Qulture Magazine

Words: Kenny Ross

The O2 Academy Glasgow hadn’t even opened its doors fully before it became obvious the Krushers of the World Tour 2026 was less a gig and more a carefully arranged series of assaults. Whoever decided to put Nails, Exodus, Carcass, and then Kreator on one bill should probably be monitored by the authorities or neutered, because that is not a lineup — that is a controlled demolition plan disguised as entertainment.

Nails were up first, taking the 6:20pm slot and immediately making the whole place feel like it had been dropped into a blender set to “feral.” Their set was short, violent, and entirely unreasonable — exactly what you want from Nails. Glasgow crowds usually warm up gradually, but this was like watching a crowd collectively decide, “ let’s just go straight to maximum chaos.”

Grabbed a beer, then came Exodus at 7:10pm, running on with a pure thrash veteran swagger. They didn’t so much play as attack, pelting the room with riffs like they were settling old debts. The pit turned into a rotational hazard that probably breached several health and safety guidelines, and I’m fairly sure at least two people achieved brief, involuntary flight. It was the kind of set where everyone looks a little older afterwards — not because they’re tired, but because Exodus aggressively ages your soul. Very brave putting such high caliber bands on the same bill as you!

Carcass arrived at 8:20ish (might have gone to the bar again). Bringing that perfect mix of radical school energy and chainsaw elegance (proud of these ones). Bill Steer could play a single note and still make half the room throw horns. Their set was sharp, filthy, and disgustingly tight — like a surgical procedure done by someone with a hangover, maybe still pished, and a grudge. By the time they were finished, the temperature had risen to the “surface of the sun,” and it wasn’t even 9pm yet.

Then, finally, headliners Kreator stepped on at 9:30 (there abouts), greeted by a crowd that had already burned through the energy reserves of a small township. Mille Petrozza walked out with that familiar look of a man about to wage war on anyone within earshot. They arrived in a delightfully unhinged fashion — walking onto Run to the Hills, Glasgow howled lyrics back like a furious pub choir that had been training for this moment all their life. (Might be frowned upon, but not a big Iron Maiden fan tbh…)

From there the set barrelled through “Seven Serpents,” “Hail to the Hordes,” “Enemy of God,” and a whole array of thrash staples delivered with the precision of men who have been doing this longer than most audience members have had working knees. Then came “Hate Über Alles,” during which Glasgow was treated to the great disappearing instrument act — guitars and bass flickering out as if the venue wiring itself wanted to join the mosh. Mille soldiered on with the expression of a man remembering every cursed soundcheck he’s ever endured, and the crowd simply screamed the missing parts. Glasgow will not be defeated by electricity. Or the absence of it. (note: we all need electricity)

Bar again….

Once the tech decided to behave (allegedly) , the show levelled up into pure thrash carnage. “People of the Lie,” “Betrayer,” “Hordes of Chaos,” “Satan Is Real,” and “Phantom Antichrist” all landed like precision guided missiles (maybe not the right phrase in this climate). The balcony visibly vibrated. The floor became a swirling threat to public safety. I briefly considered the structural integrity of the building, but then “Violent Revolution” hit and I forgot how to think (as most days). Fire, did I mention the fire…well…the technical term is pyrotechnics, but I literally felt like I was in the bowels of hell, where I belong, and somehow I still left with my eyebrows un-sindged!

By the time the final carnage of “Pleasure to Kill” wrapped up, the place looked like the aftermath of a friendly riot — sweaty, destroyed, euphoric. Four bands. Four different flavours of mayhem. One city that refused to give up. The miracle isn’t that Kreator survived this gig – The miracle is that Glasgow survived this gig (p/s – getting too old for this Riggs).

Easily a 4/5 from me, only losing a point because the tech gremlins tried to turn “Hate Über Alles” into an unplugged folk number (and maybe the walk on music)…Otherwise? Thrash perfection, crowd chaos, and the kind of night that reminds you why metal continues to thrive long after it should reasonably have exhausted us all.