Joan Jett & The Blackhearts — Olympia, London - July 8th 2026

Joan Jett & The Blackhearts — Olympia, London

July 8th 2026

Review by Robert Corich

There are few things more satisfying than watching a seasoned professional walk onto a stage and proceed to remind everyone exactly why she got there in the first place.

Joan Jett did precisely that tonight.

Before the Queen of Noise took the stage, The Meffs opened proceedings with a short, sharp and highly entertaining blast of punk-rock mayhem. A kick-arse duo who proved to be the perfect opener — warming up the room without pulling any punches.

From a kick-arse duo to the Queen of Noise herself — not a bad double act for a London evening.

This was a raw rock ’n’ roll master class from a seasoned pro who was Born to Be Bad, and from the moment the opening chords of “Victim of Circumstance” rang out, there was absolutely no doubt that Joan Jett had arrived.

As a founding member of The Runaways, Jett was there at the sharp end of the original all-girl rock revolution, and those early influences remain written all over her stage persona. In particular, you can still see the influence of her early obsession with Suzi Quatro — the leather, the attitude, the bass-driven swagger and that wonderfully uncomplicated belief that rock ’n’ roll should be played loud and without apology.

Indeed, watching Jett tonight, it was difficult not to think that she really can Can the Can.

And there was something particularly enjoyable about the way she attacked the old Runaways material. “Cherry Bomb” and “You Drive Me Wild” weren’t simply songs dragged out for the sake of nostalgia; Jett looked and sounded like she was having an absolute bloody ball playing them again. There was a genuine sense of revisiting her past without being remotely trapped by it — a founder member of The Runaways happily reminding us where some of this particular rock ’n’ roll journey began.

From there it was straight into “Do You Wanna Touch Me (Oh Yeah)” and “(I’m Gonna) Run Away,” with the momentum showing no signs of letting up.

There is, of course, a certain elephant in the room whenever anyone performs a Gary Glitter song these days. “Do You Wanna Touch Me” comes with baggage that cannot simply be ignored. But Jett has been performing it for decades, long before the controversy surrounding its writer became what it is today. Tonight, she delivered it with the same unapologetic conviction as ever.

Clearly, she doesn’t give a toss about the controversy — because that song became Joan Jett’s a long time ago.

There was no messing about here. No elaborate production required. Joan Jett has never needed smoke and mirrors when a loud guitar and a great song will do the job rather nicely.

“The French Song” and “Light of Day” — the latter giving us a Bruce Springsteen moment — provided some variation before the Blackhearts cranked the engine back up with “(Make the Music Go) Boom,” “Fake Friends” and a terrific “Androgynous.”

Then came “Oh Woe Is Me,” “Lie to Me,” “Love Is Pain,” “Long Time” and “If You’re Blue,” demonstrating that there is considerably more to the Jett catalogue than the handful of songs that have become permanent fixtures on classic-rock radio.

And speaking of fixtures, “Everyday People” was an inspired addition before the inevitable happened.

“I Love Rock ’n’ Roll.”

You could probably play those opening chords on the moon and somebody would still shout the next line.

It remains one of those songs that transcends generations, genres and common sense — and tonight it sounded every bit as good as it should.

“Crimson & Clover” followed, before “I Hate Myself for Loving You” brought another huge chorus crashing around the Olympia.

Then, fittingly, Joan saved the best attitude for last.

“Bad Reputation.”

If there was ever a more appropriate way to close a Joan Jett show, I haven’t heard it.

Because that reputation wasn’t handed to her. She earned it — one distorted guitar, one uncompromising attitude and one hell of a lot of rock ’n’ roll at a time.

The Blackhearts were the perfect accomplices throughout, providing the muscular, no-nonsense backdrop that allows Jett to do what she has always done best: stand there, plug in, turn up and kick some serious arse.

At a time when far too many so-called rock shows have become exercises in nostalgia, Joan Jett doesn’t look like someone recreating the past.

She looks like someone who still owns it.

Tonight was loud, tough, energetic and gloriously free of bullshit.

A raw rock ’n’ roll master class from a woman who has been doing this long enough to have earned the right to take it easy — but clearly hasn’t got the slightest intention of doing so.

Joan Jett proved once again that she is, quite simply, the Queen of Noise.

And after all these years, the crown still fits rather nicely.