Volbeat | Bush | Witch Fever
AO Arena, Manchester
8th November 2025

Danish rock giants Volbeat delight legions of fans at Manchester’s AO Arena with a career spanning set of their unique brand of rockabilly, rock and metal. Special guests Bush and Mancunians Witch Fever provide excellent support.

Up first tonight are Witch Fever. Impressive as always, their mix of light and shade sees slow, doom laden, goth like passages erupt into punk and grunge inspired noise. Vocalist Amy Walpole exhibits an intensity comparable to Jennhy Beth as she wastes no time in fully utilising the expansive runway, and it’s great to see the band seemingly at home on such a huge stage. Confrontational as ever, they deliver an intense 30 minute set mixing tracks from both their albums. It’s such a pity that their power and passion seems largely lost on the Volbeat audience.

Bush are one of Britain’s great lost bands; their 1900’s grunge inspired rock is up there with the best that the USA had to offer. Buried beneath the UK’s obsession with Britpop and its later demise into indie landfill, they faded away. Later reforming, seeking success across the Atlantic.

It’s been a quarter of a century since I last saw them, but it’s immediately apparent that Gavin Rossdale has lost none of his on stage charisma. Tonight, they’re not here to merely relive past glories. Yes, they open with the blistering Everything Zen, and later there’s a superb rendition of Swallowed, but their impressive 45 minute set is mostly drawn from newer, heavier material. Bullet Holes, from 2020 album, particularly impresses.

It’s clear that Bush are at home on a big stage. Their musicianship’s beyond doubt, and the constantly moving Rossdale’s a commanding stage presence. Unfortunately, like Witch Fever before them, it’s a performance that makes little impression on the Volbeat crowd. Apart from a muscular rendition of The Beatles, Come Together, their songs garner little more than polite applause from many in the audience. Most are clearly here to see Volbeat and only Volbeat.

Huge silhouettes of Volbeat loom above us, projected on a curtain. As it falls, the band emerge, launching into The Devils Bleeding Crown. It sets the tone for what’s to come; driving rock with vocals to the fore and Michael Poulsen making the first of many forays down the runway. Short visceral guitar breaks punctuate the verses, their sound owing a debt to Thin Lizzy’s Brian Robertson.

Lola Montez follows, uplifting melodic commercial rock. It’s one of those tracks with an irresistible chorus made for singing that also gets feet moving. For the first time tonight, there are signs that the audience really are alive!

Three songs in and Johnny Cash makes his first appearance! A couple of semi acoustic verses of Ring of Fire segue into Sad Man’s Tongue but at least the band admit that the latter’s stolen from the country icon. It won’t be Mr Cash’s only contribution tonight, but it introduces us to Volbeat’s unique blend of rockabilly and metal. And yes, it’s an acquired taste, but it most definitely works. Demonic Depression and Fallen bring de rigueur metal and melodic rock before Shotgun Blues raises the bar. With its classic metal riffing topped by forceful but melodic vocals, it’s a real highlight. Looking around, thousands on the floor of the arena seem to be moving en masse to the piledriving rhythm.

Who says that metal, rockabilly and humour don’t mix? And Johnny Cash is in the house again!

In the Barn of the Goat Giving Birth To Satan’s Spawn in a Dying World of Doom, comes next – yes, it’s a song title. Beginning with more stolen Johnny Cash – this time I Walk The Line, the track escalates into comedic metal mayhem. Giant goat images adorn screens, and thousands of hands are raised in horned metal salute. We’re persuaded to mimic the sound of goats bleating, and Doom becomes “Boom” as mass singing fills the arena.

The crowd are up for it now, and By a Monster’s Hand hits like a metal juggernaut. Arms are raised aloft, clapping in unison as the band throws rock n roll shapes at the front of the runway. Devil Rages On brings another highlight. Heavy rock riffs segue into metal, topped by stylised rockabilly vocals. Meanwhile, the stage production is becoming noticeably more impressive with dynamic lighting and steam jets erupting.

Die to Live keeps the show rolling; pure rock n roll with flashes of Elvis inspired vocals. Black Rose brings more of the same with the band once more on the runway, urging on the crowd. As we build toward a climax, Seal The Deal serves up 100mph rock n’ roll with searchlights tracking across the stage and steam jets working overtime. Eventually, the relentless pace has to ease, and For Evigt feels like a culminating statement. It’s melodic, uplifting rock certainly has an epic feel.

Are we heading for something even more climatic? Well, no, Volbeat throws us a real curveball. Welcome to children’s hour with your favourite Danish rockers! Some in the crowd clearly know what’s coming, but your reviewer’s completely thrown. Still Counting brings countless children to the stage. Out of tune singalongs ensue, arms wave, selfies are taken, and varying degrees of wooden dancing erupt as children emerge from the audience. Rock credibility may have been blown, but the kids, and presumably their parents, love it.

All pretence of metal malevolence having evaporated, Volbeat close with A Warriors Call / Pool Of Booze, Booze, Booza. We’ve descended into pantomime now. With the band front of the runway. Rock’ n’ Roll poses are struck, choreographed hand banging ensues, before Volbeat say their goodbyes. Before heading off into the night, they thank us profusely, no doubt ready to do it all again tomorrow.

Tonight, Volbeat have been real fun. We’ve been treated to a catalogue of impressive songs performed with great musicianship and professionalism by a band who clearly know when not to take themselves too seriously.

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Volbeat can be followed on Facebook | Instagram |and their website

Bush can be followed on Facebook | Instagram |and their website

Witch Fever can be followed on Facebook | Instagram |and their website

Words and photos by Trev Eales. More work by Trev on Louder Than War can be found at his author’s profile.