Rocker (feedbot)
Platinum Member
There’s no big pre-show drama at The O2 tonight; just a steady stream of people arriving early and settling in. The mix is wide: long-term fans in band tees, younger gig-goers clearly here for the full bill, and the usual London crowd who treat arena shows as a midweek staple. It all feels surprisingly low-key for a band with Halestorm’s reputation.
Kelsy Karter & The Heroines open with the kind of confidence that makes sense once they hit their stride. Their set leans into glam-tinged rock without tipping into parody, and Karter handles the stage space well, pacing the length of it rather than planting herself in the middle. The arena isn’t full yet, but they keep the attention of those who’ve made the effort to turn up early. Karter herself is an impressive vocalist; pushing herself harder than expected for an opener, and the band keeps everything tight and precise behind her. It’s a solid, well-delivered start.
Bloodywood change the atmosphere immediately. Their mix of heavy riffs and traditional Indian folk instruments cuts through the room in a way that feels very deliberate rather than gimmicky. The dhol drum, in particular, lands like a physical hit and gets people moving long before the set reaches its heavier moments. A sizeable pit opens during both ‘Gaddaar’ and ‘Nu Delhi’, which sums up the shift neatly; momentary curious looks for the first minute, followed by full engagement. They’re an unexpected but welcome booking for this tour, and the reaction suggests the gamble pays off. You get the sense a fair number of people, aside from those who are already fans, are making a mental note to look up Bloodywood on the way home.
Halestorm arrive to a louder response than the support acts, though not the explosive roar some arena shows get. It feels more like everyone collectively deciding it’s time to stand up properly. The stunning ‘Fallen Star’ and fan favourite ‘I Miss the Misery’ opens the set and the crowd settle into it immediately. Lzzy Hale hits the big final note cleanly. It’s strong and unforced. The sound mix is impressively clear for The O2, with the guitars cutting through without turning sharp or scratchy. ‘Love Bites’ and ‘Back From the Dead’ keep the momentum going. The floor picks up energy as a small pit opens up, though it doesn’t dominate. The band’s years of touring show in how effortlessly they navigate dynamics, knowing when to drive forward and when to let the songs breathe.
The set shifts gears when Lzzy moves to the piano for ‘Familiar Taste of Poison’. The arena goes quiet, and the sea of phone lights that rises up captures something genuinely affecting rather than formulaic. Even from the upper sections, the moment registers as earned. Then Arejay Hale’s drum solo arrives, oversized sticks and all. It’s a bit silly but still technically solid, and the crowd treats it in the right spirit. It doesn’t drag, which helps the flow of the final part of the set. The closing run gets the strongest response of the night. ‘The Steeple’ and ‘Here’s to Us’ land hard with a crowd that’s fully warmed up by now. Lzzy mentions London’s importance to the band but keeps it to a sentence before launching into the final song. The show ends without fanfare or forced sentiment. When the lights come up, conversations in the crowd touch on all three acts, not just the headliner. Halestorm deliver exactly what they’re built for: a tight, confident set that treats the arena like a bigger club. No reinvention, no wasted motion. For a weeknight show, it’s the right call.
KATHRYN EDWARDS
Kelsy Karter & The Heroines open with the kind of confidence that makes sense once they hit their stride. Their set leans into glam-tinged rock without tipping into parody, and Karter handles the stage space well, pacing the length of it rather than planting herself in the middle. The arena isn’t full yet, but they keep the attention of those who’ve made the effort to turn up early. Karter herself is an impressive vocalist; pushing herself harder than expected for an opener, and the band keeps everything tight and precise behind her. It’s a solid, well-delivered start.
Bloodywood change the atmosphere immediately. Their mix of heavy riffs and traditional Indian folk instruments cuts through the room in a way that feels very deliberate rather than gimmicky. The dhol drum, in particular, lands like a physical hit and gets people moving long before the set reaches its heavier moments. A sizeable pit opens during both ‘Gaddaar’ and ‘Nu Delhi’, which sums up the shift neatly; momentary curious looks for the first minute, followed by full engagement. They’re an unexpected but welcome booking for this tour, and the reaction suggests the gamble pays off. You get the sense a fair number of people, aside from those who are already fans, are making a mental note to look up Bloodywood on the way home.
Halestorm arrive to a louder response than the support acts, though not the explosive roar some arena shows get. It feels more like everyone collectively deciding it’s time to stand up properly. The stunning ‘Fallen Star’ and fan favourite ‘I Miss the Misery’ opens the set and the crowd settle into it immediately. Lzzy Hale hits the big final note cleanly. It’s strong and unforced. The sound mix is impressively clear for The O2, with the guitars cutting through without turning sharp or scratchy. ‘Love Bites’ and ‘Back From the Dead’ keep the momentum going. The floor picks up energy as a small pit opens up, though it doesn’t dominate. The band’s years of touring show in how effortlessly they navigate dynamics, knowing when to drive forward and when to let the songs breathe.
The set shifts gears when Lzzy moves to the piano for ‘Familiar Taste of Poison’. The arena goes quiet, and the sea of phone lights that rises up captures something genuinely affecting rather than formulaic. Even from the upper sections, the moment registers as earned. Then Arejay Hale’s drum solo arrives, oversized sticks and all. It’s a bit silly but still technically solid, and the crowd treats it in the right spirit. It doesn’t drag, which helps the flow of the final part of the set. The closing run gets the strongest response of the night. ‘The Steeple’ and ‘Here’s to Us’ land hard with a crowd that’s fully warmed up by now. Lzzy mentions London’s importance to the band but keeps it to a sentence before launching into the final song. The show ends without fanfare or forced sentiment. When the lights come up, conversations in the crowd touch on all three acts, not just the headliner. Halestorm deliver exactly what they’re built for: a tight, confident set that treats the arena like a bigger club. No reinvention, no wasted motion. For a weeknight show, it’s the right call.
KATHRYN EDWARDS