Live review: Iron Maiden, Utilita Arena, Birmingham 21st June 2025

 

Iron Maiden. Probably, no, definitely, the biggest heavy metal band to ever come out of the UK. Rivalled only by Metallica and AC/DC in terms of Global stature. A massive force now celebrating 50 years since their formation in London’s East End in 1975. 50 years!

And such is their pulling power, that as they roll into the UK leg of their Run for your Lives tour, the streets of the UK’s second biggest city are thronged with black t-shirted clad fans of all ages, sizes, and genders. With about 95% of them already wearing the band’s t-shirts, which are stretched across the decades, that doesn’t preclude big queues of excited fans at the band’s pop-up shop (Eddie’s Dive Bar) or outside the venue itself, where the real die-hards are baking in the afternoon heat as they wait patiently for doors to open. At £45 a t-shirt, you can see why the band are masters of the merchandise. The designs are as awesome as usual, and the stores do a roaring trade.

Doors are open and the crowds flood in. By the time The Raven Age have done their thing, the venue has warmed up to almost uncomfortably challenging levels. The sweat is running down the back but that is a minor irritant as the strains of Doctor Doctor fill the air. There’s a sense of pride in hearing UFO sung by thousands of people who probably don’t know much more than this track by one of my favourite bands, but it’s the signal to get ready for two hours of excitement and pure heavy metal.

 I’ve seen Iron Maiden probably 20 times over the years. My first show was in 1983 on the World Piece tour. Tonight, Iron Maiden provide a reminder that class is permanent as they wow in a manner that only certain bands can. They go back deep, celebrating those early years with a big chunk of their set drawn from the first few records. The Ides of March is the intro, with a clever animation travelling around the East London streets. There are Maiden references throughout, The Ruskin Arms, the Cart & Horses, Acacia Avenue all featuring. There are intricate little references, from the West Ham flag to the red light windows from the Killers album cover. It’s brilliantly thought out, fantastic in design and high on quality and finish.

Maiden kick off with a triple whammy from Killers. Murders in the Rue Morgue, complete with Paris backdrop segues into Wrathchild and then my all-time favourite song, Killers. It’s high octane and fast paced, with the band easing through a slightly muffled sound into clearer waters. Bruce Dickinson, a mere 66 years old, is a blur, his vocals as good as I’ve ever heard. He is comfortable with the Di’anno era songs but comes into his own when hitting the notes on the music he originally sang on.

A blistering Phantom of the Opera and the first of four from Powerslave draw gasps. He’s more than a singer, he’s the ringmaster, the theatrical wizard with more costume changes than you’d see at a Beyoncé show. He dons cape for Phantom, and then the Egyptian mask for Powerslave. It’s then time for the first epic, and I stand in awe as the band play a masterful Rime of the Ancient Mariner. It’s a song I first saw live in 1985, and 40 years later it still is majestic. There’s no aimless chatting in the crowd, just total focus on a band in synch. It’s not really a surprise that Dave Murray and Adrian Smith take the lead work, this is their era after all, but their razor sharp solos cut through the soggy air, their dexterity as fluid as it was all those years ago. Murray in particular is in stellar form, his solos phenomenal.

New drummer Simon Dawson is introduced by Bruce early in the show, with the singer commenting on social media remarks about Dawson’s smaller kit than Nicko McBrain. It matters not one iota, for Dawson is able to conjure up the heaviness and solidity that his predecessor did with ease. Dawson looks comfortable, his link with the thunderous bass lines of Steve Harris locked in. And talking of Harris, where does this man get his engine? Fresh from a double duty set at Grasspop where he not only played with Maiden but with British Lion (as did Dawson, one assumes) as well, this man is closing in on his 70^th birthday. His drive and energy are phenomenal, and his playing remains as impeccable as ever.

 
That just leaves Janick Gers, who plays the rhythm guitarist with aplomb. He’s often throwing his guitar around, but he adds solidity to the band’s sound, and takes some of the lead work during Fear of the Dark in the encore.

 The show for it is a show and not a gig continues at breathless pace. The Trooper, Two Minutes to Midnight and an intricate and excitingly choreographed Hallowed be Thy Name fly by. Two appearances from Eddie as well, the Crimean soldier during The Trooper and early on during Killers reminding us of the theatre the band provide. And then it’s final song time. “Scream for me Birmingham” says Bruce for the hundredth time, and it’s onto Iron Maiden. Suddenly, the best part of two hours have passed, and I wonder where the time has gone. The show has been so absorbing that the watch has been ignored.

The encore starts with Churchill’s speech, leading into Aces High. Bruce, complete with flying hat and goggles races around once more, with the graphics portraying Eddie flying his Spitfire in dog fights with the Luftwaffe. It’s thrilling stuff, and even Fear of the Dark, which I would love to see consigned to the bin is enjoyable. It’s left to Adrian Smith to start the riff for the finale – Wasted Years comes and goes in a flash, and the band are left to say their goodbyes to a deserved ovation.

It maybe that Iron Maiden won’t tour again after this. One can’t second guess this iconic band. If this was the finale, then it was incredible. If they come for one more pass, then I’ll be in the queue for the tickets. A stunning show, from an amazing band.