Live Review: Metallica M72 World Tour with Evanescence in Perth
1 November 2025 at Optus Stadium Perth, Western Australia
Review by Sheldon Ang
Photography by Sheldon Ang Photography
Perth weeps.
The legendary looping and hypnotic riff from Kirk Hammet’s guitar sparks another level of energy through the seed of the metal soul of 65,000. The fans sink into delirium mode, heads nod, hands clapping above their heads, feet tapping on the world’s most beautiful stadium. Lars Ulrich’s thunderous, marching drums beat as if they were heading to a biblical war. The Richter scale has reached a dangerous level, as the sea of people across the home of football is jumping to a level that has not been seen at Optus Stadium. Somewhere along the maniacal pummeling of the drums came Robert Trujillo’s bass and James Hetfield’s guitar – a self-hypnotising instrument, as the lead singer personified an orgasmic countenance, while Trujillo moved side to side like the character of some Japanese ferocious fictional character that rises from the sea. The thunderous incantations, the boom-boom marching orders personified by the rhythm section drive the stadium to the biggest storm since the hail in Perth of 2008.
The world’s most famous build-up to a song is about to hit its first verse of Enter Sandman. It seems that everyone has said their prayers.
“Exit Light…sing it”
The crowd obey one of life’s commandments. A sea of hands, looking like the choppy waters of a massive lake, rippled through the scenic ambience.
The wah-wah moan from Kirk Hammett’s guitar in that solo riff has more twist than the ending of The Empire Strikes Back, causing havoc among the crowd. The 65,000 broke the world record for the air guitarists at a single location. The rapid pull-offs and tapping clicks are legendary to witness. It’s pure cinematic. The marching keeps pummeling as we hear the voice of the kid could be heard in some of the eerie prayers.
“Exit Light…Perth!”
The most isolated city in the world has become the centre of the metalverse as all eyes are on us. Thank you, Metallica, for giving the smaller cities a chance to party like it’s 1989.
So Perth wept – but not kind that tells the story of Jesus’ emotionally profound arrival in Bethany after Lazarus had died. Rather, a collective flow of delirium over one of the industry’s greatest legends; a worshipped entity, the rockstars who are the closest to being God himself, according to many in Perth’s colosseum. Tonight, metal in Perth, Australia is resurrected to an infectious level after a 15-year sabbatical.
Metallica’s M72 World Tour kicked off in April 2023 in Amsterdam and is set to conclude in London in July 2026. Spanning three years, the global journey covers Europe, North and South America, Asia, and Australia/Oceania, including stops in all five major Australian cities and New Zealand. In Australia, the stage design follows a conventional layout, featuring a semi-circular platform that extends into the crowd. The enclosed snake pit offers an electrifying vantage point, and for those who paid to be in it, every cent was worth it.
The logistics scream mega, with towering LED visuals, lighting grid and distributed coverage. This is production for the ages.
The thunderous reverberation from the rainy skies continued from the night before, though thank God the heavens are closed for tonight. Instead, through the masters of metal, Perth had a seismic wave in the biggest fortress of the most isolated city in the world.
The night commenced with a local tribute while the lights were dimmed. It’s a Long Way to the Top, the track by AC/DC broadcast to the stadium. It wasn’t just a tribute to the locals, as the track has been playing throughout the M72 tour, which was then followed by The Ecstasy of Gold, Morricone’s galloping masterpiece for Sergio Leone’s 1966 film, The Good, the Bad and the Ugly.
The collection of maniacal screams shrieked through the stadium as James, Lars, Kirk and Robert graced the stage, with the night commencing with Creeping Death, followed by For Whom the Bells Tolls and Holier Than Thou. The band was tight as hell as expected, musically. Physically, they were well separated, as the three guitarists weave along the spans of the massive stage. They held together on occasions surrounding the well-animated Lars, occasionally standing through excitement. Hetfield wondered about solo duels with the guitarists, with permutations of duels among the three.
From the outset, it was clear that Metallica defies the archetype of the lead singer commanding all the attention; rather, there was a sense of limelight being shared amongst Drummer Ulrich, Lead guitarist Hammett and bass guitarist Trujillo. No egos, rather a collection of 200 years of individual brilliance on display.
“Perth, we love you!”
Then came the cowboy on a dirt track soundscape, under the cover of darkness. The marching returned. The thundering incantation had already begun. The slow rumbling drum cadence, the funeral-like rhythm, was imposed with military precision. The fans would be forgiven to assume we are about to hit the war march through Lars’s floor toms and kicks through a sound simulation that we are familiar with. The crowd fell into silence, with a few whistles. At any moment now, the fans would be pummeled by one of the iconic arpeggios from James Hetfield’s guitar that’s fueled with visceral ammunition in Unforgiven. Smokey air drifted across the stage like a scene of the Good, Bad, and Ugly (rather than dirt). But nothing ugly about this, rather a beautiful sentiment of rockstars softening to the softcore of metal. It didn’t last long as the semi guttural of James Hetfield. The crowd went into a maniacal mood.
And as for maniacal mode, there were plenty; Fremantle local band John Butler Trio got a shout out when their track Zebra was playfully covered by Trujillo, who turned vocalist, with Hammet scintillating on guitar. By now, the fans knew Metallica are a band that respect the “small guys”. Perhaps, thats the secret to success – humility. After all, Perth has dedicated their lives to one of the greatest bands in the world and we are fortunate to be able to witness music royalty, and for tonight, nothing else matters.
Darkness fell again, while lasers were piercing across the mighty grounds to the east end of Optus Stadium. Kirk Hammet had a solo for a while, with a quick before progressing to the start of the solitude sound of Nothing Else Matters. It was a beautiful moment…we love our rock ballads.
“Life is good…Sing it, Perth”
The crowd again obeyed.
“You’re right, nothing else matter.”
The solitutude didn’t last long as the night turned into party mode when over fifty massive (non poppy) ballons bounced on the canopy of hands across the floor. The balloons were yellow, labelled M72 they went for over three songs. For 20 minutes, fans were engrossed in punching the balls.
Nevertheless, the centre of attraction has been on the stage that kept going for a while especially when Master of Puppets went for over ten minutes, and that’s not an exaggeration, while digital visions of the cemetery were shown on the screen, followed by marches of soldiers, as the band shifted their position from center stage to the platform of the snakepit. The hands of rock god kept punching to the heavens again, before the night ended with One and Enter Sandman.
“Perth – we love you.”
Evanescence – Support Act
This photographer /writer had the pleasure of covering the support act Evanescence two nights ago in a club setting with 800 or so. My Initial presumption was mood would be unmatching – but boy was he wrong – the quintet soared to the skies above Optus Stadium.
Amy Lee may be the only constant member of Evanescence, but the rest owned the dexterity and musicianship that epitomise the 2000s iconic band, and they had the honour to open the show for Metallica M72 in the Australian run. Right from the start, they got themselves running. Will Hunt attacked the drums like a maniacal, possessed man from the nuthouse. His hair-weaving antics were breathtaking. His continuous animation was a subject of entertainment. Guitarists Tim McCord and Troy McLawhorn sizzled throughout the musical rock incantation with the grungiest grunge and riffs, while the newest member and Aussie bassist Emma Anzal enthralled her home crowd with those four strings who stand far on the left side of the stage like a probationary employee. Needless to say, she passed.
As rockers do, their momentum was continuous, back to back in full throttle, sparking with Afterlife, with minimal conversation in between sets. Nevertheless, the connection between the stage and fans was entwined through a sincere and powerful performance.
There was a moment for a breather – for the capacity crowd; Amy sat at the grand piano, her vocal range then exposed to an emotional downpour through Lithium. Her voice reshaped as the instrument and took flight, gliding through the cold spring night and taking the audience to a poignant chapter of their lives. The undulation of the low note to the high note clearly narrated the yearning to break free from the negativity. No words can describe the gripping orchestration of Amy Lee’s performance.
The night ended with Bring Me To Life backed by an army of five thousand. Despite the male counterpunch being absent, the performance felt natural, without a sense of void. Nevertheless, Paul McCoy’s voice was subconsciously played in everyone’s heads, some belting out the words.
Evanescence is more than Amy Lee – perhaps one of the best vocalists on the planet. As a group, they possess the musical dexterity that’s second to none, a water-tight, synchronistic mechanical clog that doesn’t seem to stop. From start to finish, the energy was mellifluously chaotic and drenched in high spirit.
Metallica continues the Australian leg of the M72 World Tour. Tickets are available from Live Nation Australia
SETLIST in Perth
Creeping Death — Ride the Lightning (1984)
For Whom the Bell Tolls — Ride the Lightning (1984)
Holier Than Thou — Metallica (Black Album) (1991)
Fuel — Reload (1997)
The Unforgiven — Metallica (Black Album) (1991)
Wherever I May Roam — Metallica (Black Album) (1991)
The Day That Never Comes — Death Magnetic (2008)
Moth Into Flame — Hardwired… to Self-Destruct (2016)
Sad But True — Metallica (Black Album) (1991)
Nothing Else Matters — Metallica (Black Album) (1991)
Seek & Destroy — Kill ’Em All (1983)
Lux Æterna — 72 Seasons (2023)
Master of Puppets — Master of Puppets (1986)
One — …And Justice for All (1988)
Enter Sandman — Metallica (Black Album) (1991)
Sheldon Ang Media would like to thank revolutions per minute, Live Nation Australia and Metallica for the photo and review accreditation.
About the writer/photographer: The founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to more than 200 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), Backstreet Boys, KISS, Iron Maiden, RHCP, P!NK and of course Suzi Quatro with reviews shared by the likes of Belinda Carlisle, Roxette, Tina Arena, UB40, Delta Goodrem, Leo Sayer and Tina Arena on social media. He has interviewed rockers Suzi Quatro, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 70 artists. He’s also a contributor on Triple M Radio as a music journalist.
