Over the years and the hundreds of concerts that I have seen and reviewed, there have been few shows where I think wow! Where do I start with this? Possibly the one show I never reviewed, but thought how on earth would I sum this one up was Pink Floyd’s The Wall. So where am I going? Well, quite simply, having watched the second night at Wembley Stadium for My Chemical Romance, I find myself thinking exactly the same.
My Chemical Romance
Wembley Stadium, London – 10 July 2026
Words: Adrian Stonley
Photography: Matty Vogel
Many times, reviewers will state that something is fantastic, outstanding, the best thing ever. But that really does apply to this show. It really is something quite spectacular and really leaves you buzzing and wanting more.
It is split into two sets, the first part of the show revisiting 2006’s The Black Parade, and the second in the round on a separate stage in the middle of the stadium playing a greatest hits of the other albums.
The Black Parade is not so much the band playing the album, but an entire theatrical experience. Though the show follows the album as written and tells the story of the patient and his end of life following a cancer diagnosis, there is also a theatrical subtext around this show, based on the imaginary totalitarian country of Draag.
With actors playing parts before the show starts, it is clearly setting up something that is going to be grandiose and spectacular.
Certainly, the easiest way to get everyone standing for the show is to ask the audience to stand for the national anthem of Draag, a classical piece simply titled Over Fields, and of course, they do.
Once the opening notes of The End ring out and the band hit the stage, there is no sitting down. It is all or nothing now, and the band are on fire, as is the stage on many occasions due to perfectly timed pyro.
This is a glorious rendition of The Black Parade, with the songs taking on a life of their own, which is at times clearly enhanced by the actors and the stunts that revolve around the band.
I have no intention of running through every song played. The Black Parade is complete and in the order per the album, although this part of the set lasts for nearly ninety minutes.
The songs are direct, powerful and meaningful. The anthems anthemic.
There is plenty of audience participation, and in particular, the semi-title track of Welcome To The Black Parade has everyone in the audience yelling out the lyrics at the top of their voice. It is even more impressive in the live environment than it is on record.
With the theatricality competing with the musicality, the audience is asked at the end of the song to vote to decide the fate of some ‘criminals’ who are to face the firing squad.
With the soldiers and individuals arranged around the second stage, the vote is cast, and unsurprisingly, with a fusillade of pyro and smoke effects, the execution takes place.
Mama is quite simply something else. This is a song that quite simply has the hairs on my arms standing up as it starts in a waltz style. With the addition of strings and two opera singers, Lucy Joy Altus and Charlotte Kelso, entering the stage, this piece is simply taken to another level.
Teenagers has the whole crowd bouncing and shrieking out with glee the chorus line of “Teenagers scare the living shit out of me.”
The first half ends with a reprise of The End and sees a clown character, Columbina, enter the stage with a knife and the intention of dispatching lead singer, Gerard Way. Perhaps this element of the show provides a serious nod to Alice Cooper as the knife strikes and the blood sprays.
With Gerard lying on stage, a taped rendition of blood is played out whilst Columbina cavorts around the stage before stripping off the outfit to show a suicide belt, which then explodes. Tasteful, probably not, but certainly a spectacular end to the first part of the show.
Realistically, most fans would happily have left at this point. The buzz around the stadium was something else. But within five minutes, all eyes are on the second smaller stage ‘in the round’, as cellist Clarice Jensen takes to the stage to play her solo piece From A To B.
As the band duly arrive the familiar chords of I’m Not Okay from the Three Cheers For Sweet Revenge album ring out, and the audience goes wild, arms waving and fists punching.
Now we are simply into a heads-down rock ‘n’ roll show. Gone are the theatrics, the pyro and fireworks. Now this is My Chemical Romance stripped back on a small stage and showing that they can rock out with the very best.
Na Na Na Na sees the audience jumping so enthusiastically, I am sure it must have registered on the Richter scale.
With a number of special dedications arising, the tunes come thick and fast. Summertime, The Ghost Of You and a live debut of Zero Percent has the audience eating out of their sweating palms.
S/C/A/R/E/C/R/O/W is dedicated to long-time band friend Lauren Valencia, before long-time favourite Helena sees the audience ecstasy rise a further level.
Demolition Lovers is played for the first time on the tour and closes the night out as the fireworks fly into the night sky.
What an end to an outstanding show. Twenty-six songs, and two and a half hours of prime, highest-quality entertainment. You just could not ask for more, unless, of course, you can get a ticket for Sunday night.
If so, do it.
