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Home ยป AC/DC Triumph at First Scottish Show in 10 Years โ€“ Murrayfield Stadium Shook All Night Long ๐Ÿดโšก๐Ÿ”ฅ

AC/DC Triumph at First Scottish Show in 10 Years โ€“ Murrayfield Stadium Shook All Night Long ๐Ÿดโšก๐Ÿ”ฅ

Michael by Michael
22 August 2025
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It had been ten long years since the sound of Angus Youngโ€™s Gibson SG last rattled the tartan soul of Scotland. A decade without cannons, duck walks, and โ€œOi! Oi! Oi!โ€ chants echoing through the valleys. But on this stormy night in Edinburgh, the boys were back in town, and Murrayfield was about to be turned into the biggest, loudest pub gig the country had ever seen.

This wasnโ€™t just a concert โ€“ it was a homecoming of sorts. AC/DC may have been born in Australia, but their DNA is dripping with Scottish heritage. Bon Scott grew up in Kirriemuir, Angus and Malcolm Young were born in Glasgow, and half the songs in their catalogue sound like they couldโ€™ve been written after a messy night on the Buckfast.

So when the lights went down and that first riff tore through the stadium, it wasnโ€™t just music โ€“ it was Scotlandโ€™s national electricity bill skyrocketing in real time.


Pre-Show Mayhem: Bagpipes, Pints & Devil Horns

You could feel it hours before the gates opened. The streets of Edinburgh were buzzing with fans in ripped denim jackets plastered with faded patches, schoolboy outfits bought off eBay, and enough red devil horns to make it look like Beelzebub had thrown a stag do in the city centre.

Walking up to Murrayfield, the bagpipers had ditched โ€œScotland the Braveโ€ in favour of โ€œThunderstruckโ€ โ€“ which, on a set of pipes, sounds absolutely unhinged but also somehow perfect. Stag dos clashed with families three generations deep, and the pubs within a mile radius were rammed tighter than a Reading Festival portaloo on Sunday morning.

Inside the stadium, it was the usual stadium gig extortion racket:

  • ยฃ7.80 for a lukewarm pint of Carling ๐Ÿบ
  • ยฃ6.50 pies that tasted like theyโ€™d been microwaved since the Black Ice tour ๐Ÿฅง
  • Merch stalls flogging ยฃ40 T-shirts, ยฃ90 hoodies, ยฃ25 caps, and a ยฃ15 programme that mostly featured Angus pulling the same three faces heโ€™s pulled since 1975 ๐Ÿค‘

By 8:15pm, the anticipation was boiling. The crowd โ€“ 67,000 strong โ€“ stomped their feet, chanted โ€œAngus! Angus!โ€ and waved banners that read things like โ€œScotlandโ€™s on the Highway to Hellโ€ and โ€œ10 Years Too Bloody Long.โ€

Then the lights cut. The screens flickered. And all hell broke loose.


The Setlist: A Riff-Fueled Journey Through Rock History ๐ŸŽธ๐Ÿ”ฅ

AC/DC donโ€™t mess about with artsy intros or moody build-ups. They come out, plug in, and set the world on fire. Hereโ€™s how the night went down, song by song, riff by riff.

1. If You Want Blood (Youโ€™ve Got It)

An absolute sledgehammer opener. As soon as those opening chords hit, the stadium became a riot. Brian Johnson stomped out in his flat cap looking like a Geordie uncle whoโ€™d just downed six pints, and roared with all the gravelly power of a jet engine.

2. Back in Black

No warm-up needed. Straight into the anthem thatโ€™s sold more copies than pints of Tennents in Scotland. The crowd sang so loud that Brian couldโ€™ve gone for a pint and let them handle it.

3. Demon Fire

A newer track off Power Up, and surprisingly, it didnโ€™t feel out of place. Angus ripped a solo that could strip paint off the Forth Bridge.

4. Shot Down in Flames

Vintage AC/DC sleaze. Brian swaggered around, spitting out the lyrics while Angus duck-walked across the entire stage.

5. Thunderstruck

The moment the entire nation had been waiting for. 67,000 people yelling โ€œTHUN-DER!โ€ in unison was enough to register on the Richter scale. I swear Edinburgh Castle shook.

6. Have a Drink on Me

Felt almost like an instruction to the crowd. Pints flew, beers were downed in one, and at least one kilt went airborne in celebration.

7. Hells Bells

The giant bell descended, tolling doom across Murrayfield. Pure theatre. Everyoneโ€™s necks snapped back as that riff dropped.

8. Shot in the Dark

Another Power Up track โ€“ Brianโ€™s vocals tore through it with surprising ease. Sounded heavier live than on record.

9. Stiff Upper Lip

A cheeky deep cut. The fans lapped it up like Irn-Bru on a hangover.

10. Dirty Deeds Done Dirt Cheap

Brian prowled the stage like a villain in a Carry On film. Everyone shouted โ€œDirty deeds!โ€ so loud it probably scared pigeons in Glasgow.

11. Shoot to Thrill

One word: carnage. This one turned the stadium into a pit. Moshers went for it, people fell over, and security looked overwhelmed.

12. High Voltage

A beautiful old school nod. Felt like time-travel back to Bon Scottโ€™s heyday.

13. Sin City

Played with a darker, bluesier edge. Murrayfield lapped it up.

14. You Shook Me All Night Long

Every couple in the stadium screamed it like it was their first dance song. Cheesy? Yes. Brilliant? Also yes.

15. Whole Lotta Rosie

Cue the inflatable Rosie bouncing above the stage. She looked more terrifying than ever, towering over the crowd like a demonic Love Island contestant.

16. Let There Be Rock

Angusโ€™s moment. A ten-minute solo where he duck-walked, writhed on the floor, and somehow ended up playing while lying flat on his back. The manโ€™s an alien.

ENCORE:

  1. Highway to Hell
    The place exploded. Brianโ€™s growl, Angusโ€™s riff, 67,000 fists in the air. Utter perfection.
  2. For Those About to Rock (We Salute You)
    The cannons rolled out, fireworks lit up the Edinburgh night sky, and with every โ€œFIRE!โ€ the entire stadium shook. There wasnโ€™t a single person not screaming along.

Angus Young: The Eternal Schoolboy ๐Ÿ‘•๐ŸŽฉ

Thereโ€™s no overstating it: Angus is the heart of AC/DC. The manโ€™s 69 years old and still plays like a caffeinated teenager. His duck walk is still absurdly energetic, his solos still face-melting, and his stage presence magnetic.

At one point during โ€œLet There Be Rockโ€, he collapsed dramatically on the stage, twitching while shredding, before popping up like Lazarus reborn in a school uniform. The cameras zoomed in on his sweat-drenched blazer, and the crowd went feral.


Brian Johnson: Voice of the Thunder โšก๐ŸŽค

If anyone doubted Brian could still hack it after his hearing issues, they were silenced. The man sang like his life depended on it. Sure, some high notes were more growl than scream, but thatโ€™s the beauty of AC/DC โ€“ imperfection IS the perfection.

โ€œScotland, itโ€™s been too bloody long!โ€ he roared. The crowdโ€™s response was deafening. If you werenโ€™t there, imagine 67,000 Glaswegian aunties telling you off for being late to tea.


Crowd Carnage: Kilts, Pints & Inflatable Chaos ๐Ÿฅด๐Ÿบ

The Scottish crowd lived up to its reputation. Highlights included:

  • A bloke in a kilt crowd-surfing during โ€œT.N.T.โ€, mooning half the South Stand.
  • A giant inflatable Bon Scott head making its way across the crowd.
  • Entire sections pogoing like it was still 1979.
  • Random chants of โ€œHere we, here we, here we f***ing go!โ€ between songs.
  • Beer showers so heavy that by the time โ€œThunderstruckโ€ hit, it felt like indoor rain.

Security spent most of the night either laughing or panicking.


Merch & Money Madness ๐Ÿ’ธ

AC/DC know their worth, and fans happily paid for it:

  • Standard T-shirt: ยฃ40
  • Tour hoodie: ยฃ90
  • Caps: ยฃ25
  • Programme: ยฃ15
  • Angus devil horns (light-up): ยฃ20
  • Beer: ยฃ7.80
  • Water: ยฃ3.50 (aye, water more expensive than Irn-Bru)

By mid-gig, half the merch stalls were sold out of small and medium sizes. One fan was tamping when he had to buy a large hoodie that looked like a tent, muttering โ€œonly in Scotland, mun.โ€


What Went Wrong? (The Ugly Bits) ๐Ÿ˜ฌ

Letโ€™s be honest โ€“ no gig is flawless, and Murrayfield had its hiccups:

  • The sound at the back of the stadium was a bit muddy early on.
  • Queues for drinks were brutal โ€“ 30 minutes for a pint.
  • One merch stall card machine broke down, causing near riots.
  • Brian started โ€œHighway to Hellโ€ slightly late โ€“ not that anyone cared.
  • A few fans fainted in the crush and had to be pulled out.

But letโ€™s face it: none of this mattered once the cannons went off.


The Finale: Fire, Cannons & Glory ๐ŸŽ‡

The encore was biblical. Cannons blasting during โ€œFor Those About to Rockโ€ rattled chests, fireworks split the sky, and 67,000 voices sang together as one. Edinburgh turned into the loudest place on Earth for those final moments.

As the band waved goodbye, Brian tipped his cap, Angus blew kisses, and the cannons smoked behind them. It felt less like an ending and more like a promise: AC/DC will never die.


Final Thoughts

After ten years away, AC/DC returned to Scotland not as tired old legends, but as living gods of rock. Murrayfield didnโ€™t just host a gig โ€“ it hosted a resurrection.

The riffs were heavy, the beer was overpriced, the kilts were flying, and the cannons were deafening. In short: it was everything an AC/DC gig should be.

For those about to rock, Scotland salutes you. ๐Ÿ‘Šโšก


๐ŸŽง Verdict: 10/10 cannons fired.
๐Ÿ’ท Wallet damage: catastrophic.
๐Ÿ˜‚ Mosh pit madness: kilts and chaos.
๐Ÿด Legacy: AC/DC proved theyโ€™re still the loudest, sweatiest, most electrifying band on Earth.

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Michael

Michael

๐ŸŽธ About Michael Michael is the founder, editor and chief riff wrangler of The Riff Report, an independent Welsh rock, metal and alternative music publication built by fans, for fans. A lifelong rock and metal fan, Michael has spent years immersed in the music, culture and community that surround the heavier side of life. From discovering new bands and digging through classic albums to standing in muddy festival fields, squeezing into packed venues and spending far too much time near the front of a stage, music has always been much more than background noise โ€” it is a massive part of who he is. That passion eventually became The Riff Report, a publication created to celebrate the bands, artists, venues, festivals, photographers, promoters and fans who keep the rock and metal world turning. Michael spends much of the year covering gigs, festivals, tours, album releases, new singles, interviews and music news, with a camera never too far away and a press pass usually hanging somewhere around his neck. Whether it is a huge arena show, a major outdoor festival or a tiny grassroots venue packed with people discovering their new favourite band, he believes every part of the scene has stories worth telling. For Michael, one of the biggest joys of music journalism is being able to shine a light on artists at every level. The Riff Report is just as interested in the hungry independent band playing to 50 people as it is in the global act headlining to 50,000. Supporting unsigned, independent and grassroots musicians is a huge part of the publicationโ€™s identity, because every legendary band started somewhere. Sometimes the next big thing is not on a massive billboard or a major-label playlist โ€” sometimes they are crammed onto a tiny stage in a pub, plugging in their own gear and hoping somebody in the room remembers their name. Michael wants The Riff Report to be one of the places that remembers.

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