Fit for a King’s Lonely God Tour made its final Canadian stop at London Music Hall on May 27, and the room was already heaving before the first band plugged in. A packed floor, nowhere to hang back, just a crowd that showed up ready and knew exactly what kind of night this was going to be.
UK metalcore outfit Acres drew opening duties and wasted little time making themselves heard. Touring behind 2025’s The Host, the band packed six songs from that record into a concise but effective set. Frontman Ben Lumber quickly got the crowd involved, calling for a circle pit that immediately opened in the middle of the floor. It was an early sign that London had come ready to participate. Tracks like “Built to Bleed,” “Bloodlust,” and “Lost” landed well, helping transform an already healthy crowd into an engaged one. As openers go, Acres did exactly what they needed to do, warming up the room and setting the tone for the evening.
If Acres lit the fuse, ten56. threw gasoline on it.
The Paris outfit arrived with a level of aggression that instantly changed the atmosphere inside the venue. Circle pits dominated most of their set as vocalist Aaron Matts stalked the stage, feeding off the growing chaos in front of him. Much of the material came from their recent album IO, and songs like “Doormat,” “Snapped Neck,” and “I Know Where You Sleep” hit with the force of a demolition crew.
During “IO,” phone lights illuminated the room, creating an unexpected contrast to the band’s crushing industrial-tinged heaviness. The calm didn’t last long. During “Earwig,” Matts had the crowd crouch before launching into a synchronized jumping frenzy. By the time ten56. closed with “Boy,” a wall of death split the room cleanly in two before colliding in spectacular fashion. Remarkably, despite all the movement and violence in the pit, crowd surfers had yet to make an appearance.
That changed the moment Invent Animate stepped onstage.
The Texas progressive metalcore outfit inspired an immediate reaction from their devoted fanbase. Within minutes, surfers were pouring toward the barricade while pits expanded across the floor. Vocalist Marcus Vik mentioned that the last time he played London he was dealing with a wisdom tooth issue and still managed to get through the show. This time there were no such obstacles.
Invent Animate’s set leaned heavily on Heavener, still one of the strongest records in modern metalcore. “Shade Astray,” “False Meridian,” “Without a Whisper,” and the title track showcased the band’s ability to blend atmosphere with crushing heaviness. Every breakdown seemed to trigger another wave of bodies overhead. London Music Hall’s compact layout meant surfers had only a short trip to the front, but that didn’t discourage anyone. If anything, it encouraged more participation.
The connection between band and audience was impossible to miss. These were serious fans who knew every word and every cue. Invent Animate responded by delivering one of the strongest support sets London Music Hall has seen this year.
By the time Fit for a King emerged at 9:30, the crowd required no instructions.
The Dallas metalcore veterans are currently touring behind 2025’s Lonely God, and their set reflected that reality. Eight songs from the new record appeared throughout the night, beginning immediately with “Begin the Sacrifice.” The newer material sat comfortably alongside established favourites like “God of Fire,” “Backbreaker,” and “Breaking the Mirror,” demonstrating just how naturally Lonely God has integrated into the band’s catalogue.
Ryan Kirby was in commanding form from the first note, while bassist Ryan “Tuck” O’Leary’s clean vocals helped elevate the band’s melodic moments. Around them, guitarists Bobby Lynge and Daniel Gailey delivered the precise, punishing riffs that have become a Fit for a King trademark, backed by Trey Celaya’s relentless drumming.
The audience responded with nonstop movement. Crowd surfers appeared from every direction imaginable. Stage left. Stage right. Straight down the centre. At one point, a fan somehow managed to surf across the room while holding a drink overhead without spilling a drop.
Security certainly earned their paycheques. Eight guards worked the barricade throughout the headlining set and rarely had a moment to breathe as wave after wave of surfers arrived.
One of the evening’s few quieter moments came during “Between Us.” Introducing the song, the band announced they were going to slow things down. Phone lights and lighters filled the room as a disco ball spun overhead. Arms swayed, horns rose into the air, and for a few minutes the chaos gave way to genuine reflection before the intensity returned.
What stood out most about Fit for a King’s performance was how little direction the crowd required. There were no repeated instructions to jump, mosh, or open walls of death. Fans already knew the assignment. Every breakdown generated movement. Every chorus came back from the audience louder than it left the stage.
The encore brought another emotional peak before closing with the devastating force of “Witness the End.” It was a fitting conclusion to the final Canadian stop of the Lonely God Tour.
London has developed a reputation as a city that consistently shows up for heavy music, and this night provided another reminder why. From Acres opening the evening to Fit for a King bringing it home, London Music Hall spent the better part of four hours vibrating under the weight of modern metalcore.
We are fortunate to have nights like this.
A huge thanks to Caitlin McGeehan from AtomSplitterPR for the accreditation.
Fit for a King
I’m Drew, the founder and editor of Front of the Stage. I have a strong love for music and photography, which started at a very young age. There’s just something I love about experiencing live music and capturing memories that will last a lifetime, and that’s how Front of the Stage came to be.
