David Edmunds
Like an ethereal shroud, the haunting melodies of opener Choir Noir wash over the Wembley crowd. There isn’t an instrument in sight as the choir’s soaring vocals deliver unaccompanied choral versions of metal classics to a transfixed audience who aren’t quite sure what to make of this deviation from a usual high-energy, high-noise support act.
The choir’s re-imagined versions of Gojira’s Silvera and the unearthly melodies of Deftones’ Minerva are so atmospheric that an almost deathly hush washes over the whole crowd. Choir Noir hauntingly and magnificently set the scene for the main acts to follow. And follow they did, with a literal Halloween bang.
As if ascending from the fiery pits of hell, Creeper launch themselves onto the stage with a near volcanic pyro display, heading straight into a galloping version of Lovers Led Astray. It is the first on a setlist packed full of Creeper standards, and they quickly follow with Sacred Blasphemy, as the devoted crowd sing along with all the spirit of the Creeper Cult.
As well as the stomping ballads that Creeper have become known for, there are a couple of heart-stopping, goosebump moments. The Wembley crowd take inspiration from openers Choir Noir for a word perfect harmonic version of Misery, which leaves frontman Will Gould visibly moved. “We have fought our way up pubs and clubs for 10 years” he reflects to his fans, showing his humility and gratitude for the Creeper fanbase.
A heartfelt live debut for More than Death, dedicated to Gould’s mum’s friend Ian. It is an emotional heartpunch, and when keyboardist/vocalist Hannah Greenwood strips it right back for a haunting rendition of Crickets, the vast space of Wembley is filled with huge and effortless emotion that the crowd throw right back at their heroes.
As ambitious as this venue may be for the band (their biggest gig to date) Creeper come armed with a huge demonstration of showmanship and majesty and solidly rose to the occasion. Creeper showed exactly why they’re a band that isn’t taking a backward step at the end of 2024, which has been a huge year for them. They came to London, bit the crowd’s throat and watched them bleed to death, and the crowd thanked them for it.
And as if that wasn’t enough for the Wembley crowd, gothic rockers Black Veil Brides then storm out for their set. Lead singer Andy Biersack exudes his usual oozing confidence and swagger as he dominates the stage. Black Veil Brides are more accustomed to larger venues and crowds, and this shows as they launch through their set, filled with brag and glory.
A near perfect version of Bleeders follows a long orchestral intro, and the intense chorus chanted from the crowd rightly proves that this is one of their greatest hits. It’s quickly followed by Wake Up, which elevates the performance further as the Black Veil Brides Army go wild.
Even the slightly curious interludes didn’t phase fans – a drum solo followed by a trumpet solo and then some heavy electronica briefly felt like being transported to a slightly bizarre rave, and the setlist surprise New Religion, while ambitious, doesn’t quite land with the crowd.
But in true BVB style, the ecstatic encore was made up of not one, but three smashers – Lost It All, Fallen Angels and of course In The End all of which safely bring Black Veil Brides back to the ground and remind fans that they can still nail a greatest hits set list firmly on the head.
There’s no denying that Black Veil Brides display of seasoned confidence and stage presence mixed perfectly with the heartfelt emotion of Creeper, theatrically marking the Devil’s Night at Wembley, and setting the bar ghoulishly high for every coming Halloween. It is almost a wonder this hasn’t happened sooner with a clear crossover between the band’s fanbases. Two bands, two stories and two unforgettable sets on one unmatched evening.
