22.05.2026 Metallica

Deutsche Bank Park, Frankfurt (Germany)

The evening moved on. Metallica had posted the timelines for each show on the day of the performance, announcing that after the changeover following Gojira’s set, the four guys from San Francisco would take the stage at 20:30. But at first, they took their time. By now, the stands were filled to the very last seat, and every time a song from the PA ended, the crowd erupted in cheers, only for that excitement to be abruptly cut off when the next track from the speakers began. But at 20:50., with a 20‑minute delay, the first riffs of their walk‑on music finally rang out: AC/DC’s “It’s A Long Way To The Top (If You Wanna Rock ’N’ Roll),” followed by “The Ecstasy Of Gold.”
Lars Ulrich’s drum kit rose up in the first corner of the stage, and with “Creeping Death” from the 1984 album “Ride The Lightning”, the band immediately showed they were fired up. Singer and guitarist James Hetfield, guitarist Kirk Hammett, and bassist Robert Trujillo first gathered around the drum kit before turning towards the crowd. The intensity continued with “Harvester Of Sorrow.” Only towards the end of the first quarter of the show did they play the sole track from the tour’s namesake album “72 Seasons”. The constant interaction between the band and the audience was fantastic. Naturally, the contact with the Snake Pit, located in the center of the stage, was even more direct, as fans there could get right up to the stage with no barrier in between. But the rest of the crowd, both on the field and in the stands, were also addressed repeatedly. Sometimes through short remarks from James Hetfield between songs, sometimes through Lars Ulrich, who kept getting up from his stool to hype up the audience with direct gestures. Meanwhile, the other two moved constantly around the stage, urging the crowd to join in, though that wasn’t necessary. Every song was celebrated loudly and sung along with full force.
Around the halfway point came the infamous Kirk and Rob Doodle, where they improvise a song fitting for the city they’re playing in. And what could be more fitting in the Waldstadion than Tankard’s Eintracht Frankfurt anthem “Schwarz‑Weiß Wie Schnee”? You could tell many Eintracht fans were present as the entire stadium belted out the lyrics with confidence, and Rob worked his way through the German text with great enthusiasm. After each quarter of the show, Lars’s drum kit was lowered beneath the stage and raised again in the next corner, ensuring everyone got to see him play up close. The rollercoaster continued, and even the rarely played instrumental “Orion” made it into the setlist. They worked their way through the nine‑minute track before transitioning just as epically into “Nothing Else Matters.” The audience’s phones turned the arena into a sea of lights, another goosebump moment. From here on, it was hit after hit toward the finale, with the atmosphere rising to unbelievable heights, just like the intensity of the stage production. During “Fuel” from the 1997 album “Reload”, the ring was engulfed in fireballs, underscoring the sheer force the band was building, amplified by the visuals on the screens. This energy was pushed even further with “Seek & Destroy,” even if the giant balls thrown into the crowd weren’t everyone’s cup of tea. Then came the moment no one wanted yet: Lars Ulrich signaled the final song, “Master Of Puppets.” Once more, band and audience gave everything to end the concert in a furious finale. To the sound of “The Ecstasy Of Gold,” the musicians walked around the stage one last time, handing out countless picks and drumsticks and thanking the crowd for an incredible evening, not without reminding everyone that they’d be back two days later and hoped to see them again.
It was, quite simply, an outstanding concert. Incredible what Metallica conjured up on that stage. James Hetfield delivered every song with a powerful, commanding voice, the string section played through the set with great confidence, and last but not least, Lars Ulrich performed with impressive precision. They all visibly enjoyed the show and made sure the audience felt it too. Fortunately, the sound engineers had finally dialed in the mix for the headliner, resulting in truly excellent acoustics. The setlist was essentially a best‑of, packed with the biggest hits of their career. And considering it was a No‑Repeat Weekend, meaning not a single song would be played twice between Friday and Sunday, it really highlighted just how many classics Metallica have produced in their 45‑year history.
Where there is so much light, there are always a few shadows. The 360° stage was a brilliant idea in principle, but the downside was that shorter people could barely see anything, as the stage could have been a bit higher. The screens were also placed awkwardly at the top of the pillars just below the roof and weren’t very large. On top of that, light bars in the middle of the screens used to illuminate the stage, partially blocked the already small displays for those standing on the field. I know it’s difficult to balance visibility and visual effects, and overall they did a good job. The whole setup was undeniably impressive. But in hindsight, I think the view from the stands was significantly better than from the field. The band also didn’t use the full ring much during the show, mostly staying in the quarter where Lars’s drum kit happened to be, something they did much better on Sunday.
But enough complaining at a high level. It was simply an amazing night that only increased the anticipation for Sunday. The tickets are anything but cheap, but the show was worth every single cent.