The recent passing of Ozzy Osbourne is a stark reminder that even the most decorated and influential of rock careers must, eventually, come to an end: as Rob Halford would make a point of on Friday night, that’s all the more reason to see your favourite stars while they’re still kicking ass. The Judas Priest frontman is 73 years old— not far off Alice Cooper at 77— yet neither singer seems ready to throw in the towel. At London’s O2, their performances proved that the old guard continue to have more than enough energy, spirit and power to earn their place at the forefront of rock’n’roll discourse.

Phil Campbell and the Bastard Sons

Being the opening act for such revered acts as Judas Priest and Alice Cooper must be a nerve-racking gig, but if the pressure was getting to Phil Campbell and the Bastard Sons, they’d done an excellent job masking it. Of course, such a show is just another Friday night for the titular Campbell after his career with Motörhead— his sons Todd, Tyla and Dane seemed similarly in their element, as did relative newcomer Joel Peters. The Bastard Sons’ declaration that “we’re here to play old-school rock’n’roll” summed up their performance to a tee, as that classic bravado defined everything the five-piece did: whether they were strutting around the stage or getting the audience to humorously curse bassist Tyla Campbell, the band were displaying an infectious level of energy and enthusiasm.

Given Campbell’s previous work, it was no surprise to hear a few Motörhead tracks sprinkled in through the brief thirty minute set. ‘Ace of Spades’ was the obvious standout moment of the show, with the entire crowd chanting along to this roaring thrash metal anthem— it’s a classic for a reason, only bolstered by Peters’ bellowing vocals and some relentless drumming from Dane Campbell. ‘Going to Brazil’ brought a similar level of energy, blending in with the Bastard Sons’ style of bluesy rock. Though the crowd’s enthusiasm did, unsurprisingly, peak whenever Motörhead’s riffs were jumping off the speakers, that’s no knock against the band’s original tunes: cuts like ‘We’re the Bastards’ and ‘High Rule’ really did kick-start the show with a youthful flare. Between their racing riffs and blistering solos, Phil Campbell and the Bastard Songs may not have been the most distinctive act in the world, but they were an incredibly solid start to the show.

Alice Cooper

Say what you want about Alice Cooper’s half-a-century-long career, but the man is nothing if not theatrical: his live show in 2025 places spectacle at its forefront, and Cooper in his element. At the O2, the stage was adorned with a pair of gigantic movable staircases, providing the backdrop for the courthouse setting of opener ‘Lock Me Up’— seeing the frontman cut his way through his own wanted poster to take the stage was nothing short of electrifying. Cooper was never a virtuosic vocalist, but has retained every bit of his signature shock rock charm: he’s an entertainer, bounding around the stage with his top hat and cane. Many of the show’s best moments bordered on a piece of musical theatre, whether we were watching Cooper stab a ‘stage invader,’ orchestrate his band, or be beheaded himself by Marie Antoinette (complete with a guillotine and a fake head!). The campy horror aesthetics were on full display here, exactly as you’d want them to be.

Musically, the rockstar proved himself to be much more than a two-hit wonder, even if ‘School’s Out’ and ‘Poison’ were the clear crowd-favourites among the bunch. The entire band’s enthusiasm was palpable, elevating the furious rock riffs of ‘I’m Eighteen’ and the wonderfully catchy hooks of ‘He’s Back (The Man Behind The Mask).’ When they were really allowed off the chain, the three guitarists could play like nobody’s business— Nita Strauss excelled via her own solo moment, leading into a monstrous ‘Black Widow’ jam. Even as the show drew itself to a close, the surprises just kept coming: a fantastic cover of Black Sabbath’s runaway hit ‘Paranoid’ made for a wonderful tribute to Ozzy Osbourne (complete with the presence of megastar Johnny Depp on the guitar) while the closing rendition of ‘School’s Out’— with Cooper’s original band taking to the stage to really pump up the sound— earned its extended length. Even despite the occasional vocal misstep, the level of showmanship alone made Alice Cooper’s show an absolute joy to behold.

Judas Priest

In the modern age, Judas Priest need absolutely no introduction: they’re undoubtedly one of the most influential and respected metal acts touring today, with a mammoth-sized discography behind them. Choosing a setlist must be a herculean task for the group every time they decide to tour, as they have far too many hits across their nineteen studio albums. For the new ‘Shield of Pain’ tour though, it’s fan-favourite record ‘Painkiller’ that’s getting the spotlight (not to the dismay of many). Six tracks from the 1990 release made the cut at the O2— an ambitious choice for Rob Halford, given the extreme range required— gifting the venue with some of the most cutthroat, badass, balls-to-the-wall thrash metal you could ever hope to find. To that end, Judas Priest haven’t aged a day. Halford proved himself to be, quite simply, inhuman, ripping his way through the blistering high notes of ‘All Guns Blazing’ and ‘Hell Patrol:’ it was actually in his lower register that the singer tended to falter, though his performance was nonetheless extraordinary as a whole. As for the rest of the band, they weren’t missing a beat, as Scott Travis’ booming percussion and Richie Faulkner’s virtuosic soloing continue to be as thrilling as ever.

For many fans, the ‘Shield of Pain’ tour carries with it a close-to-ideal setlist: between those aggressive numbers, fans can rest assured that the classic grooves of ‘You’ve Got Another Thing Coming’ ‘Breaking The Law’ and ‘Freewheel Burning’ were as awesome as ever, earning themselves massive crowd engagement whenever they appeared. Despite the tour’s name, only two tracks from 2024’s ‘Invincible Shield’ made the cut, with those being the head-banging riffs of ‘Gates of Hell’ and sentimental ‘Giants in the Sky,’ which was dedicated to Ozzy Osbourne. In all honesty, the sound design in the O2 wasn’t always ideal, becoming a little muddy and unfocused at times, and it’s hard to argue that Judas Priest weren’t a little static on stage: even still, there’s no denying the power that the band brought, continuing to nail every song they attempted. They’re still legends, and it was an utter delight to hear ‘Painkiller’ getting the love it deserves.