Review by Manny Manson for MPM
Walking up to the Utilita Arena, Birmingham tonight, the scene is wild, a massive line of fans stretching out the door, round the corner and along the canal side, fans are everywhere, all eager to get inside. I’m later told that the place is packed with over 15,000 metalheads, 8,000 of those, downstairs on the main floor, eager to soak up every moment of what promises to be a night of pure carnage.
Tonight’s show is part of the “Poison Ascendancy Tour,” where co-headliners Trivium and Bullet for My Valentine are both playing one of their own, classic 20-year-old albums in its entirety. It’s going to be a throwback to the days when these records ruled, and the energy outside is already off the charts.
Before the headliners, we’ve got the warm-up act, Swedish melodic death metallers “Orbit Culture.” I haven’t seen them live yet, but I’ve heard they pack a brutal punch, and I can’t wait to check them out, gulp! As I get closer to the entrance, I see throngs of people ready to drop cash on merch and drinks, all geared up, supporting their favourite band, like friendly rivals at a football derby, they’re ready for the epic night ahead when 15,000 fans wage war on the Utilita Arena Birmingham for a dose of brutal chaos.

Orbit Culture eventually stormed the stage as the opening act, unleashing a death metal assault on the senses that leaves no one unscathed. The arena transformed into a dark battlefield of swirling smoke and harsh red lighting, sets the perfect backdrop for a set that was is savage as it was mesmerising.
Orbit Culture has carved out its brutal niche in the underground death metal scene over the past decade. Fronted by Niklas Karlsson, the only original member, who handles lead vocals and rhythm guitar with a bone-crushing growl, the band has built a reputation for unleashing thunderous riffs and an unstoppable wall of death. Alongside him, Richard Hansson shreds on lead guitar with precision and aggression, Fredrik Lennartsson thunders on bass with a relentless, rumbling groove, and Christopher Wallerstedt keeps the beat as a drummer whose pounding is as relentless as the sound of a cataclysmic storm. Their latest album, Descent (released in 2023), cements their status as modern titans of death metal, a manifesto of unapologetic raw aggression and unyielding brutality.

The set opened with “Descent”, a track that immediately plunged the crowd into a maelstrom of bone-crushing riffs and guttural vocals. Karlsson’s savage growl echoed through the arena, a primal cry that signalled the start of an unrelenting onslaught. Every note, combined with the heavy, distorted guitar lines from Hansson and the relentless drumming from Wallerstedt, felt like an incantation summoning the darkest forces of death metal. The stage, bathed in red light and shrouded in swirling smoke, resembled an apocalyptic wasteland as the crowd braced for the carnage to come.
Without missing a beat, Orbit Culture launched into “North Star of Nija.” This track was like a beacon in the midst of chaos—a relentless surge of fury that steered the assembled metalheads deeper into the anarchy. Hansson’s precise, merciless guitar work sliced through the air, while Wallerstedt’s drumming pounded out a rhythm reminiscent of war drums echoing from the depths of the abyss. Karlsson’s raw, guttural vocals led the charge as the dedicated fans in the “Snake Pit” punched the air with wild abandon, fully immersed in the death metal carnage unfolding before them.

Next came “From the Inside,” a track that delivered a visceral onslaught to the senses. Orbit Culture’s signature wall of death was in full force here,a relentless barrage of crushing guitar riffs, heavy bass lines from Lennartsson that vibrated through the floor, and vocals that seemed to rise from the depths of pure darkness. The interplay between Hansson’s savage solos and Karlsson’s unyielding vocal delivery, backed by Wallerstedt’s booming drumming, left the crowd mesmerized by the sheer force of it all.
The assault continued with “While We Serve,” a song that was both a battle cry and a declaration of unyielding defiance. Karlsson’s growl was a force of nature, each syllable delivered like the precise strike of a battle-hardened warrior. The song’s relentless pace, driven by Hansson’s searing guitar riffs and Lennartsson’s pounding bass, created an atmosphere of pure, unadulterated aggression. Christopher’s thundering beats only amplified the intensity, as the Snake Pit erupted in a frenzy of fists punching the air—each fan part of the epic, death metal onslaught.

For the grand finale of their set, Orbit Culture unleashed “Vultures of North.” This closing track was an all-out assault, a cacophonous symphony of brutality that encapsulated everything the band stands for. The stage erupted in a cascade of red light and swirling smoke as the track’s relentless riffs and Karlsson’s ferocious growls reached their peak. Every element of the band played like seasoned warriors in the midst of battle: Hansson’s razor-sharp guitar slicing through the chaos, Lennartsson’s bass providing the rumbling undercurrent of doom, and Wallerstedt’s drumming mimicking the relentless march of an unstoppable force.

The final moments left the arena in a state of euphoric mayhem, with fans in the Snake Pit throwing themselves into their mosh pit, their fists punching the air as if defying the darkness itself. Orbit Culture’s performance tonight was more a full-blown death metal invasion. Their brutal onslaught through “Descent,” “North Star of Nija,” “From the Inside,” “While We Serve,” and “Vultures of North” played like chapters in an epic saga of war and defiance. With Niklas Karlsson leading the charge as the sole original member, backed by the relentless force of Richard Hansson, Lennartsson Lennartsson, and Christopher Wallerstedt, the band delivered a performance that left no doubt about their mastery of seriously brutal death metal, Think Lamb of God on steroids!
Orbit Culture had spearheaded a night of nostalgia with absolute brutal chaos. Up next was Trivium, here to play their sophamore album Ascendancy in its entirety, a promise of even more epic, headbanging metal to follow.
I’ve been following Trivium for a few years now, mainly due to being pointed at them by my son who would have been 10 when this album hit. I last saw them twice in 2023 when they rocked the O2 Academy Birmingham on the “Deadmen and Dragons” tour in January and then destroyed Rock City Nottingham during their “Wizards and Goblins” tour in August. Both shows were intimate affairs in 2-3k cap venues, but tonight, over a year later, Trivium has teamed up with Bullet for My Valentine for a night that will go down in heavy metal history.
Playing to a packed Utilita Arena Birmingham with 15,000 metalheads, 8,000 of them crammed onto the main floor, the atmosphere is absolutely electric as we prepared for a full-blown celebration of classic Trivium. And tonight, they’re playing “Ascendancy” in its entirety, yes, that 20-year-old album that still burns as hot as ever. My son reminds me that as a 10year old he had a copy.

As the lights hit and the house PA roars with “The End of Everything” (Ascendancy, 2005), the arena predictably, explodes into life. The stage is set with outrageous lighting, red and white spots cutting through the inky blackness, and blue lights interspersed with every colour you can imagine. The opening wall of sound is a brutal blast that leaves us in no doubt this is going to be a memorable set. The energy from the crowd was treaclely thick; you can feel every head nod and every fist pump in the Snake Pit, and the 8000 strong crowd all seemingly crushed onto the barrier, as the band lock in tight into the first track of Side 1.

Then came “Rain.” Almost immediately, Heafy appears high above us on the extended runway, his low-slung signature black Epiphone Les Paul, grinding out notes faster than the eye or ear can follow. The sound is massive, so loud it nearly drowns out the roaring cheers of the 15,000 in attendance. The vocals, growled and frayed, cut through the music like a battle cry, echoing off the walls of the arena and sending shivers down the spines of everyone watching. It was clear from the very first note that Trivium wasn’t here to play it safe.

The set continued to build momentum with “Pull Harder on the Strings of Your Martyr.” This song, a staple of the album, saw the band tearing through its iconic riff with relentless power. Every note was delivered with a mix of controlled aggression and raw emotion. The crowd was on its feet, being held up by those around them, feeding off the energy as the guitars and drums trade blows like weapons in a fierce battle. The frayed, growled vocals, Heafy’s signature scream and spit, make it impossible not to get caught up in the moment.

Straight after, “Drowned and Torn Asunder” hits the stage. The impact of the song is immediate, with the crowd roaring in unison. The song’s heavy, chugging riffs and the guttural screams conveyed a sense of loss and defiance all at once. It was as if every note was a reminder of the band’s relentless drive, a sentiment that reverberated throughout the massive hall as the collective bounce and fist pump along.
Then came the title track, “Ascendancy.” With its epic buildup, the song felt like the culmination of everything Trivium has stood for since “Ember to Inferno” back in 2003. Tonight, the band was in full flow, Corey Beaulieu and Paolo Gregoletto, who made their debut on this very album, still delivering explosive performances, while new drummer Alex Beat provided a fresh but equally thunderous backbone.

The combination of the growled vocals, the intricate, meaty riffs, and the pounding drum beats create a sound that was both aggressive and anthemic. It was a sonic journey that takes the crowd on a ride through personal and social struggles, exactly as Heafy intended when he first wrote these songs.

A turning point in the set came when the band broke for a drum solo introduction into “A Gunshot to the Head of Trepidation.” As Alex Beat pounded away behind his kit, the arena was suddenly treated to a bizarre and unforgettable spectacle, a massive inflatable snarling demon zombie appeared behind the drum kit. Its skinless, terrifying snarl loomed over the stage like an omen, sending a shiver down everyone’s spine. The drum solo itself was a masterclass in controlled chaos; Beat’s performance was relentless, each hit echoing through the massive space, and it set the stage perfectly for the next song.

“Like Light to the Flies” followed on, and the band did not miss a beat. The song’s raw aggression and fast-paced riffing kept the energy at a fever pitch, with Heafy’s vocals unleashing a torrent of growls and screams that perfectly matched the intensity of the instrumentation. It was a whirlwind of sound that had the crowd roaring and the Snake Pit pulsating with excitement. The momentum carried on into “Dying in Your Arms.” Here, the band showed a more melodic side without sacrificing the raw power that defines their live performance. The interplay between the clean and growled vocals was almost magnetic, as the scorching guitar runs intertwined with pounding bass and thundering drums, creating an atmosphere that was both crushing and surprisingly emotive.

“THE DECEIVED” was next—a track that felt like a punch to the gut. The song’s heavy, churning riffs and Heafy’s defiant screams combined to create a sound that was both bitter and cathartic. Every word seemed to cut through the din of the crowd, as if the band was laying bare the truth of their struggles in real time. Then came “Suffocating Sight,” a song that truly demonstrated the band’s ability to blend intricate guitar work with visceral vocals. The lighting dimmed and pulsed in time with the music, and the crowd moved as one sweaty sea of carnage, fully absorbed by the sonic assault.
The intensity only grew as “Departure” and “Declaration” followed. In “Declaration,” the band even tossed in a riff or two from “Pull Harder,” a clever nod that had die-hard fans cheering wildly. It was a masterful close to the main body of the set, a tribute to the band’s deep connection with their material and their audience.

After a brief musical interlude where “Capsizing the Sea” reverberated over the house PA, the band launched into the final track of the night: an extra track “In Waves.” Being the first single from their 5th album of the same name releases in 2011. The track is a fitting conclusion, with its gradual buildup and explosive climax capturing the full spectrum of emotions from despair to defiance. The last notes of the song were met with a deafening roar from the crowd.

Throughout the set, Matt Heafy’s growled, frayed vocals and the band’s unyielding energy were on full display. Each song from “Ascendancy” was given new life tonight, played with a passion and precision that reminded us all why Trivium has remained at the forefront of heavy metal for so long. This show was a mix of raw power, emotional depth, and a sense of unity among the fans, a shared experience that went beyond the music itself.

Watching Trivium race around the extended runway, the band members feeding off the energy of every single person in the arena. The VIP fans in the Snake Pit got an up-close view of the chaos, witnessing firsthand the sweat, the screams, and the sheer physicality of a live metal performance at its peak. This was a night of unforgettable heavy metal, a celebration of “Ascendancy” as a 20-year-long player, a reminder of the band’s journey from “Ember to Inferno” in 2003 to where they stand now, and a tribute to the enduring spirit of Trivium, Bullet for My Valentine, who are up next, and every single metalhead in the house.

In a single night, with raging riffs, crushing vocals, and moments of pure theatrical madness (like that inflatable demon zombie), Trivium have again proved why they’re one of the kings of metal. Tonight’s set was a full-blown, cathartic release, a night where the past and the present collided like two other worldly bodies, to create something truly epic. And as the final notes of “In Waves” fades away, the cheers and screams of the crowd spoke volumes: this was heavy metal at its finest, the screams and cries of fans echoing through the arena long after the sound had died away and they surge out to get much needed refreshments.
This is the “Poison Ascendancy” tour, where the co-headliners, ‘Trivium’ and ‘Bullet For My Valentine’, swap slots night by night, and tonight, ‘BFMV’they’re topping the bill.
Bullet for My Valentine are here to play their debut album, The Poison, in its entirety, this is yet another album that my then 10yr old son tells me he got when it was released. Sadly, due to work commitments he can’t be with me which is a total bummer. I still remember catching ‘Bullet’ at the O2 Academy Birmingham back in March 2023, a 3k cap venue where the energy was raw and intimate. Now, these Welsh rockers truly blew the bloody doors off the venue back then, tonight, facing a crowd that’s a full five times that size, is going to be equally as epic.

As the lights dimmed, a laser show cut the darkness, beams or high energy sliced across the inky black venue as three giant skull outlines appeared across the back screen that hosted vintage snapshots inside of them, of the band over the years. The seductive, eerie intro of “The Poison” started to seep through the house PA, setting the mood as if preparing us for a descent into nostalgic brutality. The crowd, already buzzing with anticipation, bounced as the wall of sound erupted like a tidal wave across the arena.

Without missing a beat, Bullet for My Valentine launched into “Her Voice Resides.” Mathew Tuck’s vocals immediately grabbed everyone’s attention, his voice, raw and guttural, sliced through the opening chords like a razor. His black Jackson Sharkfin guitar shrieked out rapid-fire notes, while Michael Paget traded intricate, aggressive licks on lead guitar, creating an assault of interwoven riffs. Jason Bowld was a whirlwind behind the drum kit, his galloping beats driving the track forward with punishing intensity, and the bass of Jamie Mathias, provided a deep, rumbling undercurrent that felt like the heartbeat of the night. The explosive energy was huge, setting the night for unadulterated musical savagary.

Almost immediately, the band shifted gears into “4 Words (To Choke Upon).” The tempo dropped ever so slightly, allowing a brief, heavy pause before the assault resumed. Mathew’s vocals, filled with anger and a hint of vulnerability, pushed forward as the guitars fired off a barrage of meticulously crafted riffs, each note blending speed with a crushing heaviness. Bowld’s drumming was relentless, each beat a reminder of the power behind every song. It was a moment of dark intensity that had the entire arena feeding off every chord and scream.
Then, as the opening chords of “Tears Don’t Fall” rang out, the arena erupted into an all-out frenzy. The familiar, intricate harmonies and memorable riff sent shockwaves through the crowd. Tuck’s voice alternated seamlessly between clean, almost pleading verses and explosive, gritty choruses that had everyone singing along at the top of their lungs. The interplay between the guitars was nothing short of magical, one locked in with a melodic line while the Paget exploded into fierce, soaring solos. Meanwhile, Bowld’s dynamic drumming shifted from slow, methodical builds to rapid, snare-driven accelerations, perfectly capturing the emotional rollercoaster of the song.

Following that, the band delivered a shortened version of “Suffocating Under Words of Sorrow (What Can I Do).” In this raw, emotional moment, Mathew’s voice cracked and growled with the weight of every word, and the guitars played a mournful, almost haunting melody. The blend of clean and distorted tones reflected a struggle, both personal and universal, no doubt resonating deeply with everyone present. A brief pause occurred when security had to help a fan in distress, a stark reminder of the physical intensity of these shows, the band cut the song short to allow the security to make the fan safe, before, quickly channeling that moment back into their performance with even more powerful instrumentation. As the energy surged once again with “Hit the Floor.” A poignant, reflective guitar riff opened the track, setting a somber yet aggressive tone.

Tuck’s delivery was soulful and raw, each word filled with urgency as the rhythm section propelled the song forward with unyielding force. Bowld’s drumming pounded on like an unstoppable force of nature, making every listener feel the weight of the beat deep in their chest. It was a track that balanced self-reflection with explosive aggression, a true statement to the band’s ability to traverse emotional landscapes seamlessly.
Without missing a beat, “All These Things I Hate (Revolve Around Me)” came next. The opening riff was a furious burst of sound, with guitars trading rapid, punishing phrases and the bass and drums locking into a relentless groove. Tuck’s vocals, effortlessly, alternated between guttural shouts and soaring melodies, in doing so conveyed a deep sense of personal turmoil that, no doubt, resonated with every fan. The intensity of the track had the entire arena vibrating with shared catharsis, a raw expression of frustration and defiance.

The momentum didn’t slow as the band launched into “Hand of Blood.” Here, the lighting was at its most dramatic, red and white bursts flashing in perfect time with the music. The guitars offered a blend of melodic lines intertwined with vicious, distorted riffs, creating a layered sound that was as beautiful as it was brutal. Tuck’s voice, filled with both aggression and desperation, drove the song forward, while Bowld’s precise yet thunderous drumming kept the pulse steady and unwavering. The crowd bounced along, seemingly entranced, each note underlining the band’s undenigable reputation for delivering unforgettable live performances.

“Room 409” followed, offering a darker, more reflective change of pace. A haunting guitar melody echoed through the arena, and Tuck’s vocals took on a reflective quality being both somber and stirring. The song’s slower, deliberate pace allowed the bass of Mathias and Bowld’s drums to lock into a steady, unyielding groove, creating a chaotic moment of quiet intensity amidst the onslaught of sound. It was a stark, emotional contrast to the earlier explosive tracks, giving the everyone a moment to absorb the weight of the lyrics. Remebering that when the album was delivered there was a huge following from hoards of lost ‘Goth’s who identified with the lyrical content of the band and how their own lives were shaping out. When “The Poison” arrived, the arena, ultimately exploded into a collective roar of pure, unadulterated enthusiasm.

The instantly recognisable riff hit hard, carrying with it a wave of nostalgia and raw energy. Tuck’s commanding vocals delivered every line with the passion of someone who’s lived and breathed this music for decades, while the guitars, bass, and drums came together in perfect harmony, yet another reminder of the power and influence of this landmark album. Every note felt like a tribute to the past, yet it was delivered with the ferocity of the present.
Shortly after, “10 Years Today” shifted the mood once again. The track unfolded with bittersweet melodies and those abundant reflective lyrics, the guitars weaving delicate yet piercing lines that spoke to the passage of time. Tuck’s vocal performance was, once again, a masterful blend of clean, melodic phrases and his trademark guttural screams, evoking both nostalgia and hope.

The arrangement was perfectly balanced, allowing each instrument to shine as the crowd soaked in the reflective ambiance. Then came “Cries in Vain,” a relentless barrage of sound that ramped the intensity back up. The guitars roared with distorted power, and the bass and drums pushed the track forward with an insistent, pounding force. Tuck’s aggressive vocals, filled with raw emotion, seemed to tear through the fabric of the night, delivering every cry with a mix of defiance and sorrow. It was a purifying moment, a release of pent-up energy that had the audience roaring their approval, as, light in their loafers, the bounced, punched the air with seemingly orgasmic approval.

Closing out the main set was “The End.” Here the guitars soared with epic, sweeping lines that built into a massive crescendo, while Bowld’s drumming provided a thunderous backdrop that shook the very floor of the arena. Tuck’s voice soared over the chaos, seamlessly blending clean, emotive passages with his signature guttural screams. The band poured every ounce of energy into this final track, delivering a performance that was both explosive and profoundly moving, a fitting end to a set filled with highs and lows, fury and introspection.

For the encore, Bullet for My Valentine returned with a vengeance. “Knives” kicked off, with a rapid-fire assault of distorted guitars and a barrage of percussion that immediately sent the crowd into yet another frenzy round of dad dancing. Tuck’s vocals dripped with venom and passion, each note delivered with a sense of urgency that had everyone nodding their heads violently. The energy was unrelenting, and as they transitioned into “Waking the Dead,” the band converged into one final, epic crescendo. The guitars, bass, and drums merged into a massive wall of sound, and, once again Tucks voice rose above it all, triumphant, defiant, and full of raw power. The final moments of “Waking the Dead” left the arena in complete cataclysmic uproar, a shared moment of metal euphoria as every fan celebrated the night’s unforgettable musical voyage.

Throughout the evening, Bullet for My Valentine easily demonstrated that they still possess that raw, unbridled power which defined them years ago. From the explosive opener “Her Voice Resides” to the cathartic finale of “Waking the Dead,” every song was proof to their ability to blend nostalgia with relentless aggression. Mathew Tuck’s frayed, growled vocals, the searing interplay between his and Pagets guitars, the unyielding groove of the Mathias’s bass growls, and Jason Bowld’s thunderous drumming all came together to create an experience that was both emotionally charged and physically overwhelming for many.

In a night that also featured the brutal death metal assault of Orbit Culture and the epic tribute from Trivium, Bullet for My Valentine’s performance was the final, electrifying piece of a puzzle proving that metal is very much alive. Tonight was a journey through the evolution of these two bands, “ a celebration of an era when ‘The Poison,’ and ‘Ascendancy’ first rocked our worlds, and a reminder of why we keep coming back for more. The energy, the passion, and the raw power of these three bands, Orbit Culture, Trivium, and Bullet for My Valentine—came together to blow the bloody doors off the venue and remind us all why metal will never die. Tonight’s performance left no doubt: this was heavy metal at its finest.