The Darkness
Fillmore Auditorium
November 13, 2025
Photos by Raymond Ahner
The Darkness brought their Dreams on Toast Tour to the historic Fillmore in San Francisco recently, with the kind of flamboyant, high-voltage spectacle that only they can deliver, while transforming the venue into a neon-lit cathedral of rock eccentricity. From the moment the band stepped onstage, it was clear the near sold-out crowd was in for something delightfully unrestrained. Frontman Justin Hawkins was as energetic as always, his falsetto already warmed up and sharp enough to split the rafters.
Opening with the punchy swagger of “Rock and Roll Party Cowboy,” the band wasted no time re-establishing themselves as both virtuosic musicians and straight up entertainers. The crowd responded instantly, singing along as if the lyrics were coded instructions for movement. Hawkins’s voice, still elastic after all these years, soared through the stratosphere during “Growing On Me” and “Get Your Hands Off My Woman,” the latter of which had Hawkins engaging the crowd with a call and response.
Part of The Darkness’s magic is their ability to balance technical proficiency with tongue-in-cheek performance. Dan Hawkins’ guitar work was tight and punchy, weaving classic heavy-metal riffing with a melodic confidence that powered the night’s best moments. Meanwhile, bassist Frankie Poullain strutted across the stage like a man who knew he was anchoring the entire operation, laying down grooves that felt both playful and authoritative.
The highlight, of course, was “I Believe in a Thing Called Love.” The room erupted before the first note landed, and Hawkins—grinning like a mischievous magician—milked the anticipation before launching into the iconic chorus. It was a pure, communal moment, with fans shouting every lyric as though the song were part of the crowds official anthem.
By the time the encore wrapped up with both “One Way Ticket” and “I Hate Myself,” The Darkness had delivered a show that was nostalgic without feeling dated, extravagant without tipping into parody. Their blend of showmanship, technical skill, and joyful absurdity made the night feel less like a concert and more like an invitation to abandon cynicism and embrace the sheer fun of rock and roll. In San Francisco, they didn’t just play—they triumphed.
Here’s a slideshow with more photos of The Darkness by Raymond Ahner:
