Yungblud review: ‘An epic display of showmanship from the face of British rock’

After a year and a half that saw Yungblud become the first British artist to earn three nominations in the rock categories at the Grammy Awards in a single year, win a Grammy Award for his acclaimed cover of ‘Changes’ at Ozzy Osbourne’s farewell show at Villa Park last July, and earn two UK No. 1s on the Official Albums Charts for ‘Idols’ and his collaborative album ‘One More Time’ with Boston hard-rockers Aerosmith, it’s little surprise that Dominic Harrison, who has earned plaudits from the likes of Steven Tyler, Billy Corgan, Kirk Hammett, and Osbourne himself and arguably became the face of British rock music in 2025, is full of confidence at the moment.

If the definition of aura had a picture next to it in the dictionary, it would probably be of Yungblud. The artist, who oozed swagger and attitude from the moment he opened the performance with pulsating renditions of ‘Hello Heaven, Hello’, ‘The Funeral’ and ‘Idols Pt. 1’, has the charisma and style of a 21st-century Iggy Pop. Doused in beer, with an electric guitar hanging from his waist and sweat dripping from him, donning leather trousers and remaining topless for the majority of the set, Yungblud’s stage presence, and his rebellious, punk-infused approach, reminded me of a young Iggy. It’s a fitting comparison for the 28-year-old, who wore a pair of the legend’s leather trousers when performing at the 2025 VMA’s, and in Iggy-like fashion, he briefly exposed his posterior at M&S Bank Arena, much to the delight of many in the sold-out crowd.

Additionally, the 28-year-old had the grandiose production to match his immense talent, with a Roman Empire-style arch positioned in the background, a stage covered in white smoke, and a barrage of pyro, fireworks and confetti. The 28-year-old also had the masterful musicianship of a nine-piece band, including a strings section to add additional depth to his sound, and a discography full of fan-favourites on offer. The Britpop-influenced ‘Lovesick Lullaby' has a memorable chorus perfectly designed for arena-friendly singalongs and served as an early highlight at M&S Bank Arena. ‘The Zombie’ is packed with emotion; ‘My Only Angel' – from the ‘One More Time’ EP – left the crowd bouncing. Yungblud's life-affirming cover of ‘Changes’ served as the lights-out moment of the set that left everyone in a collective state of awe, and the rousing tour debut of ‘The Postman’ came with the declaration that he was “just getting started”.

‘Lowlife’ saw the 28-year-old nonchalantly comb his hair while suggesting that he wanted to 'see some motherf***ers on shoulders' and encouraged those seated to stand on seats – a rebellious mindset, but it’s a mindset Liverpool welcomed. The introduction of ‘Fleabag’ saw the artist ask the crowd if anyone wanted to kidnap him, with more than a handful volunteering for the job, and later climbed into the standing pit to embrace fans and perform the final chorus of the aforementioned ‘Fleabag’, offering a moment of intimacy and a moment of community between the crowd and the artist, who has very much become a man of the people in the eyes of music lovers.

His revolutionary festival, Bludfest, is aimed at combatting high-ticket prices with a community-focused approach and is set to expand, with the 2026 edition set to be held in Czechia, further cementing his status as a man of the people. The 28-year-old's community continues to expand, and with sincerity in abundance and the epic showmanship he delivers with his live performances, it's easy to see why. As the likes of Geese, Turnstile, Knocked Loose, Fontaines D.C., and Yungblud himself continue to position themselves as the leading faces of the next generation of rockers, British rock lovers can rest easy knowing that with Yungblud leading the charge, the scene is in great hands.

The Warning & The Molotovs

After forming in Monterrey, Mexico, in 2013, The Warning, composed of the Villarreal Vélez sisters – Daniela, Paulina and Alejandra – have gone from strength to strength in the last few years, becoming one of the fastest-rising rock/hard-rock outfits on the planet since the release of their fourth studio album – 'Keep Me Fed’. Needless to say, they put on a clinic from the moment they arrived on stage in Liverpool as they opened with the high-energy ‘More’.

In a set that featured a blend of tracks from the aforementioned ‘Keep Me Fed’ and unreleased singles such as ‘Ego’ and ‘Ritual’, the three-piece impressed with their high-energy rhythms; driving bass lines; heavy, riff-driven guitars; the hard-hitting drumming of Paulina, who has been lauded by Metallica’s Kirk Hammett; and anthemic choruses designed for arena-friendly singalongs. A mind-blowing opening set came to a close with a three-punch combo of ‘Evolve’, ‘Kerosene’ and ‘Automatic Sun’, and if you’re heading to any of Yungblud’s upcoming dates, ensure you arrive early, as you’ll be utterly mesmerised by the prowess of the three-piece.

Overall, it was an exceptional evening of live music, with Yungblud and The Warning’s set preceded by a performance from the fast-rising punk-influenced duo ‘The Molotovs’. The two-piece, fronted by Mathew Cartlidge on lead vocals and with his sister Issey on bass, have performed over 600 shows, including slots opening for the likes of Iggy Pop, The Libertines, The Damned and Blondie, as well as performing in grassroots venues, weddings and parties.

The pair’s debut album – 'Wasted on Youth’ – reached No. 3 on the UK’s Official Albums Charts upon its release earlier this year and, unsurprisingly, comprised the majority of their opening set. Fuelled by punchy guitars and the powerhouse drumming of touring drummer Noah Riley, ‘Get A Life’ has a sense of urgency and drive about it; ‘More, More, More’ has a memorable refrain that’ll linger in the mind for weeks. Mathew’s distorted guitar and Issey’s driving bass were the standout elements on Wasted on Youth’s title track, and their take on David Bowie’s ‘Suffragette City’ was equally impressive. Upon closing out the performance with ‘Today’s Gonna Be Our Day’, it was evident that the siblings have a huge future ahead of them.