Album & Live Reviews

A five-strong Rockfiend team attended Scotland’s premier music festival again this year and these are our collective thoughts on proceedings, covering most, but not quite all, of the bands on show. Day One: Thursday 27th November Welsh rockers Scarlet Rebels were an inspired choice to open for another year. If you want to attract an audience on a Thursday for a 5PM start then this is the band for you. They played to a sizeable crowd that continued to grow as their energetic feel-good set went on. The band have built up a following in the traditional way, with regular gigs and album releases of increasing quality and their crossover appeal straddles old-school rock with a cooler, sexier indie-vibe. They are no strangers to Winterstorm, and apparently even turned up at an after-show house party with one group of fans the last time they were here. Feelgood music like ‘Streets of Fire’ hits the spot and there is a new album on the way soon. The honour of opening the Sessions Stage fell to a very young East Ayrshire band called Angel Eyes, whose members are only 15 and 16 years-old. It all looked a bit ‘School of Rock’ but the young folks gave a good account of themselves. Their natural fit seems to be more indie-rock rather than the core 1980s metal demographic of the regular Winterstormers, but a fair few seemed to enjoy the performance, and not just the proud mums and dads that were filming the show. The young singer and drummer were the only females performing on the Thursday on what was otherwise a total sausage-fest, but the ladies acquitted themselves well, particularly the vocalist, who showed a lot of promise. Cleverly, they also signposted their intention to close the set with a cover of Crue’s ‘Kickstart my Heart’ and that shrewd marketing encouraged a good crowd to stay until the end. At such a young age, it would be daunting for most people to appear in front of a seasoned (meaning old!) Winterstorm rock crowd but the local band seemed unfazed and took the occasion in their stride. The legends of rock won’t be around forever, meaning it’s vital to support the next generation from the outset. So, keep an eye on this band as they develop over the next year or so and attend some of their shows to help get them to the next level. It’s the least that us old rockers can do! Vision Divine were a bit of a wild card, and likely a new name to most in the crowd, but they turned out to be another very fine undiscovered continental gem. With over 20 years of material to choose from, the Italian prog-metal maestros were able to put on a very fine show indeed. Former Whitesnake man Michele Luppi was back on vocals and he delivered like a more restrained Glenn Hughes and his lineage as a Coverdale sidekick added legitimacy to a closing cover of ‘Still of the Night, which went down a storm. Allegedly, hard funk band High Fade are from Edinburgh but I believe they spend a lot of their time in America where they are building a following. As a live act, they are a compelling proposition and managed to get even the most decrepit of audience members moving and grooving. Highlights included ‘Burnt Toast and Coffee’ and ‘Fur Coat’, which, if they really were from Edinburgh, would surely be called ‘Fur Coat (Nae Knickers)’? The band are first class musicians with singer/guitarist Harry Valentino a born entertainer whilst 70s porno-haired bassist Oliver Sentence and drummer Calvin Davidson were possibly the tightest rhythm section of the whole weekend. It didn’t take long for the Winterstorm audience to be rocking, bopping and swinging along with arms moving “to the left, to the middle, to the right”. High Fade are very much a live band, with the full experience best enjoyed on a stage, up close and personal. If you want to see them again or if this review has piqued your interest, catch them on their UK Tour, including a date at QMU in Glasgow, this December. Scottish blues-rock heroes Bison Hip drew an inquisitive and appreciative crowd upstairs to the wee stage. The guys in the band are all really experienced and highly competent players and with recent releases they’ve added a clutch of relatable and reliable bangers with long titles like ‘Everything That Came Before was Just Leading Up to This’ and ‘Why Should I Cry If You Left Me?’, plus latest single ‘Chemicals’. The next change of pace was veteran skate-punk legends Ugly Kid Joe. Whitfield Crane probably could have been a Seattle psychiatrist like his separated-at-birth-brothers Niles and Frasier, but instead he used his position as the singer in the band to dispense wisdom and experience to the good people of Scotland like a rad Yoda in a backwards cap. You can’t go wrong with instantly recognisable songs like ‘Cats in the Cradle’ and especially ‘Everything About You’, which was a knockabout classic at the end of their set. The former’s closing verse lyrics “as I hung up the phone it occurred to me, he’d grown up just like me… my boy was just like me” always causes Rockfiend’s Gareth to have a lump in his throat, mainly because he’s now getting old and as a father to two boys racing towards twenty and mid-teens, he can now fully relate to the words more than he could in 1992! That brought a really exceptional evening’s entertainment to a close and set the table for the rest of the weekend. Of the six bands we have covered here, none of them could truly be described as traditional 1980s-style UK hard rock and the festival’s opening day was all the better for it. Winterstorm should be applauded for their talent-spotting ability and creativity in bringing such an excellent, varied and entertaining line-up together. Day Two: Friday 28th November I always think of This House We Built as a “Wildfire” band, as that is where I first encountered them, and they are firm favourites at Scotland’s premier summer festival. The northern lads turned up early to get things going, and so did Smalltown Audio, who take care of the sound for the main stage and did a brilliant job all weekend. THWB have just released a new album ‘Get Out of the Rain’ and there are some very good songs on there that have been added to a nicely well-rounded set. A very likeable band, they put on a great show and should not to be underestimated. Another local act opened the Sessions stage. Annastaisyar (it is pronounced ‘Anna-stay-as-you-are’ not ‘Anastasia’) is a powerful vocalist with an experienced band and she delivered a strong set of self-penned numbers, most notably the harrowing ‘Evil Fireman’, which apparently tells the story of how Anna came to be a wheelchair-user. Rockfiend favourites Collateral have an excellent live reputation, although I suspect they are a band best enjoyed when shit-faced at a later hour than they performed at on Friday afternoon. They pulled out all the stops though, including singer Angelo Tristan bounding onto the stage wearing a kilt… albeit a wee lassie’s kilt worn back-to-front. Nice legs though, and not even a shame about the boat race! Nevertheless, it was a rousing performance of melody-filled hard rock by the Kent four-piece who showcased tracks from their self-titled debut and follow-up ‘Should’ve Known Better’. They finished with the strip club classic ‘Mr Big Shot’ which also included a first appearance from ‘The Lost Girls’ dance troupe from Nottingham. Still miss wee Todd though. Scottish band Eld Varg are influenced by Viking goat-shagger bands like Grand Magus and their very heavy performance up-the-stairs even provoked a bit of seated rowing action in the crowd, the likes of which I had not seen since ‘Oops-upside your head’ was in the charts. Eld Varg have a very strong image and great artwork, particularly with their new album ‘Destroyer’ which was only released a week or so before the gig, and they sold a lot of copies of that and their other fine merchandise after their show. There really must be something in Welsh water, judging by the number of brilliant bands coming out of the country. Powell/Payne can now be added to that ever-growing list of bands. With a crystal- clear sound and a set of brilliant AOR/melodic hard rock gems, the band will have won a lot of new fans with a top-notch performance. Named after drummer Mark Powell and vocalist Mark Payne (“He’s the Powell. I’m the Payne”), the band is signed to Frontiers Records, but were at “Paynes” (see what I did there!) to point out that they weren’t a “project” put together by the prolific (but often samey!) Italian label. The general consensus was that their music came over better with some additional live “oomph” than it did on record. With a few high-profile support slots under their belts, we should be able to see more of these guys in the future. After the collapse of Hardline’s UK trip, it was great that these guys stepped in to keep the melodic rock flag flying after fine sets in previous years by H.E.A.T and Eclipse, and hopefully the promoters have got something soft and fluffy lined up for next year too? Fangslinger were a marvellous surprise and an unexpected pleasure. The self-styled ‘undead outlaws’ bring a bit of theatre to their southern gothic grungey music with a bit of a sexy vampire twist. FangSlinger is the male vocalist and has the lost boy beefcake charm of Jason Stackhouse out of TV’s True Blood, and the female lead is BloodRose – a beguiling femme-fatale figure. Together they rock up a storm and create a very cool vibe that makes you wish you were sinking your teeth into something good in Bon Temps, Louisiana. They finished up with a cover ‘You Give Love a Bad Name’ but if you’re going to shoot them through the heart, it had better be with silver bullets. These Wicked Rivers had the most elaborate stage set of the weekend, with vintage rugs, lamps and what looked like a globe-shaped drinks cabinet complementing their hairy and swampy look. But there was nothing swampy about their performance, with music steeped in classic hard rock but with a very bluesy, Southern Rock tinge. Lead guitarist Arran Day (was he aware that the Isle of Arran was visible outside, right behind the stage?) kicked and spun throughout the set, resplendent in a maroon suit, whilst vocalist/guitarist John Hartwell’s road-worn voice is perfect for their style of music. We wouldn’t want to blow blackberry smoke up your ass, but these Brits do a very fine southern rock show, right down to the epic last song ‘Don’t Pray for Me’ with its twin-neck guitar freakout. Very impressive. The Skids brought a bit of punk energy and Richard Jobson was very lively; jumping around in a football top, just like his brother, the Meadowbank Thistle legend John Jobson used to do on the grassy stage. In a set full of highlights, ‘Into the Valley’ is still a shining jewel, even if High Valleyfield isn’t. The first sign that Wytch Hazel had arrived in Troon was a gentleman fan walking around the venue in a rather unusual outfit that included long boots and a white cape. They’re a band with a passionate fanbase that really digs their unusual blend of medieval, pagan-like music with 70s hard rock and a tinge of early heavy metal. It was quite trippy and mystical at times, but there’s no doubt that the band’s appearance is a unique selling point. It simply wouldn’t have been the same if the white spandex, smocks and boots had been replaced by jeans and a t-shirt and the goblet by a bottle of beer. They’re unusual and talented and clearly not afraid of sharting… and in music, it’s good to stick out from the crowd. That’s why their fanbase continues to grow. Now, where’s that mead? So far, so eclectic and Sweet Electric brought yet another dimension to an astonishingly diverse Friday line-up. It’s hard to tell if they are a spoof or if they’re just a hard-rocking party band, and they also had some assistance from The Lost Girls to liven up their already adrenaline-fuelled set. Ostensibly a German band, they are fronted by demented wee Australian Brad Marr out of Massive and he was an even-more-larger-than-life presence in this guise and the Sessions Stage almost wasn’t big enough to contain them. 1970s rockers Sweet haven’t played in Ayrshire since a reportedly turbulent evening in Kilmarnock in 1973, when they were bottled off the stage at the town’s Grand Hall. It has always been a bit of a local myth that this chaotic concert led to the writing of the band’s well-known hit ’The Ballroom Blitz’. This was pretty much confirmed by founding member and guitarist, the legendary Andy Scott, the man with the greatest fringe in rock and it seemed like some folks in the audience tonight might even have been there that night – in fact, some of the crowd looked like they might have been outside waiting to collect their kids in 1973. Starting with ‘Action’ (famously covered by Def Leppard), Sweet performed a set made up of genuine rock classics such as ‘Hellraiser’, ’Teenage Rampage’ and Christmas party favourite ‘Wig Wam Bam’. Scott didn’t seem overly happy at the lighting (or lack of it), stating that he couldn’t see his guitar (“I’m a 76-year-old man”), so it was perhaps the brightest lit Winterstorm performance… ever! Good news for photographers. The really good stuff was left for the end of the set, with ‘Love is Like Oxygen’ making way for a final trio of ‘Fox on the Run’, ‘Blockbuster’ and the aforementioned ’The Ballroom Blitz’. People of a certain vintage danced, grooved and sang along to songs that were the soundtrack of their 1970s youth, whilst others who were slightly younger and less familiar with the band, looked like they just didn’t have a clue what to do! For one Rockfiend scribe, this gig seemed to complete a 70s glam rock tick list of bands seen that now includes Sweet, Slade, Suzi Quatro, Gary Glitter and The Bay City Rollers. Is anyone from Mud still alive? The final act of the night had attracted so much fan attention that the traditional ‘After-show’ set was moved downstairs. That allowed Saffron Gorman (“the Ulster Doro”) the honour of closing things off up the stairs with her Black Eagle Band – something she did with great authority. That left Guitar Heads, featuring affable friend of Winterstorm Jim Kirkpatrick (now known as “the keyboard player from The Sweet”) and Paul Rose on guitars, plus several equally adept friends, to entertain with a spirited set of carefully curated covers, of which ‘Hocus Pocus’ really stood out, in a highly entertaining and appreciated finale. According to several observers, this really was one of the finest, most balanced and varied one-day line-ups in Winterstorm history. With just the two overtly “heritage” bands, there was plenty of space for excellent acts covering pretty much every genre and a nice blend between the handful of returnees and some especially pleasing newcomers, with some delightful and unexpected surprises thrown in. Here’s hoping for more of the same in the future. Day Three: Saturday 29th November 2025 Winterstorm has always acknowledged its inspiration in the “Spirit of 1980”, when Ayrshire was a semi-regular stop on the NWOBHM circuit. On this Saturday, with a handful of exceptions, the whole day was largely mono-focused on hard rock and metal from that era. Indeed, with the obvious sad exception of Ozzy’s ‘Back to the Beginning’ this Summer, it is unusual to see an entire day at a festival dominated to such an extent by the presence of one man – Steve Harris. Clearly, there has been no more significant figure in metal over the last 45 years than Steve, and the great man embodies the “Spirit of ‘80” more than anyone else too, so it seems entirely appropriate that we were treated to a performance by him as a member of British Lion, plus at least five other friends, family and Harris-adjacent acts throughout the day. Surprisingly, we know that Sir Steve Harris has read Rockfiend at least once. Our very positive review of a British Lion show in Edinburgh on a cold November night last year made reference to the fact that he “could have been at home in The Bahamas in his speedos” and he actually referenced this in an exclusive interview with Classic Rock in their Iron Maiden special this year and said it had made him laugh! Happy days. Bless ‘im – he is a proper legend and a gift that just keeps on giving. Somehow, it has always mystified some people that Harris chooses to go from playing arenas, stadiums and world-famous festivals in front of massive crowds with his day job to playing much smaller stages with British Lion, but the reasons are simple; he loves it, and he can get closer to the crowd with British Lion, similar to the early days of Iron Maiden. From the outset, it was clear that British Lion is so much more than just a side project for Harris, as he bounded energetically onto the main stage, foot on monitor, singing every word to his adoring crowd (although he isn't even the singer!). There wasn’t an inch of the stage that Harris didn’t cover and it’s fair to say that he may be the most photographed artist ever to grace the Winterstorm stage. Musically, British Lion gives Harris the opportunity to play shorter, more hard rock-oriented songs than he does with Iron Maiden and these songs easily stand up on their own, with ’This is My God’ and ‘Land of the Perfect People’, all with prominent bass lines (of course), ably highlighting the talent within the band. Unquestionably, Steve is the biggest individual to ever play Winterstorm, and no doubt, he’ll have secured his own curtain that will take pride of place next to Michael Schenker and other famous Winterstorm alumni at future festivals. A few totally star-struck, fully-grown fans relished their opportunity to be within touching distance of the hem of his garments and his mere presence made a lot of people’s days. I mean… Steve Harris… in Troon! Before all that, a band entirely unconnected to 1980 or Steve Harris started us off. To open a festival on the third and final day can easily cause a bit of trepidation: wondering who’s coming along at 1pm after the two nights before, and hoping that folks haven’t peaked too early with the variety of brews on offer over the weekend (more cider please). The lads in Victory or Die needn’t have worried, and an already swelling hall was in good spirits when the intro tape of much-loved Tartan Army anthem ‘We’ll Be Coming’ blared out across the hall. I’m sure we will all be hearing that tune for many months to come and the Americans will also love it in the summer. With captain and national treasure Jason Sweeney leading his VoD 4-a-side onto the hallowed “turf” of the Troon Concert Hall, if there was ever a band prescribed to cure a hangover, VD would be the natural Alka-Seltzer and a good bit tastier. For the next 40 minutes, they delivered a no-nonsense salutation to British rock, opening with the killer ‘New Rock Revolution’ which very much set the tone and pace for what was to come, while ‘Hang the DJ’ and ‘House of Love’ epitomized the raw, fiery, gut-punching Rock & Roll. Mixing the tradition of the NWOBHM scene and a heavy slice of melodious charm, Demon were duly summoned for a classic romp through some of their back catalogue. ‘Night of the Demon’ kicked off proceedings at the ungodly hour of 14:20, complete with some 80’s customised and choreographed synchronised guitar moves. Although never one of the A-list names in the genre, before long, the Maiden-centric crowd began to realise that Demon had something to offer; with driving riffs, a romping rhythm section and the soaring vocals of singer Dave Hill (not that one) delivering a through-the-ages gallop of highly charged mini epics like ‘Sign of a Madman’ and ‘The Plague’. Although a large part of the set was written over forty years ago, the songs are still very much relevant in today’s equally messed up world and slot in alongside ‘Face the Music’ from 2024 with ease. After that, there was some highly-original multi-media sounds from Tony Moore’s Awake; a set focused on not just his own work, but also Bernie Torme, Gary Moore and Rory Gallagher by Pat McManus; and a set of well-loved Magnum covers by Kingdom of Madness, who ironically contain more “real” Magnum members than the current Magnum do; and a set from pre-Maiden Harris-connected band Gypsy’s Kiss. The Raven Age, for the moment, include George Harris (son of Steve) and Winterstorm alumni Tommy Gentry, who previously played at the festival with Gun. It was an emotional show for the band on the main stage, as it was one of the final performances by Harris, who is moving on as a result of illness. Their music is heavy and dark, with an almost spooky, shock-metal tinge to it and possibly mostly aimed at a younger and cooler demographic than that lined up before them in front of the stage. They were worried that they might “go down like a fart in a lift”, but they had nothing to worry about - it was a fantastic set, and like South of Salem at a previous Winterstorm, one that will have won them some new fans in Troon. Released in February of that year, the ‘Metal for Muthas’ compilation album is almost the epitome of ‘the Spirit of 1980’. The two Maiden tracks are the obvious highlights but ‘Baphomet’ by Angel Witch was another standout. The band Baphomet performed on the Sessions Stage in honour of the sadly-recently-deceased Kev Riddles, who played in both Angel Witch and Tytan. A rousing set of songs from the Angel Witch back catalogue went down very well. I particularly enjoyed singing along to the self-titled classic ‘Angel Witch’ with a couple of old friends from back-in-the-day, one of whom had recently acquired a mint copy of ‘The Soundhouse Tapes’ - the other sacred scroll of NWOBHM – and the other who hoovered up much of the band’s remaining merchandise following their final-ever appearance. Following British Lion’s Main Stage set, Airforce took over upstairs and turned in a very fine performance indeed. Drummer Doug Sampson was an early Iron Maiden drummer and with Chop Pitman on a guitar with a heavy-duty bullet guitar strap, the band have some veteran prowess. The man who grabbed the attention though, was a handsome and charismatic Portuguese singer (I think called Lino) who captivated the ladies at the front with his metal-Clooney good looks and impressed the geezers at the back with his Dickinson-esque air raid siren vocal powers. Definitely the performance of the day on the wee stage. Closing the Main Stage were Praying Mantis – another Maiden-connected band from back in the day. They have been popular performers at Winterstorm on multiple occasions, but after a long day in a similar theme, it might have been one appearance too many for some tastes as the hall started to thin out a bit. There was nothing to fault in the band’s performance though. I got excited at one point as they announced “one we haven’t played for a while; Turn the…Tide”! I have been to every Mantis show at Winterstorm, like many, hoping to hear ‘Turn the Tables’ and ‘Cheated’, so it really felt like they were taking the piss there. To be honest, it always disappoints me when bands refuse to give their loyal customers the songs that they most want to hear for whatever reason, so I stomped off to the Harbour Bar in the huff. It would serve me right if they played it after I left. As themed-days go, this was a good one, if a little “heritage-focused”, and I do prefer the greater change of pace, age, era, style and performance that we enjoyed on the previous days. That said, the crowd were royally-entertained by Sir Steve Harris and friends on a day that will live long in the memory, and who ever thought they would see that in Troon? Happy days. See y’all next year.

There’s plenty of room to spare at the 1865 this evening, which is baffling given the strength of the lineup. Maybe it’s because it’s the middle of the week or money is a little tight, or perhaps these bands just need a little more exposure in the right places. Joking that some of the group travelled as far as 150 yards for their opening slot, Southampton’s own The Fever Dreams don’t waste the opportunity, treating us to a surprisingly diverse and engaging set. Though initially favouring foot-stomping hard rockers with the kind of no-nonsense riffs that AC/DC made into an art, ‘It’s Alright’ wanders into laid-back, almost countrified territory and highlights the impressive harmonies that spill over into a bouncy cover of ‘Take Your Mama’ (yes, the Scissor Sisters one!). ‘Blink of an Eye’ rushes along like a stream of consciousness, somewhat reminiscent of Tom Petty with its jangling guitars. A five-some seemingly bursting with ideas and rich with talent, The Fever Dreams deserve recognition beyond their home city. Fixing us with her intense, wide-eyed stare, Bobbie Dazzle makes her Southampton debut, heading up the glam rock revival we didn’t realise we needed. Fronting her aptly named ‘Dazzle Band’, the group has a strikingly retro aesthetic, flared trousers and flat caps in force, Dazzle herself rocking a snake print catsuit. Affectionately referring to her own music as “ridiculous but fun”, there’s truth to that, but it possibly undersells her knack for a catchy tune. If there’s a way to get ‘Flowers From Mars’ or ‘Back to the City’ out of your head, I’m yet to discover it. ‘Merry Go Round’ reinforces my view that the flute is a seriously under-utilised instrument in rock music and the doubling of the guitar riff with keyboard on ‘Lady On Fire’ is equally pleasing. Obscure ABBA cover ‘Watch Out’ blends in so seamlessly that you could be forgiven for mistaking it as one of Dazzle’s own if she kept quiet about its origin; The slinky guitar riff is heavier than you’d imagine, and the ‘ooo la la las’ are irresistibly upbeat. The set concludes with ‘Lightning Fantasy’, a song with lyrics that Dazzle uncovered after her father’s passing and ‘plagiarised’! A man apparently just as in love with glam rock as his daughter, you suspect he’d be very proud. As Dazzle herself puts it, “The lady’s on fire, let her inspire you”. In an age where iconic guitarists generally feel like a thing of the past, Jared James Nichols deserves to be regarded as the modern equivalent. A musclebound, mountain of a man who towers at more than 6 feet tall, his leonine locks and increasingly tattooed arms (he’s just had a new one backstage!) give him the look of someone who’d make great poster material and his command of the guitar is something to behold. Blessed with enviable charisma, flashing his bright smile freely, there’s an effortlessness to his playing, a sense that it’s all instinct. It’s the first night of the UK tour, and Nichols’ first time in Southampton as a headliner. And from the moment the wild squall of ‘Easy Come, Easy Go’ comes blazing through the amplifiers, it’s clear that he means business. His is a difficult sound to describe, undoubtedly rooted in the blues but, as Nichols himself so eloquently puts it, with “more bollocks”. Fronting a power trio (with emphasis on the power) completed by bassist Brian Weaver and drummer Ryan Rice, Nichols’ magnetic presence means that it’s almost easy to overlook the rhythm section. Of course, Jared doesn’t allow that to happen, frequently drawing our attention to their formidable prowess, and permitting them moments to shine, first during an extended ‘Threw Me To The Wolves’. There’s nothing flashy here in terms of presentation, no stage show or elaborate lights, and yet it’s still utterly compelling. Nichols notably favours a stripped back guitar set up - minimal pedals, and definitely no plectrums! Perhaps that’s how he’s able to tease delicate beauty from ‘Nails in the Coffin’ or deliver the wailing ‘Good Time Girl’ with such feeling. The latter sees him get up close with the front row, to the delight of all. ‘Honey Forgive Me’ is as close as the band get to funk, Weaver’s baseline grooving nicely throughout an expansive rendition that temporarily veers off into a fun selection of riffs, Nichols taking on everything from ‘Smoke on the Water’ to ‘Mary Had a Little Lamb’! ‘Baby Can You Feel It’ is a spirited throwback to Nichols’ blues beginnings, with an opportunity for audience participation, as we shout the chorus back at him. Latest single ‘Ghost’ is an absolute monster live, and sees Nichols edging ever closer to that killer song that the show builds towards. As it stands, the set concludes with a turbo-charged version of ‘War Pigs’, and though nobody is ever going to be disappointed by it, I can’t help but feel Nichols deserves a set closer all of his own. An unmatchable guitarist and a truly lovely guy, who takes the time to talk to everyone after the show, I’ve never known Jared James Nichols to disappoint. There’s still plenty of opportunities to catch him before he heads home to the USA. Check out the remaining tour dates here:

Straight away I have hair envy. All but the drummer sporting dreadlocks or in the case of Adam Woloszyn on Bass, a Viking cut. The performers were lined up across the stage, their postures leaning aggressively into the audience like a pack of predators eyeing their imminent prey. With raw energy, they began shouting commands, challenging the assembled masses to put their hands up or make some noise. Though the opening notes had only just begun to boom through the speakers, the atmosphere was already electric. judging by the roar, the majority of the crowd was definitely up for the challenge of matching the intensity of the group before them. Second song in, "are we having fun yet, who's wanting some chaos?" Getting the crowd to jump. They started "Chaos and Earthquakes" Despite the track not delivering the promised heaviness, which initially dampened the frenzied crowd participation, the energy on stage was utterly infectious. Guitarists Rasheed and Jayson, along with bassist Adam, acted as catalysts, a blur of motion as they jumped, spun, and headbanged across the stage. Seeing the band's relentless enthusiasm, the crowd finally began to stir. Just as the momentum built, frontman Elias leaned into the mic and roared for them to make some noise. In response, the audience erupted, shedding its earlier quiet with a deafening roar that pulsed from every corner of the venue. Elias has a clean voice, almost perfect. A recorded track couldn't have done better. He is such a great singer. Again "fist in the air" came the shout, Robbs drumming fast, furious makes sure this song "Dodge your destiny" hit hard, and so does the crowd. This is such an amazing display. They are the warm up band and the crowd are warmed into a frenzy. In the middle of the song, the music hums menacingly and Elias is scouting his prey once more. Getting the crowd to bounce like some sort of puppet master. If the set ended now then job done! The crowd is definitely warmed up! He shouts "We are Korn!...no we are not Fucking Korn! We are Nonpoint!" The performance continued to build momentum as Elias transitioned smoothly between Spanish and English, keeping the already enthusiastic crowd captivated. The atmosphere was undeniably electric, with the audience clearly enjoying every moment. Elias then started to sing a British classic that everyone could sing along to: Phil Collins' "In the Air Tonight." While the audience passionately screamed every lyric, anticipating the song's iconic moment, the rendition, unfortunately, fell short. It was a good effort, yet it ultimately lacked the famous, explosive drum impact that defines the original and that the crowd was eagerly waiting for that moment. The band delivered an electrifying set that navigated different musical energies. A standout moment was a song performed entirely in Spanish; its compelling rhythm and melody were so strong that the language barrier simply melted away. Following a brief, mellower interlude, they wisely finished their performance with a much heavier song "Bullet with a Name" ensuring the crowd's energy remained at a buzzing peak. This powerful finale solidified their sound as one that would appeal strongly to fans of Skindred and Korn, sitting comfortably between the two in terms of intensity and style. Overall, it was a great set and a perfect introduction for anyone unfamiliar with Nonpoint's compelling live presence. Excellent set. Elias Soriano vocals Robb Rivera drum Rasheed Thomas guitar Adam Woloszyn bass Jaysin Zeilstra guitar

The band walked out individually. Drummer Richard Meiz led the way, trying to gee up a Tuesday night crowd. The biggest cheers came when Andrea Ferro and Cristina Scabbia entered the stage. The set began with a heavy blast, opening with "Layers of Time" where Andrea Ferro's intense screams pushed the Gothic metal into the realm of Metalcore. This grime was instantly purified the moment Cristina Scabbia's incredible voice soared in, delivering a counterpoint of stunning clarity and purity. The energy peaked after the second song when Cristina addressed the capacity crowd, introducing the Lamb of God's vocalist, Randy Blythe collaboration, "Hosting the Shadows,". Obviously he wasn't going to make an appearance but Andrea replacing him was seamless. Musically, Richards drumming was absolutely off the scale laying down a relentlessly heavy and fast tempo; during one instrumental break, he rose from his kit, strutting and aggressively gesturing for the audience to scream louder. Meanwhile, Marco Coti Zelati, sporting striking white zombie-like face paint complete with a visible brain and a manic grin, was visibly lapping up the cheers, embodying the raw visual spectacle of the performance. Every chord from his bass was felt deep in the chest, proving that the band was totally killing it, making this mid-week show one of the liveliest the packed venue had seen. "Die and rise" followed the same formula of the Metalcore style singing of Andrea and the beautiful pristine singing of Cristina. The drummer Cristiano showing how good he is by doing one hand drumming, laying his stick down and drumming perfectly. Musically they are outstanding, not missing a beat or dropping a note. If you like your Guitar music then don't expect to see sweeping Guitar solos. I noticed as the music went on the technical and beauty of the Guitar solo was swapped for the more technically perfect voice of Cristina Scabbia. She certainly knows how to interact with the crowd. Talking Italian to some people at the front or addressing us at the back, she made us all feel part of her party. "Heavens a lie xx" gave us a more melodic ballad, with the crowd singing the chorus in fine voice. Finally we got the first Guitar solo, as precise and beautiful as we we have come to expect from this band. "In Nomine Patris" from the new album Cristina got to show what she could do with her vocals and another solo from on the guitar turned the song into a soulful, moving affair weaving a complex melodic line that perfectly complemented the intense feeling of the lyrics. This song was probably the best song so far. New songs "Gravity" and "Oxygen" were well received by the crowd. The set ended with "Nothing Stands in Our Way". The band exploded back in action for the encore with two songs off the new album "The Siege" and "I Wish You Were Dead" They followed with the classic "Swamped XX" which was by far the best song of the night with the crowd at their hyper best all night. Finally another from the new album "Never Dawn" to end the show. The performance was technically flawless, showcasing the evident skill of every musician and vocalist on stage. However, while devoted fans undoubtedly found the setlist fantastic, newcomers might find the overall show slightly monotonous. The core issue lies in the repetitive song structure, where Andrea's powerful growls followed with Cristina's clean, melodic delivery. While this predictable pattern satisfies the established fanbase, it risks feeling repetitive to a casual attendee unfamiliar with the band's catalog. The fans loved it. Vocals: Cristina Scabbia and Andrea Ferro Bass and Keyboards: Marco Coti Zelati Drums: Richard Meiz Guitar: Daniele Salomone 1. Layers of Time 2. Reckless 3. Hosting the Shadow 4. Kill the Light 5. Die and rise 6. Spellbound 7. In the Mean Time 8. Intoxicated 9. Downfall 10. Heavens a lie xx 11. In Nomine Patris 12. Blood, Tears, Dust 13. Gravity 14. Oxygen 15. Nothing Stands in Our Way Encore: 16. The Siege 17. I Wish You Were Dead 18. Swamped XX 19. Never Dawn

It was good to be back at the Glasgow O2 on Wednesday night. An over ambitious promoter had originally slated this show for the Hydro and, whilst it would have been good for tonight’s bill to get onto a stage that big, this was a venue far better suited to the fare that was on offer. First up, for me, were Yard Act. Unfortunately, I had not arrived at the venue in time to catch Spiritual Camp. Yard Act are a four piece from Leeds whose star is very much on the rise. They are two albums into their career and have caused a few waves on the indie-rock scene. How well they’d fit onto this bill was something that had me thinking as I listened to their first album, The Overload, on the way through from Edinburgh. Kicking off with a new song, Tall Tales, I found myself more interested than enjoying this start to the night. However, as the set moved on, I thought the band relaxed and their sound found its place and space in the auditorium. Yard Act were a bit rapy, a bit heavy and a bit gangly and I liked all of that. The crowd loved them too. Any concerns I had about how they’d fit the bill evaporated by the end of their second song, ‘Dead Horses’ one of the stick outs from the debut album. Singer, James Smith hinted at a gig at Barrowlands in 2026. If you can be there, get there, Yard Act will certainly rock the house. Just after 9:30 the lights dipped and on came The Hives. Tonight, they were bedecked in black suits complete with lighting stirps and white ascot ties. As always, they set a standard in sartorial garage punk. Boom, ‘Enough is Enough’, the opening volley from this year’s album The Hives Forever Forever the Hives, kicked off the night; it is quickly followed by crowd favourite ‘Walk Idiot Walk’. ‘Rigor Mortis Radio’ keeps the mosh pit moving until that wee moment when rigor mortis comes over the band and they freeze mid chord. Despite his best efforts, singer Pelle Almqvist can’t keep his smile suppressed as the volume of the crowd just keeps rising. And they are off again, ‘Paint a Picture’ another from the new album is next. That half a minute of stillness and silence in Rigor Mortis Radio was the only break in the 90 minutes the band are on the stage. The best word I can think of to describe a Hives show is “unremitting”. They just keep the tempo, the momentum and sheer pace at a solid 10 out of 10 for the whole show. As a band of musicians, they are tight as two coats of paint. Playing at that speed, that well, is a challenge few bands consistently manage, The Hives nail it every time and with every song. Front man, Howlin’ Pelle Almqvist leads the charge. Looking sharp in a suit throughout the night - he doesn’t even loosen the necktie, he covers every inch of the stage, climbs the speakers and, at one point, jumps into the crown. If there is a better frontman in rock, I am yet to see him. He controls and captivates the crowd with all the presence and authority of a Baptist preacher lifting and quietening his congregation as he wishes. If he wanted an alleluia or two, he’d get it! Pelle is approaching 50, singers 35+ years younger than him should see him and what he does as a blueprint for rock and roll presence and they should learn. Back to the music, ten of the cuts from this 18-song set are drawn from the last two albums, that still leaves room for ‘Hate to Say I Told You So’, ‘Main Offender’ and ‘I’m Alive’ from previous long players. The main set crashes to an end with ‘Tick Tick Boom’ and I am surrounded by happy, sweaty moshers. After a quick break, three more to finish and they begin where they started, with the title track of the new album The Hives Forever Forever the Hives which I suspect will be the closer for a while. What The Hives don’t lack is a self-confidence and that works for them. Carley Simon’s Nobody Does it Better starts to belt out the PA as the band take their final bows. That is a sentiment that is certainly shared by this capacity crowd. The Hives, go see them while they are still around, if you don’t there will be something missing from your life!

Saturday night, Bathgate and there is a crisp bite to the air.. winter is coming. Thank god we have the warmth that comes with a close quarters gig in Purple Orange, a cracking wee venue nestled away along a Bathgate side street but certainly one to experience! £5 entry and three sensational Scottish bands on the menu, what's not to love! First up are Glaswegian psychedelic doom rockers AYE-AYE.. named after a Madagascan lemur and having not played a gig since September 2024, they graced the stage with an ease that only seasoned bands could manage. The 3 piece commenced their set with heavy grooving track 'Men Are Ugly', continuing to deliver some new songs and some old belters to the eager listeners. With one patron claiming 'Its like Morrissey has finally had enough and embraced the metal'. Definitely a band to try and catch if those psychedelic Jams are your bag! Thoroughly enjoyed. Next on the bill were a well known band on the scene and hailing from Edinburgh, Holyrude Vault. Formed in 2021 and bringing us some of that sleazy hard rocking attitude, the 5 piece did not disappoint! Although what initially appeared to be the lads squeezing onto the stage, they moved with ease through the set giving us powerful tight vocals, technical instrumentals leaving the crowd headbanging and clapping along, really lifting the atmosphere and getting us hyped for the main event. If you like your rock to be attitude filled and no bullshit, this is the band for you and I urge you to go see them. Currently in the studio recording their new 7 track EP, I will definitely be heading out to catch them again soon! And now to our final band of the evening, 13Scream. Tonight's gig is their single launch for 'Stuck In The Inbetween', plucked from their eagerly anticipated album 'Hunt Down and Kill... 13Scream'. The band is the brain child of James McCulloch, formally of She Burns Red and joining him on this momentous new journey is drummer, and all round cool cat Adam 'bam bam' McNaughton. The lads have worked together on several projects before and have now come together to create their own account of British rock with that visceral, aggressive sound that speaks directly to them. The set begins with a flurry of energy that only comes from an antsy wait and an eagerness to get on stage, the second track of the night is of course the new single, and despite an earlier hiccup with big James taking a spill, he moves with the charisma only a giant with years of experience could pull off to finish the track, with drummer Adam claiming later into the set 'he didn't even notice'. The rest of the set is a joy to behold and includes the band's first single 'Fight'. Each track conveys a strong message about mental health and you can hear that being pushed through James's powerful vocals. The energy exuded from Bam Bam throughout the whole set carries the mood ever higher until we're brought back to earth by the final song, 'open your eyes', which gives the audience a little time to reflect on what they've just witnessed. This band is one to watch, definitely not to be dismissed and given the opportunity, you need to get down and see them. The debut album is currently live on Kickstarter for those who want to pledge, keep the independent music scene going and if this performance is anything to go by I assure you, you will not be disappointed. Overall, a fantastic night of great music, great bands and all for just a fiver. Support your local venues, support your local bands and we'll be able to continue to enjoy these experiences for years to come.

Glasgow based Eld Varg - Swedish for “Fire Wolf” present their sophomore release Destroyer. The album opens with the Metallica like intro Achaman, all norse mythology imagery and metal galloping. Then straight into the album title track, and single Destroyer underpinned by dynamic drumming and muscular riffing. A decent shout for a single, and fairly effective. The band meanwhile having originally started as a solo project by guitarist and vocalist Ollie Noakes, subsequently morphing into quite a full sounding three piece. Bass riffing meanwhile opens The Hell Of Mirrors, the Bass sitting right in the pocket throughout to strong dynamic effect. The Bands overall sound meanwhile suggesting a more classic, traditional approach with some modern quirks, though more Maiden/Dio than say Sleep Token. Can even hear a bit of Exodus - like Toxic Waltz riffing in Black Starlight, even at some moments elements of Wasp instrumentally throughout the sound. Production is good throughout, with well balanced instruments complimenting each other. Lyrically its dungeons and dragons stuff not unlike Zeppelin/Dio’s themes, fitting well within classic Metal tropes. Album closer Crestfallen opens with acoustic guitar, before a more percussive, muscular rhythm takes shape., before an acoustic Orion like interlude kicks in. And it’s with that, a fairly fat free album ends. Well paced, never outstaying it’s welcome and straight to the point.

Following on from 2023 album New Sensation Antipodean rocker Cassidy Paris returns with her 2nd full length Album Bittersweet released today. The new album takes on a more raw edge than the previous 80's inspired effort. There is no doubt that Cassidy has grown from that young girl into a young woman who has gone through an emotional roller coaster in the years since the first record and has put that down into song on this record. The opening songs are two driving rock songs with more than a hint of Pat Benetar in her heyday Nothing Left To Lose is much harder and heavier than what we have heard previously. “Finish What We Started” is another full on rocker that in her own words deals with the situation that “falling is not the end, giving up is” The emotion in the record is evident. “Give Me Your Love” could be straight from Joan Jet with that stripped down riff and swing and anthemic vocals. Can't Let Go slows the pace down and is more aligned with the previous 80's sound a mid tempo ballad that lets Paris's vocals shine. “Undecided” is another driving rocker that leads us into probably the highlight of the album for me. “Sucker For Your Love”, full of hooks and catchy vocals, One of those songs that will leave an ear worm in your brain and hours later you will find yourself singing the chorus inside your head. “Anybody Out There” takes on a journey from a heavy start to slower ballad, Paris lists here influences as Benetar, Jett and Lzzy Hale and this song has all the hallmarks of Hale, soulful vocals fill the song definitely one of the highlights of the 13 songs on show. The album closes with the catchy “Turn Around And Kiss Me” and the lead single “Stronger” that epitomizes the album a much harder stronger record written from true life experiences and hurt. We look forward to hearing them live when she returns to these shores in May 2026 for a series of dates around the UK.

Fast music, that’s a punk thing, right? Unremitting speed, song after song, not a chance to draw breath – you need to get into training to go to the gigs. It's bands like the Ramones and Buzzcocks that spring to mind. The next generation, like Green Day and the Hives kept the vibe going but who’s next? Well, on Thursday night in Glasgow we got the answer to that question – Bad Nerves. Glasgow Art School was a new venue for me. The room was a big square and held a capacity of 300; and a great room it was too. I reckon it was just about full to bursting on Thursday night. Just on 9 o’clock the light went off and Bad Nerves appeared. Lots of smoke, little light and singer Bobby Nerves wearing his dark glasses. Bobby is the driving force in the band and responsible for writing the words and music for all their material. What followed was a battering; 19 songs rammed into 60 minutes of pure joy and happy noise. This band are only two albums into their career, and we got both of them, at pace. ‘Television’ opened the night before two of my faves made an early appearance, ‘Don’t Stop’ and ‘Baby Drummer’. This was a night full of younger fans; the pit was moving constantly, and the floor was bouncing up and down. It was just like the punk gigs of old. A circle appeared, a very big circle, and just as the chorus of, what I think was ‘Jimmy the Punk’, started, crash the circle pit took off. It was mightly. ‘You Should Know By Now’, ‘Antidote’ and ‘The Kids Will Have Their Say’ took us to the end of the main set. Now, this was my first gig back after a couple of months off. I have got myself two new hips. Whilst the head (and much of my body) said “seat” my heart said “pit”. It was only the wise and restraining hand of my mate Andy that kept me in one piece at the back – just before he darted off to join the throng for the encore numbers. ‘You’ve Got the Nerve’, ‘Can’t Be Mine’ and the fantastic ‘Dreaming’ took us home. As the lights went up, I saw a sea of happy and very sweaty faces. What was great to see was very few old guys like me; this was a room full of young fans who were really up for it. If punk music, or fast music, is to have a future, then the community needs to invest in bands like Bad Nerves. Fans need to buy their music, and promotors need to get them on festival bills. All too often punk promotors look into their rear view mirrors for inspiration. That’s important, of course the fans want to see the bands of their youth, but for their festivals to survive and for the scene to flourish, they need to look down the road a bit too. Band like Bad Nerves are the future and they need to be folded into plans. There is no doubt this band have big plans of their own. They are already playing to bigger venues in the States and are about to head to Australia and Japan before Santa comes. Bad Nerves are planning big things, if you like it fast, make sure you give them a listen soon and get to see them anytime they are in a place near you!