Live Review: Yungblud - Düsseldorf 2025

Mitsubishi Electric Halle, Düsseldorf, Germany
10th October 2025
Yungblud - “Idols EU Tour 2025” - Special guests: Palaye Royal, Weathers

If you ask Siri for a stellar Rock artist with an incredible career trajectory, there is a decent chance that you will be served by the virtual assistant with a picture of YUNGBLUD. Dominic Richard Harrison, as the artist in known in civil life, has announced to play the Mitsubishi Electric Hall to promote his fourth studio album ‘Idols’, and all tickets were gone in a heartbeat.


Weathers

The task of opening up the evening fell to WEATHERS. This is an American Alternative Rock band from Los Angeles founded in 2015, consisting of lead vocalist Cameron Boyer, guitarist Cameron Olsen, bassist Brennen Bates, and drummer Christian Champion. Their music is characterized by driving, upbeat anthems contrasted by introspective lyrics that focus on the themes of coming of age and mental health. So far, they are on their third studio album, which is called ‘Are we Having Fun?’, and which was released in 2023. https://www.weathersband.com



Music & Performance
Right on time around 7pm the lights went low, and the stage was illuminated in bright lights, while a gloomy intro with a computer-generated voice accompanied the band’s way on stage. Once arrived, the band kicked off their set with their 2016 hit single ‘Happy Pills’.



Unfortunately for them, the hall was still half empty, as the original concert announcement had indicated a concert start at 8pm, and a lot of visitors were still stuck in the queues outside the venue. However, singer Cameron Boyer did not let himself be discouraged, and -together with his band mates - put on an entertaining show, which at times reminded me of WEEZER in terms of their melodic tendencies, paired up with nonchalant conduct on stage.  

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Palaye Royal

PALAYE ROYAL was up next. They are a Rock band from Las Vegas, formed among three brothers back in 2008 at the tender age between 12 and 16 with the name KROPP CIRCLE. They changed their name to PALAYE ROYAL in 2011, and so far, they have released five studio albums, the last of which is aptly titled ‘Death or Glory’ (2024). https://www.palayeroyal.com.



Music & Performance
After a nice and quick stage break, PALAYE ROYAL entered the stage at 7:50 PM. Their opener ‘Mister Evil’ from their latest album ‘Death or Glory’ gave a pretty good indication to set a gloriously chaotic tone for the night. The Las Vegas-based “Fashion-Art Rock” quartet, consisting of the artistic brothers Remington Leith, Sebastian Danzig, and Emerson Barrett, are no strangers to a grand stage, and they treated their opening slot with all the flamboyant spectacle of a headlining arena act.



From the moment they burst onto the platform, the air crackled with a distinct, vintage-inspired Glam-Punk energy. PALAYE ROYALE is a band that is meant to be seen live. Dressed in their signature opulent, yet tattered Rock-star attire, the visual aesthetic perfectly mirrors their sound: a thrilling mix of gritty, early-2000s Garage Rock mixed with a theatrical flair straight out of a 1970s Rock opera.



Lead singer Remington Leith is a force of nature, embodying the spirit of a true, unhinged rock frontman. He paced, leaped, and contorted himself across the stage, a picture of manic energy. Tracks like the ferocious ‘Fucking With My Head’ and the anthemic ‘No Love In LA’ were delivered with a snarl and a defiant swagger that instantly won over a large part of the grown crowd inside the auditorium.



Remington further did not confine himself to the limits of the stage, but on various occasions he jumped down to the barricades to sing with the fans, and at one point in time even climbed the balustrades. For the melodic ‘Dying in A Hot Tub’, he asked the audience to turn the whole place into a sea of flashlights, which gave off real headliner energy, and after forty minutes of this kind of high-octane music blitz, the audience was more than ready to receive the headliner of the evening

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Yungblud

The musician from Doncaster, at just 27 years old, has already massively shaped the Alternative scene, selling over 750,000 tickets, generating over six billion Spotify streams, and collaborating with acts like BRING ME THE HORIZON, AVRIL LAVIGNE, HALSEY, MACHINE GUN KELLY, and TRAVIS BARKER. As early as 2017, YUNGBLUD was considered a major newcomer, gaining worldwide mainstream recognition with his song ‘Falling Skies’ on the soundtrack for the second season of the Netflix production ‘13 Reasons Why’.



Since then, YUNGBLUD has confirmed his status with two UK Number one albums, and his third album ‘Yungblud’ (2022) also entered the German album charts at number three, while ‘Parents’ and ‘11 Minutes’ became some of the artist’s most successful tracks. Alongside nominations at the MTV VMAs, NME Awards, and BRIT Awards, YUNGBLUD won the MTV EMA for “Best Push Act” in 2020, as well as the Attitude Award for ‘Gamechanger’.



With his book ‘You Need To Exist’, he became a Sunday Times Bestseller author in 2024, while in the same year, he thrilled over 22,000 attendees with his self-founded Bludfest. In 2025, the musician returns with his fourth album, ‘Idols’ - a modern Rock opera - beginning a new chapter in his career. https://www.yungbludofficial.com



Music & Performance
This was an entrance to behold: The BLACK SABBATH hymn ‘War Pigs’ sent the excitement levels of the predominantly female audience through the roof. With the epic, sprawling intro of ‘Hello Heaven, Hello’, YUNGBLUD immediately transformed the venue into a broiling sea of jumping bodies and raised fists. His explosive, tireless stage presence (and potential cure for his ADHD diagnosis) is a spectacle in itself - he is constantly in motion, a force of nature channelling the spirit of punk rock rebellion with the swagger of a pop star.



The setlist masterfully balanced material from his new era with the fan-favourite anthems that built his following. Tracks like ‘The Funeral’ were delivered with Rock-God gusto, before the mood shifted with the new album’s deeper cuts. ‘Idols Pt. I’ provided a moment of genuine, honest vulnerability, a pause in the chaos that highlighted the emotional core of his latest work.



One of the most powerful moments of the evening came during ‘Lovesick Lullaby.’ As Harrison dimmed the lights, the entire hall erupted into a sparkling constellation of phone flashlights, creating a stunning visual backdrop for the track’s driving Rock-Pop sound. It was more than a performance; it was a collective experience, a testament to the ‘Black Hearts Club’ community that Harrison has so passionately cultivated.



The middle of the set was an absolute frenzy. The explosive Punk fury of tracks like ‘fleabag’ and ‘Lowlife’ had the crowd at peak intensity. And a guy called Luke from Cologne certainly will not forget this day, as he was picked to play guitar for ‘fleabag’. Harrison’s knack for bridging his own work with his musical heroes was highlighted by the inclusion of his cover of BLACK SABBATH’s ‘Changes’, which he performed with a dedication that made him seemingly wipe away tears from his eyes.



The energy was electric, with Harrison jumping, screaming, and laughing alongside his audience, proving once again that his shows are as much about participation as they are about music. The final stretch, leading into the encore of ‘Ghosts’ and the anthemic ‘Zombie’, was pure catharsis.



Beyond the fiery production and the immaculate sound, what resonates most is Harrison’s unparalleled connection with his fans. He speaks to them - not at them - creating a safe space where vulnerability is celebrated and chaos is a form of therapy.

Setlist
01. Hello Heaven, Hello
02. The Funeral
03. Idols Pt. I
04. Lovesick Lullaby
05. My Only Angel (Aerosmith & Yungblud song)
06. fleabag (With a fan on guitar)
07. Lowlife
08. Changes (Black Sabbath cover)
09. Fire
10. War
11. Tin Pan Boy (With a tease to ‘I Love You, Will You Marry Me’)
12. braindead!
13. Loner
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14. Ghosts
15. Zombie

Rating
Music: 8
Performance: 9
Sound: 8
Light: 9
Total: 8.5 / 10

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All Pictures by Andreas Klüppelberg