The Bow Breaks Last for Imminence’s Final Show at The Roundhouse

The Roundhouse has always rewarded precision and theatrics; its circular design offers a jaw-dropping backdrop for bands who rely on spectacle to carry a set. Imminence however understood the assignment, as their London show was not about overwhelming the space, but about filling it deliberately with tension and release. Supported by Ne Obliviscaris, their sets unfolded with purpose, precision, sharpness and confidence to let the music speak without interruption.

There are very few modern metal bands that demand attention the way Ne Obliviscaris do. Since emerging from Melbourne’s progressive metal scene, they have built their reputation on their musical complexity and technical precision that consists of long compositions, interplay between harsh and clean vocals and violin that requires active listening rather than passive consumption. They are a band that trusts its audience to understand the depth of their songs, and in London, the audience met that expectation. Their performance was dense and demanding, alternating between the soft and lament violin and the distorted guitars and brutal vocals. The layered sound filled the room and the crowd responded. Whilst at first people were a bit harder to warm up, they slowly gave their full attention to the band, as conversations stopped, phones stayed down and engagement increased significantly. By the end of the set, the audience had fists up for Ne Obliviscaris – and rightfully so.

Imminence’s evolution has been quieter but no less deliberate. Whilst at first they were a melodic metalcore group, they gradually carved a distinct identity by integrating violin into their music. What sets them apart is that the orchestral flair of their music is not just for ornament, but rather, a structural voice of the song. Over time, their aggression was replaced by atmosphere, allowing for emotion to take precedence over fast guitars and jumps. Now their live shows are more about control and less about chaos, and closing off their tour with a London show at The Roundhouse featuring a live orchestra was nothing short of what they deserve for coming this far.

The stage looked like a gothic cathedral as the band walked in slowly, covered by cloaks. The crowd cheered before the instruments even came on. As the set opened with “Come Hell or High Water,” it was evident that we were in for a spectacle that was a privilege to witness live. What stood out the most through the set was not the chaos of the band, but the restraint they had. The guitar breakdowns arrived only when they served the song, the violins and orchestra filled in the backdrop, and silence was also strategically delivered to build anticipation before drums re-entered with weight. Eddie Berg’s vocals were also measured by full of emotion, clean and calm, delivered for full impact. The set, comprising of hits such as “Heaven Shall Burn,” “Beyond The Pale,” and “Come What May” (delivered with a double violin overkill, featuring Tim Charles of Ne Obliviscaris) was complemented by dramatic lighting, fog, candle lights and unbreakable focus, which suited the venue’s acoustics perfectly.

The audience response mirrored the band’s approach. During slower songs such as “Alleviate” and “Continuum,” the crowd swayed and watched in awe. During the higher speed and impact songs, such as “Heaven In Hiding,” “Infectious” and “Erase,” the mosh pits opened, the crowd surfers moved to the front, and the headbanging peaked. Whilst the orchestra made the spectacle feel more classy at times, Imminence kept reminding us that despite the controlled sounds and acoustic breaks, they are still a metal band. The absolute zenith of the show was however its end; with the trifecta of “God Fearing Man,” “The Black,” and “Le Noir,” the crowd erupted, singing along, moshing to the soul-wrenching violin and giving the band everything.

For a group that started off at The Black Heart (one of Camden’s smallest but most impactful venues), to play The Roundhouse is no small feat. Having an audience that offers back the same restraint but also the same intensity is also no small achievement. This was metal stripped of excess, but still full of drama and intention. It was an unforgettable performance and the perfect way to round off the last show of 2025.