Wall of sound: How Crystal Lake and Miss May I, refused to let the London crowd fade

There is a specific, bittersweet energy to a metal show in London when the venue isn’t hitting capacity. Walking into the O2 Academy Islington to see a room only partially filled can be a bit jarring, but for the fans who did show up, the lack of a crowd only meant more room to move. It’s a strange time for live music; you see world-class talent on stage and wonder why the floor isn’t packed to the rafters. However, if this was a glimpse into the “new normal,” the bands clearly didn’t get the memo—they played like they were facing a sold-out Wembley.

Diesect

The night kicked off with Australia’s Diesect, and they did not come to play. Despite the venue still filling up, they went straight for the throat with a sound that can only be described as unrelenting and visceral.

The production didn’t hold back either; the strobe lights were so intense that at one point I think I lost my vision for a second and managed to spill my drink on myself. Honestly, It fit the chaotic energy of their set perfectly. It was exactly the kind of jolt needed to wake up the early arrivals and set the bar for the rest of the evening.

Photo: Peterson Marti.

Great American Ghost

Maintaining that red-hot momentum, Great American Ghost stepped up next. Their stage presence is simply elite, carrying an aggressive vibe that feels completely authentic rather than choreographed. Frontman Ethan Harrison was a total powerhouse. At one point, he looked out at the modest crowd and shouted, “Hey, if you’ve never heard us before, this next song will be the one that makes you our top fan.” He wasn’t wrong—their tracks felt unprecedented and bursting with fresh energy.

But the real star of the set was bassist Anthony Laur. Despite being incredibly sick to his stomach, he refused to let the set fail. He pushed through nearly the entire performance, eventually having to “tap out” and play from backstage just to finish the set. That level of dedication is rare and earned them massive respect from everyone in the room.

Photo: Peterson Marti.

Miss May I

1. Shadows Inside
2. Masses of a Dying Breed
3. Pray for Silence
4. Into Oblivion
5. A Dance With Aera Cura
6. Architect
7. Relentless Chaos
8. I.H.E.
9. Die on the Vine
10. Forgive and Forget
11. Under Fire
12. Hey Mister

As the night progressed, Miss May I took the stage to shift the tone toward the more melodic side of the metalcore spectrum. This was a massive moment for the longtime fans, marking our first real look at the new lineup with Elisha Mullins (formerly of The Burial) on lead guitar. Any concerns about the dual-guitar harmonies losing their soul after the 2024 departures were squashed within the first few bars of “Shadows Inside.” The riffs felt tighter and more surgical than ever.

Frontman Levi Benton was a literal whirlwind, refusing to stand still for even a second. Between his signature windmilling and constant high-fives with the front row, he turned the O2 into a bridge between the “old school” fans and the new era.

The setlist was a journey, with Ryan Neff’s soaring clean choruses on “Relentless Chaos” and “Hey Mister” providing that massive, catchy contrast to the galloping thrash riffs. We even got a taste of the future with their new single “Die on the Vine.” Between the 15th-anniversary nods to “Apologies Are for the Weak” and the tease of their upcoming eighth album, the set felt like a victory lap for a band that is clearly hitting a second prime.

Photo: Peterson Marti.

Crystal Lake

1. Neversleep
2. Blüdgod
3. Everblack
4. Hail to the Fire
5. SIX FEET UNDER
6. Lost in Forever
7. OPEN WATER
8. Watch Me Burn
9. Apollo
10. The Weight Of Sound

Finally, Crystal Lake took the stage to prove exactly why they are Tokyo’s premier metal export. If you haven’t seen them since John Robert Centorrino took over on vocals, you are truly missing out. His deathcore roots bring these guttural, earth-shaking lows that hit you in the gut, yet he has completely mastered the anthemic, soaring choruses the band is famous for.

The energy in the room became incredibly condensed as they dove into tracks from their January 2026 release, “The Weight of Sound“. The production was staggering—layers of ambient electronics and synths woven into YD’s technical riffing to create a literal “wall of sound.” When the breakdown for “SIX FEET UNDER” dropped, the center of the floor transformed into a war zone.

Between the “crowd-killing” style moshing and a high-intensity strobe show that synced perfectly with every rhythmic shift, it was a sensory overload in the best way possible. By the time they closed out with the title track of the new album, there wasn’t a dry shirt left in the building.

Leaving the venue, I couldn’t help but reflect on the empty spaces on the floor. My hope is that this isn’t the definitive future of live music—these bands deserve a packed house every single night. But for those of us who were there, the intimacy only made the aggression and the melodies hit that much harder.

Photo: Peterson Marti.