Live Review: Napalm Death, Whiplash, The Varukers and Dopelord | Electric Ballroom, London | 24/02/2026
Mohicans and pompadours litter the Electric Ballroom for a varied alternative night during the Campaign for Musical Destruction tour on its UK leg.
Dopelord
Looks can be deceiving. On the surface, Dopelord look more crust punk than doom/stoner metallers, clad in all black save the white band logos on their tees. They wouldn’t look out of place at a squat gig. Looks aside, they come out to a pretty full Electric Ballroom at 6:40pm on a Tuesday. Many members of the audience know them already, are singing along and have gotten to the barriers. Vocalist Paweł Mioduchowski encourages the crowd to throw up their horns while shouting “Hail Satan” then rips through guitar solos and atmospheric vocals. The reverb is turned up to 11, bringing in an eerie, graveyard feel to the stage.
At the end of the set, the lights turn red and the band amp the speed up (albeit not beyond a crawl; this is doom after all), but the change feels significant. Right at the end of their setlist, they play a song that is downright fun, with audience members breaking out into dance. Deep brooding and ethereal, Dopelord steam through their setlist with no overt theatrics or unnecessary fanfare. They’ve honed their image enough to let the music do the talking.
Photo Credit: Nessie Spencer @freakandgigsphotographie
The Varukers
By contrast, looks really do make the band here. Vocalist Anthony “Rat” Martin takes to the stage with hair reminiscent of the late Keith Flint (although “Rat” probably had his controversial hairstyle before the legendary junglist) and is flanked by a bassist sporting a bright pink mohawk. This is very much a punk band. They play fast and loose, barking out to a welcoming audience. The band have all the markings of a well-oiled machine; they look at home on stage, interacting with a full venue with ease. The lead vocalist cracks jokes, pointing to members of a now-moshing audience. Having been active since 1979, it is no wonder they seem so at ease. Part of you feels as if they would be happier in a more intimate venue, with no barriers between performer and fans.
They reach the microphones out, but it’s hard to achieve the level of closeness they may be used to in a setting like this. One thing is clear, they are showmen through and through, never letting up, spewing energy and humour while delivering perfectly brutal beats. “Rat” speaks briefly about the tour they are currently on, stating they are enjoying the different crowds and energies before shouting, “Music is about unity,” and ripping into a breakneck song.
It is heartening to see so many people in their teens jump into the mosh pit during a set from a band who have been playing for over 45 years. This is one of the fantastic sides of punk, it still speaks to all ages, and it feels desperately needed amid the frightening political landscape currently unfolding. It’s hard not to find this performance charming, fun and engaging. This is punk with a good sense of humour.
Photo Credit: Nessie Spencer @freakandgigsphotographie
Whiplash
The venue cuts all light and eerie music plays through the speakers. The stage is suddenly bathed in red, and tapestries adorned with haunting skeletons loom over the drums. Once the spooky music fades, the three-piece run onto the stage, all bandanas and cowboy hats, tearing into a fast opener and launching into a guitar solo within two minutes of making their presence known.
The fun did not stop with The Varukers, as Whiplash indulge the crowd with ’80s-tinged thrash and excitable showmanship. The bassist windmills his hair in time during instrumental moments, as the string section swap sides of the stage, giving equal attention to the entire venue. In their heads, Whiplash are playing to Wembley Stadium in 1989, or that’s how it feels. The bassist’s energy is utterly intoxicating; he lives this performance, and it’s incredible to see a band enjoying being on stage this much. The crowd absolutely adore them, and given how sonically different they are from the headliner, this is no mean feat.
The fun continues as a circle pit descends into a conga line, very befitting for a band who clearly do not take themselves too seriously. Although musical talent seeps from their instruments, they ensure it never becomes self-indulgent. Whiplash sound huge, akin to the volume and weight of Motörhead. Not a single note or beat falls outside of methodical precision. Sometimes this is where true talent lies: in having a lark while playing complex music.
Photo Credit: Nessie Spencer @freakandgigsphotographie
Napalm Death
The excited energy is palpable as this legendary band take to the stage; screaming guitars and old-school drumming ignite the set from the outset. Vocalist Barney Greenway takes command with the insane energy he’s known for. They even spring on stage five minutes early, ready to tear Camden apart. The crowd parts and comes to life instantly, smashing fists in the air and pushing each other in time with the beat.
Napalm Death always show why they’ve been performing for decades every time they play. The energy. The velocity. The mosh pits. Nothing is played safe. Scoping their entire back catalogue is essential for a group who now have no original members, but that hardly matters. Everyone is here to see Napalm Death do what they do best: play brutally angry music, and play it loud. Each drum beat pierces the ears; each yell is felt. This is a masterclass in performing with passion. Although serious in both music and messaging, they have not lost their sense of humour. The guitarist exchanges a knowing laugh with an audience member.
They say you haven’t lived until you’ve experienced a political rant from Barney, and they’re right. Their politics never miss, and the message always lands with an audience ready to hear it. Whether it’s anti-sweatshop sentiments, veganism or anarchism, they are never alone in their convictions when bands like Napalm Death are around. Every band that has played tonight has had a banner behind them as they performed, Napalm Death do not. The absence of backdrops makes for a stripped-back stage presence. The lights are stark white. There are no bells and whistles. Just pure, unadulterated, violent music at its very best.
Photo Credit: Nessie Spencer