Iconic heavy metal band announces huge Scottish stadium show
The group will be joined by special guests at the hotly-anticipated gig
Click to share on X/Twitter (Opens in new window)
Click to share on Facebook (Opens in new window)
AN iconic heavy metal band has announced a huge Scottish stadium show next year.
Metallica will take to the stage at Glasgow's Hampden Park - the group's only Scottish date - as part of their M72 World Tour.
Sign up for the Entertainment newsletter
Sign up
1
Metallica will take to the stage at Glasgow's Hampden Park in 2026
Credit: AP
The band will be joined by special guests Gojira and Knocked Loose during the "unforgettable" night.
The thrash metal legends will play Hampden on Thursday, June 25, 2026, before travelling to Cardiff to play Principality Stadium.
They'll then head to London to play two nights at London Stadium in July.
Metallica told fans: "Greetings from the road as the M72 World Tour currently rolls through North America… we're not ready to stop yet!
"An incredible year four of M72 in 2026 will take us back to Europe next spring and summer to visit some cities we have not been to yet.
"The production will feature the same unique stadium production at mid-field in-the-round, with the Snake Pit in the centre of the stage providing a complete 360 view of the show.
"We're excited to continue the now-tradition of No Repeat Weekends and will also have a mix of some One Night Only shows."
Excited fans flocked to the comments to react to the latest announcement.
One wrote: "OMG they're coming to Scotland, finally!"
Another said: "Brilliant, this will be my eighth time seeing them. They never disappoint."
Lucky fans hope for new music from Scots rock legends at secret gig
A third added: "What a gig this will be."
A fourth put: "YES, I've been waiting for this."
A fifth weighed in: "Wow!"
Tickets go on general sale on May 30 at 10am, while Metallica fan club members can access presale tickets starting May 27 at 9am.
A portion of proceeds from every ticket sold will go to charities via the band's foundation, All Within My Hands.
The organisation supports causes such as food insecurity and disaster relief efforts.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The National
an hour ago
- The National
From trauma to dementia, music proves its powerful healing benefits
Among those making the most of its application beyond cultural expression are music therapists. Later this month, on June 21, people around the globe will celebrate World Music Day, and Scottish specialists are among those singing the praises of its use as a helpful tool. 'It's an inherent quality we all possess, human beings are innately musical,' says music therapist Reuben Quinn. READ MORE: Scottish independence support at 58 per cent if Nigel Farage becomes PM – poll For millennia, music has been used for religious ceremonies, communication and creating social cohesion. The digitisation of music has made it a more individualised experience, but its emotive power has remained a constant throughout. Now, music research is beginning to extend its influence, providing evidence towards the social, cognitive and therapeutic benefits underpinning our emotional responses. This led to its therapeutic application in the modern era. 'Music provides a really safe way of being vulnerable in therapy, which is one of its unique qualities,' says Quinn, inset. Quinn works for Nordoff and Robbins, the UK's largest music therapy charity, which trains and employs music therapists that help people to break through the barriers caused by life-limiting illness, disability and social isolation, using the power of music. The charity reaches thousands of people every year from its bases, and by working in partnership with organisations including care homes, schools and hospitals. 'It has such a wide variety of benefits, each story is unique and so the approach is non-prescriptive. The clinical goals emerge with the specific individual you're working with.' Much of Quinn's work involves working with the challenges faced by people with complex support needs: 'Some people I work with struggle with movement in a particular part of their body. Using musical rhythm can encourage meaningful and controlled use of muscles in the body part affected by disability.' The benefits of music therapy can also provide alternative modes of communication for non- or minimally verbal children. Around 25-30% of children with autism spectrum disorder (ASD) are minimally verbal, speaking less than 30 words and often not at all. One reason for this can be due to speech apraxia, which affects brain pathways, affecting their ability to translate conscious thoughts into speech. Others can have delayed or underdeveloped verbal communication skills and some can lose their ability to speak over time. 'For some people, music can be a more accessible and flexible and fulfilling mode of communication, because they have limited capacity for spoken or written language,' says Quinn. 'Engaging together in music provides that real-time dynamic interaction with people which can contain a lot of important social information and activity, such as turn taking, humour, surprise and pathos.' Researcher and music specialist Dr Rachel Drury (below) is the co-developer of the MA Psychology in the Arts (Music) course at the Royal Conservatoire of Scotland (RCS) and has worked with children from birth to age 21 at Rachel House Children's Hospice in Kinross for 10 years. (Image: Supplied) 'The alternative platform music creates for children has benefits for their family members too,' says Drury. 'The pressures of looking after a child with a life-shortening condition are tremendously difficult, so being able to offer an artistic process for them to put their stories through is really powerful, it's really nice to facilitate that.' Drury stresses how important music is for everyone, regardless of whether they suffer from physical or mental health symptoms. 'When you listen or produce music, your brain lights up like a Christmas tree,' says Drury. Music stimulates our cognitive abilities including speech, attention and memory, and affects more parts of the brain than other sensory stimuli. These include regions associated with social and emotional processing, which gives music the power to induce a feeling of wellbeing. 'Learning a musical instrument has been shown to increase the grey matter in the corpus collosum. This region forms a link between both sides of the brain allowing them to communicate with one another, and plays an important role in sensory, motor and cognitive processes,' says Drury. Fortunately, singing and remembering music is thought to use parts of the brain which aren't affected by dementia, which means clients are often able to engage with this mode of therapy and maintain their speech and language – as well as feeling good. Quinn also works with patients in end-of-life care, and has witnessed the benefits of music therapy throughout care homes. 'Encouraging patients with dementia to sing or engage with musical instruments allows them to show sides of themselves which, because of their diagnosis, often lie dormant,' says Quinn. 'This not only improves their mood and confidence but knits the care home community together. It allows residents to demonstrate skills and the confidence that changes who this person is in eyes of care staff.' The therapeutic benefits of music therapy has led to it being a certified mental health intervention. Currently offered on the NHS, it is employed to help alleviate symptoms relating to anxiety, depression and trauma. Quinn continues: 'It's sad we don't have much music in the curriculum anymore so kids aren't being exposed to the potentially transformative experience of identifying themselves as a musician.' 'It's one of the first things to go when there's funding cuts and one of the biggest barriers I've realised while being a musician is making people understand the value and the impact it does have,' says Drury. 'It's one of the world's best-kept secrets.' The RCS is the only institution in Scotland which offers an MA in Psychology of the Arts (Music) and Drury is encouraging anyone who is interested to reach out and find out more via its website. To find out more about Nordoff and Robbins Music Therapy, visit
The National
an hour ago
- The National
War and family collide in bold reworking of King Lear
That programme staged a style of audacious, gestural performance that was – and still is – quite rare in Scottish theatre. For sure, we have the brilliant, Lecoq-trained actor Sandy Grierson (lead performer in the recent, and fabulous, Confessions Of A Shinagawa Monkey), who combines exceptionally accomplished movement with superb verbal expression. However, for the kind of wordless theatre that was showcased at Aurora Nova, Scottish theatre lovers have to turn to excellent outliers like Company of Wolves and acclaimed theatre-maker and performer Al Seed. They also turn – and always with high expectations – to the work of the award-winning Scots-Singaporean artist Ramesh Meyyappan. READ MORE: Scotland's oil profits must not be used to exploit Gaza citizens, says Humza Yousaf With beautiful works such as Butterfly and Love Beyond, Meyyappan (who is Deaf) has consistently provided audiences with visually stunning and emotionally compelling pieces of physical theatre. His latest piece, entitled LEAR, is a fine addition to his impressive oeuvre. Inspired, needless to say, by Shakespeare's famous play King Lear, the show – which is produced by Glasgow-based company Raw Material in association with the National Theatre of Scotland – has just returned from its world premiere at the Singapore International Festival of Arts. The piece is set – we assume from the sandbags, Lear's greatcoat and the shell fire that characterises the conflict – during the First World War. Rendered profoundly Deaf by an exploding shell, Lear – not a king, but, we assume, an officer – returns home to his three daughters Goneril, Regan and Cordelia (who are given beautifully measured, emotive performances by Nicole Cooper, Amy Kennedy and Draya Maria). It is clear from the nature of his return that Lear has enjoyed the domestic status of a beloved and revered (and perhaps somewhat feared) pater familias. The daughters compete for the patriarch's attention and affection, and seek to ease him back into domestic life. However, Meyyappan's Lear is dragged into deep despair and frustration by his experience of war and his devastating injury. Memories, both terrifying and consoling, flood his mind and are given, by turns, powerful and humorous expression by Meyyappan. A scene in which the man – his mind twisted beyond his control – turns upon his beloved daughters is genuinely, viscerally shocking. The production is stylish and precise, thanks to director Orla O'Loughlin and dramaturg Lu Kemp. It is played on an excellent, minimalist set, designed expertly by Anna Orton and lit intelligently by Derek Anderson. It also boasts music and sound (composed by the ever-impressive David Paul Jones) that is always perfectly attuned to the action. In its relocation of Shakespeare's famous protagonist to an appalling, modern conflict, LEAR renders the man both more human and more frightening. Once again – as both writer and performer – Meyyappan succeeds in captivating our minds and our senses. At Traverse Theatre, Edinburgh, June 5-7:
The Herald Scotland
2 hours ago
- The Herald Scotland
Brilliant Bruce Springsteen documentary but why the snub to Scotland?
**** Tony wasn't happy. 'Where the **** have you been? You're late.' 'Highway was jammed with broken heroes on a last chance power drive,' said Christopher. 'Aw you're gonna get ****ing cute now?' It's a measure of Springsteen's fame that he needs no introduction, whether he's being quoted in The Sopranos, earning Trump's ire on social media ('This dried-out prune of a rocker ought to KEEP HIS MOUTH SHUT'), or having a night devoted to him on BBC2, of which this documentary was the highlight. Springsteen's first visit to Britain, or 'the land of our gods and saviours' as the Beatles/Stones/Animals worshipper put it, was in 1975 to play the Hammersmith Odeon. The audience loved him but Springsteen thought he had been terrible. 'I had PTSD from it,' he joked. He couldn't bear to watch the film (shown as part of the night) for 30 years. After that it was all gravy for Springsteen, and the documentary in general, as we heard from the man himself, plus friend and bandmate Steven Van Zandt, fans (celebrity and otherwise) and journalists. Among the celebrities, Rob Brydon's devotion was writ large in a teenage scrapbook. Growing up near Port Talbot, Springsteen said more to him than The Jam singing about the Tube. Sting described his mate Bruce as 'a whirling dervish of benevolent male energy'. Tony Parsons said Britain needed Bruce as an antidote to the New Romantics. The 'ordinary' fans shone brightest, including Hazel Wilkinson, who danced with Bruce onstage at the Manchester Apollo; the striking miners' wives handed a cheque for £20,000 in Newcastle; and the nine-year-old lad who sang Hungry Heart with the Boss in Coventry. And what of the gigs in Scotland? We saw a ticket stub from the Edinburgh stop on the 1980-81 River tour, and Ravenscraig appeared in a miners' strike montage, but that seemed to be it. What, no Hampden, no Murrayfield? No excerpts from the glowing reviews in The Herald and other papers, or interviews with those who were there? Even the briefest of searches would have struck research gold. It was the same for Wales and Northern Ireland. Springsteen and young fan at Hampden. Colin Mearns (Image: Colin Mearns/The Herald) Now, it is possible footage or stills from the Scottish gigs were featured, but were not captioned as such in the preview version I saw. Perhaps stuff hit the cutting room floor. Every concert can't be shown and maybe it was enough for some viewers to run a caption saying 'over 60' shows have been played in Britain since Bruce and The E Street Band got back together. Plus fans, Scottish or otherwise, go where they can get tickets. My two cents: if you make a film titled When Bruce Springsteen Came to Britain - part of a series that includes Bob Marley, Blondie and ABBA - it seems only right to cover all parts of Britain. It was an odd omission in an otherwise terrific hour that left no doubt about Springsteen's love for his UK fans and vice versa. He didn't need a fellowship of the Ivors Academy to prove he's always welcome here, but great that he got it, and from a Beatle as well. Now about that honorary knighthood …
