The nostalgia hit like a freight train the moment Korn's opening riff tore through Budweiser Gardens on Sept. 22, transporting the sold-out London crowd back to a time when nu-metal ruled the airwaves and angst was currency. For longtime fans, witnessing Jonathan Davis prowled the stage while Brian "Head" Welch and James "Munky" Shaffer delivered those unmistakable seven-string grooves was nothing short of cathartic. The pure, unfiltered joy radiating from the audience โ a mixture of Gen X veterans and younger metalheads discovering the band's legacy โ created an electric atmosphere that refused to dissipate throughout the evening's assault.
Korn's entrance was met with deafening approval, and "Blind" โ the track that launched a thousand mosh pits in 1994 โ remains devastatingly effective three decades later. Davis's trademark scat-style vocals and anguished screams felt as urgent as ever, while the rhythm section of Reginald "Fieldy" Arvizu and Ray Luzier locked into the groove that defined an era. The band's energy belied their veteran status, each member attacking their instruments with youthful ferocity.
"Twist" and "Here to Stay" maintained the momentum, the latter's radio-friendly accessibility did nothing to diminish its live power. When "Got the Life" erupted, the venue transformed into a sea of bodies, the song's infectious funk-metal swagger proving irresistible. Davis's bagpipes during "Shoots and Ladders" provided a surreal interlude, the juxtaposition of nursery rhymes and metal remaining as unsettling as intended.
The mid-set stretch featuring "Porno Creep," "Cold" and "Coming Undone" showcased Korn's evolution beyond their nu-metal origins. "Twisted Transistor" brought electronic elements into the mix, demonstrating the band's willingness to experiment even within their established sound. The provocatively titled "A.D.I.D.A.S." elicited knowing roars from the crowd, its crude frankness a reminder of the band's unapologetic approach to taboo subjects.
"Dirty" and "Somebody Someone" provided a dynamic shift, the latter's melodic sensibility offering brief respite before "Y'All Want a Single" unleashed pure chaos. This track, written as a middle finger to record label pressure, saw Davis at his most confrontational, the crowd gleefully shouting along to its expletive-laden chorus. The song's raw aggression reminded everyone why Korn has remained relevant โ they've never compromised their vision.
The encore opened with "4 U," which took on added poignancy given the metal icon Ozzy Osbourne's recent retirement from touring. Davis's reverence for his influences shone through, the performance equal parts homage and assertion that metal's torch continues burning bright. "Falling Away From Me" followed, its instantly recognizable bassline triggering a final surge of moshing.
...it was clear this wasn't merely a nostalgia trip โ it was confirmation that Korn and Gojira remain vital forces in heavy music.
"Divine" showcased the band's later-period material, proving their creative well hasn't run dry. But it was "Freak on a Leash" that provided the evening's defining moment. The Grammy-winning track, with its stuttering rhythm and Davis's vocal acrobatics, remains Korn's masterpiece. As the final notes rang out and the crowd's roar threatened to shake Budweiser Gardens' foundations, it was clear this wasn't merely a nostalgia trip โ it was confirmation that Korn and Gojira remain vital forces in heavy music.
This event proved that metal's old guard and newer innovators can coexist, each bringing distinct flavours to the genre's ongoing evolution. Gojira's technical prowess and environmental consciousness paired perfectly with Korn's emotional rawness and groove-oriented assault, creating an evening that satisfied both the headbanger's need for brutality and the music lover's appreciation for craftsmanship.
When Gojira took the stage, the French progressive death metal titans transformed Budweiser Gardens into an inferno. The pyrotechnics weren't mere visual flourishes โ they were extensions of the band's apocalyptic sound, with flames erupting during "Born for One Thing" to establish immediate dominance. Frontman Joe Duplantier commanded the stage with shamanic intensity, his guttural roars matching the environmental fury embedded in the band's lyrics.
"The Axe" showcased Gojira's technical precision, Mario Duplantier's drumming provided a foundation so solid it felt geological. The band's commitment to their craft was evident in every calculated blast beat and tremolo-picked passage, their sound engineered for maximum devastation. When "Backbone" kicked in, the crowd responded with the kind of visceral movement that only truly punishing metal can inspire.
The epic "Flying Whales" became a transcendent moment, its progressive build creating a seven-minute journey through crushing heaviness and atmospheric respite. Christian Andreu and Joe Duplantier's dual guitar attack during this track demonstrated why Gojira has earned respect across metal's various subgenres, their ability to balance brutality with musicianship unparalleled. The song's climactic sections, punctuated by towering flames, proved that spectacle and substance can coexist.
"The Heaviest Matter of the Universe" lived up to its title, the song's relentless groove battering the audience into submission. Gojira's set closer "Amazonia," with its urgent environmental message and tribal rhythms, left the crowd simultaneously exhausted and energized. The band's pyrotechnic display reached its zenith during this final salvo, flames shooting skyward as Mario Duplantier pounded out the song's primal conclusion.
Opening act Loathe set an appropriately punishing tone, their crushing blend of metalcore and shoegaze providing a sonic baptism by fire. The British quartet's atmospheric heaviness primed the audience for what would become an evening of relentless sonic warfare, their set demonstrating why they've become one of metal's most compelling rising acts.
Korn
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