A few years ago, jazz-fusion powerhouse DIRTY LOOPS sold out Vanha Ylioppilastalo. An upgrade was overdue, and this November the band returned to Helsinki—this time filling what was apparently a sold-out Kulttuuritalo. They never stop amazing us. Coincidentally, on the same day, on November 15th, 2025, I was diagnosed with a fractured rib, but despite the pain, I felt an undeniable pull to see a show that would lift my mood. DIRTY LOOPS made perfect sense.
The last time I saw them, they performed in front of a hilariously over-the-top backdrop—pink, full of rainbows, even My Little Pony characters. Kulttuuritalo isn’t exactly the kind of venue suited for that sort of playful theatrics, so this time the stage was stripped of props and distractions.
With no support act, the band went straight for the main event. They were a little late, but when the lights finally dimmed, they were welcomed with thunderous applause as they launched into “Run Away,” instantly switching the room to good-vibes mode. The track feels like TOTO on steroids with a chorus worthy of a Disney finale. Released on their “Beagle” EP, it was my first time seeing it live—and the explosive bass solo from Henrik Linder was nothing short of jaw-dropping.
Things got even funkier with their cover of Justin Bieber’s “Roller Coaster.” I’ll admit, as a metalhead I barely know the original, but I’m certain it doesn’t sound anything like this. DIRTY LOOPS have an unreal ability to take a pop song, reinvent it entirely, and perform it with such technical brilliance that you’re left wondering how they even pulled it off. “Sayonara Love” followed in that same spirit, wrapping up my time in the photo pit before I had to head to my seat—where the night got a bit… complicated.
First hiccup: I dropped my things at the cloakroom. At €4.50 it’s probably the steepest fee in all of Helsinki, and it always kind of annoys me. Second: Kulttuuritalo is a cold venue, so I wore a hoodie. For the second time ever, security insisted that my hoodie counted as a coat. This time, the guard actually started feeling how thick it was to decide whether it needed to be checked. I’m not sure what etiquette that falls under, but I’d really prefer not to be touched. Luckily I got to keep it—but the whole ordeal made me miss most of “Just Dance” (yes, the Lady Gaga cover, which would have been a show highlight for me).
Then I finally reached my seat… only to find it occupied by someone who flat-out refused to move. Not knowing what else to do, I took the first empty seat I found. That worked until near the end of the show, when the very drunk actual ticket holder returned from the bar and tried to reclaim it. It’s honestly chaos when security doesn’t escort people to their seats. It’s not the first time I’ve seen people sitting wherever they want—or floor-ticket holders sneaking into the seating sections.
I suspect this also meant I missed most of “Living for the City,” their Stevie Wonder cover from the “Beagle” EP. By the time I settled in properly, the band was already launching into the explosive “Going on a Date.” Live, the track felt even more energetic than on the record, with its unexpected rap section and razor-sharp rhythmic twists. I’m genuinely glad they leaned so heavily into material from the EP, but I was especially relieved I didn’t get distracted during this one. It’s chaotic in all the best ways—technical, playful, and anchored by insanely fun drumming.
Then the band shifted gears with “It Hurts,” from “Loopified,” giving the spotlight fully to Jonah Nilsson. Throughout the set I kept thinking: if Jonah ever sang a motivational Disney ballad, it would absolutely work. Part of me secretly hopes DIRTY LOOPS might collaborate with Disney someday, because this performance hit straight in the feels. It was beautiful—surprisingly delicate for a venue like Kulttuuritalo, which isn’t exactly known for pristine acoustics. Yet somehow, they managed to dial the sound in just right this time, which is no small achievement.
They continued in a similar emotional register with “Crash and Burn Delight,” which opens like a ballad before taking a left turn into its more rhythmically complex finale. That shift served as a perfect transition into the faster and funkier “Follow the Light.”
From my seat, I managed to enjoy most of the show and it felt like highlight after highlight. “When the Time Is Right” from their newest release sounded fantastic live—tight, vibrant, and full of that trademark DIRTY LOOPS sparkle. Everything was going smoothly until “Old Armando Had a Farm,” when the original owner of the seat I was occupying suddenly returned and wanted it back. It was a bit surprising, considering he’d missed nearly the entire concert, but on the other hand, when something like this happens, in my books, you move.
I gave it another try at my actual assigned seat, but once again, the person sitting there refused to move. At that point, the hassle combined with the increasing pain in my rib was just too much. I wandered around for a few songs, not quite sure where to go—including during my absolute favorite, “Work Shit Out,” which felt painfully ironic under the circumstances. Eventually, I decided to make a strategic exit and pick up my things from the cloakroom during the encore, “Hit Me!” Despite such a high cloakroom fee, everyone tends to leave their belongings there, and I had zero interest in queuing while in that much pain.
In the end, despite the inconveniences, DIRTY LOOPS once again delivered a top–tier performance. Their musicianship continues to be mind-bending—just as awe-inspiring as the first time I saw them. The setlist struck a great balance between fresh material and fan favorites. I did miss their Britney Spears cover “Circus,” because it’s ridiculously good, but overall the mix felt thoughtful and satisfying.
Photos by Laureline Tilkin
