Ice Nine Kills don’t just play shows, they stage full-scale horror productions, and on a cold December night at OVO Arena Wembley, they proved that metalcore theatre belongs on the biggest stages imaginable (imagine an Ice Nine Kills musical…. we digress).
Blood-soaked theatrics, massive sing-alongs, and pit-starting precision turned Wembley into a slasher movie set, with every fan cast as both victim and accomplice.
Opening the night was TX2, delivering sharp, modern emo-alt anthems with a confidence that belied their early slot. Big hooks, confrontational lyrics, and genuine crowd engagement set the tone early, making sure Wembley was alert before the heavier hitters arrived.
Next up, The Devil Wears Prada reminded everyone why they remain metalcore royalty. Crushing breakdowns collided with polished intensity, and the band’s experience showed: tight, relentless, and unashamedly heavy. The pits finally opened properly here, and they never really closed again.
By the time Creeper took the stage, the atmosphere shifted into gothic grandeur. Will Gould stalked the stage like a rock’n’roll revenant, blending drama, melody, and darkness into a theatrical performance that felt perfectly placed before the night’s main event. It was like a grand opera opening before the musical theatre to follow.
During the interval a pop-inspired playlist and a disco racoon on the screens kept all metalheads thoroughly entertained (who said we’re scary?).
From the moment the curtain (with its warning that the following content was meant for psychopaths and psychopaths only) dropped on Meat & Greet, it was clear this wasn’t just another arena headline set — it was a horror film unfolding in real time. Costumes, props, choreographed chaos, and Spencer Charnas’ razor-sharp vocals turned every song into a scene.
Funeral Derangements landed early and hard, igniting the first true eruption of the night, while Hip to Be Scared and Stabbing in the Dark delivered back-to-back pit fuel, complete with theatrical murder sequences played out onstage.
The band’s knack for balancing brutality and humour came through with a psychotically good cover of Walking on Sunshine, reimagined with blood, blades, and unsettling cheerfulness. It was absurd, hilarious, and somehow perfectly Ice Nine Kills.
Later highlights included the anthemic Rainy Day, the eerie carnival feel of Ex-Mørtis, and a ferocious run through Farewell II Flesh and A Grave Mistake, each met with deafening crowd participation. Even newer material like The Great Unknown and The Laugh Track felt fully embedded into the band’s ever-expanding horror universe.
As the main set closed with Welcome to Horrorwood and IT Is the End, Wembley felt less like an arena and more like a blood-spattered final act: loud, chaotic, and completely euphoric.
The American Nightmare came crashing in, followed by a Scream 7 x Ice Nine Kills teaser that sent a ripple of excitement through the crowd (WHAT DOES IT MEAN?). The night ended with A Work of Art, complete with confetti, carnage, and one final reminder that Ice Nine Kills have turned theatrical metal into a spectacle few can rival. Oh and did we mention a cameo from THE Rose McGowan? What more could you possibly ask for.
Ice Nine Kills at Wembley wasn’t just a milestone, it was a statement. This was a band operating at full creative power, merging metalcore, horror cinema, and arena-sized ambition into something unforgettable.
Brutal. Camp. Cinematic. A true work of art.
Bring on Download Festival!
High Fives & Stage Dives 