Live at The HUG and PINT 4th July 2026

Live Review

Maybe I’m just getting old, but it always feels a bit difficult to get going on the second day of a festival. You’ve been on your feet more than usual, you’ve had a late night and everything starts a bit earlier on Saturday. Whatever it is, I definitely need a bit of a kick. Thank goodness then, for Welsh trio Häxan , who provide the ultimate wake-up call. They’ve played here before, back when Maid of Stone was new, so it’s heartening to see these hard rocking ladies making the leap to the main stage. Whether it’s the heavy riffing of ‘Skeletons’ or the distinctive sound of Harriet Wadeson’s Rickenbacker, at times I feel like I’m listening to a female Motörhead (though Sam Bolderson’s vocals are significantly more melodic!). Joking that they’re “not really a daytime band” and struggling to navigate the no swearing restriction, they’re a lot of fun, and certainly not the only ones who end up “head-banging before noon on a Saturday!”. A thundering ‘Burn Alive’ brings the set to a thrilling close. Over on the Firestarter, it’s Untamed Silence who gets proceedings underway with a warm and enthusiastic performance indicative of a band who seem genuinely delighted by the opportunity. Bringing in elements of symphonic metal, ‘Nowhere’ combines Debbie Wade’s theatrical vocals with some brutal riffs. Though perhaps not one of the most memorable sets of the day, it’s perfectly enjoyable, ‘Long Time Dead’ rumbling along nicely with some heavy guitar crunch. Back on the Inferno stage, Xander and the Peace Pirates set the day up right for anyone arriving a little late to the party. Getting the obvious out the way: singer and guitarist, Keith Xander was born without a picking hand. He clearly did not get the memo that said he couldn’t play guitar. So, he cracked on holding a pick in a prosthetic hand. Of course, there is the initial ‘wow’ when see Keith at first. It does not take long, however, before that first ‘wow’ evolves into a new and improved ‘wow’ as the quality of Keith’s playing becomes clear. The band only had a short set, but their bluesy, rock style got the crowd swaying in the early afternoon sunshine. This was a band made up of very competent musicians, including a bass man who, for me, was the groove master of the day. Hailing from Liverpool, and not the Deep South of America, as their look might have you believe, there is a good chance they will be in a venue near you. If you get a chance to see them, go. You will not be disappointed. Youthful and lively, Kit Trigg are a trio well suited to a sunny day. Their music is bright and optimistic, delivered with plenty of bounce and energy. Their set is a shot of adrenaline that lifts the spirits, frontman Kit mixing things up with his unique vocal delivery that occasionally wanders into rap territory, as on ‘Snake in the Grass’, which also throws in some sweet harmonies. It’s possibly an acquired taste, but seems to be going down well, much of that probably thanks to the irrepressible joy that these lads radiate. Given the number of ladies making their mark on the stage today, it feels appropriate to see Girlschool on the bill. True pioneers, Girlschool were playing heavy metal at a time when it was particularly difficult for women to make an impact in the genre, and they’re still going strong. The ever present Kim McAuliffe is wonderfully no-nonsense, much like the music the band play. From 80s classics like ‘Demolition Boys’ and ‘Nothing to Lose’, up to the fairly recent ‘It Is What It Is’, very little has changed; fast-paced, noisy and snarling with attitude, it’s easy to see why Lemmy was a fan. I’m initially a bit confused to see a man behind the drums, but it transpires that Denise Dufort’s feeling rough and had to stay home. It’s a shame, but doesn’t detract from a set that’s heavy on nostalgia and heavier on riffs. ‘Race With The Devil’, ‘Bomber’ and ‘Emergency’ ensure the set hits a home run at the end, leaving us all wanting more. Sadly I only catch a very short burst of Rattlesnakes set (I’ve probably been buying more food from the Texas Smoker!), but what I hear sounds fantastic, heavy metal brought bang up to date with a belting vocalist in Rowena Neale. I hope to catch the band properly another time. Given Motörhead t-shirts seem to be the uniform of choice today, its no surprise that one of the biggest crowds of the day is forming for Phil Campbell’s Bastard Sons . It’s an important occasion for the lads, marking their first show since their dad’s untimely passing. It must be tough for them, and the show starts with a tribute, a recording of Phil’s guitar work and his voice introducing ‘Heroes’. It’s this uncharacteristically mellow song that begins the set. Any sense of grief is soon pushed away in favour of celebration as the band pick up the pace and the energy with a raucous ‘We’re the Bastards’. Fury main man Julian Jenkins does a great job on vocals, but a very poor job at keeping his swearing under control! That said, it wouldn’t be a Bastards show without us being encouraged to raise our middle finger and shout “f*** you Tyla Campbell!” Keeping the spirit of their dad, and Motörhead alive, it’s always going to be welcome to hear bangers like ‘Going to Brazil’, ‘Rock Out’ and of course, ‘Ace of Spades’ working their magic on a festival crowd. The lads thank everyone for sending love and support at a time that has been incredibly difficult for them, and acknowledge that their dad taught them to play rock and roll - good job Phil. I’ve heard a lot of chatter about LN , so it’s only right that I go and have a look. Dressed like Vikings with painted faces, the band affectionately refer to their fans as ‘peasants’ and put on quite a show, LN Hirst brandishing a head on a stick (he’s called Donny!) as she stalks the stage. With a fascinating voice capable of elegance, and also angry, terrifying growls, she is utterly compelling. ‘Draugr’ is heavy and unsettling, the refrain of “he’s coming for you” giving the song a haunted quality. I hear many referencing LN as their band of the day, discussing Hirst’s ability to whip up the crowd. Not bad for a band that most of us probably didn’t know anything about this morning. Danko Jones proves to be something of a divisive choice, his quirky humour amusing some and causing others to proclaim that he should change the D in his name to a W! Say what you like, the Canadian seems to have mastered the knack of penning a catchy tune. Cleverly combining punk energy with hard rocking riffs and choruses designed to implant themselves firmly in your brain, songs like ‘Good Time’ and ‘First Date’ are relentless blasts of attitude. Jones is an intense presence, partly thanks to his face which always looks a little bit angry, but also because he attacks every song like he really means it. Bassist John Calabrese and drummer Rich Knox are very much locked in, and this feels like a tight unit. I had no idea what to expect as I waited near the front for Battle Born to take the stage. I turned around and saw that several thousand people either did know what was about to happen or were just as curious as me. Then the backing track came on, four guys in tight jeans, long hair and Flying V guitars sprinted onto the stage, they were then joined by a singer with loads of hair, a bandana and dark glasses that resembled re-entry shields from the Starship Enterprise. There was almost nothing of his face visible to the crowd. We had travelled back in time to the 1980s… and it was brilliant. This was a non-stop show of great energy and good fun. The crowd loved it and it was clear the band did too. It’s always great to see bands take their chance on a stage that, in all honesty, is positioned in front of what is probably the biggest crowd they have played to. Battle Born lapped it up and absolutely delivered. Like every other member of the audience I was smiling, and I have certainly added them to my ‘next time’ list. Introduced by Paul Anthony as “the original and only metal Queen”, I’m ashamed to admit I don’t know much about Doro Pesch. She looks fantastic in her leather and chains, and boasts an infectious enthusiasm that makes her very popular with the crowd. In fact, I’ve seldom seen someone work an audience so successfully. Backed by her dynamic band, ‘Raise Your Fist in the Air’ and ‘Warriors of the Sea’ go down a treat. Rowdy singalongs of ‘All We Are’ and Priest’s ‘Breaking the Law’ are something to behold, the the shouts of “Doro, Doro, Doro” as her set concludes suggesting that many would be happy for her to keep going. Virginmarys were last up on the Firestarter stage on Saturday, and I am an unapologetic fan. Originally a three piece, the now duo of Ally Dickaty on guitar and vocals and Danny Dolan on drums have been ploughing their own furrow for the last 10 years. Theirs is a sound that is full of hard hitting rock passion with a wee touch of emo on the side. Ally rips through the tunes wringing both bass grooves and no-nonsense melody from his guitar. Danny, well, he is a man who leaves nothing in the tank, there is no doubt he’ll have gone home knackered after knocking lumps out his kit, driving the beat like a boss. They kick off with ‘You’re a Killer’ before bouncing into my personal favourite, ‘Just Ride’. ‘Trippin’ New York City’ and ‘White Knuckle Riding’ keep everyone on their toes during a really powerful and unremitting set. The Virginmarys are right and they take their sizeable crowd with them throughout an on-form performance. This is a great band to watch and listen to - treat yourself. It’s not the first time Saxon have headlined a festival in Maidstone, having gone down a storm at Ramblin’ Man Fair back in 2017. A band who are always a dependable and popular choice, I suspect they’re the reason the park feels a little busier than it did yesterday. It’s fantastic to see Biff Byford looking fit and healthy following, in his words, “a rough couple of years health wise”. And better still to discover that he’s still got it, his voice sounding particularly good as the band tear through ‘Hell, Fire and Damnation’ and ‘Madame Guillotine’. Of course, it’s the classics that we really want to hear, and we get plenty of those; Much as it’s fantastic to discover new bands, there’s few things as joyful as singing along to old favourites at a festival. Saxon have quite a few, and from ‘Motorcycle Man’ onwards, it’s a true heavy metal party. Deciding to scrap encores and just keep playing, it’s lovely to see Byford interact with the crowd, donning an audience member’s jacket before a triumphant ‘Denim and Leather’. ‘Wheels of Steel’, ‘Never Surrender’ and ‘Princess of the Night’ are all present and correct, cornerstones of the genre that have never lost their power. It's been another fantastic day in Mote Park - the sun's been shining, the bands have been rocking, the Texas Smoker's been smoking and I’m ready to do it all again tomorrow!

Every now and then, if you’re lucky, a new album comes along which stops you dead, grabs your attention, sounds fresh and original with a sound of its own and might prompt you to don a yellow cape and shout “Holy sh*t, Batman!” (or maybe that’s just me). Dirt And Dust’ is such an album, makes most superlatives redundant and is just all kinds of wonderful. If you’re not familiar with Anti-Fashion, they have been quite a low-key transatlantic rock and punk collaboration between the U.K. and U.S. musicians JJ Watt and Frank Meyer. I first saw JJ Watt playing guitar with The Main Grains (a Wildhearts offshoot fronted by Danny McCormack and also featuring Ben Marsden on guitar) as special guest to Tyla’s Dogs D’amour a few days before Christmas in Edinburgh in 2017; while the Dogs are one of my favourite bands, on that night The Main Grains out-Wildhearted The Wildhearts and stole the show, after which I immediately bought their EP and ‘I’d Rather Be in California’ forced its way on to my running playlist (of mainly 80’s rock classics) and has been lodged in my brain ever since. After Danny temporarily re-joined The Wildhearts, The Main Grains folded and JJ went on to form and front the excellent The City Kids and may also be known to some of you through Thirteen Stars.  During COVID-19 JJ was introduced to Frank Meyer who fronted the legendary LA punk band The Streetwalkin’ Cheetahs (now active again), played guitar with Handsome Dick Manitoba (The Dictators), Wayne Kramer (MC5), FEAR, James Wilkinson (Iggy & the Stooges) and has also released a great album, ‘Motherf**kin’ Rock’n’Roll’, with Eddie Spaghetti (The Supersuckers) via which I was retrospectively introduced to much of his earlier music. Not many musicians can say they have experienced that career. JJ and Frank decided to collaborate online out of which they produced an album of Social Distortion covers for fun (‘A Bit of Distortion’) and released it under the Anti-Fashion name in 2021. Five years later Anti-Fashion are back with album number two. Eschewing covers for original material and with new recruits Rob Cass on vocals and Steve Ward on bass (both from the Midnight Dogs and contributing ideas they’d also been working on) and Kath Edmonds on drums (Kath & the Kicks, Rubella Ballet, StarRats and who had played on a track on their debut album) joining the fold.  While I’d enjoyed their debut collaboration, it had only hinted at what they might be capable of producing if creating some original material together. Being aware of their own respective output, my interest also only increased after Frank’s musically-diverse debut solo album, ‘Living Between the Lines’ and the punk and soul of the ‘Baby Dynamite’ single were both released last year.  So, no pressure …  But, does ‘Dirt And Dust’ live up to my anticipation and expectation? Yes, absolutely. But, I would go further and say it far exceeds them and can only be described as ridiculously good.  At a time when a lot of “new” music can sound same-y or derivative, and it’s easy to find yourself longing for something fresh and different, Anti-Fashion have fashioned (see what I did there?) an album which captures many influences and is laden with great moments and qualities, but without sounding just like another band doing the same as others.  Switching and shapeshifting through musical styles and influences with ease, Anti-Fashion provide a heady and appealing fusion in sound and have created an album of urgent, raw, hook-filled and compelling rock’n’roll.  The debut single from, and opening song on the album, ‘Drag Me Down’, (not to be confused with the closely-named Social Distortion track, ‘Don’t Drag Me Down’, on their first album) sets the scene with raw guitars, drums and bass in a style which could have featured in their constituent bands’ output, but very quickly develops its own multi-layered identity through Rob Cass’s very distinctive vocal style. Sitting somewhere in style and sound between Brian Molko (Placebo), Brett Anderson (Suede), John Lydon (PIL), Julian Raymond (the criminally under-recognised Dear Mr. President) and Ed Roland (Collective Soul), Rob Cass’s clear and Alternative vocal provides the perfect counter-balance to the rawness of the music both on this song and throughout the album. Also lifting the songs throughout are the regularly occurring gang background and harmony vocals provided by Frank, JJ and Kath which ensure melody is never far away or lost (also strangely making me think of ELO in places).  ‘Let Love Rule’ (not to be confused with the Lenny Kravitz song) is nothing short of glorious; opening with an insanely infectious and upbeat guitar riff all over the song against the background of raw guitars and THAT distinctive voice, building verses and a big chorus are underpinned by driving bass and drums. After only a few days since I first heard it, the song has become a constant companion appearing in my head unprompted while driving, watching the World Cup on TV and as I’m waking in the morning. Be warned.  Self-described in their PR as sounding like “Think Rolling Stones meets the Dogs D’Amour in a bar fight with The Wildhearts and Social Distortion”, I can hear and understand all of these comparisons and would encourage fans of them all to check out this album. But I could just as easily add into that mix The Kinks, The Who, The Yo-Yo’s, Suede, Placebo and PIL. But what Anti-Fashion do so well is to take all of these influences and passions, add them to their own and create something which sounds fresh, new, urgent, distinct and unlike most music which is out there just now … not an easy thing to do.  The style changes with ‘Day By Day’, a mid-paced number with Sixties’ Beatlesesque chorus, which manages to sound both melancholic and defiant, over those ever-present and beautiful raw guitars; and ‘She’s The One’ tips its hat to The Kinks with a raw ‘You Really Got Me’-style riff before shapeshifting into almost a completely different feel and tempo of song during the bridge.  Seven months into 2026 and if I hear better new songs by any artist this year than ‘No Escape’ and ‘Going Nowhere’ I’ll be very, very surprised. The album is worth buying for these songs alone. That is all I will say. You just need to listen to them. ‘Nightmare’ and ‘From The Heart’ (dropping the pace a little) are fast and furious, but controlled and melodic.  ‘Wild Animal’ bristles with influences from The Cult and The Who to ‘90’s and 00’s Brit Pop all the while stamping Anti-Fashion all over the song and making it unmistakably their’s.  Maintaining the very high quality to the end, the title track, ‘Dirt And Dust’, is another great song with a chorus and melodic backing vocals which many artists could only dream of with the darker, heavier, powerful and more straightforward rock track ‘Too Much Pressure’ closing the album.  The playing throughout is really solid. Frank and JJ provide a great mix of raw and clean guitars complementing each other well and filling the songs anchored by Kath and Steve’s powerful rhythm section. Also, a final shout out on the production which sounds really big with clear separation between instruments and a great balance between these and the vocals which can be heard clearly at both low and high volumes. Credit to JJ for producing and mixing the album and to Dave Draper for mastering it.  Buyers of the Limited Edition of the CD can access two additional tracks - ‘Highway 101’ and a cover of the Stones’ ‘Dead Flowers’. If you want to know about these you’ll have to get the Limited Edition (100 copies available at the same price as the standard CD and both come with a free download).  ‘Dirt And Dust’ will be released on 2 Sept, but can be pre-ordered at www.antifashionuk.com (If the Limited Edition isn’t visible on the landing page, try clicking the menu then “music”)  ‘Dirt And Dust’ can also be ordered in the U.S. (on both editions of CD and vinyl) at www.noizeintheatticrecords.bigcartel.com  Recognising that the songs on this album are too good to just sit on a shelf, Anti-Fashion have also booked a short series of dates in the U.K. to give these songs a live airing -  2 Sept - Edinburgh, Bannerman’s (album release day) 3 Sept - Hartlepool , The Studio 4 Sept - Bradford, The Underground 5 Sept - Sheffield, Club HRH 6 Sept - Stockport, Holy Diver With special guests the Continental Lovers and the Dukes of Bordello on all dates; Burning Circus will also support in Edinburgh and Leaders of Men in Hartlepool.  Go on. Order the album. Go to the gig. Support music and hear some of the best new songs this (or any) year. GMcA

“Mason Hill are most definitely back… and I like what I hear”. Those were the final words used by this writer when reviewing Mason Hill’s comeback single, ‘Twisted’, a few months ago. It was a powerful slice of modern hard rock, introducing a brand-new sound (and brand-new singer!) to fans of the band and in many ways, was a musical rebirth for the Scottish rockers. Since then, Tom Ward (vocals), James Bird (guitar), Craig McFetridge (drums), Matthew Ward (bass) and Marc Montgomery (guitar) have completed a highly acclaimed UK Tour - including an explosive hometown show at the Glasgow Garage - as well as announcing their long awaited sophomore album, World So Wonderful, due for release on 23rd October 2026. In the lead up to the album being unleashed on the world, the band will play the Steelhouse Festival and Firevolt Rock Festival... but the build-up starts now with second single, ‘Hurricane’, released on Friday 24th July 2026! It’s a song that received its live debut on the recent tour, so to those who were lucky enough to attend… you’ve already had the pleasure of a sneaky preview, possibly without even realising! A short electronic/industrial intro leads to a dark sounding opening verse, with Tom Ward’s clean-cut vocals telling the story of love for a dangerous woman over a steady, heavy, sludgy riff. The riff gets faster, harder and heavier as the singer opines “I think I’ve fallen for the enemy” before the tempo slows temporarily for an unexpected keyboard interlude before powering back to life with a chorus that is a deliciously modern slice of heavy melodic hard rock. “Hurricane. She’s tearing through my body like she’s trying to find my pain and misery”. I think that’s called marriage, lads! That structure remains, with the bass of Matthew Ward and drums of Craig McFetridge acting as a rock-solid foundation for the heavy guitars of James Bird and Marc Montgomery, the chorus sounding even better second time around. Some incredibly heavy riffing, accompanied by an amazing drum sound, leads to a short, frantic yet brooding guitar solo before the bridge slows the tempo ever so slightly before bringing it all back together with the catchy, earworm chorus as the muse brings her victim to his knees, “begging for the End”. We’ve all known the intoxicating love of a dangerous woman… haven’t we?  ‘Hurricane’ continues the Mason Hill musical renaissance with even more power, riffs and heaviness. The guitars, bass and drums sound revitalised whilst Tom Ward’s vocals bring passion and intensity that drives the musical energy to higher planes. This confirms my assertion that Mason Hill are most definitely back… and now I LOVE what I hear! If the first two singles are anything to go by, World So Wonderful is shaping up to be one of the most anticipated rock and metal albums of the year. Album pre-orders open this Friday (24th July). You know what to do!

It’s good to be back in Mote Park, and better still to see beautiful blue skies overhead. It’s Friday afternoon, and Maid of Stone Festival has returned for a fourth year. No longer just an aperitif for the main event, the Friday line-up now boasts eleven bands across two stages plus a couple of additional performances exclusively for VIP guests. The site looks a little different to previous years in terms of layout, but remains pleasingly compact, the Inferno (main) stage no more than a few minutes away from the Firestarter (a showcase for up and coming talent). There’s no clashes between the two, with performances set to alternate throughout the day, and consequently no excuse not to catch at least some of the lesser known acts. Planet Rock DJ Paul Anthony has become something of a fixture at Maid of Stone, so there’s a pleasing familiarity in seeing him back on stage. His first introduction of the weekend is for young Australian Cassidy Paris , who has landed the opening slot on the main stage. Attracting attention in a very small red playsuit and matching devil horns, her music is catchy, melodic and easy to enjoy. ‘Wannabe’ is bouncy and fun, ‘Stronger’ an empowering anthem that Paris credits with changing her life. The influence of hair metal is evident, both in Paris’ own power ballad ‘Here I Am’ and a cover of Danger Danger’s ‘I Still Think About You’, the latter getting arms waving in the early part of the day. Joined on stage by Russ Grimmett of Fireheart for ‘Nothing Left to Lose’, the pair harmonise well and bring the set to a memorable close. Over on the Firestarter stage, Bournemouth based foursome Regional One play moody, dark music that feels a little odd against a sunny backdrop. ‘Control’ cleverly combines sharp riffs with contrasting, jangling verses and ‘Sold!’ has something of Shinedown in the commanding vocal delivery. Hard to put any particular label on, the audience seem to enjoy what they’re doing, joining in with the “woahs” that give ‘Hide’ an unforgettable hook. Canadian guitarist Anthony Gomes kicks things up a notch on the Inferno stage, heading up a power trio with a winning combination of charismatic stage presence and heavy blues riffs George Thorogood would be proud of. With his red leather trousers and white Flying V, Gomes makes quite the impression, proving himself an underrated guitar hero. Songs like ‘Painted Horse’ and ‘Fur Covered Handcuffs’ are so upfront and so immediate that it’s impossible not to get involved. A likeable raconteur who amuses with his self-deprecating humour (describing his band as the “ugliest in the charts”) and his appreciation for Tesco (something we have in England that he doesn’t have at home!), his between song banter is as fun and enjoyable as the music. Signing off with the words “peace, love and loud guitars”, it’s a philosophy we can all get behind. DeVere are not a band who deal in subtlety. They’ve got a strong look and present themselves with an arrogance that has you believing they’re already stars. It takes a while for frontman Sam Cassidy’s mic to start working, but that doesn’t stop him going for it, and when the mic finally comes to life, his style is so intense that you worry he might pass out. I mean that as a compliment, because he certainly gives his all to the performance. Loud and uncompromising, DeVere have got the songs to back up the image, ‘Empire’ and ‘Like Lightning’ are as catchy as they are heavy. Once seen and never forgotten, you get the sense that DeVere will make a mark on any stage they grace. It’s somewhat more mellow over on the VIP Acoustic Stage, where the ever popular Jack J Hutchinson is delivering some gentle takes on his tunes with bassist Greg Smith. The moving ‘I Will Follow You’ works particularly well in this format, and it’s interesting to hear ‘Call of the Wild’ cleverly reinvented. Hutchinson seems to be a man who can turn his hand to any occasion, and it’s no surprise that he’s attracted a decent crowd here. The New Roses feel like the perfect festival band. Even if you’re not familiar with any of their songs, the likes of ‘Attracted to Danger’ and ‘The Usual Suspects’ are so easy to pick up that you’ll soon have the choruses sussed. Delivered with German precision, The New Roses are tight and professional without ever being boring. Frontman Timmy Rough has a fantastic voice, giving real authority to ‘Bring the Thunder’ and ‘Forever Never Comes’. A well placed cover of Neil Young’s ‘Rockin’ in the Free World’ provides an opportunity for a good old singalong, but their set is joyful throughout. Sam Morrow satisfies any yearnings for Southern rock with his authentic Texas drawl and songs from latest album ‘Southern Boogie’. An unlikely cover of Pink Floyd’s ‘Have a Cigar’ brings his performance to a close, but it works surprisingly well. And it’s always welcome to hear something familiar amid all the new music on display. Few bands are as reliably brilliant or as shamefully overlooked as FM . In Steve Overland, the group have a wonderful, soulful singer who deserves to be recognised as one of the AOR greats. His voice is as good as it has ever been, and from ‘Digging Up the Dirt’ via ‘That Girl’ and ‘Synchronised’, FM are just perfection. The harmonies that dominate ‘Black Water’ are something to behold, but it’s keyboard heavy anthems ‘I Belong to the Night’ and ‘Bad Luck’ that get everyone singing along. As the band give their thanks, the sound of “we want more!” rings out across the park, a real compliment for one of the only ‘classic’ bands on the bill. It’s rare to stumble upon a band who genuinely seem to be doing something different, but Morganway certainly have a unique approach. The stage looks very busy with a keyboard player and violinist in addition to the usual guitarists, and sounds at times akin to a rock and roll hoedown. Fronted by hollering front-woman SJ Mortimer, they mash up genres whilst making it look very natural. Latest single ‘Machine’ takes aim at Spotify but sounds oddly chirpy for a song that is inherently angry! A band you suspect could appeal to many different audiences, they do a great job of winning over a rock crowd. Perhaps an unlikely choice for the acoustic stage, Juliet’s Not Dead sound fantastic as I wander past, perfect harmonies and engaging songs entertaining those who have paid for the ‘posh’ seats. There’s some debate about whether the VIP tickets are really worth it this year, given that the acoustic stage can be seen quite easily from the other side of the white picket fence! But given the nicer toilets, shorter queues for the bar, a goody bag and access to some really tasty toasties, I still feel reasonably satisfied! (On that note, do check out RNR Toasties if you get the opportunity - the Meatallica is absolutely delicious and packed with fillings!) Southern by their very nature, A Thousand Horses successfully break away from tradition with a Nashville sound uniquely their own. Much of that is thanks to Michael Hobby’s voice, which has an unusual rasp not usually associated with Southern rock. Cuts from latest album ‘White Flag Down’ provide much of the set and sound even better than their studio counterparts. ‘Dead Man Walking’ is a great opener, hard rocking and lively, ‘Part Of My Story’ somehow both sad and optimistic. I’m not much of an Oasis fan, but ‘Champagne Supernova’ is so familiar that even I’m singing along to a cover that suits the band surprisingly well. Admittedly, I prefer their own ‘Highway Sound’ which goes full country rock with the addition of harmonica and some lovely twin guitar interludes. Hailing from the “Deep South of Ireland”, Crow Black Chicken prove to be one of the biggest surprises of the weekend. A fascinating power trio, Christy O’Hanlon’s deep, resonant voice is as powerful as Stephen McGrath’s thunderous bass rumble that vibrates right through your chest. Perhaps a strange choice of headliner for the Firestarter stage (there’s not likely to be any songs that you know), they win the audience over quickly with their unique groovy blues. I hear many referencing the band as one of their favourites of the day, a true accolade given how strong both stages have been. It’s so good to have The Temperance Movement back, and better to discover that they sound just as brilliant as I remember. Worthy headliners who know how to please a crowd, Phil Campbell is as reliably spring-footed as ever, moving around the stage in his own inimitable way. Just as Jagger has his moves, so Campbell has his own, and it makes him a fascinating presence on stage. Drawing from their three studio albums, with a few new songs thrown in, the band give us enough familiar favourites (‘Ain’t No Telling’, ‘Caught in the Middle’, ‘Take It Back’ etc) that we’re more than happy to indulge ‘Always Been Love’ and ‘Silverlight Blues’, enjoyable tasters of the new album set for release later this year. Campbell thanks us for our patience with the new songs and seems genuinely thrilled to receive such a warm reception. He remarks upon the intimate show the band played in Deal last night, but decides “this is a bit better!” Gentle ballads ‘Smouldering’ and ‘Pride’ are nestled in amongst the Face- style joy of ‘Be Lucky’ and raucous ‘Get Yourself Free’, ensuring that the momentum doesn’t slip. Campbell says “we love you”, and it's clear we love the Temperance Movement right back.

It's Friday the 3rd of July and I am once again in the finest small venue in Glasgow, I am in Audio in Midland Street to shoot tonight's KURO gig. I was asked to cover this gig not long before, so not a major amount of time to do some research. To begin with, I looked on KUROs social media page to get the gig details, I follow the link which takes you to a site to buy tickets, not that I needed a ticket, however it did give a door time of 6pm. I arrange transport and gets dropped off outside Audio at 5.50pm, the place is deserted, which I am surprised as KURO usually pulls a crowd in their hometown. I step into Audio and instantly greeted by Kuro Andrews, KURO frontman, usual pleasantries over (I have known KURO from their first gig) I'm told the band are heading out for dinner, which left me even more confused, until I see door and stage times on the inside of the venue door. I door time is actually 7pm! Well I am not leaving to come back in a hour. I perch myself at the bar (which is not open yet) just as the main support, Burning The Dream take to the stage for their soundcheck, I've known about the band for a while, having seen videos on social media, also knowing their guitarist Greig, some of you might recognise Greig too from one of my previous reviews, Greig also plays guitar with Six Year Silence. After their soundcheck, I have a few words with the lads, then they also head out to get fed too. Next on stage for their soundcheck are opening band Mercy Prevails. Now this band isn't just young, they are YOUNG! I'm sure I heard that tonight was only their third or fourth gig! The band are a four piece, 2 lads and 2 lassies. As I know how drum sticks work, I tend to pay attention to drummers first. What happens next leaves me speechless, this young lady is f/king phenomenal! These days, that word gets thrown around too easily, yes there are great musicians out there, there are also some spectacular musicians out there too, but rarely you get someone who can leave you dumbstruck after quarter of a song during a soundcheck, and it just keeps getting better, and this is still the soundcheck! After the soundcheck, I head up onto the stage to have a word and to get a couple of photos, to be honest, with dealing with bands for a while, I just tend to jump in, like most of us do, I didn't even think for a minute and just jumped in again, the young lady looked absolutely terrified, there I am in front of her with my camera right in her face, oops, my bad, but I did get a couple of shots, she still looked confused when I left. Twenty minutes later, the doors open right on 7pm, no hold-ups at all. Fifteen minutes later Mercy Prevails take to the stage, having been there earlier, I know what is coming next. I'll just say it's really great to seeing women getting involved in some of the heavier genres of metal. YES I do know there are some out there, but it's still pretty rare. Mercy Prevails play a kind of melodic death/metalcore crossover style, with both soft and harsh vocals. Now not being a major fan of growling or screaming, it's ok in small doses, but tonight, the MPs singer sounds a lot more comfortable with the harsh vocals. For a band that has not played often, they don't move about much, but that will change the more they play, you could see them relax more as their set progressed. Again, as a new band they should be proud of tonight's performance. There was also a healthy crowd in for these youngsters, a smattering of proud parents and friends who sang along helped with the nerves on stage. Will Mercy Prevails make it in the music business? Who knows, every other band out there knows how difficult it is. If they put the same effort in as they did tonight, they are in with a chance. There is one thing I am 100% sure of, when other bands see and hear the young lady on drums, every single one of them will be knocking on here door. Lets get one thing clear here, I am not suggesting that the young drummer should ever leave her band, far from it, every band gets better and bigger with loyalty within, I am saying is this young lady will have a lot of offers coming to her door, and not just local bands. YES she is that good, and I'm not the only one who said so tonight. Burning the Dream are a five piece and are next on to the Audio stage, and another band that is difficult to pigeon hole, which is not a bad thing, like our first band, there are some melodic death/metalcore sound to them, Arch Enemy/In Flames vibes with some Judas Priest thrown in too. Unlike our opening band, Burning the Dream do not build their performance, they are on it from the first note. Being a support, they too are restricted by time, so what half dozen songs do we get to hear tonight? If you have read my Acid Reign review, you will have read how difficult it can be to get to see a setlist, this time however, because I was present for the soundcheck, I got a glimpse of tonight's setlist. "One Shot, One Kill" kicks off a blistering set, followed by "Name Yourself". Chat between the band and crowd is sparce, but considering it is a 30 minute set, it is understandable. "Strongbow" and "Who Are We" follow rapidly, which leaves "Rebirth" and "Requiem" as the final 2 songs, pounded out with an intensity set up for KURO to take over. During the break the atmosphere in Audio changes, no actually the whole dynamic changes, we have had two heavy metal bands, now we move to our headliners, the anticipation is at frenzy level. KURO have a unique intensity about them. I have been lucky to have seen the bad progress from the very beginning, when it was duo, Andrew on vocals and occasional keytar, and Jb.Storm on bass, they are now a four piece with David on drums (another great drummer) and Robbie on guitar. Over the years they have had a couple of known guitarists play with them, Gabriel Lennox from Glasgow band Seraph Sin and more recently with Industrial legend En Esch. Kieran Robertson, who carved out a reputation touring in America and becoming former Queensryche legendary frontman Geoff Tates guitarist has also played with KURO. KURO have spent the last couple of years on the road building a reputation and fine tuning their sound. The last time I saw them they were one of the support bands for Industrial stars Combichrist. As they take to the stage there is the usual roof raising noise from the Audio crowd. There is a change onstage since the last time I saw KURO, not membership but a slight change in appearance, ok, one of the band has a change in stage gear, bassist J.b Storm has ditched the heavy black and white make-up, appearing more "natural". His persona has also changed, in the past, while onstage, he was always aloof. I have joked with him many times that one day I'd catch him smile onstage, he was rather adamant, in a fun way, that would never happen, pity we never made a wager, because he was grinning like the proverbial Cheshire Cat all night. Frontman Andrew glides onto the stage like a train on rails oozing flamboyance, his face make-up that any of the worlds super models would be proud of. The bands sound is a lot tighter than the last time I saw them, which was a year or two ago, everything is a lot tighter, well not J.bs facial expressions lol. After a couple of songs we have our first chat to the crowd. Andrew rhymes off a list of personal pronouns and states that everyone is welcome and safe at every KURO gig, to be honest, that should be the case for every band and every gig. KURO have a 14 track setlist, I have to admit it's difficult to pick out individual, stand out songs because they all stand out, however, there are two that stand out more for me, "I Hate You" and "Wake Up & Choose Violence" two songs that have deep negative connotations. This is like modern day social media "clickbait" posts, you either ignore them and make up your own meaning, or you dig into the actual lyrics and then take from it. A few years ago I saw Nick Cave doing a "Spoken Word" tour, he said something that makes perfect sense, but not many bands say the same, he said "once the song is released and out there, it is no longer mine, you decide what it means to you" I keep saying I am not a reviewer, I am a photographer, but I continue to hope that I give a honest opinion on what I remember, it might not be 100% factual on what happened timewise, but I hope it can give you a mental picture of how I see what happens onstage while I am trying to capture the band enjoying what they are doing. As always, if you don't know any of the bands above, even if you do, head on over to your favoured social media platform and have a look, you never know, you might find something new to add to your daily playlists. See you at the barrier. Photos by Jai Dee Photography

Released on 7Hz Productions.

Set for Release on September 4th via Frontiers Music Srl