Album & Live Reviews

Elles Bailey has never been an artist to stand still. Across her five albums of original material, she has steadily refined her songwriting voice, broadened her sonic palette, and deepened the emotional honesty at the heart of her work. But with “Can’t Take My Story Away” she steps into a new realm entirely: one shaped by resilience, self-possession and a refusal to let anyone else define her narrative. Three years in the making, the album emerged from an intriguing creative crossroads. Bailey initially approached producer Luke Potashnick with the intention of making a straight-up rock record. Potashnick, however, envisioned something more nuanced, and together they crafted a project that balances power with vulnerability, swagger with introspection. Their collaboration unfolded while Bailey was simultaneously working on her 2024 chart-topping album “Beneath The Neon Glow”, creating a fertile period of artistic cross-pollination. The result is a record that feels both expansive and intimate, polished yet deeply human. Potashnick’s production is sumptuous without being overbearing: every instrument has room to breathe, every vocal line sits in a space that feels intentional. The album has clarity and openness, offering a listening experience that holds its richness whether blasted through speakers or played quietly in the small hours. Opening with a confident swing, the title track has horns punctuating the rhythm with a brightness that immediately lifts the mood. It’s a bold, positive introduction: one that sets the tone for the record’s overarching message of self-ownership. The lyric leans into the idea that no matter what life throws at you, your story remains yours to shape. Additional writing contributions from Dan Bettridge help give the track its emotional clarity and melodic strength. A soulful, classic R&B-infused number, ‘Growing Roots’ feels warm and lived-in. The backing vocals offer call-and-response moments that enrich the groove, while the guitar work: played with understated finesse: adds a subtle sparkle. The song has been out for a while as Bailey’s album teaser and has received positive responses from radio making Radio 2’s A list. Originally recorded for a charity tribute album honouring songwriter Matt Long (Catfish), ‘Better Days’ returns here in a refreshed, gently bluesy form. Bailey secured permission from Long’s parents to rework the track, and the result is tender yet uplifting. The short guitar break keeps the song buoyant, while the lyric encourages looking forward rather than dwelling on past pain. Its pop crossover sensibility makes it one of the album’s most accessible moments. ‘Blessed’ is a standout ballad: lush, heartfelt and beautifully arranged. Delicate strings and keys take centre stage adding emotional weight without tipping into sentimentality., Nina Harries double bass grounding the track in warmth. Co-written with Ashton Tucker, the song explores gratitude and the quiet strength found in being loved for who you truly are. Bailey steps into Americana territory on ‘Constant Need To Keep Going.’ The production evokes endless highways and wide-open skies: Ethan Johns fuzz guitars echo in the distance, drums mimic the steady roll of train wheels. The lyric captures the restless drive to push forward even when you’re not entirely sure why: “There’s a constant need to keep going, and I don’t know where to go,” Bailey sings, her voice carrying both weariness and determination. It’s a track that feels cinematic, almost dust covered. A burst of funky blues energy, ‘Take A Step Back’ sees the rhythm section of Jeremy Stacey (drums) and Nigel Harries (bass) bringing a butt jiggling swagger to the track. Horns return to the foreground, adding a vintage soul flavour reminiscent of 1960s Memphis and Motown sessions. The guitar work nods to classic players of that era too: tasteful, rhythmic, and full of character. It’s one of the album’s most danceable tracks, and a reminder of Bailey’s ability to blend genres with ease. ‘How Do You Do It’ brings Bailey back to her blues roots, but with a playful twist. A touch of honky-tonk piano gives it a barroom charm, and the vocal delivery carries a wink of mischief. It’s a shorter, punchier moment on the record, offering a breather between the more emotionally heavy songs. Defying expectations for a song titled ‘Angel,’ this is no soft-focus ballad. Instead, it’s an upbeat R&B-tinged blues number co-written with Aaron Lee Tasjan. The lyric centres on being present for someone when they need support: “It’s only at night we see the angel,” Bailey sings, hinting at the quiet ways people show up for each other. The horns and rhythm section give the track a radiant glow. A gentle, piano-led ballad, ‘Dandelions’ is delicate without being fragile. Subtle drums, soft guitar lines and a whisper of organ create a tender backdrop for Bailey’s vocal. Co-written with Tamara Stewart, the song feels like a moment of stillness: a breath taken in the middle of life’s chaos. ‘Tightrope’ follows naturally from ‘Dandelions,’ continuing the introspective mood. Co-written with Blaine Harrison (Mystery Jets) and Henry Grace, the track balances vulnerability with poise. The arrangement is understated, allowing the lyric’s emotional tension to shine through. It’s a song about navigating uncertainty, about learning to trust your footing even when the ground feels unsteady. The album’s emotional apex. ’Starling’ begins with a stark pairing of Bailey’s voice and piano, her vocal almost a murmur. As the song unfolds, strings and organ drift in, drums rumble like distant thunder, and backing vocals swell. The track builds and builds until Bailey’s voice rises to full power: raw, commanding, and utterly arresting. It’s a masterclass in dynamic storytelling, and Potashnick’s production is at its most cinematic here. The credits reveal a rich ensemble behind the scenes, including string players Laura Anstee, Emma Sheppard and Rebekah Allen, whose contributions help elevate the track’s emotional intensity. The production by Luke Potashnick is one of the album’s defining strengths. His ability to create space; letting instruments breathe, allowing Bailey’s vocals to sit naturally in the mix; gives the record an open, immersive quality. Whether played loud or quietly late at night, the album retains its richness and clarity. The writing credits reflect a collaborative spirit: Bailey and Potashnick co-wrote the majority of the tracks, with select contributions from Dan Bettridge, Ashton Tucker, Aaron Lee Tasjan, Blaine Harrison, Henry Grace, Tamara Stewart and Matthew Long. This blend of voices enriches the album without diluting Bailey’s artistic identity. Lyrically, the record carries a wisdom earned through lived experience. These aren’t blues clichés about heartbreak for heartbreak’s sake; they’re reflections on growth, resilience, connection and self-worth. Bailey has always been a storyteller, but here she digs deeper, unafraid to expose the tender parts of her journey. “Can’t Take My Story Away” is more than a collection of songs: it’s a statement of identity. It captures Elles Bailey at a creative peak, blending genres with confidence and delivering performances that feel both technically assured and emotionally resonant. The album’s themes of self-determination and personal truth resonate strongly, and the musical artistry: from the horn arrangements to the string sections to Bailey’s unmistakable voice makes it a joy to revisit. A richly detailed, emotionally intelligent and musically expansive triumph, “Can’t Take My Story Away” confirms Elles Bailey as one of the UK’s most compelling contemporary roots artists. Drawing on blues, soul, Americana and classic R&B, the album feels like a culmination of everything she has built since “Wildfire”: but with a new depth, confidence and creative boldness. With this release, Bailey not only cements her place among the UK’s most compelling roots artists but also delivers a contender for album of the year: one that will linger long after the final notes fade.

Depending on your definition of the word "Punk", you'd be hard pressed to find another group with a claim on being the first of that particular genre than the Ramones. Formed in Forest Hills, Queens, New York, in 1974, they were always overflowing with originality, identity, attitude, and energy. Place all that alongside wonderfully eccentric, punchy songs, and an image to match, and it was a very heady mix indeed. The original line-up was Tommy, Johnny, Joey and Dee Dee (you know that, anyway) In all honesty, some of the Ramones songs would be considered outrageous by some, even today. From that alone, we can imagine the cultural impact they had unleashing those songs on the planet from the mid-1970's. Accolades arrived, too; placed in the top 30 artists of all time by Rolling Stone Magazine, inducted into the Rock and Roll Hall of Fame (at the earliest point possible), and also a Grammy lifetime achievement award. Their longest standing Drummer, Marky Ramone, is on long-awaited trip to the UK at present, and his first stop is The Dome, London. He's chosen three fine fellow musicians to play the Ramones classics with him, namely Inaki "Pela" Urbizo (Vocals), Martin Sauan (Bass), and Marcelo Gallo (Guitar). They play the songs with energy and honesty, without ever veering into cliche. The evening starts in admirably frenetic fashion, with "Do You Wanna Dance?", "Havana Affair", "Teenage Labotomy", "Commando", and "Beat On The Brat" rifled off in no time at all. Very little between song patter either, and it's clear they are going to try and get through as much as they can this evening. I'm reminded how deftly the Ramones were with melody, and very inventive choruses. I've always thought that the overall melange of their songs is so interesting. In a lot of respects, they were very underrated. More importantly, though, discerning rock fans have always taken to them and given them their proper credit. "We're A Happy Family", "Let's Dance", "Surfin' Bird" and "Rockaway Beach" are some of the standouts during the mid section of the set, and it's astonishing that over 15 songs have been played, and it transpires that were are only just approaching halfway through the set. Just like the old days..... Ramones never shied away from playing covers, with a few thrown in this evening. A great version of "Have You Ever Seen The Rain?" is played this evening, with the set closing out with "Pinhead", "Cretin Hop", "Rock n' Roll High School" and "R.A.M.O.N.E.S" (by Motorhead). Such a great way to end, also considering their strong friendship with each other. After a fairly long wait, the group return for an encore consisting (unsurprisingly) of several songs. "Kill That Girl", fires out frenetically, with another cover ("What A Wonderful World"). When you hear that song, you all of a sudden can't imagine it any other way. Ramones always shook a cover song to it's core. "Blitzkrieg Bop" is the finale this evening, and what a finale too. Marky and his group are representing the legacy of the Ramones very admirably, and you could tell from the crowd that they are cherishing a chance to hear the songs of a much-loved, innovative and never-repeated group. "We're A Happy Family"......

It was a very cold and windy with torrential rain Thursday night, but that didn’t stop the rock hardcore coming out on a school night! On what was a rescheduled UK tour for Midnite City, after front man Rob Wylde broke his ribs late last year, support was from Nasty Ratz who travelled from the Czech Republic for these dates. Nasty Rats opened up their set with a Bigtop Circus intro before the band kicking in with a heavy, but melodic “Welcome to the circus”. The band had good stage presence, and vocalist Jake Widow using his gloves with green laser beams to maximum effect at certain parts of songs. The venue seemed to gradually fill up during the set, with the crowd enjoying what they saw and heard – catchy choruses and great guitar solos , and participating in the song “Stay Lazy”. The crowd were warmed up and ready for Midnite City. Overall Nasty Ratz were well received on their first visit to Yardbirds, Grimsby, and I'm sure they will be back in the future. Nasty Ratz are: Vocals – Jake Widow Guitar & Backing Vocals – Matt Viperi Bass & Backing Vocals – Xriss String Drums & Backing Vocals – Randy Dee SETLIST Intro – Circus The Waste Against the world Poetic Justice Angel in me Watch your back Demons Price of love Set you free Lets drive Stay lazy Beat the bullet -------------------------------------------------------------------- Midnite City are out to promote their recent album “Bite the bullet”, which was released in November. They had a new setlist covering songs from all five albums, and will be celebrating ten years together at the end of the year. Opening up their set with “Live like ya mean it” soon got the fanbase singing every word along with Rob, who is still recovering from his freak accident. A great sound from the 80s style “Hair Metallists” was well received, with Ryan's thunderous drums and Tabbies bass, keeping the beat tight, with Shawn's keyboards giving a fuller sound for Miles to do his nifty guitar work. During “Atomic” Rob had everyone raising their fists in the air at the beginning of the chorus, with one fan even coming all the way from Japan! Later in the set Shawn played a great keyboard based track with the rest of the band, whilst Rob went off stage, re-emerging for “Seeing is believing” where the fanbase swayed along to the slow melody with their phone torches lighting up the floor. Midnite City never fail to put on a great show, and you can catch them again over the summer when they go out on a co headline tour with Sisters Doll from Australia. Midnite City are: Rob Wylde – Vocals Miles Meakin – Guitar Josh “Tabbie” Williams – Bass & backing vocals Shawn Charvette – Keyboards & backing vocals Ryan Briggs - Drums SETLIST Live like ya mean it Someday Heaven in this hell Lethal dose of love Hardest heart to break No one wins Girls gone wild Atomic Summer of our lives Vampires Worth fighting for When the summer ends Archer’s song Seeing is believing Give me love We belong

It was doors at 5:30 in Glasgow, so a bit of a dash to get there in time. Fortunately, Charlotte Wessels and her band came on over an hour after the doors opened, so there was plenty of time to assemble a sizeable crowd to welcome the Netherland’s songstress back to Scotland and she had clearly retained a lot of goodwill from her previous visits to the city fronting Delain. We have not heard that much from Charlotte as a solo artist, although she has been prolific on Patreon and released the slightly ethereal ‘Tales from Six Feet Under’ albums a few years ago. With the recent release of ‘The Obsession’, she has brought the heavy back in collaboration with some former Delain band-mates and she appears to have hit a sweet spot, blending some atmospheric symphonic-lite offerings with a harder edge that packs a muscular punch at times. The ballad ‘Crying Room’ featured an emotional guitar solo by Timo Somers, while ‘Soft Revolution’ featured some marvellous harmonies between Charlotte and her keyboard player. As well as songs from ‘The Obsession,’ there are some even newer numbers, of which ‘After Us, the Flood’ was a highlight – the cinematic video for this new song is well worth checking out. The set concluded with the powerful ‘The Exorcism’ during which Charlotte got so much into the “grunting” segment that she had a “wardrobe malfunction” and her top had to come off, although fortunately, her under-garments ensured her dignity was not unduly comprised. It was a triumphant return to Scotland for Charlotte and it will be very interesting to hear further new music in the same vein. Epica have a strong pedigree in symphonic rock and some of their continental shows with orchestral backing look absolutely phenomenal. With last year’s album ‘Aspiral’, the band re-imagined and renovated their approach with a slightly more direct contemporary metal sound and that was reflected in the first few numbers. The visuals are different too, most noticeably with Simone Simons, who started in the shadows looking reminiscent of a Scottish Widows advert, before divesting the robes to reveal a new black-clad leather approach and futuristic glasses. The band’s visuals were excellent throughout, featuring very effective use of a giant video-screen backdrop and HD ribbon-strips at the front. An interesting and distinctive intro video segment set the scene and included a request for the audience to ‘stay in the moment’ and refrain from phone usage. Needless to say, that did not deter the usual phone-wankers, but I doubt if their footage was useful, as the band performed in the dark for most of the night, often in silhouette against the bright screen lights. ‘Never Enough’ made a welcome return to the set and Charlotte Wessels was another welcome returnee when she popped up to duet on ‘Sirens – of Blood and Water’. Simone donned an evening dress for one vocal showcase and the band really stretched out their symphonic chops on the snappily-titled epic ‘The Grand Saga of Existence – A New Age Dawns, Part IX’. Epica certainly went down well with the moshers and crowd-surfers and everyone else, and the band definitely added something a bit different to their previous performances in this city. The down-side of having such an elaborate stage set in use for the first part of a co-headline bill was that it took a very long time to dismantle Epica’s rig and assemble Amaranthe’s more modest, but still impressive, stage set-up, so there was some loss of momentum going into the final set of the evening. Amaranthe hit the stage hard with an onslaught of their trademark danceable modern metal music. With three front-line singers incorporating female lead and both clean and harsh male vocals, the band delivered a lively, crunching and syncopated wall of sound. Elize Ryd has been a constant in the band, and it is usually her who brings a bit of colour to proceedings, but even she was black-clad and intense this time. Highlights included ‘Viral’ and ‘PvP’ which is a song commissioned for the Swedish E-sports team, and a new song called ‘Chaos Theory’ which had a very nice bounce to it. The moshers and crowd-surfers tried hard to keep up but it was a ferocious onslaught that only ended after five hours in the hall, which is a big ask on a school night. It was quite a show though.

On Friday, 23rd January 2026, Elles Bailey made a stop at Assai Records, 1 Grindlay Street, Edinburgh, as part of her whirlwind tour to promote her new album, “Can't Take My Story Away.” The store was packed with eager fans, all anticipating her arrival. When Elles appeared on the makeshift stage, she exuded a relaxed and confident presence. Elles kicked off the performance with the title track from her latest release. Accompanied by Demi Marriner, who provided guitar and backing vocals, the song’s stripped-back arrangement was well received by the audience. However, it was apparent that Elles’s voice was huskier than usual. After the opening number, Elles addressed the audience, apologising for her limited upper register due to a lingering cold affecting her sinuses and voice. She sipped hot tea between songs in an effort to soothe her throat. Elles shared the story behind her single ‘Growing Roots,’ explaining why she always considers it a number two song rather than something to hold back for the encore. Despite her cold Elles delivery was first class and she even managed to encourage a lively singalong from the crowd. Next was ‘Constant Need To Keep Going.’ Although her illness impacted her vocals, Elles’s dedication shone through as she gave her all to the performance, earning enthusiastic applause from the appreciative audience. The show then shifted to a more emotional tone with two deeply personal tracks. ‘Better Days’ was written by Matt Long, formerly of the band Catfish, who rose through the ranks of blues music alongside Elles. Sadly, Matt was diagnosed with an aggressive cancer in 2023; despite the blues community raising over £100,000 for treatment after the NHS could no longer provide care, he passed away in October 2024. Elles originally recorded ‘Better Days’ for a charity album supporting Music Minds Matter. Later, with permission from Matt’s parents, she included a new version on her own album. After sharing this poignant backstory, Elles and Demi delivered a heartfelt rendition that moved the crowd. The next song, ‘Tightrope,’ was another emotionally charged moment. Co-written by Elles, Blaine Harrison, Henry Grace, and album producer Luke Potashnick, the song reflects on a difficult period in Elles’s life marked by mental health struggles. She spoke candidly about the song’s inspiration and encouraged anyone facing mental health challenges to seek support. Despite her cold, Elles and Demi closed the set with an energetic performance of ‘Take A Step Back.’ Applause and cheers erupted before the last notes faded, echoing out into the Edinburgh streets. Elles responded warmly to the audience’s affection, sending hearts their way. After the show, fans enjoyed a meet and greet, collecting CDs of Elles’s new album, which were included with admission, and getting them signed along with the obligatory photos with Elles, can’t call the selfies as the pictures were taken by a member of Assai staff using each person’s phone. There was also an opportunity to purchase a special NFT music laminate featuring the album along with bonus material (eleven additional tracks), with all proceeds going to Music Minds Matter. The evening was a resounding success, leaving attendees smiling as they departed into the damp Edinburgh evening. Despite battling a cold, Elles’s voice held up, and the stripped-back arrangements highlighted both her talent and Demi Marriner’s exceptional guitar work. Elles will return to Scotland on 25th March, headlining St. Luke’s in Glasgow with an eight-piece band including a horn section. A show not to be missed for fans of outstanding live music.

Wow! This album is really a Bullet Train, but not to nowhere, it takes me straight to '92, I close my eyes and I can feel the same vibe and energy I did back in those days, what a fantastic follow up to that masterpiece that On Target was. I listened on a loop since I bought it, since the opening track, (a cry of victory from the depths of the mighty David Reece, the mastermind behind this amazing project, he's fresh, creative, hard working artist, don't lose one bit of what made him great 40 plus years ago), to the following songs loaded with fantastic riffs, melody and the distinctive sound of the On Target album, songs are catchy, you can help but repeat them in your head all day long!!! The greatest achievement of this album is delivering a TRUE follow up of a gem from the past, many others promised that but mostly fail, many empty promises that disappointed fans, but Mr. Reece is ON POINT, as usual, and for those who don't know Bangalore Choir don't you think for a moment that only this album is a banger, the rest of their catalog is simply fantastic. Target album, songs are catchy, you can help but repeat them in your head all day long!!! The greatest achievement of this album is delivering a TRUE follow up of a gem from the past, many others promised that but mostly fail, many empty promises that disappointed fans, but Mr. Reece is ON POINT, as usual, and for those who don't know Bangalore Choir don't you think for a moment that only this album is a banger, the rest of their catalog is simply fantastic. Sailing through Driver's Seat, Swimming with the Sharks, Prisoner, Trouble with the Truth, my ABSOLUTE favorites, the rest are brilliant as well, there's no fillers here, Reece and his crew takes the time to prepare one hell of a disc, with no flaws, solid and powerful, yes! He's STILL THE SAME!

It’s a miserable evening in Ramsgate, and though I’d like to say it’s warmer in the Red Arrow Music Club, I can’t, because it’s bloody freezing! But I like it here, and it’s becoming something of a tradition to start a new year of live music at this venue. I suspect Star Circus have faced livelier crowds, but tonight they find themselves looking out at an audience seated around tables, some clutching a nice cup of tea in place of the more traditionally rock and roll beer! No matter, this North London quartet give it their all, and reveal themselves as a band brimming with ideas (and some pretty catchy choruses too!). With their irresistible mix of heavy riffs, vocal harmonies, twin guitar interludes and generous use of cowbell, sometimes all in the same song (look no further than ‘Chained to You’) Star Circus ensure that they’re not just remembered as the support act, but an attraction in their own right. I’m ashamed to admit that I haven’t really paid much attention to Brave Rival since they arrived on the scene several years ago. I’ve heard good things and know that they were recently crowned Band of the Year at the UK Blues Awards, but that’s about the extent of my knowledge. So I’m delighted to discover a band who favour the harder rocking side of the blues, and are blessed with a compelling point of focus in singer Lindsey Bonnick. Beautifully clear and controlled, even at the top of her range, she’s also a likeable presence, joking that after two weeks off she’s forgotten all the words! Capable of delivering attitude on the stompy, shout-along ‘Bad Choices’ and swampy sleaze of ‘What’s Your Name Again?’, Bonnick is just as comfortable with the gently emotive ‘Heavy’ or hollering epic ‘Try Again’. There’s a lovely camaraderie within the band, a warmth in their interactions that positions Ed Clarke as the playful little brother; albeit a very talented little brother who can deliver masterful guitar solos, like the one that dominates the authentically bluesy ‘Stars Upon My Scars’. A song that’s allowed to stretch out, it culminates in an extended jam, bassist Billy Dedman dancing particularly nicely around Clarke’s guitar work, while drummer Donna Peters holds it all together, crashing in dramatically at the conclusion. All five songs from recent EP ‘5 to 4’ get an airing as the evening progresses (though Bonnick has to think about it for a moment!), and all feel worthy of inclusion. ‘Let Me Rock ‘n’ Roll’ is a condemnation of the misogyny that has been so prevalent in the genre over the years (or at least that’s how I’ve interpreted it!), and rocks as hard as the swaggering ‘Wild Child’. A riotous ‘Poison’ sees Clarke and Dedman aiming their guitars like weapons, a pleasing visual to accompany a song with plenty of kick. Though predominantly an evening of joy and banter, there is also sadness as Clarke reflects upon time spent with fellow guitarist Matt Long, who was just 29 when he succumbed to bowel cancer. It feels important to keep his music alive, and Brave Rival do just that with a spirited cover of Catfish song ‘Up in Smoke’. It’s a lovely way to cast the spotlight on a man whose talent was taken much too soon. If anything makes you feel more grateful for life than live music, I’m yet to discover it. It’s raining outside, and I’ve still got my coat on, but I wouldn’t have missed this evening for anything. Is it too soon to call myself a Bravian?! Star Circus Dave Winkler - Guitar/vocals Sophie Aurelia Young - Bass/vocals William Robertson - Guitar/vocals Reuben O’Donoghue - Drums Brave Rival Lindsey Bonnick - Vocals Ed Clarke - Guitar Billy Dedman - Bass Donna Peters - Drums Setlist Let Me Rock ‘n’ Roll/Bad Choices/Poison/Seventeen/On the Next Round/Stars Upon My Scars/What’s Your Name Again?/Wild Child/Control/Try Again/Up in Smoke/Run and Hide/Heavy/Fairytale

Hero is the newest single from gothic alternative rock band Your Personal Vendetta, fronted by former Blood-Stained Reputation guitarist Baz Pierrepont. Hero follows the path the band has already forged with previous singles like Prom Queen and Cascade and shows the group have no sign of losing form any time soon. The synths used are dark, from the bells to the diminished arpeggios under whispered vocals and pulsing bass drum, the track sends shivers before it even reaches the chorus. The song continues to build and build, upping the intensity with harsher vocals and richer ambiance. Hero would be a perfect addition for any EDM or gothic club playlist. For fans of Cassyette, In This Moment, Marilyn Manson.

In early 2021, I was scouring the internet, YouTube and music streaming services looking for new music to listen to. I wanted something from an unknown band that I’d never heard of but crucially, I really needed it to speak to me and give me some much needed aural pleasure! A few days into my search, some songs had been added to a playlist but to be honest, none of it had the wow factor I was looking for. That was until one of the well-known streaming services used its algorithm and tracking of my musical preferences to suggest a band called Bad Penny. Well, I’d never heard of them, so the first box was ticked… but what about the music, a rock ballad called ‘Lose Myself’ featuring none other than former Journey frontman Steve Augeri? Being a sucker for a ballad and for the voice of the aforementioned Mr Augeri, I was hooked immediately and in the five years since I first heard that song, Bad Penny have released several other brilliant singles featuring a diverse range of heavyweight guest vocalists from Rob Halford and Corey Glover to Dee Snider and Robin Zander. The brainchild of songwriter/guitarist Mike Holtzman, Bad Penny haven’t quite managed to release an album yet but going by previous release patterns, I always anticipate some kind of new music news in the first quarter of the year or so. As the famous ‘One O’Clock Gun’ blasted in 2026 from the turrets of Edinburgh Castle, I checked social media regularly, looking for a hint of something new from Bad Penny that would help me through a cold Scottish January! Fortunately, I didn’t have long to wait, with Holtzman proudly announcing that the band’s latest single, ‘Love Bomb’ was due for release on 9th January and would feature none other than the legendary vocalist of The Runaways, Cherie Currie! With the line up completed by permanent members Tony Bruno (Joan Jett & The Blackhearts, Rihanna) on guitar and Danny Miranda (Blue Oyster Cult, Queen) on bass, as well as Broadway veteran drummer Mike Sorrentino, is ‘Love Bomb’ going to cause a musical explosion that will be heard in all corners of the rock world? Starting with a drumbeat that immediately transports the listener back to the heyday of 1970s glam rock, followed by a vocal squeal and solid yet simple speaker shaking guitar riff, you can almost visualise the band in bell-bottoms and platform shoes, performing on the flimsy looking Top of the Pops set on BBC Television! Think Sweet… and dare I say it, the disgraced Gary Glitter and his ‘Rock & Roll’ song before his well-deserved fall from grace. The point is that it’s pure and immediate nostalgia and the gateway to the soundtrack of many a childhood… and the older I get, the more I love new music formed on a classic template. It’s comforting, like a big warm and heavy musical blanket. As Cherie Currie’s unmistakeable voice appears, there’s almost a ‘twenty a day’ rasp to it that adds to the wonderful vintage feel of the music, with the drums remaining loud, proud and prominent in the mix, just like it used to be! “I walked out on you” sneers Currie. But why, you may well ask! “Coz, I wanted to” she replies in a carefree, brutally honest manner! There’s no messing with Cherie Currie in this song! There’s no definite verse, chorus, verse, chorus, bridge, chorus structure to ‘Love Bomb’. From the outset, it’s just a loud and fun song based around a brilliantly meaty guitar riff that sounds as if it has been recorded live on a vintage Les Paul through a classic Marshall stack, just like our heroes did back in the day! I dare you to try to sit still and not bop your head or tap your feet. Bet you can’t do it, such is the infectiousness of the song. There’s a strange little spoken section midway through, where a man who clearly feels he has been wronged opines “if I don’t do what she wants to do when she wants to do it, then I’m a jerk”. For the last 21 years, I’ve called this marriage! But of course, I’ll deny this statement if the wonderful Mrs Griffiths ever hears of it… and I’m also banking on her not reading this review! Anyway, I digress! The glam rock feel continues with a superb squealing and screeching guitar solo. Sticking with the template of previous Bad Penny guitar solos, it’s not overdone and doesn’t outstay its welcome. It doesn’t try to be the ‘Comfortably Numb’ or ‘Freebird’ solo, hogging the musical limelight. It simply fits perfectly with the music and other bands and guitarists should take note. Sometimes, less really is more! As the songs ends with the catchy verse/chorus hybrid and guitar riff and Currie’s voice signs off with another squeal, I open my eyes to find myself back in 2026. The news tells me that the world is still in turmoil, there’s wars still being fought and there appears to be very little positivity anywhere. So, there’s nothing else for it other than to press play and listen to ‘Love Bomb’ again, closing my eyes and allowing the music to take me back to a time when worries were less and glam rock ruled the airwaves. I’d urge you to do the same! ‘Love Bomb’ is out on the usual platforms on Friday 9th January 2026. Fingers crossed for the long-awaited Bad Penny album at some point this year too!