Concert Review: Def Leppard / Extreme (02 Arena, London - Thursday 2nd July 2026)

Written: 4th July 2026

Extreme

Def Leppard have a history of choosing some excellent bands as their support acts and Extreme are no exception. The venue is filling up as they take to the stage and continues to do so quickly during the initial part of their set.

The last time I watched Extreme live was at the Hammersmith Odeon in the early nineties. More than thirty years later, they are still capable of reminding audiences just how special they are. From the opening notes of Decadence Dance, it becomes clear that they are not content to coast on past glories. They approach their hour on stage with the confidence, energy and enthusiasm of musicians who still genuinely love performing together.

What strikes me most is how exceptionally tight they sound. Extreme have never been a straightforward hard rock band. Their music is packed with rhythmic twists, intricate vocal harmonies and arrangements that demand absolute precision from every musician on stage. Yet, everything flows effortlessly. There is never any sense of a band concentrating on getting through difficult material. Instead, they play with a natural ease that comes only from years of experience and a deep understanding of one another's strengths.

A huge rear screen provides a visual backdrop. Artwork from Pornograffitti accompanies songs from that landmark album, while the now familiar gorilla imagery from Six appears during the newer material. Combined with the catwalk stretching into the audience, it allows the band to make full use of the enormous stage and Gary Cherone in particular, rarely stays still for long.

Although four songs are drawn from Pornograffitti — Decadence Dance, Hole Hearted, More Than Words and Get the Funk Out — the set never feels like a celebration of a single album. Instead, it provides a welcome reminder of just how strong the band's catalogue really is. The inclusion of Rest in Peace from III Sides to Every Story - which I still think may be their finest album – is ambitious, melodic and beautifully arranged.

Much of the attention inevitably falls upon Nuno Bettencourt. Watching him play guitar remains one of the great joys of seeing Extreme live. Brian May has famously described him as one of the finest guitarists in the world and capable of things he himself could never do, although knowing Mr May's famously modest nature, I suspect he may be selling himself a little short. Even so, it is difficult to argue with the sentiment. Whether tearing through the astonishing complexity of Play With Me, delivering the beautifully judged passages of Midnight Express or unleashing the breathtaking speed of Flight of the Wounded Bumblebee, Bettencourt proves once again why he is held in such high regard by fellow musicians.

Nevertheless, Extreme have always been far more than a vehicle for one extraordinary guitarist. Gary Cherone is an exceptional frontman and his voice sounds superb. There is still power, warmth and character in every performance, whether delivering the harder-edged material or guiding the audience through more melodic moments. Just as enjoyable is the obvious chemistry between the four musicians. There is nothing forced about it; they simply look like a band having a wonderful time.

The two songs from Six deserve special mention. Released in 2023 after a fifteen-year gap following Saudades de Rock, it represented a triumphant return and both #REBEL and RISE demonstrate exactly why the album was so warmly received. Live, they sound immense. #REBEL crackles with attitude while RISE delivers one of the biggest reactions of the set and demonstrates that some of Extreme's most powerful material is also among their most recent.

When More Than Words arrives, much of the O2 sings along. Thousands of voices carry the song around the arena – a lovely moment and one that reminds everyone of the band's remarkable ability to connect with audiences.

The final three songs are dedicated to Ozzy Osbourne. Referencing their appearance at Back to the Beginning approximately a year ago, the band perform I Don't Know, Bark at the Moon and Crazy Train as a tribute to one of rock's most enduring figures. The affection behind the performances is obvious and the crowd respond warmly. It is a fitting way to bring an excellent set to a close. By the time Extreme leave the stage, they have done considerably more than warm up the audience for Def Leppard. They have reminded everyone present why they have been such a respected band for so long.

Extreme setlist: Decadence Dance / #REBEL / Rest in Peace / Play With Me / Midnight Express / Hole Hearted / More Than Words / Flight of the Wounded Bumblebee / Get the Funk Out / RISE / I Don't Know / Bark at the Moon / Crazy Train

Def Leppard

As the lights dim once again inside the arena, it is the stage itself that immediately draws the eye. A vast triangular lighting structure dominates the performance area before becoming part of the evening's evolving visual spectacle, combined with the enormous rear screen, two further video screens and extensive use of live camera footage; it forms the centrepiece of the spectacular production. From my seat almost in the front row of the upper tier, virtually directly in line with the centre of the stage, I have an excellent view of everything unfolding below. It proves to be the ideal vantage point from which to appreciate the full scale of the production and just how much thought has gone into every visual aspect of the show. Just as importantly, the sound is excellent. In venues of this size that is never guaranteed, yet every instrument and vocal sits comfortably in the mix.

This is the fourth time I have seen Def Leppard, having previously seen them on the Hysteria, Adrenalize and Slang tours. The last of those was almost thirty years ago. A great deal has changed during that time but as the five members appear together across the front of the stage to open with recent single Rejoice, there is something reassuringly familiar about the Sheffield quintet. I liked the song when it was released and live, it proves an effective opener, allowing the band to begin with something contemporary before reaching back into one of the strongest catalogues in rock music.

If further proof is required of that catalogue's enduring quality, it arrives quickly. Animal follows before Let's Get Rocked detonates across the arena. The latter receives one of the strongest reactions of the early part of the set. Three songs in and Def Leppard have already delivered two enormous hits, yet everyone in the building knows they still have plenty left in reserve. Unsurprisingly, a sizeable portion of the evening draws from Hysteria and while one or two more real surprises would have been welcome, it is a truly impressive setlist.  

The mood changes completely with a cover of Depeche Mode's Personal Jesus. Darker and more atmospheric than much of the surrounding material, it brings a different texture to proceedings. Afterwards, Joe Elliott thanks Depeche Mode before commenting that the evening will feature something new, something old and something borrowed.

What follows is one of my favourite sections of the entire concert. Bringin' On the Heartbreak and the irresistible instrumental Switch 625 – from 1981’s High ‘n’ Dry, still my favourite album - are performed back-to-back. As the two songs sit consecutively on the original record, I always associate them with one another and hearing them performed in sequence feels entirely right. More than forty years after their release, both retain all of their power and emotion.

One of the fascinating aspects of the evening is the amount of attention given to every musician through the live camera work. Particularly striking is a camera mounted on a circular track around Rick Allen's drum kit, allowing the audience to appreciate details of his performance that would otherwise be impossible to see in a venue this large. The close-up views of his playing, including his dynamic footwork, are genuinely captivating. The thought that has gone into the presentation is remarkable.

Just Like '73, released in 2024, proves to be enormous fun and the band clearly relish playing it. Despite being surrounded by songs that have become rock staples, it holds its own comfortably and demonstrates that Def Leppard are still more than capable of producing material worthy of inclusion alongside their classics. During their version of David Essex's Rock On, Elliott suddenly appears amongst fans in the upper tier, treating those nearby to a close-up experience few could have expected.

As he gradually makes his way back towards the stage, my highlight of the evening begins to emerge. White Lightning - a personal favourite of mine – is possibly the deepest cut in the set and is a pleasure to hear live once again. The song's tribute to Steve Clark inevitably gives it additional emotional weight. I consider myself fortunate to have seen Def Leppard during the Hysteria tour when Clark was at the height of his powers. More than three decades after his passing, his influence remains woven into the fabric of Def Leppard and nowhere is that more evident than during White Lightning.

Changing the atmosphere entirely, Slang follows. For me, Slang is the most underrated album of the band's career and hearing its title track tonight is a joy. Joined by Nuno Bettencourt from Extreme, the band stretch the song out with playful moments from James Brown's Get Up Offa That Thing and David Bowie's Fame. Meanwhile Elliott embarks on a lap around the entire perimeter of the standing area. By the time he finally returns to the stage, he quips, "Whoever touched my arse over there... I liked it!" The resulting laughter captures something important about Def Leppard. While they have always taken their music seriously, they have never taken themselves too seriously and that sense of fun is central to their appeal.

Introduced by gorgeous a cappella harmonies, Promises highlights the delightful vocal arrangements that run through the evening. From there, the band embark on a run of huge songs. Armageddon It, Love Bites, Rock of Ages and Photograph bring the main portion of the set to an emphatic close and serve as a reminder of just how extraordinary some of their song writing truly is.

Being completely honest for a moment, does Joe Elliot struggle with a few of the very highest vocal lines on songs such as Photograph? Yes, he does. However, those parts were remarkably demanding and insanely high even when originally recorded and more than forty years have now passed. However, is he a charismatic and engaging frontman whose enthusiasm never wavers? Absolutely. Huge credit should be given for keeping the songs in the original keys and the occasional moment of vocal difficulty are not enough to distract from a thoroughly entertaining performance that showcases both his enduring stage presence and remarkable commitment to delivering these classic songs authentically.

Around him, Phil Collen and Vivian Campbell continue to form a dynamic and complementary guitar partnership, while Rick Savage is exceptional throughout. Earlier in the evening Elliott mentions that he first met Savage forty-nine years ago. Few musical partnerships endure for so long and even fewer continue to operate at such a high level.

The encore begins with When Love and Hate Collide before Savage steps forward and delivers the gorgeous bass introduction to Hysteria. As the opening notes echo around the arena, the huge triangular structure which greeted us at the beginning of the evening slowly lowers once again to become a focal point of the production, creating one of the most striking visual moments of the night. Almost forty years after its release, Hysteria - one of the defining songs of the band's career - receives an ecstatic reception. There can only really be one closer and Pour Some Sugar on Me is greeted by a deafening response, the entire arena seemingly intent on singing every word.

Joe Elliott has often reflected that for a period during the late eighties Def Leppard were the biggest band in the world. What strikes me most tonight is not that they once reached those heights, but that they have never forgotten where they came from or who helped them get there. As more than twenty thousand fans spill out into the warm London night, it is impossible not to feel grateful that Def Leppard are still touring.

Forty-nine years after Elliott and Savage first formed the band together, they remain consummate entertainers and a formidable live act. We do not know how many years Def Leppard still have ahead of them but on tonight's evidence there is very little sign of a group preparing to slow down. The songs are magnificent, the performances full of energy and perhaps most importantly of all, they still look like they are enjoying every minute of it.

Def Leppard setlist:  Rejoice / Animal / Let's Get Rocked / Personal Jesus / Bringin' On the Heartbreak / Switch 625 / Just Like '73 / Rocket / Rock On / White Lightning / Slang / Promises / Armageddon It / Love Bites / Rock of Ages / Photograph // When Love and Hate Collide / Hysteria / Pour Some Sugar on Me