Bad Omens Keep AFAS Live On Edge From Start To Finish

All photos are made by Bryan Kirks

On Friday evening, December 12, metalcore band Bad Omens took over AFAS Live in Amsterdam as part of their Do You Feel Love? tour.

By the time I entered the venue, the crowd was already well warmed up by support acts The Ghost Inside and Bilmuri. The atmosphere was good and energetic, with the audience clearly ready for the show.

The night opened with a pre-recorded video featuring a tape recorder delivering a spoken message, paired with dark and unsettling visuals. It immediately set an almost horror-like tone. Shortly after, vocalist Noah Sebastian appeared on stage and kicked off the set with “Specter.” Abstract visuals gradually transitioned into live footage from the stage, while thick clouds of smoke filled the room during the chorus.

What stood out right away was the strong visual production. Throughout the show, visuals combined live camera shots with layered effects. When “Glass Houses” followed as the second song, the intensity increased significantly, with heavier riffs and added fire effects.

After the second track, the venue briefly went dark before “The Drain” exploded through the speakers. The visuals remained drenched in red, matching the aggressive tone of the song. Despite the heaviness of the music, the band managed to create moments of controlled tension. Toward the end, a drum-focused section sent the crowd into complete chaos.

Sebastian’s vocal performance was impressive throughout the night. Many songs featured high, demanding vocal lines, which he delivered effortlessly.

After “The Death of Peace of Mind,” a second tape video played, leading into the newer track “Dying to Love.” The lighting shifted to blue, instantly changing the mood on stage. This moment stood out as a personal highlight of the evening, with the atmosphere, vocals and overall vibe coming together perfectly.

Compared to the previous song, “Concrete Jungle” felt more restrained on stage. While the crowd response started off fairly calm, more and more people began headbanging as the song progressed. Cameras placed around the venue projected live footage onto side screens, although these were briefly inactive during this track, making it harder to see the stage for those further back. Halfway through the song, the screens came back on, suggesting a minor technical issue.

Next up was “Nowhere to Go,” during which Sebastian encouraged the crowd to open up a mosh pit. With enough space in the room, the call clearly didn’t go unanswered. When the drop hit, the pit fully erupted.

Before the next video interlude, “Limits” was played, followed by “ARTIFICIAL SUICIDE.” This track sparked noticeably more crowd interaction, with louder sing-alongs and increased energy. The guitarists played a big role in pushing that momentum even further.

When “V.A.N.” started with its aggressive guitar work, the entire room went wild once again. The visuals continued to impress, especially during “Left for Good,” where the grainy aesthetic perfectly matched the band’s style. This song clearly stood out as a fan favorite. As soon as the title lyric returned, it was shouted back at the band at full volume.

At times, the band seemed determined to keep the audience on edge. Sudden moments of darkness were often followed by an explosive return of sound, amplifying the impact.

During “Anything > Human,” Jonathan Vigil joined the band on stage, adding another layer of intensity. In a genre like this, bass is essential, but at moments it felt slightly too loud, becoming somewhat overwhelming.

After “What Do You Want From Me?” another tape video played. Sebastian then took time to interact with the audience, reading signs from fans at the front and briefly engaging with them. Amsterdam marked the final stop of the tour, with one last show scheduled for the following day.

“Just Pretend” turned AFAS Live into a sea of phone lights, with the crowd singing along loudly. A final tape video followed, once again blending pre-recorded footage with live shots from the audience.

The encore took a while, long enough to raise doubts about whether it would happen at all. When the band finally returned, they closed the night with “Dethrone.” The song was brutally heavy, with fire effects roaring across the stage, making for a powerful final statement.

Overall, it was an enjoyable and well-produced evening. While it was a shame to see AFAS Live not completely sold out, considering the band’s growth over recent years, it feels inevitable that they will reach that level soon.