Metallica @ Accor Stadium, Nov ’25

Saturday night at Accor Stadium had all the ingredients for a massive Spring show: a charged-up crowd, warm air settling over the stadium, and three very different acts sharing the same stage. Suicidal Tendencies kicked things off with pure, unfiltered energy, Mike Muir bouncing around as if immune to age entirely. When he threw a shout-out to The Shire—totally unprovoked, hyper-local, and absolutely perfect—you could feel the reaction ripple across the venue. Sydney loved it. It was chaotic, sweaty, and exactly the kind of opening punch that sets the tone for a huge night.

Evanescence followed and immediately shifted the atmosphere. Amy Lee’s voice soared across the stadium with ridiculous clarity, every high note hitting like it was engineered for open air. Mid-set, when they dropped into their slower number—instantly recognisable even if no one could exactly name it—the entire place lit up. Tens of thousands of phone lights rose into the dark, turning Accor into a shimmering bowl of white stars. It was unplanned magic, and easily one of the visual highlights of the whole event.

Then Metallica took over, blasting into Creeping Death and reminding everyone within seconds why they still own stages of this size. For Whom the Bell Tolls arrived early too, locking the crowd straight into that familiar down-picked groove. They sounded tight—Hetfield steady and strong, Lars loose but locked in, Kirk swirling through leads—and yet the setlist left many longtime fans puzzled. Sydney seemed to draw one of the safest, most predictable shows of the run, leaning toward a “greatest hits” feel rather than digging deeper. Anyone hoping for substantial …And Justice for All material had to settle for One and nothing else, which felt like a missed opportunity considering the crowd appetite.

There were still undeniable moments: Fuel firing up the place, The Unforgiven and Nothing Else Matters delivering huge sing-alongs, Moth Into Flame and Lux Æterna injecting newer-era adrenaline, and Seek & Destroy, Master of Puppets, and Enter Sandman doing what they always do—taking over the venue like they own the structural integrity of the building. But the overall arc felt overly safe, as if curated more for casual fans than those who’ve followed every evolution.

The photography situation didn’t help either. Media were restricted to shooting exclusively from FOH, meaning every gallery from the night will look identical: long-lens, distant, locked to one perspective. No pit access, no intimacy, no dynamic angles—just a stadium show documented from the same safe rectangle.

Still, even with the conservative setlist and the odd photography restrictions, Metallica delivered a powerful, tightly executed performance. Sydney showed up loud, the band responded in kind, and while it wasn’t the most daring show they’ve played here, it was undeniably a big one—huge, polished, and carried by a crowd that refused to let the energy drop for even a second.

Full galleries: Suicidal Tendencies | Evanescence | Metallica

Photos: BJWOK