While fireworks exploded across Nottingham’s skyline, inside the Motorpoint Arena a different kind of spark was flying. On a cold, clear 5th of November, Danish Rock heavyweights Volbeat brought their UK arena tour to town, supported by Bush and Witch Fever, a line-up that promised range, power and unpredictability. What followed was nearly four hours of high-volume catharsis, slick production, and genuine moments of connection that proved live Rock is still very much alive and thriving.
By the time the lights dimmed for Witch Fever the arena floor was already filling up, denim jackets, Volbeat shirts, and a healthy number of parents with their kids. It was a rare bill that spanned generations: from Grunge veterans to rising Punk nihilists to a headliner that’s quietly become one of the biggest modern Rock exports in Europe.
Opening an arena show is no easy task, but Witch Fever didn’t just rise to the occasion, they tore into it. The Manchester four-piece, fresh off the release of their sophomore album ‘Fevereaten’, strode onto the massive Nottingham stage with a confidence that belied their years.
From the opening notes their sound was equal parts Doom, Punk and Gothic fury which hit like a gut punch. Amy Walpole stalked the stage’s catwalk, locking eyes with fans in the front row as if daring them to look away, her voice was a mix of banshee wail and soulful rasp, commanding attention even as distortion and feedback swirled around her.
‘The Garden’, which was a highlight of the night for me, began as a slow, hypnotic build which swelled into a darkly euphoric release with Walpole screaming the final chorus as guitarist Alisha Yarwood and bassist Alex Thompson manipulated their strings with obvious ease and passion. Even in a cavernous arena, they created a moment of intimacy and menace that held the crowd captive.
By the end of their early evening set the crowd was fully with them, a few thousand early arrivals had been turned into believers. Witch Fever simply brought the raw power of the underground to the big stage and they didn’t flinch one iota.
After a short changeover the stage lights dimmed to the hum of feedback and a familiar silhouette emerged, Gavin Rossdale strode out with his guitar slung low, that same effortless charisma that’s carried him since the mid-’90s.
Bush hit hard right out of the gate with ‘Everything Zen’, a song that still feels urgent three decades after its release. Rossdale’s voice was in fine form, gritty, emotional, and perfectly suited to the arena acoustics. The rest of the band locked in tight behind him, giving the old hits renewed punch and weight.
One of the evening’s surprises came early: a swaggering cover of The Beatles’ ‘Come Together’ which was given the full Bush treatment, down-tuned guitars, heavy grooves, and Rossdale snarling through Lennon’s lyrics with raw power. It shouldn’t have worked, but it absolutely did, setting the tone for a set that blended familiarity with invention.
The emotional core of their performance came midway through the set, during ‘Swallowed’ the arena lights dimmed and as Rossdale began the song’s aching first verse phone torches flickered to life across the stands. For a few minutes the Motorpoint became a sea of light and sound, thousands of voices singing the chorus in unison. It was pure connection, no irony, no distance, just shared nostalgia and catharsis.
But the moment that sent the arena buzzing came during ‘Flowers On A Grave’ when without warning Rossdale left the stage and began making his way through the crowd, microphone in hand and security scrambling to keep up. He eventually climbed into the seating area to sing among the fans, it was chaotic, spontaneous, and absolutely electric. The energy spike was palpable; even the jaded rock dads in the seats were on their feet.
Bush proved that after all these years they’re still one of the most dependable and passionate live acts in the game, not content to rely on nostalgia, but intent on pushing forward.
Then the main event, the lights dimmed, the huge curtain dropped, the crowd surged and the massive Volbeat logo illuminated the stage backdrop. A low rumble of anticipation gave way to the opening riff of ‘The Devil’s Bleeding Crown’ and Nottingham erupted.
From that moment it was clear that Volbeat were in complete command of their environment. Michael Poulsen, ever the charismatic ringleader, grinned through the opening lines and gestured to the crowd to sing along, which they did loudly. The band, fresh from touring Europe behind their latest album ‘God Of Angels Trust’, played with a tightness and joy that comes only from years of shared chemistry.
The set balanced their older hits with new material, showing off both their rockabilly swagger and their heavier metal influences. ‘Lola Montez’ turned into a mass sing-along with Poulsen’s voice ringing out over 10,000 fans echoing the chorus while ‘Die To Live’ effortlessly brought the tempo up to blistering speed.
Volbeat have always been more than a riff machine and nowhere was that clearer than during ‘Fallen’. Poulsen paused before the song, dedicating it to his late father and to anyone in the crowd who had lost someone, and what followed was a stunningly emotional rendition; voices from every corner of the arena joined in creating a moment of shared reflection amid the chaos. It was proof that even in a genre built on volume, heart still matters.
The band also dug into their heavier side with ‘Demonic Depression’, one of the standout new songs from ‘God Of Angels Trust’. The contrast between its thunderous verses and melodic chorus showcased the band’s dynamic range, a modern edge that keeps them fresh even after two decades on the road.
The climax of course came with ‘Still Counting’. The song’s swaggering groove had the entire floor jumping, and just when it seemed like the show couldn’t get any more memorable Poulsen invited kids from the crowd to join the band on stage. Guitars were handed over, drumsticks were shared, and suddenly the arena was filled with genuine, joyous chaos. Parents wept, kids danced, and the entire scene felt like something only Volbeat could pull off, heartwarming, inclusive, and larger than life.
As the last chord rang out Poulsen thanked the crowd for “keeping real Rock alive” and judging by the roar that followed Nottingham needed no convincing. The Motorpoint Arena crackled with energy from start to finish, this wasn’t just another tour date, it was a celebration of everything that makes live Rock exhilarating, unpredictable, and real.
Three bands, three generations of rock, one unforgettable night.
