Hollywood Vampires at the O2 Arena

Yesterday’s eclipse foreshadowed an ominous darkness that would be unleashed at the O2 by Hollywood Vampires on Wednesday 12^th August as rock fans assembled to see their favourite artists resurrected onstage. Being their first UK show in almost three years, Hollywood Vampires had an itch to scratch, creating a complete rock spectacle from before they even appeared onstage and establishing the supergroup’s theatrical identity of extravagance.

Before their awaited entrance, the arena darkens, and a loud cheer erupts as a cinematic opening weaves us through an abandoned churchyard to reveal skeletons representing each supergroup member bursting out of coffins. These creative and immersive visuals remain detailed throughout the set and immediately transport the entire venue into the gothic world of Hollywood Vampires.

Striking production continued throughout the band’s original songs to open the show, from I Want My Now, displaying grotesque images of consumerism to make a political message on the world today, to Raise the Dead projecting zombie visuals. Johnny Depp performs an impressive guitar solo, proving his musical ability despite his movie-star status. The bittersweet statement “We miss them all” introduced the original My Dead Drunk Friends, and Joe Perry performed another guitar solo. Darting up and down the fretboard of his golden guitar, Perry’s shredding solos were endless, snapping strings and sliding his fingers rapidly, making the notes wail and jump up in pitch.

Though the originals received attentive crowd responses, they didn’t generate the same electricity as the classic covers. The audience repeatedly grew louder when oldies like Alice Cooper’s 1970s hit I’m Eighteen played, or when onscreen tributes to fallen rock stars, from Ozzy Osbourne to John Lennon, appeared during their cover of People Who Died by The Jim Carroll Band. The show undeniably relied on rock nostalgia, using cemetery imagery and themes of resurrection to bring beloved rockers back to life through cover work. However, the talent of others was not simply being recycled because the musicianship, production and performance gave those songs new life. Their age has not robbed them of their talent or passion for rock but embedded it even further into their identities.

Band chemistry flowed seamlessly as each member’s strengths and styles fit together like puzzle pieces. Their fluent alignment of rhythm was personified through the recurring image of guitarists lined up together, fingers dancing across the fretboard to create a striking visual of harmony. Cooper’s showman persona and familiar cane made him the centrepiece of spectacle. At 78, Cooper’s vocals and physicality remain as strong as his dark eye makeup. His facial expressions and physical enactment of lyrics, such as during The Boogieman Surprise as he stumbled toward the audience like the Boogieman himself, enhanced the musical experience as he orchestrated both the band and fans in his extravaganza.

The atmosphere escalated intensely during the cover of Baba O’Riley by The Who, with multicoloured strobe lighting creating a surreal effect. From Depp’s cover of Heroes by David Bowie, the energy only grew. Depp’s deep vocals glided over Henriksen and Perry’s guitars, playing Bowie’s melody perfectly. In a memorable moment of synergy, the final echoes of “We could be heroes” are sung by Perry, Depp and Cooper, who share a mic centre stage, before Depp tips his hat in gratitude as the song ends. Hit-after-hit covers follow, including Highway to Hell by AC/DC, which Henriksen’s outstanding vocals and Perry’s screaming guitar riffs deliver with force. With horns still raised across the crowd, Perry returns to his roots for the Aerosmith cover Walk This Way, effortlessly recreating its wild, high-energy guitar riff as the entire crowd drinks up every note. With much of the arena now standing, the closing song School’s Out erupted with Cooper dressed in all-white as ringleader while gigantic balloons crowd-surfed over the crowd. The theatrical finale brought a huge audience response, which soared further as Cooper introduced special guest Ronnie Wood from The Rolling Stones. An encore emerged, featuring covers of Train Kept A-Rollin’ by The Yardbirds, Brown Sugar by The Rolling Stones and Hi Ho Silver Lining by Jeff Beck. Band members were visibly enjoying their final moments through onstage banter and carefree spirit, leaning and nudging one another before uniting in the middle, looking out to the fans before their final exit.

Hollywood Vampires may trade heavily in the mythology of rock’s past, but at the O2 they proved nostalgia does not mean stagnation. From Cooper’s theatrical command to Perry’s blistering guitar work and Depp’s unexpected musical credibility, each member brought something distinct to a show that grew increasingly electric. Three years away from the stage did little to diminish their appetite for rock and roll: if anything, they returned with more than another life left to resurrect it.

Jennifer Hensey
Photos: Nick Bennett

For further information and future events, visit Hollywood Vampires’s website here.

Watch the video for I Want My Now here: