German power metal pioneers Helloween celebrated four decades as a band at London's Evetim Apollo in Hammersmith on Monday night [20th October 2025], with a musical and visual spectacle that was simply out of this world. The extended show took in tracks from right across their career; from their 1985 debut 'Walls of Jericho', to this year's 'Giants and Monsters'.
Photo; Adrian Hextall Mindhex Media.
There's a buzz in the air in the Hammersmith area. It's rush hour, and with commuters coming and going from the busy tube station dodging those in black metal shirts, a bustling shopping mall, and more pubs per square foot than most other areas of London - all of which are rammed - it may be a typical show night in the east London district, however, with the autumn setting in and darkness descending early, and with the spooky season well in flow, it's the perfect setting for Helloween to make their return to the venue that sealed their reputation.
As lead singer Michael Kiske will later acknowledge; "if I'm not wrong, I think that one of the very first shows I did with this band was right here", referencing their May 1987 gig in this very same hall on their 'Seven Keys' tour.
A lot has happened since then, and tonight, the seven-piece band will celebrate it all. It all starts of with The Keeper himself - the hooded figure made famous on front cover of their original 'Keeper of the Seven Keys' release - who, in animated form on the huge screens which will be used to startling effect as the night progresses begins; "welcome, dear pumpkins of the UK..." before the band explode into life with 'March of Time'.
It's followed by 'The King for a Thousand Years'. Last performed before this tour in 2008, it's the first of a string of deep cuts that will pepper the set.
It's a high energy performance, and each of the seven members pose, preen, and make ample use of the huge stage, including the risers either side of Daniel Löble's huge drum kit which contains no less than four bass drums (surely the most impressive set in Metal, now that Nicko McBrain has retired). The band really do appear to be having the time of their lives, and have fun with the crowd, particularly during the audience participation in 'Future World', which arrives surprisingly early on in the set.
The guitar work meanwhile is a masterclass in heavy metal melody, with the trio of shredders - Kai Hansen, Michael Weikath, and Sascha Gerstner - trading solos, harmony sections, and riffs with impossible precision.
However they're almost overshadowed by a stage production that is so stunning that at times, it even focuses the attention away from the band. The visuals are just incredible, from castles to stained glass windows, and the rainy streets of Japan's capital during 'This is Tokyo'.
It's incredible to think that it's now almost a decade since 'Pumpkins United' bought former front men Kiske and Hansen into the fold that already included the powerhouse pipes of Andi Deris, and while this gives each a breather at various points in the two-hour-fifteen-minute show, it also allows each distinctive era to shine, from the early days thrash of 'Ride the Sky' [Hansen], to the incredibly underrated and welcome surprise of 'Hey Lord!' [Deris].
As lead singer Michael Kiske will later acknowledge; "if I'm not wrong, I think that one of the very first shows I did with this band was right here", referencing their May 1987 gig in this very same hall on their 'Seven Keys' tour.
A lot has happened since then, and tonight, the seven-piece band will celebrate it all. It all starts of with The Keeper himself - the hooded figure made famous on front cover of their original 'Keeper of the Seven Keys' release - who, in animated form on the huge screens which will be used to startling effect as the night progresses begins; "welcome, dear pumpkins of the UK..." before the band explode into life with 'March of Time'.
It's followed by 'The King for a Thousand Years'. Last performed before this tour in 2008, it's the first of a string of deep cuts that will pepper the set.
It's a high energy performance, and each of the seven members pose, preen, and make ample use of the huge stage, including the risers either side of Daniel Löble's huge drum kit which contains no less than four bass drums (surely the most impressive set in Metal, now that Nicko McBrain has retired). The band really do appear to be having the time of their lives, and have fun with the crowd, particularly during the audience participation in 'Future World', which arrives surprisingly early on in the set.
The guitar work meanwhile is a masterclass in heavy metal melody, with the trio of shredders - Kai Hansen, Michael Weikath, and Sascha Gerstner - trading solos, harmony sections, and riffs with impossible precision.
However they're almost overshadowed by a stage production that is so stunning that at times, it even focuses the attention away from the band. The visuals are just incredible, from castles to stained glass windows, and the rainy streets of Japan's capital during 'This is Tokyo'.
It's incredible to think that it's now almost a decade since 'Pumpkins United' bought former front men Kiske and Hansen into the fold that already included the powerhouse pipes of Andi Deris, and while this gives each a breather at various points in the two-hour-fifteen-minute show, it also allows each distinctive era to shine, from the early days thrash of 'Ride the Sky' [Hansen], to the incredibly underrated and welcome surprise of 'Hey Lord!' [Deris].
Photo; Adrian Hextall Mindhex Media.
Speaking about the marked variation in styles, Deris quips following a grandiose 'Into the Sun'; "[there's] quite a difference between 2025 and 'Ride the Sky'! I promise on the next album I'm going to write something like 'Ride'!"
He needn't worry however, as the crowd are loving every moment, and as usual, the vocals histrionics of him and Kiske are a joy to behold. Changing tack they donning acoustics the bff duo showing off their own guitar skills, while also delivering one of the biggest shockers of the night, in brilliant curiosity 'Pink Bubbles Go Ape'.
It's the classics however that built their name, and from there it's a gambit of their best known songs, from 2022 set closer 'I Want Out', to comeback classic 'Power', and anthem 'Eagle Fly Free'. They take their bows following a celebratory 'Dr.Stein' and a teasing snippet of 'Keeper of the Seven Keys', with the sold-out crowd now worn out as well.
Thirty-eight years after that first night at the Apollo, Helloween proved why they remain a defining force in heavy metal after 40 years. With soaring vocals, blistering solos, and a set list that encapsulated their storied career, the band not only celebrated their legacy, they reignited it. A triumphant reminder that while time may pass, true power metal never fades.
With thanks to Adrian Hextall of MindHex Media for all photos.
He needn't worry however, as the crowd are loving every moment, and as usual, the vocals histrionics of him and Kiske are a joy to behold. Changing tack they donning acoustics the bff duo showing off their own guitar skills, while also delivering one of the biggest shockers of the night, in brilliant curiosity 'Pink Bubbles Go Ape'.
It's the classics however that built their name, and from there it's a gambit of their best known songs, from 2022 set closer 'I Want Out', to comeback classic 'Power', and anthem 'Eagle Fly Free'. They take their bows following a celebratory 'Dr.Stein' and a teasing snippet of 'Keeper of the Seven Keys', with the sold-out crowd now worn out as well.
Thirty-eight years after that first night at the Apollo, Helloween proved why they remain a defining force in heavy metal after 40 years. With soaring vocals, blistering solos, and a set list that encapsulated their storied career, the band not only celebrated their legacy, they reignited it. A triumphant reminder that while time may pass, true power metal never fades.
With thanks to Adrian Hextall of MindHex Media for all photos.