Concert Review: Disturbed / Megadeth (02 Arena London - Sunday 26th October 2025)

Written: 27th October 2025

With the clocks having been turned back an hour earlier in the day, the sky is already starting to darken as an enthusiastic crowd flock towards the 02 arena. Strolling through the concourse, it's striking how nearly as many fans are sporting Megadeth shirts as Disturbed ones - a reminder of the enduring legacy of the iconic thrash metal pioneers.

Megadeth

Megadeth are a band that make up a key part of my own musical history. Becoming a fan in the late eighties, I first saw them live at Wembley Arena on the now legendary Clash of the Titans tour in 1990. Over the years, I have seen some excellent Megadeth concerts, although the quality has varied: sound issues, Dave Mustaine being buried in the mix, and dare I say it, an occasional lack of energy, have at times prevented the band from demonstrating their full potential. With that in mind, tonight I found myself wondering which version of Megadeth and which sound we would get. Ahead of this tour, there was some discussion about what might be seen as an unusual pairing. That said, the venue is impressively filling up for Megadeth's set, suggesting that interest in the band remains strong as they approach what may be their final album.

Any nagging doubts I had were summarily dismissed within two songs. Skin O’ My Teeth detonated the set with a stirring blast of thrash metal, its serrated riffing and tight execution immediately locking the crowd in. Without pause, the band tore into Hangar 18 - one of their most iconic tracks - and it became instantly clear this was going to be a special night. The sound, often a gamble at the O2 Arena due to its reputation for inconsistent acoustics, was remarkably sharp. Every instrument cut through with clarity and the mix was dialled in to near perfection for a band of this genre.

Each member of the current line-up was in blistering form: Dirk Verbeuren’s drumming full of controlled aggression, his exactitude and stamina anchoring the chaos; James LoMenzo brought a gritty, sinewy groove to the basslines; while guitarist Teemu Mäntysaari was exciting and thrilling to watch. His execution of the Tornado of Souls solo was a moment of pure thrash theatre, devastating and fiery. This line-up might not quite rival the legendary Rust in Peace era of Friedman, Ellefson and Menza but they played with cohesion and intensity throughout.

At the centre of it all stood Dave Mustaine – guitarist, vocalist, songwriter and enduring force. Whatever one might think of his revolving cast of bandmates over the decades, it is his vision and venom that continue to define Megadeth. Vocally, he may not have the same grit and vehemence he wielded in the band’s early years but this was the clearest and strongest he has sounded in quite some time. His voice sat perfectly in the mix and when he did speak – sparingly – he came across as humble and genuinely appreciative.

The setlist was a well-forged blend of classics, slightly deeper cuts and their newest release. She-Wolf and Angry Again (from the Last Action Hero soundtrack) were both delivered with bite, though I would have gladly swapped one for In My Darkest Hour which had appeared at other stops on the tour. The new single Tipping Point was extremely well received, its blistering pace and sharp delivery proving that Megadeth still have plenty of fire left in the tank.

Other standouts included a feral high-octane rendition of Mechanix, played with incredible velocity. Peace Sells had the crowd in full voice with Vic Rattlehead making a welcome appearance. The final duo of Symphony of Destruction and Holy Wars… The Punishment Due was as potent a closing salvo as any metal band could deliver. The latter remains depressingly relevant – a sobering reminder wrapped in one of thrash metal’s most enduring compositions. As Megadeth near the end of this tour and with their next album announced as their last, a sense of finality is creeping in. If this was indeed one of the last chances to witness them in full flight, it was a night to remember – a searing, triumphant performance that captured the essence of what has made Megadeth a cornerstone of the genre for over four decades.

Megadeth setlist: Skin o’ My Teeth / Hangar 18 / She-Wolf / Angry Again / Sweating Bullets / Trust / Tipping Point / Tornado of Souls / Mechanix / Peace Sells / Symphony of Destruction / Holy Wars… The Punishment Due

Disturbed

There is a particular thrill in hearing a band perform an album in full. The Sickness, released twenty-five years ago, remains a cornerstone of modern metal – raw, confrontational and unapologetically aggressive. Tonight, Disturbed honoured its legacy with a complete performance of the record, and the result was both a celebration and a reckoning.

The evening’s journey into the past began with a playful nod – Huey Lewis and the News’ Back in Time playing over the PA, followed by a video montage of Disturbed taking us back to the start of this millennium. Then, silhouetted behind a white curtain, the band appeared. It was a simple but effective visual, building tension as the opening swell of Voices began to rise. Before the song fully kicked in, David Draiman was wheeled out - Hannibal Lecter style - strapped to a trolley, masked and dressed in a DOC-marked jumpsuit – a striking image that suggested something dangerous being restrained. It was theatrical, but not for show. It framed Draiman as a force about to be unleashed and as the curtain lifted and the band tore into the track, the symbolism was clear – the restraints were off and the chaos was about to begin.

From that moment, the band did not pause. The Game, Stupify, Down With the Sickness – each track landed with force. Hearing the album as a complete piece was a rare treat, a reminder of how cohesive and confrontational it remains. It is enjoyable to see bands embrace this kind of retrospective, not just for nostalgia but to reaffirm the strength of their early work. The crowd responded with enthusiasm, though not always in the same way they might have in 2000. During Down With the Sickness, a sea of mobile phones lit up the arena, all aimed at capturing Draiman’s iconic oh-ah-ah-ah-ah vocal break – a moment that has become synonymous with the band’s identity. From my vantage point, the phones were not a distraction but they did serve as a quiet reminder of how much the live experience has changed. When the album first dropped, this kind of moment would have been met with raised fists and headbanging, not screens. There is something to be said for living in the moment, especially when the footage recorded rarely does justice to the sound or the atmosphere.

The band’s energy was relentless. Dan Donegan prowled the stage with intent, his guitar work sharp and commanding. Mike Wengren’s drumming never faltered, driving the set with precision and weight. John Moyer held the low end with authority while Draiman’s vocal delivery was consistently strong – at times almost casual in his movement but never in his performance. His voice cut through with clarity and venom, especially during Conflict, where the stage was drenched in deep red light that seemed to press in from all sides. The lighting design did more than set a mood – it created a sense of physical tension. The reds were not just dramatic; they were suffocating, almost claustrophobic, making the stage feel like it was shrinking around the band. A visual metaphor for the song’s lyrical intensity, Draiman’s delivery matched it beat for beat as he spat his lyrics. With the back of the stage built around a scaffold-like structure of LED cubes, it served as a dynamic canvas for shifting lines of light and pyros, amplifying the music’s strength. A striking green glow during Down With the Sickness echoed the album’s artwork.

Disturbed’s aggressive take on the Tears for Fears classic Shout remains one of The Sickness’s defining moments. Performed with fury, it showed how the band can reframe a pop anthem into something visceral and cathartic.

The first set closed with Meaning of Life but not before another theatrical twist. The band leave the stage after a visceral Droppin’ Plates and we are left with the sound of water running and the scaffolding bathed in green, river-like lightning. Suddenly, the lights dropped, and a chilling voice rang out — dead man walking. Draiman was dragged back onto the stage in an orange jumpsuit, shackled and flanked by a guard. He was strapped into an electric chair as a disembodied voice listed his ‘crimes,’ each word echoing like a final judgment. Above the stage, a massive green strip light pulsed a flatline - stark and unblinking - before it suddenly flickered into a heartbeat and the music detonated. The final track of the first set tore through the venue, unrelenting, until Draiman’s maniacal laughter echoed into the darkness like the last spark of madness.

A message on the screen announced a twenty-minute interval. During the break, a montage of studio footage, interviews and live clips played, offering a glimpse into the band’s journey and their work on a new album. It was a thoughtful interlude, bridging past and present.

The second set opened with I Will Not Break, pulling the crowd back into focus. Ten Thousand Fists followed, and the arena responded with a sea of raised arms, a moment of unity that felt earned. A towering inflatable version of The Guy, based on the Divisive album cover, stood watch over the stage, adding a surreal edge to the spectacle. Bad Man and Land of Confusion kept the momentum high; the latter delivered with conviction and bite. Indestructible was as enjoyable as ever; its anthemic appeal undiminished. Then the curtain fell, timpani and a piano were brought on stage, and the mood shifted.

The Sound of Silence, now arguably Disturbed’s most recognised song, was performed with reverence. As the piano intro began, the crowd fell into a hush. The respect was tangible and the band did justice to the song in every way. It was haunting, powerful and deeply moving – a cover so well executed that even Paul Simon has given it his blessing. The arrangement built slowly, Draiman’s voice rich and controlled, the band restrained but moving. It was a moment that transcended genre and the reception it received was fully deserved. The night closed with The Light and Inside the Fire, a strong finish to a second set that balanced aggression with atmosphere.

After two strong sets from Disturbed, the huge crowd flooded out into the cold London night more than satisfied with the evening's entertainment. For me, the night belonged to both bands, each bringing intensity and purpose to the stage. Megadeth sounded powerful and focused, while Disturbed delivered a show that was immersive and unflinching. From start to finish, the audience remained fully engaged, silent even during the quietest passages  - a rare thing in venues of this size. If Megadeth’s next album is to be their last, I truly hope they return for a headline tour. It would be a chance for long-time fans to say farewell properly and to witness one final chapter from a band that has shaped so much of what their genre stands for.

Disturbed setlist: Voices, The Game, Stupify, Down With the Sickness, Violence Fetish, Fear, Numb, Want, Conflict, Shout, Droppin' Plates, Meaning of Life // I Will Not Break, Ten Thousand Fists, Bad Man, Land of Confusion, Indestructible, The Sound of Silence, The Light, Inside the Fire