156/Silence, Acres, Memphis May Fire and Fit For A King turn the Electric Ballroom into the best night Camden has seen in years.

Photos by Josephine Best (@josephinexbest) words by Felix Bartlett  | March 31, 2026

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Camden has a habit of feeling like something is about to happen. Tonight, stepping into the Electric Ballroom as the last of the daylight drains out of Camden High Street, that feeling is essentially a physical presence. The room fills fast, and it fills loud

156/Silence get the first word. The Pittsburgh quintet deal in the kind of deliberate, abrasive metalcore that doesn’t so much ease you in as shove you headfirst into the deep end. When frontman Jack Murray calls for a wall of death during “Better Written Villain”, Camden obliges without a moment’s hesitation. “London, England,” he grins afterwards. “This is our first time here. I promise we’ll be back.” The room makes clear it will hold him to that.

Acres shift the mood entirely. The Portsmouth band are patient where 156/Silence were sharp, atmospheric where their predecessors were abrasive. Ben. The pit briefly dissolves into something close to contemplative. It is a neat trick, and they pull it off with quiet confidence.

Then Memphis May Fire walk out and Camden makes a collective decision to lose its mind. The Denton, Texas quartet haven’t been on UK soil since 2015, and the room has apparently been keeping a decade’s worth of enthusiasm in reserve for exactly this moment. “We didn’t know what to expect having been gone so long,” frontman Matty Mullins tells the crowd, visibly taken aback by the noise, “but you’re already making us feel so welcome.” He then proceeds to spend the next forty-five minutes jumping, spinning and working every corner of the stage.

“The Sinner” opens things up and the crowd is already gone. “Misery”, “Vices”, and cuts from last year’s “Shapeshifter” all land with the same euphoric weight, the room singing back every word regardless of era. When “Chaotic” hits mid-set the temperature spikes sharply, and “Blood and Water” closes things in the only way possible, completely, with the whole room involved. By the end, there is a quiet but audible conversation happening among a section of the crowd about whether anything can reasonably follow that.

Fit For A King answer the question immediately. The lights drop, the roar that greets them is something you feel in the chest, and “Begin The Sacrifice” opens with a clarity of intent that leaves no room for doubt. Ryan Kirby is the kind of frontman who makes a room this size feel like it was built specifically for him. Ryan “Tuck” O’Leary, meanwhile, spends a generous portion of the evening airborne, spinning his bass and delivering high kicks to the delight of the front row, all while remaining locked in throughout. It should be ridiculous. It is actually just great.

“Everyone bang their heads,” Kirby warns before “Technium.” “My friends in the pit, you know what time it is,” he teases ahead of a breakdown. The set leans heavily on “Lonely God” and those songs were designed for exactly this environment, but when older cuts surface the long-term fans make their presence felt emphatically. The encore of “When Everything Means Nothing” and “Witness The End” closes the night on a note that is equal parts crushing and anthemic, the final breakdown spreading physically through the Ballroom until the room is spent and euphoric and a little bit stunned.