Due to spending a bit of time in the pub beforehand, I took my seat just as the night's support act The Raven Age were starting their 45 or so minute set. Regular attendees of Iron Maiden and British Lion gigs are likely somewhat tired of The Raven Age and nepotism by this point, given how often they have been booked to open for both bands, but, in fairness, they are a band that I tend to like the more I am exposed to them. I remember seeing them open for British Lion many years ago and thinking that they were pretty bland, a view I largely agreed with when I also saw them opening for Alter Bridge. Seeing them open for Tremonti more recently, though, was more enjoyable - and I quite enjoyed 2023's Blood Omen (which I reviewed here) when it came out. The band's older albums seem to be hard to track down, so I have not explored further, but this opening set was probably the strongest from the band I have heard to date - with frontman Matt James sounding powerful throughout and Tommy Gentry (guitar/vocals) a real force. When I last saw the band, I think that Gentry was either just filling in or had only just joined the band - but three years on he has made the second guitar spot his own, taking the vast majority of the solos throughout the set with fellow guitarist George Harris largely sticking to riffs and the occasional lead. Being familiar with Blood Omen, there were some songs in the set I knew, such as the ballad The Journey and the melodic Serpents Tongue, but I think a few new songs were included alongside some older cuts. I am still not sure that I would call myself a proper fan of the band, but I certainly think more highly of them than I once did. They have certainly matured into a strong band and their songwriting has improved significantly over the years. The lack of big choruses turned me off before, but the Blood Omen material includes a number of decent choruses - and the new songs played, too, also seemed very melodic. Gentry's guitar solos were also a big improvement, too, and overall the band just seem so much more assured and confident these days - having undertaken much more touring under their own steam, allowing the links back to Iron Maiden to weaken. I can understand, though, if some Iron Maiden fans feel that The Raven Age have been forced on them a bit too much over the years - but they are a band standing on their own these days and, following some line-up changes and upping their game overall, they are a decent addition to the UK metal scene.
Half an hour or so following The Raven Age's set coming to a close, the familiar strains of UFO's Doctor Doctor could be heard throughout the arena - and following the crowd singing along to Iron Maiden's perennial intro music the lights went down and the old instrumental The Ides of March filled the PA. It was clear from the off that a lot of effort had been put into the production of this tour, with the quality of the visuals on the screen behind the band being excellent. So often there is little effort put into this side of a show, particularly from older bands, but Iron Maiden really upped their game in terms of digital production this time - with the opening crawl of London then giving way to a big picture of mascot Eddie as the band launched into opener Murders in the Rue Morgue. Whilst the sound was perhaps a little boomy during the first number, things soon levelled out and the six-piece powered through a 17-song, two hour set with ease - bringing a number of their best-loved tracks to life. Particular praise should be given to new drummer Simon Dawson, who acquitted himself excellently - perhaps adding a tougher edge to the band's trademark groove. The fast-paced Murders in the Rue Morgue was an excellent way to open the show, and the following three tracks also came from the Paul Di'Anno era - ensuring that the band's much-loved early albums were well-represented. Steve Harris' (bass guitar/vocals) big bassline heralded the introduction of the punky Wrathchild, but it was perhaps the rarely-played Killers that was the first real early highlight - with the rollocking riffing of the band's three guitarists and frontman Bruce Dickinson's well-preserved vocals carrying the piece. Dickinson did not seem fussed that so much Di'Anno era material was included, with the first epic of the night Phantom of the Opera seeing him really get his lips around the wordy and fast-paced lyrics - whilst leads and solos from the guitarists flew back and forth. The bulk of the set was made up of Dickinson era material, though, with the evergreen The Number of the Beast coming surprisingly early in the set. Considering the nature of the previous Iron Maiden shows I had been to, there were actually quite a few staples I had not seen the band do live before. The Number of the Beast was not one of them, but 2 Minutes to Midnight was - and it came in the middle of an excellent three-song suite of material from 1984's Powerslave, which kicked off with the title track and ended with the proto-progressive metal epic Rime of the Ancient Mariner. The lengthy piece was one of the set's overall highlights - with the band's dynamics on full display. Dickinson went from a high-octane delivery to something more low-key depending on the vibe at the time - and the back and forth between Adrian Smith (guitar/vocals) and Dave Murray (guitar) was excellent.
The upbeat good time of Run to the Hills, which Dawson added a few interesting drum twists to I thought, was another I surprisingly had never seen the band do before, and it allowed the crowd to really belt the lyrics out alongside Dickinson, before another highlight in the form of Seventh Son of a Seventh Son saw plenty more instrumental fireworks during the lengthy closing section. It was a piece which really showcased the band's progressive side, which has been expanded upon much more significantly in recent years, with atmospherics and cleaner guitar leads compared to their usual more screaming NWOBHM approach. Whilst there was not a song played that could not either be considered a genuine classic or a real fan-favourite, I think that it is fair to say that what followed were real crowd-pleasers. The Trooper saw Dickinson dressed in his trademark redcoat attire, whilst a large Eddie walked the stage and battled the guitarists with his sword. Hallowed Be Thy Name, another track I had not seen the band do, was then wheeled out, with dynamism and shredding aplenty - with the closing section being particularly high-octane. Whilst I am sure that many in attendance had experienced the song live many times before, as it was my first time it really hit home. Whilst I have always liked the song I am not sure that I hold it in as high regard as most do - but it really came alive on stage, and the images on the screen and Dickinson's prison cell set only enhanced the overall vibe. The main set then came to an end, as always, with Iron Maiden - and the scrappy piece felt a little rough and ready following the masterful epics which came before it, but it is a high-energy song that generally hits the spot live. It also featured my favourite piece of video, which featured Eddie leering over the band with a pretty convincing 3D effect. Following a brief step off the stage, the sound of Spitfires could be heard - and Winston Churchill's famous speech soon filled the room. This heralded the arrival of Aces High, which was perhaps my first favourite Iron Maiden song. It was yet another which I had not seen the band do live - so it was a treat to finally hear it in person. It was probably the track which I felt that Dickinson struggled with the most, though. His voice is in great shape, but the song's constant high notes must be difficult - and he did feel a little strained, although it did not harm the overall performance. As if to reinforce his power, though, the following dynamic Fear of the Dark included some of his best vocals of the night - and it also allowed Janick Gers (guitar) some time in the spotlight. Given that most of the songs played predated him joining the band, he was largely relegated to being a rhythm player most of the night - with limited soloing opportunities. He shredded his way through Fear of the Dark, though, but sadly time was up on the set - and when Smith launched into the intro to Wasted Years the place went wild one last time. It seems to have become the band's go-to ending track in recent years and it works well as such - with the evening coming to a powerful and melodic close. The setlist was:
The Ides of March
Murders in the Rue Morgue
Wrathchild
Killers
Phantom of the Opera
The Number of the Beast
The Clairvoyant
Powerslave
2 Minutes to Midnight
Rime of the Ancient Mariner
Run to the Hills
Seventh Son of a Seventh Son
The Trooper
Hallowed Be Thy Name
Iron Maiden
-
Aces High
Fear of the Dark
Wasted Years
Despite the heat in the room, which was really quite stifling at times and quite unpleasant, Iron Maiden showcased why they continue to be one of the world's premier metal bands. Whilst the band do not seem to be slowing down, this tour, which comes 50 years following their initial 1975 genesis, feels like a celebration of all things Iron Maiden during their heyday and most successful period. With limited tours left, one big 'greatest hits' trek is no bad thing - and I welcomed it given that there were quite a few classics I had not seen the band do live before. It was the sort of set which was made to sing along to and plenty obliged - with a strong vibe throughout that matched the band's power.
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