Live Review: Napalm Death - O2 Institute, Birmingham
Support: Crowbar, Full of Hell, Brat
9th March 2025
Words: Matt Noble
Photos: Tim Finch
The final night of this year's Campaign for Musical Destruction Tour brings Napalm Death home to the O2 Institute in Birmingham, with Crowbar, Full of Hell and Brat in tow. A brutal night of (mostly) grind and musical violence, four of the finest in heavy music end the weekend on a furious note.
Openers Brat start the night on a visceral note. Armed with a vicious dual vocal attack, the New Orleans grind act put on an energetic start to the night, with no sign of fatigue on the final day of their tour. Vocalist Liz is appreciative to tonight's audience throughout, who respond with lively mosh pits, heads banging and plenty of movement in return.
Brat know how to have fun, dancing onstage to the pop music soundbites before their own numbers, alongside a guest appearance from Dylan from Full of Hell for a track that makes for an exclusive experience for those watching. Overall, it's their ugly riffs, excellent stage presence and furious blast beats that really leave a strong impression upon Birmingham, rounding off an impressive first visit to these shores.
Full of Hell begin with ominous synths and harsh noise before launching into an aural onslaught. Their punishing take on grind sets the packed venue alight, with the pits going up a notch or two in intensity. An impressive, varied vocal performance from Dylan as he menacingly leaps around the stage is backed well by a frenetic, watertight performance from the rest of the band. He shows off his full vocal range alongside social commentary between songs and encouraging the few standing still to erupt with the rest of the room.
Full of Hell are relentless throughout their set time, offering a real treat for fans of musical extremity. The drum performance is incredible and they vary up the traditionally grind-oriented moments with somewhat avant-garde sections of noise and feedback to make for an interesting, if brutal support slot.
Sludge legends Crowbar usher in a dramatic change of pace, with their thick, deliberate tones complementing the bill well, making their touring partners sound even more intense as they, in turn, sound doubly heavy. The pummelling opening riff to 'To Build A Mountain' sets off a sea of necks snapping in time, combining primal heaviness with melody to set the scene before 'Conquering' varies uptempo riffs with slower passages.
Crowbar go under the radar with the amount of diversity they offer in their set. Some might accuse them of recording the same album over and over throughout their career, and though they certainly have their own style, Kirk's distinctive vocal delivery at the front that gives the band their identity is arguably a key factor in this. They balance groove, old school metal, doom, hardcore influences and twin guitar harmonies into a deep fried melting pot of Southern sludge to entertain us for an hour.
After a few songs, bassist Shane Wesley makes room for another Shane - of Napalm Death - to join in on bass for a particularly special run through of 'High Rate Extinction' in Embury's own home city. The rare chance to see a memorable collaboration from two legends of metal gains the response it deserves, feeling like a celebration of a musical era in real time. Continuing with songs from all chapters of Crowbar's career, later set highlights include the breakdown at the end of 'The Cemetery Angels', the graceful chords in 'Planets Collide', and the pit-starting 'All I Had (I Gave)' that brings their fantastic set to a close.
The lights dim as Napalm Death make their entrance to a huge cheer, opening powerfully as the primal intro to 'Multinational Corporations Part II' gets the ball rolling in style. When the beat drops, the crowd need no encouragement in opening up yet more mosh pits, showing their appreciation with blood, sweat and beers. The riffs are ugly, the drumming is frightening, and Barney's demented vocal howling is just as we expect from them, the band sounding as vital as ever. 'Vision Conquest' from the classic Harmony Corruption record earns a rowdy response early on, and the subsonic blasting in 'Retreat to Nowhere' sends the crowd wild. If nothing else, they know how to entertain.
Barney's dry, witty stage banter between songs keeps up the entertainment factor, paying tribute to the local areas that the band members grew up in. The significance of a hometown show for Napalm Death and a band of their influence is felt in an unspoken, intangible way tonight, mostly through the energy on the floor as well as the stage, as well as the slightly fearful looks on the faces of security.
Showing their versatility with the post-punk stylings of 'Amoral' or the deliberate rhythms in 'Resentment Always Simmers', they've long since been a one trick pony. Held together with stark lyrical messages and abrasive riffing, Napalm Death cover a lot of ground and several of their eras over their time onstage. Ultimately, their setlist staples like 'Suffer The Children', with its classic D-beat opening, the iconically short 'You Suffer', or their cover of 'Nazi Punks Fuck Off', ever relevant today, bring many back to see Napalm Death time after time. Their concerts are a raw, primal assault on the senses, that have to be experienced to be believed. But to accuse them of being one-dimensional would be to miss the point entirely.
It's a real statement to see a venue of this size to be packed out for a style of music this ugly, frantic and savage, showing just the impact Napalm Death continue to have at this stage in their careers, with tonight serving as a celebration of the band and their legacy on their own ground. They wrap up their own homecoming and the end of their tour with one final, brutal rendition of 'Unchallenged Hate', leaving us with one last reminder of why they are the legends they are. One for the books!
Photo Credits: Tim Finch Photography
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