From Bush’s grunge-fuelled nostalgia to Volbeat’s Elvis-metal swagger, Glasgow got a masterclass in arena-sized rock.

⭐⭐⭐⭐(4/5)

**VOLBEAT PERFORMING AT GLASGOW’S OVO HYDRO**
**PHOTOCREDIT; CALUM BUCHAN**

What might have seemed like a strange pairing turned out to be a perfect match, as the energy inside the OVO Hydro made it clear that Glasgow had missed both bands dearly. Though the atmosphere was electric, it was hard not to notice a disappointing number of empty seats scattered around the arena — a surprise given the calibre of tonight’s double bill. Still, those who attended were rewarded with a night of passion, nostalgia, and thunderous performance.

With Bush opening the show, the sense of anticipation was palpable. With the recent release of latest album I Beat Loneliness, 90s grunge had never felt so modern. The British alt-rock veterans last played Scotland back on August 28, 2012, at the legendary King Tut’s Wah Wah Hut — a far more intimate setting than tonight’s cavernous Hydro. Over a decade later, they returned with renewed fire and a set that perfectly balanced past glories with present strength.

Bush kicked off with “Everything Zen” and “Quicksand”, instantly reconnecting with their roots — heavy, gritty, and melodic in equal measure. Tracks from their new record sat confidently alongside the classics, especially “The Land of Milk and Honey” and “More Than Machines,” which thundered with a fresh modern edge.

Frontman Gavin Rossdale remains magnetic, capable of commanding a crowd with a single roar or quiet stare. His solo rendition of “Swallowed,” performed without instruments and accompanied only by a backing tape, was haunting and intimate — a rare moment of vulnerability in an arena setting. When he ventured into the audience during “Flowers on a Grave,” the connection was complete; Bush reminded everyone that their emotional impact endures far beyond their grunge-era fame. Their set was a celebration of resilience and evolution, showing that Bush’s sound has only grown deeper and more textured with time.

Then it was time for Volbeat — Denmark’s kings of rockabilly-infused metal — and the mood shifted from nostalgic warmth to unfiltered adrenaline. From the opening riff of “The Devil’s Bleeding Crown,” it was clear why the band has become such a formidable live force. Volbeat are one of the rare acts who’ve built a stadium show that still feels personal, packed with energy, humour, and genuine love for their audience.

Michael Poulsen led the charge with effortless charisma, his Elvis-meets-Metallica swagger in full effect. The set was a career-spanning masterclass — from fan favourites like “Lola Montez” and “Sad Man’s Tongue” to newer cuts like “Demonic Depression” and “Shotgun Blues,” all delivered with precision and power.

The inclusion of the wonderfully absurd “In the Barn of the Goat Giving Birth to Satan's Spawn in a Dying World of Doom” had fans laughing and head banging in equal measure — proof that Volbeat don’t take themselves too seriously even while delivering razor-sharp performances.

By the time “For Evigt” and “Still Counting” rolled around, the Hydro had turned into a massive singalong. The night closed with “A Warrior’s Call / Pool of Booze, Booze, Booza,” leaving the crowd drenched in sweat, grins, and gratitude.

Volbeat’s blend of heavy riffs, storytelling, and rockabilly flair continues to be unlike anything else on the modern rock circuit. Paired with Bush’s surprisingly powerful return to Scotland, this was a night that celebrated both heritage and heart — even if it deserved a fuller house.