Defining heavy metal and dedication since 1975

For someone like yours truly, writing about an Iron Maiden show should be pure cakewalk. After all, tonight's my 22nd of those.

But that's not how it works. In fact, exactly because I raised myself on the band since age 10, both bias and a slight saturation play a part here.

So I'll begin, then, in the difficult end: By observing those surface scratches that tend to show with bands whose members' average age is nearing 70. Please stick with me here.

For example, non-Nicko McBrain seems to be a bit out of sync with the rest of the band at times. I notice grandma Dave Murray struggling with the timing during at least one solo, and I can't really tell if it's him getting slower or non-Nicko McBrain being out of sync. And the band isn't moving around as much as they used to.

Apart from that, as impressive of a singer and all-round human being as Bruce Dickinson remains, he doesn't sustain those long notes for as long as he used to. He sometimes sings lower notes where he used to sing higher ones. During battering-ram-opener "Murders in the Rue Morgue", he does storm around on stage with an infectious energy. But that seems to drain his batteries a bit. Also, there remains some mic problems throughout the show, making for too frequent voice break-ups – no fault of The Bruce, of course.

… And that's pretty much it for the criticism; thanks for sticking with me.

As suggested, the kickoff really does kick open the doors. Doors to an era when the punk, progressive, and heavy rock of the '70s found an unlikely convergence point in this little group from London's East End. The latter as illustrated and animated on the backdrop animations, the former reflected in the setlist.

What a joy it is, for example, that the blistering title track from Maiden's 1981 sophomore LP "Killers" has found its way back into the set for the first time since 1999. And while we've heard "Phantom of the Opera" a few times over the years, that composition remains the biggest example of aforementioned convergence point.

While this year's Copenhell lineup has an overrepresentation of trend-riding and mainstream-pandering would-be metal groups (i.e., more than zero), those of us who primarily came for real heavy metal are having a blast tonight. – As always. The set isn't exactly heavy on deep cuts, but even those that count as such are met with singalong, hands in the air, and a steady barrage of crowd surfers. And while the latter does get annoying from where we're standing, I'd still prefer an overactive, but grateful crowd over a bunch of mannequins.

I'm witnessing songs so unique and powerful that they've survived decades of passing trends. And I'm witnessing a life-long commitment to performing those songs in spite of the entropy that makes lesser men stagnate in their 30s and die only a few years after retiring.

The most engrossing features in this tour's set are the longer and more demanding compositions. Indeed, if you haven't seen Maiden before, just try to imagine this: As much as we all adore "Run To the Hills" when we get to wail along in concert – and it's fucking flawless tonight – what makes it interesting here is that it's put into stark perspective by a "Rime of the Ancient Mariner" on one flank and a "Seventh Son of a Seventh Son" on the other.

Yes. And it's especially with the impressive dynamics in those huge songs that Maiden pull home the big points. The former's long, clean signature mid-section with those disquieting augmented chords, the band performs patiently and meticulously. Like actual musicians who take their art seriously, not just any ol' metal band.

But if that mid-section sounds disquieting, it almost pales in comparison with its perfectly macabre counterpiece in "Seventh Son…", tormented lead guitar yowls accompanied by harrowing harmonics. I could be wrong, but the majority of mishaps seem to happen during shorter mandatory classics like "2 Minutes to Midnight" or "The Number of the Beast", indicating that the band collectively puts all the more effort into the more complex songs.

And speaking of those, of course, there's the nuclear surprise bomb.

I never check setlists in advance. My friends who do check 'em, know and respect this. Well, about a month ago, when beering out with my trusty guest reviewer, he suddenly checked his phone and got all wacked outta course – because of Maiden's setlist. Told me explicitly to cut off anything and anyone that could potentially reveal anything. I didn't think much of it, because having seen them 21 times, what could I possibly expect?

Well, as it turns out, nothing less than "Infinite Dreams" – my favorite song from my favorite record of my favorite band. I have waited 26 fucking years for this – long enough to forget having had any hope about hearing it in concert, ever. So as Dickinson ceremoniously announces the long-neglected revisit, I have no idea what to do with myself. And they fucking nail it. And I fucking wail it:

"SOMEONE CHASING!
I CANNOT MOOO-OOOOOOVE!
STANDING RIGID!
A NIGHTMARE STATUE!"

As with any significant and emotionally charged standalone moment in one's life, it seems to go all too fast and be over much, much too soon. (Which may or may not be what she said.) And I must admit that upon this one, the rest of the show cannot possibly hold up.

But again, this is not to say that we aren't having a tremendous time – as always. Both those more seasoned of us, and the newcomers: One buddy tells me that a pack of teens in front of us are at their first Maiden show tonight. And in these horrid times when an obviously calculated performance concept like fucking Babymetal can be taken seriously in these circles, seeing a new generation getting into the OGs brings me hope and warmth.

Something else that makes this tour spectacular are the stage show and visuals. "Hallowed Be Thy Name", for example, Dickinson sings trapped in a cage from whence he disappears in a puff of smoke after the last verse to get chased by a spectral entity up towards a gallows – obviously reflecting the inevitable destiny of the song's protagonist. During "Fear of the Dark", he wears cloak and top hat and carries a kerosene lamp emitting an eldritch green light, on a backdrop of a slowly ascending full moon gradually revealing a barren cemetery landscape. I've seen this song in concert more times than your body count; it's still as though it was always meant to be performed like this.

While the band themselves may be less mobile than five years ago, they're obviously still enjoying their childhood dream come alive. And say what you want about the skills of third guitarist Janick Gers compared to Murray and Adrian Smith; his frisky onstage demeanor is a minor show in itself – featuring, among other moves, hula-hooping his guitar around himself and being a bit too successful at trying to tip over an amplifier.

Also, speaking of Adrian Smith, it is, most blessedly, his arguably biggest masterpiece that gets to round off the séance. "Wasted Years" transcends its medium: It's not just an amazing hard rock tune; it's among the greatest all-round songs ever written. Not just because of its irresistible build-up and celestially towering chorus, but because it's about being human. With some of us having hit an age where our friends start graying and settling; it poignantly exposes us to our mortality.

Music-wise, Iron Maiden are a reference point for how unblemished heavy metal sounds like. And as a working unit, they're a reference point for how unblemished dedication to one's life's work looks like.

In spite of any and all bloopers and shortcomings, we are witnessing nothing short of majesty here. Indeed, just like earlier during "Infinite Dreams", my face starts doing those weird moves where my lips start trembling, my throat starts contracting, and my eyes start to excrete saline drops. I have spent way too many years looking back with shame and regret on past mistakes, misdeeds, and misdirections. Still am; still struggling. But yes, these are the golden years. You will never get any younger than your current age. Fucking LIVE IT already.

Last time Maiden played here, in 2022, one buddy – not really a metalhead – witnessed their show from back up on the hill. Clearly too inebriated to fully comprehend what was going on, he later stated that unlike me, he wasn't really "feeling those winds of history" as I, apparently, was.

Well, that's not what I'm seeing at a Maiden show. I'm witnessing something that's just as relevant today as it always was. I'm witnessing songs so unique and powerful that they've survived decades of passing trends. And I'm witnessing a life-long commitment to performing those songs in spite of the entropy that makes lesser men stagnate in their 30s and die only a few years after retiring.

And this is why we believe Dickinson when he walks off stage assuring us that they will be back. Because in spite of any and all bloopers and shortcomings, Iron Maiden are stronger than the sum of their parts. Music-wise, they're a reference point for how unblemished heavy metal sounds like. And as a working unit, they're a reference point for how unblemished dedication to one's life's work looks like.

Both of those two are worthy examples for a life well lived – and enjoyed.

Rating: 5 out of 6

Genre: Heavy metal
Venue: Copenhell, Helvíti Stage
Date: Wed., June 24th, 2026

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Setlist:

1. Murders in the Rue Morgue
2. Wrathchild
3. Killers
4. Phantom of the Opera
5. The Number of the Beast
6. Infinite Dreams
7. Powerslave
8. 2 Minutes to Midnight
9. Rime of the Ancient Mariner
10. Run to the Hills
11. Seventh Son of a Seventh Son
12. The Trooper
13. Hallowed Be Thy Name
14. Iron Maiden
    
    Encore:
15. Aces High
16. Fear of the Dark
17. Wasted Years