London, Alexandra Palace, November 26, 2025

Bad Omens have truly transcended.

Almost a decade since they first planted their flag in the ground, and they are flying higher than ever, above where bands like them usually get anywhere near. From the extraordinary success that ‘THE DEATH OF PEACE OF MIND’ has handed them over the last three years to the mysterious unveiling of their next chapter that has occurred these past few months on a song-by-song basis, they are seeing 2025 out with the sort of show that not even their wildest dreams could have conjured at the start of this decade. Overlooking the bright lights of London from the top of Alexandra Palace hill, it’s a moment to savour and celebrate, but also show exactly what they can do when they are given the keys to the kingdom.

First up are The Ghost Inside, who are hellbent on sharing their heart-on-sleeve brand of battery to a whole new generation. Five years since their return from oblivion, just seeing them standing on stage playing music again is still enough to get you choked up, but to see them doing it with as much tenacity as they are producing here really is the cherry on top. ‘Wash It Away’ and ‘Earn It’ show off their masterful control of brute force and emotional resonance, whilst the spine-tingling heft of ‘Engine 45’ is just as gripping all these years later. Delivered with a respect and a rawness that has defined them since the turn of the millennium, you can sense that a fair few hearts and souls have been shifted thanks to the band being put in front of them tonight. And at the end of all things, that’s what this is all about.

Next is Bilmuri, who are ticking off another bucket list venue with their fourth trip over the Atlantic in the last calendar year. Though in having the opportunity to experience such trials by fire, they have come out the other end sounding better than ever. ‘THE END’ and ‘ALL GAS’ are pure singalong perfection, whilst the weight put behind ‘BOUTTA CASHEW’ and ‘More Than Hate’ has the centre of the room getting up to some real mischief. The band exude a shimmering confidence throughout, almost as if they now know they belong on these stages rather than just being handed the chance to dream. As ‘BETTER HELL (THICC BOI)’ sees out another gloriously fun victory, it sets things up for an even bigger 2026, and there are few bands that deserve it more.

Though the thousands packed into the extraordinary building tonight have truly come for one thing and one thing only. And as Bad Omens take up position and melt into a gorgeous ‘Spector’, all are transfixed, instantly enthralled by what they are witnessing. It takes the fiery ‘Glass Houses’ to shake the trance and get the floor bouncing.

Though it is this balance of beauty and brutality that allows this performance to be so much more than just a band playing a show. It feels like watching the elements shift before your eyes, the blood pumping through your veins vibrate as it flows, the tectonic plates below your feet rubbing together to signal something astronomical is afoot. To craft such an atmosphere is one thing; to make it as irresistibly compelling is another altogether. Yet the quartet make it look effortless.

From the quivering builds of ‘THE DEATH OF PEACE OF MIND’ to the infectious hooks of ‘Limits’, the undeniable melodies of ‘Dying To Love’ to the brain-itching flitter of ‘THE DRAIN’, every track is delivered with care, consideration and, when applicable, callousness. Grippingly tribal one minute, like during an iron-clad ‘CONCRETE JUNGLE’ and vindictively vicious ‘ARTIFICIAL SUICIDE, beautifully hedonistic the next, such as when ‘Like A Villain’ and ‘Just Pretend’ hit the headiest of heights, the ebb and flow between crushing and caramel is a sight to behold. And when it really hits, like during an unbelievably intense ‘V.A.N’, as perfectly powerful as modern metalcore can be, the euphoria is undeniable.

All of this extravagance is held together by Noah Sebastian, who is absolutely in the form of his life. Such masterful control of not just his voice, ever bark and croon perfectly balanced, but in his role as ringleader, conducting the pit like it’s a symphony. With arms aloft, mic stand pointed to the heavens, he has every soul in this room in the palm of his hand.

Though there is one more where he allows the mask to slip a little and let the reality of the occasion sink in for a second. Aside from a tour of the arenas with Bring Me The Horizon last year, the last time the band headlined a show in London was over two nights at The Dome in Tufnell Park, a room that holds 600, give or take. Such a jump in size would scare as many bands as it would swallow up; the lack of time to perfect the shift from club and palace a step too far, yet Noah takes such a reality in his stride. “I’m proud of us, and I’m grateful for all of you,” he admits, hammering home that this is a group effort. That without both groups on either side of the barricade giving this the love and respect it deserves, then it is nothing. An organism like this has a whole host of moving parts, and if any of them slack, it just doesn’t work.

Seeing out such a special occasion in the only way that seems fitting, with the towering flames, guttural howls and unbridled mayhem that has come to be associated with ‘Dethrone’, this outrageous achievement is well and truly cemented. As animalistically bold as it has been gorgeously restrained, Bad Omens have produced a sight that ensnares every sense, perfectly embodying what it means for art to make you feel so deeply and destructively.

And the most amazing thing about everything the band have conjured here? It still only feels like the tip of the iceberg. That there is still so much more left to explore, experiment with, and envelop, and that the number of people watching it unfold is only going to keep increasing. Though in seeing what they have been able to achieve under such outrageously high pressure to succeed, it’s clear they are more than ready for whatever comes around the corner.

The question is, are you?