seems to have been on a studio hot streak as of late. After 2018’s experimental ‘Boarding House Reach’ and two albums in 2022, 2025’s ‘No Name’ was a dynamite return to form. This was surprisingly followed by ‘Frozen Charlotte’ in 2026, another strong crop of songs which lead to an equally unexpected set of UK dates. The evening was started by a thirty-minute support from which was unfortunately noise for the sake of noise. They definitely out-rocked White if you were wearing ear plugs and staring at a decibel meter but for every 100 count of Db there was but a sprinkling of song.

30 minutes later White confidently led his band onto the stage and began a cacophony which displayed how to turn the amps up to 11 the right way. This led into “That’s how I’m feeling” nicely, surprisingly this was one of only two offerings from 2025’s ‘No Name’ (along with ‘It’s Rough on Rats (If You’re Asking)’), a stark contrast to most recent sets which have featured around five songs from the album. A setlist switch up is hardly uncommon in the realm of the Third Man though, seeing as he doesn’t use one giving his gigs an unmatched spontaneity. The other noteworthy quirk of the performance was the phone ban which was in place, something White has previously used extensively. This vastly improves the concert experience for everyone involved to an extent which simply can’t be overstated and should be far more commonplace.

Next up was ‘Dead Leaves on the Dirty Ground’ which, as with every White Stripes number, gained huge applause from the first notes. However, it was the first sign that White’s voice at times was struggling to compete with the music (especially when reaching higher registers) and lacking some clarity, this wasn’t a major issue or even close to being one but wasn’t a one-off incident either. Which was somewhat surprising considering the backing he was competing with only comprised bass, drums and keys. The next song was one of the night’s biggest shocks, ‘All Along the Way’ from the ‘Entering Heaven Alive’ album. Luckily it was full of much more spunk than the recorded version. The organ solo also deserves a nod during this song as it worked wonderfully. The overall keyboard tone is the same as that on his recent recordings and it sounds great live, like a classic Hammond Organ which a has been infused with a half dose of the Third Man Scream Serum which permeated White’s vocals. An effect like a banshee which is familiar to anyone who has listened to the new albums although like I said earlier some higher parts even with the effect slathered on sounded a bit ramshackle.

No more acoustic, or even slower songs for that matter penetrated the set, with a steady stream of recent songs flowing out from the band intertwined with some deeper cuts such as ‘Broken Boy Solider’ by , ‘Phonograph Blues’ by and ‘Screwdriver’ by . The sound and energy were consistent although a lesser fan may have found it a little narrow even if the area it occupied was high octane. The audience slowly began to understand that White intended to keep his amps at 11 for every song. This first part of the set came to a close with another big hitter, ‘Fell in Love With a Girl’, which was a little lost in the heavy tones of the extra two instruments on top of its original guitar and drum arrangement. It should be noted though that audience members downstairs in the stalls reported on the sound of the gig overall much more favourably from the guitar tone to the vocal, indicating some of the excess reverb and feedback was courtesy of the back wall rather than the stage.

After leaving his guitar creating a feedback loop whilst the band caught a breather, the rest of the band returned to start a jam which White soon entered to before breaking into ‘Lazaretto’ which was followed closely by another early solo hit in ‘Sixteen Saltines’ before a return to the formula of the bulkier first set featuring some new songs mixed with an older deeper cut in ‘The Union Forever’.

This brought the night into its final two songs, something that was signalled by the longest of White’s sparse crowd interactions introducing the band before calling out ‘Steady As She Goes’ which really got everyone going. It’s a testament to White’s consistency and the dedication of his fan base that he is able to pull top-shelf showstoppers from three separate musical projects which the audience enjoys equally (not to mention his other band The Dead Weather). For most artists this would be a fitting closer for any rock show but of course there is a Jack up White’s sleeve that he is only too aware how to play. Whilst some artists condemn hits the size of ‘Seven Nation Army’ and the need to play them formulaically to close show after show, Jack White seems to have a perfectly healthy relationship with this fact which in turn has led to him devising a fitting construction for his show’s climax. Starting in the show’s longest silence (most songs were run together by cacophonies without even leaving room for applause) with a single spotlight on him he slowly starts to rev the engine before breaking into the riff known from Orkney to Cape Town and everywhere in between. This led to a pretty faithful rendition which of course does no wrongs before the band took one final bow, with White thanking the audience.

Although the show’s sound didn’t seem to mould around older material in a way which made it sound as good as recent songs from a tone standpoint, White still without a doubt delivered a set where every song captivated the audience, most of the deep cuts doing it in a way which was disproportionate to their place in his canon (potentially thanks in part to the phone ban). He has this amazing way with an audience which doesn’t require many words between songs, where he’ll dance about between the band members calling out solos as he goes, like a mix between Chuck Berry clicking his heels and Eden Hazard dropping a shoulder before turning to the audience and getting exactly his desired response, whether it be a clap or chant, with a mere flick of his hand or a nod. The new material holds up in the new set, and it needs to considering the amount of it, and even though some classics felt not quite as well represented, Jack White still falls into a must-see category in modern rock with few equals in skill and essentially none in idiosyncrasy.