Live Review: Rise Against - O2 Brixton Academy, London 06/02/2025
Rise Against with L.S. Dunes and Spiritual Cramp at O2 Brixton – A night of cathartic release, too long in the making.
From the moment fans began queuing around the block, it was clear this wasn’t going to be just any ordinary gig. The vibe was less “concert” and more like an impassioned rally, supporters handing out politically charged leaflets calling for global unity and Rise Against-emblazoned badges, akin to the ‘I Voted’ pins given out in the US Election, adorned many a jacket. It was a night where music, politics, and a sense of community smashed against each other like furious, unrelenting armies, creating the perfect cacophony of disillusioned — yet still somehow hopeful — rage.
Spiritual Cramp were up first, and they wasted no time setting the tone. Who better to combat the pervasive February chill than the Californian rockers? With tracks like ‘Blowback’, ‘Talkin’ On The Internet’ and ‘Young Offenders’ blasting against the vaunted venue’s walls, you couldn’t help but be sucked into the maelstrom of pits that swiftly opened.
It was the closer, though, that cemented the set. Frontman Michael Bingham, topless and defiant, led the charge with a resounding, “Fuck the US government, fuck the UK government, and fuck all of you!” at a rowdy O2 Brixton crowd. With a microphone raised high, he held it aloft during finale ‘Better Off This Way,’ punk rock in its most venomous, unfiltered form.
L.S. Dunes, the night’s special guest, occupy a strange spot in the music industry. Made up of a who’s who of legendary rock musicians, and fronted by the mighty Anthony Green of Circa Survive, they seem to be both ridiculously in demand — selling out tours, appearing on the cover of magazines, appearing pretty much anywhere they want — and also the music world’s best kept secret, with two intimate headline shows at the 350-capacity New Cross Inn last May still having tickets available on the night. And, given the talent on display, the ferocity, fervour, and general fun of every single show that the group put their name to, that just never sat right.
Seeing them up on stage at the inimitable O2 Brixton, then, felt like the final piece of a puzzle slotting seamlessly into place.
Opening their set with a Freddie Mercury-inspired warm-up, Anthony Green’s declaration of “we came to rock” was immediately validated as they launched into the high-octane ‘Permanent Rebellion.’ Never mind the words — the sheer frenzied explosiveness of the scream-laden frontman as he leapt around the stage, basking in the room’s riotous atmosphere, didn’t leave much room for anything as mundane as lyrics.
With just a 40-minute set, it was impressive how well they balanced tracks from their debut album and their latest release, ‘Violet’. The explosive ‘Fatal Deluxe,’ Tucker Rule laying waste to his drum kit, followed by ‘Grey Veins,’ with Frank Iero lending his distinct vocal talent, had the crowd roaring in approval.
By the time recent title track ‘Violet’ and the once-solo-track ‘2022’ concluded their set, it was clear: gone are those halcyon days of the sub-500-cap rooms. Admittedly, it did feel a little bizarre watching Anthony Green stay on stage throughout the set — usually you’d find him knee deep in a sweaty mosh pit by the time the first guitar string was plucked — but, really, seeing the group up on the magnificent, expansive Brixton Academy stage, it just felt right.
Then came the band everyone had come for: Rise Against. Diving straight into the fan-favourite of ‘Satellite,’ Tim McIlrath’s signature vitriol blaring through the iconic speakerphone, the crowd was instantly thrown in the deep end, immersed in the band’s passion and roaring right along as the band shredded through one of their biggest hits. ‘Under The Knife’ quickly followed, its frenetic pace amplified by flashing, sanguine lights that almost felt like the strobe of a police car.
From there, it was a whirlwind — it was going to be one of those sorts of nights. Tracks like ‘Architects,’ ‘Ready To Fall,’ and ‘Behind Closed Doors’ kept the crowd in a constant state of motion — crowd surfers flying overhead as raised, clenched fists surged through the air… This was a crowd here to feel alive.
‘State Of The Union’ seemed to market a turning point, a track which saw the band necessitate some context. “We’re going to give you our state of the union right now: there are no more adults in the White House… there are only total fucking lunatics. It’s not unique to America, and it can spread worldwide like a cancer if we don’t keep an eye on it.” Cue venue-wide cheers as the band’s pent up rage bubbled over in each cathartic scream, each seethed shout of the 2004 track.
‘The Violence’ and ‘House On Fire’ right after, then, felt somewhere between rallying cries, calls to action, and a scathing reflection of the frustration that seems to hang in global politics like a tense miasma, a sentiment that has somehow only grown stronger in recent years. Even when McIlrath picked up an acoustic guitar for the emotional ‘People Live Here,’ its lines — “my God’s better than yours” and “scream to the sky that people live here” — felt like a heartfelt, despondent plea to the heavens rather than a jaunty acoustic tune.
With the energy surging back with recent single ‘Nod,’ and the ever-magnificent ‘Prayer Of The Refugee,’ a track that feels as relevant today as it did when it was first released in 2003, it was time for the endgame. After a night of some of the best musicians to have ever done it, ‘Make It Stop (September’s Children)’, a deep-cut of ‘Blood-Red, White & Blue’ and the iconic ‘Saviour’, a slew of emotions flaring across every face in the room, helped drive the night, kicking and screaming, into a bloody submission. A fantastic night, and one of a people unilaterally united in rebellion against the hate still pervading the world.
Photography by Charis Lydia Bagioki
Words by James O’Sullivan
