Godsmack, Eventim Apollo London, 07/04/25

By Nic Howells

Sometimes shows are unjustly referred to as a “once in a lifetime” lineup, or some derivation of that term. That said, Godsmack’s lineup of their good selves, Southtown legends P.O.D. and the live-and-kicking but still dropping ‘Bodies’ Drowning Pool is literally that. In terms of each band’s relative frequency of appearing in the UK, a show of this magnitude is unheard of for them. The three titans of the early 2000s scene turned back the clock to summon all the hair gel, faux hawks and oversized clothing in London on a Monday night in Hammersmith. Here’s how things got on:

Drowning Pool

Starting things off are a band that was last here 11 years, 2 albums and 1 vocalist change ago. Don’t take that statement as a detractor by any means, as the rowdy Texas boys in Drowning Pool had an almighty half an hour to rile the crowd up.

The set played hopscotch across the band’s biggest material suited to the now returned Ryan McCombs, beginning with 2001’s ‘Sinner’, and ‘Feel Like I Do’, which was one of the final tracks released under McCombs’ first stint in the band. Drummer Mike Luce does heavy work from behind the kit both on the actual drums as well as chatting to the London crowd. The middle couple of songs of the set could be considered hot takes, as they pick up ‘Step Up’ from the band’s sophomore album, as well as their cover of Billy Idol’s ‘Rebel Yell’. Neither are the first song to come to mind when thinking of the American troupe, but both are perfect examples of what they do well in terms of raw vocal performances, and building anticipation between some heavy riff work.

They end the set with a double bill off Sinner, with ‘Tear Away’ first, and it’s work such as this on the guitar that puts Drowning Pool as an eventual Rock & Roll Hall of Fame calibre band, with C.J. Pierce being one of the most underrated axemen of the 21st century. The other aspect that would certainly cement them in history is final track ‘Bodies’, which really needs no interaction, but the place comes absolutely unglued for it. McCombs climbs down on the barrier for the chorus and you would think Drowning Pool were on top billing based on the reception they had as this wrapped up. After personally being in attendance in Nottingham on their last tour in 2013, it is very safe to say that Drowning Pool are twice the band they were 10 years ago. We certainly have our eyes on that November tour coming up…

P.O.D

Following that tidal wave of an opener from Drowning Pool, the San Diego legends in P.O.D. had a tough act to follow, and absolutely no trouble doing it. From the second the grinding riff of ‘Boom’, the floor opened instantly, and Sonny Sandoval is whipping dreads around the stage as well as on the barrier with the most diehard of fans before the band move into the much more mellow ‘Satellite’ and ‘Murdered Love’. P.O.D. excelled at making their set tight, well balanced and personal to the show, a testament that their rave reviews on tour with Skindred last year were no fluke.

They also reference said tour with Skindred, with Marcos Curiel on guitar giving some to the Welsh boys, before getting the crowd going with a P.O.D. version of the Ole chant before playing ‘Drop’, where Curiel and bassist Traa Daniels were razor sharp as they went from this into ‘I Got That’.

‘Youth of the Nation’ is a track that drew an incredible amount of love from the crowd, with phone torches and lighters high aloft whilst London bellowed the lyrics back at the Californians. That sense of connection continued through ‘Southtown’, which brought one of the night’s biggest pits, and Sonny, ever the mindful frontman, took time mid-song to remind everyone to look after each other, saying “let it go, but stay safe.” It’s that spirit of unity, of ferocity without hate, that continues to define P.O.D.’s live show and their wider message.

Into the closing stretch, the band’s latest single ‘Afraid to Die’ proved that the band hasn’t just stayed relevant, they’ve evolved. Then came the inevitable show closer, ‘Alive’. The entire venue sang in unison, that massive chorus echoing from every level of the theatre. Much like Drowning Pool before them, P.O.D. proved they are not just a legacy act, not just a nostalgia trip, but a band still capable of creating those once-in-a-lifetime kind of moments.

Godsmack

Closing out the night were the undisputed headliners of this stacked bill, and with over 25 years in the game, Godsmack arrived with a point to prove. As the lights dimmed and the band took the stage to the brooding intro of ‘Surrender’, it was immediately clear that this wasn’t just another tour stop. This was a statement. The track hit hard and set the tone perfectly, with Sully Erna delivering a vocal performance that was both powerful and precise. The band wasted no time diving into a rapid-fire sequence of material including ‘You and I’, ‘When Legends Rise’, and the ever-relentless ‘1000hp’. Despite the absence of longtime guitarist Tony Rombola and drummer Shannon Larkin, the replacement lineup of Sam Bam Koltun and Will Hunt held the fort like seasoned veterans.

Koltun’s guitar work across the night was sharp, injecting new energy into staples like ‘Cryin’ Like a Bitch!!’ and ‘Straight Out of Line’, while Hunt brought a thunderous presence behind the kit that pushed the band forward. Bassist Robbie Merrill was the glue holding it all together, locking in tightly with Hunt while delivering the kind of tone that could rattle floorboards. Tracks like ‘Awake’ and ‘Keep Away’ were given a heavier edge live, and by the time they hit ‘Speak’, the Apollo crowd was fully immersed in a masterclass of groove-driven hard rock. The band’s command of the stage was second nature, and each song felt like it belonged exactly where it landed in the set.

A major highlight of the performance was the now-traditional drum battle between Erna and Hunt. It’s easy to dismiss moments like this as filler, but the execution here was anything but. The exchange was slick, playful, and technically impressive, with the two drummers bouncing rhythms off one another in a segment that served as both spectacle and celebration of musicianship. This seamlessly bled into ‘Voodoo’, where the energy dipped just enough to let the brooding ritualistic tones shine. ‘Whatever’ followed as a final fist-in-the-air moment before the encore, reminding everyone why this track remains such a defining moment in the Godsmack catalogue.

Returning for one last run, they opened the encore with ‘Under Your Scars’, during which Erna took a few moments to talk about The Scars Foundation and the importance of mental health. It added a genuine emotional weight to the evening, a reminder that even the heaviest acts have heart. They pushed back into high gear with ‘Bulletproof’ and then ended the night with the mammoth ‘I Stand Alone’. It was the perfect closer, and as the chorus rang out across the venue, you could feel the history of the band coalescing with the present. This wasn’t just a nostalgic victory lap. Godsmack showed that not only do they still belong on stages like this, they own them.