Review & Photography by Manny Manson for MPM
Saturday night at the Motorpoint Arena Nottingham was one of those gigs that reminds you why live music still means so much.
The place had a subdued atmosphere, none of the usual buzzing with anticipation that you normally get at an arena gig. We were early though as most of the 10,000+ fans had still to turn up for this, the second night of this short, but mighty, three-date “RISE OF THE ROACH” tour. Opening the show we had BBC Radio1’s DJ ‘Alyx Holcombe” playing a rocked-out metal heads set, followed by Floridian metalcore giants ‘WAGE WAR’, whose raw, modern metal set really got the crowd’s adrenaline pumping, before the legendary ‘PAPA ROACH’ took over and annihilated the stage.
As mentioned previously, it was a sedate laid-back start to the night. Dressed in a black, glittery Adidas trackie, DJ Holcombe set about warming up the vast arena, a thankless task as most of it was empty, with only a slow trickle of fans wandering around. First a bit about our DJ Alyx Holcombe. Alyx is heralded as a dynamic DJ who’s been making waves with her unique approach to metal and electronic music. Starting out in the underground club scene, she quickly earned a reputation for seamlessly blending aggressive metal riffs with pulsating beats, awakening even the most subdued crowds. Now a regular on the UK circuit, Alyx’s electrifying sets and magnetic stage presence have cemented her status as one of the most exciting and innovative acts around.
So, at 6pm, DJ Alyx Holcombe took to the decks at the Motorpoint Arena, kicking off a metal set that would slowly wake the early crowd at the Papa Roach gig.
Initially, the atmosphere was subdued, only a handful of early attendees were around, but as time went on and more fans filtered in, isolated pockets of people would suddenly burst into song, fist pumping the air and bouncing along like Tigger on speed, eventually drawn in by Alyx’s infectious track choices.
Her set, which ran until close to 19:50 when Wage War were due on, managed to capture some true moments of audience participation. Several fans even sang along to each track, their voices blending with the pounding beats as Alyx skill-fully spun her metal mix.
When her long set finally ended, the now-filled arena cheered her off stage, whether that was pure appreciation for a job well done or just relief as Wage War took over, it was clear that DJ Alyx Holcombe had made her mark on the evening.
Hailing from Florida, WAGE WAR exploded onto the scene with their debut album, Blueprints (2015), and have since been making waves with their unique blend of crushing breakdowns, soaring clean choruses, and raw, frayed vocals. Fronted by the magnetic Briton Bond, with Cody Quistad (clean vocal) and Seth Blake tearing through the guitars, AJ Brandt on bass and Stephen Kluesener pounding the drums, WAGE WAR took to the stage beneath a massive backdrop emblazoned with their logo “WAGE WAR,” leaving no doubt about who was in charge.
They opened their set with “The Shows About to Start” (from Stigma, 2024), a track that kicked started the night with furious aplomb. The opening song mixed clean, melodic lines with moments of abrasive, guttural screams, all supported by staccato drum beats and a wash of dramatic lighting that painted the stage in deep, moody hues.
The energy then surged with “Godspeed” (from Manic 2021), a fast-paced assault of relentless rapid-fire guitar work and pounding percussion, the powerhouse assault of electrifying riffs and aggressive percussion had sections of the crowd headbanging in unison as the lights pulsed in time with every syncopated beat.
From there, Wage War seamlessly transitioned into “Low” (from Pressure, 2019), a song that delivered a haunting contrast with its mix of sombre clean vocals from Cory Quistad and crushing breakdowns were the guitars grew heavier, the bass rumbled ominously, Bond’s delivery became both plaintive and powerful, evoking a sense of despair that was mirrored by the lighting shifting to deep blues and reds. The band’s dynamic was on full display as they moved effortlessly between the softer and harsher elements of their sound, capturing the crowd’s attention with every shift.
“Circle the Drain” (from Manic, 2021) followed, a blistering track where the guitars screamed with unbridled aggression and the drums pounded relentlessly, mirroring Bond’s delivery as he alternated between the clean, emotive, melodic refrains and the raw, frayed guttural shouts that punctuated the song like battle cries, no doubt sending shivers down the spine of every metalhead in the arena. The dynamic between clean, and shouts all enhanced by a cascade of strobing lights that made the stage feel like a war zone.
The intensity only ramped up with “Nail5” (from Stigma, 2024), a relentless barrage of rapid-fire riffs and explosive percussion that felt like a full-on assault on the senses. Bond’s vocal performance were a volatile mix of pristine, soaring lines and guttural roars, here was a perfect mix of Quistad’s clean, soaring passages and raw, frayed shouts from Bond that sounded like battle cries, seemingly igniting the crowd with every note.
Next, “Blur” (from Stigma, 2024) provided a whirlwind of sound, a chaotic fusion of frenetic, rapid guitar phrases and perfectly timed drum fills, delivering a whirlwind of sound as the band with both Bond’s and Quistad’s voices oscillating between ethereal clean segments and raw, aggressive bursts, creating moments where clean vocals cut through the heavy backdrop, creating a juxtaposition that was as beautiful as it was brutal.
As the set moved into its latter stages, “Tombstone” (from Stigma, 2024) brought a darker, more introspective mood. a track that slowed the pace just enough to let the emotional weight sink in. Its grinding guitar lines dripped with melancholy, the bass and drums provided a steady, grounding pulse, and shifted the dynamics, from quiet, reflective passages to violent, shouted outbursts, both clean and ferocious, evoked themes of loss and defiance were accompanied by atmospheric lighting that cast eerie shadows across the stage, deepening the emotional impact of the performance.
“Happy Hunting” (from Stigma, 2024) then erupted onto the stage with a rousing, anthemic burst that had the arena roaring along, its infectious energy and perfect balance of melody and aggression encapsulating everything Wage War stands for. Just when it seemed the night couldn’t get any more intense, the band introduced “Magnetic,” (from Stigma, 2024) a powerful new addition that acted as a sonic bridge to the finale; its riff-driven melody and intricate guitar interplay, combined with Bond’s impassioned delivery, created a magnetic pull that drew the crowd even closer, uniting them in a shared moment of raw power and emotion.
For the finale, the band closed with “Manic” (from Manic, 2021), a high-octane, adrenaline-pumping track that left the arena erupting in cheers. The song was a frenetic whirlwind of rapid riffs, explosive drum fills. The guitars roared with relentless ferocity, the drums pounded out an insistent, driving beat, and a vocal onslaught that seemed to reverberate through every corner of the venue, Bond’s vocals soared between crystalline, clean choruses and searing, frayed screams, culminating in a climax that every fan felt. Throughout the set, stunning lights and immersive visuals enhanced the performance, highlighting the band’s dynamic interplay and the constant contrast between their clean, soaring choruses and raw, guttled verses.
This ‘Stigma’ influenced set was an unforgettable reminder of Wage War’s evolution from their early days in 2015 to the powerhouse they are today, delivering an epic, all-consuming metalcore performance that left the fans buzzing.
As the crew cleared away Wage War’s battlefield, the crowd buzzed with anticipation. Beer was flowing, merch was flying off the stalls, and the sold-out arena slowly eased its tension, all in quiet preparation for the final onslaught that is Papa Roach. Tonight, they came not only to deliver a blistering set but also to pay tribute to the 25th anniversary of their magnificent album;” Infest,” a record that catapulted this Californian Nu-Metal powerhouse into the stratosphere back in 2000. Papa Roach, formed in the early ’90s and having weathered the storm of the changing metal scene, has always blended raw aggression with moments of melody and vulnerability. With lead vocalist Jacoby Shaddix’s unmistakable, frayed vocals, Jerry Horton’s razor-sharp guitar work, Tobin Esperance’s pulsing bass, and drummer Tony Palermo’s thunderous beats, they built a legacy that resonates with fans old and new. Tonight’s set was a sprawling greatest hits collection that spanned decades, each track a reminder of their evolution and unyielding spirit.
The show exploded into life with the latest release “Even If It Kills Me” (January 2025), where as soon as the opening riff hit, the arena lit up like the blitz as dozens of 747 lights blinded the unsuspecting fans, pyro flames shot up along the stage, enhancing the visual and bubbling the mercury in the thermometer at the same time. Shaddix’s vocals, alternately clean and ferocious, cut through the roar of the guitars, instantly igniting(sic) the crowd.
The energy didn’t let up as “Blood Brothers” (from the classic Infest, 2000) followed. More flames accompanied the track, and every note seemed to echo the raw intensity that made the album a milestone. The guitars screamed and the drums pounded in perfect sync, while the search lights danced in time with every chorus, driving the audience into a collective frenzy, as, light in their loafers, they bounced as one seemingly like a calm but angry sea.
“Dead Cell” (another from Infest, 2000) then took over with a relentless, propulsive rhythm that meshed perfectly with the band’s signature mix of melody and mayhem. Shaddix’s delivery was a masterclass in controlled chaos, his clean lines seamlessly giving way to guttural shouts, as the lights shifted from icy blues to searing reds, cascading images on the rear backdrop screen punched the visuals forward, reflecting the track’s dark, pulsing heart. Next up was “…To Be Loved” from The Paramour Sessions (2006), a track that balanced delicate, heartfelt clean vocals with explosive bursts of aggression. The band’s interplay was mesmerising; Horton’s lead intertwined with tight, chunky riffs while Palermo’s drumming provided a kinetic energy that had every head in the arena nodding along like the Churchill dog on a cobbled street.
With “Kill the Noise,” (from Ego Trip, 2022) the stage erupting in a shower of pyro flames, like an angry Icelandic volcano, intensifying the onslaught. The frenetic guitar lines and explosive percussion adding more chaos to the seemingly controlled maelstrom of sound, while Shaddix’s vocal delivery soared over the carnage, alternating between almost melodic refrains and raw, defiant shouts. “Getting Away with Murder” (from Getting Away with Murder, 2004) followed, bringing a more tangible edge of desperation and defiance. The tight precision of Horton’s riffs, the pounding groove of Esperance’s bass, and Palermo’s relentless drumming combined to deliver a sonic punch that left the crowd roaring as one.
Then, in a surprising twist that showcased their versatility, Papa Roach treated us to a rousing cover of “California Love,” a nod to the 2Pac classic, infusing the familiar beats with their own brand of heavy, hard-hitting energy. This was followed by “Swerve” (from Ego Trip, 2022), a track where every riff felt like a calculated assault, the lighting shifting to dramatic strobe effects that echoed the song’s restless pace. “Liar” (also from Ego Trip, 2022) came next, with pyro flames once again accentuating the visceral energy; the song’s pounding rhythm and Shaddix’s dynamic vocal delivery, at times crystalline clean, at others rough-hewn, creating a moment of pure, unadulterated metal ecstasy.
“Forever” (from The Paramour Sessions, 2006) was a heartfelt interlude amid the chaos, a soaring anthem that saw Shaddix’s vocals hovering somewhere between introspection, examining our own mental and emotional processes, and defiance, complete resistance and disobedience, as the band locked into a groove that had the entire arena rocking. “Falling Apart” (from F.E.A.R., 2015) brought the momentum back up, its intricate guitar work and explosive percussive elements creating a surge that left the crowd buzzing with energy. Then, amid the roaring cheers and the relentless energy of the night, Jacoby Shaddix stepped forward to deliver an impassioned appeal for donations to local suicide prevention charities, a powerful moment that underscored the band’s commitment to helping those in desperate times.
Without missing a beat, the band fired back up with “Leave a Light On (Talk Away the Dark)” (from Ego Trip, 2022), this was released as a collab single with Country star, Carrie Underwood, in 2023. It was done in conjunction with the American Foundation for Suicide Prevention, for the Talk Away the Dark campaign. The song is dedicated to the late Chester Bennington.
its opening is accompanied by another burst of pyro flames that lit the stage in a wash of orange and red. The track’s mix of soaring, clean choruses and gritty, raw verses have the audience singing along, their voices melding into one massive chorus of unity and resilience. “Roses on My Grave” (from the Paramour Sessions, 2006) follows, a track permeated with a haunting melody and poignant lyrics that resonated deeply under a cascade of shifting lights, while “Scars” (from Getting Away with Murder, 2004) delivers a visceral reminder of the band’s early days, its raw, anguished riffs, dripping with mental pain and suffering, and powerful, frayed vocals echoing the struggles that built their legacy.
“No Apologies” (from Ego Trip, 2022) brings another surge of energy, its furious pace and biting lyrics underscored by a relentless rhythm section that, once again puts the energy back into the crowd, like a firework up the backside, it has the fans bock on their toes. At one point, Tony Palermo whipped around the drum kit, shrouded in a spectacular display of pyro flames, his performance a display of athletic prowess and pure, unfiltered passion. The set then reached another peak with “Born for Greatness” (from Crooked Teeth, 2017), where yet more flames erupted, and every note seemed to declare the band’s unyielding drive and determination.
After a set that felt like a cathartic, (a psychological relief through the open expression of strong emotions,) through Papa Roach’s storied career, the band briefly left the stage to thunderous cheers, the audience begging for more. The resulting encore was a pyromaniac’s wet dream, a mini set that set the arena ablaze. They returned with “Between Angels and Insects” (from Infest, 2000), the opening track of the album that started it all, its aggressive riffs and defiant lyrics sending the crowd into another frenzy. This was swiftly followed by the mighty “Infest,” (Infest, 2000) a track that stood as a monument to the band’s enduring legacy, its relentless pace and raw power igniting memories of a bygone era. “Broken Home” (from Infest, 2000) continued the onslaught, its powerful, anguished chords resonating deeply with every fan in the arena.
Then came an explosive medley, a seamless blend of covers including “Blind,” (Korn, 1994) “My Own Summer (Shove It)” (a nod to the Deftones, 1997), “Break Stuff” (a Limp Bizkit classic, 2000), and “Chop Suey” (by System of a Down, 2001), each snippet a burst of energy that had the entire arena violently bouncing in unison. Finally, in a moment that lifted the roof off the venue and sent the arena into a new postcode, the night closed out with the only song that could encapsulate the sheer intensity of it all: “Last Resort” from Infest (2000). The cacophony of sound, the explosive lighting, and the unstoppable energy of the band and the fans combined to create an ending that was nothing short of epic. The venue literally throbbed with explosive pulses as this meteoric finally caused seismic ripples felt globally (ok a little over the top but you get what I mean).
Tonight, Papa Roach delivered a masterclass in dynamic performance, blending a rich history of sound with the raw power of live metal. From the explosive opener to the incendiary encore, every song was a nod to their evolution, their passion, and their unwavering connection to the fans. This was a night where the past and the present collided in a spectacular display of light, sound, and emotion – a true celebration of the enduring spirit of Papa Roach, and a reminder that even after 25 years, they’re still here to set the world on fire. 2025 is shaping up to be a year of astonishing live performances, I said last week’s Trivium and Bullet For My Valentine would be gig of the year, but move over, Papa Roach have just slam dunked that spot! Liverpool they’re gonna rock you to your foundations!
