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AC/DC Australia Tour 2025: A Report-Based Live Review

AC/DC’s 2025 Australian return brought seven stadium shows to five cities. Here’s what the Melbourne setlist and a Brisbane live review reveal—and what they don’t.
Opened Runtime4 min Written byDocumentaryTube Team
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AC/DC returned to Australian stadiums in late 2025 for the first time since 2015, playing seven shows in five cities on the POWER UP Tour. The Melbourne opener’s reported 21-song set paired familiar anthems with newer material and brought “Jailbreak” back to the stage; a separate review of the Brisbane finale offers a vivid, but show-specific, account of the band’s live force. These accounts illuminate parts of the run, not every night.

How the Australian run unfolded

AC/DC announced the Australian leg on 22 June 2025, describing it as the band’s first Australian tour since 2015. The original announcement listed five dates. Two additional performances—one each in Sydney and Brisbane—expanded the schedule to seven shows across five cities. The tour took its name from the band’s 2020 album POWER UP. AC/DC’s announcement named Angus Young, Brian Johnson, Stevie Young, Matt Laug and Chris Chaney in the touring lineup, with Amyl and the Sniffers as special guests.

City Venue 2025 dates
Melbourne Melbourne Cricket Ground 12 November
Sydney Accor Stadium 21 and 25 November
Adelaide bp Adelaide Grand Final 30 November
Perth Optus Stadium 4 December
Brisbane Suncorp Stadium 14 and 18 December

The five original dates and the final seven-show schedule are documented in the band’s announcement and the promoter’s archived schedule. The band’s announcement also said POWER UP debuted at number one on Australia’s ARIA chart and in 20 other countries, and reported more than two million tickets sold across 24 European shows. Those are figures AC/DC reported in June 2025, not independently audited totals for the Australian leg.

What the Melbourne opener played

PerthNow’s 13 November report estimated that 80,000 fans attended the 12 November MCG concert. Its account says AC/DC opened with “If You Want Blood (You’ve Got It)” and played this 21-song set:

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  1. “If You Want Blood (You’ve Got It)”
  2. “Back in Black”
  3. “Demon Fire”
  4. “Shot Down in Flames”
  5. “Thunderstruck”
  6. “Have a Drink on Me”
  7. “Hells Bells”
  8. “Shot in the Dark”
  9. “Stiff Upper Lip”
  10. “Highway to Hell”
  11. “Shoot to Thrill”
  12. “Sin City”
  13. “Jailbreak”
  14. “Dirty Deeds Done Dirt Cheap”
  15. “High Voltage”
  16. “Riff Raff”
  17. “You Shook Me All Night Long”
  18. “Whole Lotta Rosie”
  19. “Let There Be Rock”
  20. “T.N.T.”
  21. “For Those About to Rock (We Salute You)”

The selection balances the band’s best-known songs with “Demon Fire” and “Shot in the Dark” from POWER UP. Its most unusual inclusion was “Jailbreak”: PerthNow reported it as the song’s first live performance since 1991. That milestone is attributed to the newspaper’s report, rather than presented as an official band statement. Neither the setlist nor the account establishes that later shows followed the same running order or included the same songs. PerthNow’s Melbourne report is the source for both the setlist and attendance estimate.

A Brisbane review, and the limits of one night

Charlyn Cameron’s No Barriers.au review of the 18 December Suncorp Stadium concert describes a performance that hit hard from the start. Cameron wrote that “AC/DC hit the stage like a sledgehammer,” then characterized the show as old-fashioned rock and roll driven by blues and old-school swagger. She recalls particularly strong crowd responses to “Back in Black” and “Thunderstruck.” These are one critic’s impressions of one Brisbane night, not a verdict on all seven performances. Read Cameron’s full review.

Cameron also discusses the support performances by Headsend and Amyl and the Sniffers. Amyl and the Sniffers were the special guests named in AC/DC’s tour announcement; the independent Brisbane review additionally names Headsend on that night’s bill. The available accounts do not amount to a systematic review of every city or show, so there is no basis here for ranking the performances or claiming a single definitive setlist for the Australian leg.

What the tour’s context does—and does not—tell us

The return carried particular weight because the band had not toured Australia since 2015. AC/DC’s June 2025 announcement also connected the tour to POWER UP, an album it said reached number one in Australia and 20 other countries. It reported more than two million tickets sold over 24 European shows before the Australian dates; that European figure offers context for the tour’s scale, but does not establish Australian attendance or box-office totals.

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Local event guidance captures the scale of individual nights, not the whole tour. For Sydney on 21 and 25 November, Sydney Olympic Park Authority expected more than 70,000 fans each night. It warned that 21 November would be especially busy because another concert was scheduled at Qudos Bank Arena, and said concert tickets included public transport, with frequent trains and event buses planned. Parking was expected to sell out in advance. These notices describe arrangements for past events, not current travel advice. The authority’s Sydney event information preserves that historical guidance.

For the MCG events on 12 and 16 November, the venue’s accessibility FAQ said general public parking was not available in Yarra Park and that accessible parking for Australian Disability Parking permit holders could be prebooked, subject to availability. It also listed tram routes and other access arrangements. This, too, is historical information for the 2025 concerts. The MCG’s event FAQ provides the venue-specific details.

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Verdict: a strong return, seen through distinct snapshots

The documented picture is of a substantial Australian stadium return: seven dates, a Melbourne set built around major hits and selected newer songs, and a notable “Jailbreak” revival. Cameron’s Brisbane review supplies a separate, energetic impression of the live show. Together these reports make a convincing case for the run’s scale and rock-and-roll impact, while leaving the night-by-night experience where it belongs: specific to each concert and its witnesses.

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