Live Review: James Blunt 20th Anniversary Back to Bedlam 2025
26th October 2025 at Rod Laver Arena, Melbourne, Australia
Review by Jeana Thomas
Photography Jeana Thomas Photography
James Blunt’s 20th anniversary concert celebrating Back to Bedlam was a masterclass in charm, storytelling and self-aware humour – a night that reminded everyone exactly why the singer-songwriter remains such an enduring live performer. From the moment he walked on stage, Blunt had the audience in the palm of his hand, mixing heartfelt gratitude with sharp wit and the kind of cheeky, irreverent banter that has become his trademark. “We’re here to celebrate 20 years of Back to Bedlam,” he quipped, “which means I’m f***ing old — and some of you are too.” It set the tone for an evening that balanced nostalgia with laughter, sincerity with silliness and reflection with raucous fun.
He playfully divided the crowd into categories – long-time fans from 2005, to those who grew up forced to listen to his songs in their parents’ cars and the unfortunate few dragged along by their partners. Each group received its share of jokes and appreciation, with Blunt particularly bonding with the reluctant attendees, insisting they were the ones he related to most. Yet behind the comedy was genuine warmth and humility; again and again, he thanked the audience for two decades of support, acknowledging that their loyalty had given him both his career and his house in Ibiza.
The performance itself was a rich journey through Blunt’s catalogue. Early hits like “High,” “Wise Men” and “You’re Beautiful” sparked joyous singalongs, while deeper cuts offered moments of poignant reflection. His stories behind the songs – like the hilarious yet slightly twisted tale of his friend Billy, which inspired one of his early tracks – revealed a musician unafraid to laugh at himself and the absurdity of his own experiences. At other times, Blunt shifted into more emotional territory, particularly with “Carry You Home” written during his service with NATO in Kosovo, which he dedicated to those affected by the ongoing wars in Ukraine and Gaza. The raw honesty in his delivery and his willingness to touch on heavy themes amid the humour gave the night real emotional depth.
But Blunt never let the tone stay serious for too long. Between songs, he riffed with the audience, making fun of his own new material – asking if the audience would like to hear his new music or old songs – (“You never choose the f***ing new music — I don’t even have a new album!” he said) and turning the venue into a mix between a concert and a comedy club. His playful self-deprecation only made the crowd love him more.
He seamlessly flips from the light-hearted to the deeply heartfelt. One moment he’s on stage joking and engaging the crowd, the next he’s seated at the piano for “Monsters” – a song he dedicated to his father. With a montage of family photos on the screen behind him, it hit hard. The arena fell quiet, save for that tender voice and the sweeping melody.
The production – smart! From minimal acoustic moments to full band swagger, the lighting and visuals complemented the songs rather than overshadowing them. One of the most memorable moments for me: his cue for everyone’s phone torches to light up during “Same Mistake”, turning the arena into a shimmering sea of flickers – a bit magical.
What made the show hit its mark was the seamless collision of Blunt’s magnetic stage presence and his razor-sharp personality. Blunt didn’t hide behind showbiz gloss, he came across as approachable, self-aware and genuine. He ran through the crowd at one point, waving at fans on the floor, making the large arena feel – for a few moments anyway – like a smaller, intimate club and the crowd responded. There were moments of pure communal joy- people clapping and singing in unison, stands full of older fans and younger ones alike, all united by a song or a lyric.
As the night drew to a close, he invited everyone to stand up and leave their seats behind — “they’re just for your handbags, gentlemen” – before launching into a euphoric rendition of “1973.”
By the end, the concert felt like far more than just an anniversary show. It was a celebration of connection – between artist and audience, past and present, sincerity and satire. Blunt’s ability to make a packed room feel like an intimate pub gig, to make people laugh even as they wiped away tears, is a rare gift. Two decades after Back to Bedlam, James Blunt remains the same wry, disarmingly honest performer he’s always been – still singing, still joking and still completely himself. He’s grown into this genuinely charismatic performer who knows how to tug your heart, make you laugh and get you moving – all in one set.
James Blunt will continue his Australian tour in Adelaide (28th October) and Perth (30th October). Tickets are available from Destroy All Lines
Support Act: Go‑Jo
A Manjimup boy made it all the way to Melbourne only to find himself in front of the lens of a Manjimup girl — proving you can take the kids out of Manjimup, but you can’t keep them out of each other’s photos!
I was pleasantly surprised by the support set by Go-Jo. He certainly woke the crowd up with a style that felt simultaneously intimate and expansive.
I couldn’t help but feel a little surge of pride – here was a local boy from my own hometown (Manjimup, Western Australia), standing on the Rod Laver Arena stage and absolutely owning it. Go-Jo (Marty Jo Zambotto) brought a raw, unpolished sincerity that felt deeply familiar, almost like hearing the spirit of home through the speakers. Knowing he grew up off-grid in Western Australia, made every lyric hit differently. You can hear that grounded, sun-soaked upbringing in his music – that blend of grit and warmth that you just can’t fake. It’s rare to see someone carry their roots so proudly while sounding so effortlessly world-class and I couldn’t help but think: that’s our guy up there.
When he performed Mrs. Hollywood live, the crowd instantly shifted – you could feel the familiarity, but his live version pulled at you differently: less gloss, more heartbeat. Then his finale song – Milkshake Man – is a cheekier, more vibrant track with a wink in its musical eye. The contrast between the tender song-writing and the playful production is something that describes him well.
What really impressed was his stage presence. Though a large arena, he didn’t act like a distant pop star; he looked you in the eye, connected with the audience, made you feel like you were part of something rather than just watching something. His voice had vulnerability when needed, and energy when the track demanded it.
There’s a kind of growth in Go-Jo’s music that I found compelling. He doesn’t stick to one formula: one moment he’s crafting that heartfelt lyric you replay alone, the next he’s inviting you to move and sing along. It feels like the kind of artist who’s just getting started and this support slot suggests bigger things ahead
I was so happy to discover someone worth watching. Support acts don’t always stick in your head, but Go-Jo did. If you’ve got the chance to see him live (especially before he becomes the headliner), jump on it. He’s the kind of voice that manages to be both gentle and bold and for me, that’s a sweet combination.
If his set at Rod Laver Arena was anything to go by, Go-Jo is putting down a marker. I’m excited to see where he goes next and I’ll be there for it.
Sheldon Ang Media would like to thank Estellar, Destroy All Lines and James Blunt for the Press Accreditation.
About the Writer: Originally hailing from Western Australia, Jeana Thomas now thrives in the vibrant city of Melbourne. Amidst the hustle of her role in a prominent teaching hospital, she also navigates the dynamic world of entrepreneurship as the owner of a medical transcription company. Beyond her professional endeavours, Jeana finds solace and joy in the rhythm of music, the allure of travel and the artistry of photography, with a particular passion for wildlife photography.
About SAMr: Sheldon Ang Media (est. May 2022) has been accredited to over 200 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), Backstreet Boys, KISS, Iron Maiden, RHCP and P!NK 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.
