Album & Live Reviews

For anyone who’s been hiding under a rock since the late 1980s, Toby Jepson is a British rock singer, songwriter, and producer. He first rose to fame as the frontman and principal songwriter of Little Angels, who racked up multiple UK hits and scored a No. 1 album with 1993’s “Jam”. After the band’s final performance at the Royal Albert Hall in 1994, Jepson continued as a solo artist and with his project Toby and the Whole Truth. Over the years, he fronted several other bands including Fastway, Gun, and Dio’s Disciples. In the 2000s, he returned to the spotlight with his own band, Wayward Sons, earning widespread critical acclaim. Beyond performing, Jepson became a sought-after producer, overseeing records for a wide spectrum of rock acts including The Virginmarys and Saxon. His songwriting collaborations span artists as diverse as Katie Melua and Biff Byford. He’s also dipped into film production and radio broadcasting, notably as a presenter for Planet Rock where he has been able to use his excellent musical knowledge to give extra depth and details about the songs he plays. His career reflects a relentless passion for music and storytelling; both on stage and behind the scenes. So why begin an album review with a career retrospective? Because it’s all relevant to the latest release from Toby and the Whole Truth: a three-CD set titled “Look Out Vol. 1–3”. These discs gather brand-new songs written as Jepson surfaces from a period of therapy. While the melodies are as infectious as anything he’s penned before, the lyrics dive deep into the psyche of someone trying to stay afloat in today’s music industry. There’s pain, frustration, and anguish here; but also, a wicked sense of humour and a sharp eye for the absurdities of his profession. These records mark a reboot: musically, emotionally, and in how Jepson reconnects with the people and passions closest to his heart. “Look Out Vol. 2” is raw, emotional, and unflinchingly honest. It takes us further into Jepson’s journey toward mental health. There’s snarling punk, tender soft rock, and his signature classic rock; all woven together to serve the emotional weight of each track. Like “Vol. 1”, which leaned into sixties pop, soul, and country, “Vol. 2” continues to explore genre with purpose. Brass flourishes and stylistic nods reveal Jepson’s influences, delivering some of the most personal songs of his career. And he’s far from finished; “Vol. 2” proves the creative well is still full. Jepson opens the album with a spoken-word introduction, as he did with “Vol. 1”, offering a glimpse into each track’s meaning and emotional core. From the outset, “Vol. 2” bursts with energy. “(Don't Wanna Be A) Rock 'N' Roll Star” and “Some People Are Trash” are anything but subtle. The former is a snarling punk anthem, scathing, bitter, and ironic. It dismantles the myth of rock stardom, exposing the mental toll of living under that illusion. Jepson attacks the myth that be a rock star is all glitter and gold in the chorus “Don’t wanna be a rock ‘n roll star, The pay ain’t good, and you forget who you are.” The latter is a cathartic blast of rage, aimed squarely at a toxic presence. It’s brutal, unfiltered, and unapologetically direct. Each line slams down “Some people” for something culminating in the choral conclusion of “Some people are trash.” Yet beneath the fury lies the album’s beating heart. Tracks like “Strong Enough” turn inward, as Jepson confronts his own failures and questions whether he has the strength to persevere. “If I was strong enough, would I take control of this dilemma,” he ponders in the chorus. “Falling In Love Is Harder (Than You Could Ever Prepare Your Heart For)” shifts the lens outward, exploring the vulnerability and emotional cost of love. When denial creeps in, we get “Nothing To See Here”, a caustic tale of hiding pain behind a brittle façade. There’s no sugar-coated resolution. “Before I Break” is the emotional climax, a fragile calm at the eye of the storm. But listen closely, and it becomes a whispered cry for help, teetering on the edge of collapse. It’s an epic track, Jepson questions his beliefs and his hope that people would behave as honestly as he does, and the pain he feels when they don’t. The chorus finds Jepson pleading that it’s “got to much” and that he’s not sure how much he can take, “Before he breaks.” Then comes the final blow. “Creeping Up Slowly” captures the insidious nature of depression and anxiety with chilling precision. There’s no cure; only coping mechanisms. It lurks in the shadows, waiting for a moment of weakness to strike. It speaks to the loneliness he feels on the road, being away from the ones he loves. “My body’s old and tired of being lonely, how I’m aching for you,” Jepson sings towards the songs climax. This isn’t an easy album. Like “Vol. 1”, it’s about truth. Jepson bares his soul, refusing to offer tidy answers. It’s a record about recovery, fear, and facing the darkness. An exorcism. Stripped back and tightly produced, the spotlight stays where it belongs, on the lyrics. Jepson himself describes it as going “through the chaos of bitter regret and intense feelings of shame.” Creatively, “Vol. 2” is all Jepson. He handles vocals, guitars, percussion, programming, and production. Supporting him are Dave Kemp (keys and horn arrangements), Matthew Eldridge (drums), and Chris Blanden (bass and cello). George Hall’s string arrangements add emotional heft where needed. The result is a record that draws from punk, soul, and rock to support one of the most emotionally honest albums in recent memory. I was lucky enough to have pleasure of meeting Toby by chance many years ago after a gig at the Glasgow Academy where he was supporting Thunder. He was lovely and spent time talking to us. I’m happy to say he was as pleasant and chatty as he come across in his media projects. Having listened to the “Look Out” project so far, I offer him nothing but best wishes for the future. This isn’t just another Toby Jepson release; it’s an accounting. A weighing of the soul. The glitz and glamour of the rock star persona are stripped away, leaving only the man, standing in the wreckage, telling us his truth. “Look Out Vol.2” is available from Toby Jepson’s online store and come in various packages.

The Mighty SAXON are pleased to announce the special addition of Tygers of Pan Tang to their celebratory Hell, Fire and Steel Newcastle O2 City Hall show on November 11th. Singer Biff Byford says: “When we first ventured out to perform Wheels of Steel for the first time 45 years ago, we were accompanied by our mates Tygers of Pan Tang, so it seemed fitting to invite them back to play a special set at our Newcastle O2 City Hall show (their home town) on November 11th on what will be our final ever performance of our classic album Wheels of Steel from start to finish in Newcastle” The whole evening promises to be pretty special with Tygers of Pan Tang performing a special celebratory set, followed by Dirkschneider performing the classic album Balls to the Wall in full, before SAXON round things off by playing the Wheels of Steel album as well as other fan favourites, hits and songs from the new album Hell, Fire and Damnation. The band’s Hell, Fire and Steel UK Tour is currently close to being SOLD OUT, so fans are advised to grab the last few tickets quickly to avoid disappointment, as this will be the last opportunity to see SAXON this year in UK and Ireland performing their classic Wheels of Steel album in full from start to finish. NOV 4 – Ulster Hall, Belfast (UK) [LOW TICKET WARNING] NOV 5 – 3Olympia Theatre, Dublin (Ireland ) [LOW TICKET WARNING] NOV 7 – O2 Apollo, Manchester (UK) NOV 8 – Octagon Centre, Sheffield (UK) [SOLD OUT] NOV 9 – O2 Glasgow Academy (UK) NOV 11 – O2 City Hall, Newcastle (UK) NOV 13 – Beacon, Bristol (UK) [LOW TICKET WARNING] NOV 14 – Civic Hall, Wolverhampton (UK) NOV 15 – Hammersmith Apollo, London (UK) NOV 16 – Great Hall, Cardiff (UK) For more information and last tickets for all shows go to www.saxon747.com/tourdates Follow SAXON on: www.facebook.com/SaxonOfficial/ www.instagram.com/saxon.official www.twitter.com/SaxonOfficial www.youtube.com/PlanetSaxon www.saxon747.com

So… let’s cut to the chase! Chosen is the best Glenn Hughes solo album since Soul Mover 20 years ago and is even a contender to be one of the best he’s ever recorded. If this proves to be the swansong of his solo career, then it’s a beautiful way to bow out. That’s a big statement to make so early in an album review. Some might even say that it’s nothing more than hyperbole. However, after reading this review, I hope that it piques your interest enough to give Chosen a spin, making up your own mind as to whether the ‘Voice of Rock’, once described as Stevie Wonder’s favourite white singer, deserves such lofty praise. Before delving into the tracks, let me briefly remind you of Glenn Hughes’ musical journey. Trapeze, Deep Purple (Mk III and IV), Phenomena, Black Sabbath (sort of!), Black Country Communion, California Breed and The Dead Daisies were all blessed with the talents of the singing bass player whilst Chosen is, by my calculations, solo album number 15… and that even includes an album of Christmas songs! Add to that a handful of live albums (including 2004’s Soulfully Live in the City of Angels, the one that started me on my own exploration of his music), some collaborations (Hughes/Thrall, Hughes Turner Project, Tony Iommi to name a few), an autobiography, providing powerful vocals on electronic dance duo KLF’s 1992 hit ‘America: What Time is Love?’ and even a recent collaboration with pop icon Robbie Williams. It’s clear that the Cannock born musician has been a busy and productive man during his 52 years in the music industry. Before writing and releasing a solo album, Hughes is quite clear that he’ll only do so if he has something to say. Now, 9 years after his last solo effort Resonate, he’s ready to speak again with Chosen… and amen, the congregation is ready to listen! To help with his brand of rock and roll preaching, Hughes turned to three talented disciples; longtime guitarist, Danish six-string wizard Soren Andersen, touring drummer Ash Sheehan and former King King keys man Bob Fridzema, so there was a definite musical pedigree to Chosen before the first note was even recorded. Opening track ‘Voices in my Head’ is the younger and less well-behaved sibling of some of the tracks from 2005’s brilliant Soul Mover. It’s hard, heavy and at times funky; what modern art-rock bands such as Franz Ferdinand would sound like if they had Tom Morello raging against the machine, beefing up and down-tuning their guitar sound! Hughes’ bass is prominent in the mix, very much dictating the rhythm and direction, whilst his now 74-year-old voice sounds as clear and powerful as it has in years. ‘My Alibi’ has a very similar vibe, with a heavy, sludgy Audioslave-like riff that makes way for a more sedate and atmospheric verse that is again very much driven along by the bass. Hughes’ voice is soulful one minute and powerful the next without losing any of its famous edge. Even in the higher range of his vocal register, there’s no hint of straining or crackling like many of his peers. The title track, ‘Chosen’, was the first single to be released and was very much a statement of intent for the parent album. Coming straight of the blocks with a modern, polished heavy rock sound and drums that’ll shake your speakers, the track calms to a moody chorus as Hughes opines “I walk alone, no destination”, with his bass and Andersen’s light guitar touches invoking images of dark Los Angeles streets lit by seedy neon lights. The chorus opens into a truly driving hard rock song; “When the daylight comes, I just wanna be chosen”. Hughes’ vocals are sublime throughout, perhaps as good as I’ve heard them in many years… muscular yet controlled. It’s a sublime piece of melodic hard rock. ‘Heal’ is a direct and to-the-point rocker with a melodic riff that’s made for the catchy “oh, oh, oh” vocals over the top of it. This could be a good live number, with an opportunity for fans to join with their hero to raise the roof of the venue. Like other tracks in the Glenn Hughes arsenal, the track slows midway through for a rocking musical interlude between Hughes, Andersen, Sheehan and a sprinkling of magic keyboard dust by Fridzema. ‘In the Golden’ is another bass heavy, speaker shaking opening riff in the vein of Tom Morello’s multitude of bands with Hughes’ voice soaring in the impressive chorus. It’s modern heavy rock music, fused with the voice of a rock legend who can switch from the most soulful tones to almost window-shattering vocal highs in seconds. Another rocking instrumental interlude brings the track to an end before the menacing, almost down-tuned intro to ‘The Lost Parade’ starts. Vocally and musically, this is very much the kind of vibe found on the brilliant Fused album Hughes recorded with Black Sabbath guitarist Tony Iommi in 2005. It’s dark, brooding and heavy, with top notch vocals. Kudos is due to the always brilliant Soren Andersen for successfully channelling his inner Iommi and special mention to Bob Fridzema with keyboards that add some true spookiness to the mix! ‘Hot Damn Thing’ is a happier, bouncier affair that will cause you to tap your feet and bop your head side to side, with a melodic, to-die-for chorus that would’ve been a real winner during Hughes’ much needed rejuvenation of The Dead Daisies a few years ago, whilst ‘Black Cat Moan’ is another funky, bass-led riff with a chorus that allows Hughes’ voice to truly soar. We hear that tremendous, soulful voice with very little accompaniment during the opening of penultimate track ‘Come and Go’, a song with superb orchestration that makes the track fly. There’s even a soulful, almost RnB section that is a clear example of why the legendary Stevie Wonder rated Glenn Hughes so highly. Vocally, this is the type of epic, soulful song that his voice was made for. Exquisite! Album closer ‘Into the Fade’ is another moder, straight ahead rocker, driven by Hughes’ bass, Sheehan’s rock-steady drums and Andersen’s classic, hard rock, rhythm guitar whilst a smattering of Fridzema’s keyboards adds that little bit extra. Hughes describes it as being about “a life of acceptance, being here now and living in the present moment”. Could there be a more fitting theme to finish an album? It’s an important message for all of us. Glenn Hughes hasn’t specifically said that Chosen will be his last solo album. It’s possible that in a few years, he might have something to say again. However, we also need to be realistic. Despite being in great shape vocally and physically, he isn’t getting any younger (and I mean that with the greatest respect). He’s on his 75th trip around the sun and what a journey it’s been so far. From revitalising and finding success with the world’s biggest rock band, to battling addiction that in his words took him to the “edge of the cliff of insanity”, to eventual sobriety and a well-deserved career renaissance, Hughes has been chosen and blessed by the Higher Power and life energies he has such a strong faith in. Surely, he can’t have much left to say in terms of a solo career. If Play Me Out was the opening chapter and Addiction was his stark, soul-baring moment, then Chosen could very well be the final sermon. What an outstanding and fitting ending it would be! He is Glenn Hughes. He is the ‘Voice of Rock’. He is Chosen. Chosen is released through Frontiers Records on Friday 5th September 2025. Glenn Hughes will be touring The Chosen Years Tour in Europe before heading to the UK throughout October, with dates in Bristol, Portsmouth, Wolverhampton, London, Manchester, Newcastle, Nottingham and Glasgow. The tour will end in South America.

Having successfully avoided Edinburgh for most of the Festival, I found myself drawn to Bannerman’s by a book launch and gig by one of Edinburgh’s favourite adopted musical sons. Originally billed as a launch of Tyla’s latest book, ‘More Cocktails & Dog Tales’, with some songs and stories, the event had grown; first, through the promoted inclusion of a Q&A session with former comedian and ‘Never Mind the Buzzcocks’ host Phill Jupitus, and then some full band participation including some songs from Tyla’s latest album ‘Gilding the Lily’. All in all, the makings of a potentially great night. In a change to Bannerman’s normal standing layout, seats and tables had been set up cabaret-style and at 8.15pm sharp, minus support and with a curfew to observe due to another Fringe performer on stage after the gig, Tyla and Phill made their way on stage. Carrying a glass of what looked like milk, Tyla sparked fears that he had gone healthy and provided reassurance that said glass of ‘milk’ was, in fact, a White Russian. The audience was disappointingly small at first, growing as the night progressed, but it was always going to be a tough sell with the Festival and Fringe in full flow, competition for audiences’ money and time everywhere (including on streets, corners and in closes), lots of people away on holiday and on a Sunday (or school) night just before pay day. Over the course of the first 30-40 minutes, Phill led Tyla (as much as anyone can) through his life in the Dogs d’amour and the book, jokingly suggesting he should have ticked each page off in the book as he read it, given how much Tyla’s mind, stories and writing jump from one subject to another and back again. The rapport between the two was clear with Tyla speaking about his life in his own open and disarming manner. Free from the shackles and censorship of a prime time TV show, Phill appeared much more relaxed in a live setting and is clearly a real music fan himself. Setting himself up for Tyla’s deadpan responses, the session at times felt more like a good-natured comedy double-act, none more so than when Phill asked, “This is your second book about your life, what’s in this one?” and Tyla responded “Stuff that wasn’t in the first one”. Enough to make a comedian laugh. After Phill and Tyla had talked about Tyla’s musical career, Phill took out a list of questions from fans submitted via the t’internet (read the book) in advance of the gig. This provided a stimulus to those in the room who started to warm up, ask questions of their own and I don’t think any of us would have minded if they’d just kept the chat going for the whole evening. But, the clock was ticking and a gig was to be had. As fans will be aware, Tyla has hooked up with a range of willing musical collaborators in recent years on his solo output and when playing this live, often depending on who is available and increasingly influenced by the reality that most musicians (barring the biggest acts) need to play in more than one band, or have side jobs or hustles these days to pay the bills - a musical fluidity which is becoming more common in rock music when layering on visa costs when touring in other countries. Joining him tonight were Jamie Turnbull (the Edinburgh-based producer of his solo and Tyla’s Dogs d’amour albums, and a talented guitarist in his own right who plays guitar on ‘Gilding the Lily’ and is largely responsible for this being thought of as Tyla’s “guitar album”) on semi-acoustic guitar and Christian Kimmett (manager of Bannerman’s and bass player in Warrior Soul, Love / Hate and more bands than I’ve had bottles of wine …. okay, that might be an exaggeration) on bass. And in a late change, Michael (Brannon, I think) sat in on drums for their acoustic line-up. There then followed a 14 song set reassuringly sandwiched by the Dogs’ staples of set opener ‘Last Bandit’ and closer ‘Errol Flynn’. But in a well-balanced set mixing old and new, what I was most excited to hear were five numbers from ‘Gilding the Lily’ live for the first time. As songs, ‘Cadillac Man’, ‘Glory Days’, ‘Baptism of Fire’, ‘Gilding the Lily’ and ‘Don’t Ever Stop Lovin’ Me’ more than earned their place in the set and freshened things up. As much as we love the old Dogs’ classics, it would get dull if all we got was the favourites, however good they are. But, with ‘Billy Two Rivers’, ‘I Don’t Want You To Go’, ‘Satellite Kid’, ‘Drunk Like Me’ and ‘How Come It Never Rains’ thrown in for good measure there was enough to keep all happy. While the seated layout worked great for the Q&A session, it worked less well for the gig which followed and resulted in Tyla and the band having to work harder than they should have to create an atmosphere. But, minor issues aside, another great night of musical entertainment. Glass raised. Words and images: GMcA (apologies for the lack of photos from the night due to camera issues).

Having given us just a few months to drink up their ‘Best Medicine’ EP, rising rockers Revenant are back with another five track masterpiece for our delectation. Despite the foreboding title and moody faces glowering from the cover, ‘Black Dogs and Sad Men’ is far from bleak and actually feels like a real step up, the work of a band energised and growing in confidence. ‘Lie You’re Living’ is a surprisingly confrontational opener, the crunchy riff and thudding pulse of drums setting the stage nicely. Bristling with rage, and yet incredibly catchy, it’s quick to make an impression, going straight for the throat and not letting go. Somehow both angry and melodic, Matt Hudson’s squealing guitar solo adds to the feeling of intensity, a feeling consistent with lyrics about kicking back against those who have wronged you. The title track takes its cues from good old classic rock and feels somehow epic despite its brevity. Cleverly playing with stop/start dynamics, drummer Carl Donoghue shines in the instrumental sections, bringing real power to a song that gets better with every listen. In terms of a natural single, ‘I’ll Be There’ feels like a strong contender, leaning into more of a Southern rock sound and embracing the harmonies that are such a signature part of the Revenant experience. With the sentiment of a ballad, and a rousing chorus that will be well suited to festivals, it’s an uplifting centrepiece that deserves its position at the very heart of the EP. ‘Sex With No Substance’ is a proper no-nonsense, lust fuelled banger that’s not a million miles from prime AC/DC, albeit with a singer who doesn’t sound like he’s swallowed a razor blade (no offence Brian Johnson!). Even the gang style choruses ring with a pleasing familiarity, a sonic template guaranteed to get heads banging. But Revenant is a band of contrasts, and the gentle ‘All We Need’ couldn’t be more different. There is a beautiful fragility to this musing on the passing of time, Sam Lay’s voice never more exposed, accompanied only by lightly strummed acoustic guitar. To be equally adept at ballads and bruisers is a skill, and one that the Revenant lads seem to have mastered. ‘Black Dogs and Sad Men’ is out on the 10th October, and these lads have never sounded better. Get your pre-orders in now at:

The Seventh Stonedead Festival: a Masterclass in Metal There are festivals that come and go, and then there are those that etch themselves into the hearts of fans. Stonedead is very much the latter. Now in its seventh year, Stonedead Festival has firmly established itself with families as one of the UK’s most loved rock and metal gatherings. What began as a one-day celebration has grown into a weekend-long pilgrimage: a Friday night warm-up show, camping facilities, and a Saturday stacked with wall-to-wall rock and metal music. Held at Newark Showground, Stonedead once again delivered everything fans have come to expect: a superbly curated line-up, smooth organisation, and a uniquely friendly, community atmosphere. Campers pitched up near their cars on both Friday and Saturday nights, creating an old-school festival spirit where neighbours quickly became friends, beers were shared, and anticipation built under the late-summer sky. The weather could hardly have been kinder: warm with plenty of sunny spells, just enough cloud to soften the heat, and a light breeze to keep things comfortable. No mud, no rain, no hassle - just the perfect setting for a weekend of music. The popularity of this event speaks for itself. Early bird tickets for 2026 went on sale the very morning of the festival and were snapped up in just seven minutes - a testament to its growing reputation and enduring appeal with a dedicated fanbase. Given the electric atmosphere throughout the day, it was no surprise. Families, first-timers, and seasoned rock veterans alike gathered together, proving once again that this is more than just a gig - it’s an annual pilgrimage. Friday Night Warm-Up: Tyketto’s Long-Awaited Return For those arriving early, Friday’s opening event brought a special treat: Tyketto, finally taking their place at Stonedead after being originally scheduled for the cancelled 2020 edition. Their performance felt like a long-overdue homecoming, and the crowd welcomed them with open arms. It was the perfect way to set the tone for the weekend, giving fans a taste of what was to come. King Kraken Unleashed As the first light of Saturday morning spilled across Newark Showground, fans began to gather en masse, ready for a full day of rock and metal. The crowd was a mix of seasoned festival-goers, families, and early risers eager to rock. Hailing from Cardiff, King Kraken kicked things off with all the subtlety of a tidal wave in full force. The quintet stormed the stage, their entrance alone setting the mood: an inflatable octopus crowd-surfing overhead, delighting those who had gathered in impressive numbers for the opening slot. Singer Mark Donoghue commanded attention with his raw stage presence, alongside Adam Healey (lead guitar), Pete Rose (rhythm guitar), Karl Meyer (bass), and Richard Mears (drums). Their mix of stoner grooves and heavy riffs from the acclaimed second album March of the Gods provided the perfect wake-up call. Tracks like ‘Berserker’ immediately had the crowd’s heads banging and fists pumping, creating a wave of energy that rippled through the early audience. Children on shoulders bounced to the rhythm, teenagers threw fists and heads in unison, and older fans sang along word for word, bridging generations in a shared love of live music. For an opening act, this was no tentative warm-up; it was an all-out assault that set a high bar for the rest of the day. The message was clear: Stonedead 2025 had well and truly begun. Honouring The Late and The Great After the adrenaline of King Kraken’s opening set, the stage fell silent in the morning light. Through the smoke, festival organiser Chris Sumby stepped forward and delivered a heartfelt and poignant moment. He first paid tribute to the festival family lost in the past year - crew, fans and friends - before honouring the legendary Ozzy Osbourne, the late, great Prince of Darkness. In an outpouring of joyous yet sorrowful energy, the crowd chanted “Ozzy! Ozzy! Ozzy!” It wasn’t just a tribute - it was a moment of connection and release. In that shared grief and joy, the crowd felt both the weight of loss and the exhilaration of music that transcends time. It reminded everyone why Stonedead is more than a festival: it’s a family, a community, and a place where generations come together to celebrate both the living and the legends who’ve shaped rock and metal history. Throughout the day, bands paid homage with covers of Ozzy’s classics, most memorably an epic rendition of ‘War Pigs’. Parents lifted children onto their shoulders, passing on the music to the next generation, while older fans sang every lyric from memory - a testament to Ozzy’s enduring legacy. Black Oak County Deliver a White-Hot Performance Next up were Denmark’s Black Oak County, who brought swagger, charm, and confidence alongside a hefty dose of arena-ready hard rock. Blending the polished muscle of Alter Bridge with the southern-fried sounds of Black Stone Cherry, they had the crowd in the palm of their hands from the first riff. Each member radiated energy and showmanship. Singer/guitarist Niel Beirt, bassist/vocalist Rene Kristensen, guitarist Jack Svendsen, and drummer Mike Svendsen delivered a set that was both slick and raw, showing exactly why they’ve become one of Denmark’s most popular bands since forming in 2012. The highlight came with ‘Boom Boom Baby’, which ignited the field and had the crowd clapping, stomping, and singing along, hands in the air, heads nodding in sync with the driving rhythm. Families, friends, and long-time Stonedead veterans jumped together in unison. The atmosphere was electric yet warm; strangers exchanged smiles over the shared joy of music, and moments of synchronised cheering punctuated the set. Beer in hand or fists raised, everyone was drawn in. By the end, it wasn’t just Black Oak County performing - the festival itself seemed to sing back, a collective roar of excitement that carried far beyond the stage. Enforcer Were a Powerhouse Force If King Kraken and Black Oak County lit the spark, then Sweden’s Enforcer threw a barrel of gasoline on the fire. Their brand of heavy speed metal is not for the faint-hearted - and judging by the eager crowd, that was exactly what people wanted. The crowd surged like waves, bouncing in place, feeding off the band’s energy. Hair flew, heads banged, and chants echoed across the field, creating a visceral connection between stage and audience. Frontman Olof Wikstrand commanded the stage with ferocious energy, backed by his tight-knit bandmates, delivering a whirlwind of thunderous riffs and shrieking solos in relentless anthems like ‘Living for the Night’ and ‘Unshackle Me’. Older fans at the front were clearly in their element, air-guitaring with gusto and belting every lyric. Enforcer’s set was less about subtlety and more about sheer adrenaline, and it left the field buzzing. The New Roses Bloom After the sonic storm of Enforcer, Germany’s The New Roses brought a melodic shift without losing any of the energy. When the title track of their debut Without a Trace was used on a German broadcast of Sons of Anarchy, their profile was solidified. Their music sits comfortably in the lineage of stadium-filling acts like Bon Jovi and Van Halen, but with a gritty modern edge that’s uniquely theirs. Formed in Wiesbaden in 2007, the quartet have toured relentlessly, and their experience shows. Their stagecraft was smooth, confident, and seasoned, honed through years of opening for legends like KISS, ZZ Top, and Black Stone Cherry. From the first note, the crowd responded with enthusiastic cheers and swaying bodies. Fans sang along to every chorus, arms waving in the afternoon sun, while others clapped and stomped to the rhythm, creating a vibrant, pulsing wave of collective joy. Primal Fear: A Primal Sound Without Fear! From melodic rock to sheer metal power, the baton was passed to Germany’s Primal Fear, a band with a fearsome reputation in the power metal world. Formed in 1997 after vocalist Ralf Scheepers narrowly missed out on fronting Judas Priest, Primal Fear have since released 15 studio albums and built a loyal following. From the first thunderous riff, it was clear why the band has endured: this was power metal at full force with raucous riffs, soaring choruses, and relentless energy. The crowd became a sea of chanting voices. Self-styled “Vikings” in the audience came alive with coordinated headbanging and synchronised cheering, adding a layer of theatre to the performance. By the time they concluded, the field was buzzing, hearts racing, ears ringing, and spirits soaring. D-A-D: An Afternoon Delight! By late afternoon, Danish veterans D-A-D took to the stage, reminding everyone why they’ve endured since forming in Copenhagen as school friends in 1982. Once known as Disneyland After Dark, Jesper Binzer (vocals), Jacob Binzer (lead guitar), Stig Pedersen (bass) and Laust Sonne (drums) recently celebrated their 40th anniversary and have 13 studio albums under their belt. The band has evolved into a tight-knit powerhouse, blending punk grit, country twang, and hard rock swagger. ‘Sleeping My Day Away’, from 1989’s No Fuel Left for the Pilgrims, was the undeniable highlight, the entire crowd belting it out. Their unique brand of rock ’n’ roll mischief was a welcome tonic as the evening edged closer. Sweet Blitz the Stage If ever there was a band to unite generations, it’s Sweet. With roots stretching back to the glam rock explosion of the late 60s and the 70s, they remain one of the most influential names in British rock history. The current line-up, introduced by Sweet’s longest-serving member Andy Scott - Paul Manzi (vocals), Lee Small (bass), Tom Cory (keys/guitar), and Adam Booth (drums) - did not disappoint, delivering a hit-packed set that had everyone singing. ‘Love Is Like Oxygen’ slowed things down just enough to let the audience soak in the melody, arms waving in unison and voices raised in the afternoon air. Finally came their unifying ending, which has been stuck in my head ever since: ‘Ballroom Blitz’ blasted through the erupting crowd, a sea of hands, glitter, and smiles. Young fans, parents, and grandparents shouted every lyric, dancing in collective joy. This was not just a performance but a festival-wide singalong - a reminder that great songs never age; they simply gain new voices. The Dead Daisies Are Alive and Kicking Transitioning from glam nostalgia to modern rock powerhouses, The Dead Daisies brought a polished, arena-ready confidence. Formed in Sydney in 2012, they’ve released eight studio albums featuring a rotating line-up of veteran musicians. Despite the changes, their camaraderie and professionalism shone through in every note. Their set was high-energy, riff-heavy, and slickly delivered, with ‘Long Way to Go’ and ‘Dead and Gone’ receiving huge reactions from the fun-loving fans. By this point in the evening, the crowd, with beers in hand, were ready to rock - and The Dead Daisies provided the perfect soundtrack. The Almighty Gave a God-Like Finale Closing the festival with a bang were The Almighty, Glasgow’s hard rock heroes. Formed in 1988, their mix of punk spirit and rock attitude made them the perfect finale for a day packed with variety. From the moment they launched into ‘Wild and Wonderful’, the energy surged. The band’s commanding presence and relentless riffs created a wall of sound that reverberated across the festival field. The extended encore became a combustible mix of music, lights, and audience fervour. By the end, it was clear that The Almighty had delivered more than just a performance; they’d given Stonedead its triumphant, rebellious conclusion. The Amazing Atmosphere and Exceptional Organisation One of Stonedead’s greatest strengths has always been its meticulous organisation, and 2025 was no exception. Clear signage guided festival-goers seamlessly across the grounds, online video guides prepped newcomers, and onsite staff and volunteers were consistently friendly and approachable. Even the smallest touches - spotless toilets still stocked with paper late into the evening - spoke volumes about the organisers’ attention to detail and the respectfulness of the crowd. Food and refreshment options were equally impressive. Festival-goers could choose from classic burgers, chicken and halloumi gyros, or decadent sweet treats drizzled with chocolate. New traders expanded the choice further, offering jewellery, clothing, and art - perfect souvenirs for festival-goers. Merch tents buzzed with excitement, bar queues moved efficiently, and free water stations ensured everyone stayed hydrated. Accessibility and inclusivity were evident throughout. Spacious layouts, thoughtful planning, and clearly marked paths made it easy for everyone to navigate. Families were out in force, with children experiencing their first festival alongside parents and grandparents. Laughter, cheers, and spontaneous singalongs filled the air, creating a safe, joyful, and welcoming atmosphere. The technical side was equally polished. Sound and lighting were exceptional, delivering a professional spectacle while preserving the intimacy that makes Stonedead so special. Every note, every spotlight was carefully calibrated to enhance the experience. Perhaps the most touching detail came as the festival drew to a close. Staff waved warmly to the departing crowds, and in return, festival-goers called out their thanks - a simple but heartfelt exchange that perfectly encapsulated the camaraderie and shared love of music that defines Stonedead. Top Moments • Tributes to Ozzy Osbourne, honouring the enduring legacy of the Prince of Darkness. • Sweet’s ‘Ballroom Blitz’ singalong - a joyous, unifying highlight that captured the festival’s inclusive spirit. • The Almighty’s extended encore, closing the festival with raw, unrelenting power. Final Thoughts Stonedead Festival 2025 was everything a rock festival should be: meticulously organised, family-friendly, musically diverse, and brimming with unforgettable moments. From the inflatable octopus that welcomed early risers with King Kraken, to the thunderous finale by The Almighty, it was as much a celebration of community as it was of music. Based on the original Monsters of Rock ethos, the team have brought the spirit into the 21st century with a focus on safety and community. It’s clear how much everyone cares about Stonedead and what it symbolises - and thrilling to see it not just surviving but thriving. With early bird tickets for 2026 selling out within minutes, Stonedead’s reputation continues to soar. By Sunday night, all tickets for next year had been snapped up - proof that this is no longer just an event, but a cherished tradition.

Let’s get the elephant out of the room: Dirty & Divine is Thundermother’s first outing with a revamped lineup, and it’s got a whole new flavour. Filippa Nässil, the band’s founder and lone holdover, has assembled a crew that feels less like a replacement and more like a rebirth. With Linnéa Vikström Egg’s powerhouse vocals, Joan Massing’s thunderous drumming, and Majsan Lindberg’s return on bass, the chemistry is instant. The energy? Off the charts. This isn’t a band easing into a new era; it’s one kicking the door down. Recorded live in the studio, the album pulses with raw immediacy. You can hear the sweat in the solos, the grit in the grooves, and yes, the glorious clank of cowbells echoing through the mix. It’s a tight, 33-minute joyride that doesn’t waste a second, and the production; courtesy of Søren Andersen and Chris Laney; is crisp, analogue, and full-bodied. Everything feels miked with intention, giving the whole thing a “you are here” vibe that suits the band’s no-frills ethos. The album opens with “So Close”, a motivational gut-punch that channels Southern rock swagger with gang vocals and a chorus that feels like Joan Jett giving you a pep talk in a dive bar. It’s got AC/DC’s stomp but with a melodic lift that makes it feel more like a rallying cry than a throwback. That same live-wire urgency carries into “Can’t Put Out the Fire”, a frantic, club-ready anthem that sounds like Thundermother built it fans to scream back at the band from the front row. Think Kiss’s glam meets Free’s grit, with cowbells ringing like warning shots. There’s a defiant thread running through “Speaking of the Devil” and “Take the Power”, both of which feel like sonic responses to the band’s internal shakeups. The former is the album’s crown jewel; a riff-heavy banger with a pre-chorus that coils like a spring and a chorus that detonates. There’s even a chanted breakdown that nods to Iron Maiden’s “Somewhere in Time” era, adding a layer of theatrical tension. “Take the Power”, meanwhile, trades nuance for fury. Linnéa sounds positively feral, and the rhythm section drives the track like a runaway muscle car. It’s punky, punchy, and cathartic. On the lighter side, “Feeling Alright” and “I Left My License in the Future” offer a playful reprieve. The former is breezy and staccato, with a vibe that’s part Joan Jett sass, part Bowling for Soup cheek. It’s catchy without being cloying; a sunbeam in leather pants. “…License…” is pure chaos in the best way: a thumping bassline kicks things off before the guitars dive into shuddering crunch. The lyrics are cheeky sci-fi nonsense, the chorus is explosive, and Filippa’s solo is pure vintage swagger. It’s the sound of a band having fun and letting their freak flag fly. Then there’s the soulful undercurrent that runs through “Dead or Alive,” “Can You Feel It,” and “Bright Eyes”. “Dead or Alive” slows things down with tremolo-heavy guitar and smoky vocals, evoking the bluesy melancholy of early Gov’t Mule. It’s restrained but emotionally rich, lifting into classic rock territory with a chorus that aches. “Can You Feel” It is a stomper with soul; imagine Whitney Houston fronting KISS at a house party. The groove is clappable, the chorus built for crowd chants, and there’s a subtle country-rock twang that sneaks in under the distortion. “Bright Eyes”, despite its misleading title, is all lust and swagger. The “We Will Rock You”-style intro sets the tone, and the mid-tempo groove makes it danceable without losing its edge. It struts, it smirks, and it seduces. Closing out the album, “American Adrenaline” goes full glam. Driven by a train-beat snare straight of off Sweet’s “Ballroom Blitz” and glam riffs played by Motorhead, it’s a love letter to El Paso, Texas, and a perfect curtain call. It ends the record with a grin, a wink, and a fist in the air. Dirty & Divine isn’t trying to reinvent rock; it’s trying to remind you why it still kicks ass. It’s a celebration of the genre’s loudest, proudest tropes: cowbells, gang vocals, big riffs, and bigger choruses. The new lineup brings fire and finesse, and while the album stays close to its hard rock roots, it’s got enough personality and conviction to feel fresh. If you’re into AC/DC, The Runaways, or just want to hear a band sound like they’re having the time of their lives, this one’s for you. Released: February 7, 2025 Label: AFM Records Produced by: Søren Andersen & Chris Laney

Orianthi’s Some Kind of Feeling isn’t just a collection of songs; it’s an angsty, prickly, heartfelt, and humour-laced journey through blues, rock, and pop. Each track feels like an episode, a story shaped by atmosphere, tone, rhythm, and style. She kicks things off with “Attention,” a breakup anthem that blends pop, country, and blues as seamlessly as she bends the strings on her guitar. It’s radio-friendly, but there’s bite beneath the gloss; like shark’s teeth just below the surface. The chorus sticks instantly, but it’s the lyrics that sting: Orianthi sings “Drunk checking on me in the middle of the night” with a snarl that makes it clear she’s done playing nice. Her solo here isn’t just a flourish; it’s a howl for freedom, a primal scream in electric notes. It’s a bold opener, reminiscent of Joanne Shaw Taylor’s “Just No Getting Over You,” and it sets the tone for the emotionally packed tracks that follow. The title track, “Some Kind of Feeling,” wraps you in a soulful groove like a snug winter jumper woven from blues. There’s a warm R&B glow; more Motown than Stax; and it evokes the spirit of Susan Tedeschi’s “Back to the River.” The rhythm section locks in tight, backing vocals rise like a gospel choir, and the guitar threads through with quiet confidence. It’s not triumphant, but it’s resolved. The lyric “All the ghosts are gone” lands like a sigh of relief, not a shout of victory. This track bridges the emotional weight of the ballads with the swagger that follows. Then we dive into the album’s emotional core. “What I’ve Been Looking For” and “Ghost” are its beating heart. The former channels Clapton’s laid-back blues from 461 Ocean Boulevard, layered over the dreamy atmospherics of a Pink Floyd record. When the solo arrives, Orianthi plays with such aching precision it feels like heartbreak in motion. “Ghost” deepens the spiritual tone that runs through the album. Her voice teeters on the edge of breaking, while the backing vocals reach out like a hand pulling her back to her feet. Her guitar becomes a confidant, questioning, consoling, cajoling. These two tracks are heavy with feeling, but never overwrought. The band holds the emotional weight with grace, and the production; Kevin Shirley on “What I’ve Been Looking For,” Orianthi herself on “Ghost;” lets the songs breathe, keeping the emotion front and centre without drowning them in studio gloss. Between these two comes a genre-flipped cover of ZZ Top’s “Sharp Dressed Man.” Orianthi struts through it with playful swagger, and you can practically hear the grins in the studio. It’s a fun detour, a wink to tradition with a twist of personality. She brings out the big guns for “First Time Blues,” featuring Joe Bonamassa. It’s a volcanic eruption of guitar, with Orianthi’s fiery style sparring against Bonamassa’s classic blues phrasing. They meet head-on, complementing each other in a fast-fingered display of pyrotechnics. “Dark Days Are Gone” follows with effect-heavy guitar and an upbeat tempo; a celebration of resilience and stepping back into the light. “Bad For Each Other” and “Call You Mine” explore love from opposite ends. The former is a slow, sultry groove with down-and-dirty blues guitar. Orianthi’s vocals drip with subtle sexiness, and the lyrics hint at romantic abandon; a near-nihilistic surrender to desire. “Call You Mine” flips the mood. It’s sweet, laid-back, and tinged with Nashville warmth, shifting toward country-rock. Both tracks explore complicated love, but from quite different emotional angles. The acoustic “Heaven Right Here” closes the album with quiet introspection. It’s intimate and unadorned; no guitar heroics, just a clear message: keep looking, and love will find you. It’s a gentle exhale after the emotional highs and lows. Some Kind of Feeling is Orianthi’s most emotionally cohesive work to date. It doesn’t just highlight her guitar chops; it reveals her emotional depth. She links songs not by genre, but by feeling from anger to sorrow, longing to joy. Her guitar doesn’t dominate; it converses, shadowing her vocals and adding shade. This is an album that lingers, one you’ll return to again and again. Each listen reveals new layers, making it more compelling with every spin. It’s not just music; it’s a mood.

GeminiiDRAGON’s “Blues Is So Good,” featuring Linwood Taylor, doesn’t just play the blues; it breathes it in deep and exhales something raw, sultry, and steeped in tradition. From the first note, the track settles into a slow, swampy groove that feels like it was born in a backroom bar somewhere humid and holy. Linwood’s guitar tone is warm and slightly overdriven, not flashy but conversational, like he’s trading stories with the listener rather than showing off. It evokes the spirit of Albert Collins and Buddy Guy, but with a modern edge that hints at Gary Clark Jr., a kind of reverent swagger. The rhythm shuffles with a heartbeat pulse, and the bassline walks with quiet confidence, grounding the song in something earthy and familiar. GeminiiDRAGON’s vocals are magnetic; smoky, expressive, and unapologetically lived in. She doesn’t just sing the blues; she inhabits them. Her phrasing stretches and bends like bubble gum, letting emotion drip from each syllable. There’s a theatricality to her delivery, but it’s never performative; it’s intimate, like she’s letting you in on something personal. Her tone recalls Koko Taylor or early Etta James, but with a contemporary sensuality that’s all her own. The lyrics are deceptively simple, but they carry weight. “Blues is so good / it hurts just right”; a line that captures the paradox at the heart of the genre, where pain becomes pleasure and sorrow turns into celebration. It’s not overwrought poetry; it’s a direct line to the gut. The mood is thick and immersive. This isn’t just a song; it’s a slow dance under dim lights, a glass of something strong, a moment suspended in amber. There’s a sensual tension throughout, like the air before a summer storm. It evokes velvet curtains, flickering neon, bare feet on wooden floors. Emotionally, it sits somewhere between longing and release, defiance, and seduction. You can hear the fingerprints of Muddy Waters and Howlin’ Wolf, but also the energy of modern blues revivalists. Linwood Taylor brings seasoned authenticity, while GeminiiDRAGON injects a fresh, feminine energy that feels both reverent and rebellious. It’s a reclamation of blues as a living, breathing art form; not just nostalgia. “Blues Is So Good” leaves a lasting imprint. It’s not just a track; it’s a mood, a memory, a conversation with the past and present. GeminiiDRAGON and Linwood Taylor don’t just perform the blues; they remind you why it still matters. As a taster for GeminiiDRAGON’s upcoming fourth album “Moonlight Movin’ & Groovin’,” this wets the appetite so much it leaves you drooling. This is music that begs you to feel it as much as hear it. Blues Is So Good is available on Bandcamp and all streaming services since 22nd August 2025 Moonlight Movin’ & Groovin’ is out September 2025.