[et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_code module_class=”custom-cat” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ locked=”off” global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
\t<\/p>\n
<\/div>\n
[\/et_pb_code][et_pb_text module_class=”article-title” _builder_version=”4.20.4″ _module_preset=”default” header_font=”||||||||” header_text_align=”center” header_text_color=”#111111″ header_font_size=”68px” custom_margin=”40px||||false|false” hover_enabled=”0″ locked=”off” global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
[\/et_pb_text][et_pb_text module_class=”intro-text” _builder_version=”4.20.4″ _module_preset=”default” text_orientation=”center” custom_padding=”||0px|||” hover_enabled=”0″ locked=”off” global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Following a series of ever-changing setlists, Thom York and co. bring a crowd-pleasing show to London’s O2.<\/p>\n
[\/et_pb_text][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/11\/RADIOHEAD_9H0A0328_PHOTOCREDIT_ALEX_LAKE_CROP.jpg.jpg” title_text=”RADIOHEAD_9H0A0328_PHOTOCREDIT_ALEX_LAKE_CROP.jpg” align=”center” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Radiohead<\/strong> \u2013 The O2, London, Friday November 21, 2025<\/strong><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Danny Eccleston<\/p>\n [\/et_pb_text][et_pb_text module_class=”text-with-dropcap” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n It has been eight years, four months since Radiohead\u2019s last shows in the UK, but some things have not changed. Their audience \u2013 polite, sober(ish), nondescript \u2013 adhere to no recognisable rock tribe or style code. The band, beyond the replacement of longtime auxiliary drummer Clive Deamer with Chris Vatalaro, look the same. Singer Thom Yorke, now 57, still rocks the greying locks and leather wrist-bands of his familiar crusty\/prophet phase; lanky guitar genius (and olive oil magnate) Jonny Greenwood\u2019s Kevin The Teenager fringe is the same jet-black, asymmetric curtain (does he ask his barber for \u2018a Jonny Greenwood\u2019?).<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Something\u2019s different, though. Many readers will be aware that Radiohead are playing their 2025 shows \u2018in the round\u2019. More precisely, their centrally-located stage is a smallish black cylinder surrounded by retractable scrim, on which minimal lights and video-screen matter displays. Some will recognise the wheeze from the earliest shows by The Smile \u2013 the side-project consisting of Yorke, Greenwood and jazz drummer Tom Skinner \u2013 which debuted less than ten minutes walk across the North Greenwich peninsula in January 2022. But that was for a club-sized audience and three players. Sometimes tonight you wonder how the six-piece Radiohead manage not to bump into each other or \u2013 especially when Yorke gets into his rag-doll dance \u2013 fall off.<\/p>\n The advantage, apart from the crowd\u2019s relatively intimate proximity to the band, is the sense of a musical collective playing for each other as much as an audience. Radiohead\u2019s best music has always appeared to surprise them as much as anyone else; in this format, its alchemy reveals itself as if in moments of fresh discovery \u2013 especially important where there\u2019s no \u2018new\u2019 material to deliver. This show is all about new approaches to old friends, almost all of them welcome.<\/p>\n First impressions \u2013 Radiohead sound more \u2018organic\u2019 in 2025: less of the pioneering electronica hybrid of the early century, more rock. The Bends\u2019 spiralling Planet Telex kicks things off, a Jonny Greenwood-as-axe-murderer showcase. 2+2=5 gets into its paranoid churn phase early and sustains it. Setlists have been fluid on the continent but most have been neglectful of recent albums The King Of Limbs and A Moon Shaped Pool and heavy on Hail To The Thief, OK Computer and In Rainbows. This is as close to a Radiohead Greatest Hits Tour as perhaps we will ever see, and no-one here is complaining.<\/p>\n Honouring the \u2018in the round\u2019 aesthetic, Radiohead\u2019s mobile players swop spots so fans get their share of Yorke. The most remarkable aspect of the show is his embrace of a ringmaster role. There\u2019s no banter as such, yet an almost disconcerting sense of the singer\u2018s enjoyment \u2013 even good cheer. Perhaps this takes the desperate edge off some of the songs, the chilling intensity of modern horror that this band uniquely delivers, but the upside is a surprising surplus of more traditional gig vibes \u2013 communality and catharsis. Ergo, Kid A\u2019s Idioteque is tonight more groove than grumble, In Rainbows\u2019 15 Step an excuse for Yorke to circle the stage in manic frug-spasms.<\/p>\n Revelations? An early, skyrocketing Lucky \u2013 with Jonny Greenwood giving it Full Gilmour \u2013 and a lyrical, healing No Surprises signal that we\u2019re in for a people-pleasing show. Bloom, with Jonny joining drummers Vatalaro and Phil Selway in a polyrhythmic percussion parlay and Ed O\u2019Brien\u2019s brittle guitar offering a whiff of desert blues. Kid A, with Yorke on tambourine, is an unrecognisable hippie-psych freakout, National Anthem \u2013 with bassist Colin Greenwood in excelcis \u2013 a kind of demonic baggy.<\/p>\n Bum notes? Maybe other viewers were in better spots for the sound. Close to the stage on the venue floor it felt like we were missing something \u2013 some focus and volume. Sometimes the band did seem to get in each other\u2019s way, but musically, not physically. Rather clumsy, tonight\u2019s take on the surely-now-irreplaceable Everything In Its Right Place will not enter this band\u2019s pantheon of performances. But these are moments that raise a quizzical eyebrow, not howls of protest.<\/p>\n After a thumping There There (Ed O\u2019Brien busy on his two floor toms \u2013 their presence on stage tonight the one setlist giveaway) Radiohead retreat into a hole in the floor of the stage (it\u2019s unclear from MOJO\u2019s vantage where they disappear to \u2013 perhaps their hi-tech bandstand has TARDIS capabilities) then re-emerge for an encore that asks fascinating questions about this band and where they go next. Fake Plastic Trees is an open goal, duly scored. OK Computer secret weapon Let Down twinkles as the lights on their cylinder stage scintillate. Paranoid Android, on the other hand, falls short. Jonny\u2019s trepanning squalls of solo are underpowered \u2013 can they unleash this baleful beast as they once did, full of youthful nastiness? You And Whose Army? is a more successful revival of past narks \u2013 Yorke\u2019s Blair-baiting slowburn feels adjusted to celebrate his band and their fans. Together, they ride tonight.<\/p>\n It ends with Karma Police, one of Radiohead\u2019s loosest, simplest songs \u2013 and of course another singalong. Tonight, its pain (\u201cI lost myself\u201d) feels like a rueful memory, its dymanic fulcrum (\u201cThis is what you get, if you mess with us\u201d) now more a joke shared with the audience than bitter threat. When Radiohead descend into their time machine for the final time, its refrains endure, mingling with the strains of their outro tape \u2013 The Fall\u2019s Oh! Brother \u2013 as the articles of the UN\u2019s Universal Declaration of Human Rights scroll down their screens.<\/p>\n What have we learned about Radiohead? Simply that they are still unique, and great, and always morphing, sometimes radically, sometimes subtly. How that might manifest on the next Radiohead album, if there is one, at least ten years since their last, is unhinted, as is the future tenor of this more approachable, openly crowd-pleasing version of the band. There are surely, however, limits to that. After all, they didn\u2019t play Creep. Then again, no-one shouted for it.<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Her generation may be fading away, but Staples is not the last to know empathy, nor \u2013 despite her concerns \u2013 will she be the\u2028\u201clast of us\u201d. There\u2019s enough strength in that powerhouse voice to suggest there are more albums to come, but her message to us is\u00a0\u2028that there\u2019s no time to waste, we need to do the right thing today. Don\u2019t just hope things will work out, be more like Mavis.<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Planet Telex<\/p>\n 2 + 2 = 5<\/p>\n Sit Down. Stand Up.<\/p>\n Lucky<\/p>\n Bloom<\/p>\n 15 Step<\/p>\n The Gloaming<\/p>\n Kid A<\/p>\n No Surprises<\/p>\n Videotape<\/p>\n Weird Fishes\/Arpeggi<\/p>\n Idioteque<\/p>\n Everything In Its Right Place<\/p>\n The National Anthem<\/p>\n Daydreaming<\/p>\n Jigsaw Falling Into Place<\/p>\n Bodysnatchers<\/p>\n There There<\/p>\n Encore:<\/strong><\/p>\n Fake Plastic Trees<\/p>\n Let Down<\/p>\n Paranoid Android<\/p>\n You And Whose Army?<\/p>\n A Wolf At The Door<\/p>\n Just<\/p>\n Karma Police<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Radiohead Live In London Review: Still unique, still great, still morphingFollowing a series of ever-changing setlists, Thom York and co. bring a crowd-pleasing show to London’s O2.Radiohead \u2013 The O2, London, Friday November 21, 2025Danny EcclestonIt has been eight years, four months since Radiohead\u2019s last shows in the UK, but some things have not changed. […]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-3499","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"modified_by":"akindell","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3499","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/comments?post=3499"}],"version-history":[{"count":2,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3499\/revisions"}],"predecessor-version":[{"id":3503,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3499\/revisions\/3503"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media?parent=3499"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/categories?post=3499"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/tags?post=3499"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Setlist:<\/strong><\/h1>\n