Review by Hugh Spence for MPM
The day has finally come when the beast rolls into town for the Irish stop on the Run for your Lives tour, the biggest event in the Irish metal calendar in 2025. The anticipation has been building for this one for a long time since tickets sold out last year. You know how big this gig is when you are stuck in traffic for so long just trying to get to the venue, Malahide Castle.
First up in tonight’s entertainment is of course The Raven Age, who has toured with Iron Maiden on every tour in the last few years. Hitting the stage at 5.30pm, just 30 minutes after the doors open, they are a gentle build up opening with The Guillotine, then Promised Land and Forgive & Forget, all great to listen to as the venue slowly but surely fills up.
Nostradamus, Surrogate and The Face That Launched a Thousand Ships follows from the 2019 Conspiracy album.
They are a band that know how to entertain and keep the crowd engaged. With a lengthy 45 minute set and 15 songs they finish off with Serpents Tongue, Grave of the Fireflies and Fleur de Lis
After a fairly quick turn around, next up is Halestorm, hailing from Pennsylvania, USA, lead by the ever popular and infectious Lzzy Hale. They are greeted by huge roars from the crowd as the venue has nicely filled up with 20,000 hungry metalheads.
From the moment the opening chords of “Fallen Star” reverberated through the venue, it was clear this wasn’t just another gig; it was a communion. Lzzy’s vocals, a force of nature whether soaring to the rafters or delivering a guttural growl, commanded attention, perfectly complemented by Joe Hottinger’s searing guitar work and the formidable rhythm section of Josh Smith on bass and Arejay Hale on drums.
The crowd erupted for fan favorites like “I Miss the Misery” and “Love Bites (So Do I),” each note a testament to Halestorm’s signature blend of raw energy and infectious melody. These tracks, delivered with an almost visceral intensity, had the entire venue singing along, a unified roar of appreciation.
The set then took a darker, more introspective turn with the brooding “WATCH OUT!” and the defiant “Darkness Always Wins,” showcasing the band’s versatility and willingness to explore deeper emotional territories. A true highlight for long-time fans was the seamless and stunning transition between “Familiar Taste of Poison” and “Rain Your Blood on Me,” a powerful medley that captivated the audience with its emotional depth and instrumental prowess.
Arejay Hale’s Drum Solo was, as always, a spectacle. Far more than just a percussive interlude, it was a dynamic and entertaining display of skill and showmanship, proving why he’s one of rock’s most engaging drummers. The energy he brought back to the stage perfectly segued into the defiant anthem “Freak Like Me,” which resonated deeply with the diverse Dublin crowd.
The band continued to build momentum with the sultry and empowering “I Get Off,” a track that perfectly encapsulates Lzzy’s unapologetic confidence. They then brought the house down with the colossal “Everest,” a fittingly epic closer that left the audience breathless and craving more.
Lzzy Hale’s unparalleled vocal power, the band’s tight musicianship, and their undeniable connection with the audience combined to create a truly memorable performance and an exciting way to lead into Iron Maiden’s performance. If you missed this one, you truly missed out – Halestorm proved once again why they are one of the most vital and exciting bands in rock today.
As the anticipation built even more, the crowd squeezed together to get as close as possible for what will no doubt be an unforgettable performance, for some it will be the 100th time they’ve seen Iron Maiden, for other younger fans and new fans it will be the first time they’ll have their minds blown by the kind of performance only Iron Maiden can pull off.
From the moment UFO’s Doctor Doctor rings out across the PA system, the crowd are already singing along, jumping and dying for Iron Maiden to walk out on stage and take them on a journey of classic songs, anthems of most metalheads’ lives.
The familiar, ominous strains of “The Ides of March” fills the air, an instrumental opening that served as a majestic overture, building tension with every note. The stage, shrouded in mist, hinted at the grandeur to come. Then, without a moment’s hesitation, the band launched into “Murders in the Rue Morgue.” Bruce Dickinson, a force of nature even at 66, exploded onto the stage, his voice as powerful and soaring as ever, defying the passage of time.
The iconic gallop of Steve Harris’s bass was the heartbeat of the song, perfectly complemented by the intricate guitar harmonies of Dave Murray and Adrian Smith. Janick Gers, a whirlwind of energy, added his own flamboyant flair, his guitar held aloft as he moved with unrestrained abandon.
The early part of the set was a joyous delve into the band’s foundational years. “Wrathchild” ignites air punching that surged with primal energy, the crowd singing along to every word with guttural enthusiasm. “Killers,” with its slightly extended outro, was a masterclass in controlled aggression, the dual guitar attack weaving intricate patterns that were both menacing and melodic. “Phantom of the Opera” showcased Maiden’s early penchant for epic storytelling, its theatricality perfectly suited to Dickinson’s commanding stage presence.
The crowd, a sea of black t-shirts adorned with Eddies past and present, was in full voice, a powerful choir echoing every riff and vocal line.
Then came the seismic shift. The opening notes of “The Number of the Beast” sent a shiver down the spine of every fan in attendance. This was more than just a song; it was an anthem, a moment of collective catharsis. Pyrotechnics erupted, framing the band in a fiery embrace as Dickinson delivered the iconic spoken-word intro, his voice dripping with sinister intent. The energy in the arena reached a fever pitch, a glorious, unholy communion between band and audience, “666 THE NUMBER OF THE BEAST” sung by the crowd is even louder than the band.
The set continued its relentless assault, weaving through different eras of Maiden’s discography. “The Clairvoyant,” from the Seventh Son of a Seventh Son album, brought a more progressive edge, showcasing the band’s willingness to explore new sonic landscapes without sacrificing their core identity. “Powerslave” was a majestic spectacle, its sweeping melodies and epic scope a reminder of their prowess in crafting intricate, multi-layered compositions. Dickinson, ever the showman, engaged the crowd with witty banter between songs, his charisma boundless.
“2 Minutes to Midnight” injected a shot of adrenaline, its urgent riff and anthemic chorus igniting another wave of frenzied headbanging. But it was the colossal “Rime of the Ancient Mariner” that truly demonstrated Iron Maiden’s ambition and musical prowess. Stretching over thirteen minutes, this epic journey through Coleridge’s poem was a masterclass in dynamic songwriting, shifting from haunting whispers to thunderous crescendos.
The band navigated its complexities with effortless precision, each member a vital cog in the majestic machine. This was a moment where the band truly showcased their musicianship and storytelling ability, transporting the audience to another realm. At this point I feel I should mention the unreal visual spectacle that Iron Maiden have put on for this tour, its simple, one large LED screen instead of the classic backdrop changes brings such an engaging new perspective aspect to their show, even after 50 years Iron Maiden are still developing and mastering their live performances.
As the set hurtled towards its climax, the hits kept coming. “Run to the Hills” was met with a roar of recognition, its iconic chorus sung back at the band with gusto. “Seventh Son of a Seventh Son,” another sprawling epic, solidified the progressive leanings of the late 80s, showcasing the band’s ability to craft intricate narratives within their metal framework. Then came “The Trooper,” a fan favourite that transformed the arena into a battlefield of waving Union Jacks and air guitars. Dickinson charged across the stage, a true general leading his musical army. Given that waving the Union Jack in Ireland has proved unpopular in previous shows, Dickenson wisely takes out the Tricolour and runs around the stage waving it and winning over anyone easily offended by the Union Jack. Smart Man.
The main set closed with two of Iron Maiden’s most revered classics. “Hallowed Be Thy Name” was a poignant and powerful performance, its narrative of a condemned man facing his final moments delivered with chilling conviction by Dickinson. The intricate musical passages were executed flawlessly, building to an emotional crescendo. Finally, the iconic riff of “Iron Maiden” brought the main set to a thunderous close, a declaration of intent from a band that shows no signs of slowing down. Eddie, in all his monstrous glory, made several appearances throughout the night, each reveal met with frenzied cheers, a constant visual reminder of the band’s enduring mascot and mythical world.
The roar for an encore was deafening, a desperate plea for more from a crowd that was already sated but hungry for every last drop of Maiden magic. The familiar, stirring words of “Churchill’s Speech” ushered in the triumphant return. The band launched into “Aces High” with a renewed burst of energy, a fitting tribute to their long-standing fascination with aviation and warfare. The sheer speed and precision of the playing were awe-inspiring, a testament to decades of tireless touring.
Then came the song that, for many, defines the modern era of Iron Maiden and my personal favourite: “Fear of the Dark.” The melancholic opening riff was instantly recognizable, and the entire arena became a choir, singing along to every word.. It was a powerful, communal moment, a testament to the song’s universal appeal and its ability to connect with the audience on a deeply emotional level and opened up a few mosh pits with the sheer speed of the song.
The final official song of the night, “Wasted Years,” provided a poignant and reflective counterpoint. Its uplifting message and anthemic chorus left the crowd with a feeling of hope and camaraderie. It was a perfect encapsulation of the band’s enduring message: to live life to the fullest and cherish the memories. I found it to be quite an emotional end as I felt the tears roll as I sang along, hoping this isn’t the last time I witness these true legends live.
The final words from Dickenson are “We shall be back” and I hope he stays true to his word as these experiences are something I never want to end. This was my kids first time seeing Iron Maiden and to see the delight and astonishment in their faces and they loved every moment of the 2 hour set was heart warming, as I looked around the Malahide Castle to see old, young, kids and families all enjoying their experience it reminds you that Iron Maiden and heavy metal isn’t just a “phase” or just for one particular group of people, its for everyone, its for life and its a community of amazing people.
Iron Maiden continue their Run for your Lives tour across the UK and Europe through the summer with most dates sold out, if you have never witnessed the legends live, then get on it!!
Tonights setlists:
The Raven Age:
The Guillotine
Promised Land
Forgive & Forget
Nostradamus
Surrogate
The Face That Launched a Thousand Ships
Scimitar
The Day the World Stood Still
Essence of Time
The Journey
Seventh Heaven
Angel in Disgrace
Serpents Tongue
Grave of the Fireflies
Fleur de Lis
Halestorm:
Fallen Star
I Miss the Misery
Love Bites (So Do I)
WATCH OUT!
Darkness Always Wins
Familiar Taste of Poison / Rain Your Blood on Me
Drum Solo
Freak Like Me
I Get Off
Everest
Iron Maiden:
Doctor Doctor
(UFO song)
The Ides of March
Murders in the Rue Morgue
Wrathchild
Killers
(Slightly extended outro)
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
Encore:
Churchill’s Speech
Aces High
Fear of the Dark
Wasted Years
Photography by Darren Mcveigh for MPM
