Review Elaine Button - Photos Andy Bradley

R eleased 1st October 2026

NEW ALBUM "MONSTERS WE MADE" AVAILABLE 14TH AUGUST 2026

Released 26th June 2026 on Pride & Joy Music 

Zakk Wylde really is one of the most recognisable modern-day rockstars. His long hair and beard, large muscular build, funky guitar art and wearing a kilt on stage make him unmistakeable enough. Throw in his many years as Ozzy Osbourne’s right-hand man and you have a bona fide rock legend! A starring performance at this year’s Brit Awards (yes… real rock music at the Brits!) during an Ozzy tribute with Robbie Williams wouldn’t have done him any harm with the majority non-rock, trend- chasing audience and if there’s any justice in the world, some of the millions of TV viewers might even have checked out the guitarist’s very own, well established band, the hard rockin’, speaker shakin’ and altogether brilliant Black Label Society. If you needed any evidence of Wylde’s popularity with rock fans, the massive queue at his signing appearance at the Guitar Guitar shop in Glasgow prior to Black Label Society’s show in the city is proof enough. Fans young and old waited patiently to see the famously amicable rocker and judging by the number of videos circulating on social media, a fun time was had by all! But the real fun was to be found when the vocalist/guitarist took to the stage at the city’s O2 Academy with his Black Label Society bandmates Dario Lorina (guitar), John DeServio (bass) and Jeff Fabb (drums). Support acts Dark Chapel and Venom Inc brought something very different to the Glasgow audience, who had piled into the venue early on to ensure a decent crowd. Las Vegas band Dark Chapel, featuring Black Label Society’s very own Dario Lorina, were dark, heavy and loud… but the melodic and a times even bluesy side of their music meant that the attempt to start a mosh pit by the biggest haired punter I’ve seen in years (complete with football socks?) didn’t quite catch on. Still, it was a slick set of polished music and will have won them some new fans in Scotland. Venom Inc, formed by former members of late-70s metalheads Venom, were a bit more on the extreme side of heavy music in comparison, running through a set of metal originals from their two albums and very much showing they’re not simply a tribute band with Motorhead vibes. The big-haired dude definitely got the mosh pit moving with Venom Inc… and the football sock didn’t move an inch! It was 9.30pm before Black Label Society came onstage, which a few years ago wouldn’t have been an issue for this now seasoned rock and metal gig goer! But with an arthritis-wracked body and not much room to move in the sold-out crowd, I mused that perhaps 8.30pm headline slots are more my kind of thing now to prevent painful joints and much yawning! However, as the large curtain fell and jets of smoke fired into the air, Zakk Wylde bounded onto the stage, bekilted (of course) and full of energy. His stage presence and the heavy, chugging juggernaut riff of opener ‘Funeral Bell’ jolted me back to life as I joined the throngs in pumping my fist and bopping my head. The pain dissipated as the music worked its magic in the same manner as the strongest medication as I watched Wylde start his masterclass. ‘Name in Blood’ from new album Engines of Demolition continued Black Label Society’s signature sound of the darkest, heaviest, rip-off-your-face riffs but with melodic-edged choruses that will have you singing along. ‘Destroy and Conquer’ is no less heavy but has a more upbeat vibe in contrast to the first two songs, whilst ‘A Love Unreal’ reeled the audience in with the most beautiful intro that breaks into a monster riff that caused small shavings of paint to fall from the venue ceiling. Wylde’s ability to play shredding solos one minute and more emotional rock solos the next was clearly on display on the opening four songs, showing the depth of talent and skill that must’ve attracted the legendary Brummie Ozzy Osbourne back in the day. It was a breathtaking opening salvo! The more frantic ‘Heart of Darkness’ and some classic banter with the audience led to a snippet of Ozzy Osbourne favourite ‘No More Tears’, with Wylde ripping through the famous guitar solo with the same gusto as he did during his Brit Awards rendition of the song. The number of mobile phones filming the moment was testament to how special the songs is to fans before the guitarist showed his softer side by taking to the piano to play a stirring and emotional ‘In This River’, dedicated to the late and much missed Pantera due Darrell ‘Dimebag’ Abbott and his brother Vinnie Paul, with their images showing across the speaker stack. ‘The Blessed Hellride’, the pure unadulterated heaviness of ‘Set You Free’, the catchy chugginess of ‘Fire It Up’ and the headbanging, fist pumping pleasure invoked by ‘Suicide Messiah’ brought the show to a poignant tribute to Ozzy Osbourne, with the tearful ballad ‘Ozzy’s Song’ from latest album Engines of Demolition. It was an emotional moment and perhaps an opportunity for some to say a proper final goodbye to the legendary frontman, helped by a large curtain backdrop of photos of Ozzy in his heyday. But of course, no Black Label Society gig could end on a sad note, so the amps were turned up to max one more time for fan favourite ‘Stillborn’. The hordes of rock and metal fans, with dishevelled hair, sweat soaked clothes and high-pitched tinnitus-like ringing in their ears, left the venue and headed out into the Glasgow night knowing that they had witnessed something really special. You see, Black Label Society in a live setting isn’t just another live rock show. It’s worshipping at the altar of rock and metal, loud, proud and unapologetic… and Zakk Wylde is the messiah!

NEW ALBUM "COME THIS MADNESS" OUT ON SEPTEMBER 25 

Tickets will go on general sale on Friday 5 th June 2026 at 9:00 AM

Out Now via Frontiers Music Srl

As a typically rain-threatening Edinburgh evening unfolded, it set the tone for Beth Hart’s return to the Usher Hall. Opening act, Wille & The Bandits, reduced on this tour to Wille Edwards and multi‑instrumentalist Harry Mackaill drew the crowd in. Intimate and quietly confident, their acoustic set was sprightly, earthy, and immediately engaging. A timeless quality characterises Edwards’ vocal style, which occasionally recalls Mike Scott’s rugged clarity and Mark Chadwick’s melodic grit. With a stripped-back arrangement, his voice could shine, and the audience reacted with genuine warmth. Although brief, the set effectively prepared the room for the main event.  Beth Hart’s sultry, unhurried performance of ‘Tell ’Em To Hold On’ saw her step into the spotlight, sitting at the stage’s extreme edge as if she were serenading everyone in the room. Half confessional and half theatrical, that immediate closeness established the tone for the early part of the evening. A sexy swagger, carefully controlled to avoid excess, defined her Parisian-style rendition of Melody Gardot’s ‘If I Tell You I Love You.’ With the band already locked in, they provided tight, understated support, and guitarist Jon Nichols delivered the first of several inspired solos that would punctuate the night. Bill Ransom’s crisp percussion propelled ‘Love Gangsta’ into deeper blues territory. The opening trio of songs evoked a feeling of being transported to a smoky back room far from Edinburgh, where the blues simmer rather than shout. Arriving loud and full of playful bravado, ‘Wanna Be Big Bad Johnny Cash’ gleefully shattered that illusion. Hart’s vocals, delivered with a knowing glint in her eye, were fully aware of the fun she was having as the band launched into a lively rendition of Cash’s signature “boom-chicka-boom” rhythm. The evening then unfolded as a journey through various blues styles, which were by turns raucous, reflective, tender, and mischievous. Hart included a couple of early-set covers, with the first being a piano-led performance of Bobby “Blue” Bland’s ‘I’ll Take Care of You.’ Nichols’ guitar, which complemented the song without overpowering it, subtly enhanced Hart’s vocals. Leaning into the off-kilter charm of Tom Waits’ ‘Chocolate Jesus’ while preserving its emotional weight, they turned the tune into a waltz. Supplying the bulk of the seventeen-song set, however, was Hart’s own catalogue. In a reflective mood, she chose songs for her set list, which she alters almost nightly, to explore vulnerability and fire. Matching Hart’s intensity as she growled her way through each line, the band delivered ‘Fire on the Floor’ and ‘Saviour with a Razor’ with raw energy. Anchoring the chaos with a steady pulse, Tom Lilly’s bass work was particularly strong here, while Nichols’ guitar cut through with slashes of electric punctuation. Speaking openly about her hardships and then performing ‘St. Teresa’ as an intimate solo was one of the night’s most moving instances. ‘Leave the Light On’ followed. Sitting alone at the piano, Hart bared her soul with a level of honesty that left the hall silent. This served as a reminder that the artist, despite her swagger and powerful vocals, had genuinely experienced everything she performed. With the full band back for a series of acoustic-leaning songs including ‘Baby Shot Me Down,’ ‘Fat Man,’ ‘Broken & Ugly,’ and ‘House of Sin,’ the mood brightened once more. With a sense of camaraderie and looseness, these songs closed out the main set, as the musicians clearly enjoyed the chance to strip things back and play with a different texture. As Hart and the band left the stage, the audience’s enthusiastic standing ovation was understandable. They returned quickly. Earlier in the evening, Hart had revealed that a bug was going around the band and that she wasn’t feeling her best. That truth, however, only amplified the impressiveness of her performance. She opened the encore with a sublime rendition of ‘War in My Mind,’ her delivery imbued with a depth that showed she was tapping into emotional reserves instead of physical strength. Following that was a minor rebellion. Although the venue’s curfew was approaching, Hart persuaded her husband and manager that there was still time for an additional song. A gift to the audience, the rarely played ‘There in Your Heart’ emerged as a tender and understated duet performed by Hart and Nichols. This offered a beautiful finale that fitted perfectly with the tone of the evening’s set. The crowd delivered a thoroughly deserved second standing ovation, rising to their feet once more after the final encore. Throughout the evening, Hart was tender, fierce, loving, a bit naughty, and entirely captivating. Her stage presence vibrated with genuine electricity. One of the most expressive and emotionally fearless performers in today’s blues and soul scene, she continues to impress. Hart provided a performance that seemed both refined and unplanned, supported by her exceptional touring band: Jon Nichols on guitar, Tom Lilly on bass and upright bass, and Bill Ransom on drums and percussion. Her live performances come highly recommended for anyone with even a slight interest in the blues. Having been a superb night out, rich in sentiment, mirth, and musical brilliance, the Usher Hall patrons left with the distinct impression that they had witnessed a truly special occasion.