Bloodywood stormed the O2 Forum Kentish Town last Thursday, delivering a cultural hurricane that London won’t forget anytime soon. The New Delhi-based band has gained serious attention since their early YouTube days, and from the moment they launched into “Dana Dan,” it was clear why. It was a statement from start to finish, unlike anything I’ve ever heard before.
Currently touring in support of their highly anticipated second album, Nu Delhi, Bloodywood is on a mission and clearly enjoying every moment of their meteoric rise. I missed them the first few times they came to London, as they gradually moved to larger venues, but this was the band at their absolute peak. Jayant Bhadula’s powerful clean vocals went head-to-head with Raoul Kerr’s sharp rap verses, while Sarthak Pahwa’s thunderous dhol percussion hit like a freight train. The sound was seismic, a frenzy unleashed on the crowd, ripping through every corner of the venue.
The set was relentless, never losing intensity, even though it came in a bit short at around 60 minutes. They opened with “Dana Dan” before diving into the title track from their new album, “Nu Delhi,” and kept the energy high with tracks like “Aaj” and “Tadka.” By the time they hit “Gaddaar” at the end, the place was absolutely buzzing.
What sets Bloodywood apart is more than just their technical skill—it’s the audacity of their vision. They’re blending worlds that shouldn’t work—metal aggression, hip-hop swagger, and traditional Indian folk instrumentation. This is the type of fusion we need more of, not only in metal but across all genres. Too many bands sound like copies of what came before, but these guys have created something genuinely original.
Between songs, Kerr reflected on their unlikely journey from YouTube parody act to international touring sensation. “We literally played our first-ever shows on this tour,” he said. “And now, selling out venues like this, it’s all because of you.”
If you only came for Bloodywood, you missed out on one hell of an opening act. I almost didn’t make it in time myself, but stumbling in just as the lights dimmed for the second band turned out to be one of my better decisions lately.
Calva Louise was a perfect contradiction: accessible, yet brutal; melodic and complex, yet terrifying. Jess Allanic’s guitar work was impressive, but the real kicker was her keyboard, which slid out like a switchblade, letting her seamlessly switch between the two.
Tracks like “W.T.F” and “Third Class Citizen” combined massive, crushing riffs with intricate rhythms, all while maintaining a melody reminiscent of the ’90s industrial movement. Add a touch of Latin music, and you have yet another genre-bending metal band pushing boundaries. I can’t wait to see them again. Consider this your reminder that showing up early can pay off—sometimes the “unknown” opener blows your mind just as much as the headliner.
If you’re tired of bands that sound like they were generated by an algorithm, get yourself to a Bloodywood show. The game has officially changed. Oh, and nu-metal is back, whether we like it or not.
CALVA LOUISE
