With the nights drawing in and winter starting to bite, Danish rockers’ Volbeat roll into Birmingham on their ‘Greatest of All Tours Worldwide‘. Tonight, they take over the Utilita Arena on a UK run that charts their rise from cult favourites to full-scale arena band.
Doomy, Mancunian four-piece Witch Fever open proceedings to an audience that’s still finding its way in. To be fair, it’s an early slot on a school night, so the thinner crowd is understandable. They do inject some weight into the venue though, with jagged riffs and brooding grooves hinting at the menace they can bring. For a measured warm-up rather than a full launch it serves its purpose ahead of one of the night’s more anticipated sets.
I’ve been a fan of Bush since the release of ‘Sixteen Stone’ (1994) and the darker follow-up ‘Razorblade Suitcase’, although I’ve drifted away from the band over the years. I last saw them in 2017 at the O2 Institute, but tonight Gavin Rossdale and co. take to a much larger stage, drawing from a career that now spans ten albums. Opening with ‘Everything Zen’ from the debut, Bush simply exude confidence, a reminder of why they have endured for decades.
After ditching his guitar, Rossdale commands the stage with both physical and emotional intensity. Rarely standing still, he is visceral and uninhibited, delivering each line with conviction. His vocals are superb, the blend of grit and melody giving every song impact, while the band remains tight and assured, leaving space for him to carry the performance.
The set leans on material from the last half decade. From the recent release ‘I Beat Loneliness’ come the title track and singles ’60 Ways to Forget People’, and ‘The Land of Milk and Honey’ – all uniquely crafted and executed. Rossdale, along with Chris Traynor, Corey Britz, and Nick Hughes are a band still writing and performing with purpose rather than relying on nostalgia.
A stripped-back ‘Swallowed’ is the emotional high point. Haunting and intimate, it brings a rare moment of stillness to the arena. For the entire set, the audience has been fully engaged, appreciative, and responsive, and by the time the band finish with ‘Flowers on a Grave’, they leave a strong impression of passion, precision, and relevance.
While I might have expected a fuller house tonight, it’s still a large and lively crowd in attendance for Volbeat. Michael Poulsen and his band arrive with purpose, immediately proving themselves at home on the arena stage, and from the first notes of ‘The Devil’s Bleeding Crown’, the energy and tone are set for a high-octane performance from the popular Danes.
With fan favourite ‘Lola Montez’ early in the set, the band moves effortlessly between their heavier and more melodic material. Poulsen prowls the stage in a cool Napalm Death tee, his delivery both precise and playful, interacting naturally with a crowd fully behind him. The chemistry is clear, particularly in the tight guitar work with Flemming C. Lund, himself rocking a retro Venom ‘Black Metal’ t-shirt.
‘Sad Man’s Tongue’ is preceded by the familiar ‘Ring of Fire’ intro – a Poulsen staple heavily influenced by Johnny Cash, who would be proud. Ramping up the intensity with ‘Demonic Depression’ before moving into ‘Fallen’, Volbeat showcase just how easily they can shift gears, giving the audience a thrilling mix of intensity and singalong appeal.
‘Evelyn’ delivers one of the night’s standout moments, with Mark “Barney” Greenway of Napalm Death joining the band on stage. The contrast between Barney’s guttural roar and Poulsen’s melodic delivery is impossible to miss, and for anyone unfamiliar with Napalm Death, or still firmly within their comfort zone, it’s enough to pull the rug from under them.
Volbeat keep the momentum rolling with the likes of ‘The Devil Rages On’ and ‘Die to Live’, the band clearly enjoying themselves as the set stretches deeper into their catalogue. Bassist Kaspar Boye Larsen is solid and energetic, while at the back, death‑metal veteran Jon Larsen keeps the beat grounded, favouring feel over flash. Two Larsens, one tight rhythm section.
‘Still Counting’ is a moment that a swarm of knowing young fans have been waiting for. Poulsen invites their fresh faces onto the stage, and for a few minutes the spotlight is theirs. It’s a small but powerful reminder that this music will carry on, and judging by the energy of the kids on stage – their singing, their wide‑eyed excitement – the torch is very much in good hands.
A tribute to Ozzy and Black Sabbath comes via ‘Children of the Grave’, and the Birmingham crowd responds as if it was written for them. The classic riff hits and the arena erupts, everyone singing along. It’s a perfect nod to their influences and proof that our Danish friends can wear that appreciation proudly while still making it their own.
To close the night, ‘A Warrior’s Call’ segues into ‘Pool of Booze, Booze, Booza’, for a fittingly raucous finale. As they depart, it’s evident that Volbeat have delivered everything you want from an arena show – intensity, melody, and a sense that this band genuinely enjoy what they do.
Review & Photography: Steve Johnston
