"Merci Paris !" : Bad Omens fire up the Zénith

Sold out for months, Bad Omens’ Paris show on December 2nd was one of the most anticipated metal events of 2025 for French metalheads. A night that once again demonstrated the band’s rapid rise - both through their performance and the sheer size of the crowd gathered in La Villette’s main hall.

The evening didn’t start gently, but rather like an explosion, as The Ghost Inside took the stage at exactly 7:00 PM. The band knows how to set the tone and commands the stage as if they were the headliners. The staging remains simple yet effective, and every member knows their role, clearly enjoying every moment. Frontman Jonathan Vigil quickly builds a strong connection with the audience through constant interaction, with lines such as “We love coming here, we always see amazing people,” as well as a few heartfelt “merci beaucoup.” A special mention goes to drummer Andrew Tkaczyk, who performs with only one leg yet delivers an impeccable, powerful performance thanks to his talent and a specially adapted setup. Over the course of their 40-minute set, the band fully succeeded in warming up the crowd and setting the stage for a promising night.

There was barely any time for anticipation to settle before BILMURI stepped onstage. As the clock struck 8:00 PM, the band kicked off with EMPTYHANDED, a standout track from their 2024 album American Horror Spot. A festive atmosphere immediately filled the room, with the crowd reacting, jumping, and dancing along. Some attendees appeared slightly puzzled by the pop-infused elements mixed with a darker aesthetic, but that didn’t stop the band from creating an undeniably energetic and celebratory mood. A highlight of the set was the surprise appearance of Noah Sebastian on More Than Hate, screaming a simple “Hate” - a moment that sent the crowd into a frenzy.

After a short break allowing fans to recharge both their energy and their drinks, the venue was plunged into darkness. A heavy silence settled over La Villette, waiting to be broken by the long-awaited arrival of the headliners.

The screens light up, revealing a short cinematic vignette - a brief pause in time before the first notes of Specter, the first in a series of new singles from Bad Omens. A vignette whose continuation can be found at the beginning of each of the band’s new songs. The band finally entered the stage, shattering the tension and unleashing the crowd. As soon as Noah Sebastian, the band’s charismatic frontman, stepped onto the Zénith stage and delivered his first lines, the audience stood torn between stunned admiration and fervent sing-alongs, shouting every word.

By the second song, Glass Houses, Noah called for a circle pit - and the crowd gladly obliged, maintaining that intensity throughout the rest of the night. The setlist skillfully balanced new material with early tracks, delighting longtime fans. Songs like Dying To Love, Left For Dead, and Imposter were met with enthusiasm, alongside fan favorites such as the iconic Artificial Suicide, the viral hit Just Pretend, and the much-loved collaboration V.A.N. For the encore, only one song was played - but not just any: Dethrone.

If the crowd reached its peak during this long-awaited finale, it had hardly taken a break all evening. Mosh pits, wall of death, crowd surfing - even the seated sections were on their feet, jumping, singing, and screaming every lyric. The audience stood in awe of a meticulously crafted stage production, combining vibrant screen animations, dynamic and elegant lighting, and perfectly controlled pyrotechnics.

Interactions with the crowd were frequent and consistently warm. Noah continuously pulled the audience into the movement of this pure metalcore celebration, thanking them for showing up in such numbers and for their unwavering support. Visibly moved, he appeared genuinely happy to be performing on the French stage of the Zénith de Paris.

There were no real missteps - though a few questions lingered. While Noah delivered impressive vocal performances at times, some moments raised eyebrows when his voice remained audible even without the microphone close to his mouth. Jumping straight to accusations of playback might be premature, and this may simply reflect a challenge of modern live performances. Bad Omens are known for their extensive sound design, heavily processed riffs, and occasionally robotic vocal effects - elements that are difficult to reproduce live without technological support and backing tracks.

Ultimately, this detail does little to alter the final equation: a delighted crowd, leaving with smiles on their faces and memories to last. It was a memorable night in the metal concert landscape, where each musician had their moment under the spotlight to showcase their talent, delivering a polished and unforgettable show. Though eclectic in their styles, all three bands successfully brought their own worlds to an audience with sky-high expectations.