Roll back the clock 50 years and a young Steve Harris with Dave Murray were just down the road from what is now the Olympic Park, at the Cart and Horses pub in Maryland introducing their new band. Did they dream back then that half a century later it would come to this - that they would still be standing side by side making new music and banging out the same riffs from all those years ago? A lot has happened in the life of Iron Maiden since those early days in 1970s London’s East End, but one thing for sure is they have gone from strength to strength. Their last tour visited 32 countries as they played live to over 2.5 million devoted fans. This tour, celebrating a significant milestone, is visiting Europe this year and then the rest of the world in 2026.
UFO’s ‘Doctor Doctor’ has announced the start of every Iron Maiden show for as long as I can remember (and that’s at least since the late 80s). This time, it is followed by a recording of the Ides of March, the title instrumental piece from their 1981 album Killers, with a giant video screen taking the audience on an animated tour of a gritty East End full of Maiden references: The Ruskin Arms… The Blind Beggar… before shifting to the streets of Paris as the opening melody of Murders in the Rue Morgue brings the band rushing onto stage with youthful exuberance and a flash of pyrotechnics.
With the recent death of original front man Paul Di’Anno, it seems a fitting tribute to follow with two more songs from there 1981 album Killers. Firstly, Wrathchild with its grooving bass line, and then the album title track which also brings their famous 12-foot mascot Eddie sauntering onto stage, brandishing a blood-stained hatchet.
Bruce Dickinson is looking as fit as ever, bringing his powerful operatic style to the roll of lead vocalist - appropriate in carrying the ever-increasing grandeur of their progressively epic songwriting that has followed over the years. But these simpler, less complicated early songs haven’t lost any of their presence and power.
With a short pause in proceedings, Dickinson briefly reminisces at the significance of tonight’s show, particularly for East Ender and West Ham supporter Steve Harris. He also introduces their new touring drummer Simon Dawson who is playing a noticeably smaller drum kit to Nicko McBrain but just maybe holding a tighter, punchier groove.
A shift of mood as they step a few years further back into time for Phantom of the Opera and with it, Harris’ trademark galloping bass line. One of their first songs to hint at the epic progressive song writing that was to follow.
Whilst the band resurrect the spirit of early 80s ‘New Wave of British Heavy Metal’, the giant LED screen is from a more modern era, albeit criticism number one of tonight’s show are the graphics that aren’t that great quality and at times are an unwanted distraction. Another criticism is the sound quality, which is a bit muddy, with some unwanted reverb bouncing off the stadium walls making it difficult to discern the nuances of what is being played.
Maiden have had three axemen since the return of Adrian Smith 25 years ago. Tonight, its Dave Murray who steals most of the limelight with the setlist showcasing some of his most classic moments. Whereas Janick Gers takes a back seat. Prominent highlights include Rime of the Ancient Mariner and Seventh Son of a Seventh Son. Both still stand the test of time and for a band that has gotten used to writing long, prog-metal epics – some in excess of 15 minutes – these two from the mid-80s remain two of their masterpieces. Both employ some vivid storytelling; the former theatrical, and the latter with its symphonic-like composition, they take the set to its peak. A reminder how during the 80s Maiden had risen quickly to be the most popular metal band of that decade.
Another (albeit small) criticism falls with the bands choice of playing a few numbers that they have rather flogged over the past decades – a divisive point for sure. I would argue that a bolder choice would have been to leave out The Trooper, Fear of the Dark, and maybe one or more of the other obvious classics for something less played. But saying that, when both are played the four corners of the London Stadium come alive.
Then there is the question of why the same setlist each night? With such a vast back catalogue to celebrate (and hedging my bets that this tour will no doubt end up packaged onto a vinyl/CD/DVD bundle at some point) some alternative tracks would have been good. Maybe that’s something they can do on their next leg of this world tour – mix it up a bit.
Despite all this opinion, who would have thought we’d still get to see such an iconic band 50 years later filling out stadiums, still connecting with a new generation of metal fans and doing all this with engaging passion and energy.
UFO’s ‘Doctor Doctor’ has announced the start of every Iron Maiden show for as long as I can remember (and that’s at least since the late 80s). This time, it is followed by a recording of the Ides of March, the title instrumental piece from their 1981 album Killers, with a giant video screen taking the audience on an animated tour of a gritty East End full of Maiden references: The Ruskin Arms… The Blind Beggar… before shifting to the streets of Paris as the opening melody of Murders in the Rue Morgue brings the band rushing onto stage with youthful exuberance and a flash of pyrotechnics.
With the recent death of original front man Paul Di’Anno, it seems a fitting tribute to follow with two more songs from there 1981 album Killers. Firstly, Wrathchild with its grooving bass line, and then the album title track which also brings their famous 12-foot mascot Eddie sauntering onto stage, brandishing a blood-stained hatchet.
Bruce Dickinson is looking as fit as ever, bringing his powerful operatic style to the roll of lead vocalist - appropriate in carrying the ever-increasing grandeur of their progressively epic songwriting that has followed over the years. But these simpler, less complicated early songs haven’t lost any of their presence and power.
With a short pause in proceedings, Dickinson briefly reminisces at the significance of tonight’s show, particularly for East Ender and West Ham supporter Steve Harris. He also introduces their new touring drummer Simon Dawson who is playing a noticeably smaller drum kit to Nicko McBrain but just maybe holding a tighter, punchier groove.
A shift of mood as they step a few years further back into time for Phantom of the Opera and with it, Harris’ trademark galloping bass line. One of their first songs to hint at the epic progressive song writing that was to follow.
Whilst the band resurrect the spirit of early 80s ‘New Wave of British Heavy Metal’, the giant LED screen is from a more modern era, albeit criticism number one of tonight’s show are the graphics that aren’t that great quality and at times are an unwanted distraction. Another criticism is the sound quality, which is a bit muddy, with some unwanted reverb bouncing off the stadium walls making it difficult to discern the nuances of what is being played.
Maiden have had three axemen since the return of Adrian Smith 25 years ago. Tonight, its Dave Murray who steals most of the limelight with the setlist showcasing some of his most classic moments. Whereas Janick Gers takes a back seat. Prominent highlights include Rime of the Ancient Mariner and Seventh Son of a Seventh Son. Both still stand the test of time and for a band that has gotten used to writing long, prog-metal epics – some in excess of 15 minutes – these two from the mid-80s remain two of their masterpieces. Both employ some vivid storytelling; the former theatrical, and the latter with its symphonic-like composition, they take the set to its peak. A reminder how during the 80s Maiden had risen quickly to be the most popular metal band of that decade.
Another (albeit small) criticism falls with the bands choice of playing a few numbers that they have rather flogged over the past decades – a divisive point for sure. I would argue that a bolder choice would have been to leave out The Trooper, Fear of the Dark, and maybe one or more of the other obvious classics for something less played. But saying that, when both are played the four corners of the London Stadium come alive.
Then there is the question of why the same setlist each night? With such a vast back catalogue to celebrate (and hedging my bets that this tour will no doubt end up packaged onto a vinyl/CD/DVD bundle at some point) some alternative tracks would have been good. Maybe that’s something they can do on their next leg of this world tour – mix it up a bit.
Despite all this opinion, who would have thought we’d still get to see such an iconic band 50 years later filling out stadiums, still connecting with a new generation of metal fans and doing all this with engaging passion and energy.
