and devil’s horns.

Volbeat, with Michael Poulsen (vocals, guitar), Jon Larsen (drums), Kaspar Boye Larsen (bass), and Flemming C. Lund (lead guitar) are masters of their unique blend of metal, rockabilly, and hard rock. This fusion is what gives Volbeat a totally unique sound; they stand alone in the modern rock landscape, stitching together the grit of Metallica with the melodic swagger of Elvis. It’s a distinctive, powerful, and utterly captivating mix that instantly sets them apart from their peers.

Michael Poulsen, the band’s frontman, is the engine of this sound. He radiates savage warmth and commanding charisma, and his unique, distinctive, and powerful voice is the critical element of Volbeat’s identity. He was in fine voice tonight, masterfully alternating between a deep, melodic, Elvis-inspired croon, a sound both recognizable and jarringly cool and full-throated metal shouts. This vocal dexterity allows Volbeat to veer wildly from bluesy rock to aggressive thrash within the same track, a dynamic Poulsen commanded with absolute authority. He was constantly utilizing the runway, walking out to greet us and encouraging mass singalongs.

The light show was a dazzling, visual war machine, a mind-blowing back drop of dynamic lighting working overtime. But Volbeat’s performance was about so much more than the technical spectacle; it was about the authentic connection they felt with their massive fanbase through powerful music and unpretentious honesty.

The Setlist: A Headbanger’s Journey

Their 18-song setlist was a masterclass in pacing, balancing their biggest hits with deep cuts and unexpected collaborative moments. They immediately seized my attention by launching into the aggressive power of “The Devil’s Bleeding Crown,” quickly followed by the undeniable anthem “Lola Montez.”

For song three, “Sad Man’s Tongue,” Poulsen paused for a moment of self-aware rock and roll comedy. He announced that while many bands claim to be inspired by Johnny Cash, Volbeat’s approach was simpler: “We’ve just stolen this!” The frank, hilarious admission, delivered with a wry smile, resulted in roars of approval from the packed audience, and I couldn’t help but cheer along as they immediately launched into the familiar, semi-acoustic segment of Cash’s ‘Ring of Fire’ that famously introduces the track.

The set then plunged into the heavy depths of their catalogue, punctuated by the modern fury of “Shotgun Blues.” Before one song, Poulsen cut through any potential mystical misinterpretations of their darker lyrics, declaring simply that Volbeat does not support any kind of religious beliefs, as “it’s all crap.” It’s impossible not to love that kind of honesty!

The evening built to a phenomenal close. The introduction of Johan Olsen of the Danish band Magtens Korridorer for a special dual vocal performance on “The Garden’s Tale” and “For Evigt” was a genuine treat, transforming the arena into a moment of shared European rock unity. This gave way to the classic feel-good energy of “Still Counting,” ensuring the crowd was fully primed for the final thunder. They paid tribute to one of metal’s founding fathers with a phenomenal cover of Black Sabbath’s “Children of the Grave.”

The evening concluded with a relentless, celebratory finish: the one-two punch of “A Warrior’s Call” and the necessary, closing anthem, “Pool of Booze, Booze, Booza.” By the final bow, Michael Poulsen had switched guitars three times and used nearly every microphone on the stage, delivering a performance that was professional, precise, and utterly irresistible.

Volbeat Setlist:

1. The Devil’s Bleeding Crown
2. Lola Montez
3. Sad Man’s Tongue (w/ Johnny Cash’s “Ring of Fire” intro)
4. Demonic Depression
5. Fallen
6. Shotgun Blues
7. In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom
8. By a Monster’s Hand
9. Heaven nor Hell
10. The Devil Rages On
11. Die to Live
12. Acid Rain
13. Seal the Deal
14. The Garden’s Tale (with Johan Olsen)
15. For Evigt (with Johan Olsen)
16. Still Counting
17. Children of the Grave (Black Sabbath cover)
18. A Warrior’s Call / Pool of Booze, Booze, Booza

This triple-bill was a force of nature, a triumphant, curated evening that respected the legacy of arena rock while actively pushing its boundaries. Witch Fever delivered a bracing, essential shot of feminist fury, brilliantly sealed by the excellent new material on Fevereaten. Bush proved that true alternative rock champions never fade, delivering a tight, powerful, and deeply emotional set. Finally, Volbeat showed why they belong in the arena circuit, commanding the crowd with their unique, bombastic blend of melody and metal.

If you caught ‘The Greatest Of All Tours’ at Wembley, you know it was truly epic. When I walked out of that arena, the roar of the crowd was still an indelible memory burned into my soul, it made me wonder, after a tour this colossal, what seismic event will Volbeat unleash next? I for one can’t wait to find out!

Photos and review by Louise Phillips Music Photography

All photos are owned by Louise Phillips Music Photography and cannot be shared without consent

Photos of Volbeat

Photos of Bush

 

Photos of Witch Fever