If ever there was a night that proved music transcends borders, this was it.
India’s premier metal export, Bloodywood, stormed into Bristol’s O2 Academy on Wednesday night, bringing their Return of Singh tour to an ecstatic, sold-out crowd. It was the only UK date to flirt with availability until the final hours, but as the venue packed out, any doubts of its intensity were put to rest. Every barrier was lined two or three deep, and the main floor was a heaving sea of bodies primed for destruction.
Bloodywood have built a reputation on their seamless fusion of traditional Indian instrumentation with the raw power of metal. Their sonic identity is as distinctive as it is devastating—percussive dhol rhythms, haunting flute melodies, and the unmistakable twang of the tumbi intertwine with searing riffs and a potent mix of Hindi, Punjabi, and English lyricism. The result? A sound as explosive as it is deeply rooted in culture and conviction.
Onstage, the six-piece are an unrelenting force. Core members Karan Katiyar (guitar, flute, production), Jayant Bhadula (vocals, growls), and Raoul Kerr (rap vocals) are joined by Sarthak Pahwa (dhol), Roshan Roy (bass), and Vishesh Singh (drums), forming a sonic and visual spectacle—an electrifying collision of color, culture, and chaos.
Their ascent from YouTube parodists to global metal contenders is nothing short of remarkable. What began as a duo uploading Bollywood-to-metal reimaginings has now evolved into a serious artistic force, as evidenced by their sophomore album Nu Delhi. If this tour is any indication, it’s only a matter of time before they’re headlining major festival stages alongside metal’s biggest names.
From the moment they hit the stage, Bloodywood take no prisoners. Dana Dan and the blistering title track Nu Delhi ignite the pit into a frenzied, swirling vortex. With each beat, each riff, each growl, the energy escalates—mosh pits form, dissolve, and reform with a primal intensity that never lets up.
Yet, beyond the sweat-drenched carnage, Bloodywood are a band with purpose. Their lyrics aren’t just aggressive—they are a call to arms, challenging social injustice and demanding accountability. More than just a sonic assault, they are a band of action, backing their message with real-world activism and humanitarian efforts.
Midway through the set, the anthemic Tadka solidifies this as a standout gig of 2025. But it’s the climactic Gaddaar—a track streamed over 9.3 million times—that threatens to steal the crown. As the band invite their entire backstage crew and support acts onstage, mirroring the pure chaos of the floor below, a final wall of death sends the venue into absolute bedlam.
Bloodywood embody everything a modern metal band should be—authentic, innovative, and uncompromising. Their rise has been meteoric, yet they remain deeply connected to their roots, proving that global success and cultural identity can thrive side by side.
Bristol will be waiting when they return—perhaps with the keys to the city in hand.
@thebristolnomad / @bristolnomad_gigphotography
Role: Photographer / Reviewer / Interviewer
Chief, the one that bugs the team for team for their reviews and images. Creator and founder of The Bristol Gig Guide. Can usually be found swamped in admin or getting cramp kneeling at the front of a gig.
Available for: Gig Shoots, Gig Reviews, Photo Shoots, Album and Single cover shoots, Videography work, Interviews and Touring
First attended gig: Republica, circa 1996.
First gig shot: Hands Off Gretel, at The Louisiana!
Dream gig: Huge metalhead and my ultimate dream gig would be shooting my heroes Slipknot at a huge stadium gig, or as festival headliners. And to experience shooting a headline tour outside the UK
