Sabaton Turn the O2 Arena into a Battlefield of Sound and Spectacle

It’s hard to walk into the O2 Arena and not feel a bit cynical. Big venue, security always on the edge, queues for everything. But that mood doesn’t last long. Not when the first thing you see inside is a full-blown medieval castle. Sabaton don’t just want to play songs. They want to build a world: brick, smoke, dragons, fire and all.

The Legendary Orchestra

The night opens not with heavy riffs, but with brilliant The Legendary Orchestra. Not a support act in the usual sense, thirty or so musicians from different corners of Europe fill the stage and play a whole set of Sabaton tracks like “Ghost Division” and “Swedish Pagans” as if they were scores for a war film that hasn’t been made yet. It’s dramatic without being heavy-handed, and oddly beautiful, and a welcome treat for the fans.

Sabaton

Then comes the shift, a theatre piece that leans hard into Sabaton’s latest concept album. Actors as Napoleon, Genghis Khan, and Caesar take the B stage at the centre of the venue, dressed in full costume and trading lines in thick accents (especially Napoleon with the playful banter with the UK and the Waterloo station). It’s funny at first. Then long. Then funny again in the way that only something absurd and totally committed can be. Unfortunately, some fans were a bit restless, and a few shouts of “Bring on the band” echoed out. But for others, it’s all part of the show. You’re either in, or you’re waiting.

When the band finally appear, walking the iron bridge in Templar armour, the O2 snaps awake. “Templars” hits hard, Joakim Brodén charging in like he’s been waiting backstage too long. The set unfolds as a fast-moving run through Sabaton’s catalogue, with room for new tracks like “Crossing the Rubicon” and “A Tiger Among Dragons” alongside fan-worn staples like “The Last Stand” and “Carolus Rex.” But it’s not just the songs, it’s the way they’re delivered. Each one gets its own visual treatment. Pyro, lights, smoke, set changes. At one point, Joakim reappears, wielding a giant fog-blasting cannon, marching across the bridge as if launching a final attack. It’s over-the-top in all the right ways.

There are quieter moments, too. The orchestra’s choir returns for the second half, folding in behind the band for a string of songs that carry more emotional weight than you’d expect in a venue this size. “Soldier of Heaven” and “To Hell and Back” got an extra oomph that just made them better. The crowd knows every word, but the volume never overshadows what’s happening on stage.

The encore never comes, because there isn’t one. The lights stay down after “Masters of the World,” and then it’s over. Some fans wait a little longer, not quite believing it. But Sabaton doesn’t need the usual tricks. They’ve already filled the night with enough story, volume, and fire to last until next time. And that’s kind of the point; this wasn’t just a gig. It was a full campaign.

Sabaton Photos at O2 Arena

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