Burslem, Stoke-on-Trent has done something wonderfully un-British: it put a giant, permanent tribute to its loudest son right out in public. The newly unveiled statue of Motörhead’s Lemmy is more than civic pride in metal form. It is a reminder that rock history is not just pressed into vinyl – it is also poured into bronze, bolted to plinths, and turned into pilgrimage sites for fans who want something you can actually stand next to.
Below are some of the most striking rock star statues around the world, starting with Lemmy and moving outward – from Ballyshannon to Kirriemuir, Dublin to Montreux. Consider this your hit list of places where music fandom becomes geography.
Lemmy’s statue in Burslem (Stoke-on-Trent): a monument that actually looks like rock
Lemmy Kilmister was born in Stoke-on-Trent, and Burslem has leaned into that legacy with a public statue that is unapologetically “Lemmy”: boots planted, attitude intact, and built for photos that look like album covers. Visit Stoke’s Lemmy guide highlights him as one of the city’s iconic musical exports, turning the local connection into something visitors can follow like a trail of breadcrumbs (or beer mats) across the Potteries.
The point of a great rock statue is not polite realism. It is presence. Lemmy’s face, posture, and “don’t mess with me” silhouette work because Motörhead was always about impact first and nuance later.
“We are Motörhead, and we play rock and roll.” – Lemmy Kilmister, a line widely attributed to him in biographical overviews of Lemmy
Burslem’s own identity helps the statue land. This is a place with industrial bones, a town that understands grit without having to cosplay it, and the statue fits that texture rather than fighting it. The Burslem community site’s overview of the area frames the town’s distinct local character and heritage, which is exactly the kind of backdrop Lemmy looks right at home in.
How to “visit” a rock statue the right way
If you have ever rolled your eyes at statue tourism, rock monuments can change your mind. They are usually placed where everyday life happens – streets, riversides, civic squares – so you can absorb the city as well as the icon.
- Go early or late: best light, fewer people, better photos.
- Bring something small: a pick, a patch, a ticket stub – leave no mess, just a moment.
- Do the nearby music stop: a pub, venue, or record shop makes the visit feel earned.
Rory Gallagher in Ballyshannon: the statue that feels like a homecoming
Rory Gallagher’s statue in Ballyshannon is a masterclass in how to honor a player without turning him into a cartoon. Rory is shown as a working musician – guitar in hand, ready to move – which fits a guitarist remembered for relentless touring and a no-gimmicks approach.
Rory Gallagher’s official website preserves his legacy and underscores why fans treat locations tied to him as sacred: this is an artist whose reputation has been built as much on musicianship and integrity as on hits.
Ballyshannon itself matters here. When a town claims a musician, it is never only about birthplace trivia; it is about local values. Donegal’s official tourism portal situates the county as a destination with deep cultural identity, which is why Rory’s presence in public space reads like community memory, not branding.
What makes Rory’s statue hit differently
- It celebrates the instrument: the guitar is central, as it should be.
- It feels kinetic: more “mid-song” than “museum.”
- It invites musicians: guitarists recognize the stance instantly.
Bon Scott in Kirriemuir (Scotland): the grin you can’t fake
Bon Scott’s statue in Kirriemuir captures a rare thing in public sculpture: humor that does not weaken the subject. Bon was a charismatic frontman with a mischievous streak, and the monument leans into that personality rather than sanding it down.
The annual Bonfest celebration in Kirriemuir keeps his legacy active, not frozen, and it is a strong clue as to why the statue works: it is a focal point for an ongoing community ritual, not just a one-time unveiling.
An official Bon Scott-era interview feature is a useful reminder that his voice and attitude were never “manufactured rock.” They were the real thing, and any statue honoring him has to carry that swagger.
Kirriemuir’s Bon Scott statue: what fans love
- It is approachable: not distant, not overly “heroic.”
- It photographs well: the pose and expression do the work.
- It anchors a scene: it is part of a wider AC/DC pilgrimage.
Phil Lynott in Dublin: where fandom becomes street life
Dublin’s Phil Lynott statue is arguably one of the most “lived-in” rock monuments in Europe. It is positioned in a city that loves literature, talk, and nightlife – and Phil fits that vibe perfectly because Thin Lizzy always sounded like a band with stories.
Thin Lizzy’s official band history keeps the story in view for newer fans, which matters because a statue is not only about nostalgia. It is also an invitation to discover the music and realize how much of modern rock attitude traces back to Phil.
When a city’s statue becomes a meeting point, it becomes something bigger than tribute. It is public ownership of a cultural figure – and in Dublin, Phil feels less like a celebrity on a pedestal and more like a local you might still bump into.
“The boys are back in town.” – Thin Lizzy (Phil Lynott), “The Boys Are Back in Town”
Freddie Mercury in Montreux: a lakeside stage pose that never ends
Montreux’s Freddie Mercury statue is one of the most globally recognized rock monuments, and for good reason. The setting is cinematic: lakeside scenery, mountain backdrop, and a pose that reads like the climax of a live show.
Freddie Mercury’s official site notes his close association with Montreux, where he lived and recorded in his later years, which helps explain why the statue feels emotionally “placed,” not randomly installed.
The Montreux Jazz Festival’s official site reflects the town’s long-running musical prestige, adding context to why Montreux can carry a monument to a rock icon without it feeling out of place.
Why Freddie’s statue works so well
- Instant silhouette: one raised arm says “Freddie” from 50 meters away.
- Destination energy: the location is part of the artwork.
- Cross-genre appeal: rock fans, pop fans, and casual tourists all get it.
Quick comparison: four statues, four different kinds of “rock truth”
| Artist | City | What the statue captures | Best way to experience it |
|---|---|---|---|
| Lemmy | Burslem, Stoke-on-Trent | Sheer attitude and impact | Pair it with local music history stops |
| Rory Gallagher | Ballyshannon | Musician-first authenticity | Slow visit, listen to a live record after |
| Bon Scott | Kirriemuir | Mischief and charisma | Go during Bonfest for full effect |
| Freddie Mercury | Montreux | Showmanship as a permanent pose | Sunset lakeside walk, bring headphones |
The provocative take: rock statues are better than museums (sometimes)
Museums can be incredible, but they often sanitize the noise. A good rock statue does the opposite: it drops the legend into your everyday world and dares you to remember that rock was always public, messy, and a little confrontational.
That is why Lemmy’s new monument matters. It is not just “nice.” It is a statement that a working-class British city can celebrate a musician who never pretended to be respectable – and still be proud.
Conclusion: follow the statues, find the story
If you want a fun, meaningful way to travel through rock history, skip the generic landmarks and chase the statues. Burslem’s Lemmy, Ballyshannon’s Rory, Kirriemuir’s Bon, and Montreux’s Freddie each show how a city tells the truth about an artist: through placement, posture, and the kind of fans who keep coming back.
Rock does not belong only on playlists. Sometimes it belongs in the street, staring down the world in bronze.
