Concert Review: Iron Maiden (London Stadium - Saturday 28th June 2025)

Written: 29th June 2025

My first ever gig was Iron Maiden at the NEC in 1988. I was sixteen. It is there, immortalised forever on Maiden England, that I saw what a heavy metal show truly could be – the sheer scale, the drama, the performance, the sound, the songs. Close to forty years later later, I can now (once again) say my latest gig is Iron Maiden, this time at London Stadium – home of West Ham United, the lifelong club of Steve Harris - a fitting homecoming for a band now celebrating fifty years since their formation in 1975. The sun is beating down across East London as we approached the stadium, surrounded by fans swarming from every direction, the streets lined with people in Iron Maiden t-shirts – hundreds of them, from almost every tour. The sheer variation showed just how many different t-shirts the band have produced over the years. It really did feel like ages seven to seventy-seven had turned out for this, all brought together by one thing: Iron Maiden, still very much alive and still doing it their way.

Before the show began, the familiar strains of Doctor Doctor ignites the crowd and then a tape of The Ides of March rolled out over the speakers. On this tour, Maiden are using a screen rather than the familiar backdrops and during this instrumental, and we wander through the streets of East London seeing, amongst others, The Ruskin Arms and of course, Cart and Horses. Hitting the stage with Murders in the Rue Morgue, played for the first time in twenty years, the sextet deliver a blistering  opening, swiftly followed by Wrathchild, switched in order from their studio versions on Killers, but every bit as sharp and full of intent. Stadium gigs are notorious for variable sound quality in different areas and to be honest, the mix was not perfect from the start. From my spot, it sounded like Bruce Dickinson was singing from the bottom of a well but this was corrected during Wrathchild and from then on, despite the occasional breeze blowing the sound around, he sounded clear and precise.

Killers followed and with it, the first appearance of Eddie – always a highlight. When he asks whether we wanted to know what was behind the “red curtain” that had closed at the end of Killers, the crowd erupt, and the band deliver. Phantom of the Opera leads to fists raised all the way to the back, the stadium feeling fully united.

The crowd reciting the spoken introduction to The Number of the Beast is a spine-tingling moment and the track rampages like a wild animal. The Clairvoyant – from Seventh Son of a Seventh Son, which remains my favourite Maiden album - still sounds expansive, mystical and vital. The offstage keyboards throughout, including those heard in the final bars of Powerslave and during the quieter sections of Seventh Son, were performed by Brent Diamond (as credited in the specially produced matchday programme), and they added subtle but powerful depth.

Powerslave remains one of Dickinson’s finest compositions and tonight it is delivered with poise and ferocity. New drummer Simon Dawson, making his debut on this tour, handles the complex fills and dynamic flourishes - that Nicko McBrain made so recognisable - with authority. Yes, he is different but is solid throughout and the band’s confidence in him is obvious. Following the punch and bite of 2 Minutes to Midnight, we were treated to Rime of the Ancient Mariner for the first time in sixteen years. Here, Dickinson is - as he was all night - theatrical, powerful, and utterly focused. The scale of this track cannot be overstated. The various images on the screen help to vividly tell the story, particularly during the section following Then down in falls comes the...rain – which raises goosebumps every time - where lashing rain seems to cover Dickinson as he howls into the storm.

The momentum carries into Run to the Hills, which receives quite possibly the most explosive reaction of the night. There is a raw power in the song, a pure shot of adrenaline, and the crowd roar through every word. This is Maiden at full tilt. Seventh Son of a Seventh Son follows and it still feels like nothing else in their catalogue. The long note Dickinson holds before the quieter segment is staggering. The atmospheric build and eerie intensity of the central section that gives way to crescendo hits hard. Diamond’s offstage keys enhance the progressive tone without ever dominating. The track’s place in the setlist is well earned and is one of the absolute highlights.

From there we have The Trooper – with another onstage Eddie - Dickinson in red coat waving the Union Flag, while Janick Gers plays with typical flair. The triple guitar attack – Gers, Dave Murray, and Adrian Smith – never falter all night. Murray and Smith in particular roll back the years on Killers, with tight solos that sing with melody and bite. The chemistry between the three of them remains special – each taking their moment without overwhelming another’s tone or phrasing.

Hallowed Be Thy Name brings another impassioned performance from Dickinson – definitely tonight’s Man of the Match - delivering every word with fire and precision. From the tolling bell to the whirlwind vocal cascade of the fast middle section, it is majestic. How he manages to get all those words out when the music strips back is always impressive. Imaginative use of the screen adds drama, with Dickinson stalked by a spectre of death. Iron Maiden closes the main set, Eddie returning – this time on the screen - bursting from the Piece of Mind cell, straining at his chains before escaping and looming over the band. A different kind of spectacle to the enormous models of the past but one that fits the stadium stage.

Photo credit: Karen White

Three songs make up the encore. Aces High, with Churchill’s Speech is always powerful and stirring; Fear of the Dark, complete with crowd-wide singalong – maybe overplayed, but there is no denying its impact; and finally Wasted Years, its melody still as perfect as ever, sending everyone home singing. You could feel the warmth and joy pouring off the crowd. With Dickinson referring to the audience as “best friends” it reminds us that no matter how big or popular they have become, they never forgot who helped them get there.

Earlier this year Dickinson had promised “a setlist for the ages”. Like any band, fans will always have personal favourites they wish had made the cut – alas, no Infinite Dreams again (which seems destined never to return to the setlist) and nothing from No Prayer for the Dying in this set designed to focus on the first nine albums. Nevertheless, it is difficult to argue with the songs chosen. Every single song played tonight could happily be placed in the ‘Maiden Classics’ category.

Few bands can still fill a stadium and own the stage fifty years into their career, but Iron Maiden proved tonight that they remain a colossal live force. This was a homecoming in East London – only about a mile or so away from Cart and Horses - a fitting nod to the band’s roots - but more than that, it was a reminder of why they still hold fans spellbound after all these years. With a killer setlist, impeccable musicianship, and Bruce Dickinson commanding every second, Maiden sent the crowd home buzzing and reminded us all how lucky we are to still have them. They are not just surviving; they are thriving, and there is no sign of them going anywhere anytime soon.

Iron Maiden setlist

The Ides of March (tape)

Murders In The Rue Morgue

Wrathchild

Killers

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

Aces High

Fear Of The Dark

Wasted Years