Iron Maiden – Co-op Live, Manchester: Live Review

By Mike Ainscoe on 23rd June 2025 • ( Leave a comment )

Iron Maiden, The Raven Age – Co-op Live, Manchester – 21st June 2025

Iron Maiden

Run For Your Lives is the latest Iron Maiden touring extravaganza whose USP is one that pulls from the first nine albums. Bruce calls it “a set list for the ages.” Natch, there will always be the naysayers who might bemoan the absence of a tune from No Prayer For The Dying (especially given Tailgunner’s “trace your way back 50 years” opening line that would be per-fect for the band’s own anniversary and the chart bothering ‘hit single’ Bring Your Daughter…. Nonetheless, the enormity of what was 2023’s Future Past tour was always going to be difficult to follow.

They’ve compiled what in the previous night’s Birmingham shows, Bruce called a set that’s some of their best songs from that amazing 50 year legacy (of the beast) – or at least the first part if said legacy. Tonight in Manchester he refers to never doing a ‘greatest hits’ tour. Not so much in singles chart success terms, what unfolds sees him bang on with a relentless charge of prime Maiden.

re-invention

Bruce also talks of re-invention. The first change in personnel for the six man line up that regrouped back in 2000 sees Simon Dawson from British Lion filling the very large boots occupied for so long by Nicko McBrain. As Bruce points out, proof that size (of the drum kit) isn’t everything, we can see him clearly behind his modest (by Nicko standards) kit and true to form from the Maiden crowd, they’re right behind him.

The famed Maiden production has also been tweaked. Gone are the mighty painted backdrops to be replaced by screens that project an ongoing series of projections on both the massive backscreen and the walls that frame the stage. Here, the screens are to switch from the grimy underground where Eddie lurks to the dimly lit oil lamps and wooden ship decking or one which has the band poised amidst graphic ice formations.

Some things remains the same. Band mascot Eddie makes a couple of appearances in person at opportune moments while a massive Piece Of Mind lobotomised version looms menacingly large as the band plays their eponymous signature tune at the close of the set. Dave Murray and Janick Gers also maintain their shameless self promotion, with their stage costumes of band shirts and there’s a nice piece of good old fashioned smoke and mirrors trickery in Hallowed Be Thy Name.

There are showcase moments too, when three guitars and the bass line up in a front of stage tableaux. A sea of camera phones take a brief respite from the ‘respect the band and audience, keep your phone in your pocket’ reminders, can’t avoid capturing a souvenir.

the legacy

The footage that plays out with The Ides Of March soundtrack highights a nostalgic journey over the past decades. It reveals all sorts of references and locations from the Ruskin Arms to The Cart & Horses and The Blind Beggar; all iconic names form the band’s early days. The rustic sign with the original Eddie The Head and several references to Steve Harris’ beloved West Ham United until emerging from a dark reveals a huge image of the Killers Eddie on the brick wall that provides the backdrop to the opening run of songs.

The opening salvo that pulls from the debut and Killers albums sees Bruce appear in leather jacket (one of his several costume changes) maybe as a nod to original singer, the late Paul Dianno. Eddie makes an ealry appearance dressed likewise, dodging around the band with bloodied axe. He always seems to lay off Steve Harris, maybe a sign of respect for the boss, but makes a beeline for Janick who has the uncanny knack of winding up his nemesis. Note the reference to one of their early days Manchester Apollo gigs appearing on the projections – nice touch.

the gallop

Phantom Of The Opera one of those key early tracks that would prove a signpost for the road that lay ahead. A reminder too with it’s swinging time changes and tempos that the final section before the return of the main Phantom theme is a killer. Listening back to the original 1981 version, it almost pales next to the thumping rhythm the five piece powerhouse take to the cleaners in 2025. A sure sign you’ve earned a legendary status when you have the ‘Maiden gallop’ named after you.

When Number Of The Beast appears in the first half of the set, the ‘greatest hits’ tag serves to remind of what could possibly follow. Fires are burning bright, flames bursting to life at the top of the rear walkway and with the Clairvoyant, they offer not so much a clam before the storm, but a coiling of the spring that’s about to let loose. The mid set Powerslave chunk is arguably the highlight, amongst many, of the set. Certainly a couple of memorable highpoints tickle the goosebumps during the twenty minute passage of play.

the power of death

Powerslave is vicious. Bruce dons the famous mask and dominates from the walkways as the iconic album art is brought to life. It might be a challenge to top the Powerslave tour set, but the vision of Bruce being transported up the steps of the tomb towards the Eddie-fied sphinx is powerful. Always a thrill when the spotlights his Adrian Smith for one of his trademark intros, that tonight Matthew, is Two Minutes To Midnight. Quite apt in dangerous times and noted by the Telegraph reviewer, who later gets berated for his “mind wandering off” in the middle of The Rime Of The Ancient Mariner. He duly gets namechecked in the “this is not what to do – if a journalist/bird shits on you.”

The latter is the evening epic. Taken (to these old ears) at a tad more sedate pace, it only increased the brutality of what’s possibly Maiden’s best gallop – although The Trooper might argue. The drama plays out on the projection screen, all albatross and despair and Bruce in ragged mariner cloak.

bangers and belters

Seventh Son Of A Seventh Son might be a match for the Alexander The Great resurrected for the Future Past shows. Adding another epic to the relentless bangers and belters might have the daily press lapsing, but acknowledging the more progressive leanings of a band whose punky Metal beginnings have in no way dimmed or seen a lessening of their powers.

Indeed, Dickinson is admirably pretty flawless in his vocal prowess. He has no right to be belting it out in much the same way as he did 25/30 years ago. And – not wanting to single out anyone from the three guitar line up, we will and declare Dave Murray the guitar god of the night. He’s never far away from a ball busting solo as Harris is busy sweating his socks off and Janick Gers and Adrian Smith provide the contrast of the flamboyant whirling dervish and an earnest modesty.

the sands of time

Thoughts of the world gone wrong rattle around as Aces High declares the ‘do or die’ determination and Hallowed Be Thy Name sees the ever active Dickinson fool some eyes with a mix of digital trickery as the character reaches his end only to resurface triumphantly. And should there be a soundtrack with which to shuffle off this mortal coil, this may be it. There are worse ways to going out to a Maiden gallop and guitar solo duelling.

The joke about the next fifty years might not have legs. Reviewing the Future Past tour, we speculated about the undisputed kings of heavy Metal showing no signs of slowing down. There has to be, and there will be an end, but the signs aren’t yet there that we face a time without Iron Maiden. Hallowed be their names.

The Raven Age

Support on Run For Your Lives comes from The Raven Age. They should be familiar to the Maiden crowd from their support on the 2016 leg of the Book Of Souls tour. We’re almost at ‘a decade of the raven king’ and the Monarchy Tour that hits the UK around November, so the chance to open up for Iron Maiden also offers some judicious heads up advertising for The Raven Age.

Songs from their Blood Omen album get well aired but they’ve savvy enough to get a couple of fresh songs into the set early doors. With no unecessary fanfare, The Guillotine and the brand new single, out only a few days, Hangman are dusted off in the opening flurry. The latter kicks into life with a rather pleasing, no nonsense dense riff.

THE HARRIS BLOOD

They have a similar MO to the headliners. Must be in the Harris blood and genes. Songs that tap into Metal tropes yet with a nous for a catchy hook or a touch of drama and melodramatics. An acoustic guitar is wielded briefly by James as his pair of guitarists make the most of the ample stage (“this is Iron Maiden’s stage!”) and bassist Matt Cox adds vigorous headbanging and harsh vocals. Tommy Gentry is not stranger to using the full fretboard with some tapping techniques that add a flair to the dynamics that blend those meaty riffs with melodic hooks.

Matt James has his many friends who’ve shown up early, to light up the arena with phone light fireflies that match the song, and they must get a buzz from being surrounded by an expanse of flickering light. Not the only ones who are feeling the buzz of being in tonight’s office.