Cover Image: Metallica in concert at Optus Stadium. Photo by Stuart McKay.

“Can you feel it, Perth?”

We could. And we did.

It’s the emotion that has always set Metallica apart. The legendary titans of thrash metal, and arguably the greatest of all heavy rock acts (certainly the most popular going by the 65,000 packed into Optus Stadium on Saturday), at their core they thrive on emotion.

Not necessarily as fast, technical or controversial as some counterparts, James Hetfield’s lyrics dig deep into the psyche of Gen X with themes of death, war and mental health.

On Saturday night, it was often ballads that brought on the spinetingling feels. Five songs in, The Unforgiven’s familiar black and white film-clip was a reminder of the song’s crossover power in 1991, and it felt like the entire stadium chimed in on climatic lyric “You labelled me, I’ll label you/ So I dub thee unforgiven”.

It followed an opening spectacle that was simply breathtaking. Welcomed onstage by Ennio Morricone’s The Ecstasy of Gold, they kicked off with two songs from 1984 magnum opus Ride the Lightning in a gift for the Metallica family. The enormous backing screen split into five giant panels united as one for a biblical Creeping Death, before chimes rang out on the intro to For Whom the Bell Tolls.

Holier Than Thou was one of six songs from Metallica’s self-titled commercial apex (aka ‘The Black Album’) before Fuel assured us there’d be no lack of pyrotechnics. Streaming fire jets blasted in front of flaming visuals on screen. You could feel the heat 50 metres away.

Along with unexpected but welcome detours into Wherever I May Roam and Sad But True, bassist Robert Trujilo rocked out an impromptu cover of local hero John Butler’s Zebra in a nod to his funk-rock roots, while the crowd-pleasing was dialled up further during Seek and Destroy as beach balls were released into the audience (a distraction from the main event for this reviewer but appreciated by most).

Hetfield was in fine form throughout, joking with and amping up the crowd in equal measure. And his voice was a wonder all night. Conjuring the emotion and energy of a man half his age, the 62-year old’s solo on an epic Nothing Else Matters also proved he’s more than just a rhythm guitarist, as lasers flew around the stadium spectacularly.

Kirk Hammett’s even more ridiculous shredding was a wonder to behold for the most-part, although the mix was the night’s one real let down as he was often drowned out by Trujilo’s bass (maybe they’re still taking those …And Justice for All mix criticisms to heart). In particular on another ballad, One, which was arguably song-of-the-night for its war-torn pyrotechnic display and emotive storytelling, Hammett was barely audible.

Alongside One, it was left to Master of Puppets and Enter Sandman to finish the night in electric fashion, the capacity crowd absolutely heaving and in fine voice. Sure, an encore or a couple more songs from 1986 landmark album Master of Puppets wouldn’t have hurt, but it’s worth noting 11 of the night’s 16 tracks across two-hours plus were from their first decade between 1981-91, with only one song from latest record 72 Seasons featuring. 

It didn’t hurt that Metallica brought along stadium-sized support acts. Trujilo’s former band Suicidal Tendencies were all about getting the crowd riled up as singer “Cyco” Mike Muir mixed anarchy and motivational speak, revisiting classic crossover anthems You Can’t Bring Me Down and Institutionalized.

Evanescence, meanwhile, were a revelation in the main support slot as the sun had just set. Bringing the arena back to life led by the force of nature that is Amy Lee’s voice, they showcased the symphonic side of Metallica’s heavy, with a dystopian vision of gothic doom and apocalyptic guitars. Like a band built for the stage, they made the most of the incredible lighting and production display.

If there was a slight on Evanescence, they looked and sounded almost too perfect. You wouldn’t accuse Metallica of that; their four members create a purely live stadium sound that’s as intricately impressive in its virtuosity as it is purely warts and all. With a crowd pleasing setlist and the intensity of a cathartic release, this was a powerful display that ranks amongst 2025’s very best live shows. 

You could feel it.