Live Review: Deafheaven & Portrayal of Guilt at The Electric Ballroom, London (28/11/25)

What a year it has been for Deafheaven, returning to blackened form with their album ‘Lonely People with Power’ and embarking on a gigantic EU/UK tour that has sold out venues all over, London’s Electric Ballroom included. Which is absolutely rammed when I arrived to catch Portrayal of Guilt, the Texas-based blackened hardcore/screamo metal band.

It’s a true sign of the strength of this bill that way before Deafheaven get close to the stage, you can feel the electricity in the air and the crowd is downright rabid, at times, during a monumental 45-minute set of experimental savagery and intensity. I’ve not spent much time in the company of Portrayal of Guilt, but I came away impressed. It’s black metal, but not quite, it’s hardcore, but not quite, it’s got groove, but twisted around modern screamo elements, but not quite. It’s Portrayal of Guilt and they’re not quite like anyone else.

Deafheaven though. This is more personal as I am one of the many who cite Sunbather as one of the greatest albums ever made. Hell, I put New Bermuda up there as well, and like many, was disappointed with the direction the band went with Ordinary Corrupt Human Love (2018) and Infinite Granite (2021). I liked both records, because I like shoegaze, but I felt the lack of unique blackened elements made both records ordinary and if there’s one thing Deafheaven had never been up to that point was ordinary.

Which is why I started this review claiming that ‘Lonely People with Power’ was a return to form. I don’t think I’m alone thinking that either as it is interesting to see that there isn’t a single song from Ordinary Corrupt Human Love or Infinite Granite in this setlist.

Of course, the focus is the new album and Deafheaven pack out the set with tracks from it (eight out of eleven), but the other three tracks come from Sunbather and New Bermuda. Those three tracks; Sunbather, Dream House, and Bring Me to Water are as potent now as they were upon first release, with the latter being particularly special as upon release (New Bermuda), I didn’t listen to anything but that record for a month straight. Those songs are burned into my brain and Deafheaven deliver them exceptionally well.

In fact, let me talk about Deafheaven on stage and how brilliantly animated they are. Energised, excited, and showing off in places, the instrumental section of the band look to be having a blast. Whereas vocalist George is downright wild, stalking the stage with such intensity, bouncing up and down, throwing his arms about, and even getting down and up close with the front rows. He must have been exhausted by the end as he never stops moving.

This is the stuff that makes a Deafheaven show special, and that’s before I even talk about the songs. A collection of absolute bangers taken from an album that is up there as one of the best of the year. For many, it might even take the top spot, that’s how good an album it is. So, I don’t think anyone is complaining about the majority of the set coming from ‘Lonely People with Power’.

Doberman, Magnolia, The Garden Route, Body Behavior, Amethyst, Winona… it’s a staggeringly good set of songs, delivered with such power by a band on astounding form, eagerly lapped up by a crowd who appreciate that Deafheaven are a legendary band, but are also one who remain incredibly relevant.

If you can, make sure you see them live at some point on this cycle, we truly are seeing the best version of Deafheaven.