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Arranthrax/Brian Maiden/Megadeth UK - Ivory Blacks, Glasgow, 18th April 2026

Mon, 27 Apr 2026 07:46:22 GMT

It's another Saturday at home, well maybe my second home. Tonight I'm back at Ivory Blacks in Glasgow. I am here this evening to see three bands, three bands where THAT question raises it's ugly head. Tribute bands, are they tribute acts if the real band are still touring, or just a "covers band"? It's a debate that could go on and on, possibly ending with a few punches being thrown.

I have my own personal opinion on the matter, but that's for another time and place.

The three bands are Arranthrax, Scotlands only Anthrax tribute, Brian Maiden, yip you did read that correctly, and Megadeth UK, no surprises who they are.

One of my first reviews for Rockfiend featured two of tonights bands, Arranthrax and Megadeth UK, so fingers crossed that I have progressed a little bit since then.

It was a typical Glasgow gig crowd, doors opened bang on seven o'clock, which is rare, there is usually a delay of some sort, there were a few bodies at opening, for the next fifteen minutes a few more joined, then just as Arranthrax hit the stage, BANG! We have a crowd!

Arranthrax perform ten big hitting Anthrax tracks, Arranthrax, just like Anthrax, they have a time limit, so not everyone's favourites made it to the set, personally a little disappointed that "Only" and "In my world" never made it. However, other favourites of mine did. "Caught in a mosh" "Got the time" "Madhouse" "Indians" and "Antisocial" all made the list.

There was one song, N.F.L (Efilnikufesin) they announced this was the first time they played the song in Glasgow, the song is a cautionary tale about drug abuse, written about the untimely death of American comedy legend John Belushi, if you don't know, read Efilnikufesin backwards, N.F.L Nice Fukin Life. Heavy Metal isn't all about throwing up "The Horns" and headbanging!

One of the sad things about gig goers is the fact that not everyone turns up for the opening act, I just cannot understand that, people miss out on some incredible performances.

Personally, I always try my best to be at the front of the queue for the doors opening. There have been more than a few times where I've seen the "support" band being just as good, or even better than the headline, I digress, lets get back to the show.

Next up, I will admit, I was rather apprehensive about seeing Brian Maiden, when it comes to Metal, Iron Maiden are my No.1 band, by proverbial miles. even the name made me cringe. I really was not looking forward to this. Here at Rockfiend we always try to be positive about the bands we review.

This was going to be difficult, was it? Well surprisingly, in one word, NO!

Four lads come on stage, tune up a bit, then the Winston Churchill speech begins, they then burst into "Aces High", but something doesn't look right, there is a mic stand centre stage, but without a mic, it looks as if the guitarist is about to start singing, but how can he, there is no mic, trying to attract his attention to tell him someone forgot to put the mic onto the stand, seconds later "Bruce" or is it Brian? bounces in from stage left, wearing very similar attire, including an old fliers headgear, that Bruce Dickinson wears when performing said song.

First song into a set of ten, I was pleasantly surprised, second song was a Paul D'Ianno classic "Wrathchild" This guy is pretty good at D'Ianno too!

The singer, sorry, I never caught his name, yeah I know, Google, but I didn't, he loosely quoted the "Brian" part of the amazing Monty Python movie "The Life Of Brian" that they were not the Messiah, but they were naughty boys. Tres Drole!

Next follows a list of classic Maiden favourites "The evil that men do" "Number of the beast" "Run to the hills" "Fear of the dark" "2 minutes to midnight".

Next they played my favourite Iron Maiden song, "The Trooper" the singer left the stage after "2 minutes" and came back on with another wardrobe change, again coming back dressed in a red tunic, however, this is where I did cringe a bit, but I can understand why it was done, in Glasgow, in front of a Scottish crowd, keep the natives happy, he was waving a Saltire!

Being a bit of a history buff, Scotland, as a nation, didn't fight at the Crimean War, maybe there were some who took part as part of the British Army, so it should have been the Union Flag, just like Bruce does when performing the song. Am I being too picky? probably!

Another costume change for "Powerslave" this time donning a feathered mask, again similar to Bruce again.

They rounded off their set with another Maiden live favourite "Hallowed be thy name" and yes, he held the notes almost as long as Bruce does.

To say I was surprised with Brian Maiden is an understatement, I know they are NOT Iron Maiden, but it was very easy to get caught up with their performance, and with the crowd reaction throughout their set, it did feel like a Maiden gig!

Highly recommended, and I would actually pay to see them again, and I really can't believe that.

Next up are tonight's headliners Megadeth Uk. I have to admit in advance, that I have never been a fan of Megadave or his music, I'll be honest, there is only one Megadeth song I like, I'll come to that later, because there is a little bit of arithmetic to be done, education at a concert, who would have thought!

Three fifths of Brian Maiden make up three quarters of Megadeth UK. As you will see from the photos the bassist, drummer and guitarist from Brian Maiden are the three quarters of Megadeth UK, the guitarist is also the singer, yeah I know, clear as mud!

The crowd has even grown more!

Megadeth UK open their eleven song set with the only song I like "Hangar 18", the crowd go ballistic! so most of this crowd are here for a night of Megadeth. Having been a Rock/Metal DJ for decades I do know ninety nine percent of the songs played "Wake up dead" "In my darkest hour" "Skin of my teeth" "Sweating bullets" the setlist shows that "Tornado of souls" it next, however, time is getting on and there is a karaoke night on after the gig, so they jump into "Symphony of destruction" "Peace sells...…" is the penultimate song, the singer apologises for cutting the set short and announce their last track, even although the gig should have ended ten minutes ago. They finish with "Holy Wars...". The crowd go nuts!

I was talking with a young woman at the break between Maiden and Megadeth, she asked who I was there to see and if I liked Megadeth, I was truthful and told her I wasn't a fan, she then told me how Megadeth helped her through a tough part of her growing up, that was fantastic to hear, because I know some bands helped me through some tough times, again Heavy Metal is a lot more than "horns" devil worshiping and human sacrifices! Did I say that out loud? oh well the secret is out lol

The crowd had a fantastic night of Heavy Metal from three bands that put everything into their performance.

There is one thing about tonight that gets me rather angry, it's not the tribute/covers band debate, it's not the behaviour of the crowd, because they were perfect. It's the fact that they will quite happily pay twenty pounds for three tribute/covers bands, but won't spend twelve pounds to come and see local unsigned bands, playing their own songs. There is plenty space and time to accommodate local original bands, the huge name bands and the tribute/covers bands.

If you don't support the small local bands today, there will be no huge bands tomorrow which means there will only be tribute/covers bands playing old songs either, which will be pretty sad, because there will be no new bands helping future kids to get through difficult times. Pick a random gig and go and support, even if it is one gig, it helps the bands, venues and the next generation.

Review & Photos - Jai Dee Photography

Hardline / Sevi - Hyde Park, Osnabruck, Germany 17th April 2026

Thu, 23 Apr 2026 17:25:38 GMT

Tonight we came with Rockfiend to the beautiful city of Osnabrück (Germany) to attend the Hardline + Sevi concert at Hyde Park.

Sevi opened with great power and attitude, making it clear that beyond being the opening act, they are a well-built and polished band. They delivered a full set that revisited their previous albums and premiered a song from their new record, which they will release soon.

With an exceptional vocalist, they showed a vocal range that amazed more than one person, backed by a band fully up to the task. A good sign of what was to come next.

Hardline opened with a couple of songs from their new album Shout, which was being released worldwide that very day, also coinciding with the first show of their European tour.

They followed with a careful and excellent setlist that moved through the classics that made Hardline famous in the '90s, from Life's a Bitch and Everything to Hot Cherie, Rhythm from a Red Car, and much more, mixed in with several songs from the already mentioned Shout. Johnny Gioeli, Alessandro Del Vecchio, and an excellent group of very solid musicians honored Hardline's history while also beginning to write their own with this new release, which by the way is highly recommended-absolutely fantastic!

Johnny's great charisma made the show especially enjoyable, and the crowd sang, danced, and gave it everything to the rhythm of great songs.

Surely this tour will delight everyone who goes to see this great band, rooted in the past and shining toward the future. Friends of Rockfiend: a great evening, total delight, and yet another demonstration that rock is more alive than ever.

Photos by guest photographer - Cora All

YUNGBLUD - Live Review Glasgow Hydro 20.4.2026

Thu, 23 Apr 2026 12:44:53 GMT

Review and phone pics by Andrew West

Gene Simmons said in 2014 that rock music was dead, He ascertained that there had been no new rock superstars since the 80's and that the genre was finished killed of by its own fans streaming and and file sharing as well as no new icons coming through, Simmons doubled down on those comments as recently as 2024 when he said to quote “The Glamour and Excitement has gone from Rock Music”

Well someone needs to send a private jet, limo, taxi, rickshaw or a pushbike to Mr Simmons door and whisk him to a Yungblud gig because right here right now we have a young man who has grabbed rock music by the short and curlies and catapulted it right back to the top of the tree.

His latest album Idols and Idols 2 are the complete works, superb from start to finish pushing him even further that he had probably dared to dream, A sublime performance of Ozzy's changes at the farewell gig last year too him into homes and ears of many people who had maybe not come cross his talents and from there its been stratospheric.

This tour could probably have sold out twice over such was the demand and I was unable to get any tickets on initial release but as luck would have it a random check revealed the Hydro had released their new Terrace Premium seating and two tickets were swiftly snapped up.

Opening the show were UK punk band The Molotovs and they blitzed through a high energy set as the main hall filled up, Coming from the underground punk scene the band are not in the mainstream yet, their debut album Wasted On Youth was released early this year and the band is made up of brother and sister duo Matthew and Issey Cartlidge. They blast their way through a seven song set drawn from the album and an added cover of Bowie's Suffragette city to get the increasing audience warmed up.

Next up we have Mexican sisters The Warning, a more rock/metal sounding power trio. The girls went viral when very young with a cover of the Metallica classic Enter Sandman. They are a polished and tight act having played together their entire lives. There is more than a hint of Halestorm to the sound and they are huge in their homeland. The band had played in Glasgow at the Garage back in 2024 and now take the Hydro stage and certainly do not look out of place and indeed there are good number of fans wearing band merch. The set is largely drawn from the 2024 album Keep Me Fed and also the latest single Kerosene and a new track called Ego. The will certainly be one to watch going forward.

And so to the main event. The stage is a gigantic triumphal arch with massive video screens behind the stage and flanking either side. Its fair to say the audience is probably 70/30 female to male and there is no shortage of New Rock boots, fishnets and there is enough black eyeliner on show to make JD Vance insanely jealous indeed as a 57 year old rocker I was a little anxious I would look like a fish out of water but not at all, rock fans of all ages were here such is the appeal of the Doncaster born rocker.

Opening with the iconic Hello Heaven the man himself appears on the giant video screen from backstage complete with a bottle of the infamous Buckfast tonic wine and a Scottish Saltire. “Are your F@cking ready Glasgow” he quips as the band burst onstage amid a massive explosion of confetti.

The screams almost drown out the music and that never lets up, The opening track, All 9 minutes of it is a musical journey that shifts tempo and moods throughout its a mini musical in one song. The insanely catchy The Funeral follows and has the Glasgow audience in full on backing vocals mode.

The title track from Idols follows, this is all killer definitely no filler material, Lovesick Lullaby, My Only Angel and the almost rap/metal like Superdeadfriends follow.

Giant flame throwers line the stage and even in the seating you can feel the heat, move over Rammstein.

Next up is Fleabag a total ear worm tune that as has become the norm an audience member is given the opportunity to get on stage and play guitar on the track, surely a nerve wracking moment but Glasgow's young rocker pulled it off without missing a note, balls of steel young man.

Lowlife follows before a rendition of that Sabbath/Ozzy number that took young Dom into the homes of millions. Indeed winning a Grammy for best rock performance. 13,000 people inside the sold out Hydro a word perfect and Ozzy would surely be beaming down (or Up ) from his resting place.

The success of Yungblud can not be praised without mentioning his Scottish guitarist and producer and co writer Adam Warrington as he has helped shape the phenomenon we are witnessing

The show concludes with Ghosts from Idols and of course Zombie, a rock anthem for the new age.

This is the Sweet Child, Smells Like Teen Spirit, Back In Black of a new generation. Grown men (OK me included) belting out this classic at the top of our lungs !!

In short this is a clear vision of the future of rock music, an insane performance, its hard to see what can stop young Dominic Harrison from not only conquering the world but the universe !!

TYKETTO, WARRIOR SOUL, COLLATERAL - Live Review Glasgow Garage 21.4.26

Thu, 23 Apr 2026 10:49:30 GMT

Photos and Review - Andrew West

Tonight in the Glasgow Garage we were celebrating a birthday, The 35th birthday of Tyketto's monster debut album which was released on the 21st April 1991. 35 years to the very day from tonight's gig in Glasgow. That album came right at the point when grunge was pushing the melodic rock genre of the front pages of the rock music press but the sheer quality of the record meant that over time it became a cult classic among fans of the genre due it its superb songwriting and Danny Vaughn's unmistakable soaring vocals.

Vaughn had already made his mark on the Waysted, Save Your Prayers album a record that lent more to the American aor scene than the bands earlier gritty bluesy metal sound and introduced many to the Cleveland born front man. This tour though is in support of the bands latest release Closer To The Sun, a whole ten years have passed since the band released their last album Reach and as Vaughn himself admits its been too long but shit happens most notably covid and along the way line up changes as well.

The album made No 1 in the UK rock and metal chart on week of release and shows the UK's love for a band entering its 40th year.

Opening the show tonight is Collateral, no stranger to Scotland and Rockfiend, the boys are on early for a short 30 min set and waste not time opening with No Place for Love from the Should've Known Better album. With such a short set there is not much time between songs, But we have everything that makes these boys a big favourite with fans, Angelo's infection smile, Jacks bare chested chest thumping head banging. Louis's guitar hero grimaces as he makes the fret board sing. And despite being lost in the darkness at the back of the stage we know full well new drummer Charlie is there somewhere as he keeps the beat.

Fist pumping anthem Glass Sky is next and closely followed by Glass Sky always an emotional roller coaster of a song. Favorites Midnight Queen, Long Road, Merry Go Round and of course Big Shot round of the all too short set. And despite the early start the venue has filled up nicely along the way. I am sure it wont be long before the lads are back up north again soon for a longer set.

Warrior Soul are a name I knew off but as for the music it was not something that had crossed my path before now. Fronted by original vocalist Kory Clark. Clark is every inch the rockstar and gives off Jim Morrison vibes as we struts around the stage complete with gold rimmed sunglasses. The sound is a contrast to the two other bands on the bill tonight with a much harder grittier edge, almost punk like at times. There is no doubt Clarke is the star of the show and he is a commanding presence center stage. They open with a cover of the Joy Division song Interzone, the punk edge is immediately apparent. Cargos of Doom maintains a grungy gritty sound with a heavy repetitive riff. Much the bands work is anti establishment anti political songs again just like punk was back in the late 70's. Love Destruction.

The Party is a song that although written for the bands debut album in 1990 is still very relevant today as it deals with political elites and corruption. The theme continues with one of the more controversial songs from the bands career The Fourth Reich. A more polished industrial metal song the song is anti war and anti control song dealing with governments manipulating the people. The band finish with Punk and Belligerent and The Wasteland two of their more well known tunes and commercially sounding.

The audience give them an appreciative reception, tonight was probably a tough gig for the band with the vast majority of those in attendance fans of the melodic rock style but the venue gave the band a good roar as they finished their set.

And we move on to the headline act. Tyketto are one the big hitters in the melodic rock scene. That comes from the undoubted song writing ability of Danny Vaughn coupled with his amazing vocal talents, that 35 years on from the debut album have remained as strong as ever, there is no David Lee Roth comparisons here. Vaughn can still hit every note but jokingly admits he needs just a little longer to get his breath back in between numbers.

Opening with Rescue Me from the Strength In Numbers album the band hit hard and quick immediately bursting into two of those big chorus sing along tunes from Don't Come Easy, Wings and Burning Down Inside, The Glasgow audience have always loved to chant and they need no warming up as they belt out every word. Woah Oh Oh during Wings and Vaughn could probably have taken a break during Burning Down Inside as word for word was coming back at him.

He tells the story of how he knew Glasgow was a special place when he nervously took the stage at the

Glasgow Barrowland in 1991 on the bands first ever Scottish show and saw those nerves Disappear as he saw a mass of bodies jumping in unison to Forever Young.

The set is drawn mostly from that debut record but we also have four songs from the newest release. Following the unbelievably catchy track Reach we have The title track Closer To The Sun is first up followed by The Run from the also from the 2016 Reach album. We Rise is a song that starts as a slow ballad esque number that build into a full on first pumping anthem. A surprise on the new album was the cover of the Roxette song Harleys and Indians from the classic Crash Boom Bang album, a song included says Vaughn just because I love it, well what other reason do we need.

The tempo slows down once more for Circle The Wagons and lets everyone catch their breath before we launch into the big finish home run, Seasons prepares us for one of the bands most iconic tunes, Standing Alone is as classic as they come a true giant tune in the genre. Men in their 50's and 60's are seen belting it out word for word. Its certainly one of my favourite tunes of all time.

Another from the debut Lay Your Body Down is next and then a final track from the new record called The Brave a song written by Vaughn to pay tribute to the many who put themselves on the line for us to protect, serve and heal. And with that the band leave the stage but we all know there is one more song, I mean would they be able to get out the building without playing it, probably not.

They return and that riff hits and as one the Glasgow choir is in full voice, No Sleepin She Waits Tables Late..... total and utter perfection in a song, fists pump, aging bodies jump around, voices are strained to the limit and smiles as wide as the River Clyde a few hundred yards away. One of the best feel good songs ever in my dodgy old photographer come reviewer brain and that's it the band take their bows and leave the stage although we wont have to wait long to do it again as they were confirmed 24 hours later as the remaining headline act for this years Winsterstorm Festival in Troon in November. Don't miss it.

PRIDE OF LIONS - "Unbridled" - New Album

Thu, 23 Apr 2026 08:42:22 GMT

Set for Release on July 10th via Frontiers Music Srl

PRIDE OF LIONS, led by Jim Peterik and Toby Hitchcock, are proud to announce their new album, 'Unbridled,' set for release on July 10th via Frontiers Music Srl. Produced by Jim Peterik and mixed by Larry Millas, 'Unbridled' marks the eighth studio album from PRIDE OF LIONS.

To celebrate the announcement and offer fans a taste of what's to come, the band also shares the title track from the upcoming album, alongside an official music video, available to view below.

Peterik comments on the album's arrival:

“I am so excited about the release of the upcoming PRIDE OF LIONS album 'Unbridled.' It is always a pleasure to team up with Toby Hitchcock, as we have since POL started recording for Frontiers way back in 2003. His powerful voice and positive attitude are a blessing to me.

"The album starts with the powerful title track and Greg Bizzaro video 'Unbridled' with Toby and me harmonizing at full power.

"'Edge Of Forever' is a cautionary tale about a fragile planet at the verge of collapse. 'Is it really too late to turn back the hands of time?' The implied answer in 'No, not if we all work together to save it.' Every song in this collection expresses concern, yet always a ray of hope on the horizon for a better world.

"I hope you enjoy the new PRIDE OF LIONS album as much as we did making it. Your enthusiasm for our music through the years has always inspired Toby and me to keep pushing ourselves to touch your souls and move your feet!

Much love. Jim Peterik"

With ‘Unbridled,’ legendary AOR torchbearers PRIDE OF LIONS return with their eighth studio album, a commanding statement from one of melodic rock’s most enduring acts. Since their formation in 2003 by Jim Peterik — the songwriting force behind anthems like “Eye of the Tiger” and “The Search Is Over” — and powerhouse vocalist Toby Hitchcock, PRIDE OF LIONS have been celebrated for fusing classic melodic sensibilities with modern rock energy. Over two decades later, they remain at the forefront of the genre, consistently delivering songs that resonate with depth, emotion, and unforgettable hooks.

‘Unbridled’ is a 12-track journey that showcases the band’s remarkable craft. Every element of the lineup shines: Ed Breckenfeld’s driving drums and percussion lay a solid foundation; Mike Aquino’s lead and acoustic guitars deliver both fire and finesse; Bob Lizik’s bass anchors each arrangement with strength and groove; and Jim Peterik’s keyboards and secondary guitar add lush melodic layers. The signature dual vocal performances from Peterik and Hitchcock — alternately commanding, expressive, and harmonically rich — elevate the songs to new heights.

The album is mixed by longtime collaborator Larry Millas, whose work brings clarity, depth, and punch to every track. Standout singles like the title track “Unbridled” — with its striking guitar intro and immediate melodic hook — and “Edge of Forever” underline the band’s ability to craft timeless rock songs that feel both classic and contemporary.

Through ‘Unbridled,’ PRIDE OF LIONS reaffirm their status as masters of melodic rock and AOR. It’s an album that will satisfy longtime fans while serving as a powerful introduction for new listeners, showcasing a band that continues to evolve without ever losing its core identity.

'Unbridled' Track List:

1. Unbridled
2. Edge Of Forever
3. Don’t Waste A Wish On Me
4. 1000 Long Goodbyes
5. What The Whole World Needs To Know
6. I’ll Be Your Rock
7. Hell Or High Water
8. Ride The Lightning
9. Lose Like A Winner
10. I Can See In The Dark
11. I Can’t Let Go
12. A Mighty Noise

PRIDE OF LIONS are:
Toby Hitchcock and Jim Peterik: Lead Vocals
Ed Breckenfeld: Drums And Percussion
Mike Aquino: Lead Electric And Acoustic Guitar

Keyboards: Jim Peterik
Secondary Guitar: Jim Peterik
Bass Guitar: Bob Lizik

The Bates Motel – Backstage at the Green, Kinross (16 April 2026)

Mon, 20 Apr 2026 09:54:31 GMT

It felt more like a gathering of old friends than a gig when The Bates Motel returned to Kinross, exactly one year after I first saw them.

A new song named "Bloodstains" marked the energetic start to their performance. They played three new songs during the evening: "Bloodstains," "Burned in Flame," and "Factory Road," all taken from their forthcoming album. Inspired by the industrial area where the band practices, "Factory Road" was the pick of the new songs. Its grit and drive suggested exciting future developments.

Alongside the new songs, the band performed old favourites. The transition from "Shape in the Mirror's dark humour to the high-energy pace of "Put Your Hands on the Radio" was seamless. During "Hold On," the mood softened, an effect strengthened by the emotional weight of Les Young's harmonica. The audience chuckled when he confessed mid-set that he'd broken his tambourine, but it was his harmonica playing that truly stood out.

The band skilfully adjusted its style while maintaining momentum throughout the evening. "Talkin' to Jesus" provided a wry plea for something better in a chaotic world; "Amador" showcased pure pop brilliance and was the evening's highlight.

The last run of songs was a rock party. Their AC/DC homage, "Remains to be Seen," gave way to "Bartender," a song that recounts the difficulties of getting a pint in Whitley Bay. The run ended with a triumphant "Blues Ain't Gonna Feed Ya." Described by Davison as a blend of Dr Feelgood and Status Quo, Ally Lees christened it "Dr Quo". Lees announced he would channel his inner Rick Parfitt riffing style before he started this song.

Encores followed as the band tried to squeeze as many songs as possible in before they had to finish. The atmospheric "Bridge Street in the Rain" led into the wistful "I Can See The Stars," which finished the evening off.

Every song showcased the band's obvious confidence and easy chemistry.

At the centre of everything was Chris "Bad Bob Bates" Davison. His vocals and guitar playing led the performance with ease and charm.

Ally Lees's contribution included rock-star guitar and atmospheric keyboards. A single homemade guitar was all he played with for the whole evening. Its integrated electronics made it a perfect fit for his needs. When the chance presented itself, he also couldn't help but tease Davison about his five guitars.

David Coates and Adam Forster's precision and flair, anchoring the set from behind the front line, established a rhythm section with genuine substance.

A minor disappointment, however, was another modest turnout. The band might now know everyone in the audience by their first names. The audience, however, thoroughly enjoyed another evening of excellent music from a band that gets better with each show.

Photos from Mundell Music

SAVAGE GENTLEMEN - ‘Savage Gentlemen’ Album review

Sat, 18 Apr 2026 17:36:58 GMT

Describing themselves as playing “seasoned, unapologetic rock’n’roll”, Savage Gentlemen are a new side project formed by Ron Young (Little Caesar, Cruzados) and his original Kingpins’ bandmate and guitar player from the ‘80’s, Rich Thomas. And in true gentlemanly style, this description savagely under-sells the quality and depth of music which they’ve produced.

If, like me, you weren’t living in the New York area in the 80’s, you’re probably not familiar with The Kingpins. Prior to moving to LA and forming Little Caesar, Ron and Rich lived in New York and formed The Kingpins who were described as “NYC roots rock/rockabilly” and plied their trade around various clubs including CBGBs, Peppermint Lounge and The Ritz. And while Ron enjoyed some success with Little Caesar, but nowhere near the level their talent deserved due to the emergence of grunge, Rich continued to play in a number of local bands.

In getting the band back together, Ron and Rich were keen to avoid the nostalgia trap and joining them on this side project are Bo Conlon (The BoDeans) on drums and Joe Viers on bass and who, as owner of Sonic Lounge Studios, Columbus, Ohio, also produced the album.

Featuring ten songs, early listening to their self-titled debut (including the first single and album opener ‘Runnin’ and the character-led ‘Lost Your Mind’) could cause you to think that, to quote the old Ronseal ad in the U.K., “it does what it says on the tin”. Straightforward, no-nonsense, heads-down, rock’n’roll/bar-room boogie.

But dig a little deeper, listen a little longer and you will be richly rewarded.

‘Switchblade’ lays down a gently rolling rhythm and groove, between guitar, bass and drums somewhere between a strut and a swagger and by the time Ron’s raw and soulful vocals are layered on you’ll be wanting to swing your tush, tuck a cane under your arm and kick and extend those legs. Yessss, baby …. this song swings, but s-l-o-w-l-y; it rocks and it rolls like a bar-room burlesque cover of ‘I’m All Shook Up’. It reminded me of a female friend who once simply described Ron’s voice as “sex”. More on THAT voice later.

And if it’s boogie you want, boogie you will get with ‘See You Later’ continuing the theme.

Sandwiched in the mid-section of the album is a series of four songs which stretch the promotional description of their music further and in different directions.

It’s probably now time to write about THAT voice. Fans of Little Caesar will be aware that Ron Young has one of the most distinctive and recognisable voices in rock music, who has taken care of his voice and is one of the few rock singers from the ‘80’s who can still sing really well and without a choir or army of backing singers to mask it or songs played in entirely different keys to help him to still carry a song; many have tried to cover the soul classics, but few (particularly white singers) can nail them and bring the soul in the way that Ron can. I give you Exhibit A (Chain of Fools) and Exhibit B (I Wish it Would Rain). Case closed. And at the risk of sounding like a fan boy, I could happily listen to him sing the telephone directory.

Match this vocal quality with an opening line of “I knew you loved me when you keyed my car” and you have my attention. Dropping the tempo ‘All Over Now’ does this, captures your heart and soul, and much more. Underpinned by a drum beat which wouldn’t have sounded out of place in any number of Phil Spector-produced songs by sixties girl bands, the song is multi-textured and like a mournful bar-room Wall of Sound with some great guitar work which matches the emotion in Ron’s voice perfectly. Just wonderful, that’s all.

‘Looking Back Ahead’ turns the dial to “intimate”, oozes fragility and vulnerability and is played by the full band, but based mostly around an acoustic guitar.

Recognising the need for the groove to return, ‘Pushing Water’ does as required before leading into ‘I Don’t Care’ which starts with a swaggering and strutting groove (what else) and gang chorus, and turns the groove up to eleven with swirling organ and other sounds added to the mix as the song spirals upwards before fading out.

The shuffling ‘Soul Shakin’ varies the rhythm before the wonderfully different and more garage-based 60’s/70’s West Coast pop of ‘Everything is Easy’ closes the album.

‘Savage Gentlemen’ rocks, it rolls, it grooves, has so much soul and is an album of rhythm and tone which really needs to be listened to to get the most from it. It’s also surprising on a number of levels. For a side project, the quality of the musicianship is really high and the rhythm and grooves which they create and lock in would make you think they’d been playing together for years. The production is top drawer capturing the musical tones perfectly. And with THAT voice, hard to go wrong.

Details of how to order the album can be found on the Savage Gentlemen’s Facebook page.

GMcA

Lynch Mob - The Final Ride - Live Album

Fri, 17 Apr 2026 14:30:58 GMT

Released May 29th via Frontiers Music Srl

Legendary hard rock titans Lynch Mob are thrilled to announce the release of the live album “The Final Ride”, out on May 29, 2026, via Frontiers Music Srl.

The band share also a live rendition of “Wicked Sensation”, with a video available below.

The live album follows the release of their highly anticipated ninth and final full length studio record “Dancing With The Devil”, out last November, that marked the final chapter in their storied career.

A legendary chapter of hard rock history comes to a thunderous conclusion with “The Final Ride”, the ultimate live release from Lynch Mob, capturing the band’s final run on stage with uncompromising power, precision and attitude.

George Lynch described the record by saying: “Captured loud, raw, and exactly how it was meant to be heard, this is Lynch Mob firing on all cylinders.”

Available on CD/DVD, Blu-ray and LP, The Final Ride delivers a fully immersive live experience, meticulously recorded, mixed and mastered by Chuck Alkazian at Pearl Sound Studios, ensuring outstanding sonic clarity while preserving the raw intensity and immediacy of a true Lynch Mob performance.

The setlist is a powerful career-spanning journey, combining cornerstone Lynch Mob classics with three iconic Dokken-era songs that remain inseparable from George Lynch’s legacy.

Explosive performances of “Lightning Strikes Again”, “It’s Not Love”, and “Paris Is Burning” ignite the crowd and serve as a direct bridge between past and present, while Lynch Mob anthems such as “River Of Love”, “No Good”, “Hell Child”, “Let The Music Be Your Master”, “Street Fighting Man”, and the timeless closer “Wicked Sensation” showcase the band at full force.

At the heart of “The Final Ride” stands George Lynch, whose unmistakable guitar tone, phrasing and musical authority continue to define generations of hard rock and metal guitarists. He is backed by a formidable lineup featuring Gabriel Colon (vocals), Jaron Gulino (bass) and Jimmy D’Anda (drums), delivering a tight, aggressive and emotionally charged performance worthy of the band’s legacy.

The Final Ride is more than a live album - it is a farewell, a celebration and a definitive statement. Captured with premium production values and released across multiple physical formats, it stands as an essential document for fans, collectors and anyone who has followed the enduring impact of George Lynch and Lynch Mob on hard rock history.

The final curtain falls - but the fire still burns.

“The Final Ride” Tracklist:

1. Lightning Strikes Again
2. River Of Love
3. No Good
4. Caught Up
5. Hell Child
6. Let The Music Be Your Master
7. Time After Time
8. Paris Is Burning
9. Rain
10. Street Fighting Man
11. It's Not Love
12. Wicked Sensation

Line Up:
George Lynch – guitars
Gabriel Colon - vocals
Jaron Gulino - bass
Jimmy D’Anda – drums

Jefferson Starship - Announce UK and Europe Tour

Fri, 17 Apr 2026 11:00:01 GMT

UK & EUROPEAN DATES 2026

2025 saw the legendary Jefferson Starship coming off their successful 50th Anniversary “Runaway Again” Tour. The band are keeping the celebratory momentum alive with the announcement of the first part of their 2026 tour. Alongside North American dates, the band are set to play five UK and European dates in 2026.

The five UK and European shows will see the band support Foreigner at Arenas in the UK and Switzerland and two headline shows in Germany.

June 18th 2026 – AO Arena – Manchester, UK supporting Foreigner

June 19th 2026 – OVO Arena Wembley – London, UK supporting Foreigner

June 21st 2026 – Muffat Halle – Munich, Germany HEADLINE

June 23rd 2026 – Parkbühne – Leipzig, Germany HEADLINE

June 25th 2026 – Hallenstadion – Zurich, Switzerland supporting Foreigner

The 2026 dates will be the first time the band has played the UK in over 10 years. The band have toured Europe (ex UK) as recently as 2024 (supporting Deep Purple). David Frieberg says, “It’s been a little over a decade since Jefferson Starship last played the UK , so coming back alongside Foreigner makes this run especially meaningful. Stepping onto the stage at Wembley Arena is going to be an incredible moment, and we’re excited to reconnect with UK and European fans.”

The band will play global hits from their stellar back catalogue of Jefferson Airplane, Jefferson Starship and Starship – such as “White Rabbit”, “We Built This City”, “Jane”, “Sarah”, “Nothing Gonna To Stop Us Now”, “Find Your Way Back”, “Somebody To Love” and more…

For tickets and further info please see https://www.jeffersonstarship.com/

About Jefferson Starship:

Jefferson Starship is one of the most successful arena rock bands of the ’70s and ’80s, earning three platinum and eight gold albums along with a long string of Billboard Top 40 hits. Just celebrated their 50th anniversary—a milestone reached by only a few enduring rock acts—the band continues to honour its storied legacy while bringing their iconic catalogue to fans around the world. Founded in the ’70s by Paul Kantner, Jefferson Starship emerged as a collective of musical explorers whose work helped define an era of rock. Today’s lineup—founding member David Freiberg, drummer Donny Baldwin (since 1982), keyboardist Chris Smith (since 1998), guitarist Jude Gold (since 2012), and vocalist/guitarist Cathy Richardson (since 2008) — has become a powerful touring force, performing across all 50 U.S. states and on five continents. Known for their family-like camaraderie and high-energy live shows, the band continues to embody the adventurous spirit championed by Paul Kantner, who passed in 2016. As Jude Gold reflects, “That ‘Paul Kantner thing’—getting on a rocket ship and blasting off into the unknown—is the very essence of Jefferson Starship. And that spirit is very much alive in the band today.”

ENTER SHIKARI release video for Find Out The Hard Way - surprise new album LOSE YOUR SELF out now

Fri, 17 Apr 2026 10:55:43 GMT

SOLD OUT ALL 3 ALBUM RELEASE OUTSTORE SHOWS NEXT WEEK IN SECONDS!

ENTER SHIKARI have revealed the official music video for track Find Out The Hard Way. The visuals were shot in South London by Jasper Visuals, and premiered last night on YouTube here.

Find Out The Hard Way is the first track taken from their new album LOSE YOUR SELF, which was surprise released last Friday (10th April) with zero announcements or teasers from the band. The 12 tracks span exploring themes of desolation, futility and complete despair at the state of the world, but with glimmers of hopefulness and optimism threaded throughout.

To accompany the album, they announced three intimate outstore shows - The Cavern in Liverpool, The Fighting Cocks in Kingston and London's Signature Brew, which have all sold out. The band will headline arenas this November, will full dates below.

With zero announcements or teasers from the band, Enter Shikari last week surprise released their brand new album! Lose Your Self (released via So Recordings) spans 12 tracks exploring themes of desolation, futility and complete despair at the state of the world, but with glimmers of hopefulness and optimism threaded throughout. Whilst the likes of major pop stars including Beyoncé, Taylor Swift and Justin Bieber who have famously released albums out of the blue over the years, Enter Shikari have managed to not only release Lose Your Self digitally, but also physically, unlike their predecessors. This accomplished and ingenious body of work is available to stream and also buy in CD and vinyl format worldwide. Listen here.

Frontman Rou articulates, "We’re delighted to present LOSE YOUR SELF, and give people the chance to hear a Shikari record like never before - as a cohesive whole.

We want people to go on a proper journey with this album, and see where it takes them.

No lead up, no singles, and no explanation. Forcing the listener to actually listen, without being drip-fed ideas out of context, or spoon-fed explanations.

We simply present it all, for the listener to immerse themself in.

Releasing in this way was also a decision to not be distracted by chart races, or accolades and “things”.

We got the No.1 album on our last record. This is simply about the music being presented in a natural way.

Despite turning out to be one our darkest and heaviest albums to date, it also preaches hope and offers answers.

Shikari will always offer hope, because without hope there is no action. We’ll just always offer it with a dose of realism.”

Yesterday, tickets for the band’s unmissable intimate album release shows completely sold out in a matter of seconds! Next week, Shikari will play The Cavern in Liverpool, The Fighting Cocks in Kingston and Signature Brew. These unmissable shows give fans a unique experience to see the band up close and personal, and a chance to see the brand new songs live for the first time.

Earlier this year, Enter Shikari announced a UK and EU headline arena tour for November, their biggest yet, a headline run around Australia in May, and also around North America in June! The EU dates kick off on 3rd November at the Sporthalle in Hamburg, and include the band’s biggest ever German headline show, at Düsseldorf’s Mitsubishi Halle, boasting a capacity of 7500! The band will then begin the UK leg of the tour in Nottingham at the Motorpoint Arena on 13th November. Gigs in cities including Cardiff, Hull, Glasgow and Manchester will follow, before ending with not one but two shows at London’s Alexandra Palace on 20th and 21st November! They will be joined by Holding Absence and The Callous Daoboys as support for both the EU and UK leg. Every ticket sold for the band’s UK arena tour dates will include a £1 donation to the Music Venue Trust, supporting grassroots music venues under threat of closure in the UK. Enter Shikari were the first artist to implement the scheme which is one very close to their hearts, with ticket sales from their 2024 arena tour carrying the donation, paving the way for the likes of Sam Fender and Coldplay to follow suit with their own generous donations.

UK & Ireland live dates:

21.4 - The Academy, Dublin - SOLD OUT

23.4 - The Cavern, Liverpool (Jacaranda outstore) - SOLD OUT

24.4 - The Fighting Cocks, Kingston (Banquet outstore) - SOLD OUT

25.4 - Signature Brew, London (Jacaranda outstore) - SOLD OUT

13.11 - Motorpoint Arena, Nottingham

14.11 - Utilita Arena, Cardiff

15.11 - Connexin Live, Hull

18.11 - Hydro, Glasgow

19.11 - CoOp Live, Manchester

20.11 - Alexandra Palace, London

21.11 - Alexandra Palace, London

GROOVE METAL MASTERS DEVILDRIVER UNLEASH FEROCIOUS NEW ALBUM STRIKE AND KILL ON JULY 10, 2026

Fri, 17 Apr 2026 10:44:21 GMT

WATCH OFFICIAL VIDEO FOR LEAD SINGLE “DIG YOUR OWN GRAVE” HERE

After numerous world tours, ten full length albums, and globally recognised acclaim, unstoppable groove metal masters DEVILDRIVER bore full speed ahead. Today, the band announce their explosive eleventh full length, Strike And Kill, out July 10, 2026 via Napalm Records. With the brutal lineup of frontman and mastermind Dez Fafara, virtuoso guitar duo Alex Lee and Gabe Mangold, eruptive drummer Davier Ortega Perez, and the return of founding bass legend Jon Miller, Strike And Kill sees DEVILDRIVER return to their carnivorous origin, reigniting the incendiary sound that founded their legacy - delivering a must listen for all fans of the genre.

Dez Fafara on Strike And Kill:

"My headspace hasn’t changed, I have not become complacent or soft in my view of the world or in my music. Metal is our outlet as listeners and writers, so on this record we focused on ‘getting it all out’ lyrically, and backing those lyrics with savage, relentless music that fuels the heavy California groove like no other. DEVILDRIVER has never sounded like any other band, we do our own thing in our own way, and I’m the most proud of that.

“I’m so proud of these musicians, this music, and the vibe around this record. DevilDriver sounds like no one else out there right now, we are here to Strike And Kill!"

Alongside today’s announcement, they unleash the fierce album opener upon the masses. Debuting yesterday on SXM’s Liquid Metal, “Dig Your Own Grave”, is a vitriolic onslaught of machine gun riffs and uncompromising aggression, lyrically lambasting fools responsible for their own undesirable fates. Full of piss and vinegar, this is DEVILDRIVER at maximum ferocity, giving listeners just a taste of the carnage waiting within Strike And Kill.

KING KRAKEN release their video for new single 'Call To War', out now.

Fri, 17 Apr 2026 10:27:26 GMT

Watch here: https://www.youtube.com/watch?v=3XabnYFGFf0

KING KRAKEN have released their storming new rocker 'Call To War', and it's a riff riddled, power packed, full frontal assault on the senses which sees the band kicking their new campaign off in style!

"Call to War is the first single king kraken have released since our second album last April, we’ve picked up where we left off with March of the Gods, the same kraken sound but with more focus, grit and determination!

'Call To War' is a blistering new track inspired by the chilling sci-fi classic The War of the Worlds by H.G.Wells. Packed with relentless energy, the song charges forward at full throttle with thunderous riffs and pounding rhythms, while gritty yet melodic vocals cut through the chaos like a rallying cry against an unstoppable invasion. 'Call To War' captures the tension and drama of humanity's fight for survival, delivering a fast-paced heavy anthem that feels both cinematic and ferocious-perfect for fans ready to march straight into the storm.

'Call to War' is the soundtrack to our Spring UK tour, this is your call to make it the sound of your spring as well."

Order here: https://distrokid.com/hyperfollow/kingkraken/call-to-war

King Kraken is a four-piece Rock/Metal band from South Wales, UK. In April 2025 they released their second album, 'March of the Gods', which saw two of their singles, Hero and March of the Gods receive national airplay on Planet Rock and Kerrang Radio. The band received universally positive reviews for March of the Gods in the Rock and Metal press, including Kerrang! and a feature in Metal Hammer Magazine.

The band has a seriously strong CV on the live circuit, playing numerous prestigious events across the UK including Bloodstock, Call of the Wild, Planet Rock’s Rockstock and a massive show in 2025’s Stonedead Festival. In December 2025 they were the first band to play the Bloodstock Winter Gathering event at the legendary KK’s Steel Mill in Wolverhampton. The band has played with some heavyweight artists including The Almighty, The Dead Daisies, Crobot, Phil Campbell and the Bastard Sons, Monster Truck, The Sweet, Geoff Tate and Crowbar.

In 2026, King Kraken will be releasing new material having spent time in the studio with producer Romesh Dodangoda. They have a plethora of live shows booked, with a slot at Takedown Festival at Portsmouth Guildhall in April, a short tour with Fury in May, plus several other festivals include the opening slot at Steelhouse Festival in July. They follow that in August where they will play Chepstow Castle alongside with Phil Campbell and the Bastard Sons, Chris Holmes (WASP) and the Tygers of Pan Tang.

With numerous events around the UK there is no sign of this train slowing down!

KING KRAKEN are:

Vocals - Mark Donoghue

Guitars - Adam Healey

Bass - Karl Meyer

Drums - Richard Lee Mears

'Call To War' recorded at Long Wave Recording Studios, Cardiff

Mixed and Mastered by Romesh Dodangoda

Engineered by Romesh Dodangoda and Tom Cory

Order here: https://distrokid.com/hyperfollow/kingkraken/call-to-war

Fury/King Kraken tour:

24th April KK's Steelmill, Wolverhampton

25th April The Patriot, Crumlin

3rd May The Star Inn, Dylife, Powys

8th May The Ferret, Preston

9th May Ivory Blacks, Glasgow

15th May Leo's, Gravesend

16th May, Studio Se7en, Witney

30th May Call Of The Wild Festival, Lincolnshire Showground

4th July SOS Fest XVII, Whittles, Oldham

24th July Steelhouse Festival, Ebbw Vale

25th July Hammerdown Festival, The Factory Live, Worthing

22nd August, Chepstow Castle, Bridge St, Chepstow

5th September Hella Rock Festsival, HMV Empyre, Coventry

9th October Reddog 1, The Patriot, Crumlin

VON GROOVE - Born To Rock - New Album

Fri, 17 Apr 2026 09:28:09 GMT

Available May 15, 2026 via Frontiers Music Srl

After more than two decades of silence, VON GROOVE proudly announces their new album 'Born To Rock,' set for release on May 15, 2026 via Frontiers Music Srl. To celebrate the announcement, the band also shares the title track alongside an official music video, available to view below.

On the band's return, guitarist Mladen expresses:

"It’s been a long time since the three of us made music together, but from the very first chord, the chemistry was undeniable. We poured our heart and soul into these 11 tracks and can’t wait to share them with our fans." He continues, "’Born To Rock’ celebrates our life long love of making and performing music. When rock n roll gets in your soul it never leaves. It’s a life long addiction."

VON GROOVE triumphantly returns with a jaw-dropping new album that reunites the classic original lineup: Mladen on guitars, Michael Shotton on drums and vocals, and Matthew Gerrard on bass. This isn’t just a comeback, it’s a resurrection!

Marking their first studio release since 2001, the album feels like it was born in the same fire as their legendary 1992 debut. The opening title-track, "Born To Rock," explodes with the same urgency and swagger as their iconic “Once Is Not Enough” — even quoting it with a subtle nod that will send chills down the spine of longtime fans.

True to their roots, VON GROOVE delivers a masterclass in melodic hard rock, with blazing guitars, soaring vocals, and airtight arrangements. The production is punchy and alive, but the soul of the record is pure 90s AOR glory.

Even more exciting? VON GROOVE will be returning to the stage in 2026, bringing their renewed fire and timeless sound back to live audiences for the first time in years.

'Born To Rock' Track List:

1. Born To Rock
2. Fearless
3. Champion
4. Adrenaline
5. Angela
6. Undefeated
7. Do It All Over Again
8. Heart Of Forgiveness
9. Dreams
10. Waiting For The Sky To Fall
11. Always Endlessly

Founded in 1990, VON GROOVE quickly made their mark on the Melodic Hard Rock scene. Their 1992 self-titled debut, produced by Richie Zito and featuring Deen Castronovo (later of Journey) on session drums, remains a cornerstone of the genre. Over the years, they’ve delivered fan-favorite albums like 'Mission Man' ('Chameleon' in Europe), 'Test of Faith,' and 'The Seventh Day.' Despite going on hiatus in 2001, the members stayed active, collaborating with rock legends and contributing to major projects across genres.

After 20+ years, VON GROOVE is making their epic comeback!

VON GROOVE are:
Mladen — Guitars
Michael Shotton — Drums, Vocals
Matthew Gerrard — Bass

ICONIC - II - Album Review

Fri, 17 Apr 2026 07:25:56 GMT

"An electrifying burst of hard rock fuelled by powerful riffs"

Iconic - "II" review by MB Photography Scotland.

Flash back to mid-2022 and we first heard of Iconic, a supergroup put together thanks to Frontiers Music featuring some iconic members. So, the name was maybe a bit cheesy but the record delivered on all fronts with hard rock legends garnered from Whitesnake, Dead Daisies, Stryper and Inglorious. The band never played live as far as we know which was a real shame. Fast forward to now as we start to hit the midpoint of 2026 and guess what we have another Iconic release. Not much thought put into the title “II” but let’s see how the music fairs as that’s the most important thing.

With a lineup of Nathan James – Vocals, Michael Sweet & Joel Hoekstra – Guitars, Marco Mendoza – Bass and rock journeyman Tommy Aldridge – Drums the expectations are once again high.

Lead single “Cry No More” is an adrenaline-charged opener that instantly establishes the mood, an electrifying burst of hard rock fuelled by powerful riffs, trademark Tommy Aldridge drums, and a chorus that sticks in your head. The guitars are instantly recognisable as being provided by Joel Hoekstra. If you’re a fan you will see the style showing here.

On the opposite end of the emotional spectrum, “Tears Keep On Falling” brilliantly highlights the band’s impressive versatility. This track unfolds as a powerful song, where melody, atmosphere, and intensity merge seamlessly to create a stirring and electrifying experience. Another melodic masterpiece for fans of the genre the 5 piece deliver quite simply making it a standout example of their artistic range.

“S.O.S.” leans on the bluesier side of things and is groove heavy track whereas “Valley Of Lost Souls” just smashes you in the face with a straight-ahead rock song laden with hooks, both vocally and musically.

The only real downturn of pace on this album is the start of last track “Heart Of Stone” however that only lasts until after the first verse and we are back in melodic rock heaven with a hard hitting, yet full of melody chorus.

The only negative is that this could quite easily have been a Joel Hoekstra solo album such is his influence on this, or maybe it’s too close in timescale to his own release. Not withstanding this is a great follow up album and one that will certainly be on repeat once it’s released and in my grubby paws. Let’s hope for some live dates to accompany this as well, I’m sure everyone will be hoping for those.

1. Cry No More

2. All I Want

3. Open My Eyes

4. Tears Keep On Falling

5. Take Me To The Place

6. S.O.S.

7. Nothing Left For Me

8. Far Away

9. Valley Of Lost Souls

10. Written In The Stars

11. Heart Of Stone

Line Up:

Nathan James - Vocals

Michael Sweet - Guitars

Joel Hoekstra - Guitars

Marco Mendoza - Bass

Tommy Aldridge - Drums

Released July 31st on Frontiers Music Srl.

Fioraidh – ‘An Unquiet Mind’ Album review

Fri, 17 Apr 2026 05:51:09 GMT

Before reviewing the music, let’s get the most difficult part settled. Just how do you pronounce Fioraidh?! Well, to explain that you have to travel back in time to the 1990s, when vocalist/multi-instrumentalist Mark Reid was in a band called… Fury! In a nostalgic nod to his past, the frontman with Scottish metal band Pyroclast decided to name his solo project after his old band… but with another UK band called Fury now on the scene, he differentiated by adding some Gaelic swagger to it. Makes sense now!

Having some time on his hands between writing and recording Pyrolclast’s next album, Reid decided to bring to life some of his other musical ideas, writing all the lyrics and music and playing every instrument himself, with a few pals chipping in with a guitar solo now and again. The result of this blast of creativity is ‘An Unquiet Mind’, which was also produced and mastered by Reid. A solo album… almost literally!

Opener ‘Ghost in the Now’ is a heavy, moody, mid-tempo rocker with prominent bass driving the track along and flourishes of keyboard and piano sprinkling some additional musical atmosphere. Pyroclast’s Chris Horne guests on the short guitar solo, whilst Reid’s voice builds in intensity throughout the track, ending in an impressively high final vocal with a duration that Bill Withers would be proud of!

‘Devil’s Inside’ has the kind of dark, heavy riff that Tony Iommi would’ve created in Dio-era Black Sabbath. Soft, low, growling vocals spread throughout the track bring some real horror movie-like intensity, whilst the impressive ‘Fractured’ (my personal favourite) starts with Iron Maiden Virtual XI vibes before exploding into a sprawling and melodic ‘fists in the air’ musical tour-de-force with guitar solos by Pyroclast’s Baz Fitzsimmons. The sudden change of timing and tempo towards the end will take you by surprise… but is a nod to Reid’s affinity for more progressive music.

If Bruce Dickinson’s singing with Danish masters Volbeat is your musical fantasy, then ‘Roll the Dice’ is for you. After a riff-heavy opening, Reid’s impressive vocal range is on display throughout, challenging the Iron Maiden frontman’s vocal skills during the chorus whilst managing to find room to fit the word “procrastination” into the lyrics, something that I can say with great certainty is a rarity in any genre! ‘When the Night She Fades’ starts with some serious cinematic atmosphere. Think dark, grimy LA streets under a freeway and a long way from the glitz and glamour of Rodeo Drive, with police sirens in the night air. The bass is again prominent (something that happens throughout this album) before the intro bursts into one of the tastiest riffs I’ve heard in a while. To me, this is a delicious and heavy slice of prime-time hard rock as opposed to the metal our hero is more known for. Riffs, bass, keyboards, a slow burning guitar solo… it’s musical drama at its best!

‘Change of Reasons’ is the bastard child of Metallica’s ‘Enter Sandman’ during the intro… but from there, don’t even try to track the timing or intensity. Just enjoy the ride! Slow and moody one moment, fast and heavy the next. Low and quiet vocals one moment, soaring high the next… with a guitar solo by Graham McLeod. Penultimate track ‘Chimaera’ is pure progressive rock and metal in the vein of Canadian legends Rush… but with the heaviness tripled and without Geddy Lee’s screeching vocals. The dancing bass and extraordinary drumming throughout, the time signature changes, the keyboard and guitar solos (by Chris Horne again!) all point to the rock and roll hall of famers.

Final track ‘Obedience in the Void’ is another Tony Iommi-style heavy riff with a modern sheen. Black Sabbath-like doom bells set the tone for what’s to come; a dark, brooding, heavy track that when played loud, will literally shake your hifi speakers (trust me… I know!). Scrape away the riff and the keyboard effects and you’ll still find lots of melody… and even a rare vocal effect towards the end, like the one used on Cher’s pop hit ‘Believe’. Ok… it’s nothing like Cher… but listen and you’ll understand what I mean! Clocking in at just over five a half minutes, it’s the type of epic track that will always be a perfect end to an album… and the operatic choir effects in the closing bars confirm that!

As the title suggests, there’s nothing quiet about ‘An Unquiet Mind’. It’s a powerful, riff-filled, heavy yet melodic insight into the wonderfully noisy mind of an incredibly creative soul! It’s metal… but there’s definite nods to prog and the more melodic end of hard rock. This Fioraidh deserves to be more popular than Tyson, so do yourself a favour and head to your streaming service of choice and hit play on ‘An Unquiet Mind’. When you’re done, hit play again! Even better, go old school and head over to Fioraidh’s Bandcamp page to order yourself a t-shirt and CD… and take a look at all the other Fioraidh albums available.

I’ll be Fioraidh-ous if you don’t!

ICONIC - II - NEW ALBUM

Thu, 16 Apr 2026 14:10:05 GMT

SET FOR RELEASE ON JULY 31, 2026 VIA FRONTIERS MUSIC SRL

Frontiers Music Srl is pleased to announce the return of the hard rock supergroup Iconic, featuring Michael Sweet (guitars), Joel Hoekstra (guitars), Marco Mendoza (bass), Tommy Aldridge (drums), and Nathan James (vocals), for their sophomore album “II”, scheduled for July 31, 2026.

To celebrate the announcement, the band share the new single and accompanying lyric video, “Cry No More”, available now.

Michael Sweet commented: “It’s been a long time coming and the time is finally here! It’s an absolute honor to be a part of such an incredible band and “Cry No More” is the perfect representation of who Iconic is. Music that takes you back to the best of times and reminds you that rock is still alive and well!”

“It’s a pleasure to work with these fantastic musicians in Iconic. ‘Cry No More’ should give classic rock fans something raw and real in terms of both playing and production. Crank it up!”, Joel Hoekstra added.

Nathan James also stated: “I'm so pleased to have made another album with these incredible musicians. I hope everyone enjoys this first single “Cry No More” and the whole album”.

“Well, the time is here, folks, finally Iconic – “II” is coming to you, with the first single “Cry No More” coming soon!”, Marco Mendoza exclaimed. “Like always, it’s a blast and quite an honor to be part of a project like this, with all these players! Take a listen and enjoy! Viva la ROCK!!!”

Iconic return with “II”, a second album that doesn’t just continue the band’s journey - it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock.

At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless.

The album kicks off with “Cry No More”, a high-octane opener that immediately sets the tone - an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick.

On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion.

Towering above it all is Nathan James, whose performance on “II” is nothing short of extraordinary - powerful, soulful, and commanding, elevating every track with unmistakable presence.

With bigger riffs, deeper grooves, and a stronger sense of identity, “II” captures Iconic at full force: a band no longer introducing itself but fully owning its sound.

“II” Tracklist:

1. Cry No More
2. All I Want
3. Open My Eyes
4. Tears Keep On Falling
5. Take Me To The Place
6. S.O.S.
7. Nothing Left For Me
8. Far Away
9. Valley Of Lost Souls
10. Written In The Stars
11. Heart Of Stone

Line Up:
Nathan James - Vocals
Michael Sweet - Guitars
Joel Hoekstra - Guitars
Marco Mendoza - Bass
Tommy Aldridge - Drums

Keyboards by Antonio Agate
Backing Vocals by Marco Pastorino

SMOKING SNAKES - ALL LIGHTS ON - NEW ALBUM

Wed, 15 Apr 2026 13:24:46 GMT

Released on July 10th, 2026 by Frontiers Music Srl

Swedish sleaze metallers Smoking Snakes are excited to announce the release of their new studio album, “All Lights On”, out on July 10, 2026, via Frontiers Music Srl.

Following the release of the single “Pleasure And Pain”, the band share today a new track, “Broken Heart”, along with an official video.

The band commented: “Broken Heart” captures the fragile line between despair and rebirth. Through vivid imagery of darkness, desire, and destiny, the song reflects on the scars left behind by love... And the quiet strength it takes to start again. It’s both intimate and explosive, turning vulnerability into power”.

Describing the new album, Smoking Snakes stated: “NOTHING STAYS HIDDEN WHEN THE LIGHTS COME ON. The shadows run, secrets surface, and every flaw, fear, and fire inside us is exposed. This album is a raw flash of truth, like the blinding light in a horror flick when the killer is revealed, or the stage lights right before the first scream of feedback”.

“There’s no place to hide. No mask to wear. No safe darkness”, they continued. “All Lights On” is where neon nightmares meet rock 'n' roll redemption. Electric, intense, and unfiltered, just the way it’s meant to be”.

Hailing from Gothenburg, Smoking Snakes are steadily carving out their place in the sleaze metal scene with a sound that blends attitude, melody, and raw energy. Inspired by the great arena rock bands of the 1980s, their music has evolved beyond its roots to develop a distinct and recognizable identity of its own.

A key part of their identity lies in their strong commitment to live performances. Smoking Snakes are a highly active touring band, hitting the road, playing shows, and building a direct connection with their audience. This dedication to the live circuit has allowed them to grow organically, sharpening their performance skills and expanding their fanbase step by step.

At the same time, the band continues to invest serious effort into their artistic development, working consistently to refine their songwriting and define a clear sonic direction. Their evolution reflects both persistence and a genuine passion for their craft.

Their new album, produced by Jack Stroem, captures this moment of growth perfectly. It delivers a collection of songs that balance grit and melody, showcasing a band that is becoming more confident, focused, and mature without losing its edge.

With a strong work ethic, an increasing presence on stage, and a clear vision for the future, Smoking Snakes prove themselves to be more than just an emerging act - they are a band on a steady rise, and one that fans of sleaze metal should keep a close eye on.

“All Lights On” deliver a band in perfect shape ready to take its place in the sleaze scene.

“All Lights On” Tracklist:

1. 103.1 The Scream - The 80's Late Night Radio Broadcast
2. Don't Touch
3. Trick Or Treat
4. All I Need
5. Look In Your Eyes
6. Last Man Standing
7. Screaming For More
8. Broken Heart
9. Nasty & Wild
10. Turn On The Lights
11. Pleasure & Pain
12. The Last Nightmare

Line Up:
Brett Martin – Lead vocals, rhythm guitar
Andy Delarge – Bass, backing vocals
Mackey Gee – Drums, backing vocals
Rob Raw – Lead guitar, backing vocals

Slyder Smith - Single Review: 'Killing the Machine'

Tue, 14 Apr 2026 16:51:05 GMT

Slyder Smith, best known as the guitarist and backing vocalist for Last Great Dreamers, returns with *Killing the Machine*, a sharp, punk‑edged rocker that carries both swagger and a warning. Produced by Robin Wynn Evans, the track features Smith’s current band: Brian Kerr on guitar, Kevin Skelly on bass and backing vocals, and John McAvoy on drums. Together, they bring a raw, road‑tested chemistry that drives the song forward.

The track opens in a low, almost intimate way. There’s just guitar and vocals, and then the full band kicks in. Now the tempo and volume rise. The production keeps everything raw and energetic, giving the song a gritty punk edge with a subtle hint of rootsy Americana underneath.

Smith takes aim at our growing dependence on technology in our private and professional lives. He sings about his uneasy feeling that machines are competing with us rather than serving us. The song blends frustration with a very human anxiety. It captures the idea that we’re losing control click by click, swipe by swipe. It’s punk in attitude, but the Americana undertones give it a broader emotional depth.

The result is an upbeat, hook driven track with something to say; a rallying cry wrapped in a rock ’n’ roll grin.

Caitlin Krisko and The Broadcast -'Halfway There'

Tue, 14 Apr 2026 16:44:59 GMT

Caitlin Krisko has never been an artist content to stand still. From her Detroit roots to her long‑established home in Asheville, she has spent the past decade shaping and reshaping her sound, drawing from soul, R&B, blues rock, and Americana to build something of her own. Under the banner of The Broadcast, she carved out a place in the modern roots‑rock landscape, releasing ‘Dodge the Arrow’ in 2013 and earning opening slots for Grace Potter, Marcus King, and the Tedeschi Trucks Band. Lineup changes came and went, but Krisko’s voice; both her sound and her vision, held everything together. By the time the band released ‘From the Horizon’ in 2016 and ‘Lost My Sight’ in 2020, the project had already begun moving toward her distinct vision. The decision to become Caitlin Krisko and The Broadcast made that official.

Their new EP, ‘Halfway There’, feels like they’re culminating that journey: confident, grounded, and assured. It’s also a new beginning, the sound of a band aware of its strengths and unafraid to lean into them.

The title track, “Halfway There,” opens the EP with a sweeping blend of blues, southern soul, and rock. It’s a song that carries the weight of lived experience, written as a tribute to Krisko’s late mother and threaded with the small homilies and lessons passed down through their relationship. Krisko’s bluesy vocals sit at the centre, raw but controlled, while the band builds a warm, textured backdrop for her. As an opener, it sets the emotional and musical tone for the EP; heartfelt, grounded, and unafraid to show its rough edges.

“Everything I Need” lifts both the pace and the mood. It’s a fast love song, bright and full of drive. Krisko’s voice cuts through the mix with genuine force. The track feels light on its feet; it’s a song that would hit hard on stage. William Seymour’s bass and Michael W. Davis’s drums lock into a steady, tight groove. Aaron Austin’s guitar adds small touches of colour but never gets in the way. The song shows how strong the band is when they lean into their rock‑soul sound.

The quiet highlight of the EP is “Hello My Dear,” a gentle blues song with a soft, soulful feel and a hint of country guitar. Aaron Austin’s playing is warm and open, while the piano and rhythm section move with calm ease. Krisko’s voice is close and tender, as if she’s singing to someone who still feels near even when they’re gone. The band holds back and gives her space, letting the vocals lead the way. It’s a song made for slow Saturday nights or peaceful Sunday mornings. Among the EP’s louder rock tracks, “Hello My Dear” stands out as its most tender and moving heart.

“Let It Ride” pushes the energy back up. It’s a hard‑hitting rock song that follows a woman working through the week to reach her goals, then taking her freedom when Saturday comes: “On Saturdays, she gonna let it ride.” Krisko delivers the line with both swagger and warmth. The band backs her with strong, no‑nonsense playing. The track shows how well they mix grit with an easy, open sound. It gives the EP a sharp burst of release while still keeping its emotional thread intact.

The EP ends with “Heart of Gold,” a strong rocker that pulls everything together. It shows the band’s tight bond. Seymour’s bass is steady and tuneful. Davis’s drums hit with sharp, clean force. Austin’s guitar lines are bold but never too much.

Across all five tracks, the playing is sharp and controlled. Each member stands out, but no one takes over. The song remains the focus rather than individual showmanship.

Aaron Austin’s production also deserves praise. The sound is clear and full, but it retains the band’s rough edge. You can hear the space in the room and the feel of actual players working together. Austin’s production doesn’t smooth out the sound or make anything too clean. The mix lifts the emotion in the music and lets the performances speak for themselves.

Each song on the EP highlights a unique aspect of the band’s sound. It feels like a small journey, with moments of softness and strength flowing together. Krisko invites the listener to hear her growth and to feel the sense of unity that shapes The Broadcast’s sound.

Amid all the energy and emotion, the band’s skill at moving between styles stands out. Each song has its own feel, yet they all fit together as one story. The EP shows both the band’s power and its softer side, giving listeners a full picture of what Caitlin Krisko and The Broadcast can do. It also marks how far they’ve come, offering something strong and memorable for new fans and long‑time listeners alike.

TESLA - Homage - New Album

Tue, 14 Apr 2026 15:11:59 GMT

New release 17th July, 2026 via Frontiers Music Srl

Today, the acclaimed American hard rock band TESLA is proud to announce their new album, 'Homage,' set for release on July 17, 2026, via Frontiers Music Srl. Marking a full-circle moment in their storied career, the album finds the band returning to their roots with a collection of covers honoring some of rock’s most timeless hits.

To offer fans a taste of what to expect on 'Homage,' TESLA shares their cover of Climax Blues Band's iconic track, "I Love You" (2026 Version). The new single arrives alongside an official video, available to view below.

The band comments:

"'I Love You,' like all the tracks on 'Homage,' not only pays tribute to legends but gives us a chance to showcase our lead singer’s diversity as well as the musical dynamics we learned as a band many years ago."

It is remarkable to reflect on the more than 40 years since TESLA began as a cover band performing in California nightclubs before going on to write and record original material and sell millions of albums.

Much like their musical heroes — The Beatles and The Rolling Stones—artists who honed their craft by performing songs from those who came before them, TESLA followed a similar path in their early years and continues to embrace the tradition of paying tribute through cover songs today.

‘Homage,’ the band’s upcoming album, not only honors legendary artists but also provides an opportunity to showcase lead singer Jeff Keith's vocal diversity. The album stands as a thank-you expressed through music, an offering to the iconic voices and songs that shaped the band’s influences and, ultimately, their own songwriting.

'Homage' is not about imitation, but acknowledgment, tracing the line from influence to identity, from listening to becoming. The project also arrives more than 20 years after the ‘Real to Reel’ series, a release that helped inspire the creation of a new original TESLA song, “Never Alone.”

The selected songs on 'Homage' were chosen for a variety of reasons, primarily representing some of the greatest vocalists of all time, including Elvis Presley, Freddie Mercury, Sam Cooke, David Ruffin, Etta James, and James Brown. Additional selections reflect songs the band grew up hearing on the radio and on their turntables.

On the upcoming album, TESLA shares:

"Our new album 'Homage' is a thank-you note written in sound. An offering to the great singers and songs that shaped the music we grew up listening to, and the songs we would eventually write. We hope you all enjoy this as much as we did making it. Thank you for all the years - Keep it Real and Keep On Rockin'!"

Pre-Order ‘Homage’ HERE

‘Homage’ Track List:

1. Never Alone (Original Song)
2. Bring It On Home (Sam Cooke Cover)
3. Spread Your Wings (Queen Cover)
4. I Wish It Would Rain (The Temptations Cover)
5. Night Moves (Bob Seger Cover)
6. If I Can Dream (Elvis Presley Cover)
7. Come And Get It (Badfinger Cover)
8. I Got You (James Brown Cover)
9. Give A Little Bit (Supertramp Cover)
10. I Love You (2026 Version)(Climax Blues Band Cover)
11. The Ballad Of Curtis Loew (Lynyrd Skynyrd Cover)
12. Have You Ever Seen The Rain (Creedence Clearwater Revival Cover)
13. I'd Rather Go Blind (Etta James Cover)
14. Mind Your Own Business - (Hank Williams Sr. Cover)

TESLA is excited to be hitting the road this summer on The Return of the Carnival of Sins Tour with Motley Crue and Extreme. The tour begins on July 17th in Burgettstown, PA, and winds its way through the United States before concluding in Ridgefield, WA on September 26th.

TESLA are:
Jeff Keith – Vocals
Frank Hannon – Guitar, Keyboards, Piano, Organ, Backing Vocals
Dave Rude – Guitar, Backing Vocals, Bass
Brian Wheat – Bass, Keyboards, Piano, Backing Vocals
Steve Brown – Drums and Percussion

SEVENDUST ANNOUNCE FIRST HEADLINE UK TOUR IN 8 YEARS

Tue, 14 Apr 2026 12:40:21 GMT

TICKETS GO ON-SALE WEDNESDAY 15TH APRIL @ 10AM (UK)

.GRAMMY® Award–nominated metal icons SEVENDUST have just announced their first UK headline tour in 8 years. Fresh off their arena support slot with Alter Bridge back in March, SEVENDUST will begin their route with 5 dates in Europe and 11 throughout the UK and Ireland, taking them through Norwich, Wolverhampton, Newcastle, Glasgow, Belfast, Dublin, Bristol, Southampton, Nottingham, and Manchester, before culminating in London.

Renowned as one of the most powerful live bands in modern metal, the dates arrive as SEVENDUST are preparing to launch and support the release of their upcoming 15th studio album, "ONE", arriving 1st May via Napalm Records.

The One Tour Dates:

Wed 25th Nov - DE - HAMBURG, Gruenspan

Thu 26th Nov - DE - COLOGNE, Kantine

Fri 27th Nov - DE - MUNICH, Nachtwerk

Sun 29th Nov - NL - TILBURG, O13

Mon 30th Nov - FR - PARIS, Bataclan

Wed 2nd Dec - UK - NORWICH, Waterfront

Thu 3rd Dec - UK - WOLVERHAMPTON, KK's Steel Mill

Sun 6th Dec - UK - NEWCASTLE, Digital

Mon 7th Dec - UK - GLASGOW, SWG3

Tue 8th Dec - NI - BELFAST, Limelight

Wed 9th Dec - IE- DUBLIN, Academy

Fri 11th Dec - UK - BRISTOL, Electric

Sat 12th Dec - UK - SOUTHAMPTON, The 1865

Sun 13th Dec - UK - NOTTINGHAM, The Palais

Mon 14th Dec - UK - MANCHESTER, Academy 2

Tue 15th Dec - UK - LONDON, Electric Ballroom

Pre-sale tickets are available from Monday 13th April, with general on-sale tickets available Wednesday 15th April @ 10am (UK).

For all upcoming tour dates, ticket information, and VIP packages, visit: https://sevendust.com/pages/tour.

Building on their unmistakable sound while continuing to evolve, "ONE" proves why SEVENDUST remain a vital force nearly three decades into their career. From the driving opening riff of the title track 'One' to the dreamy, atmospheric vocal outro of 'Misdirection', the album takes listeners on an emotional journey that only SEVENDUST can deliver. Tracks such as 'One' and 'We Won' stand confidently alongside the band’s most iconic material, reinforcing their legacy while pushing their sound forward.

The album’s first single, 'Is This The Real You', was released in January to both fan and critical acclaim. The video—directed by Paul Ribera—has amassed over 1.3 million views in less than six weeks, signalling strong anticipation for the band’s next chapter. Since then, they've shared official videos for 'Unbreakable' and the latest claymation masterpiece for 'Threshold'.

Since forming in 1994, SEVENDUST have become a cornerstone of modern metal, known for their explosive live performances, chart-topping releases, and unwavering commitment to authenticity. With "ONE", the band continues to honor their roots while embracing growth—proving that their creative fire is as fierce and focused as ever. "ONE" arrives 1st May via Napalm Records and the album is available for pre-order in multiple configurations including digital downloads now.

MARISA AND THE MOTHS CONFRONT THE WOMEN'S HEALTH CRISIS WITH NEW TRACK AND VIDEO FOR 'NOTHING'S GETTING BETTER'

Tue, 14 Apr 2026 12:22:06 GMT

Alternative rock quartet MARISA AND THE MOTHS are back on the scene with a brand new music video for the latest single 'Nothing's Getting Better'. Tackling the unbalanced seriousness of women's health issues in medical fields, including the lack of information and research funding for endometriosis, this track sees front-woman Marisa Rodriguez confront the topic with her powerhouse signature fry vocals.

On the inspiration behind the new single and video, Marisa shares:

"'Nothing’s Getting Better' is about having one of those days where everything feels like it’s falling apart and learning to laugh at the chaos while you’re still in the middle of it. The music video is a very literal take on ‘falling apart’, with a tongue-in-cheek gory vibe. I’m so excited about how it’s come together and can’t wait for everyone to see it. It’s also a strong statement of progression and a new direction for the band, which I’m really looking forward to exploring further.

I wrote this song after coming back from yet another hospital appointment where I was trying to get the surgery I need for my endometriosis. It was another dead end, and I remember feeling completely defeated. At the same time, everything else in my life felt like it was collapsing in on itself - money worries, career and relationship struggles, and a recent diagnosis of ADHD, BPD and CPTSD that I was still trying to come to terms with. The song actually started out sounding really sad when I wrote it acoustically, but turning it into this upbeat emo anthem gave it a real sense of defiance - turning that pain into something powerful that other people can connect with.”

Stream 'Nothing's Getting Better' HERE.

Watch the music video for 'Nothing's Getting Better' HERE .

BLOODSTOCK shares M2TM finals, plus 24 bands for the New Blood & EMP Stages

Tue, 14 Apr 2026 12:16:11 GMT

Are you ready for the battle to end all battles

Are you ready for the battle to end all battles Presented by Westons Stowford Press, the METAL 2 THE MASSES grand finals start in Cyprus on April 19th and roll through 30 locations across England, Wales, Scotland, Northern Ireland, Channel Islands, Norway, as well as Cyprus! Every winner will perform a 30 minute slot on the Stowford Press New Blood Stage! Round up your mates and get along to your local night - help shape the line-up of the festival and support grassroots venues and bands.

Dates and locations shake down as follows:

April 19th – Cyprus – Savino Live, Larnaca

May 8th – Belfast – Voodoo

May 23rd – Leeds – The Belgrave

May 23rd – Scotland – La Belle Angele, Edinburgh

May 23rd – Sheffield – Corporation

May 29th – South Coast – Bear Cave, Bournemouth

May 30th – Northants – The Black Prince, Northampton

June 6th – Manchester – Rebellion

June 6th – East Anglia – Brickmakers, Norwich

June 6th – Birmingham – The Flapper

June 13th – Norway – The Tribute, Sandnes

June 20th – North Wales – XS @ Penny Black, Wrexham

June 20th – South Wales – Corn Exchange, Newport

June 20th – Hitchin – Club 85

June 20th – Somerset – Cobblestones, Bridgwater

June 20th – Newcastle – Trillians

June 20th – Kent – Leo’s Red Lion, Gravesend

June 26th – Channel Islands – The Pit @ St James, Guernsey

June 26th – Cheltenham – Frog and Fiddle

June 27th – Nottingham – Saltbox

June 27th – Burnley – Sanctuary

June 27th – Coventry – The Arches

July 4th – Merseyside – Box Park & Arc:Hive, Liverpool

July 4th – London – The Dome

July 4th – Brighton – Daltons

July 4th – Devon & Cornwall – Livewire, Saltash

July 5th – Nuneaton – The Queens Hall

July 11th – Oxford – The Jericho Tavern

July 11th – Stoke – The Underground

July 12th – Bristol – The Exchange

No other festival does more to support grassroots metal and local venues across the UK and beyond. That commitment was recognised at the 2024 Heavy Music Awards, where BLOODSTOCK and the Metal 2 The Masses initiative were honoured with the prestigious “H Award” for exceptional contribution to the underground scene. You can get a flavour of what Metal 2 The Masses is all about here.

In exciting news for all BLOODSTOCK’s M2TM winners this year, fellow sponsors ESP and Engl Amps are offering up 3 incredible prizes, to be chosen from amongst the M2TM victors performing at the festival and presented on Sunday evening. The prizes include a new-for-2026, EC400 Quilted Maple guitar in See Through Black, a Phoenix 204DX bass in Redburst, and a Ravager IR amp head with a matching 1x12 Cab!

Got your tickets? Without further ado, let’s reveal a massive 24 more bands joining the heavy metal party this August!

While you’re waiting for those M2TM finals to get underway and shape the majority of the New Blood stage line-up, BLOODSTOCK HQ has chosen a few other favourites from hundreds of cross-genre submissions to complete the bill. Stop by and discover your new favourite band! On Friday, you’ll be able to see death/doom devotees VOID BELOW, alt prog rock Londoners TEMPLES ON MARS, boisterous hardcore-metal alchemists NEGATIVE FRAME, and CONCRETE AGE, with their distinctive mix of ancient world music with extreme metal.

Joining them on Saturday, are old school riff merchants THRASHERWOLF, N.Irish melo-death purveyors IMPERIAL DEMONIC, young aggressors CHAINED SAINT, and dark prog metal fiends IMBRIUM (featuring former members of Dreamcatcher, Memoreve and The Defiled).

Not to be outdone, Sunday invites OVERPOWER, who forge together riffs of early influences like Metallica and Slayer, with the savagery of UKHC.

BLOODSTOCK is also excited to reveal the full line-up for the new and improved EMP stage! Now situated in a new location in the main arena for less noise bleed, with a bigger stage and a bar, it’ll play host to more than a dozen up ‘n’ coming attention getters, so if you like to discover hot new music first, make sure you check out some bands here as well over the festival!

Friday welcomes heavy rockers UNTAMED SILENCE, melodic punkcore beasts CHANGE PERSONA, metalcore headbangers AFTER SMOKE CLEARS, rock-metal hybrid SOULRIDE, and symphonic prog metallers VANITAS.

Saturday offers occult doomsters GOAT MAJOR, modern classic rockers CANCEL THE TRANSMISSION, trad metalheads TEMPEST SAINT, power sludge duo TROLLMOTHER, and hardcore punkers DOSED.

Rounding things off on Sunday are hardcore fans STITCHED, electro alt rockers WREX, modern metal squad FOLLOWING THE SIGNS, power trio THE CARTOON CARTEL, and dark alt crew AETHORIA.

If these bands are new to you, you have 4 months to get to know them!

To help you pass the time, BLOODSTOCK has also set up eleven special club nights around the U.K. where you can win BLOODSTOCK tickets to the day of your choice! For a riotous night out, put on your glad rags and run-don't-walk to the following:

Sat 25th April - Camberley, Agincourt - Old Skool Rock and Metal Night

Sat 25th April - York, Bluebox - Deadbolt

Sat 25th April - Manchester, Rebellion - Deadbolt

Sat 9th May - Bristol, Basement 45 - Apocalypse

Fri 5th June - Guildford, All Bar One - Schism

Sat 6th June - Brighton, Above - Apocalypse

Sat 6th June - Birmingham, RedCorc Bar - Eddie’s Rock Club

Sat 6th June - Nottingham, Rock City - Alpha Omega

Sat 11th July - Isle of Wight, Strings - Apocalypse

Sat 25th July - Southampton, Sobar - Apocalypse

Fri 31st July - London, Elektrowerkz - Voodoo

MARC VALENTINE - ‘Uncommon Side Effects’ Album review

Mon, 13 Apr 2026 10:16:53 GMT

Looking for something to lift the mood while the world gets madder, scarier, more depressing and surreal by the day? Then this slice of power pop heaven may be just what you didn’t know you needed.

At 28 minutes long the album is shorter than many a guitar solo, Prog intro or indeed some of my track-by-track reviews (which you may be glad to read this isn’t). But if you’re going to release 10 songs on a sub-30 minute album this is how to do it. Short bursts of glorious power pop to the brain. Insanely memorable keyboard riffs which will have you Twisting, standing or seated (maybe that was just me, but I think not) in ‘NY UAP’; a massive ‘Living After Midnight’-style guttural, raw guitar riff in ‘High in the Underground’; the Bolan-esque ‘You Are the Jet’ (okay, let’s admit it - the glamtastic influence of the metal guru is felt throughout this album); and the closing communal sing-along of ‘When The Light Has Gone’. Not to mention sing-along choruses and melodies … always and everywhere.

And produced by no less than Dave Draper and Little Steven this is nectar to the ears and sonically soars.

‘Uncommon Side Effects’ provides a glorious fusion of power pop and glam rock, and a shot of musical dopamine for the soul; as his third solo album, it also importantly firmly establishes Marc Valentine as an artist in his own right and who deserves to be much more widely known as such, rather than just as an erstwhile Last Great Dreamer - another much-loved band with huge promise for whom the breaks sadly didn’t happen.

Ladies, gentlemen and non-binary friends, I give you Marc Valentine. No other explanation required.

‘Uncommon Side Effects’ is released on Wicked Cool Records and is available now on all of the usual platforms.

GMcA

JOHN CORABI - NEW DAY - NEW ALBUM

Fri, 10 Apr 2026 09:18:22 GMT

Released 24th April, 2026 via Frontiers Music Srl

Rock icon JOHN CORABI is proud to announce his debut full-length solo album 'New Day,' due out on April 24, 2026 via Frontiers Music Srl.

‘New Day’ marks JOHN CORABI’s first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that feels both timeless and deeply personal.

The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now presented as part of a rich collection of tracks that spotlight his commanding vocals, heartfelt lyrics, and masterful songwriting. Throughout the album, CORABI is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen on drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet, as well as Charlie Starr (Blackberry Smoke) offering guitar solos. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy.

With a European tour planned for February/March 2026 and additional shows running through late spring and summer, CORABI is poised to bring this new music directly to fans, delivering both powerful live energy and genuine emotional resonance.

More than just a solo debut, ‘New Day’ serves as CORABI’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn.

JOHN shares:

"I’m very excited for everybody to hear this new collection of songs! I wanted to put together an album of eclectic, organic songs that are reminiscent of the music I grew up listening to, and I truly believe the mission was accomplished! This is a 60’s-70’s sounding classic rock and roll record…Turn it up, and enjoy!!!"

'New Day' Track List:

1. New Day

2. That Memory

3. Faith, Hope And Love

4. When I Was Young

5. One More Shot

6. 1969

7. Laurel

8. Good To Be Back Here Again

9. Love That’ll Never Be

10. Cosi´ Bella

11. Your Own Worst Enemy

12. Everyday People

GENERATION RADIO - TAKE TWO - NEW ALBUM

Fri, 10 Apr 2026 09:15:15 GMT

Released 24th April, 2026 via Frontiers Music Srl

US rockers Generation Radio are excited to announce the release of their new studio album, “Take Two”, scheduled for April 24, 2026, via Frontiers Music Srl.

Generation Radio return with “Take Two”, the eagerly awaited follow-up to their acclaimed debut, delivering another masterclass in AOR/West Coast rock infused with just the right touch of the Nashville sound.

Produced by founding members Jay DeMarcus (Rascal Flatts) and Jason Scheff (former Chicago), the band features an all-star lineup: Steve Ferrone (Tom Petty & the Heartbreakers, Average White Band) joins on drums, replacing the formidable Deen Castronovo (who returned to Journey as full-time member), while Tom Yankton (guitar, vocals) and Chris Rodriguez (guitar, vocals) round out the powerhouse ensemble.

DeMarcus said: “It was so much fun getting to make another record! We’ve been working on this one for a while and we can’t wait for everyone to hear what we’ve been up to. Once again, we have contributions from all band members. These guys are amazing and it’s a honor to make music with them, I believe this record is our best work yet.”

Jason Scheff added: “Here we go! Take Two, round two. We had such a great reception on our first record we've been chomping at the bit to get this one finished and released. I'm extremely proud to show that we have a band that is still at the top of our game”.

“In what other industry can you deliver as kids and be able to go back in and create the quality of what you've been recognized for? I truly believe this work stands up to any of the records we've ever made creating some of pop and country's biggest hits. I can't wait to see how the public reacts to this one!”, he continued.

“Take Two” is rich with pristine harmonies, unforgettable hooks, and timeless songwriting -hallmarks of the genre delivered with class and authenticity. Tracks like the cinematic, harmony-laden “Montana Sky”, the hook-filled “The Melody”, and the emotionally charged ballad “Hate This Heart” showcase the band’s signature blend of melodic precision and heartfelt performance.

Adding depth to the album’s appeal, Generation Radio also offers reimagined versions of timeless classics that shine in their live sets: Whitesnake’s “Here I Go Again”, Chicago’s “You’re The Inspiration”, Kenny Loggins’ “I’m Alright”, and a rock version of Rascal Flatts’ classic “These Days”.

With “Take Two”, Generation Radio not only honours the legacy of AOR and West Coast rock -they elevate it, combining elite musicianship and genre-crossing influences into a record that’s as fresh as it is nostalgic.

“Take Two” Tracklist:

1. Montana Sky

2. The Melody

3. These Days

4. Maybe Monday

5. Grass Is Greener

6. Love History

7. Last Night's Whiskey

8. Here I Go Again

9. You're The Inspiration

10. I'm Alright

11. For A Soldier

12. Hate This Heart

Line Up:

Jay DeMarcus

Jason Scheff

Chris Rodriguez

Tom Yankton

Steve Ferrone

DEGREED - CURTAIN CALLS - NEW ALBUM

Fri, 10 Apr 2026 09:10:03 GMT

Released 24th April via Frontiers Music Srl

Swedish rockers Degreed are thrilled to announce the release of their new studio album “Curtain Calls”, out on April 24, 2026, via Frontiers Music Srl.

Talking about the new album, Eriksson stated: “This is truly one of the best albums we’ve ever made. Yes, it’s a cliche. Yes, a lot of bands say that about every new record they make. But I truly believe this is one of our best, if not THE best. I’ve never been as focused while making an album as I’ve been on this one”.

With “Curtain Calls”, Degreed deliver one of the strongest and most focused albums of their career. The band stays fully true to its established sound while refining it with precision: a powerful, contemporary production, technically solid performances, and - most importantly - an outstanding sense of melody and accessibility.

Produced by Mats Eriksson, the album strikes an excellent balance between technical craftsmanship and immediate listener appeal. The songs are energetic and polished, yet always approachable, showcasing a confident songwriting style that blends modern punch with classic melodic hard rock sensibilities.

“Curtain Calls” positions itself as a very competitive release within the current melodic hard rock landscape: consistent, well-produced, and strongly audience-oriented, while fully preserving the band’s identity.

Degreed have been releasing critically acclaimed music since the start of their career with their first album “Life, Love, Loss” in 2010. Over the course of their career, the band has gone from strength to strength with every release, touring and gaining fans all over the world. Their sound mixes classic melodic and hard rock sounds with more contemporary influences, offering the fans a very personal, fresh and exciting mix of great rock music.

Due to the COVID-19 pandemic, the band wasn’t able to tour on the heels of the release of the album “Lost Generation” in 2019. The band released the song “The World We Knew”, their musical summation of the year 2020 (the song became “Track of the Week” at Classic Rock Magazine’s website a week after its release) and then in 2021, Degreed began working on what would ultimately become “Are You Ready”, released in 2022.

Degreed released “Public Address” in July 2023, followed by the EP “The Leftovers - Volume I”, in July 2025, diving deep into their vault of unreleased gems.

“Curtain Calls” Tracklist:

1. One Helluva Ride

2. Holding On To Yesterday

3. Believe

4. Guiding Light

5. My Blood

6. Curtain Calls

7. The Rambler

8. Matter Of The Heart

9. Broken Dreams

10. Promise Me

Line Up:

Robin Eriksson - Bass/Vocals

Mats Eriksson - Drums

Mikael Blanc - Keyboards

Daniel Johansson – Guitars

CREYE - IV AFTERMATH - NEW ALBUM

Fri, 10 Apr 2026 09:06:52 GMT

Out on April 24th 2026 via Frontiers Music Srl

Swedish hard rock powerhouse Creye are pleased to announce that their new studio album, “IV Aftermath”, will be released on April 24, 2026, via Frontiers Music Srl.

Creye return with renewed energy and ambition on their brand-new album “IV Aftermath”, a record that marks a bold new chapter in the band’s evolution. With the introduction of charismatic new frontman Simon Böös and a partially refreshed line-up, Creye prove once again why they are considered one of the brightest stars in today’s melodic hard rock scene, delivering songs with a distinctly modern edge crafted arrangement.

The band stated: “IV Aftermath” pushes the legacy forward with purpose and determination - our most complete album yet, built on the same flame that started it all.”

Formed in Sweden and quickly gaining international attention for their impeccable songwriting and classic yet forward-looking melodic sound, Creye built a solid reputation with their early releases, blending arena-ready choruses, top class production and unmistakable Scandinavian flair. Over the years, the band has steadily refined their identity, earning respect from fans and critics alike within the melodic rock community.

At the core of Creye remains founding member and visionary Andreas Gullstrand, whose guitar work continues to define the band’s signature sound. On “IV Aftermath”, he is joined by Fredrik Joakimsson on rhythm guitars, Denny Karlsson on bass, and Vidar Savbrant on drums, forming a tight and powerful unit that delivers both finesse and impact. The arrival of Simon Böös on vocals adds a fresh dynamic, bringing passion, range that elevates the new material to even greater heights.

With “IV Aftermath”, Creye not only honor the legacy of classic melodic hard rock, but also reshape it for a contemporary audience through modern songwriting and refined, sophisticated arrangements. The album stands as a clear statement: Creye are not just back - they are stronger than ever, firmly established as a leading force in the modern hard rock landscape.

“IV Aftermath” Tracklist:

1. Something Missing

2. Bad Romance

3. Rust

4. Left in Silence

5. Don’t Talk About It

6. Through the Window

7. Only You

8. Glow

9. Aligned

10. The Last Night On Earth

11. Clay

Line Up:

Simon Böös - Vocals

Andreas Gullstrand - Lead Guitar

Fredrik Joakimsson - Rhythm Guitar

Denny Karlsson - Bass

Vidar Savbrant – Drums

Frontiers Music Srl Announce signing of NELSON

Wed, 08 Apr 2026 14:20:06 GMT

Frontiers Music Srl is pleased to announce the signing of legendary melodic rock duo Nelson to the label’s roster. The band, lead by master songwriting twin brothers Matthew and Gunnar Nelson, will also appear at the upcoming Frontiers Rock Festival on Sunday, May 3, 2026, further strengthening their renewed partnership with the label.

The band commented: “We’re honored to re-join the Frontiers family. Nelson’s now classic “Lightning Strikes Twice” was the first release for Frontiers in America when the label opened up their US office years ago- and as such, we’ve always felt like a valued part of the team. Nelson is and has always been truly unique - and our family at Frontiers has always valued that, as well as our exhaustive process to write, record, and produce world class albums that endure the test of time”.

“We’re honored to reconnect with a roster that celebrates melodic rock music with such passion. We can’t wait to share what we’ve been working on and to deepen our connection with our fans around the world. Be warned: the new Nelson record is amazing”, they added.

Mario de Riso, A&R and Business Affairs VP at Frontiers, added: “It is an absolute thrill to have Nelson back to the Frontiers roster. Matthew and Gunnar have a very special place in the history of melodic rock, and their talent, identity, and consistency as artists continue to shine. Their music represents the kind of quality, emotion, and craftsmanship we deeply believe in. We look forward to sharing this new music with their loyal fans and with a new generation of listeners.”

Matthew and Gunnar Nelson have built a career that truly stands the test of time. Rising to global prominence in the early 1990s with Nelson’s multi-platinum debut “After The Rain”, the twins topped the Billboard Hot 100 with “(Can’t Live Without Your) Love And Affection”, earning a place in the Guinness Book of World Records. With seven Top 40 singles, five #1 MTV videos, over 6.5 million albums sold worldwide, Nelson became a defining force of their time.

Deeply rooted in one of America’s most storied entertainment families, Matthew and Gunnar bring rare perspective to longevity in music. Their grandparents Ozzie and Harriet made television history with “The Adventures Of Ozzie And Harriet”, while Ozzie also pioneered early music-video concepts long before MTV. Their father, Rock & Roll Hall of Famer Ricky Nelson, sold over 200 million records and helped found the country rock genre. Carrying this legacy forward, the twins have consistently evolved and continue to connect with audiences across generations through authenticity, craftsmanship, and heart.

Beyond music, Matthew and Gunnar Nelson have also become best-selling authors with their book “What Happened To Your Hair?”, adding another dimension to their creative journey.

Today, Matthew and Gunnar Nelson continue to explore fresh creative territory, carrying forward their unmistakable melodic sensibility and soaring sibling harmonies. With a career defined by reinvention and longevity, Nelson remains a vital presence on the rock scene.

CONFESS - The Warriors - New Single

Wed, 08 Apr 2026 13:17:27 GMT

Sweden’s sleaze/metal stalwarts Confess have unveiled today the new single and official video, “The Warriors”, taken from their upcoming fourth studio album “Metalmorphosis”, set for release on May 15, 2026, via Frontiers Music Srl.

The track features Will Wilde, a force to be reckoned with - a phenomenal harmonica player with a voice to match. His intense harmonica style steals the spotlight from the traditional blues rock guitar, with a sound that owes as much to Gary Moore as it does to Sonny Boy Williamson.

Will won the HRH “Lords Of Blues” award in 2025 and is nominated for “Instrumentalist Of The Year”, “Contemporary Artist Of The Year” and “Album Of The Year” at the UK Blues Awards 2026.

The band commented: “Our new track “The Warriors” is leaning more towards the sound of our first record. It has that dirty street sound, gritty attitude, aggressive guitar work, and fiercely driven vocals. Also, UK blues-rock powerhouse Will Wilde joined us on this one, pulling off a great solo on the harmonica.”

Swedish rockers Confess are finally back with their long awaited fourth record, their most ambitious album to date marking a bold evolution in their sound.

The band described “Metalmorphosis” in the following way: “It’s definitely the ten most well-crafted songs we’ve ever written, both music and lyric wise. It’s fully packed with heavy riffing, big choruses and a whole new level of dynamics. We’ve pushed ourselves harder than ever and it really shows”.

“The album is mixed and mastered by Erik Mårtensson (Eclipse) and he has really taken the band’s sound to a whole new level”, they added.

While staying true to the gritty, hard-hitting energy that has defined the band since their early days in Stockholm, “Metalmorphosis” expands their musical palette with more commercially resonant material, crafting a sound that is both polished and explosively energetic.

Fronted by John Elliot, whose commanding vocals have also been showcased with the legendary Crashdiet, Confess demonstrate a rare balance of raw sleaze-metal grit and melodic sophistication.

On drums, Samuel Samael drives the rhythm with precision and power, while Ludwig Nordlander and Asser Hakala weave dynamic guitar textures that range from shredding riffs to soaring solos. Bassist Lucky anchors the band with a solid low-end punch, rounding out a lineup that is firing on all cylinders.

Since their formation, Confess have earned a reputation for their relentless commitment to the sleaze/metal aesthetic, infusing their work with memorable hooks, arena-ready choruses, and a devil-may-care attitude.

With “Metalmorphosis”, the band take this ethos to a new level, delivering songs that are as catchy as they are ferocious, and as bold as they are accessible. It’s a record that will appeal to longtime fans of the band while opening doors to a wider audience, showcasing Confess at their most confident and inspired yet.

“Metalmorphosis” is not just another entry in the band’s discography - it’s a statement of artistic growth, a powerful celebration of sleaze-metal craftsmanship, and a must-hear for anyone who loves hard-hitting, melodic rock with attitude.

“Metalmorphosis” Tracklist:

1. Colorvision
2. The Warriors
3. Wicked Temptations
4. Metalmorphosis
5. Beat Of My Heart
6. Pursuit Of The Jenny Haniver
7. The Other Side
8. Running To My Death
9. Plague Of Steel
10. Silvermalen

Line Up:
John Elliot – Vocals
Samuel Samael – Drums
Ludwig Nordlander – Guitars
Asser Hakala – Guitars
Lucky – Bass

Robin Beck - Let It Rain - NEW SINGLE

Wed, 08 Apr 2026 07:33:05 GMT

ROBIN BECK proudly shares her new single, "Let It Rain," taken from her upcoming eleventh studio album, 'Living Proof,' set for release on May 15, 2026, via Frontiers Music Srl. The new track arrives alongside an official visualizer, available to view below.

On "Let It Rain," ROBIN comments"

"No storm can break what’s unshakable inside."

Watch the Official Visualizer for "Let It Rain" below.

With ‘Living Proof,’ ROBIN BECK delivers one of the most confident, vibrant, and emotionally charged albums of her career — a powerful statement from an artist whose voice and presence continues to define melodic rock at the highest level. Bold, contemporary, and unmistakably timeless, ‘Living Proof’ stands as exactly what its title suggests: proof that true class, passion, and authenticity never fade.

Anchored by the track “Never Gonna Let You Go,” the album blends soaring melodies, modern production, and classic AOR sensibility, capturing ROBIN at her most expressive and commanding. Songs like “Love and Money” and “Trouble or Nothing” showcase a perfect balance between polished hooks and emotional intensity, while tracks such as “What A Night” and “Karma” bring a vibrant, radio-ready edge without losing depth or substance.

Throughout the album, BECK’s unmistakable voice — powerful yet nuanced, soulful yet razor-sharp — remains the focal point, supported by a carefully curated team of world-class musicians and songwriters. ‘Living Proof’ features contributions from James Christian (House of Lords), Tommy Denander (Radioactive), Peppy Castro (Balance), Steve Bondy, Emil Theilhelm, and Johan Kullberg, who collectively deliver a rich, cohesive musical landscape that moves effortlessly between melodic rock, modern AOR, and subtle pop-rock influences.

We are ecstatic to announce that ROBIN BECK’s upcoming album, 'Living Proof,' will be ROBIN’s 11th studio album. It was produced by James Christian and co-produced by Peppy Castro. The legendary Chris Lord-Alge mixed “Living Proof” and also mixed and co-produced “What a Night.” Dennis Ward also played a key role, mixing the bulk of the album, making this record a true gem and a tour de force. Stay tuned!

From the infectious energy of “Na Na” to the darker tones of “Voodoo” and “Don’t Tempt Me,” the standout "Never Gonna Let You Go," and the reflective closer “Let It Rain,” ‘Living Proof’ is a journey through strength, vulnerability, and resilience.

‘Living Proof’ is more than a new album — it is a celebration of artistic longevity, creative renewal, and fearless self-expression. ROBIN BECK sounds inspired, empowered, and utterly compelling, reaffirming her status as one of the most distinctive and enduring voices in melodic rock.

About the new album, ROBIN comments:

"This album is a mosaic of sound—each track a distinct piece, a portrait of my life."

'Living Proof' Track List:

1. Living Proof

2. Love and Money

3. Trouble or Nothing

4. What A Night

5. Karma

6. Never Gonna Let You Go

7. Na Na

8. Voodoo

9. Don't Tempt Me

10. Let It Rain

ROBIN BECK Live:

May 1st - Milan, Italy @ Frontiers Rock Fest

July 24th - Vienna, Austria @ Forever Young - Das 80er Festival

Tyketto - 'Closer to the Sun' album review

Tue, 07 Apr 2026 17:11:51 GMT

If you are familiar with Tyketto (and if not, why not?!), new album ‘Closer to the Sun’ is everything that you want from these masters of melodic rock in 2026. Still utterly unmoved by trends, there is freedom in never being fashionable, manifesting itself in the memorable hooks and blissful vocal harmonies that won’t make it to the mainstream, but will bring smiles to those with a fondness for an age of rock supposedly long past.

With a clatter of drums and Danny Vaughn’s exclamation of “oh, come on”, ‘Higher Than High’ springs into action, the bouncy riff lending a real sense of optimism to a song that is appropriately uplifting. A splash of harmonica gives a retro flavour, like Zeppelin briefly crashing the party (as if that could ever be a bad thing!), but really the sound remains closer to that of Journey or Foreigner, lifted from a time when rock ruled the radio. ‘Starts with a Feeling’ is even more of an 80s anthem for the modern connoisseur. Vaughn’s flawless vocals are at the heart, and the years have done nothing to diminish his power or emotive delivery. The inevitable key change at the crescendo might not be anything new, but there’s a reason it’s so enduring; some things never lose their magic.

‘Bad for Good’ is a grooving rocker anchored around Chris Childs’ persistent bass throb that concludes with some infectious “nah nah nah nahs” inviting you to sing along. It feels like a natural partner to ‘Hit Me Where It Hurts’, both proving that Tyketto can do attitude as convincingly as they can do emotion. ‘Dunnowhuddidis’ is something of a curveball, veering into bluesier territory with some clever, confusing rhythmic trickery from drummer Johnny Dee, but it’s ‘Harleys and Indians (Riders in the Sky)’ that comes as real surprise. Tribal, cyclical and hypnotic, it’s a bit of a departure, but one that brings a pleasing change of mood. ‘Far and Away’ serves a similar purpose in the latter half, albeit in a very different way. Where ‘Harleys’ feels raucous, ‘Far and Away’ is acoustic and pretty, the addition of violin only enhancing the beauty.

In terms of natural singles, it’s easy to see why ‘We Rise’ was selected as one. Deceptively gentle at first but building to a killer chorus that makes you want to punch the air, it has the hallmarks of a future live staple. And Ged Rylands’ keyboard solo reinforces my view that most rock bands are enhanced by the addition of some keys! In terms of highlights, ‘We Rise’ is certainly up there, but the title track and epic power ballad ‘The Picture’ steal the show. The former is perfectly placed as the album’s centrepiece, the soaring chorus quite majestic; the latter is likely to leave your cheeks moistened with tears, as you lose yourself in lyrics that are relatable and achingly sad.

‘The Brave’ brings the album to a jubilant close, a celebration of those in our communities who are often overlooked but ultimately keep things functioning. Guitarist Harry Scott Elliott’s lovely solo is melodic and moving, the last of many great moments he contributes to a record that is consistently classy. And speaking of class, the a cappella finish definitely fits that description.

‘Closer to the Sun’ is an album that keeps inviting you back to bask in its warmth. Don’t miss the opportunity to hear these songs live when Tyketto tour the UK later this month.

Dr Feelgood/Nine Below Zero - Slay, Glasgow 3rd April 2026

Mon, 06 Apr 2026 17:57:24 GMT

Friday night was a night out in Glasgow. We met for a quick sharpener in the Drum and Monkey before heading along to Slay. Now, timing is, of course everything, and ours was tragic. Just as we left the pub, we were caught in a biblical hail shower and could do nothing else but jump into another pub for warmth and safety – it was, as Paul put it, ‘sore rain’.

Despite being delayed a bit, we made it to Slay on time. It was to be an early start, 6:30 doors and the first band on just on an hour later. This was a double headline tour, so equal set lengths for both bands, all done and dusted in time for the young team to get in for the dancing later on.

Friday was my first visit to this venue. It was a dark, square room which I felt was pretty perfect for any gig, but particularly well suited to tonight’s old school British RnB offering.

The room was pretty full when Dr Feelgood arrived on stage. This is a band who have been around the block. None of the originals are still with the group, but bass man Phil Mitchell, drummer Kevin Morris and guitarist Gordon Russell all played in the band with original singer Lee Brilleaux, who passed away in 1994. That, I feel, gives them the legitimacy to carry the name and of course play the music that defined the growing British pub rock scene of the late 1970’s.

This was no-frills rock and roll and I loved it. Singer, Robert Kane, pouts, points and prances round the stage making every inch of it his and he batters through the band’s hits. Most of them are there, ‘She Does it Right’, ‘You Don’t Love Me’ and ‘Roxette’ all get an outing, my own disappointment was ‘All Thought the City’ was missing. As Graham pointed out, the Feelgood’s back catalogue is pretty immense, and they only had just over an hour. In that hour they also managed to fit in a couple of new songs, yup you read that right, new songs, well, reasonably new. “Damn Right” was released in 2022 and driven by guitarist Gordon Russell. It was great to see the title track and a couple of other cuts make it onto tonight’s setlist. I’m one of those who think that new music keeps the scene healthy and, I love to hear these alongside the classics.

I thought Dr Feelgood were on blistering form. There was very little chat and absolutely no room for a breather between songs. It was fantastic to see them. I’ve not seen Dr Feelgood for a good few years, I will certainly not be leaving it so long next time.

After a quick turnaround, the second headline band of the night appeared. Nine Below Zero were on stage. This is a band I have seen regularly over the years and tonight I was delighted to see them in their stripped back, four-man, formation.

Original members Dennis Greaves and Mark Feltham were joined by Dennis’s son, Sonny on drums and Anthony Harty on bass. They were a formidable combo. Clearly it was cold yet sunny on stage, Dennis was wrapped up in his cap, scarf and shades for the whole gig.

Things started with a fantastic a mash up of Canned Heat’s ‘On the Road Again’ and the Stone’s standard ‘(I Can’t Get No) Satisfaction’. The next hour covered many of the NBZ bases. It was great to hear ‘Don’t Point Your Finger at the Guitar Man’ and ‘Ridin’ on the L and N’ along the way.

Mark Feltham is, without question, one of the best harmonica players you will hear anywhere in the world, and I will defend that view till my dying breath. The wee debate amongst my amigos was ‘can you have too much of a good thing’? There is no rhythm guitar in this lineup, so, Mark plays harp during every song. Sometimes Paul and I felt that was a little too much, Graham, on the other hand, felt you could never be enough Mark.

Wherever one fell on that debate, there could be no mistaking the talent and musicality on show.

The set ended with the NBZ classic, Eleven Pus Eleven, always a toe tapper.

Before the lights came up, the Dr Feelgood guys reappeared and the whole lot of them took us through the Bobby Troupe classic ‘(Get Your Kicks on) Route 66’. It was joyful singalong to end a most fantastic night.

British RnB, pub rock, call it what you will, was a ground breaker in the 1970’s, it kept guitar music and rock and roll alive at a time it was under threat forms other forms of music – most of which I love! It remains great to see some of the first and second generations of that swing still keeping the music and us going 50+ years later.

When we left the venue, the hail had stopped and the walk to the train station was a wee bit more dignified than the run to it on the way in.

This was a great double header, a great night of toe tapping classics from a time when guitar music was king of Canvey.

Scarborough Punk Festival -28th & 29th March 2026

Sun, 05 Apr 2026 08:15:14 GMT

It's the last weekend in March, so that means a car full of us are heading down the A1 to the seaside town of Scarborough for a couple days at the towns, now annual, punk festival.

We arrived at the AirBnB, same one as last year and very nice it was too, a pint in the Albert, same pub as last year and still a good wee place, then off for dinner at the same Chinese restaurant as last year as well, it was also top.

We got a taxi to the venue but we found ourselves held up. Of all things, there was an orange walk going though the town. For a moment I thought we were in the west of Scotland rather than Yorkshire.

We picked up our wristbands from the fantastically professional organisers and crew who put these couple of days together and we were ready to go.

Saturday took us to the festival, and much like the rest of the experience so far, nothing much had changed. The organisation at the venue was fantastic, the beer and food were both good and reasonably priced and the place was buzzing with many of the same faces from last year, including the ‘One Man Mosh Pit’ a giant of a lad who took the party to the front of the stage for pretty much every band.

Something else that hadn’t changed much over the years is the lineup. This was our third trip to this festival and for at least 7 of the 16 bands performing over the weekend, they had been here twice or more out of the four years the event has run. There are two ways to look at that I guess, the first is to say, well, these bands are floor fillers and the people love them, which is true. The other way is to say, repetition leads to a bit of staleness. Numbers were down a wee bit this year, how much repeat acts factored into these punks’ decisions not to come, we will never know.

We all went into the weekend with an open mind, ready to hear some of the music that really did define a generation, and many of those originals of that very generation, were gathered in Scarborough Spa.

So, it all started with Yer Mum, a London, drum and bass guitar, two-some. I didn’t love the opening couple of numbers, which were followed by a rather lengthy sales pitch from the drummer, they could have got an extra song into that time and that might have generated a few more ‘likes’. After that though, things changed and they seemed to settle into their rhythm. They finished really strongly and left me wanting more. I’d go see them again.

Next up was Crashed Out. This was Blaydon Races punk! Crashed Out bunch of Geordie lads, complete with a singer in a Brian Johnston style flat cap. I thought they grabbed their chance and delivered some no-nonsense, old-school punk. Some punk rock bands heavy on the punk, Crashed Out heavy on the rock and they sounded very good for that.

Another band from the Northeast was, of course, the Angelic Upstarts. Clearly Crashed Out are fans; they gave up about half their set to play Upstarts classics. The crowd loved it. I loved it, but I’d liked to have heard more of Crashed Out’s own stuff, they had the chops to carry their set off with their own songs, absolutely no doubt.

I like Riskee and the Ridicule, they played here last year and were a highlight for me then, and a band I was looking forward to seeing this time around. They did not disappoint. This is a band who, I think, are stretching the genre and could well be described as ‘punk rap’. The spoken worked making up chunks of their songs and their set, all with a bit of a political undertone. They are not new kids on the block, rather they have been around for a decade or more and, like so many young bands, perform for the love of the music, certainly not the money. I enjoyed them and look forward to seeing a full set in a hot, sweaty venue, just where I think they would excel.

Hung Like Hanratty make their own return appearance next. There is no doubt the crowd love them; the place is packed. For me, they are a bit of a cabaret act, there is nothing wrong with that, it's one I generally enjoy. That said, a couple of songs need to be retired. Punk is about inclusivity, HLH miss that with one or two of their offerings, I feel that takes away from their overall fun.

Since the line-up was announced, The Good, The Bad and The Zugly were a band I was looking forward to seeing. This performance was the first time they had performed ‘outside the European Union’ as they put it. Perhaps just a statement of fact, perhaps a wee nod to Brexit, who knows? It is punk, people are allowed to be a wee bit political.

They had the tea-time slot and so the room was not as full as it might have been but that didn’t matter to Ivar Nikolaisen, he blasted on stage with the rest of this Norwegian five piece and they gave it their all. I really enjoyed them. Their energy topped the day, and it wasn’t long before the hall started to get a bit busier. This was solid performance from a band who put their all into their spot. I hope to see them again.

Then along came Booze and Glory. I absolutely loved then! Their brand of Polish/East London Oi was absolutely infectious. I also thought they were the tightest band of the day. They filled their 50 minutes with street punk anthems that saw the room packed out. ‘Swinging Hammers’, ‘Only Fools Get Caught’ and ‘London Skinhead Crew’ got the joint jumping. These guys travel the world, I hope they come north of the Watford Gap sometime, it’d be great to see them in Scotland.

I have always liked a bit of Ska, but I was also a wee bit surprised to see The Selector in the line-up. There is no doubt they are a great band, Pauline Black is a great entertainer, but for me they were not a great fit for this punk bill. I wonder if there had been one or two more two-tone additions, which might have brought more of a Ska crowd along too, this might have worked better for me. That said, others loved it. Our fellow Edinburgh travellers, Kevin and Kenny, thought it was fab, as did the packed hall that watched. That’s the thing about a festival, not everything works for everyone.

The night finished with The Casualties. This was blistering New York street punk played with a no holds barred approach. I loved it and behind the yelled lyrics there was a band who really knew their stuff. The guitar work was fantastic; the bass blistering and Marc Eggars kept the beat with a violent regularity you hear in few other settings. There were a couple of cans kicked into the audience and singer, David Rodriguez jumped onto the floor to get a circle pit and a wall of death going. This was a show at breakneck speed. I loved it, the Casualties really brough in the spirit the Ramones, Rancid and GBH. It was a pity that by the time the Casualties were finishing there set so many had left the hall.

And that was Day One over. I’d really enjoyed it. Day one was very much a patchwork of punk, there was a two piece, a bit of Oi, some comedy punk, a bit of rap, a touch of Ska and a whole heap of street punk aggression. That mix provided something for everyone, but that also meant there were bits of the day that chunks of the crowd were not drawn to. That said, every band drew a good crowd, but few packed the room. I think the mix worked overall, but it was a bit of a risky strategy.

We got back home and Pete poured himself a cup of green tea. I did smile, my day bookended by an orange walk and a green tea.

Sunday morning saw the clocks go forward. We went to grab a quick pint at the Albert, our wee Scarborough local. Pete was seduced by the excellent carvery, and he had a plate for his breakfast. Everyone, from the chef to the bar staff, the owner and any passing diner all remarked on how strange it was that he didn’t want gravy with it! All that meant we were a wee bit delayed in getting to the Spa.

By the time we arrived Voodoo Radio had just taken the stage, and we went for a wee look. I am so pleased we did! They were the most fun band of the weekend. Voodoo Radio are a two piece – drum and guitar father and daughter combo. Dad, as he was known to his drummer and the audience, but is actually called Tony, plays guitar whilst his daughter Paige does the singing, drumming and most of the talking, all of which was hilarious. This was just a happy 50 minutes to start off Sunday. The music was good and the craic was mighty. “An absolute belter” as Big Al described it, they were too.

Menace is an old school London punk outfit who trace their roots back to the summer of ’76 when so much of punk was starting to take shape. Of course, there have been lineup changes but singer Noel Martin has been there throughout; angry, political and ready to have a chomp at anything he is not too keen on. All characteristics I love in a band! Today I noticed it was Leigh Heggarty of Ruts DC fame on guitar, and he did a great job. It was a pleasure grabbing a quick chat with Leigh later. He was a last-minute replacement for regular guitarist Pete Bradshaw, who was under the weather. And it certainly was last minute; Leigh had invested two hours the previous day learning the set – and very well it went too. I really enjoyed this throwback to the early days of it all.

I had never seen Chelsea before tonight, what a gap that has been in my punk gig history! They were without front man Gene who is putting health first just now. Instead, the rest of the band pitched in singing the songs. I thought it really worked too. The band looked great in their black and red shirts, their hair was spiked and the anger kept coming out. It was a great performance by a band with a big back catalogue and, clearly, a lot of depth.

Remember it was only Pete who had the carvery, so we sacrificed Instigators for a fish supper. By all accounts they were as hard hitting as they were in the ‘80s.

Just before 7 o’clock my highlight came along in the shape of Alvin Gibbs and, of course, the indomitable Charlie Harper. The UK Subs were in the house. Charlie is now 81 and walks, a bit of the time, with a stick. As he wandered on the stage the years just fell off him. The voice is no different now to what it was 30, 40 ,or indeed, 50 years ago. Charlie is one of punk’s great survivors. ‘Warhead’, ‘CID’ and ‘Riot’ all got an outing in this 50-minute set. I hope he’s got another 20 years left in the tank, it's always good to see a Sub’s show and tonight was no exception.

Another great punk survivor is Animal and his Anti Nowhere League. They have appeared at this festival every year it has run. They are, certainly, floor fillers and the place was packed for them. As always, it's a tight set of venom and hate. People, the law and most certainly himself are all targets for Animals malice and the Scarborough faithful lapped it up in spades.

Sham 69 brought the night, and indeed the festival, to a close. Jimmy Pursey wandered on with his eyes as black as a shark’s before bounding into 45 minutes of some fantastic bovver boot punk. All the hits were there, ‘Borstal Breakout’, ‘Angels with Dirty Faces’ and, of course ‘Hurry Up Harry’. Add into that the cover of the Clash’s ‘White Riot’ and there was no doubt the ‘Kids Were United’. Tonight was the best I’ve seen Sham 69 in a very long time and were a great way to end the weekend.

Once again, Scarborough was a top few days. I always come away from these events a wee bit reflective. There is no doubt the scene is strong, there remains a strong following for both the music and this festival. It equally beyond doubt, that the scene is ageing. So many bands had a member or two who was unwell and we spoke to a few punks who were creaking at the seams a wee bit themselves too.

I wonder how that leaves Scarborough. It's a festival I love; I wonder what the long-term plans of the organisers are. I feel, if it is to go on for many more years, then it needs to bring in more new bands with their own followings, this year there were two bands fewer than normal to meet the headliners costs. I also think it needs to raise its profile locally. We never met a taxi driver or pub owner who knew the festival was on. There is a big local market out there just waiting to be opened up.

Alternatively, the future may be to keep the same bands and, by extension, the same punks coming back every year until it simply becomes financially unviable.

Whatever their long-term plan is, the organisers, once again, did a great job of it all. The early bird tickets were released, but for the first time, we never grabbed them. We will hopefully be back, but this year we decided to wait to see the bill for 2027.

The familiarity of all things ‘Scarborough’ is nice, but some new bands would be nice too.

Till next time…

Yungblud - Livehouse, Dundee 2nd April 2026

Fri, 03 Apr 2026 14:41:20 GMT

Last night’s Yungblud show at Livehouse Dundee proved exactly why intimate venues can create some of the most unforgettable live music experiences. From the moment the doors opened, there was a buzz in the air and the venue itself set the perfect tone. Livehouse strikes that rare balance: close enough to feel personal, yet electric enough to carry the full force of a high energy performance.

Yungblud (Dominic Harrison) did not disappoint. Bursting onto the stage with his signature charisma, he delivered a set packed with raw energy, emotion, and his trademark cheeky personality. Every movement, every lyric felt intentional and connected, as if he was performing not just for the crowd, but with them.

A standout throughout the night was guitarist Adam Warrington, whose performance was nothing short of exceptional. His playing added depth and power to the set, complementing Yungblud’s dynamic stage presence perfectly.

The crowd reached another level during “Funeral,” with fans singing every word back at full volume, creating a moment that felt almost cathartic. His cover of “Changes” was equally memorable, stripped with emotion yet still carrying that unmistakable Yungblud edge.

But what truly set the night apart came after the final note. In a move that speaks volumes about his character, Yungblud invited fans to meet him by his tour bus in the Livehouse car park. Stepping out to greet them, he took the time to chat, sign autographs, and pose for photos, clearly in no rush to leave. It was a genuine, heartfelt interaction that showed just how much he values his fanbase.

In an industry where that level of connection can sometimes feel rare, Yungblud stands out as a truly humble and authentic artist. Last night wasn’t just a gig, it was a reminder of the power of live music and the importance of staying real.

DEAD BARS - Beat Generator, Dundee 30 March 2026 Live review

Wed, 01 Apr 2026 17:33:26 GMT

Two nights ago in a change to mostly going to Edinburgh or Glasgow for gigs, I found myself in Dundee for the Dead Bars’ only Scottish date on their U.K. tour. And two days later I’m still trying to process what I saw, heard, experienced and felt.

Last year I wrote a review for Rockfiend of the Dead Bars’ latest album, ‘All Dead Bars Go To Heaven’, in which I wrote “give them a listen and the Dead Bars might just be one of the best bands you’ve not yet heard of”. I meant this respectfully and as a reflection of how much the Dead Bars appear to have gone under the radar of the music press in the U.K. There could be a number of reasons for this - they’re a small band from Seattle without big label or management backing; they can get labelled as punk, but there are differences between US and U.K. punk, and their sound is not easily categorised owing as much to The Replacements, early Soul Asylum, the Neil Young t-shirt worn onstage tonight by their bass player, Oddo, or to grunge as punk. Equally, their short (2 minute) raw, fuzzy and melodic songs may not be viewed as a straight sell to a rock audience.

Arriving at the venue, I stopped to speak to John and CJ from the Dead Bars who were outside at the time and they appeared to be enjoying their tour so far. As I went inside there was a good-sized crowd for a Monday night - mostly punk fans and musicians ranging from their early 20’s through to original punks in their 60’s. It’s always good to see mixed ages at gigs, as when you’ve been going to watch live music for years, it’s all too easy for bands and the audience to age with you, but tonight the mix was really healthy.

Anticipation was building as the local support acts (Bucky Bombs and David Delinquent) did their thing (more details at the foot of this review) and the Dead Bars’ stage time of 9.05pm approached.

And then they were on. No changes into fancy stage clothes or regulation black - just the t-shirts, jeans, dungarees and plaid they had rocked up in.

John, their singer, took up position front and centre flanked by the Dead Bars’ two guitarists (CJ and Elliot) on guitar, Rosie took her seat behind the drum kit at the back of the stage, with the sole concession to stage wear (shorts), and Oddo (bass) hovered in front of the drums.

Opening the set with ‘Rain’ from their 2019 album ‘Regulars’, the Dead Bars launched into a blistering performance of 16 songs over the next 45-50 minutes. The bulk of the earlier part of the set was weighted towards the ‘Regulars’ album, although also featuring a few earlier and more recent songs including ‘Earplug Girl’ and ‘I Live Here Now’.

A few songs in and I was absolutely hooked, as were others around me. Any concerns which I’d had that some of the melody captured in a studio may be lost by playing fast and loud live and through a sound system which may be beyond their control were completely dispelled as the wall of sound that is the Dead Bars live engulfed us - loud, fast, intense and melodic.

Of an age when I no longer feel the need to be down front, I started off watching them from the bar down one side of the gig room, but within a few songs I was drawn forward towards the front and then to the side of the stage where I was as close to them playing as it was possible to be without joining them awkwardly on stage as I was immersed in their music. From my vantage point I could have mopped CJ’s brow if he had asked; he didn’t, nor did I offer, but you might get the picture of how close I was.

‘Valentine Heart’ heralded the first of a wonderful trio of songs from ‘All Dead Bars Go To Heaven’ ending with the looping and rolling ‘Give the Metalhead a Hug’ complete with audience vocal participation.

During these songs, as throughout the gig, I was struck by how happy Rosie looked - smiling broadly while laying down the rhythm with Oddo in front of her and beneath CJ and Elliot’s twin guitars; despite the pace, their individual and collective playing and performances looked effortless, chilled and relaxed. In contrast, John paced the stage covering every inch and spending as much time as he could leaning into or above the crowd or, as he did on several occasions, joining the crowd on the floor and jumping in huddles with them, all the time singing his heart out.

In John (Maiello), the Dead Bars have one of most captivating singers and frontmen that I’ve seen in a long time - bringing and then leaving every ounce of his soul on stage.

Heading into the final third of the gig, the Dead Bars played their latest single, ‘You Look Like A Smoker’. Released just a few weeks ago, this has already taken up permanent residency in my brain. At 2 minutes 16 seconds it doesn’t have an ounce of fat or unnecessary musical padding on it and with a vocal bridge of “give me your smoke, give me your fire” is designed for crowd participation.

With an extra song thrown in as a request from David Delinquent, followed by the wonderful ‘Freaks’, and including another couple of songs from ‘All Dead Bars Go To Heaven’ the gig moved towards its close.

No complaints about the length of the set, as it contained so much and both the band and audience were spent. And as the lights went up it was clear from the looks on faces that we’d all witnessed a special gig.

To sum up, the Dead Bars are raw, energetic, fuzzy and melodic; and to paraphrase Neil Diamond … what a beautiful (make that glorious) noise.

We could overthink this. Tonight, they played to a good-sized crowd of highly appreciative fans who knew who they were, but it was very much a punk audience and had been promoted as such, whereas as a band they defy labels, spread themselves across different genres and are deserving to be heard and seen by a much larger and wider audience.

Are they punk, rock, garage, grungey? They’re probably all and none of these, as they straddle so many styles of music. If we continue to apply singular labels and to pigeonhole bands, the Dead Bars could struggle and reach a limited audience. But if we just recognise and love them for who and what they are, much wider success is deserved. Just don’t change what you’re doing.

Would I go and see them again or recommend them to others? Absolutely, in a heartbeat. And if you can’t see them live, check them out online or buy their albums.

SETLIST

Rain

Sinkhole

I Live Here Now

Earplug Girl

I’m a Regular

No tattoos

Producto

Valentine Heart

Be Me

Give the Metalhead a Hug

You Look Like a Smoker

Pink Drink

Freaks

Last Call

I Wanna Be a Ghost

Funhouse Monday

Preceding the Dead Bars’ arrival on stage, local support was provided first by David Delinquent who entertained the crowd with his banter, guitar and songs including ‘Get Old, Get Dead’, ‘You’re So Boring, You Make Me Wanna Die’ and ‘Sharp Dressed Clown’ about his insufferable boss (polite version here to avoid getting the page jailed, but a much stronger description rhyming with a former British Formula 1 driver is worked into the lyrics of the song). Then main support was provided by the Bucky Bombs with their Fife inspired punk or “melodic nedcore” based on The Ramones, Buckfast and the Beach Boys with tunes including ‘Kelty Beach’, ‘Radios’ and I missed the title of a little ditty (not about Jack and Diane), but including the highly memorable lines of “Do you, Do you, Do you wanna go to the Krankies’ show? You broke my heart when you said no”. Great stuff.

In addition to it being my first time of seeing the Dead Bars live, it was also my first time in the Beat Generator - a great small and friendly venue in the upstairs/top floor/loft of a building with walls festooned in album covers and posters; and which has developed a reputation on the punk circuit and wider, and will see acts as diverse as The Wildhearts and Beth Orton playing in coming months. I’ll happily be back.

GMcA

UltraBomb - ‘The Bridges That We Burn’ Album review

Wed, 01 Apr 2026 09:23:16 GMT

With 8006 unopened e-mails on my phone, it can take something pretty special to catch my eye and an invitation to review an album comprised of former or current members of Hüsker Dü, Social Distortion and Soul Asylum did exactly that.

‘The Bridges That We Burn’ marks the latest and third album release from UltraBomb, the pedigree post-punk project created by former Hüsker Dü bass player, Greg Norton. With albums 1 and 2 delivered to much acclaim within noise circles, by Greg, Finny McConnell (The Mahones) on vocals and Jamie Oliver (U.K. Subs) on drums, the line-up has evolved further for album 3.

While Greg has continued to provide the lynchpin, firstly, Derek O’Brien, the original drummer with Social Distortion, took over on drumming duties and then Ryan Smith (Soul Asylum) took over on vocals and guitar bringing us to the tantalising line-up which grabbed my attention.

The addition of Ryan Smith, in particular, caught my eye as I last saw Soul Asylum on a co-headline tour of the U.K. in 2022 with Everclear, Everclear pulled out of the gig at short notice due to sickness and Ryan stepped in and played a very impressive solo support slot. This then led to me checking out his solo output and with the Melismatics.

While containing many recognisable elements, ‘The Bridges That We Burn’ is so much more than the bastard lovechild of their illustrious punky pasts/presents and provides a powerful sound of UltraBomb’s own. Given the band’s connections with Minneapolis, lyrically the album is also very now and aims to cut through the noise.

The highlights within are many.

Album opener ‘Darwin Awards’ establishes both the album’s and new line-up’s credentials within a few notes, is fast and furious (what else?), melodic and with contrasting vocal styles including shouted backing vocals underpinning the more melodic lead vocal to great effect.

Recorded, produced and mixed in Minneapolis by John Fields, it’s also striking from the outset how clear the separation in the mix is between the guitar, bass and drums giving each musician equal space and prominence.

‘Divert/Deflect’ continues the lyrical theme, changes the musical style and grinds its own identity with more of a call and response shouted chorus. ‘Artificial Stars’ marries the different musical styles holding together a searching guitar and soaring Soul Asylum-style melody before shouted raw vocals mix things up.

Stretching the sound further, ‘Zombie Zeroes’ takes on the musical feel of a horror B movie if The Cramps or Misfits had played alt rock.

Latest single ‘No Cap’ brings the distinctive styles together again, but this time alternating soaring melody with heads-down punk energy.

And what can I say about ‘Sicko Rants’? Not released as one of the four singles, this is an absolute gem of a song which puts a smile on my face every time I hear it. Fast, frenetic, sing-song melodies with guitars, bass and drums everywhere. Listen a little deeper and as throughout this album this is used to deliver a more serious message.

‘The chopping ‘Checked Out’ and bass-driven ‘Look Forward in Anger’ thoroughly deserve their place as singles with yet more soaring choruses driven at pace by the trio.

‘BSS’ (or the Bullshit Song) initially feels like a musical in-joke to fill a space in recording, but grows with repeated listening and takes on its own life as a musical punk fairground ride calling out the subject of the song.

Approaching the end of the album ‘Last Time’ is a song of many moods starting with high pitched ‘Doo-doo-doo-doo-doo-doos”, strutting through a Bowie-esque ‘Fame’-era sequence before punking and distorting up.

Finally, ‘Mosquito Crucifixion’ closes the album with a glam rock infused slice of punk.

As may be clear, there is a lot going on musically in this album with much to appeal to fans of the Foo Fighters and Queens of the Stone Age in addition to those of the parent bands (past and present) of the constituent members of UltraBomb.

Fast, frenetic, melodic and powerful.

‘The Bridges That We Burn’ will be released on 1 May 2026 via DC-Jam Records / Virgin Music

GMcA

RIOTWEEKEND - SMILE - THE NEW SINGLE & VIDEO

Tue, 31 Mar 2026 19:58:35 GMT

‘TABLE4FOUR’ - THE SOPHOMORE EP OUT NOW

Alt-pop punk rockers RiotWeekend are stoked to release their punchy and kinetic new single ‘Smile’ out now on all good digital platforms. “Smile draws on our heavier influences with big guitars, booming bass, a little synth as well as the soft and heavy contrasting vocals to represent both sadness and anger. It tells the story of someone going through a break up and trying to move on but feeling stuck in a rut. Seeing your ex find happiness with someone new and the pain that comes with it, wanting to be happy for them but also wanting to smash up their car windows.”

It follows the poignant and reflective ‘Days In December’ and previous ‘Harry’, which was Photogroupie Video of The Week and coincides with the long awaited sophomore EP 'Table4Four’, available on CD/digital download now direct from the band HERE and all good digital platforms. ‘Harry’ received high praise from alternative show BSB TV hosts exclaiming “I really f****** like that, really unique, so much potential” and esteemed music commentator Eric Alper called it “fearless, and full of heart - just the way punk should be.”

Opening up on the 4 tracks, “We’ve unapologetically drawn from our influences and created what we would love to hear if we were listening to it, you have to be into what you play as it’s a medium to connect with others.” Diving in further, “There’s the heavy fun and good time side of us, the deeper and softer and what we write about is relatable as it’s real and from our life experiences.” The band recorded, self-produced and mixed at Blackberry Studios Chichester with mastering expertly handled by the renowned Pete Maher (Jack White, Linkin Park, Liam Gallagher).

Blending pop punk catchiness with hard hitting huge riffs and wide ranging soaring vocals, the Guildford UK based colourful quartet of Holly Nunn (lead vocals and bass), Tomma Moulard (guitars), Rab McGowan (guitars) and Salvatore Bertolone (drums) released their self-titled debut EP in 2022 which gained international and BBC Introducing airplay along with rave reviews including Pop-Punk Pizza Podcast enthusing “Energetic and exciting, if you enjoy grunge, punk, post-hardcore and emo influences, then you will definitely like them.”

Drawing favourable comparisons to such party club night names as Green Day, Blink-182, Paramore, they deliver a kinetic and crowd engaging performance each time they hit the stage with them announced for eclectic award winning festivals Guilfest and Shynefest this summer. “We’re passionate about righting wrongs in the world, but certainly don’t take ourselves too seriously! We want to show everyone that you can have fun even with tragic situations. The songs we write are at times very personal and we hope that it can help or inspire people in their time of need but there’s also the funny weird side to us that likes to have a laugh!”

With the new offering, they’re on a mission for all those that feel a misfit, left out or want to belong in their own personal identity no matter what. “We love hanging out, connecting, hearing and sharing experiences at shows - at ours or those we go to. We’re really excited to release what we’ve been honing and working on in our set, we took them into the studio and added some magic! We can't wait to give them to you and when you listen, then see us live you’ll be buzzing, would have made new friends and be grinning for days!”

With emboldened enthusiasm and more escapades to be had, RiotWeekend may well be the new band that’s heading straight into your playlists to uplift and a live show you need to see.

AK & The Red Kites - Hotter Than The Sun - The Debut Album

Tue, 31 Mar 2026 12:31:05 GMT

‘HOTTER THAN THE SUN’ THE DEBUT ALBUM, MAY 8

Modern UK rock band with a retro infused vibe AK & The Red Kites are thrilled to announce the long awaited and anticipated debut album ‘Hotter Than The Sun’ for release May 8 on CD and 100 limited edition numbered and signed colour vinyl, available for pre-order now direct from the band HERE.

Accompanying the unveiling is a double A-side singles release of the full tilt 80’s tinged rocker ‘Broken Love’ and jagged edged riff driven swirling ‘Karmic Rituals’ on all good digital platforms now. Frontman and guitarist Andrew Knightley compares the two tracks “Broken Love is a high tempo emotionally charged banger, life in the fast lane and sometimes things get away from you before you even notice. That brings Karmic Rituals which is probably the heaviest track on the album and as people our biggest prison is our own mind, it’s about breaking out!”

Andrew dives into the 11 track collection “Each of the songs have their own personality and a story in its own right - the themes vary from track to track and there’s a lot that folks will be able to relate to but draw their own meanings from. I’ve written it to dynamically take the listener on a journey as it’s all too common now to cherry pick tracks, concentrating solely on the singles as the industry has changed so much.” He smiles at the gestation period, “I’m super excited for it to be released as it’s been in the making now for 2-3 years! It documents a period of my life where I eloped from the craziness of London to a slower pace of life in the Chiltern Hills where the Red Kites circle above which were an inspiration in my creativity and approach to life now.”

Working with multi-platinum award-winning producer Mike Krompass (Everybody Loves An Outlaw, Steven Tyler, Smash Mouth) and recording at the previously UK based state of the art Base Culture studio has brought out what Andrew believes to be his best work to date “There’s a far more contemporary sound and we really focused on my vocal delivery taking precedence which I hadn’t done as much of in the past. I demoed all of the songs at home and refined them before recording, cutting the fat off and making the importance of the songs themselves precedential.”

The debut EP ‘Proverbial Storm’ (2024), with the title track being a Classic Rock Magazine Track of The Week, showcased Knightley's eclectic range as a songwriter and musician bringing favorable comparisons in the vein of Rival Sons and Richie Kotzen; "A unique fusion of delta blues, country, and high-energy hard-edged rock." My Global Mind Magazine, "The whole thing is glorious." Maximum Volume Music. A previous single from the EP ‘Stronger’ (which also features on the album) was personally curated by Slash for his blues rock Spotify playlist and has amassed over a quarter of a million streams.

As a live act the power trio of Andrew, Rob Hoey (bass) and Ash Sims (drums) have been called “a band that can light up a stage with both passion and precision”Jace Media Music with their impressive command enthusing all to catch them in action on tour and at festivals this year - Andrew has also joined and toured as the new frontman/guitarist with New Wave of Classic Rock favourites, The Dust Coda.

Having been perched ready to soar, AK & The Red Kites are now taking flight and with Accidental Music Reviewer proclaiming “They are the new rock n’ roll saviours about to strut amongst the masses to convert them to the righteous path of heavily blues influenced rock n’ roll.” they may become your favourite new band.

WATCH BROKEN LOVE

KREATOR RELEASE NEW MUSIC VIDEO FOR 'LOYAL TO THE GRAVE'

Tue, 31 Mar 2026 12:08:49 GMT

NEW ALBUM "KRUSHERS OF THE WORLD" OUT NOW VIA NUCLEAR BLAST
EU TOUR WITH CARCASS, EXODUS AND NAILS WELL UNDERWAY

Following the electrifying kickoff of their extensive European tour and premier UK showing of their documentary "Hate & Hope", metal legends KREATOR are keeping the momentum alive with the release of a brand-new music video for 'Loyal To The Grave', the powerful closing track of their latest studio album, "Krushers Of The World".

On the subject of the new video, frontman Mille Petrozza shares:

"The video was inspired by the Movie 'The Crow' this time. I hope you enjoy our little journey into obscurity as much as we do.”

Showcasing a different side of the band’s signature intensity, 'Loyal To The Grave' stands out as one of the album’s most memorable moments. Driven by a highly melodic approach and elevated by a soaring, anthemic chorus, the track captures both the aggression and emotional depth that have defined KREATOR’s enduring legacy. The accompanying video visually amplifies this spirit, blending striking performance footage with cinematic storytelling that underscores themes of loyalty, unity, and resilience.

Currently tearing through Europe alongside Exodus, Carcass, and Nails, KREATOR have been delivering spectacular shows to fans across the continent. The tour continues through the end of April, cementing the band’s reputation as one of the most formidable live acts in metal.

Looking ahead, KREATOR will take their explosive live show across the Atlantic this May, joining forces with Carcass and Cold Steel for a highly anticipated U.S. tour. With no signs of slowing down, 2026 is shaping up to be another landmark year for the band.

Order "Krushers Of The World" HERE.

Watch the video for 'Loyal To The Grave' HERE .

Remaining headline EU tour dates:

w/ special guests Carcass, Exodus and Nails:

Tues 31st Mar - LU - Esch sur Alzette, Rockhall

Weds 1st Apr - CH - Zurich, Halle 622

Fri 3rd Apr - NL - Den Bosch Mainstage

Sat 4th Apr - DE - Essen, Grugahalle

Sun 5th Apr - DE - Frankfurt am Main, Jahrhunderthalle

Tues 7th Apr - IT - Milan, Alcatraz

Wed 8th Apr - SI - Ljubljana, Media Center

Thurs 9th Apr - AT - Vienna, Gasometer

Fri 10th Apr - DE - Ludwigsburg, MHP Arena

Sat 11th Apr - DE - Munich, Zenith

Sun 12th Apr - CZ - Prague, Forum Karlin

Mon 13th Apr - HU - Budapest, Barba Negra

Wed 15th Apr - PL - Warsaw, Arena Torwar

Fri 17th Apr - DE - Hamburg, Inselpark Arena

Sat 18th Apr - DE - Berlin, Uber Eats Music Hall

Mon 20th Apr - LV - Riga, Palladium Riga

Tues 21st Apr - FI - Helsinki, Black Box

Thu 23rd Apr - SE - Stockholm, Annexet

Fri 24th Apr - NO - Oslo, Sentrum Scene

Sat 25th Apr - DK - Copenhagen, Poolen

Thur 21st May - US - Baltimore, Maryland Deathfest 2026

KING KRAKEN release new single 'Call To War'

Tue, 31 Mar 2026 11:47:47 GMT

KING KRAKEN release new single 'Call To War' on 17th April.

KING KRAKEN release their storming new rocker 'Call To War' on 17th April, and it's a riff riddled, power packed, full frontal assault on the senses which sees the band kicking their new campaign off in style!

'Call to War' is the soundtrack to our Spring UK tour, this is your call to make it the sound of your spring as well."

With numerous events around the UK there is no sign of this train slowing down!

KING KRAKEN are:

Vocals - Mark Donoghue

Guitars - Adam Healey

Bass - Karl Meyer

Drums - Richard Lee Mears

'Call To War' recorded at Long Wave Recording Studios, Cardiff

Mixed and Mastered by Romesh Dodangoda

Engineered by Romesh Dodangoda and Tom Cory

Preorder here: https://distrokid.com/hyperfollow/kingkraken/call-to-war

THE KARMA EFFECT ANNOUNCE AUTUMN 2026 UK TOUR

Tue, 31 Mar 2026 11:42:57 GMT

REVEAL FURTHER DETAILS OF EAGERLY ANTICIPATED FORTHCOMING THIRD ALBUM

Fast-rising South London rockers The Karma Effect have today confirmed a new 13-date UK headline tour for autumn 2026 in support of their eagerly-awaited forthcoming third album ‘Cruel Intentions,’ which is set for release on 15th May 2026 (via Earache Records).

With just a handful of tickets now remaining for the band’s previously-announced album launch show at Tunbridge Wells Forum on 15th May, The Karma Effect are pleased to now announce a full UK headline tour for this autumn, ably supported by special guests Juliet’s Not Dead. Tickets are on-sale here for the band’s autumn 2026 ‘Cruel Intentions Album Tour’ – full list of dates is;

THUR 29 OCT - THE CARLISLE - HASTINGS

FRI 30 OCT - WATERFRONT STUDIO - NORWICH

SAT 31 OCT - BOILEROOM - GUILDFORD

SUN 01 NOV - PORTLAND ARMS - CAMBRIDGE

THUR 05 NOV - BANNERMANS - EDINBURGH

FRI 06 NOV - CLASSIC GRAND - GLASGOW

SAT 07 NOV - BETA ROCK CITY - NOTTINGHAM

SUN 08 NOV - THE PATRIOT - CRUMLIN

THUR 12 NOV - WATERLOO MUSIC BAR - BLACKPOOL

FRI 13 NOV - CORPORATION - SHEFFIELD

THUR 26 NOV - KKS STEEL MILL - WOLVERHAMPTON

FRI 27 NOV - WATER RATS - LONDON

SAT 05 DEC - LEO'S RED LION - GRAVESEND

TICKETS GO ON SALE AT 11AM TUES 31 MARCH

The Karma Effect have also today announced further details of their highly-anticipated third album ‘Cruel Intentions’. The new record is available to pre-order now across a number of CD, vinyl & digital formats, all featuring eleven rollicking new anthems (with a twelfth track, ‘Chasing Sunsets,’ added to the exclusive USB bonus edition format) – tracklisting is;

01 Ride or Die

02 Dangerous Love

03 Lady Bohemian

04 Raised on Rock 'n' Roll

05 Bad Manners

06 Closest Thing to Crazy

07 Waiting on a Miracle

08 Better Luck Next Time

09 Long Gone

10 Cruel Intentions

11 One More for the Road

12 Chasing Sunsets (Bonus track - USB only)

WATCH THE VIDEO FOR 'WAITING ON A MIRACLE' VIDEO HERE

PRE-SAVE THE ALBUM 'CRUEL INTENTIONS' HERE

When The Karma Effect were quietly born in the pandemic, vocalist Henry Gottelier and guitarist Robbie Blake could hear in their heads how they wanted the project to sound. From their organic, rootsy, eponymously-titled 2022 debut, followed by 2024’s show-stopping surprise Top 20 album ‘Promised Land’, they now truly arrive with their third record, striding confidently into their role as one of British guitar music’s most exciting outfits.

Although some line-up changes occurred in the background (which saw Nathan Keevil join them on bass, Alan Taylor on drums, and Tom Pitt on keys), a turn of events that could have left them on shaky ground has instead been spun into a silver lining. Brimming with energy and fresh perspectives, the newly assembled line-up convened at The Hive Rooms, in the locale of Gatwick Airport, to nail down what would become ‘Cruel Intentions’ in July 2025.

The new album is a collection which captures the visceral atmosphere of the band’s lauded live performances and is without a doubt the most complete, crystal clear realisation of the band’s ambitions yet: leaner, louder, heavier and joyously larger-than-life. Exploring notions of love, lust and danger, with dark passion and flashes of cheekiness, The Karma Effect’s new songs maintain a fine balance of swagger and wit, further advancing the band’s ‘modern vintage’ ethic - polishing up the retro sounds they were raised on into something gleaming and modern.

Take the swaggering recent single ‘Dangerous Love’ – “It’s about doing things you shouldn’t do, but you can’t stop yourself: passion overtaking your senses and your mind getting away from you,” explains Henry. Barnstorming opener ‘Ride Or Die’ is a weighty statement of intent, an early display of Gottelier’s classic ‘70s Stones meets 80’s Fairbairn-era Aerosmith songwriting chops, whilst the album’s title track ‘Cruel Intentions’, meanwhile, is about a stalker. It’s not entirely steeped in darkness, however – sometimes, there are flashes of cheekiness. ‘Better Luck Next Time’, for example, is a tongue-in-cheek meditation on feeling the sharp end of sod’s law, following someone’s day as it spirals into the stuff of farce.

"This album is the culmination of everything we have." says singer Henry Gottelier. "While collaborating again with producer Michael Charman, we brought in Mercury and GRAMMY nominated Romesh Dodangoda specifically for the mix, because we were obsessed with making every single note count. The result is a sound so big, it’s a stadium experience for your ears"

‘Cruel Intentions’ is available to pre-order here on signed editions, limited alt artwork editions, limited coloured vinyl and more.

Iron Maiden announce Blaze Bayley as Friday headliner at EDDFEST

Tue, 31 Mar 2026 11:37:12 GMT

PLAYING AN IRON MAIDEN SET FROM HIS ERA

.IRON MAIDEN’S highly anticipated EDDFEST weekend this summer has just got even bigger with the announcement that Blaze Bayley, who fronted the band from 1994 to 1999, will be headlining the Friday night Maidenville stage. He is the latest name to be revealed, as part of the all-encompassing celebration of IRON MAIDEN’s 50th Anniversary that will be taking place on the iconic Knebworth site.

“I’m so excited to be invited to headline Friday night at EDDFEST, celebrating 50 years of Iron Maiden,” says Blaze. “I am so proud of my two albums with the band and I'm really looking forward to playing some of the songs that we recorded together. Can't wait to see you all at the hallowed grounds of Knebworth!”

Fans can expect to hear Blaze Bayley and his band deliver a powerful set of songs from The X Factor and Virtual XI, the albums he released during his time as Iron Maiden’s lead singer. Blaze co-wrote some of the songs on those albums with band founder Steve Harris, and Friday night’s Maidenville stage has been personally curated by Steve Harris to showcase many elements of his musical career.

Steve has also invited Gypsy’s Kiss, the band he formed in 1974 with singer and guitarist, David Smith, to perform on the Maidenville stage on Friday night too. As the very first band Steve Harris ever played with they were an instrumental part of Steve’s journey to form Iron Maiden a year later and create one of the most iconic rock bands of all time.

Steve Harris says, “Having the opportunity to put together our very own festival at Knebworth, and celebrate 50 years of Iron Maiden, has given me a chance to bring together friends past and present and create a really special weekend for the fans.

I’m very pleased that Blaze is able to join us and perform some of the songs we wrote and recorded in the 90s. He has been a big part of Iron Maiden’s career and I know the fans will be really excited to see him on stage at EDDFEST. It’s also great to have Gypsy’s Kiss playing with us at Knebworth too. They were a big part of my musical heritage and it’s really exciting to have them play at the Maidenville stage.”

FRIDAY NIGHT ON THE MAIDENVILLE SECOND STAGE

BLAZE BAYLEY

Stray

Maiden United

Airforce

Gypsy’s Kiss

Tony Moore’s Awake

Hair Metal Glamageddon

SATURDAY NIGHT ON THE MAIN STAGE

IRON MAIDEN

THE DARKNESS

The Hu

Airbourne

The Almighty

EDDFEST is a once in a lifetime opportunity to experience what constitutes Iron Maiden’s idea of a fun-filled 48 hours of entertainment, themed areas and bars, experiences, live music and more. Inside EDDFEST fans will be able to explore the Infinite Dreams Museum Experience, a walk-through display of stage props and relics, inspired by Sunday Times Bestseller book Infinite Dreams. This is an unprecedented and completely unique opportunity to view Maiden relics up close and personal.

The EDDFEST Festival starts from 2pm on Friday with camping included for both nights. Various parts of the Maidenville site will be open to weekend campers throughout Friday afternoon and into the early hours of Saturday morning, including the Infinite Dreams Museum Experience.

Friday Night at Eddfest is all about fun before the big day. Campers will be able to gain early access to the site and experiences, including first access to the Infinite Dreams Museum Experience. They will also enjoy a whole evening of entertainment on the Maidenville stage featuring the unique mix of special acts with a connection to Maiden.

Saturday sees the opening of the Main Arena, which includes Eddie’s Extended Emporium, the Trooper VIP area and a range of interactive experiences. Saturday-only tickets also allow access to Maidenville, where fans can join in the fun at the greatest Eddie’s Dive Bar yet, enjoy the Infinite Dreams Museum Experience, take part in the Unfair Funfair, featuring rides and demented Eddie-themed Funfair Games, plus explore Eddie’s Emporium, with even more surprises to explore throughout the site.

It all culminates with the main stage performances on the Saturday, featuring an exceptional supporting line-up, ahead of Iron Maiden’s show-stopping RUN FOR YOUR LIVES performance.

EDDFEST is going to be a truly exceptional weekend for each and every Maiden fan in attendance – an unforgettable chance to be part of a fully themed Festival experience, celebrating IRON MAIDEN’s spectacular fifty year career… and the last chance to see them in the UK until at least 2028.

Michael Sweet - The Master Plan

Tue, 31 Mar 2026 09:06:26 GMT

Acclaimed singer, songwriter and front man of Christian rock icons Stryper, MICHAEL SWEET is proud to announce his new album, ‘The Master Plan,’ his most personal and spiritually resonant solo album yet. Set for release on April 3, 2026 via Frontiers Music Srl, this deeply worship inspired record marks a bold departure from his previous solo work — blending heartfelt devotion with fresh musical textures and melodic depth unlike anything SWEET has done before.

MICHAEL SWEET comments:

“I can’t tell you how long I’ve wanted to make this record. I think I subconsciously started making it when I was a kid. All the music that has influenced me over the years is revealing itself on this album. It’s certainly not cookie cutter by any stretch of the imagination. It’s one of a kind and very eclectic and unique, but that’s exactly what I wanted. It has something for everyone and I hope you all are as excited about this one as I am. The goal is to inspire and encourage and give people hope. I hope this one does just that. I want to personally thank you all for your patience and for your undying support for everything that I do. Much love to you all��”

Musically rich and lyrically uplifting, ‘The Master Plan’ journeys into new acoustic oriented landscapes, built on warm harmonies, intimate vocal layers and heartfelt expressions of faith. SWEET’s unmistakable voice leads a tapestry of heartfelt worship, inviting listeners to reflect, celebrate and draw closer to the timeless truths at the heart of his message. With sweeping arrangements and a sincere spiritual core, the album offers both comfort and inspiration for moments of prayer, praise and quiet contemplation.

Recorded with a stellar ensemble of musicians and co produced by MICHAEL SWEET and Jeff Savage, ‘The Master Plan’ also features lush keyboards, evocative guitar work and memorable vocal moments that elevate each song into something deeply personal yet universally uplifting. Mixed by Danny Bernini at Spirithouse Studios, the album balances polished production with the warmth of true worship expression.

With its heartfelt lyrics and spiritual sincerity, ‘The Master Plan’ is designed to inspire peace, faith and encouragement — music that comforts the weary, uplifts the spirit, and celebrates the profound love at the center of SWEET’s faith journey.

'The Master Plan' Track List:

1. The Master Plan

2. Lord

3. Stronger

4. Eternally

5. You Lead I'll Follow

6. Desert Stream

7. Believer

8. Again

9. Faith

10. Worship You

Vanden Plas - AcCult II

Mon, 30 Mar 2026 13:06:06 GMT

German progressive metal pioneers Vanden Plas are back with “AcCult II”, a new acoustic album set for release on June 12, 2026, via Frontiers Music Srl.

To coincide with the announcement, the single “Far Off Grace”, along with an official video, are available today.

Andy Kuntz commented: “The single “Far Off Grace” exemplifies the unpretentious, pure, and at the same time artistic, multifaceted acoustic expression of all the songs on “AcCult II”. They say you can recognize a good song when it works even in a stripped-down version. Compared to the studio version first released in 1999, however, this interpretation opens up on top many new avenues of understanding”.

“It allows the song's once bombastic beauty to blossom in the virtuosic interplay between Stephan Lill's exquisite guitar work, Alessandro Del Vecchio's shimmering grand piano, and Kuntz's vocals, ranging from sensitive to ecstatic – only to then be driven, by the unbridled power of an exceptional band with Andreas Lill on drums and Torsten Reichert on bass, to a hypnotically intensifying, furiously breathtaking finale”, he added. “This is far more than an acoustic version of a song; it is the ultimate reinvention of a classic in its own light.”

Watch the official video for “Far Off Grace”

“AcCult II” is the highly anticipated acoustic sequel to Vanden Plas’ 1996 landmark album “AcCult”.

Stephan Lill explained how the album came to life: “When we released our first acoustic CD, “AcCult”, in 1996, it was special to us in many ways. For this release, we arranged songs from our debut album, “Colour Temple”, into new acoustic versions. And we did the same with songs by other artists or bands that didn’t necessarily fit our usual musical style. Ever since that release, we’d always had it in the back of our minds to produce another acoustic CD at some point. But then came tours, more regular CDs, many theatre productions we were involved in, and time flew by…”

“When Frontiers approached us with the idea of another acoustic CD, we knew that we had the time needed for it, and with the right songs, it could work. And we can now say, it worked out. We sticked with the concept of the first “AcCult” CD, and so “AcCult II” once again features acoustic versions of Vanden Plas songs, as well as two cover songs: “Nothing Else Matters” (Metallica) and “Boat on the River” (Styx)”, he continued. “We are more than happy that, exactly 30 years later, we can write the next “AcCult” chapter. And all Vanden Plas fans can look forward to a truly extraordinary release.”

Building on the innovative concept that first reimagined tracks from their debut “Colour Temple” in a stripped-down, unplugged setting, this new release revisits select songs from their extensive catalog with fresh acoustic arrangements, offering fans a completely new perspective on the band’s music.

In addition to reworked originals like “Far Off Grace”, “Holes In The Sky”, “The Ghost Xperiment”, and “You Fly”, “AcCult II” features inspired interpretations of classic songs by other artists, including Styx’s “Boat On The River” and Metallica’s “Nothing Else Matters”, blending reverence for the originals with Vanden Plas’ signature emotional depth and musical sophistication.

Notably, John Helliwell of Supertramp makes a guest appearance on saxophone on the album’s closing track, “You Fly”, adding a unique, melodic touch to the album’s finale.

The album showcases the band’s current lineup - Andy Kuntz (vocals), Stephan Lill (guitars), Andreas Lill (drums), Thorsten Reichert (bass), and Alessandro Del Vecchio (keyboards) - whose synergy brings a nuanced warmth to each track.

With “AcCult II”, Vanden Plas demonstrates that their progressive sensibilities translate seamlessly into intimate, acoustic settings, creating a compelling experience that resonates both with longtime fans and newcomers alike.

“AcCult II” Tracklist:

1. Far Off Grace

2. Holes In The Sky

3. The Ghost Experiment

4. Boat On The River

5. Healing Tree

6. Postcard To God

7. Nothing Else Matters

8. You Fly (Ft. John Helliwell)

Line Up:

Andy Kuntz -vocals

Stephan Lill – guitars

Andreas Lill – drums

Torsten Reichert – bass

Alessandro Del Vecchio – keyboards

Chez Kane - Reckless

Mon, 30 Mar 2026 09:11:30 GMT

British rocker Chez Kane is thrilled to release her new studio album, titled “Reckless”, out now via Frontiers Music Srl.

The focus track “Too Dangerous”, along with an official visualizer video, are also available now.

Chez commented: “Too Dangerous” lives in that space between warning signs and temptation - it captures the tension at the heart of “Reckless”, where you know better, but it feels too good to resist.”

Watch the official visualizer for “Too Dangerous” here - youtube.com/watch?v=zBY62k_x3n0&feature=youtu.be

Order “Reckless” here - https://ffm.bio/recklesspreorder

Talking about the record, Chez said: “Finally, I can tell you! The official announcement of my third album “Reckless” is here! My last album, “Powerzone” dropped in 2022, and I’ve grown a lot since then. This time around, I got hands-on and collaborated on some writing. I pushed myself hard to make something that’s bigger, bolder, and yeah… sexy as hell”.

“Massive thank you to Danny Rexon once again for being incredible to work with. Creating this with you was magic”, she added. “I can't wait for you guys to hear what we’ve made!”

Chez Kane is back with her third studio album, “Reckless” - an explosive blend of arena-ready hooks, slick guitar work, and unapologetic 80s-style swagger. Following the success of her first two records, Chez levels up with a collection that’s bigger in sound, richer in emotion, and packed with pure melodic firepower.

Once again, written and produced by Danny Rexon, frontman of Swedish hard rockers Crazy Lixx, “Reckless” channels the golden age of melodic rock while injecting it with fresh energy and modern production.

The chemistry between Chez and Danny continues to shine, resulting in a record that blends 80s-inspired anthems, infectious hooks, and soaring vocals into a modern rock statement with attitude.

From glam-infused bangers to emotional slow-burners, “Reckless” showcases Chez’s growing confidence and undeniable charisma, proving she’s not just riding the revival wave - she’s leading it.

If you’re craving fist-pumping choruses, soaring vocals, and a no-holds-barred throwback to the glory days of rock, look no further. Chez Kane’s “Reckless” is melodic rock done right - bold, catchy, and undeniably alive.

Turn it up loud. This one’s recklessly unforgettable!

“Reckless” Tracklist:

1. Reckless

2. Personal Rock N' Roll

3. Night Of Passion

4. Strip Me Down

5. Tongue Of Love

6. Love Tornado

7. Bad Girl

8. Street Survivor

9. Too Dangerous

10. Bodyrock

Dan Byrne/Fireheart/Kit Trigg - Voodoo Rooms, Edinburgh 27th March 2026 live review

Sun, 29 Mar 2026 10:59:48 GMT

The rise of Dan Byrne has been the most remarkable rock & roll success story of the year so far, at an otherwise gloomy time for the rock scene. Since parting ways with Revival Black and going solo, the wee guy with the big voice has been singing for his supper all over the country and steadily building a loyal following. The last time he was in Edinburgh, it was at Sneaky Pete’s in front of 17 people, but now, with Planet Rock plugging the advance tracks from his forthcoming album ‘This is Where the Show Begins’, he’s been packing them in on a hot-ticket UK tour.

This tour was originally booked in modestly-sized venues, but with increased airplay and the strategic addition of some great support bands, the “sold out” signs have been going up early. This Edinburgh show was upgraded to the main hall in The Voodoo Rooms and was still close to capacity and he also had a sold-out show at Glasgow’s Attic venue the following day to complete the now-rare Scottish double-header.

Whilst Dan and his band lived up to the hype in every way, the addition of both Kit Trigg and Fireheart made this a very entertaining triple-bill. Kit is a bright and breezy young lad from Farnham with great hair and a backwards baseball cap and he made a few new friends with a varied, interesting and enjoyable set. ‘Snake in the Grass’ (“you can kiss my …”) ran through a variety of styles; starting with some swampy guitar, then moving through some on-point band harmonies to a skate-punky rhythm and some Kid Rock-style rapping. Mixing old, recent and brand new songs, highlights included ‘Light at the End of the Tunnel’, which raced along like an oncoming train with the headlights on, an anthemic glass ceiling- themed new song with a heavy groove that might have been called ‘Breaking Through’ (“just do it”), and the punchy ‘Goin’ for Glory’ which totally rocked and ended the set in fine style. Kit and his band have plenty live work planned, including festival appearances at Mayor’s Fest, SOS and Maid of Stone this year and are well worth checking out.

Fireheart are a brand-new name but feature some familiar faces and they made a massive first impression with a gloriously energetic and skilled set. They absolutely exploded out of the blocks with the anthemic ‘Wild Hearts; Wild Nights’ which quickly grabbed the audience’s attention and wrapped them up with the “woah-ohs” and a clap-a-long in a thrilling ride. It was impossible not to be sucked in by the band’s enthusiasm, particularly Kev Baker and his gurning facial expressions – unless my granny was lying, he’s going to be fucked if the wind changes direction!

Russ Grimmett was on great form on vocals. He also sings with Sons of Liberty but he is especially in his element with this band and seemed to be really enjoying himself. From the band’s bio and social media, it is clear that the individual members come with some emotional baggage, demons and mental health challenges. They address that in their songs and also through their fan chat group and initiatives like ‘Heartmeet’ which is a banner they place beside the table displaying their immaculately designed merchandise to encourage solo fans to interact with each other.

I should imagine that the music is also very therapeutic, as this band rock up some absolutely joyous sounds with life-affirming positivity. Amongst others, they play tunes from their 5-track EP called ‘Rise’ and the songs on it are as good as its colourful art-work, including the soaring and harmonious ‘I’m Not Dreaming’ and ‘An Hour to Forget’. The inter-play between the men on stage is also heart-warming and highly entertaining, not least the musical tribute to hirsute and handsome bass player Bret Barnes, who is surely the logical successor to Chuck Norris in the ultimate legendary icon stakes.

It is a while since a first-sighting of a new band has made such an instant impression on me and I am far from alone in thinking this. Fireheart feel like a movement as much as a band and their music is capable of putting a smile on any face. Edinburgh patrons will have another chance to see them on 23rd May at Bannerman’s supporting Cassidy Paris and we’ll be hearing much more from these fellas in the near future. Get on board.

Dan Byrne had won before he even appeared on stage. Tickets had been sold and debut albums pre-ordered; the crowd were ready, and his band were already rocking up a storm by way of an intro. He opened with ‘Saviour’ and appropriately, he’s already being trumpeted as the new saviour of traditional blues rock in this country. He looks suitably messianic with his long curly hair and beard and sounds the part too, but things take a more demonic turn with the instant classic ‘She’s the Devil’ and the uber-funky ‘Praise Hell’. Other standouts include ‘Cherry and Leather’ and ‘Sober’ plus ‘Easier’ from his earlier ‘Beginnings’ EP. Between songs, Dan constantly refers back to his journey and expresses gratitude for the love and support he has received; it’s almost as if even he can’t quite believe that the struggle has turned out to be so worth it and he seems genuinely thrilled to have a big room full of people singing his songs back to him. He has certainly paid his dues and deserves every bit of acclaim that’s coming his way.

With several of the prime cuts from ‘This is Where the Show Begins’ already well-known and popular from radio play, there’s a good chance that the album will chart highly when released on 22nd May. On that day, Dan will be back in Scotland for promo shows and signings at Assai Records in both Edinburgh and Glasgow. It will be fascinating to see what number the album charts at and after all the hard work and slogging around the country, album release day might just be the best day of Dan’s musical life so far.

FIGHTER V - Deja Vu

Fri, 27 Mar 2026 10:21:48 GMT

Swiss melodic rockers Fighter V are pleased to announce the release of their upcoming new album, “Déja Vu”, set for release on April 10, 2026, via Frontiers Music Srl.

The band talked about how the album came to life: “Deja Vu” is our third album, after “Fighter” and “Heart Of The Young”. It was recorded, mixed and mastered in 2025 in the Swiss studio “Little Creek” by the engineer Pulver and produced by Emmo Acar. The vocals and production work happened externally. The vocal recordings and production were done by Ronny Lang aka “The Voicefinder” in his own studio in cooperation with Emmo. The keyboard was produced, played and recorded by Victor Olsson, with whom we already worked on the keys of the album before. Background vocals were done separately by Emmo, Victor, Tess and Ronny. Saxophone as well by Magnus Hägglund”.

“The album contains a variety of styles, like the previous one, thanks to the cooperation with Dave Niederberger (Ex vocalist of FV) and Roman and Emmo. Influenced by our idols from the 80‘s, we are paying tribute to the prime era of Melodic Hardrock/ AOR, which you can hear by the authenticity of our sound”, they continued. “The title “Deja Vu” is not only the title of the album but also the title of a song of it. This classic French quote portrays the events we see already coming but can’t be saved from them. They will repeat cause some things are written in stone”.

Fighter V burst onto the scene in 2019. Born in Hergiswil, Switzerland, the band draws deep inspiration from classic 1980s hard-rock and arena-rock giants like Whitesnake, Journey, Survivor, and Bon Jovi - channeling that vintage energy into modern melodic rock anthems.

Their debut album, “Fighter” (2019), recorded in Sweden with producer Jona Tee (H.E.A.T), delivered 12 tracks of keyboard-driven riffs and old-school rock hooks, quickly establishing the band as one of Europe’s most promising new melodic rock acts.

In 2024 they returned with “Heart Of The Young”, featuring a refreshed lineup led by vocalist Emmo Acar, embracing a renewed but faithful homage to ’80s-era anthemic rock.

Now, with “Déjà vu”, Fighter V embark on a new chapter - their first album to be released through Frontiers Records, a pivotal step that brings their sound to a wider global audience. The record is both a nostalgic nod to their roots and a bold evolution: expect the band’s signature blend of stadium-ready riffs, soaring melodies, harmony-rich vocals, and shimmering keyboard textures, now sharpened by matured songwriting and heightened production.

“Deja Vu” is more than a title - it’s a powerful, time-bending ride through the golden age of rock, reimagined by a band reaching new heights.

“Deja Vu” Tracklist:

1. Raging Heartbeat

2. Victory

3. Made For A Heartache

4. Foolish Heart

5. Deja Vu

6. Stand By Your Side

7. All Your Love

8. Hold The Time

9. For All This Time

10. Break Those Limits

11. Victim Of Changes

Line Up:

Emmo Acar - Vocals

Lobe Valentin - Guitar

Lucien Egloff - Drums

Roman Stalder - Bass

GLAM ROCKERS LIPZ UNVEIL POWERFUL RENDITION OF PAULA ABDUL’S “STRAIGHT UP”

Wed, 25 Mar 2026 10:33:49 GMT

OUT NOW VIA FRONTIERS MUSIC SRL

Swedish glam rockers Lipz are thrilled to unveil their new single and official video, a new rendition of Paula Abdul’s “Straight Up”, out now via Frontiers Music Srl.

Lipz take on Paula Abdul’s iconic hit and flip it on its head. “Stripping the song down to its core and rebuilding it with roaring guitars and arena-sized energy, we’ve transformed the pop classic into a bold, hard-hitting rock anthem while keeping the unforgettable melodies intact”, they commented.

The Lipz saga started in 2011, with the visionary Klintberg brothers, Alexander (vocals, guitar) and Koffe (drums), and guitarist Conny Svärd. The band's journey took a transformative turn when Alexander assumed the role of frontman, paving the way for their distinctive sound.

Lipz's musical journey began with the release of their debut single, “Ghost Town”, in September 2012, followed by the EP “Psycho” three years later. The quest for a stable bass player added a unique twist, leading to a three-year adventure to complete their debut album. Undeterred by challenges, Alexander took on bass duties, exemplifying the band's unwavering dedication to their craft.

In a ground-breaking move in 2023, Lipz joined forces with Frontiers Records, marking a pivotal moment in their musical odyssey. Their latest album, “Changing The Melody”, was released in March 2024, ushering the band in a new era of glam rock on the global stage.

Renowned for their infectious energy and sonic brilliance, Lipz are rising as trailblazers in the realm of glam rock.

Line Up:

Alex K Klintberg - Lead vox/guitar

Jonatan Berg - Guitar/backing vox

Koffe K Klintberg - Drums/backing vox

Taneli Armas - Bass/backing Vox

TUK SMITH & THE RESTLESS HEARTS ANNOUNCE STRING OF 2026 UK DATES

Wed, 25 Mar 2026 10:28:39 GMT

"TROUBLED PARADISE" EP OUT NOW!

Rock 'n' rollers TUK SMITH & THE RESTLESS HEARTS can't stay away from UK soil for too long. Having spent 2025 on the road supporting Danko Jones and blessing Planet Rockstock with their Nashville-tinged melodies and riffs, they're pleased to share a string of 2026 tour dates this summer.

The 7-date stint will see them kick things off at Maid Of Stone festival before taking in the sights of London, Southampton, Wolverhampton, Leeds, Glasgow, and an as-yet-unannounced show.

On returning again so soon, vocalist and guitarist Tuk Smith shares:

“I’ve always had a special place in my heart for the UK ever since I first started playing here a decade ago with my previous band. This is my first proper UK tour as a solo artist and I’m just as excited now as I was back then!"

2026 Tour Dates

Sun 19th Jul - MAID OF STONE Festival

Mon 20th Jul - LONDON The Grace

Wed 22nd Jul - SOUTHAMPTON 1865

Thu 23rd Jul - WOLVERHAMPTON KK’s Steel Mill

Fri 24th Jul - LEEDS The Key Club

Sat 25th Jul - *yet to be announced*

Sun 26th Jul - GLASGOW Classic Grind

Tickets go on-sale Friday 27th March. Get yours here: https://www.tuksmithandtherestlesshearts.com/.

The Grand Finale – LORD OF THE LOST Complete Their OPVS NOIR Trilogy!

Wed, 25 Mar 2026 10:20:11 GMT

LORD OF THE LOST bring their ambitious album trilogy to a brilliant finale with OPVS NOIR Vol. 3. A direct continuation of OPVS NOIR Vol. 1 and Vol. 2, which were both unveiled in 2025, it releases on April 10, 2026 and gloriously expands on the genre-defying band’s opus. The most out of the box of the three, the third and final part of their latest journey has the six-piece end this chapter of their career on a fulminant high note, intertwining heavy guitars and dark electronica with compassionate messages and cinematic orchestrals.

Another 11 enchanting songs extend the Hamburg-based band’s colorful repertoire. Following the captivating BLOOD & GLITTER, which brought them to the grand final of the Eurovision Song Contest 2023 and a #1 chart entry in their native Germany to go along with it, LORD OF THE LOST once again demonstrate their unmatched diversity. Initiated by beautiful cello melodies, “Kill The Lights” is an overture like no other, setting a dark mood, but also unafraid to switch it up to make room for catchy and reassuring “I’m A Diamond” featuring Alea, frontman of German medieval metal torchbearers SALTATIO MORTIS. “My Funeral”, despite the name, picks up the positive message, expanding the near-gothic soundscapes while sprinkling in tongue-in-cheek lyrics, promoting black as a happy color – wear pink to their funeral! Stomping “I Hate People” invites horror punk icon WEDNESDAY 13 to an industrial duet about equality, after which gentle “The Shadows Within” hits twice as hard with its symphonic arrangement. Next, Chris Harms and parting KISSIN’ DYNAMITE frontman Hannes Braun deliver the bombastic “La Vie Est Hell” (based on Charles Baudelaire’s influential book of poetry, “Les Fleurs du mal”) partly in French language, before going back to “Square One”. “When Did The Love Break?” is a heartfelt song of lost love – the addition of whimsical vocals by Ambre Vourvahis of XANDRIA drives the emotions of this universal topic right home. After “Your Love Is Colder Than Death”, LORD OF THE LOST team up with Damien Edwards of British glam rock band CATS IN SPACE for the captivating duet “Take Me Far Away”, before the album closes with a ballad, “The Days Of Our Lives” – the sweeping track simultaneously being the closest LORD OF THE LOST have ever been to a cinematic soundtrack. The happy ending is skipped, almost making it sound like a goodbye…

OPVS NOIR Vol. 3 continues to walk LORD OF THE LOST’s unpredictable journey without settling for the familiar. Rounding off an impressive trilogy, this record takes you by the hand and guides you along your darkest paths.

OPVS NOIR Vol. 3: the trilogy is finally concluded.

Release Date: 10.04.2026

Photo Credit: VD Pictures

OPVS NOIR Vol. 3 tracklist:

1 Kill The Lights

2 I'm A Diamond (feat. Saltatio Mortis)

3 My Funeral

4 I Hate People (feat. Wednesday 13)

5 The Shadows Within

6 La Vie Est Hell (feat. Hannes Braun)

7 Square One

8 When Did The Love Break? (feat.Xandria)

9 Your Love Is Colder Than Death

10 Take Me Far Away (feat. Cats In Space)

11 The Days Of Our Lives

LORD OF THE LOST Live 2026

TOVR NOIR 2026

w/ AD INFINITUM [∞], DOGMA [†] & LEAGUE OF DISTORTION [x]

12.03.26 NO - Oslo [∞]

13.03.26 SE - Gothenburg [∞]

14.03.26 SE - Stockholm [∞]

16.03.26 FI - Tampere [∞]

17.03.26 FI - Helsinki [∞]

19.03.26 EE - Tallinn [∞]

20.03.26 LT - Vilnius [∞]

21.03.26 PL - Warsaw [∞]

22.03.26 PL - Kraków [∞]

24.03.26 AT - Vienna [∞]

25.03.26 HU - Budapest [∞]

27.03.26 GR - Athens [∞]

28.03.26 BG - Sofia [∞]

29.03.26 RO - Bucharest [∞]

09.04.26 NL - Amsterdam [†] [X]

10.04.26 FR - Paris [†] [X]

11.04.26 FR - La Roche-sur-Yon [†] [X]

12.04.26 FR - Toulouse [†] [X]

14.04.26 ES - Madrid [†] [X]

15.04.26 ES - Barcelona [†] [X]

17.04.26 FR - Lyon [†] [X]

18.04.26 BE - Durbuy Rock [†] [X]

24.04.26 DE - Hexentanz [†] [X]

25.04.26 CH - Pratteln [†] [X]

26.04.26 IT - Milan [†] [X]

06.05.26 CZ - Prague [†] [X]

07.05.26 DE - Herford [†] [X]

08.05.26 DE - Cologne [†] [X]

09.05.26 DE - Stuttgart [†] [X]

Festivals 2026:

22.-23.05.26 DE - Eichstätt / Open Air am Berg

03.-04.07.26 DE - Mülheim an der Ruhr / Castle Rock

13.-16.08.26 FR - Carhaix-Plouguer / Motocultor Festival

21.08.26 DE - Oelde / Oelde Open Air

LORDFEST 2026:

w/ NACHTBLUT, NOTHGARD, WISBORG & VELVET RUSH

18.&19.12.26 DE - Hamburg / Große Freiheit 36

LORD OF THE LOST are:

Chris Harms - Vocals, Guitar

Pi Stoffers - Guitar

Benjamin “Benji“ Mundigler - Guitar, Synths

Klaas Helmecke - Bass

Gerrit Heinemann - Piano, Synths, Percussion

Niklas Kahl - Drums

Mason Hill/Defences - The Garage, Glasgow 22nd March 2026

Tue, 24 Mar 2026 08:36:30 GMT

“Mason Hill are most definitely back… and I like what I hear” mused this writer last month, completing 100 reviews for Rockfiend with a top rating for the Glasgow band’s latest single, ‘Twisted’. As someone who has taken an interest in the band’s development and progress over the last decade, it was reassuring to hear them in such magnificent form with new singer Tom Ward at the helm, continuing the bolder, heavier sound heard on comeback single ‘Remember’ a few months before.

Two small comeback shows in London and Glasgow in late November cemented their return, with guitarists James Bird and Marc Montgomery, bassist Matthew Ward and drummer Craig McFetridge introducing Tom Ward to their loyal fanbase whilst taking the opportunity to unveil some new music. From there, a 5-date UK Tour was announced for March, with support from London-based band Defences… and that’s what took me to an almost sold-out Glasgow Garage on the city’s Sauchiehall Street on a Sunday night; Mason Hill, performing live in their hometown on the last date of the tour!

There’s always been a hype around Mason Hill, whether from their more obsessive fans or from certain elements of music media but it must be acknowledged that the hype hasn’t quite transformed into the kind of success many believed they were destined to achieve. Will the updated version of the band, with its new sound, find the success they long for or will it be another hype-fuelled false start? Where better to judge than on a live stage in Glasgow!

The venue was still filling up when the oft-talked about Defences took to the Glasgow stage, with Gothic-style candles burning on each side of the stage, similar to the ‘By Candlelight’ shows played by orchestras down the hill in the Glasgow Royal Concert Hall. But that’s where any similarities with violins and cellos ends, as Defences delivered a loud, heavy and moody set of music that sits somewhere between modern metal and metalcore… but with so much more to it! Vocalist Cherry Duesbury’s voice is quite incredible, beautifully soulful one minute but fiercely metal the next. When mixed with heavy riffs, throaty screams and atmospheric keyboards, it’s the sound of a band trying to be something different, standing out from the others in a crowded metal music market. Having formed around 13 years ago, Defences has a healthy back catalogue of music to explore. I’d suggest you do that sooner rather than later and then make sure you catch the band the next time they’re in Glasgow.

By the time the lights dimmed for Mason Hill, the Glaswegian audience had filled the venue, with many of the faithful bedecked in the band’s merchandise… new and old! I personally was mightily impressed that I could still fit into my 2018 t-shirt… but I digress! The point I’m trying to make is that the audience was made up of many fans who have been there from the beginning – let’s call them the Mason Hill veterans – with a healthy smattering of others who were there to enjoy their first experience of the band. As the lights dimmed, fans old and new became one, with phones held aloft and ready to record the returning heroes. An atmospheric, piano-based recording of DNA from debut album Against the Wall acted as the intro music before Tom, James, Marc, Matthew and Craig bounded onto the stage and cranked up the volume for the full electric version we all know and love. They kept the energy high, going straight into ‘We Pray’ and being joined in the “whoa ohs” by an enthusiastic crowd. If there was any doubt as to whether Ward could cope with the rigours of the older material, that was quickly put to bed in the first two songs – a very wise tactic!

Latest single ‘Twisted’ was the first opportunity to hear the bold new Mason Hill sound… and arguably, it sounds even better in a live setting. Ward’s vocals were clear and concise, yet full of power and intent, with the riff-heavy music shaking the ceiling of the old building. Another new track, ‘Resonate’, had people pumping fists, even when they were unfamiliar with the music and that, my friends, is the sign of a good rock and metal song! James Bird briefly doodled the moody intro to fan favourite ‘Hold On’ before bringing the rest of the band in for an explosive and powerful rendition of the song, with fans singing the words from the front to the back of the venue. From there, it was another peek at the future, with new tracks ‘Tainted Wings’ and ‘Silence’ commanding a good reception from the Glasgow crowd.

It was a good mix of old and new, with the band showcasing new music whilst acknowledging that the older music and the Against the Wall album remain special for many fans. That special relationship was abundantly clear in the fan participation during ‘Find My Way’, whilst another new track, ‘Hurricane’, tore through the venue with power and precision, just like its namesake! Ballad ‘Where I Belong’ has always occupied a special place in the hearts of Mason Hill fans and whilst it wasn’t played in its entirety, the audience was treated to a goosebump-inducing run through of the instrumental part of the song, including Bird’s sublime guitar solo. The guitarist’s musical skills have matured with him over the years, his tone and technique second to none during the brief segment, leading to a well-deserved rapturous applause. Great stuff, indeed!

A surprise cover in the form of Muse’s ‘Hysteria’ actually worked very well, before ‘Remember’, the first single released by the “new” Mason Hill brought the main set to a conclusion. Of course, there was more to come, with the band returning to the stage with one more preview of a new song in ‘Burn it Down’ and two huge fan favourites, ‘Broken Son’ and the rocking ‘Against the Wall’. The energy remained high until the very last note, with Mason Hill leaving the stage victorious. The prodigal sons had well and truly returned to their home city.

Mason Hill’s set in Glasgow was excellent from beginning to end. It was a good balance of old and new, nodding respectfully to the past that helped to make them whilst clearly showcasing the future that should take them to the next level. With a new album due towards the end of the year and a few live dates over the summer, 2026 could be the year when the band finally realise the potential we all know they have.

Is Mason Hill still all hype? Nah… this time, I reckon they’re the real deal!

Photos: MB Photography Scotland

Crimson Glory - “Chasing The Hydra” Album Review

Mon, 23 Mar 2026 18:16:36 GMT

I still remember the first time I listened to Crimson Glory. It was a gray autumn afternoon back in 1988; the only gray thing about that day was the weather, because my mind was blown when I discovered such an incredible record. From that moment on, I was hooked by the overwhelming energy the band displayed on their early albums.

Today, when I put on their new album "Chasing the Hydra," I felt that old magic again—those songs so carefully structured between the progressive and the fantastic. Even though two of the original members are no longer there for different reasons you don't really miss CG; their spirit is still present. The songs are written with personality, with a modern touch but never sacrificing the soul that made them a household name around the world.

After 26 years since their last release—with a record that, while very good (Astronomica) — returning with something new for their most loyal fans was clearly a difficult bet. Today, they embrace us again with Travis Wills…lot of personality of his own. He doesn't give up his style but adapts wonderfully to the band's particular sound. Mark Borgmeyer replaces Jon Drenning, and his work stands out alongside the three original members of the band: Jeff Lords, Ben Jackson, and Dana Burnell. All of them have achieved a perfect symbiosis to revive a sleeping giant that has come back to stay.

The songs hit us right from the beginning-"Redden the Sun" opens with that energy that the best CG had accustomed us to. "Chasing the Hydra," the title track, assures us that this is going to be big, and the rest of the compositions follow a precise, atmospheric, deep, and dynamic rhythm that made these gentlemen from Sarasota become - and remain—great exponents of metal. "Broken Together, "Angel in My Nightmare," a great single that delighted us and brought back the excitement of witnessing this fantastic rebirth, along with "Indelible Ashes," "Beyond the Unknown," "Armor Against Fate," "Pearls of Dust," and "Triskaideka," sum up a work well worth listening to.

Lifelong fans will be more than satisfied, and those who have never listened to the band will discover a new world full of the magic that Crimson Glory has gifted us. For both groups, the result is a brilliant album worthy of the history of this great band.

Stiff Little Fingers/The Meffs - Glasgow Barrowlands 17th March 2026

Mon, 23 Mar 2026 12:56:36 GMT

St Patrick’s Day in the east end of Glasgow can only mean one thing – Stiff Little Fingers at the Barrowland’s. This is the bands 33rd St Patrick’s Day gig at this most iconic of venues; this is a run that, I think, started in 1993. I have not been at all of them, but I have been at most of them. I guess that raises two questions, why do they keep coming back and why do I consistently make the journey to Glasgow each March?

I read earlier in the week that front man and lead provocateur, Jake Burns, loves the atmosphere of the venue, the affection the audience have for the band and the sheer terror of standing at the side of the stage as the crowd sing “Go For It”.

But why do I keep coming back, well, it’s a lot of things. Tonight, Jake made a point of saying the band never set out to be political. For me, they always have been – “Suspect Device”, “Tin Soldiers” and “Wasted Life” point clearly to that. That was something I always loved about proper punk, the politics of it all baked into the heartfelt belief that a song could change the world. These Fingers anthems, all of which were given a run tonight, keep me believing in that.

I love Fingers for the romance of it all. Not just the teenage, love stuff; magnificently wrapped up tonight in the glorious “Listen” which made a very welcome addition to the set, but also the romance of knowing things can get better, new song “Raise Your Heart” was testament to that. There’s the romance of what could have been different for Sonny Liston, sung with passion in “Walking Dynamite” or that young people are actually just fine and will eventually come from the pupa as well adjusted butterflies – “Bits of Kids” tells that story so well.

I also come back because I love hearing the stories behind the songs; Jake’s dad looking for royalites for giving some, no doubt well intentioned, advice that turned into “At the Edge”. Or the band’s friendships with Spandau Ballet and The Specials, the latter of which saw the robbery of a song that became a stick out for both bands in very different ways, each made “It Doesn’t Make it Alright”, alright.

I also come back to be part of the tribe. We are all looking a bit older, some fatter and many balder but we are all still there. It was great to be with pals who I have been watching and listing to SLF with for many years, in Big Andy’s case, since out teens. This love of punk has been a bedrock for so many friendships and, once again, tonight I am grateful for what music has brought me.

I also come back simply for the great live show Fingers always present. Musically, I genuinely think the band are at the top of their game. Ian McCallum haunts the side of the stage. He is always a guy who stays out the spotlight but just takes care of his business. There are parts of the show when he is not playing, and the audible difference is clear and there are other times where this 60-year-old is jumping high into the air as he delivers yet another chord that underpins an anthem.

At the other side of the stage there is original bassist Ali McMordie. Mid way through his own 6th decade he has the muscle and body tone many a man more than half his age would love, he also plays a ripper of bassline. Like so many punk bands, the SLF bassline doesn’t just support the guitar it has its own melody, its own key part in making the tune a whole experience. Have a listen to “Just Fade Away”; the bass line is masterful. Tonight was clear testament of that.

At the back of the band is powerhouse that is Steve Grantly. When encore number “Johhny Was” began, it was Steve who was in the spotlight, the lighting making him look like a cross between Star Trek’s Data and Max Headroom: chalk white, blond quiffed and keeping time with the precision of a phaser set to malky.

Finally, I keep coming back to see and hear Jake Burns, I want to be sure he is still doing what he does best, banging out riffage on that green guitar and still maintaining a justified anger at the troubles of the world. Tonight, I thought, Jake was on top form.

The band are now in their 49th year. Forty-nine years of trying to change the world one song at a time. Forty-nine years of bringing people together in big rooms and forty-nine years of reflecting on a world of forty-nine years ago.

As I listen to “Alternative Ulster” I reflect on how Jake’s ambition has come to pass. The streets of Belfast look so much different now as to how they were when that opening riff was first played. Can music change the world? In all honesty, I don’t know. What I do know is that bands like Stiff Little Fingers have tried and the world has changed a bit and in some shared places, that change has been for the better and driven by many of the tribe represented in the Barrowland’s tonight.

This tour is called Raise Your Voice. Fingers have consistently done that, and we have just as consistently, sung along. Next year marks SLF’s half century and they are planning a return to the same venue on the same date in 2027. They will be there, you should come too and I very much hope you’ll see me and my pals standing and smiling. My mates will be even balder, and I will, no doubt, be even fatter but we will still be trying to help change the world, one song at a time.

Photos: Jai Dee Photography

CIGARETTES @ SUNSET - ‘Possum Rock’ E.P. review

Tue, 17 Mar 2026 08:14:42 GMT

Every now and again when listening to music a recommendation appears based on your listening history for an artist who you’ve never heard of before, you decide to give it a go and if you’re lucky the song grabs hold of you, elevates itself above casual listening and starts putting down roots within you and demanding repeat playing. This happened to me a couple of months ago.

Just when I thought I might be familiar with most of the many genres and sub-genres which exist within rock and metal, a new one sprung up which in name alone fascinated me and felt worth checking out - Appalachian Possum Rock - and the band was Cigarettes @ Sunset, a young band based in Boone, North Carolina.

Describing themselves as providing a “raw and soulful blend of Americana, Indie, Appalachian Folk and Rock” might provide you with a sense of Cigarettes @ Sunset’s sound, but this only tells you so much. Adjust the balance a little in the descriptor and what they produce is urgent and immediate big alt rock, with deeply raw vocals, highly memorable lyrics and with by turns haunting, fast and furious violin weaving its way through the songs and providing an even more distinctive sound. Or putting it another way - original, raw, immediate and powerful music made to be played on repeat.

The song in question was “Old Bleached Hair” which started off in territory which may not be unfamiliar to fans of The Gaslight Anthem, John Mellencamp or Canada’s The Glorious Sons, but which takes on its own identity as the song progresses and Garret Dellinger’s distinctive vocals become more raw, urgent and intense as the lyrics unfold -

“Somebody turn the lights down low in the living room,

And I’ll grab a chair,

I’m making friends with the ghosts of my youth,

And my old bleached hair,

Still pressing on a bruise to remember how it felt,

When they cut the noose,

Still pressing on a bruise to remember how it felt,

When they cut me loose”.

Very powerful lyrics from a song you’re unlikely to forget.

Fast forward to last weekend and the latest new music Friday didn’t disappoint with the release of the Black Crowes’ ‘A Pound of Feathers’, which as a big fan I’d been really looking forward to, but haven’t been able to listen to as I can’t get past listening to Cigarettes @ Sunset’s EP released on the same day.

Containing six songs, the EP starts off with ‘My Fix’. Everything about the song is big - the guitars and the urgent chorus with Garrett’s vocals somewhere between a song and a shout, as the distinctive lyrical style continues -

“I can taste the nicotine on your lips,

Baby, can I get a drag you know I need my fix”

Weaving its magic, Sarah Vann’s violin steers the song along. Although different in effect, it’s reminiscent of the rootsier sound the wonderful Lisa Germano brought with her fiddle to John Mellencamp’s ‘The Lonesome Jubilee’.

‘Pavement’ follows, initially offering a mellower and melancholic vibe before the intensity and emotion increases again through the vocal delivery, rising and falling as it continues; with the band skilfully anchoring the song as the vocals soar and threaten to take it away.

‘Theresa’ is the closest the band get to humour here and is candidly about an ex-girlfriend who called Garrett by the wrong name in bed and is followed by ‘Old Bleached Hair’ which has lost none of its impact, has more than earned its re-release and inclusion on the EP, but also never over-shadows the other songs featured which match it for quality note for note and lyric for lyric.

Lyrically the content of the EP is quite grungy, gritty and low-fi, reflecting the reality of modern life in rural and mountain towns - smoking in parents’ basements, substance use, mental health and angst but presented in a way which engages, connects and resonates while avoiding being depressing.

“Rewind” continues the urgency (getting the musical pattern here?) with Garrett’s and Ryland Bagbey’s twin raw guitars filling the sound, with Wells Whitman’s bass rumbling beneath the surface and Ethan Moore’s drums providing the backbone, while the violin again weaves in and out sinuously to produce that distinctive Cigarettes @ Sunset sound.

Switching gears, and revealing another side to their music, the last song on the EP, ‘Leave You (If It’s the Right Thing To Do)’ is a low-key raw and fragile duet sung by Garrett and Sarah accompanied by just violin, bass and muted guitar. Just beautiful.

The EP is a very collaborative affair with all five band members sharing writing and production credits along with Taylor Kimball and Cole Covington on Production and Engineering.

For a young band (or let’s face a band of any age) this is a seriously impressive release and I really like it.

In 1974 the music critic Jon Landau was famously quoted as writing “I saw rock’n’roll’s future and its name is Bruce Springsteen”. While I would personally agree that this bold statement turned out to be true, I’ll try to avoid hyperbole and simply say that since discovering Cigarettes @ Sunset’s music I feel much more confident that rock music is not only still alive and kicking, but is flourishing and in very, very safe hands.

The ‘Possom Rock’ EP is available on all of the usual platforms.

GMcA

THE KARMA EFFECT – 'RIDE OR DIE' SINGLE REVIEW

Sat, 14 Mar 2026 09:19:20 GMT

With a voice that’s a half rasp shy of being the full berry and a band that instinctively know how to lock in killer grooves, ethereal harmonies and hooks that could skewer even the most unsuspecting of ears The Karma Effect are churning out singles that could sit comfortably on a greatest hits album let alone the always difficult third album. Having already released the cacophonous cautionary tale of ‘Dangerous Love’ and the playful perfection of ‘Waiting on a Miracle’ we’re now on single number three from the upcoming ‘Cruel Intentions’ album.

Put simply, ‘Ride or Die’ is a positively filthy, groove charged, foot stomping, hair swinging, harmony laden, balls out booty call and it simply cannot be played loud enough! On this form it’s only a matter of time before The Karma Effect start gracing the stages that this sort of talent richly deserves, most definitely one to watch this year!

Much love

Frontiers XXX Anniversary Release

Fri, 13 Mar 2026 13:32:41 GMT

Frontiers Music Srl is proud to announce the upcoming release of the “XXX Anniversary Compilation”, a special project celebrating 30 years of passion, creativity, and unforgettable music. The record is set for release on May 22, 2026, and will be only available on CD, on the label’s webstore.

To coincide with the announcement, Frontiers shares the new single “Down From The Mountain”, featuring Nicklas Sonne (Defecto, Aries Descendant). Originally recorded by Allen/Lande, the song is reborn through Sonne’s powerful vocal performance, delivering a dynamic reinterpretation of the melodic rock classic.

The single follows the previously released anniversary renditions of “Little Drops Of Heaven” featuring Robin McAuley and “Viva La Victoria” featuring Dyan Mair, both offering fresh takes on beloved songs from the Frontiers catalogue.

Nicklas Sonne said: “Allen & Lande have both always been a huge inspiration. Recording ‘Down From the Mountain’ was a real honour, and I tried to bring my own voice to a song I’ve admired for years.”

Watch the official visualizer for “Down From The Mountain” - https://youtu.be/xHuvs5ElrJc?si=SUKk6jB8TrCnAFnr

Pre-Order “XXX Anniversary Compilation” - https://ffm.bio/xxxanniversary

Starting from an Idea of Serafino Perugino, the “XXX Anniversary Compilation” brings together some of the greatest melodies and voices from the world of melodic rock. This special release celebrates the label’s rich legacy by revisiting iconic tracks from the Frontiers catalogue, reimagined with dynamic new performances from an extraordinary lineup of guest vocalists.

Each track has been recorded exclusively for this anniversary project and showcases the powerful reinterpretation of beloved Frontiers classics through the voices of today’s standout rock artists.

Aldo Lonobile, Head Of A&R Europe at Frontiers Label Group and producer of the record, commented:

“Producing the 30th anniversary record for Frontiers Records has been both a honour and a responsibility. This label has built a legacy on passion and vision and, with this album, we wanted to celebrate that history in a meaningful way, having a mix of established and new generation of Frontiers artists reinterpret the iconic tracks that shaped our identity is more than a tribute - it’s a bridge between eras”.

“With a tracklist discussed together with the Frontiers President Serafino Perugino, this record is a celebration of where we come from, and a powerful statement of where we’re headed”, he continued.

Under the expert production of Lonobile – who also performs part of the guitars on the album - the performances are backed by a stellar lineup of musicians: Alessandro Mammola (guitar), Andrea Arcangeli (bass), Cristian Timpanaro (bass), the keyboards team – Alessio Lucatti & Antonio Agate, Alfonso Mocerino and Fortunato Grillo on drums, delivering powerful new arrangements that bring renewed energy to these fan-favorite tracks.

The “XXX Anniversary Compilation” isn’t just a compilation - it’s a tribute to 30 years of rock excellence, a heartfelt thank you to the artists, fans, and collaborators who have been part of the Frontiers Records story.

Whether you’re a lifelong supporter or discovering these songs for the first time, this album delivers powerful performances, soaring melodies, and the unmistakable spirit of Frontiers.

“XXX Anniversary Compilation” Tracklist:

1. Separate Ways (Feat James Robledo)

2. Watch The Fire (Feat Cassidy Paris)

3. Weight Of The World (Feat Karmen Klinc)

4. Viva La Victoria (Feat Dyan Mair)

5. Hypocrisy (Feat Stina Girs)

6. Edge Of Tomorrow (Feat Ronnie Romero)

7. Love Will Set You Free (Feat Santiago Ramonda)

8. Songs That Night Sings (Feat Tezzi Persson)

9. My Guardian Angel (Feat Fabio Caldeira)

10. When The Heartache Has Gone (Feat Mattias Olofsson)

11. No More Hell To Pay (Feat Giorgia Colleluori)

12. Down From The Mountain (Feat Nicklas Sonne)

13. Little Drops Of Heaven (Feat Robin McAuley)

“Down From The Mountain” Line Up:

Nicklas Sonne – vocals

Alessandro Mammola – guitar

Andrea Arcangeli – bass

Alessio Lucatti – keyboards

Alfonso Mocerino – drums

MICHAEL MONROE - ‘Outerstellar’ Album review

Sat, 07 Mar 2026 08:42:05 GMT

Not being able to make it to their co-headlining gig with Buckcherry in Glasgow, I was happy to pick up reviewing duties for ‘Outerstellar’ the latest album from the Michael Monroe band which has been attracting strong reviews and much interest since its recent release. And it’s not hard to see why.

It may just be me, but as a long-time fan of Hanoi Rocks, Demolition 23 and Michael’s solo career, the band’s last two albums - ‘One Man Gang’ (2019) and then ‘I Live Too Fast to Die Young’ (2022) - were solid enough, but felt as though they were missing something and haven’t withstood or encouraged as much repeated listening from me as some of their earlier work.

However, after only a few listens, I’m pleased to report that ‘Outerstellar’ finds the Michael Monroe Band rejuvenated, revitalised and refreshed, and at the top of their game with one of their most diverse releases to date owing largely to the welcome return of the inclusion of more band co-writes on the album in addition to more songs written by different band members.

Clocking in at 12 songs and 43 minutes, ‘Outerstellar’ is quite the musical ride.

First single and opening song ‘Rockin’ Horse’ bursts out of the speakers with intent creating a wall of sound above a rolling ascending and descending riff which Batman would’ve been proud of, broken up by chopping guitars and a big chorus. Strutting and swaggering into more familiar territory, ‘Shinola’ provides a big glam/punk showstopper with all of the makings of a live favourite written all over it and is followed by the at times more Alt, moody, heavy and almost Black Keys and White stripes-leaning ‘Black Cadillac’ - the first of three quite different songs.

Entering the second quarter of the album is where the diversity in sound really opens up. The Conte-penned ‘When the Apocalypse Comes’ is far from the doom-laden territory suggested by the title and features wonderfully uplifting jangly guitars, an almost Dylan-esque vocal, and as a song sounding very much in Heartbreakers territory, but of the Tom Petty kind instead of their more usual Johnny Thunders variety; another Conte song ‘Painless’ turns the dial effortlessly and confidently to Eastern, psychedelic, brooding and trippy; and ‘NewtroBombs’ takes us firmly into Wildhearts territory and you could have been forgiven for thinking it was 2010 and Ginger was still in the band.

‘Disconnected’, the second single from the album, grabbed me the second I heard it on Planet Rock radio while driving and I had to turn the volume up before I even knew who it was. Full credit to Rich Jones. This is a massive song which could attract a much wider audience. Starting with Sami’s rumbling bass accompanied by Karl’s bass drum and sparing hi-hat, before a searching guitar, half-spoken vocal and chords layer on, the song then builds up as the verse progresses into a soaring and shout it to the rooftops chorus which we could still be singing when we’re dead.

How do you follow that? A question also asked by other acts if unlucky enough to be on stage after the Michael Monroe Band, but on this album … not a problem when you’ve got the wonderfully melodic chorus of ‘Precious’ up next.

Another couple of up-tempo songs of the type the band produces so effortlessly follows in the form of ‘Pushin’ Me Back’ and ‘Rode to Ruin’, but sandwiched between them is ‘Glitter & Dust’. What can I say about this song other than it’s just a beautiful song whose acoustic intro will have your heart in a mess before Michael’s gently sung (yes, sung - no big rock vocal here) vocals capture your soul. Lyrically reflective, the song finds him displaying a raw tenderness and vulnerability in his intimate and almost confessional vocals.

For a band more known for short blasts of glam/punk, the unusually long album closer ‘One More Sunrise’ at 7 minutes and 40 seconds has an epic dream-like quality to it, without a second of slack and doesn’t over-stay its welcome …. and providing a tantalising aural glimpse of what ‘Tommy’ might have sounded like if The Who had been a glam/punk opera starring Lou Reed.

And it that’s not enough you need to order yourself a copy of the Japanese version of the CD, as I did, which contains an additional entire bonus album with 11 songs captured live during an acoustic set at ‘On The Rocks’, Helsinki, in September 2024.

Closer in nature to MTV Unplugged, with the full band including bass and drums, than just a guy with an acoustic guitar, this bonus CD is pretty special.

Highlights include ‘Hammersmith Palais’ which in its stripped back form here is a completely different and more emotional song to that recorded by Demolition 23 and appearing regularly in the band’s live set; great covers of Sylvain Sylvain’s ‘Medicine Man’ and Stiv Bators’ ‘The Last Year’; a brilliant version of the always fun ‘Boiler (Me Boiler ‘n’ me)’ with the band sounding here like a Finnish Faces, ‘Ballad of the Lower East Side’ and ‘Up Around the Bend’. Wonderful stuff.

The Michael Monroe Band are -

Michael Monroe - vocals and saxophone

Steve Conte - lead and rhythm guitar, and backing vocals

Rich Jones - lead and rhythm guitar, and backing vocals

Sami Yaffa - bass and backing vocals

Karl Rockfist - drums

‘Outerstellar’ is out now and is available on all of the usual platforms.

GMcA

Skindred release brand new single 'Can I Get A'

Thu, 05 Mar 2026 12:10:10 GMT

TAKEN FROM THE FORTHCOMING ALBUM "YOU GOT THIS"

TAKEN FROM THE FORTHCOMING ALBUM

YOU GOT THIS

RELEASED ON APRIL 17TH 2026

PRE-ORDER HERE

FIVE DATE IN-STORE UK TOUR WEEK OF RELEASE

PLUS

HEADLINING RADAR FESTIVAL, MANCHESTER

+ APPEARING AT BLACKBIRD, BOOMTOWN &

BEAUTIFUL DAYS FESTIVALS

WITH TOUR DATES ACROSS EUROPE & AUSTRALIA

Welsh ragga metal legends Skindred have released their brand-new single ‘Can I Get A’, which receives its radio world-premiere on Craig Charles’ show on BBC 6 Music this afternoon.

With a jaunty electro-honky-tonk intro leading straight into a infectiously singalong pop chorus, complete with “woop-woops”, ‘Can I Get A’ is an inspiring song of resilience and defiance, with playful sonic nods to the ‘80s, including a Phil Collins-style drum break and a soaring gospel backing vocal.

However dig deep into the lyrics of ‘Can I Get A’ and you’ll uncover a mini autobiography in song, addressing issues of childhood poverty and family hardship, made bearable through the love and support of those closest to you. It takes lead singer Benji Webbe back to being orphaned as a child, and how he was raised by his older brother who was little more than a kid himself.

“It’s me as a child seeing my friends with all these amazing things that people take for granted that I never had,” he explains. “I was eleven years old and was worried what my life would become. A lot of kids where I lived got into trouble and ended up in prison. I was just gonna grab that microphone and see where it would take me. I want to empower people to know that you can be what you want to be. Don't spend your life worrying about what you haven't got. Live your life because now is the time.”

The track is accompanied by a brilliant, tongue-in-cheek video, featuring the band performing alongside male and female dancers inside whirling graphics. Watch the video HERE .

You Got This is Skindred’s ninth album and is an all-killer-no-filler set which features everything that people love about the band – hard-hitting slammers, mega addictive hooks, earwormy soundclash elements, and dancehall vibes destined to ignite venues across the globe.

The title track was released as the first single from the album late last year, accompanied by a brilliantly entertaining video. And it was followed in January by the fiery and fizzing hook-laden banger ‘This Is The Sound’.

Production for the album came from the Grammy-winning Jay Ruston, who drummer Arya Goggin admires for having the songwriting chops to work with ‘80s power ballad master Desmond Child, while also producing Slipknot’s Corey Taylor and Mike Patton’s, Mr Bungle.

The new album finds the Newport trio – completed by guitarist Mikey Demus – embarking on a thrilling journey to follow the mainstream breakthrough that came with 2023’s critically-acclaimed album Smile. That album shot straight into the UK Official Album Chart at #2 and Skindred went on to receive the Best Alternative Music Act Award at the MOBOs, also winning Best UK Act at the Heavy Music Awards.

Long-revered as one of the best live bands on the planet, they played their largest headline show to date at Wembley Arena and toured the world, smashing every festival and headline performance and winning tens of thousands of new fans in the process. Those new fans will join Skindred’s long-established rabid fanbase in lapping up every note and lyric of You Got This.

The tracklisting for You Got This is:

You Got This

Can I Get A

Born Fe Dis

This Is The Sound

Broke

Glass

Big ‘Em Up

Do It Like This

My People

Give Thanks

Dred Or Alive

Skindred will be playing five very special shows to coincide with the album release.

Thurs 16th April – Circuit, Kingston (SOLD OUT)

Fri 17th April – O2 Academy, Oxford

Tues 21st April – Electric, Bristol

Weds 22nd April – Foundry, Sheffield

Thurs 23rd April – Beckett SU, Leeds

The band have further UK tour dates as follows:

June 27th - Cardiff - Blackbird Festival

August 1st - Manchester - Radar Festival

August 16th - Winchester - Boomtown Festival

August 21st - Ottery St Mary (Devon) - Beautiful Days Festival

They are also playing at major festivals across Europe this summer including Austria, Germany, Finland and Czechia, before their first ever headline tour of Australia in September.

Tickets and info on all shows available at: linktr.ee/Skindred2026

Derek Davis (Babylon A.D.) releases his new single 'Running Man' on 10th March,

Thu, 05 Mar 2026 12:02:15 GMT

out on Apocalypse Records.

Derek Davis (Babylon A.D.) releases his new single 'Running Man' on 10th March, out on Apocalypse Records.

Watch the teaser here: https://www.youtube.com/watch?v=oww9Lygbjr8&t=3s

Fresh off the successful releases of the last two “Babylon A.D.” albums (‘Rome Wasn’t Built In A Day’ & ‘When The World Stops’), Derek Davis brings his creative energy to life with his solo project, penning a brand new explosive up-tempo rocker, 'Running Man'.

The funk driven, hard-hitting rock/metal track delivers the angst and vocal delivery for which he is known. Both lyrically and musically, the track speaks to the frustration and passion of the forgotten man in today’s ever changing world. The AI evolution and political divide that shapes our thoughts and lives are explored through his cinematic story telling.

“Running Man” is a rock anthem at its core, with an uptempo fist pounding funkifed bass line and searing guitar riffs, the hooks never stop. Davis’s exploration of combining Hard Rock, old school R&B and Funk is awe inspiring and leaves the listener wanting more. Having played all the instruments, mixing and producing the track, as well as editing and creating the accompanying video, he once again proves to be a visionary force in the music industry. Derek Davis is a multi-talented performer, singer, songwriter, musician and producer who delivers it all with 'Running Man'!

Derek Davis:

Davis has showcased his extraordinary singing, songwriting, and musicianship in several areas. He has had several songs placed in films and TV, and has recorded six studio albums, three live albums and two EPs with the band Babylon A.D. He also wrote all the tracks, produced and released the band “American Blues Box” album and wrote, created and produced three solo albums “Revolt”, “Revolutionary Soul” and “Resonator Blues” as well as seven solo effort singles and videos

Over the last few years Derek Davis has performed, produced, wrote or co-wrote all the tracks for the Babylon A.D.s releases: 2018’s "Revelation Highway” Via “Frontiers Records” - 2023,“ Live Lightning” on Perris/Apocalypse Records, 2024's “Rome Wasn’t Built In A Day”, Perris/Apocalypse Records and in 2025, “When The World Stops” from Kivel Records. He has also created 10 Videos in this time for each single released by the band, and has done multiple tours in the United States, the U.K and Greece, proving once again the band's staying power in the history of hard Rock.

PRESENT DAY… As 2026 begins Derek Davis a has full schedule set for the rest of the year. Two more video/singles are scheduled for release by Babylon A.D. Davis is in full throttle writing mode for his next solo effort, another Soul inspired Funk Rock album that is set for release in the fall. The first track “Running Man” will be released on 10th March as a single and video.

Over the years, Derek Davis has amassed a published music catalogue of over 200 original compositions, very impressive and quite suitable compared to other artists. Derek has also mastered his video editing skills and production skills and is always trying something new to expand his musical journey. Derek Davis is the consummate, Singer/Songwriter/Musician/Producer, a born creator with a natural gift in the music landscape of our times

Buckcherry/Michael Monroe/Rubikon - SWG3, Glasgow 1st March 2026

Tue, 03 Mar 2026 11:41:35 GMT

Lucky Glasgow – a prime Sunday night of dirty, sleazy rock & roll by way of a co-headline tour show featuring two of the most compelling, captivating and entertaining frontmen you’ll ever see. Not a bad way to start the month of March.

To kick us off, there was a really solid and enjoyable set from Boston MA band Rubikon. They have been around the world and around the block a few times, and after 25 years, the line-up is still the same five groovy fuckers that they started with. They seem to be a very under-the-radar kind of band, but with a lot of gems in their back catalogue, a new record called ‘Wasteland’ to share, a crowd-pleasing tribute to ‘the Biffy’ with ‘Many of Horror’ and a redoubtable stage presence, they did a very fine job of warming up the room.

Michael Monroe had a spring in his step and made me feel like shit. He’s only four months older than me, but he still “moves-like-Jagger and looks-like-Blondie” and can play the sax and kick his own height, whereas I’m now a baldy old tosser that can’t even kick his own arse!

The ultimate and most authentic-looking glam-rocker; Michael’s gutter punk poetry took us on a wham-bam world tour of sleazy hot spots from London (‘Old Kent Road’ and ‘Hammersmith Palais’) to Japan (‘Last Train to Tokyo’) and LA (‘Malibu Beach Nightmare’). Of course, he didn’t leave out the scuzzy bits of NYC, where he found Steve Conte, on the alternative ‘Fairytale of New York’ that is ‘Ballad of the Lower East Side’ – a hymn in praise of all the “junkies, pimps and whores” back in the day, and hallelujah and amen to all that. ‘Dead, Jail or Rock ‘n’ Roll’? I’ll take the rock ‘n’ roll please - I might be bald but I’m still too pretty for jail!

The new album ‘Outerstellar’ is a cracker too, and highlights of the set included ‘Disconnected’ and ‘Shinola’ from that platter, plus old Hanoi Rocks favourites like ‘Don’t You Ever Leave Me’ and their cover of ‘Up Around the Bend’.

Despite having all-stars like Conte and Sami Yaffa on the stage, the second-hardest working man up there was Michael’s assistant, who spent the whole set picking up discarded mike stands and taking care of trailing and snagged cables as the main man romped all over the place in a high energy performance, adorned with hi-viz clothing, battery-operated millinery and sometimes shades, although there was nothing handy for him to climb tonight.

After a thoroughly entertaining set, patrons were then able to visit a very well-stocked merchandise table, which included unique items like hand-fans, sleep-masks and even a tour programme, alongside more traditional fare.

Buckcherry are on a mission to bring the danger back to rock & roll and they ‘Lit Up’ Glasgow by bringing out the big guns right from the start, backed up by monster newer songs like ‘So Hott’ and ‘Roar Like Thunder’.

As ever, tattooed, toned and bouncy bad boy Josh Todd was the focal point, prowling the stage like a well-inked Tigger and putting some sexy into his dance moves, while sermonising and testifying like the potty-mouthed, razor blade-throated rock & roll missionary prophet that he is and always will be. I didn’t win the topless sweepstakes as he didn’t get his kit off until after ‘Ridin’’ which was the 4th song of the night, but it was worth the wait for the appreciative girlies down the front.

‘Sorry’ was the emotional spot in the set, and Josh still sings it like he means it, but he followed it up with ‘Porno Star’ and somehow, I think ‘Say Fuck It’ is what’s really in his heart these days and that joyous middle-finger of a song was the big singalong sensation of the set. It ended, as it should, with the always relatable ‘Crazy Bitch’ – this time an extended version featuring snippets of James Brown and Tina Turner among others, accompanied by some super-fly syncopated dance moves and band introductions. This was most definitely a good time and if you didn’t know that winter was coming to an end before, you certainly felt that better days were ahead when you left. Happy days.

Photos - MB Photography Scotland

Single Review Arch Enemy – ‘To The Last Breath’

Sat, 21 Feb 2026 10:48:06 GMT

When you’ve gone through almost as many singers as Spinal Tap had drummers, you might begin to wonder… is it us? Arch Enemy couldn’t give a f**k if it’s them or not, and the Swedish death metal veterans return with a new single after seemingly hijacking the lungs from the bride of Frankenstein’s monster.

Australian Lauren Hart delivers fresh blood to the old guard on ‘To The Last Breath’, kicking over the barbecue, setting fire to the lawn, and declaring war on a foe whose “mask begins to peel / revealing rot beneath the seal”. Whoever it is that was “weaving lies like threads of flame / burning bridges, shifting blame”, I would not want to be YOU, mate.

With machine gun drums and riffs that Bill and Ted will steal in the future to write the song that will create a utopian society, ‘To The Last Breath’ had more than half a million views on YouTube within 24 hours of release, as hundreds of thousands of voices raised up in prayer to the Gods of Hell Fire. Clasp your hands and join them.

A menace unheard to the ears of the sane has revealed itself once again. Thirty years on, Arch Enemy are still turning it up to eleven.

ARCH ENEMY REVEAL NEW SINGER

Fri, 20 Feb 2026 14:27:03 GMT

DROP NEW SINGLE “TO THE LAST BREATH” WITH OFFICIAL MUSIC VIDEO

Photo credit: Patric Ullaeus

A NEW ERA COMMENCES...

ARCH ENEMY REVEAL NEW SINGER

DROP NEW SINGLE “TO THE LAST BREATH” WITH OFFICIAL MUSIC VIDEO
WATCH HERE

ANNOUNCE INTIMATE EUROPEAN CLUB SHOW RUN IN SUMMER 2026

Swedish extreme metal juggernauts ARCH ENEMY charge into a new chapter with the release of their explosive new single “To The Last Breath” - the band’s first blast of fresh material since their latest album Blood Dynasty.

A crushing statement of intent, “To The Last Breath” stays true to the band’s razor-sharp legacy while igniting a thrilling new era. The track also marks a major reveal: it’s the first release to feature vocals from the band’s newly unveiled singer Lauren Hart (ex-Once Human), whose arrival only amplifies their trademark ferocity to new heights.

Michael Amott, guitarist and founder of ARCH ENEMY, comments, “Connecting with Lauren has marked an important step in my journey. Working with her was an exceptional experience - her remarkable voice, coupled with her dedication and professionalism, brings a rare level of excellence. I look forward to continuing the collaboration!”

While fans and media alike have been rabidly speculating about who might step behind the microphone, the band remained tight-lipped, blanking out their social media, as anticipation built to a fever pitch. Now, ARCH ENEMY are back full force, revealing savage new anthem “To The Last Breath” as a no-holds-barred, baptism of fire for new vocalist Lauren Hart.

Michael Amott imparts, “Make no mistake - this song is a reckoning. Musically, it’s unapologetically aligned with my original vision for the band - and I believe longtime fans will recognise that immediately. Lyrically, it’s about seeing through deception and dismantling the illusion of control. It captures that moment when you realise you’ve been fed poison - and you choose to fight back. Once that clarity hits, there’s no retreat. It’s do or die.”

Kicking the doors off in every fashion, to celebrate this new chapter ARCH ENEMY have also announced a tiny European club show run dubbed “Back To The Root Of All Evil” in summer 2026.

Among the select dates are two unforgettable stops in England. ARCH ENEMY hit Manchester's Rebellion for the very first time, while the Underworld in London sees the band back for the first time since December 2002. Normally filling venues ten times the size, these intimate club shows strip things back to raw power, giving fans a once-in-a-lifetime, up-close experience with one of metal’s most ferocious forces.

Dates are as follows:

Sun 19th Jul - Germany - BERLIN Bi Nuu

Tue 21st Jul - Denmark - COPENHAGEN Pumpehuset

Wed 22nd Jul - Sweden - STOCKHOLM Kollektivet Livet

Fri 24th Jul - Finland - HELSINKI Tavastia

Sat 25th Jul - Estonia - TALLINN Helitehas

Mon 27th Jul - Poland - KRAKOW Hype Park

Sun 2nd Aug - Germany - COLOGNE Club Volta

Mon 3rd Aug - France - PARIS Maroquinerie

Wed 5th Aug - Spain - VITORIA Jimmy Jazz

Sun 9th Aug - Netherlands - UTRECHT Tivoli Pandora

Mon 10th Aug - England - LONDON The Underworld

Tue 11th Aug - England - MANCHESTER Rebellion

But be quick, because there aren't many tickets and they are going to fly!

Amott asserts, “Just when you think it’s over, a new beginning rises. Now it’s time to rage with us - to the very last fucking breath!”

Arch Enemy line-up:

Lauren Hart - Vocals

Michael Amott - Guitars

Joey Concepcion - Guitars

Sharlee D'Angelo - Bass

Daniel Erlandsson - Drums

EYE OF MELIAN unveils their new album, Forest of Forgetting, via Napalm Record

Fri, 20 Feb 2026 13:39:39 GMT

EYE OF MELIAN Invites You Into The Forest of Forgetting – The Tolkien-Themed Brainchild of Martijn Westerholt (Delain) and Johanna Kurkela (Auri)

EYE OF MELIAN open the gates to a different world with their new album Forest of Forgetting, out February 20th, 2026 via Napalm Records. Named after a powerful primordial singing spirit from the world of J. R. R. Tolkien, EYE OF MELIAN draws inspiration from the master of fantasy and expands on his ethereal concept. Created by Delain’s Martijn Westerholt and featuring Auri’s Johanna Kurkela as a lead vocalist, EYE OF MELIAN’s Forest of Forgetting is a masterclass in symphonic songwriting so whimsical the real world fades away.

Completing the all-star lineup on their debut with Napalm Records are orchestral arranger Mikko P. Mustonen and backing vocalist and lyricist Robin La Joy, blessing twelve lush compositions with immortal life. Mesmerizing from the first gentle notes of opening track “Of Willows And Shadows”, Forest of Forgetting weaves otherworldly piano melodies and epic strings around angelic vocals worthy of the powerful Valar themselves. “Child Of Twilight” deepens EYE OF MELIAN’s dreamy and bombastic Hollywood movie score approach, carefully building up an exceptionally enchanting atmosphere that carries on into the equally cinematic “Blackthorn Winter”, ever so elegantly broadening the view into the alluring realms the band is melodizing. “Dawn Of Avatars” features Nightwish multi-instrumentalist Troy Donockley on flute and uilleann pipes, as well as hurdy-gurdy fairy Patty Gurdy, before EYE OF MELIAN turns in the direction of heavy metal with a charming rendition of Bruce Dickinson’s anthem “Tears Of The Dragon” (originally released on Balls To Picasso in 1994 after the singer had left Iron Maiden). Forest Of Forgetting also comes with all its tracks as instrumental versions to dwell in the impressive orchestrals alone.

With this opulent album, EYE OF MELIAN extends an invitation to faraway lands full of wonder. Forest of Forgetting unfolds as quite the opposite of its title: utterly unforgettable.

Forest of Forgetting tracklisting:

Of Willows and Shadows

⁠⁠Symphonia Arcana

Child of Twilight

Elixir of Night (feat. Patty Gurdy and Troy Donockley)

Blackthorn Winter

Lady of Light

Dawn of Avatars (feat. Patty Gurdy and Troy Donockley)

Forest of Forgetting

The Buried Well

The Mirror

Nepenthe

Tears of the Dragon (Bruce Dickinson Cover)

Forest of Forgetting will be available in the following formats:

2-LP Gatefold Vinyl MARBLED TRANSLUCENT REPTILE, incl. 24’’ Booklet – strictly limited to 150 copies worldwide (Napalm Mailorder exclusive)

2-LP Gatefold Vinyl MARBLED CRISTALLO GOLD – strictly limited to 150 copies worldwide (Napalm Mailorder exclusive)

2-LP Gatefold Vinyl BLACK

2-CD Digipak

Digital Album

EYE OF MELIAN Live 2026

20.02.26 NL - Zwolle / Hedon - album release show

Forest of Forgetting Over Finland

10.03.26 FI - Kitee / Kiteesali

12.03.26 FI - Espoo / Sellosali

13.03.26 FI - Kouvola / Pato-klubi

18.03.26 FI - Rovaniemi / Korundi

19.03.26 FI - Kuusamo / Kuusamo-talo

20.03.26 FI - Oulu / Kaupunginteatteri

21.03.26 FI - Raahe / Raahesali

24.03.26 FI - Helsinki / Aleksanterin Teatteri

26.03.26 FI - Turku / Turun Linnan Kuninkaansali

27.03.26 FI - Kuopio / Maxim

28.03.26 FI - Tampere / Tuulensuun Palatsi

EYE OF MELIAN are:

Martijn Westerholt – Keys and Orchestral arrangements

Johanna Kurkela – Vocals and Violin

Robin La Joy – Backing Vocals

Mikko P Mustonen – Keys and Orchestral arrangements

WEBSITE

GYPSY PISTOLEROS release their video for new single 'I'm The Prince Of The Damned'

Fri, 20 Feb 2026 13:29:14 GMT

new album 'Dark Faerie Tales' out 17th April via The New Church Records.

GYPSY PISTOLEROS release their video for new single 'I'm The Prince Of The Damned' out now, new album 'Dark Faerie Tales' out 17th April via The New Church Records.

How do you follow up one of the most electric rock/punk albums of 2025? You don’t just repeat it — you surpass it. You burn it brighter, louder, and more dangerously. Gypsy Pistoleros return with “I’m The Prince of the Damned”, the second single from their feral, unapologetic killer new album Dark Faerie Tales.

This isn’t just music — it’s a riot. A feral collision of fur-clad glam, gothic decadence, punk attitude, and sleazy rock ’n’ roll danger, built for outsiders, misfits, romantics, and anyone bored of beige rock. Co-written and produced by the wizard-of-chaos Dave Draper (Michael Monroe, The Wildhearts, Therapy?, Elvana), the track doesn’t recycle rock history — it sets fire to it.

“I’m The Prince of the Damned” is a dark, swaggering hard rock anthem steeped in gothic menace and glam-punk bravado. Massive riffs, venom-laced vocals, and a hook-laden sleazy chorus make it a track designed to dominate specialist rock radio and late-night alternative playlists. Lyrically, it dives into corruption, temptation, and inner demons, with cinematic and theatrical intensity:

“We crown the wrong kings and call it salvation,

Follow wolves in borrowed halos straight into damnation.

Even when the lies crack, we bow and obey —

Sheep to the slaughter, giving our souls away.”

Preorder the album here: https://www.plastichead.com/artist/gypsy-pistoleros .

The world’s only Glam Punk Goth ’n’ Roll outlaws return with their most ambitious and eclectic album yet — 'Dark Faerie Tales', out April 17th, 2026 on The New Church Records / Plastichead Distribution.

Following the success of Church of the Pistoleros — hailed as one of 2025’s most fearless and eclectic rock albums — the Pistoleros have conjured something even bolder: a dark fairytale for the damned, a love letter to the beautiful and broken, and a twisted hymn for the strange of heart.

Born from the fires of their own mythology, Dark Faerie Tales drifts through haunted woods and neon dreams — where sleaze-drenched punk anthems meet gothic grandeur, and glam swagger burns with outlaw soul. Dark Faerie Tales the full album unfolds like a scorched fairytale: churches burn, saints fall, and survivors mutate into something wild, beautiful, and dangerous.

'Dark Faerie Tales' Track Listing:

Dark Faerie Tales

My One Desire, Burn It Up

King of Almost Everything

She’s Getting Stranger

Take My Hand to Nightmare Land

Behind The Mask

Prince of the Damned

Rattling

I Whisper Goodbye

The Ghost of Baby Strange

Dark Faerie Tales U.K. Tour dates:

11 April – St Austell, The Band Club

16 April – London, The Underworld (SLADY, Continental Lovers, Bai Bang)

17 April – Worcester, The Marrs Bar

18 April – Pontypool, The Dragonffli

22 April – Newcastle, The Cluny

24 April – Dunfermline, The Brasshouse

25 April – Edinburgh, Bannermans

1–2 May – Beltane Gathering Festival, Wales

9 May – No Sleep Till Blackpool Festival @ The Waterloo

10 May – Stoke-on-Trent, Eleven (Matinee Show)

15 May – Nottingham, The Old Cold Store

16 May – Stockport, The Holy Diver

23 May – Breaking Bands Festival, Droitwich

Special Guests: James Kennedy & The Underdogs to support throughout Tour

6–9 August – Rebellion Punk Festival, Blackpool Winter Gardens

Tickets: https://gypsypistoleros.com/shows

Gypsy Pistoleros’ live shows are gothic theatre, glam-punk ritual, and unmissable rock spectacle. From Rebellion to Planet Rockstock, they’re ready for their biggest UK headline run yet.

Expect:

• Sleaze-drenched punk anthems & gothic theatrics

• For fans of Alice Cooper, YUNGBLUD, GHOST, The Cult, The Damned, Hanoi Rocks, Killing Joke

• A wild, theatrical experience — part gothic carnival, part rock ’n’ roll ritual

Order Gypsy Pistoleros albums here: https://www.plastichead.com/artist/gypsy-pistoleros

Gypsy Lee Pistolero – Vocals

Kerry Pistolero White – Bass & B.Vox

Shane Pistolero Sparkz – Guitar & B.Vox

Chris Pistolero Hopton – Drums

Darklore releases their amazing album, The Great Elven War

Fri, 20 Feb 2026 13:20:17 GMT

Darklore release their highly anticipated new studio album, The Great Elven War, alongside the thunderous new single Wrath of the High Heavens.

Today marks a monumental chapter in fantasy metal as Darklore release their highly anticipated new studio album, The Great Elven War, alongside the thunderous new single Wrath of the High Heavens.

Serving as the album’s eighth and final track, “Wrath of the High Heavens” stands as a towering anthem of celestial warfare and mythic storytelling. Inspired by Blizzard Entertainment’s iconic franchise Diablo, the song explores the ancient origins of the Eternal Conflict, the endless war between the High Heavens and the Burning Hells.

Driven by soaring orchestration, relentless riffs, and battle-cry choruses, the track pays tribute to the Angiris Council, the ruling angels who stand as the last bastion of light against demonic forces. A sweeping clash of divine fury and infernal chaos, “Wrath of the High Heavens” captures the timeless struggle of light versus darkness in true Darklore fashion: epic, cinematic, and unyielding.

The Great Elven War expands the band’s signature blend of symphonic grandeur, crushing metal intensity, and deep-rooted fantasy lore. Each track builds a rich narrative universe, culminating in a finale that feels both triumphant and apocalyptic.

With today’s release, Darklore further solidify their place at the forefront of fantasy metal, crafting not just songs, but sagas.

“Wrath of the High Heavens” and The Great Elven War are available now on all major streaming platforms.

Bio:

Decked-out in black leather and face paint, you'd be forgiven for thinking that Darklore had just walked off the set of a fantasy film. Their theatrical set and songs of dark fantasy and epic battles takes you on an adventure through many a mystical and magical place. Hailing from Brisbane, Australia, this unique metal outfit brings forth blackened hymns from realms both familiar and surprising. Their offerings deliver unique tales, from sword-clashing encounters to demon slaying battles, presented with an energetic delivery and theatrical stage presence that will leave you entranced. The dark fantasy lyrical content of Darklore’s work recalls stories from popular universes such as The Lord of The Rings, Game of Thrones, and also draws on their unique realms of darkness. And they play on their success in rallying melodic and symphonic overtones, paired with elements of black and death metal.

Darklore has previously released their first studio album, The Evil of Man. 2025 will herald the release of their latest musical offering, The Great Elven War. The call is out to Darkloreans far-and-wide as our lovable warriors prepare to do battle once more!

Members:

Lord Commander Raivendark

War Master Hargoth

High Priestess Luna

Permacrisis - 'The Untrue Endeavour' Single review

Fri, 20 Feb 2026 12:24:22 GMT

Scottish thrash band Permacrisis dropped their latest single The Untrue Endeavor last month, marking the beginning of another killer year in rock music. The swelling intro lures you in with a sense of unease and raised tension, with the discordant sounding string and woodwind sections building to a climax like that of a horror movie jump scare. The drums attack first, straight into a biting drop-tuned riff reminiscent of Avenged Sevenfold’s Waking the Fallen era. The tempo is fast and unrelenting, with a solid rhythm base and a polished, aggressive guitar tone. The snare pops with every hit and makes you bang your head hard to every beat. The chorus is huge and fills the speakers with energy and passion, with solid vocal melodies that will keep you coming back for more. The song ends with a gnarly breakdown perfect for inducing a sweat soaked, frenzied pit, with blasting fills and screaming pinch harmonics reminding you that with modern metal, you go hard or go home. If you love Exodus, Mastodon or Testament, the Untrue Endeavor is truly the perfect single for you!

Listen via the link below.

https://open.spotify.com/album/2o44BOV06zCJMThff00oFU?si=TujjVO-FRLGIpwcBoYulcg

https://www.facebook.com/p/Permacrisis-61555047760243/

Mason Hill - Twisted single review

Thu, 19 Feb 2026 08:47:14 GMT

I first saw Scottish rockers Mason Hill when they supported Marco Mendoza at Glasgow’s much missed Hard Rock Café. Google tells me it was almost a decade ago, in May 2016. Whilst my memory couldn’t quite remember the year without the aid of the internet, what I can remember clearly is the hunger and power that the young Glasgow band displayed that night. I was so impressed that I bought their EP for £5. I then bought another one when they played at the inaugural Winterstorm Festival in Troon later that same year and played some of the tracks on my much-missed (by me!) Sunday Rock Show on local radio throughout Ayrshire. I took great pride in watching their raw talent blossom into something quite special with a much-anticipated debut album and a live album release. It was all going so well… until singer Scott Taylor called it a day in 2023.

Mason Hill assured fans they’d be back and after a long and frustrating wait, they were true to their word, returning in October of last year with a brand-new singer and a bold new sound with the single ‘Remember’. Tom Ward (vocals), James Bird (guitar), Craig McFetridge (drums), Matthew Ward (bass) and Marc Montgomery (guitar) then made a stunning return to the live stage with two sold-out shows in London and Glasgow, showing that they were well and truly back and hungry for more. A UK Tour for March was recently announced and now they continue on the comeback trail with another new single, ‘Twisted’, set for release on Friday 20th February 2026.

The much heavier new sound continues in the intro to ‘Twisted’ with a riff that’ll blow your speakers wide open, shake your windows and frighten the neighbour’s cat. Imagine Creed in their arena-bothering heyday or even current day Alter Bridge. Now, turn up the heaviness a notch or two and double the power and you’ve got the gist! Tom Ward’s voice bristles with intensity as he spits the lyric “I’ll sit there in silence” whilst McFetridge’s drums reverberate off the walls during the verse.

Heavy rhythm guitar and bass riffs take the song into its more melodic yet no less heavy chorus. It’ll only take a few listens before you’ll find yourself singing along and opining “can’t we just exist. I know it’s twisted but baby I’ve missed it”, such is the infectiousness of the chorus. That’s the sign of a good song in any genre of music!

The bridge section is as heavy as anything I’ve heard in recent years. It’s a muscular tour-de-force of prominent and powerful bass, loud and intense drums, riff-heavy guitars and almost death metal-like growling. I dare you to listen without bursting into an energetic session of headbanging or an incredibly intense bout of air guitaring! You might even set up a mosh pit in your living room and inadvertently bounce granny and grandpa around like human pinballs! There’s no time for shredding guitar solos. This one is all about the riff!

The general feel of the song is the kind that would do very well in the American rock and metal market. It’s hard rock, yet it’s modern metal. I’ve already mentioned Creed and Alter Bridge but I’m also thinking Shinedown and Stone Sour, maybe even some elements of Papa Roach and Gojira. The depth of the music means that when you listen to it, you’ll find your own comparisons and elements of other bands that could be wildly different from my opinion… but one thing is for certain: it’s the new sound of Mason Hill!

‘Twisted’ continues the bold new sound of Mason Hill. It’s a heavy slice of modern hard rock and metal with powerful riffing, high energy and a musical intensity that can’t fail to impress. Mason Hill are most definitely back… and I like what I hear!

‘Twisted’ will be released on all the usual platforms on Friday 20th February 2026. An accompanying video will be released on the same day. Subscribers to the Mason Hill mailing list will already have received a link for the video, ahead of its official release. Tickets for the UK Tour in March/April are selling fast, so get yours now!

Tickets for the Mason Hill dates are currently on sale with some venues already showing low ticket warnings.

Tuesday 17th March – Manchester, Academy 3

Wednesday 18th March – Bristol, Exchange

Thursday 19th March – London, Underworld

Friday 20th March – Wolverhampton. KK’s Steel Mill

Sunday 22nd March – Glasgow, The Garage

https://www.masonhillofficial.com/

Smith/Kotzen, Kris Barras Band - SWG3 Glasgow, 15th February 2026

Wed, 18 Feb 2026 08:31:13 GMT

It’s amazing to think that it’s almost 4 years ago since Iron Maiden’s Adrian Smith and former Poison/Mr Big guitarist Richie Kotzen last graced these shores with the presence of their Smith/Kotzen project. For me, that night in early 2022 signalled a return to some kind of normality following the madness of the two previous years, when the music industry all but shut down during the pandemic. That tour was to support their self-titled debut but since then, they’ve dropped a live EP before the long-awaited release of last year’s sophomore album Black Light/White Noise. So, it was with great delight that another tour was announced to take place exactly 4 years since the last one, including a date at Glasgow’s SWG3 Galvanizer’s venue with the highly rated Kris Barras Band as support.

Considering it was a freezing cold night and a big football match had just finished a short distance across the river, the venue was busy when the Kris Barras Band took to the stage for a hard rocking 9-song set. The modern rock of ‘Unbreakable’ and ‘Dead Horses’ set the bar, whilst my own long-held favourite song from the band, ‘Dead Horses’, really started to raise the heat and rattle the brocks and steelwork in the high-roofed, former industrial site. ‘Ignite (Light It Up) led to the introduction of two brand new songs due to feature on a forthcoming new album, the recently released single ‘All Falls Down’ and ‘Monsters We Made’. Barras has really taken care of his health recently, giving up alcohol and looking fit and trim, so perhaps that’s why his voice sounded better than ever, whilst his excellent band (including one of the best live bass players you’ll see, Frazer Kerslake) rocked harder than ever before. ‘Hail Mary’ and fan favourite ‘My Parade’ brought the short support set to a close but it was long enough to pique interest in the new material and a reminder of how powerful the Kris Barras Band are in a live setting. Look out for tour dates and the new album later in 2026.

As the lights dimmed for Smith/Kotzen, Bad Company’s brilliant self-titled song blasted through the PA system. Not just a part of the song as an intro. Pretty much the whole thing! As Adrian Smith appeared on the stage, resplendent in a hat and a long red scarf, it was clear to see the esteem in which he is held by rock and metal fans. For many, the affable Londoner is clearly the big pull in this project but as a longtime fan of Richie Kotzen’s solo work, I always like to watch the look of amazement on audience faces when the American unleashes his own guitar wizardry. Smith/Kotzen have never relied on past endeavours with their more established bands (Iron Maiden, Poison, Mr Big, Kotzen’s sizeable solo output), instead using live performances to promote their own music, so it was no surprise that the first three songs were from the latest album Black Light/White Noise, namely the rocker ‘Life Unchained’, ‘Black Light’ and the slightly moodier but no less rocking ‘Wraith’, a song held together by the reassuringly familiar and solid rhythm section of Julia Lage (Kotzen’s wife) on bass and drummer Bruno Valverde.

“Thanks for coming out tonight because it’s horrible out there” commented Smith in reference to the miserable weather outside. I mean, it’s Glasgow… it’s Scotland… and it’s February. Did he really expect tropical temperatures? A return to the excellent Smith/Kotzen debut with ‘Glory Road’ gave both Smith and Kotzen an opportunity to really stretch out and show their very different but equally impressive guitar chops whilst one of my personal favourites, ‘Hate and Love’, allowed the higher and more soulful tones of Kotzen’s voice to blend perfectly with Smith’s lower, more hard rock oriented voice. Very different guitarists. Very different singers. But it works so damn well!

One of the new album’s tracks, ‘Blindsided’, with a riff that really reminds me of Velvet Revolver’ led to the first single Smith/Kotzen released in 2020, the brilliant ‘Taking My Chances’. It’s the song that really set the intent for the project and continues to shine like a hard rock diamond in their live set. There was a return to Black Light/White Noise with the more mid-paced rockers ‘Outlaw’ and ‘Darkside’ and another discussion about the Scottish weather, including a Valentine’s Night meal in Glasgow where Kotzen and Lage couldn’t believe that girls were wearing skimpy dresses with no coats. “They’re tough up here” explained Smith. The paced picked up again with ‘Got a Hold on Me’ from the Better Days EP and the sludgy riff of ‘White Noise’ before the sprawling and epic ‘Scars’ from the debut album really raised the temperature with some of the best guitar solos and trading of licks that I’ve seen in a long time. Fan favourite ‘Running’ and the more frantic, almost bluesy ‘Solar Fire’ brought the main set to an end.

As previously mentioned, Smith/Kotzen are a great band in their own right, so there’s no need to play any back catalogue numbers from any of their current or previous bands. Their own music is more than enough and stands up on its own. However, an encore of Kotzen’s solo song, the wonderfully depressing and superbly moody ‘You Can’t Save Me’ and the classic Iron Maiden favourite ‘Wasted Years’ was welcomed by the Glasgow crowd, who pumped hands in the air and nodded heads in appreciation.

Only time will tell if we need to wait another 4 years for Adrian Smith and Richie Kotzen to return to Glasgow but meantime, we can relive memories of a hard rocking gig in the company of two uber talented guitarists, with very different playing styles and even more different singing voices. Smith/Kotzen delivered a slick, professional show that provided ample room for them to showboat their skills without a trace of the ego that often comes when such talents collide. They certainly helped to raise the temperature on a cold February evening in Glasgow. No coats required!

The Smith/Kotzen tour continues through the UK with shows in Southampton, Bristol and London before heading to Germany, Switzerland, Italy, Czechia, Poland and Sweden.

Jayler announce debut album 'Voices Unheard' & release electricfying new single

Tue, 17 Feb 2026 14:08:57 GMT

NEW VIDEO / SINGLE ‘DOWN BELOW’
OUT NOW

JAYLER – the electrifying UK rock band fusing the spirit of the golden age of rock with a bold, raw modern edge – have announced their debut album Voices Unheard, set for release on May 29th via Silver Lining Music.

JAYLER deliver swaggering riffs, soulful vocals and an unstoppable live energy, which is already seeing them known as a tour de force in the live arena. There’s a DNA and nod to classic British bands such as Led Zeppelin and Queen in the mix, but the band’s identity is rooted firmly in the present — loud, emotional and built to connect instantly.

Frontman James Bartholomew leads the charge on vocals and guitar, alongside Tyler Arrowsmith (guitar), Ed Evans (drums) and Ricky Hodgkiss (bass/keys). Together, they balance groove and immediacy with a youthful edge with defiance sitting at the core of their songwriting. JAYLER write for a generation that feels restless and unheard, fusing vintage tones with contemporary grit to create songs that land with physical impact and emotional weight.

The band’s brand new digital single, ‘Down Below’ is out now. An up-tempo, dust-kicking rock stomper which crackles with raw intent from the first beat. Swaggering guitars, pounding drums and a groove that feels built for movement to drive the song forward.

The band’s previously announced white label 7-inch, featuring ‘Down Below’, has now completely sold out. Produced as a strictly collector’s pressing limited to 500 copies, every numbered and band-signed copy has been claimed ahead of its May 29 delivery. As promised, the release will not be repressed.

“‘Down Below’ was the first track we recorded when we went into the studio, and straight away it felt like the perfect follow-up to Riverboat Queen. By the final day at Vada Studios, the track felt completely alive. The riffs, the tones...all of it came from that raw end-of-record energy. We hadn’t planned to film anything, but the vibe in the room was too real not to capture. So the video is literally us, right there in that moment.” - JAYLER

The eagerly anticipated new album Voices Unheard will be released on May 29th 2026, via Silver Lining Music. To celebrate the release, JAYLER will host a series of exclusive in-store signing sessions across the country, giving fans the opportunity to meet the band up close, have their albums signed and capture the moment with photos. Full details, locations and timings will be announced soon.

JAYLER’s reputation has been forged on stage. Relentless touring and an unfiltered connection with their audience have built a fiercely loyal following. Every show is high-voltage and communal — a band and crowd feeding off the same surge of energy. With a schedule that spans continents and iconic arenas, 2026 will see JAYLER take that unfiltered intensity to their biggest audiences yet, including the recently announced show with Deep Purple at the iconic London Royal Albert Hall venue, an additional one-night-only show added to an already monumental run. For tickets visit: jayler.co.uk

2026 Dates:

2 April – Audio, São Paulo (BZ)

4 April – Monster Of Rock, São Paulo (BZ)

5 April – Qualistage, Rio de Janeiro (BZ)

24 May – Ribs and Blues Festival, Raalte (NL)

4 July – AO Arena, Manchester (UK)*

5 July – bp pulse LIVE, Birmingham (UK)*

7 July – first direct bank arena, Leeds (UK)*

9 July – The 02, London (UK)*

11 July – 2000trees, Cheltenham (UK)

29 Sep – Arena 8888, Sofia (BG)**

1 Oct – BT Arena, Cluj-Napoca (RO)**

2 Oct – Papp László Sportaréna, Budapest (HU)**

4 Oct – TIPOS Aréna, Bratislava (SK)**

5 Oct – Wiener Stadthalle, Vienna (AT)**

7 Oct – O2 Arena, Prague (CZ)**

8 Oct – Atlas Arena, Łódź (PL)**

10 Oct – Stark Arena, Belgrade (RS)**

11 Oct – Boris Trajkovski Arena, Skopje (MK)**

13 Oct – Telekom Center Athens, Marousi (GR)**

16 Oct – Hallenstadion, Zürich (CH)**

17 Oct – Unipol Forum, Milan (IT) **

19 Oct – Sant Jordi Club, Barcelona (ES)**

20 Oct – Movistar Arena, Madrid (ES)

22 Oct – Adidas Arena, Paris (FR)**

23 Oct – Lotto Arena, Antwerp (BE)**

25 Oct – Royal Arena, Copenhagen (DK)**

26 Oct – Avicii Arena, Stockholm (SE)**

28 Oct – Spektrum Arena, Oslo (NO)**

29 Oct – Scandinavium, Gothenburg (SE)**

31 Oct – Qi Arena, Leipzig (DE)**

1 Nov – Sporthalle, Hamburg (DE)**

3 Nov – Westfalenhalle, Dortmund (DE)**

4 Nov – Uber Arena, Berlin (DE)**

6 Nov – Festhalle, Frankfurt (DE)**

7 Nov – Arena, Nuremberg (DE)**

9 Nov – Ziggodome, Amsterdam (NL)**

10 Nov – Zénith, Strasbourg (FR)**

12 Nov – Arkéa Arena, Bordeaux (FR)**

13 Nov – Zénith Nantes Métropole, Saint-Herblain (FR)**

15 Nov – LDLC Arena, Lyon (FR)**

18 Nov – Utilita Arena, Newcastle (UK)**

19 Nov – OVO Hydro, Glasgow (UK)**

21 Nov – bp pulse LIVE, Birmingham (UK)**

22 Nov – AO Arena, Manchester (UK)**

24 Nov – Eventim Apollo, London (UK)**

25 Nov – Royal Albert Hall, London (UK)**

*Special Guests to Sammy Hagar

**Special Guests to Deep Purple

More shows around the World to be announced soon.

At a time when so much of 2026 feels manufactured, JAYLER cut through with something real.

IRON MAIDEN DELIVER FINAL PLANS FOR THEIR KNEBWORTH EXTRAVAGANZA,

Tue, 17 Feb 2026 11:05:05 GMT

UNLEASHING THE FAN DRIVEN
EDDFEST WEEKEND!

THE ULTIMATE ONCE IN A LIFETIME CELEBRATION OF ALL THINGS IRON MAIDEN

FOR THEIR 50TH ANNIVERSARY

FRIDAY 10TH & SATURDAY 11TH JULY 2026

Last September when Iron Maiden announced their only UK show of 2026, on July 11th at Knebworth Park, they said they would be “turning it into as much of a ‘Maiden World’ as we can for all our fans to enjoy!” and true to form they are now able to announce the full details, revealing exactly what that means.

Get ready for EDDFEST - a once in a lifetime opportunity to experience what constitutes Iron Maiden’s idea of a fun-filled 48 hours of entertainment, themed areas and bars, experiences, live music and more. Inside EDDFEST fans will be able to explore the Infinite Dreams Museum Experience, a walk-through display of stage props and relics, inspired by Sunday Times Bestseller book Infinite Dreams. This is an unprecedented and completely unique opportunity to view Maiden relics up close and personal.

Fans will also encounter Maidenville, where you will find the greatest Eddie’s Dive Bar yet, a second stage for music and entertainment, the Unfair Funfair featuring rides and Eddie-themed Funfair Games, plus Eddie’s Emporium and much more to explore throughout the site.

Friday night campers will be able to gain early access to the site and experiences, including first access to the Infinite Dreams Museum Experience. There will also be a whole evening of entertainment planned on the Maidenville stage featuring a mix of special acts with a connection to Maiden. This is all topped off with the previously announced main stage on the Saturday, featuring an exceptional supporting line-up, ahead of Iron Maiden’s show-stopping RUN FOR YOUR LIVES performance.

Manager Rod Smallwood explains; “After the monumental shows in the UK last year, we knew that if we were going to play the UK in 2026 it had to be very different. So we chose Knebworth Park as it gives us the space required – which is just not available in stadiums – to put together something groundbreaking for our fans by creating a Maiden World for them. We are excited to now reveal the details of this one-off event to celebrate the band’s 50 year career, which we are now calling EDDFEST, because, as everyone knows, Eddie is the true star of the show!

We also know Maiden fans are basically a huge gang and we want to give them a weekend to remember at Knebworth. For the last couple of tours we have been arranging the Eddie Dive Bars for our fans, both pre- and post-show. Some of these took over the entire centres of towns with thousands of fans gathered there enjoying the fun, the music and each other’s company. So EDDFEST is going to expand on that concept in a huge variety of ways, to create a truly unmissable Maiden World over the whole weekend!

There will be a whole host of great music, great beer (of course!), lots of exciting and varied fun things to do, great souvenirs and merch, some unique and fantastic photo opportunities to create unbeatable Maiden memories, and of course, the true camaraderie that comes from being a Maiden fan.”

Kilimanjaro promoters Stuart Galbraith and Alan Day, the creators of Sonisphere, add, “Maiden have a different view on how they want to do things for their fans than most bands. We previously worked with them at Sonisphere and when they explained what they wanted to do for this show we were hooked. It will be a unique event. A celebration of the Eddie-verse if you will: a curated Friday afternoon, night and all day Saturday, finishing with the last UK show Maiden will play until at least 2028!

“Creating something like that, which will include a once-in-a-lifetime Infinite Dreams museum experience, featuring a wide range of rarely-seen memorabilia from throughout their history, a Maiden-themed fun fair, the biggest Eddie’s Dive Bar ever with some extra special additions and surprises, plus the ability to camp, glamp or park a motorhome on site for the Friday and Saturday night show in a specially created ‘village’ space with Maiden Alumni, friends and our perfect partners, Planet Rock – well it was a chance not to be missed!”

Friday Night at Eddfest is all about fun before the big day. The campsite comes alive with direct access to the heart of Maidenville and the entertainment is a blend of bands and artists with connections to Maiden - some obscure, some as clear as daylight but they all have something in common and deserve to be a part of the opening night celebration.

FRIDAY NIGHT ON THE MAIDENVILLE SECOND STAGE

Featuring full sets from

Stray

Maiden United

Airforce

Tony Moore’s Awake

Hair Metal Glamageddon

Saturday sees the opening of the Main Arena, which includes Eddie’s Extended Emporium, the Trooper VIP area and a range of interactive experiences. These will act as hors d’oeuvres for the curated Main Stage festival live bill, starting with back, better than ever British rockers THE ALMIGHTY.

Australia’s festival-ready AIRBOURNE follow, before the thrilling Mongolian metal of THE HU rings out across Knebworth’s hallowed park. As we move into the evening THE DARKNESS will take to the stage for a barnstorming set before IRON MAIDEN deliver an historic performance – the ultimate communal experience between the band and their fans set in the heart of this one-off Maiden World.

EDDFEST is going to be a truly exceptional weekend for each and every Maiden fan in attendance – an unforgettable chance to be part of a fully themed Festival experience, celebrating IRON MAIDEN’s spectacular fifty year career… and the last chance to see them in the UK until at least 2028.

Tickets available via ironmaiden.knebworth.com, myticket.co.uk, ticketmaster.co.uk and

of course, ironmaiden.com

Camping tickets are separate to the event tickets and available to purchase in parallel

For further details, to purchase tickets and to stay updated on all things to do with Iron Maiden at Knebworth including FAQs & timings make sure you check out the dedicated site: ironmaiden.knebworth.com

IST IST, The Caves, Edinburgh. 9th February 2026

Mon, 16 Feb 2026 12:10:41 GMT

It's Monday the 9th of February (it's difficult to accept it's February already!) I am back in Edinburgh, at The Caves to see IST IST play for the second time in a year! This time, it is just the band on their own. To be honest, this review is going to be quite short, as this current tour is an album launch tour, which means it is also going to be a rather short set as they are only playing the tracks from the album, plus two additional songs.

Having come through from the west of Scotland, I'm not used to the doors opening at the time stated on the ticket!

Entering the venue, Adam (singer/guitarist) and Joel (drummer) are on the merch stall, I have a chat with the lads and buy some merch. Adam tells me the whole band will be at the merch desk at the end of the gig, to pose for photos and sign anything we want signed, I took them up on that as my other half purchased every available format of the album "DAGGER", which entered her into a draw to win a bass drum autographed skin, which was used to record the album. I'm not sure when the draw is, but thus far, we have not won.

As I said, it was a short set by the band, twelve tracks total, all ten from the album. Once again the band release an album without a poor track on it. For myself, there are two stand out tracks, "I am the fear" and "I remember everything"

Near the end of the set, Andy (bassist) announced that the album (Dagger) was sitting at number three in the midweek chart, which is fantastic to hear and well deserved for a hard working band.

The two non album played were "Lost my shadow" and "The kiss". Speaking to a few people who have been following the tour said the last two songs have been different at each show. I left another IST IST gig happy and looking forward to their gig in Glasgow later in the year.

As usual, if reading this and you don't know the band, head over to your favoured music streaming platform and give them a listen, you might find a "new" band to follow.

See you at the barrier.

10 Things I’m Looking Forward to in 2026

Mon, 16 Feb 2026 11:45:32 GMT

Its only February and plans are starting heat up for the year. Here are a 10 things I am particularly looking forward to.

Stiff Little Fingers

Yeah, I go and see them every year; the 17th March at the Barrowlands is in the diary from one year to the next. I’ve loved Fingers since I first became aware of them at a Boys Brigade Camp in 1980 (yup the BB’s was the place I discovered punk). Jake Burns has, for me, has consistently been true punk in all that he has produced. Alternative Ulster and Suspect Device are obvious examples, but Each Dollar a Bullet and Harp are just as punk.

The big reason I’m looking forward to seeing Finger is simply this, they are cracking on and every time they come on tour I wonder if its going to be the last. Every opportunity to see SLF is a night to savour as I really do worry that each time may be the last. If you can get a ticket you should go…you just never know.

Scarborough Punk Festival

Spending the last weekend in March at the seaside has turned into a bit of an annual thing for my mates and me. This year there are a couple of new bands for me. I have never seen The Casualties before. The line up may have changed a bit, but they are still New York hardcore punk and to get a chance to see them will be a bit of a highlight of the weekend. The other new band for me is The Good, The Bad and the Zugly. I’d never heard of them when the line-up was announced, but having now listened to a blast of them, I cannot wait for a bit of Norwegian punk to go with my candy floss.

Chepstow Castle 

The line up for this day out was just too much to say no to. Since I first heard them, I have loved The Scarlet Rebels. Any chance I have to see them is a chance I take. It will be great to see them headlining an outside gig in Wales. The undercard is a cracker too; Kris Barras has, for years now, been an outstanding guitarist who knows how to put on a show. I discovered The Virgin Mary’s last year, yup I was late to that particular party, and I loved them, they have never been off the earphones since. To top it off Juliet’s Not Dead. I like what I’ve heard but have never seen them live. I have however, seen Twister, their previous incarnation, and I always remember the efforts they made during covid to keep the music alive. It’s going to be a great day in south Wales.

Marillion – Amphitheatre of Pompeii

I’ve been a Marillion fan since ’83 and, whilst I was sorry when Fish left, I really love what the band have become over the last 10 years. The complexity of the instrumentation, the musicality of every album couples with the fantastic voice of Steve Hogarth make Marillion, in my view, one of the most musical live bands on the plant. This year they have decided to ramp it up a bit and play in Pompeii in the hight of July. My son and I will be taking the factor 50 along and hoping for a fantastic weekend of music. As a dad, getting away with my boy is always a highlight and there is not going to be much of a better combo then Marillion and spending time with him – a top highlight to look forward to.

The Moulin Rouge

Seriously! My wife’s nephew has managed to get a dancing gig here. He is only 19 and has grabbed the opportunity after years of hard work and training. Whilst I am expecting the Can-Can, I am told the show is pretty spectacular and it will be good to know a member of the cast. We are hoping to get a wee look around the back of it all when we head over. Wee bit different, but no worse for that.

Blondie – High Noon 

Debbie and Co are planning a new release in spring. Johnny Marr makes a wee appearance on the record, but, more importantly, Clem Burke is laying down the beat. Who know what this album is going to sound like, what we do know, is that it will be the last one described as a Blondie album and that’ll make is special. They are one of the defining bands in terms of looks and sound who have endured since the 1970’s. I am hoping it’s a cracker.

Little Angels Reunion

Who doesn’t love a bit of Toby Jepson. I smiled when I heard about this reformation. I’ll be looking forward to big riffs, big solo’s and big grins when the Angels role into Glasgow in the back end of the year. Having Thunder’s Luke Morley in tow is a cracking addition too.

Stay Alive - The Life and Death of Stuart Adamson

I’ve always loved Big Country and though that channel I got into the Skids, perhaps the wrong way round but I got there. Stuarts guitar was iconic and, coming from Scotland, it was easy to be a fan. I was there for the Final Fling at the Barrowlands when he bowed out. Looking at that video again and again, one wonders what was going though this complicated guys mind that night. Perhaps this authorised biography will provide a hint. I’m looking forward to opening it.

The Undertones

Derry’s finest return to tour in the autumn, this time they are celebrating 50 years of great music. I wonder when they first gave Mars Bars a bash, did they think they’d still be around and filling big halls half a century later. Julie Ocean, When Saturday Comes and You Got My Number remain some of the finest pop/punk/new wave songs ever written and its always a pleasure to hear them. If you can get a ticket – do!

Ronnie Scott’s and the 100 Club

My wife and I have never been either to this iconic jazz club or this punk haven. We are going to sort both out on a trip to London this year. No idea what we are going to see in either venue, but I am simply looking forward to getting into these special places for a listen of whatever has made it there the nights we get along.

Who knows what else 2026 will bring. It’s going to be a hard year for live music particularly for smaller bands playing smaller venues. I’m going to try to get out to support as much as I can and also use that as an opportunity to spend time with those I love doing something we share a passion for. Bring it on.

A heavy metal mass beyond imagination – POWERWOLF unleash WILDLIVE!

Thu, 12 Feb 2026 16:41:43 GMT

POWERWOLF are back – louder, more powerful and more epic than ever

POWERWOLF are back – louder, more powerful and more epic than ever! On February 13, 2026, the German metal titans will release their brand-new live album, WILDLIVE, capturing the magic, energy and theatrical brilliance of their biggest headlining tour to date. Recorded during the breathtaking final show of their Wolfsnächte Tour 2024 in Munich’s Olympiahalle, WILDLIVE is not just a live album – it is a grandiose cinematic experience and a sacred celebration of metal, filled with fire, emotion, and boundless creativity.

What began as an unconventional project in 2004 has since evolved into one of the most successful metal phenomena worldwide. WILDLIVE documents POWERWOLF’s unrelenting rise to the top, showcasing a performance that goes far beyond a metal concert. From a fire-breathing church organ and thunderous pyro spectacles to dark, operetta-like storytelling and rousing crowd interaction, this show is pure heavy metal theater at its finest.

Each song is visually reimagined with a changing digital stage set, timed effects, and theatrical elements: monks with torches, falling snow on a burning piano, and a fiery execution scene that rivals shock rock’s greatest icons. Classics like "Army Of The Night", "Amen & Attack", "Armata Strigoi", and "Demons Are a Girl’s Best Friend" come alive in larger-than-life arrangements, while emotional highlights like "Alive or Undead" bring the audience to tears. The interplay between frontman Attila Dorn and organist Falk Maria Schlegel turns every moment into an unforgettable ritual.

WILDLIVE is more than just a celebration of past triumphs – it marks the beginning of a powerful new chapter in POWERWOLF’s unstoppable journey. The Wolves have announced their return to the stage with shows across Europe, North America, and – for the very first time – London’s iconic Wembley Arena. WILDLIVE stands as both a monument to everything the band has accomplished and a fierce promise of what lies ahead.

Whether you’ve witnessed their spectacle live or are discovering the Wolves for the first time: WILDLIVE is an absolute must-have for every music lover. It will be available in multiple formats including Blu-Ray, DVD, CD and Vinyl as well as a Deluxe Boxset, Earbook, Mediabook, and several other Collectors Editions, featuring exclusive bonus content.

POWERWOLF have long transcended genre boundaries – their shows are cult-like celebrations of metal, emotion, and art. With WILDLIVE, they once again prove that what they create is beyond music – it is religion.

BLOODSTOCK’S WINTER GATHERING RETURNS FOR 2026!

Thu, 12 Feb 2026 16:26:28 GMT

GET TICKETS HERE

After an unforgettable debut last year, BLOODSTOCK’S WINTER GATHERING storms back this winter, bringing the spirit of the UK’s premier metal festival indoors once again for a full day of festive heaviness. Returning to take over KK’s Steelmill, Wolverhampton, on Saturday 5th December 2026, this one-day celebration promises towering riffs, intimate chaos, and all the community magic that BLOODSTOCK is known for.

Just a 20-minute walk from Wolverhampton station, with all-day parking nearby for a couple of quid, KK’s Steelmill is easy to get to. Alongside a stacked lineup of crushing bands, there’s a range of food available to help you keep up your energy for 8 hours of solid headbanging, plus a fully stocked bar serving drinks throughout the event, with cash, card, and contactless all accepted. And because December is definitely coat weather, there’s a cloakroom available too - drop off your big coat and warm up in the pit!

Doors will open at 2pm, with bands performing from 3pm – 11pm, ensuring wall-to-wall metal across two stages from start to finish.

Headlining the main stage are Greek metal legends ROTTING CHRIST, whose ritualistic blend of black metal, gothic atmosphere, and commanding live presence has earned them acclaim across more than three decades. Joining them are Ukrainian blackened death metal outfit 1914, whose harrowing, World War I-themed sound delivers both sonic brutality and emotional weight. Leeds crossover thrashers PEST CONTROL bring razor-sharp riffs and ferocious energy, while vivacious slam extremists PARTY CANNON guarantee chaos, colour, and full-bore pit action. Self-proclaimed neoclassical fantasy pirates RED RUM offer up swashbuckling riffs and theatrical flair, but perhaps impeccable, classic doom purveyors WITCHSORROW will be more your thing? Kicking proceedings off in style, punk-infused eclectic progsters SQUARE WILD will open the stage.

The second stage is headlined by UK thrash powerhouse SHRAPNEL, delivering precision aggression and modern bite. They are joined by doom/death heavyweights THE CRAWLING, epic metal storytellers MOON REAPER, and Staffs-based punk bruisers HEAD DENT. Also appearing on the second stage is a live Bloodstock Festival Management Q&A, giving fans a rare chance to hear directly from the team behind the festival and ask their burning questions.

Beyond the music, WINTER GATHERING once again delivers the extras that made last year so special, including S’tanta’s Grotto, band signing sessions, giveaways, and the now-infamous snow machine making its frosty return.

BLOODSTOCK and WINTER GATHERING co-director Vicky Hungerford comments, “Last year’s Winter Gathering was honestly such a blast — it reminded us exactly why Bloodstock began as an indoor event in the first place. The atmosphere was so intimate and felt just like those early days. We’ve got loads of fun things planned for 2026 and we’d love to see as many of you there as possible. It’s basically our Bloodstock Christmas party!”

Tickets are on sale immediately, priced at £55 (+ booking fees) - grab them now

For all the latest info, keep your eyes peeled on the official event website here.

Massive Wagons Strip Back the Stigma Around Men’s Mental Health as Andy’s Man Club Joins UK Tour plus Scarlet Rebels Confirmed as Special Guests.

Thu, 12 Feb 2026 16:22:10 GMT

Massive Wagons are set to shine a spotlight on men’s mental health, teaming up once again with Andy’s Man Club

Massive Wagons are set to shine a spotlight on men’s mental health, teaming up once again with Andy’s Man Club for their 2026 UK tour. Launching the partnership with a stripped-back campaign moment at their Sold-Out Warrington show in nothing but their Andy’s Man Club branded Oddballs boxer shorts. Using humour, openness, and visibility to support the charity’s vital work and encourage conversations around mental health across the UK.

Andy’s Man Club representatives will be present at venues throughout the Everywhere We Go UK Tour, helping to tackle the stigma surrounding men, speaking openly about mental health. Chart-topping rockers Scarlet Rebels will also be joining Massive Wagons as main tour support. At all venues apart from Gloucester, with support for that show still to be announced.

Andy’s Man Club will be embedded into the tour experience, with their facilitators on hand at shows to talk to fans, share information, and signpost local peer-to-peer support groups. The partnership aims to encourage men to open up, attend meetings, and seek support, addressing the sobering reality that suicide remains the single biggest killer of men under the age of 45 in the UK.

Frontman Baz Mills explains why the band is committed to continuing the partnership

“Super stoked to have the wonderful Andy’s Man Club back out on the road with us this April and May. The last time we toured with the guys it worked so well, we thought, why not keep doing what works! It’s a no-brainer really. Mental health isn’t something that gets fixed overnight like a bug in a system. It’s an ongoing fight to help men and people, navigate the punishing challenges surrounding mental health.

Any opportunity we get to expose our fanbase, or new people, to the realities of men’s mental health, we’ll grab with both hands. We recently caught up with Luke from AMC, and he filled us in on the successes of the tour we did together last year. He said they saw a few hundred new men attending meetings off the back of the shows, several have gone on to become facilitators, and one has even opened their own club, just amazing!

Getting the message out there and smashing the stigma around talking about mental health is the main goal, and the longer we can be involved with AMC, the better.”

Luke Tetlow-Cross from Andy’s Man Club adds:

“ANDYSMANCLUB have been working with Massive Wagons for the past two years, joining them on the Earth to Grace tour in 2024, Earth to Grace Part 2 in 2025, and their iconic Lancaster Great Hall show last September.

Across those tours we handed out over 8,500 wristbands and information cards, and we’ve seen a huge number of Massive Wagons fans attend our groups with some going on to become facilitators and help us open even more clubs across the country.

We’re thrilled to be heading back out on the road with the band for the Everywhere We Go tour this April and May. Massive thanks to Terri, the band, and the entire team for helping spread the message that #ITSOKAYTOTALK.”

Joining them on the following dates are Welsh Rockers Scarlet Rebels, whose most recent album Where The Colours Meet' scored their second top 20 UK Album Charting record, hitting number 15 and giving them their first UK Album Chart Rock and Metal number 1.

Frontman Wayne Doyle says “We’re absolutely buzzing to be joining Massive Wagons on their latest UK tour. We’ve shared a bill with them several times and we’ve always had the best time. They’re an amazing band and genuinely lovely people…So to be able to join them on the road is a massive privilege for us, we cannot wait.”

EVERYWHERE WE GO – UK TOUR 2026

17.04.2026 – Norwich, Epic Studios

18.04.2026 – Leicester, O2 Academy

19.04.2026 – Holmfirth, The Picturedrome

23.04.2026 – Aberdeen, The Tunnels

24.04.2026 – Middlesbrough, Empire

25.04.2026 – Hull, The Welly

30.04.2026 – Margate, Dreamland

01.05.2026 – Exeter, Phoenix

02.05.2026 – Gloucester, Guildhall *

*No Scarlet Rebels – Gloucester support TBC

Robbie Williams Barrowland Ballroom, Glasgow Wednesday 4th February 2026

Thu, 12 Feb 2026 11:51:04 GMT

A few months ago, if you had told me that one of my first live concerts of 2026 would be Robbie Williams, I’d have laughed at you. If you then told me that I would be seeing the stadium bothering pop-megastar at the legendary but comparatively tiny Barrowland Ballroom in Glasgow, I’d have said you were mad and needed to see a doctor pronto! Spoiler alert... that’s exactly what happened, as I accompanied Mrs Griffiths to the iconic venue on a cold February evening to see the former Take That star taking to the stage as part of his short but sweet Long 90’s Tour, in which he resisted the lure of arenas and stadiums to play four small UK venues to promote the launch of his latest album, Britpop. The deal was that he’d play the whole of 1997 debut album Life Thru a Lens followed by the whole of Britpop, which had surprised fans with an earlier than advertised release a few weeks earlier. Just enough time to get to know the songs!

Having played to 70,000 fans at Edinburgh’s Murrayfield Stadium last summer, tickets for Williams’ show at the 1900 capacity Barrowland Ballroom were always going to sell out in minutes… if not seconds! However, perseverance in the face of pre-sale code adversity, along with 20 minutes of constantly clicking the refresh button long after the ticketing service said it had sold out resulted in me gaining legendary husband status by somehow finding two tickets. You see, Robbie Williams was always Mrs G’s favourite member of Take That but shockingly, she had never managed to see him live before due to holidays, work, sold out shows and the annoying distraction of having children. So, as we walked to the venue in the week leading up to our 21st wedding anniversary, she exuded an almost teenage-like excitement. Robbie Williams… at the Barras!

The venue was already fairly full when support act Reverend and the Makers took the stage for an acoustic based run-through of their career. Despite not quite being heavy enough for a hard rock and metal devotee like me, I recognised a few of their songs. Despite an entertaining and engaging performance, the band was hit with something that has become a virus at concerts and shows in recent years: rude and ignorant behaviour! Whilst I accept that those in attendance were there to see Robbie Williams, there’s no excuse for talking and shouting loudly through any live set. It must have been so frustrating for the band, who couldn’t have failed to hear the constant murmur of voices that at times drowned out their sound. When did music fans become so entitled?

As the lights dimmed and Williams’ band took to the stage, the roar of the crowd was deafening. With my preference being the heavier side of music, I really didn’t know what to expect from a Robbie Williams concert… but the first few bars of ‘Lazy Days’, the opening track of Life Thru a Lens, took me by complete surprise. It was a much heavier sound than I could ever have imagined. It was loud and almost grungy, turning to moody as the main man’s voice was introduced in the first verse. If I didn’t know better, I’d have said it was… rock music! From there, it was all the tracks from the album in the original running order. The title track led to ‘Ego Agogo’ before Williams, looking trim, fit and healthy, greeted the Glasgow crowd, taking in the applause before asking if anyone had seen the new Take That documentary, released the previous week. There was some liberal use of the ‘c word’, as the singer admitted to cringing at some of his past behaviour whilst acknowledging that his former bandmates and manager had indeed been… well… ‘c words’! Some boos could be heard as Gary Barlow was mentioned but this was largely replaced by cheers as Williams expressed what appeared to be a genuine love for Barlow and the others. The past is all water under the bridge and they’ve matured and moved on.

From that little interlude, came one of his biggest songs and the staple for every contestant of late 90s and early 2000s reality TV programmes: ’Angels’. To my surprise and perhaps even a little shame, this middle-aged hard rocker knew every word and I sang along with gusto! In fact, I sang more than Williams did, as the star sat on the drum riser or stood at the edge of the stage to soak up the adulation of the audience as the Glasgow choir took lead vocals. Ok, it was quite an experience in a highly charged atmosphere… but as one inebriated punter told Jack Jones (I believe) at the famous Glasgow Apollo in the 1970s… “I paid to hear you sing… so sing”! To be fair, Williams eventually retrieved the song from the audience and led them through to the big finish. Great stuff!

‘South of the Border’ was followed by a rocking ‘Old Before I Die’, once again surpassing my expectations with its rock and metal-like power. ‘One of God’s Better People’ was good but completely overshadowed by ‘Let Me Entertain You’ which was so energetic that the two famous disco balls suspended from the ceiling were swinging ever so slightly. With a 10-piece band on the relatively small stage with him, including a brass section, it was perhaps one of the most rocking performances of a song that the famous ballroom will have seen for many years. Entertain us, he did!

The problem from this point was that the remaining three songs, ‘Killing Me’, ‘Clean’ and ‘Baby Girl Window’ paled into insignificance in comparison, so a short break before Britpop was probably a good shout… but not before Williams stood alone, centre stage, to recite the hidden track ‘Hello Sir’, which appears to be a two fingers up poem about a teacher who didn’t believe in him when he was younger. I think Williams proved him wrong!

The stage backdrop was changed to the Britpop album cover before Williams and the band returned to the stage for a track by track run through of the new music. Having had a quick listen to the new alum a few days previously (perhaps the first Robbie Williams album I’ve ever listened to in full), I had already decided that it sounded more like a rock album than the pop album I expected. With the founder of heavy metal (Black Sabbath guitarist Tony Iommi) and one of my personal hard rock heroes (the ‘Voice of Rock’ Glenn Hughes of Deep Purple) guesting on the opening track ‘Rocket’, my interest was piqued as to how it would sound in a live setting. Well, it was loud and fast with a touch of hard rock heaviness. Just enough to have me bopping my head and raising a fist! ‘Spies’ continued the hard rocking trend with an Alice in Chains-like intro that then moved into a catchy indie rock song before ‘Pretty Face’, with its catchy and bouncy chorus, had the crowd dancing and singing along from the front to the back of the venue.

There was time for a quick and very current joke (or simple observation) about Williams not appearing in the Epstein files, caveated with “that’s what being agoraphobic since 2002 will do”! ‘Bite Your Tongue’, with a strange little rap/almost spoken intro, moved away from the harder edge of rock to the kind of pop-rock I’d usually associate with the singer, whilst ‘Cocky’ (autobiographical, perhaps?) with the line “you get to talk to Jesus. I get to talk to God” most harked back to 90s indie rock, in the days when I had hair and a waistline. The pace slowed a bit for ‘All My Life’, which dare I say it, had a bit of an Oasis vibe to my ear but moved into a very ethereal and cosmic sounding ‘Human’.

The dance beats and sing along chorus of ‘Morrisey’ and the rockier ‘You’ led to the standard album’s final track ‘It’s OK Until the Drugs Stop Working’, with it’s catchy 1960’s dancehall feel that was a perfect hit for the Barrowland Ballroom, considering its history. There was time for a bonus track from Britpop’s deluxe version and that was decided through a poll on the Robbie Williams Instagram page. Now, this is where the confusion kicked in! The song finished, Williams thanked the audience and the band took a well-deserved bow before leaving the stage. However, the houselights didn’t come on, suggesting there would be an encore of some kind. The crowd waited… and waited… and waited. We still waited, even when the crew appeared on the stage and started to dismantle the equipment. Eventually, the lights illuminated the hall, showing a sweaty mess of an audience in all its glory, who realised the show was over and reluctantly trudged down the stairs, well and truly entertained.

Robbie Williams at Glasgow’s Barrowland Ballroom will probably prove to be a one off. With rumours of a bigger tour in 2027, it is highly unlikely that fans of the singer will have another opportunity to see him up close and personal in such a small venue. After all, he’s a pop megastar, more suited to arenas and stadiums. Or is he?

Seeing Robbie Williams live at the Barras changed my long-held opinion of him. I’ve seen many great concerts in the iconic venue, some of which rank as my favourite ever gigs. Def Leppard, The Darkness, The Pretenders, Mr Big, Bruce Dickinson, Gun and Skindred are just a few of the favourites. I can now add Robbie Williams to that list. Will I suddenly start listening to his albums? Probably not. Will I accompany my wife to see him from the back row of a stadium or arena, where most of the show is viewed from the big screens? Probably not? Will I proclaim him as the saviour of music? No. However, I am now mature enough to admit that I don’t need to like an artist to admit that they have talent or to enjoy their live shows. Robbie Williams is a born entertainer. In fact, I’d now go as far as to say that he is a true rockstar! But the best part of the evening was seeing the unbridled joy on the face of my wife as she saw her idol live for the first time… and that, my friends, is the true magic of live music.

FOZZY + TAILGUNNER + MARISA AND THE MOTHS Saturday 7th February 2026 Dreamland Ballroom, Margate

Thu, 12 Feb 2026 11:46:43 GMT

There’s a pretty lengthy queue outside Dreamland this evening and it’s getting longer; Apparently soundcheck is overrunning and we might be waiting another half hour or so until they let us in. These things happen, but I’m feeling a little out of place amongst the Fozzy aficionados; A few weeks ago I’d never heard anything by the band, but had a vague awareness that they were fronted by pro-wrestler Chris Jericho (who I also knew nothing about!). Unusually, I got my ticket on the strength of the support bands, so I’m happy to take up position on the barrier ready for Marisa and the Moths.

Making their Margate debut, I’m sure there are many in the room who discovered the band through last year’s Maid of Stone Festival - and perhaps that’s why it’s already so busy, a fact that’s not lost on a delighted Marisa Rodriguez. The self proclaimed “weird but cool” quartet set the bar high with their distinctly modern take on heavy rock that’s less about bulldozing riffs and more about attitude. There’s a mood that comes from the edgy guitar work, enhanced by Rodriguez’ voice that is soaring, beautiful and occasionally vicious. She sings about her anxieties, inner struggles and emotions, exposing herself in a way that feels almost intrusive for the listener. But ultimately, we can all relate to the sentiment of forthcoming single ‘Nothing’s Getter Better’, which goes down a treat. ‘Choke’ is embraced with similar enthusiasm, generating the first major singalong of the evening. The set concludes with ‘Needy’, which cleverly utilises the soft-loud dynamics that Nirvana made into an art. A difficult band to categorise, but an easy band to love, Marisa and the Moths somehow turn personal agonies into music with the power to move and to uplift.

As someone who adores Judas Priest, Tailgunner have me on side immediately with a look that resembles the metal gods at their leather and chains finest. I can’t remember the last time a young band made me smile quite so broadly, but watching Tailgunner feels like watching a revival of good old British heavy metal, in the best possible way. There is much of Iron Maiden in Tom ‘Bones’ Hewson’s galloping bass lines, Craig Cairns’ theatrical vocal delivery and the twin guitar mastery of Zach Salvini and Jara Solis (the latter standing in for regular guitarist Rhea Thompson), albeit a little faster and more frantic. Some of that frenzied energy comes from drummer Edoardo Mariotti who drives the irrepressible ‘White Death’ with spectacular precision. A joyful band to watch, Tailgunner attack the stage like their lives depend on it, wielding their guitars like weapons and breaking out all the iconic stage poses that make you wish you were that cool (or is that just me?!). But it wouldn’t mean anything if they didn’t have the songs to back it up, so I’m relieved to report that they sound just as good as they look. ‘Midnight Blitz’ is a classy metal anthem that feels lifted from the 80s (and I mean that as a compliment), and ‘Tears in Rain’ is catchier still, with an irresistible chorus that makes you want to throw your fists to the air. Am I now a little bit obsessed? Possibly. If you like your metal traditional, and appreciate a singer who can really sing, Tailgunner might just be your new favourite band.

I quickly learn that everything about Fozzy is larger than life, from the monster riffs and huge choruses to Chris Jericho’s impressive selection of sparkly jackets. A natural entertainer, Jericho knows how to work the room, commanding the audience from an elevated platform at the centre of the stage, and causing rapture when he gets close to the front row. Admittedly, I have to Google why everyone keeps shouting “Y2J” at him, but it’s obviously a sign of appreciation! The energy on stage is enviable; Guitarist Rich Ward may have a few years on me, but he’s clearly got better knees, barely standing still for more than a few seconds as he launches himself around the stage. And really, energy is what Fozzy is all about - sometimes the vocal harmonies don’t quite land, but it barely even matters, especially when the audience is singing almost as loudly as the band. I’m surprised at just how many bangers are in the band’s arsenal, the kind of catchy, arena ready anthems that are so easy to pick up and enjoy, even if you’re a bit of a novice (like me!). Jericho’s vocals are certainly reminiscent of Ozzy Osbourne, particularly on the thundering ‘Sane’, but stylistically Fozzy feel closer to Shinedown, every song an adrenaline blast designed to fire you up. A cover of ABBA’s ‘SOS’ might seem like a bit of a curveball, but doesn’t derail the momentum built by the likes of ‘Fall in Line’ or ‘Spotlight’. On the contrary, arms are in the air, and I’ve seldom seen a crowd so engaged.

In fact, if you measured a band on how their audience reacted to them, Fozzy would come out on top. When Jericho mentions it’s the group’s first visit to Margate for many years (joking that he’s going to re-name the town ‘Mar-great’!), he’s met with an impromptu chant of “please come back” which says it all. A group who don’t care how seriously you take them, but care seriously about delivering a good time, it’s hard to imagine anyone leaving disappointed. A cover of ‘Crazy Train’ brings the evening to a close, and though covers are very much part of Fozzy history and undeniably good fun, they don’t really need them - their own ‘Judas’ is an anthem of their own creation, and Fozzy make this sort of thing seem very easy.

It’s cold outside, but I’m leaving Dreamland very sweaty and hot - surely the mark of an evening well spent! The tour continues across the UK - get your tickets here: https://fozzyrock.com/tour/

SETLIST

Fall in Line/One Crazed Anarchist/Lights Go Out/Painless/Spotlight/SOS/Burn Me Out/I Still Burn/Nowhere to Run/Army of One/Sane/Drinkin’ with Jesus/Do You Wanna Start a War/Purifier/Enemy/Judas/Crazy Train

Phone photos by Laura DQ

Jay Buchanan – “Weapons of Beauty” (2026)

Thu, 12 Feb 2026 11:26:09 GMT

Jay Buchanan’s debut solo album, “Weapons of Beauty,” is a deeply personal and introspective work shaped by a unique creative journey. Departing from the dense, riff-driven sound of his band, Rival Sons, Buchanan chose to craft this album in solitude, retreating to the Mojave Desert. The isolation and silence of this environment is indelibly stamped into the DNA of this album. Inspired by his environment Buchanan has delivered an album that displays a more vulnerable songwriting style. Those months alone, surrounded by his musical instruments, have resulted in Buchanan finding ways to instil that sense of silence and stillness into the music itself, resulting in songs that feel authentic, reflective, and emotionally exposed. You almost expect some desert sand to fall out when you open the album.

Musically, the album embraces acoustic textures and Americana influences, with arrangements that are sparse, letting the songs breathe and the listener to be embraced by the warmth and earthiness of the recordings. This allows Buchanan’s expressive, textured vocals to come to the fore. His voice shifts seamlessly from softly whispered, to powerful, full-blooded rock god sonics. The album moves fluidly through genres such as soul, country rock, southern gothic, and gospel, creating a soundscape that is both expansive and grounded. Standout tracks include “True Black,” which delivers a fiery, sermon-like energy, and “Tumbleweeds,” which evokes a darker, dust-laden Americana reminiscent of artists like Jason Isbell, Will Hoge, or Dave Hause. “Deep Swimming” recalls the later work of Robert Plant, while “Dance Me To The End of Love” takes the Leonard Cohen song into smoky, early seventies Stones territory totally eschewing the pop sounds of Cohen’s 80’s original. While these influences can be heard it’s Buchanan’s emotional openness and vocal presence that give the album its unique identity.

Lyrically, the album delves into themes of grief, reckoning, and self-examination. “Caroline,” a slow, mournful folk ballad, tells the story of a man in the Old West mourning his wife, using open musical space to let the character’s sorrow resonate. Ballads like “Shower of Roses” and “Sway” showcase Buchanan’s ability to build emotional intensity gradually, moving from gentle vulnerability to powerful release. The more upbeat “The Great Divide” features a pop-leaning groove with bluesy guitar accents, while “True Black” examines redemption through its gospel influences, portraying a man who’s reflecting on the moral balance of his life. These songs demonstrate Buchanan’s willingness to tackle the awkward moments in life, a quality shaped that could also be attributed to the way the album was written and recorded.

It feels like making “Weapons of Beauty” was both artistically demanding and personally daunting for Buchanan. It can’t be easy to step away from the security of a well-established band and face your own abilities as a solo artist. In interviews, Buchanan has spoken about the fear and lengthy periods of unproductivity he experienced encountered while recording the album. It feels like this all adds to the cocktail that when mixed served up the album’s heart. These songs sound authentic and the human emotions expressed are raw, world weary and roughly hewn, yet always there is hope and love expressed within the album. Buchanan was able to shape this raw material into a cohesive record with the help of producer Dave Cobb. Cobb’s production seals in the album’s honest, rough-edged quality while achieving a sense of unity and structure.

Across its ten tracks, “Weapons of Beauty” presents an artist venturing into unfamiliar territory, embracing silence, uncertainty, and emotional exposure. The result is an album that is both intimate and expansive, rooted in Americana yet unafraid to explore diverse stylistic landscapes. Buchanan’s debut stands as a notable departure from his previous work, offering a quieter but deeply resonant statement shaped by isolation, introspection, and a renewed dedication to storytelling. Listeners who appreciate honest, emotionally charged songwriting and genre-blending Americana will find much to admire in this compelling debut.

Henry Grace – Things Are Moving All Around Me (2026)

Thu, 12 Feb 2026 11:23:40 GMT

This release marks a significant evolution for Henry Grace, transitioning from solo artist to frontman with a full band. The album, recorded live at Middle Farm Studios and co-produced with Blaine Harrison (Mystery Jets), embraces a raw, authentic sound that prioritizes presence over polish. Grace’s collaborators: Brian Love, Toby Evangelou, and Tom Holder: play a central role, contributing to a cohesive and dynamic ensemble.

Thematically, the album explores transitions: geographical, emotional, and existential: reflecting Grace’s experiences between California and London, and the introspection that comes with entering a new decade of life. Tracks such as “Rust,” “Moving On,” and “Say Something Mean” highlight both the album’s sonic diversity and Grace’s lyrical depth, balancing vulnerability with resilience. “This Is The Place” offers a stripped-back, lo-fi moment, while “Things” delivers a lush, layered soundscape.

“California Rain” stands out as a poignant reflection on Grace’s time in Los Angeles, tying together the album’s transatlantic themes. “Passing Through” and “Leaving Song” further develop the motif of movement and emotional complexity, with the band’s restrained performance enhancing the impact of Grace’s vocals. “Days Like This,” recorded late at night, captures the spontaneous energy and camaraderie of the group, providing a fitting conclusion to the record.

Overall, “Things Are Moving All Around Me” is a cohesive and mature work, capturing the exhilaration and challenges of personal and artistic transition. Grace’s songwriting is refined, the band is tightly integrated, and the production lends a lived-in authenticity. The album represents a clear progression from Grace’s earlier work, establishing a sense of belonging and creative confidence.

Swedish Gothic Doom Entity DRACONIAN Announces 8th Studio Album, In Somnolent Ruin, Out May 8, 2026 via Napalm Records

Wed, 11 Feb 2026 15:25:51 GMT

New Album Marks the Return of Singer Lisa Johansson to the Band!

The undisputed leader of the 2nd wave of Gothic Doom Metal, DRACONIAN, is finally back – and they return in better shape than ever! Their new studio album, In Somnolent Ruin, will creep its way from the artist’s spirit into the light of day on May 8, 2026 via Napalm Records. This promises to be one of the most personal records in the band’s discography, revealed through a dreamlike journey across nine tracks and the poetic lyricism of vocalist Anders Jacobsson. The new album also marks the return of long-time vocalist Lisa Johansson – the band’s vocalist for their first five records – who now once again shares vocal duties with Anders Jacobsson. The lineup on the new album has been together and touring since 2022, which gives the album a special live-feeling.

As a recurring theme on In Somnolent Ruin, DRACONIAN explore Plato’s theory of the soul – an element that was not planned from the very beginning, but instead emerged organically during the creation of the new album, which has once again been written, recorded and arranged by Johan Ericson.

Johan Ericson on the new album:

“The first idea—the embryo, really—of In Somnolent Ruin goes back to 2021. It began with the song “Misanthrope River,” a title that had already existed since the demo days of Under a Godless Veil, now finally finding music to accompany it. As small pieces and fragments slowly started to grow into actual songs, it only made me more inspired to keep writing.

I drew a lot of inspiration from art and from other musical acts—everything from dark folk to eerie ambient music—which helped keep the creative spark alive. Early on, I had a clear sense of the overall vibe I wanted for the album: classic doom intertwined with ambient soundscapes. I also wanted a wide variety of songs across the record, but without losing that strong gothic thread that connects everything and gives it a shared atmosphere.”

Anders Jacobsson adds:

“It took quite some time before the album began to feel whole. We didn’t settle on the final track list until very late in the process, as each piece slowly came together—vocals finding their place, ideas overlapping, and a real sense of collaboration allowing the songs to evolve toward an imagined destination. In the end, the music always seems to transform into something that once felt almost unimaginable.

For me personally, it was a fascinating but challenging experience. I struggled at times to see how everything would ultimately come together, and there were moments of doubt throughout the process. But it did come together in the end, and all the uncertainty and self-reflection somehow proved worthwhile. The creative journey for me is always deeply tied to introspection, and this record demanded a great deal of that.

It was without question the most difficult album for me to fully grasp and work through—but perhaps that’s what makes the final result all the more compelling, and, I believe, quite remarkable. It’s been a long time coming…”

It was also fantastic to work with Lisa again, and to have Daniel Johansson bring a new dimension to the drums added another layer of depth to the entire process.”

In Somnolent Ruin Tracklist:

1. I Welcome Thy Arrow

2. The Monochrome Blade

3. Anima (feat. Daniel Änghede)

4. The Face of God

5. I Gave You Wings

6. Asteria Beneath the Tranquil Sea

7. Cold Heavens

8. Misanthrope River

9. Lethe

In Somnolent Ruin will be available in the following formats:

2 CD 36-page Earbook incl. In Somnolent Ruin & Bonus CD with 2 Tracks only available with this format (exclusively available via Napalm Records Mailorder)

2 LP Gatefold Picture Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Europe Mailorder)

2 LP Gatefold Splattered Black Smoke/White Orange Black Vinyl incl 24 pages 12’’ booklet (exclusively available via Napalm Records Mailorder)

2 LP Gatefold Gold Vinyl incl lyric sheet (exclusively available via Napalm Records Mailorder)

1 CD Digipak

Digital Album

Six years have passed since the band released its predecessor, Under a Godless Veil, DRACONIAN’s most successful record to date. Much has changed since then, yet everything feels familiar: after introducing new guitarist Niklas Nord (Myteri, DeathTrap, The Random Victims) in spring 2022, the band announced the return of vocalist Lisa Johansson, who now once again shares vocal duties with Anders Jacobsson, promising even more enigmatic music to come. Johansson had been the band’s vocalist for their first five records before leaving DRACONIAN in 2011 for personal reasons. In Somnolent Ruin marks her official comeback, following several live performances at festivals over the past years. The band’s renewed lineup is rounded out by Daniel Johansson (Antikult, ex-Wormwood), who joined DRACONIAN as a full member in 2025 following Jerry Torstennson’s departure. Prior to that, Johansson had served as the band’s session drummer since 2019. It’s the first album on whch longtime member Daniel Arvidsson can be heard on bass, where he switched from guitar in 2022.

In Somnolent Ruin captures the essence of a band that no longer needs to prove anything – and yet still does. Active since the mid-1990s and having released their debut album, Where Lovers Mourn, in 2003, DRACONIAN have continuously demonstrated their unmatched ability to craft otherworldly doom melodies and searing heavy instrumentation, complemented by lyrics that read like poetry. Their art cuts deep, compelling listeners to confront their inner demons, wander through the darkest shadows, and even embrace emotional numbness, only to emerge with a sense of inner peace. This album confronts listeners with life’s hardest questions, exploring feelings of alienation and the search for direction in unfamiliar territory.

In Somnolent Ruin’s journey begins with “I Welcome Thy Arrow”, which captivates from the very first seconds through haunting melodies and a vocal interplay that embodies fragility and strength alike. Tracks such as “The Monochrome Blade” and “The Face of God” introduce increased tempo and eruptive vocal dynamics. “Anima” features Swedish artist Daniel Änghede, adding layers of emotional depth and confronting listeners with their darker impulses, capturing the sense of being lost and questioning one’s place in the world. “Asteria Beneath the Tranquil Sea” serves as a transitional interlude between “I Gave You Wings” and “Cold Heavens”, the latter exploring the delicate balance between life and death and not finding relief in any of both, while delivering the album’s most intense vocal performance. “Misanthrope River” opens with an extended instrumental passage and narration by Simon Bibby, slowing the tempo but by no means reducing the emotional weight, reflecting life’s daily struggles and obstacles. The closing track, “Lethe”, references the river of forgetfulness in Greek mythology. Those who drank from it would lose all memory. “Oh, shooting star… Drown in me! Drink. Forget. Repeat.” mourns Jacobsson through devilish growls. And yet, In Somnolent Ruin remains a work of art one wishes not to forget – not a single blink of an eye.

DRACONIAN Live 2026:

16.05.26 BR – Sao Paulo / Carioca Club

17.05.26 AR – Buenos Aires / Teatro Flores

19.05.26 CL – Santiago / Sala Metronomo

21.05.26 CO – Bogota / Teatro Astor Plaza

23.05.26 MX – Mexico City / Circo Volador

06.08.26 CZ – Jaromer / Brutal Assault

More shows to be announced

DRACONIAN is:

Johan Ericson – Guitar, Vocals, Keys

Anders Jacobsson – Vocals

Lisa Johansson – Vocals

Daniel Arvidsson – Bass

Niklas Nord – Guitar

Daniel Johansson – Drums

[Photo Credit: Therés Stephansdotter Björk]

!W.A.S.P. Announce the “1984 To Headless” 2026 North America Tour with Special Guests KK’s Priest

Wed, 11 Feb 2026 15:17:25 GMT

This is a subtitle for your new post

Hollywood, CA (February 11, 2026) — W.A.S.P. is excited to announce the “1984 To Headless” 2026 U.S. and Canada Tour with KK’s Priest as very special guest. The tour kicks off on September 10 in CA and runs through October 31st. W.A.S.P. will be playing the hits from their first four albums.

Tickets and VIP: www.WASPnation.com

General on-sale: Friday, FEB 13th at 10am local time

"1984 To Headless", the Fall 2026 North American Tour, W.A.S.P. returns Playing Live in the U.S. and Canada, paying tribute to their 1st Four Albums... Live!

Selected Hits from W.A.S.P.'s 1st Four Albums promise to create a True Rock 'N Roll Spectacle complete with a Live Stage Show bringing those Albums Alive for the 1st... and Only Time.

The 1st Five Years of Artist's Careers most always determine what their legacy will be if they go on to greatness, or be remembered as a footnote in music history.

W.A.S.P. cemented their place in the Rock History in those 1st Five Years with their iconic first album in 1984, followed the next year with "The Last Command", "Inside the Electric Circus" in 1987 and capped with the their Greatest yet, "The Headless Children" in 1989.

In their Fabled 44 year history W.A.S.P. have been pioneers of Shock Rock, Psycho Drama and Live Spectacles that are now Legendary in the World of Rock.

The Band will take the "1984 To Headless" Tour to Europe and the World in 2027.

“It's hard to express the genuine excitement I'm feeling in describing the "1984 To Headless" U.S. Tour. Playing those songs from those 1st Four Albums in a combined package like this is something we've never attempted before. In addition to the songs, the entire Stage Show will look like the Album Covers from those Records will Come Alive... right right before your eyes!

Complete with all the History and Bombastic Live Presentations that's made this Band one of the great Live Bands in the Theatrical Rock World. When elements of those Album Covers start to come alive, right on the stage before the people it's gonna be something they'll not soon forget!

I'm also equally thrilled to bring K. K.'s Priest and those iconic Hit's onboard for all the Fall 2026 U. S. Shows. Both Bands... together... on the same stage... on the same night... where do I get my ticket?

It's gonna make the "1984 To Headless" Tour one for The Rock Ages"!” — Blackie Lawless

“Great news! KK’S PRIEST is going to be returning to the US and Canada this September and October 2026! We will be teaming up together with metal legends W.A.S.P. and with over 40 shows, this is going to be an epic metal and steel tour featuring lots of Priest classics! We look forward to seeing you all again very soon so please get on board early, we do not want you to miss this one.” — K.K. Downing

W.A.S.P. will be again offering fans VIP tickets that give fans a chance to meet Blackie Lawless, get a personal photo with Blackie, autographs, a W.A.S.P. traveling museum with new items added since the last U.S. tour, and take part in a very personal Q&A with Blackie. VIP tickets can be purchased at https://waspnation.myshopify.com

“W.A.S.P. -1984 TO HEADLESS”

09-10 - El Cajon, CA The Magnolia

09-11 - Los Angeles, CA The Wiltern

09-12 - Riverside, CA Fox Performing Arts Center

09-13 - Phoenix, AZ Celebrity Theater

09-14 - Santa Fe, NM Buffalo Thunder Resort & Casino

09-16 - Austin, TX Emos

09-17 - Tulsa, OK Tulsa Theater

09-18 - Dallas, TX House Of Blues

09-19 - San Antonio, TX Aztec Theater

09-20 - Houston, TX House Of Blues

09-22 - Clearwater, FL Ruth Eckard Hall

09-23 - Daytona, FL Peabody Auditorium

09-24 - Jacksonville, FL Florida Theater

09-25 - Raleigh, NC The Ritz

09-26 - Jim Thorpe, PA Penn's Peak

09-27 - Portland, ME Aura

09-29 - Boston, MA House Of Blues

09-30 - Hampton, NH Hampton Beach Casino

10-01 - Wallington, CT Toyota Oakdale Theatre

10-02 - New York, NY The Palladium

10-03 - Carteret, NJ Carteret Performing Arts Center

10-05 - Montreal, QC Mtelus

10-06 - Ottawa, ON Hard Rock Casino

10-07 - Pickering, ON Pickering Casino Resort

10-09 - Des Plaines, IL Des Plaines Theater

10-10 - St Charles, IL Arcada Theater

10-11 - St Charles, IL Arcada Theater

10-13 - Glenside, PA Keswick Theatre

10-14 - Harrisburg, PA Capitol City Music Hall

10-15 - Cleveland, OH Agoura Theater

10-16 - Milwaukee, WI Pabst Theater

10-17 - Green Bay, WI EPIC Event Center

10-19 - Winnipeg, MB Burton Cummings Theatre

10-21 - Edmonton, AB Midway Music Hall

10-22 - Calgary, AB The Palace Theater

10-23 - Coquitlam, BC Great Canadian Casino Vancouver

10-25 - Seattle, WA Moore Theater

10-27 - San Jose, CA San Jose Civic

10-29 - Rancho Mirage, CA The Show @Â AguaÂ Caliente

10-30 - Las Vegas, NV House Of Blues

10-31 - Anaheim, CA The Grove

Tickets and VIP: www.WASPnation.com

General on-sale: Friday, FEB 13th at 10am local time

About W.A.S.P.

Few Bands in the history of Rock N’ Roll have ever incited the love, the hate, the raw emotional effect this Band has had on the world. From the very beginning, in the small venues of Los Angeles California, and later to the numerous countries worldwide that banned these Winged Assassins from performing live, the Band’s unique style of Shock and Rock caused Religious organizations, Local City Councils, Parliaments, and the Washington D.C. Senate to hold hearings in an effort to bar this group from selling records and trashing stages everywhere they played.

The band’s founding member, frontman Blackie Lawless, has led the group as its lead vocalist and primary songwriter since its beginning. His unique brand of visual, social and political comment took the group to worldwide heights and sold millions of records alongside a legacy of sold out shows across the globe for 4 decades.

About KK’s Priest

You can’t keep a heavy metal legend down... Although it’s been over a dozen years since guitarist and songwriter K.K. Downing departed Judas Priest, the iconic band he co-founded and played with for 40 years, he was never really going to retire. It was only a matter of time before he reclaimed the spotlight. As his new album title proclaims, The Sinner Rides Again.

K.K. Downing has had metal coursing through his veins from the beginning, starting in the Midlands region of England where Judas Priest was born. He compellingly chronicled his life odyssey in his 2018 autobiography, and his recent induction into the Rock and Roll Hall Of Fame further secures his legacy as a pioneering musician, songwriter and guitarist.

As a founding member of the classic Judas Priest line-up, Downing helped lay the foundation for the heavy metal genre as a whole. His distinct style of playing is easily identifiable, he was part of a six-string duo that complemented and contrasted each other, and they would progress to new levels of excitement. He has taken that ethos and applied it to KK’s Priest with impassioned results.

Fans already excited by KK's return, will also be elated that KK’s Priest are gearing up for another round of touring in the US and Canada in the fall of 2026 with fellow metal legends W.A.S.P.

For Downing, KK’s Priest is not just a statement of intent. It is a statement of being. His lifelong heavy metal saga continues.

Marillion Celebrate 25 Years of “Marillion.Com” with the announcement of the Deluxe Edition 2026

Wed, 11 Feb 2026 15:10:39 GMT

As first teaser the 2026 Remix of “Go!” Is Out Now!

.Marillion Celebrate 25 Years of “Marillion.Com” with the announcement of the Deluxe Edition 2026, arriving 19th June.

As first teaser the 2026 Remix of “Go!” Is Out Now!

Listen to the first single “Go! (2026 Remix)” here: https://marillion.lnk.to/Go2026RemixPR

After the sold-out 2024 Deluxe Edition release of “This Strange Engine”, Marillion and earMUSIC are delighted to announce the next chapter in the band’s reissue series, celebrating one of their most distinctive and forward-thinking releases. Originally launched as an independent statement of artistic freedom, “Marillion.Com” captures the band at a moment of bold reinvention, embracing expansive songwriting, atmospheric depth, and an openness to global musical influences. The album moves effortlessly between cinematic arrangements, emotional storytelling, and moments of intimate reflection, offering a richly textured listening experience that continues to resonate with fans old and new.

To be released as deluxe 3CD+Blu-ray media book and 5LP box-set editions, both sets include a version of the original studio album newly mixed and mastered, a previously unreleased complete recording of the band's 1999 performance recorded in London at the Shepherds Bush Empire, and also accompanied by illustrated booklets containing rare photos, new artwork, memorabilia and an essay that’s digging deep into the album’s story. The bonus Blu-ray, which is included in the media book, contains the album in hi-res and surround sound, demos & early versions of the album tracks, a “Marillion.com” documentary and the “Shot In The Dark (Zodiac)” concert video. In stores 19th June, 2026.

Pre-order “Marillion” Deluxe Editions here:

https://marillion.lnk.to/Marillion.ComPR

EP - REVIEW - Blossoms Fall - La Alma

Wed, 11 Feb 2026 13:26:12 GMT

New Music Review

Hot dog! Coming straight out of Albuquerque, New Mexico, Blossoms Fall may have the name of a

landfill indie band from the late 1990s, but their metalcore clank is the perfect soundtrack to murder

your neighbour by.

After tearing up the local music scene during the pandemic years, Matt Torres and Dion Elliott have

swelled their line up with singer Shay Raelynn and it’s this fallen angel’s undertaker vocals that make

new EP ‘La Alma’ stand out from the crowd.

The PR fluff accompanying the record says La Alma is ‘emotionally themed… like a massive tsunami

that would crash on our shores, flooding the highways and leaving behind mystical threads of hope in

the riptides’. No, me neither, but if you’re reading this, it might be because singles ‘Affliction’ and

‘Luna’ have already burned their way through your external auditory meatus, and you won’t be

disappointed by the four other horsemen that add the bones to La Alma’s flesh.

Ok, that’s not strictly true. There’s a 42-second instrumental leading into ‘Luna’ which sounds a bit too

much like U2 for me. Skip this and go straight into the main course, Raelynn grabbing you by the

throat and lifting you off your feet as she thunders, “When I look at you / I see the one true guide in my

night sky / you keep the tidal waves from pulling me under again / I can see the end”. Reading these

words, you’re thinking poetry. Hearing them, you’ll think… f*** yeah!

I challenge you to listen to opener and strongest track ‘Prophecy’ first thing in the morning and NOT

be ready for what your crappy day is going to throw at you. “Lay awake in the night / all I know is that I

really need to run away / run far away”. A lot of the lyrics on this EP are about getting away from

something, be it a person, a place, a situation, even yourself. ‘Prophecy’ is what I’ll be listening to

when I do it.

That theme continues on ‘Affliction’ (“Let me in / they’re coming closer and closer / I feel their

darkness on my skin”) and closer ‘La Alma’ (Free me from myself / my sins / my flesh”), albeit against

soundscapes that change from parasitic to apocalyptic in a heartbeat.

Yes, guitarist and sometime vocalist Torres can sound as if he’s just been fired from Blink 182, which

is completely at odds to the serious kicking Elliott is giving his drum kit and to Raelynn’s wrestling

promo-esque tantrums. But it WORKS. And even at first listen, there’s plenty to enjoy here.

If you like your post-hardcore with more than a flash of melody but with a lead vocal that is going to

come over, drink all your vodka, then tear the place apart, then Blossom Falls and ‘La Alma’

might just be who you’ve been waiting for to knock. My door is open, mis amigos.

https://www.eclipserecords.com/band/blossoms-fall/

KRIS BARRAS BAND RETURNS WITH MUSIC VIDEO FOR NEW STANDALONE ASS-KICKING SINGLE 'ALL FALLS DOWN'

Wed, 11 Feb 2026 13:09:52 GMT

UK SUPPORT TOUR WITH SMITH/KOTZEN KICKS OFF THIS THURSDAY

KRIS BARRAS BAND has returned with a music video for the new standalone ass-kicking single 'All Falls Down'. Reigniting his love of heavy music, this track combines frontman Kris' passion for blazing guitar solos and teeth-gritting riffs with anthemic choruses and fist-pumping chants.

"'All Falls Down' was actually originally written back in 2020, ahead of the Death Valley Paradise album. It was my first-ever co-write session with Nashville based writer Blair Daly (Halestorm, Shinedown, Black Stone Cherry). It didn't quite make the cut for the DVP album but I've always had it in the back of my mind to revisit. I started having a play around with it last year and ended up completely turning it on its head. Keeping the same lyrics/vocal melody, I wrote new riffs and completely changed the vibe of the track."

He continues: "There was no debate this time around about whether it made the album and it felt like a great track to kick things off with. I feel like it's got all of the typical KBB elements: Big chorus, heavy riffs and a decent groove. It's probably one of the heavier tracks from this new batch but it sets the tone for the overall sound of what's to come and hopefully people are in to it!"

Stream the new single HERE.

Watch the music video HERE.

If you're looking to scratch that itch and satiate your KRIS BARRAS BAND cravings, you can catch the band opening up for Smith/Kotzen, the musical collaboration between Iron Maiden's Adrian Smith and The Winery Dogs' Richie Kotzen. The 9-date UK tour kicks off on Thursday 12th February and takes in the sights of Nottingham, Manchester, Newcastle, Glasgow, Wolverhampton, Southampton, Crumlin, Bristol, and finishes up on the historic stage of London's Shepherd's Bush Empire.

KRIS BARRAS BAND (supporting Smith/Kotzen):

Thu 12th Feb - NOTTINGHAM Rock City

Fri 13th Feb - MANCHESTER O2 Ritz

Sat 14th Feb - NEWCASTLE UPON TYNE Anarchy Brew Co

Sun 15th Feb - GLASGOW SWG3 Galvanisers

Tue 17th Feb - WOLVERHAMPTON KK's Steel Mill

Wed 18th Feb - SOUTHAMPTON 1865

Thu 19th Feb - CRUMLIN The Patriot

Fri 20th Feb - BRISTOL O2 Academy Bristol

Sat 21st Feb - LONDON Shepherd's Bush Empire

Tickets are available now at: https://www.krisbarrasband.com/tour.

Mason Hill release new single ‘Twisted’, out on 20th February on 7Hz Productions

Wed, 11 Feb 2026 12:46:18 GMT

MASON HILL
Twisted

Mason Hill release new single ‘Twisted’, out on 20th February on 7Hz Productions.

Presave: https://7hzprod.lnk.to/Twisted

"’Twisted’ started with James' straight-killer riff that you hear at the start of the track, and I wanted to write something that would really do it justice. The song is about a relationship that's so wrong that it's right - toxic love that's so addictive, you can never leave it.

It's a mix of grit and melody, a poppy chorus and a balls-to-the-wall breakdown section. 10/10 would recommend to a friend.”

Mason Hill’s new vocalist Tom Ward is understandably enthusiastic about the new music he and his bandmates are creating, and with good reason. The material recorded so far for the band’s second album is already raising eyebrows from those lucky enough to have heard it.

“I'm absolutely made up that we can finally get another track out there and "Twisted" is a band favourite for sure - with plenty of time for fans to get learning those lyrics before our UK tour kicks off in March!”

‘Twisted’ sees the band take a step towards a darker, heavier sound, the song being one of crushing yearning, the effects of a so-good-even though-it’s so bad relationship and the toll it takes. Huge riffs and thundering drums propel the song whilst keeping the melodies forefront, capped by a stand-out vocal performance by Ward.

The singles ‘Twisted’, and its predecessor ‘Remember’, are just the first step on the road to a new album from Mason Hill, all of which has now been recorded under the watchful eyes and ears of producer Dan Weller (Enter Shikari, Bury Tomorrow, Those Damn Crows).

Four years after ‘Against the Wall’ made such an impact, Mason Hill is re-entering the fray with renewed intent, showcasing a freshly updated sound and presentation.

This line up feels like a huge step forward for the Glasgow-based band, and with good reason. While the core of Mason Hill is the same as the band that made ‘Against The Wall’ – James plus guitarist Marc Montgomery, bassist Matt Ward and drummer Craig McFetridge – their new music marks the introduction of new singer Ward, whose versatile voice offers new dimensions to Mason Hill’s signature sound as he switches from emotive whisper to arena-rattling power in a heartbeat.

Mason Hill are bringing their incendiary live show to more UK venues in the spring. Tickets are already flying out the door and these shows will also be sell-outs, so get them here while you still can!: https://www.gigantic.com/mason-hill-tickets

James Bird (guitar): "We're hitting the road and bringing the show to a city near you in March 2026! New music, loud nights - come and be a part of it."

Matt Ward (bass): "We were on such a high after returning to the stage for a couple of teaser shows back in November. We will be firing on all cylinders in March around the UK bringing everyone their favourite Mason Hill songs and playing a whole bunch of new songs (one of which you might just get a sneak peek at soon!). Tickets are already running low, so grab one while you still can and we'll see you out there!"

UK Tour March 2026

17 March – Manchester Academy 3

18 March – Bristol Exchange (low tickets)

19 March – London Underworld

20 March – Wolverhampton KK’s Steel Mill (SOLD OUT)

22 March – Glasgow Garage (low tickets)

Buy Tickets here: https://www.gigantic.com/mason-hill-ticket

Mason Hill have been no strangers to adversity. They’ve endured false starts, botched record deals and a six-year gap between 2015’s eponymous debut EP and the release of ‘Against The Wall’. Even the latter landed during the height of the Covid pandemic, meaning the band weren’t initially able to tour in support of it. The departure of former singer Scott Taylor at the end of 2023 was just the latest obstacle they had to overcome.

“There have been times over the years when we weren’t even sure we’d be able to keep on being a band,” says James. “Even just before Tom came in, we were so close to saying, ‘Well, we tried, but let’s call it a day.’ But there’s a stubbornness and determination and passion in us that has kept us going. The new music was obviously still Mason Hill, but we didn’t want it to be a copy of the first album,” says James. “When Tom put his voice to some of the demos we’d sent, that was when we knew this could work.”

“It feels like a turning point,” says Tom of this new chapter, of which he’s a key part. “We’re super-hungry for it.”

“All the good stuff and the bad stuff, I’m glad it happened in a sense,” adds James. “Because without it we wouldn’t be in this place we’re in right now, talking about new songs, which I couldn’t be more excited about. We’re so ready to get back out there. This is who we are now. This is Mason Hill."

Presave: https://7hzprod.lnk.to/Twisted

Tom Ward vocals

James Bird guitarist

Marc Montgomery guitarist

Matt Ward bassist

Craig McFetridge drums

https://music.apple.com/gb/artist/mason-hill/1038242350

https://www.facebook.com/masonhillofficial

https://www.instagram.com/masonhillofficial/

https://open.spotify.com/artist/1Q5a7RgdzBt8OmYq5ZSlO9

https://x.com/masonhillband

https://www.youtube.com/channel/UCz3cSYBHV_awSliSgZKCT0A

JOHN 5 ANNOUNCES FIRST EVER SOLO TOUR OF THE UK AND EUROPE MAY 2026

Wed, 11 Feb 2026 12:36:09 GMT

Guitarist JOHN 5 will bring his extraordinary talents to the UK and Europe

Guitarist JOHN 5 will bring his extraordinary talents to the UK and Europe in May 2026. Apart from a few shows in 2016 this is John’s first ever solo tour in these territories.

For over 30 years, JOHN 5 has been one of the most in-demand guitar players on the planet. John has shared stages and recording studios with Rob Zombie, Marilyn Manson, David Lee Roth, Lynyrd Skynyrd, Meat Loaf, Dolly Parton and more, and is now a member of Motley Crue.

Since 2011 John has released a dozen solo albums highlighting his unique style of playing that has been entertaining and impressing audiences around world. His latest album was the critically acclaimed “Ghost” – released in October 2025. Available HERE

The tour will feature twelve UK appearances along with shows in Germany, the Netherlands, Belgium, Poland and the Czech Republic.

John comments “I don’t think I’ve ever been more excited for a tour than this one coming up. I haven’t been there in so long and I can’t wait to say hello and have a great time with everyone. Super SUPER excited.”

Tickets and VIP meet and greets on sale Friday, Feb 13th at 10am GMT available at https://john-5.com/

John 5 UK & EU Tour Dates 2026

Tue 05 May Southampton, UK The 1865

Wed 06 May Exeter, UK. Phoenix

Thu 07 May Bristol, UK Thekla

Fri 08 May Manchester, UK Club Academy

Sat 09 May Newcastle, UK Newcastle University

Sun 10 May Glasgow, UK Slay

Tue 12 May Chester, UK Live Rooms

Wed 13 May Wolverhampton, UK KK's Steelmill

Thu 14 May London, UK Underworld

Fri 15 May Milton Keynes, UK Craufurd Arms

Sat 16 May Southend On Sea, UK Chinnerys

Sun 17 May Brighton, UK Concorde 2

Tue 19 May Tilburg, NL Hall Of Fame

Wed 20 May Leeuwarden,NL Neushoorn

Fri 22 May Ghent, BE Winter Circus

Sat 23 May Cologne, DE Club Volta

Sun 24 May Hamburg, DE Molotow

Tue 26 May Krakow, PL Hype Park

Wed 27 May Prague, CZ Rock Café

Thu 28 May Munich, DE Live Evil

BilloBuckers release new single 'It's Okay Not To Be Okay', out now on Deadly Records.

Mon, 09 Feb 2026 15:33:33 GMT

It's Okay Not To Be Okay

BilloBuckers release new single 'It's Okay Not To Be Okay', out now on Deadly Records.

Listen here: https://music.youtube.com/watch?v=q5Cs6rZu7Ek

BilloBuckers are an electrifying 5 piece indie band from Leicester/Nottingham. After releasing their debut EP 'Eloquently Common' and 3 new singles which hit over 60k in streams, the band now gear up for the release of their new single 'It's Okay Not To Be Okay'. This exciting track is already attracting attention from the big radio DJs & stations & is currently being featured on BBC Introducing.

This fabulous, poignant new single broaches the subject of male depression with empathy and understanding, knowing how men can mask it, and how help can be offered with support. A stirring track with a message, something the BilloBuckers are so good at delivering.

The distinct sound of BilloBuckers combines the grit and force of conventional rock with the introspectiveness of indie rock. Their songs, which explore themes of love, sorrow, and personal development, are evidence of their talent to capture the essence of human experiences. BilloBuckers weaves combines rich guitar riffs, dynamic rhythms, and soul-stirring vocals to create aural journeys with each song.

Influenced from the likes of Arctic Monkeys, The View, Kasabian, Rat Boy, The Stone Roses and the Libertines, The band wears their influences heavily on their sleeve written through their music.

"They bring a unique sound, a melting pot of everything that’s good about the UK music scene past and present, oasis undertones fused with The Jam with BilloBuckers stamp written all over it. Its unique, refreshing and it’s their own sound." Upcoming Bands

"Quiet Lie is a standout track from BilloBuckers and showcases the bands talent for writing high energy rock'n'roll anthems, with razor sharp lyrics that instantly connect with their audience. It’s the kind of song that sticks with you long after it’s over, thanks to it’s infectious energy and is a testament to their growing potential. BilloBuckers are going to be a must watch band over the next 12 months as they continue their trajectory to the top of the indie scene. Up the f*cking Indie!" This Is The Music

"The track demonstrates the band’s promise and sets a high standard for their future releases. BilloBuckers are a fast-rising indie band to watch out for, and “Sweat and Alcopops” is undoubtedly their best single yet, showcasing their rock ‘n’ roll swagger and leaving listeners excited for what’s to come." RGM

Billy Buckler - Vocals, rhythm guitar

Angie Lloyd - Backing vocals

Alastair tomlinson - lead guitar

Callum Martin - Bass

George Blay - drums

Stream here: https://lnk.to/ItsOkayNotToBeOkay

ALEXISONFIRE AND BILLY TALENT ANNOUNCE CO-HEADLINE SHOWS IN LONDON AND MONTREAL

Mon, 09 Feb 2026 15:12:01 GMT

“20 YEARS IN THE MAKING”

Multi-platinum, JUNO award-winning rock icons Alexisonfire and Billy Talent have announced two special co-headline shows in London, UK and Montreal, QC, celebrating the 20th anniversaries of the albums that defined their careers. Hotly tipped post-hardcore squad Touche Amore will open in London and hardcore punk meets psych band Faze will be opening in Montreal. In true co-headline fashion, Alexisonfire and Billy Talent will alternate closing duties - Alexisonfire in London, Billy Talent in Montreal.

The bands will kick off these exclusive engagements at London’s OVO Wembley Arena on Wednesday, June 24, 2026, before heading to Montreal for a performance at the Bell Centre on Friday, July 17, 2026. On both nights, the bands will perform their landmark 2006 albums in full, with Alexisonfire performing Crisis and Billy Talent playing Billy Talent II.

Fans keen for tickets should note that artist presales begin Tuesday, February 10 at 10am local time, with general on sale Friday, February 13 at 10am local time.

Since emerging in the early 2000s, Alexisonfire and Billy Talent have remained two of the most vital forces in Canadian rock. With Alexisonfire’s self-titled debut arriving in 2002 and Billy Talent’s debut following in 2003, the bands effectively grew up together, from club shows across Canada to arenas and festivals worldwide, forging a long-standing friendship and shared history on the road.

Listen to Crisis via Dine Alone Records here and Billy Talent II via Warner Music Canada here.

With songs ranging in subject matter from the Blizzard of ’77 (“Crisis”) to disenfranchised workers (“Boiled Frogs”), Crisis embodied a much darker theme than previous Alexisonfire recordings, which the group attributed to returning home from traveling around the world with a fresh perspective. The gravity of Crisis is underscored by its cover art, which features Erno Rossi’s haunting photographs of the Niagara region during the Blizzard of ’77, including an image of a victim with frostbitten hands. The title track itself contains multiple lyrical references to the storm, including the repeated refrain, “one nine seven seven”. The album also marked a much more “rhythmically liberal” process in the studio, with AOF stripping everything down to write and record an album that captured the essence of the band’s live sound, without looping, overdubs, or layered production.

Released in 2006, Billy Talent II stands not only as a defining moment in rock music, but also as Billy Talent's most commercially successful album to date. Upon its release, it debuted at #1 on the Canadian Albums Chart and #1 on the German Albums Chart, showcasing the band's status as a true force in global rock music. The album was certified 4x Platinum in Canada and 2x Platinum in Germany, selling over one million copies worldwide. Along with the certifications, the album produced a non-stop string of smash hits including "Devil in a Midnight Mass," "Fallen Leaves," "Surrender," and "This Suffering" that remain rock radio staples to this day. The track "Red Flag" not only was featured on the soundtrack to several video games, but also brought the band their American television debut with a Late Night with Conan O’Brien performance. Billy Talent II garnered critical acclaim and major award wins, including the JUNO Award for Rock Album of the Year and multiple MuchMusic Video Awards.

“It feels like you blink and all of a sudden your album is almost old enough to drink in the United States,” jokes Alexisonfire frontman George Pettit. “So many incredible memories of making this record. It felt like we were really coming into our own as a band. We discovered another level of potential that we didn’t have at the start. I’m happy we get to relive it this summer with all of you.”

About Alexisonfire

Alexisonfire rose up out of the Southern Ontario underground in late 2001 to become one of the most successful independent bands to come out of Canada. The post-hardcore luminaries have sold over 1 million records and released five hugely successful studio albums, with four achieving Platinum-certification: Alexisonfire (2002), Watch Out (2004), Crisis (2006), and Old Crows / Young Cardinals (2009). Crisis debuted at #1 on the Top 200 Soundscan (Canada), and Old Crows / Young Cardinals debuted at #2, and charted at #9 on the US Billboard Independent Album chart. Watch Out helped garner a New Group of the Year JUNO (2004). The band has performed to hundreds of thousands of fans on iconic stages worldwide, and graced notable music magazine covers internationally. Their long-anticipated 5th studio album, and first full-length album in over 13 years, Otherness, was released in 2022 to international acclaim, garnering a 2023 JUNO award for “Rock Album of the Year”.

About Billy Talent

Billy Talent is one of Canada’s most successful bands. They have sold nearly one million albums in Canada alone and nearly 3 million albums internationally and have over 2 billion global streams across their catalogue. They have won 7 Juno Awards and have been nominated 23 times, including three nods for Afraid of Heights (Group of the Year, Rock Album of the Year, and Ian D’Sa for Producer of the Year). Their most recent studio album Crisis of Faith debuted at #1 in Germany, #8 in Canada, and had three singles hit the #1 spot at Canadian rock radio which combined to spend a total of 21 weeks atop the Canadian Rock radio chart. This year, Billy Talent will be recognized at the 2026 JUNO Awards with the prestigious Humanitarian Award, honouring the band’s long standing commitment to philanthropy and community impact. Since their first high school food drive, Billy Talent has championed humanitarian causes for the entirety of their three decade long career. Through sustained partnerships with Make Music Matter, War Child, and MS Canada, the band supports communities affected by conflict and youth living with Multiple Sclerosis. Their advocacy has raised hundreds of thousands of dollars and generated global awareness.

10 THINGS I’M LOOKING FORWARD TO IN 2026

Mon, 09 Feb 2026 11:16:21 GMT

Maid of Stone Festival

Surely the crown jewel in the Kent rock calendar, Maid of Stone Festival is set to return to Mote Park for its fourth year and I can’t wait! The Temperance Movement, Saxon, Uriah Heep and The Almighty take the headline slots this time around, but as always, I’ll be doing my best to catch all the bands on the bill - not as difficult as it sounds given that the festival has two stages and (theoretically!) no overlaps. Since its inception, the festival has championed up and coming acts, and for me that’s part of the appeal; I’m particularly looking forward to DeVere, Chez Kane and Silveroller, but I’m sure I’ll discover some new favourites too - overlook the Firestarter Stage at your peril.

System of a Down at Tottenham Hotspur Stadium

Though I’d rather it was just about anywhere other than a stadium, the news that System of a Down were returning to the UK for the first time in nine years was enough to lure me back into a huge venue. A band who very much soundtracked my time at secondary school (it turns out googling the lyrics to Cigaro on school computers can land you in a spot of bother!), I’ve never managed to catch them live. But that’s going to change in July, and I’ll definitely be getting to Tottenham Hotspur early for Queens of the Stone Age and Acid Bath too.

Black Stone Cherry Celebrate 20 Years

As someone who caught on to Black Stone Cherry early, the news that they would play their debut album in full on their upcoming tour was music to my ears. Though the band has grown hugely in popularity over the years, the likes of Rain Wizard and Lonely Train remain firm favourites with me; heavier and more raw than much of what followed, but with the flair for melody that has served Black Stone Cherry so well. Having seen the band many times over the years, the concept of two sets with an interval is an exciting one, and I can’t wait to see how the new material from the upcoming Celebrate EP is integrated.

Margate Rock Festival

A carefully curated indoor festival that deserves more love than it gets, Margate Rock Festival is for the connoisseurs. Less about big names and more about bands who should be on your radar but probably aren’t, I’ve been introduced to the likes of Lucifer, Wytch Hazel, TankZilla and more over the last couple of years. With Orange Goblin headlining year one and South of Salem stepping up in 2025, I’m buzzing to find out who’s next. And, with a change of venue apparently on the cards, there’s lots of questions to be answered over the next few months. In any case, the fact that my home town now has a dedicated rock festival is definitely worth getting excited about.

Deep Purple at the Eventim Apollo

A band I absolutely adore who I have continually missed in my 20 years of going to gigs, I thought it was time to rectify the situation. Like so many of the greats, you never quite know when it’s going to be your last opportunity to see them, and I’m not sure I want to go through life without hearing Highway Star or Space Truckin’ live. If they could just throw in the excellent Portable Door from 2024’s =1 album I’d be very happy indeed. I’ve heard great things about Jayler too, who have earned themselves a coveted support slot.

Def Leppard at the O2 Arena

Another band I’ve never seen live, I’m hoping to get down the front for this one (preferably on the side nearest Phil Collen!). It’s hard to imagine an evening in the company of Def Leppard being anything other than a good time - they’ve got more hits than you can shake a stick at and surely a fantastic show to match. Though always divisive, I’m happy to see Extreme on the bill too - it’s a bonus to get another band that I enjoy as part of the deal.

Marillion at the Eventim Apollo

I always thought I preferred Marillion with Fish on vocals, but now I find it a harder choice to make. Steve Hogarth has been up front for more than 30 years now, and the more I listen, the more enamoured I become. Footage of the band performing at the Royal Albert Hall convinced me that I needed to see Marillion live, and I’ve finally taken the plunge and got myself a ticket for one of their London shows this year. Guitarist Steve Rothery is one of my favourites, so I’m sure there’ll be goosebumps when he plays some of his beautiful solos, maybe even some tears.

New albums

If you know me reasonably well, you probably know that I have a lot of CDs. We’re talking well over 1000. But that won’t stop me buying more. And with HMV recently returning to Canterbury, my bank balance looks set to take a hammering in 2026. I’m especially looking forward to new releases by The Black Crowes, Jared James Nichols and Tyketto, but I’m sure there’ll be plenty of others along the way. I do like to treat myself to the odd LP too, but for that, I’ll be heading to Vinylstore Jr - highly recommended and always my preferred Record Store Day haunt (it’s on the 18th April this year, if you’re interested!).

Local gigs

I’m ticking a lot of big names off the bucket list this year, but that doesn’t mean I’m forgetting my local venues. As a huge Rosalie Cunningham fan, I’m delighted that she’s visiting Faversham’s Old Brewery Store later this year. I’m similarly thrilled that Martin Turner will be bringing his Wishbone Ash classics to the Red Arrow Music Club in Ramsgate next month. Adam Wakeman’s Jazz Sabbath hit Canterbury’s Gulbenkian in October, and Creeping Jean play Folkestone in May. There’s loads of great events out there if you know where to look; Keep an eye on venue websites and socials to make sure you’re not missing out.

Sammy Hagar bringing the Best of All Worlds to the O2 Arena

A bit of an accidental purchase (I asked my mum to check how much the tickets were, next thing she’s messaged to say she’s got them!), but I’m definitely not upset about it. In fact, I’m delighted. As the voice of Montrose, Van Halen and Chickenfoot, Sammy Hagar is established as part of rock history and has been involved in more than a few classic songs. I think I’ve almost forgiven him for fluffing the lyrics to Flying High Again during his Back to the Beginning performance last year! It’s an exciting triple bill, with Joan Jett & the Blackhearts and Jayler filling in the supporting slots.

LORD OF THE LOST Team Up With SALTATIO MORTIS for New Single, “I’m A Diamond”

Fri, 06 Feb 2026 18:14:43 GMT

Their Album Trilogy’s Grand Finale, OPVS NOIR Vol. 3, Releases April 10, 2026

LORD OF THE LOST extend their latest journey with yet another innovative collaboration, coming in the shining form of “I’m A Diamond”. For the latest single leading up to OPVS NOIR Vol. 3, which releases on April 10, 2026 via Napalm Records, the genre-defying band teams up with German medieval metal torchbearers SALTATIO MORTIS. Featuring singer Alea, LORD OF THE LOST present a catchy song reminding us of our own worth and encouraging everyone to live true to themselves. Although the finale of OPVS NOIR is the most out of the box of the trilogy, the Hamburg-based band sticks to their core values: “Don’t change yourself to fit the system.”

LORD OF THE LOST are currently on tour in North America with The Birthday Massacre and Wednesday 13. After that, they’re headed to Australia and finally back to Europe for more headline shows. Find the list of dates below!

Chris Harms about “I’m A Diamond”:

“A song together with Saltatio Mortis was long overdue. Our bands have been connected for ages, and Alea and I share a deep friendship. That makes it even more special to be singing such a personal and important song together.”

Alea (Saltatio Mortis) adds:

“What does our song ‘I’m a Diamond’ mean to me? It’s about how we’re all valuable in our purest form. It’s not about what others see in you or how the world wants you to be—it’s about who you are. What you are. A unique diamond.”

Watch the Official Music Video for “I’m A Diamond” https://www.youtube.com/watch?v=mNXmG3YS3d4

LORD OF THE LOST bring their ambitious album trilogy to a brilliant finale with OPVS NOIR Vol. 3. A direct continuation of OPVS NOIR Vol. 1 and Vol. 2, which were both unveiled in 2025, it releases on April 10, 2026 and gloriously expands on the genre-defying band’s opus. The most out of the box of the three, the third and final part of their latest journey has the six-piece end this chapter of their career on a fulminant high note, intertwining heavy guitars and dark electronica with compassionate messages and cinematic orchestrals.

Get Your Copy Of OPVS NOIR Vol. 3 HERE

Available in Many Formats Including Strictly Limited Collector’s Editions!

SKID ROW PARTNERS WITH SWEETWATER TO LAUNCH WORLDWIDE SEARCH FOR LEAD VOCALIST

Fri, 06 Feb 2026 18:07:20 GMT

OPENING AUDITIONS ON FEBRUARY 5TH 2026

February 5, 2026 — Legendary hard rock band Skid Row has announced a first-of-its-kind partnership with USA company Sweetwater, the world’s leading online retailer of musical instruments and pro-audio equipment, to search worldwide for their next lead vocalist. The collaboration invites singers from around the world to audition for the opportunity to front one of rock’s most enduring and respected bands.

In 2026, Skid Row marks its 40th anniversary. Over four decades, the band has delivered some of hard rock’s most iconic anthems, including “18 and Life”, “I Remember You”, “Monkey Business” and “Youth Gone Wild”.With multi-platinum albums, chart-topping releases, and a global touring legacy, the band has remained a defining force in rock music. Now, Skid Row is opening the door to a new era—seeking a vocalist who can honor their legacy and shape the future.

“This is not a contest or a gimmick,” the band emphasizes. “It’s a genuine search for the right voice, presence, and authenticity to carry Skid Row forward.”

Formed in New Jersey, Skid Row quickly rose to prominence with their self-titled debut album, followed by Slave to the Grind, which made history as the first heavy metal album to debut at No. 1 on the Billboard 200 album chart. Beyond commercial success, the band built a reputation for uncompromising live performances and shared stages with some of the biggest names in rock.

“I first saw Skid Row play in New Jersey before they were signed, and they totally blew me away with the sheer quality of their songs, and the infectious high-energy of their performance,” commented Sweetwater’s resident rocker and content creator Nick Bowcott. “We at Sweetwater are excited to partner with the group to host this once in a lifetime opportunity"

Over the years, Skid Row’s music has continued to evolve, resonating across generations. Recent performances featuring guest vocalists—including standout appearances by Halestorm’s Lzzy Hale—have reinforced the timeless power of the band’s catalog and its ability to transcend eras. Today, their songs still light up arenas, films, playlists, social media and radio waves, proving that Skid Row’s blend of ferocity and melody has stood the test of time.

Worldwide auditions officially open February 5, 2026, with no submission deadline. Skid Row will continue reviewing submissions until the right singer is found.

For full submission details visit:

https://www.sweetwater.com/insync/skid-row-the-next-chapter/

DIRKSCHNEIDER & THE OLD GANG - STRIKE BACK WITH „BATTER THE POWER“ VIDEO

Fri, 06 Feb 2026 17:54:48 GMT

video for “Batter The Power” released

Another new video has arrived from the already released album “Babylon” by DIRKSCHNEIDER & THE OLD GANG (released in October 2025, RPM).

Following the strong impact of previous clips, with “It Takes Two To Tango” and “Hellbreaker” each surpassing one million views, the band now present the video for “Batter The Power”, continuing the visual journey through their latest release.

“Batter The Power” is a classic heavy shuffle driven by a true metal riff and an anthem-like sing-along chorus that instantly evokes the spirit of “old times.” What initially appears to be a deliberately straightforward and repetitive verse structure is given a sharper edge by the accusatory vocal interplay between Udo Dirkschneider and Peter Baltes, adding tension and attitude to the song’s message.

Manuela “Ella” Bibert puts the icing on the cake with her distinctive solo vocal interludes during the final choruses, while Mathias Dieth’s extraordinary guitar solo breaks free from any convention, unapologetically bold and perfectly in line with the band’s uncompromising approach. Why should we care about rules?

Lyrically, “Batter The Power” draws on classic heavy metal imagery of battle, resistance and liberation. Lines like “we’ll die to be free” and “never surrender” underline the song’s central message: relentlessly challenging oppressive power in the name of freedom and justice.

With the “Batter The Power” video, DIRKSCHNEIDER & THE OLD GANG once again highlight the timeless strength of classic heavy metal, reinforcing „Babylon" as an album that proudly bridges the past and present with experience, conviction and raw power.

Watch the video here: https://www.youtube.com/watch?v=CKHq7W5iPHY

About DATOG:

DIRKSCHNEIDER & THE OLD GANG (DATOG) was originally launched in 2020 as a one-off charity project, but quickly developed a momentum of its own and formed into a band consisting of Udo Dirkschneider (vocals; ACCEPT/U.D.O./DIRKSCHNEIDER), Peter Baltes (bass, vocals; ACCEPT/U.D.O./DIRKSCHNEIDER), Stefan Kaufmann (guitar; ACCEPT/U.D.O.), Mathias “Don” Dieth (guitar; SINNER/U.D.O.), Sven Dirkschneider (drums; U.D.O./DIRKSCHNEIDER) and Manuela “Ella” Bibert (vocals). Between 2020 and 2021 their first three singles attracted a lot of attention, whereupon the band wrote more songs and recorded their debut album. With a unique vocal concept of three voices, powerful riffs and stylistic complexity, DATOG combine classic heavy metal with a modern, powerful production.

DATOG are:

Udo Dirkschneider | lead vocals

Peter Baltes | bass, lead & backing vocals

Manuela “Ella” Bibert | lead & backing vocals, keys

Stefan Kaufmann | guitars, backing vocals

Mathias “Don” Dieth | guitars, backing vocals

Sven Dirkschneider | drums, backing vocals

TAILGUNNER stream new single / video featuring Grammy winner Adam Wakeman

Thu, 05 Feb 2026 15:14:45 GMT

Midnight Blitz album (prod. by K.K. Downing) out 6th February 2026 (Napalm Records)

Photo credit: Tunde Valiszka

With the release of their sophomore album, Midnight Blitz, only a few days away, heavy metal band TAILGUNNER fires on all cylinders once again. 'War In Heaven' is a power ballad that truly proves their versatility – a powerful statement in the book of heavy metal.

Watch the video for 'War In Heaven' here: https://youtu.be/np25HG13BCg

Pre-order Midnight Blitz here: https://lnk.to/TailgunnerMidnightBlitz/napalmrecords

This time, producer K.K. Downing is not the only legend that the five-piece from heavy metal’s birthplace could recruit: 'War In Heaven' features Adam Wakeman (Ozzy Osbourne, Black Sabbath, Deep Purple), who just won a Grammy for Best Rock Performance for his appearance at Black Sabbath’s Back To The Beginning, on synths. The feature epically bridges the gap between 80s worship and a youthful, contemporary spirit. TAILGUNNER are unmatched – Midnight Blitz releases this Friday, 6th February via Napalm Records.

TAILGUNNER comment on 'War In Heaven': “When the legendary K.K. Downing challenges you to write a ballad, you don’t let him down. Make no mistake, this one hits hard. We went all out and enlisted the help of Adam Wakeman on synths to make ‘War In Heaven’ an all-time classic, just like those iconic 80s ballads from the bands we all love. Walking in the footsteps of giants, no ballad is complete without a blistering, iconic guitar solo, ready for the history books - and ‘War In Heaven’ is no exception.”

TAILGUNNER - War In Heaven feat. Adam Wakeman

TAILGUNNER unleash their second album, Midnight Blitz on 6th February 2026 via Napalm Records. Bursting onto the scene in 2022, their sophomore work draws heavily from classic British heavy metal, but just like those influences, the band are determined to push forward. Always crafting their sound and building on what they have, whilst never compromising on what they started with - pure heavy metal. In an astonishingly short time, the emerging British heavy metal talent have found support in the very heroes they follow: after making a strong impression supporting KK’s Priest, legendary guitarist K.K. Downing went on to produce the upcoming album, Midnight Blitz.

Midnight Blitz is classic Heavy Metal without being pastiche. This is a band for the here and now – not just worshipping at the altar, but determined to stand upon it as the Metal Gods of a whole new generation of headbangers. TAILGUNNER prove their skills effortlessly, carving themselves out as Heavy Metal’s future and grabbing the torch from the legends themselves. Catchy hooks, killer riffs, and appealing to every heavy metal fan – join K.K. Downing and discover your new heroes now.

TAILGUNNER comment on new album Midnight Blitz: “Like phantoms of the clouds, the Midnight Blitz screams silently through the air. Descending on their prey, a Heavy Metal militia striking at the speed of sound. Only blood can run! Whilst touring our debut album, we were described by one roadie as ‘The bastard child of Maiden & Priest’ and that became the ethos for our new album Midnight Blitz. Just like our fore bearers, we are determined to push forward, always crafting our sound and building on what we have, whilst never compromising on what we started with – Pure Heavy Metal! We are not just worshipping at the altar of those who have gone before, but determined to stand upon it and be the heroes for a whole new generation! We played over 100 shows touring our debut album, sharing the stages with some of the most legendary names in Metal while paying our dues in blood, sweat, tears and endless nights out on the road. Everything we learned is on display here, packed into 10 tracks in what we feel can be a true, essential TAILGUNNER album. Produced by none other than the Metal guitar God K.K. Downing, working closely with K.K. during this entire process has been the ride of a lifetime and you can hear those touches of a bonafide Metal God throughout this album!”

K.K. Downing on TAILGUNNER: “TAILGUNNER is a band we should have seen emerge years ago from the UK. They personify everything that is heavy metal. They are loud and proud, and totally descended from everyone in metal that has gone before – their energy and rawness, together with their brand of metal, incorporates all of the godfathers and much more. Maiden, Priest, Motörhead, Def Leppard – the list is endless. The band has a youthful freshness and a uniqueness that will no doubt elevate them to being a true Metal favourite of the fans.”

Catch TAILGUNNER live in 2026:

Tour support for Fozzy’s Eyes On You tour:

06.02.26 EN – Brighton, England / Chalk

07.02.26 EN – Margate, England / Dreamland

08.02.26 EN – Manchester, England / The Ritz

10.02.26 EN – Norwich, England / Epic Studios

11.02.26 EN – Bradford, England / Nightrain

13.02.26 EN – Nottingham, England / Rock City

14.02.26 SC – Glasgow, Scotland / TV Studios

15.02.26 EN – Newcastle, England / Boiler Shop

17.02.26 WL – Cardiff, Wales / Tramshed

18.02.26 EN – Torquay, England / The Foundry

19.02.26 EN – Southampton, England / The 1865

20.02.26 EN – London, England / Electric Ballroom

21.02.26 EN – Wolverhampton, England / KK’s Steel Mill

UK festivals:

13.06.26 EN - Donington Park / Download Festival

05.09.26 EN - Coventry / Hella Rock Festival (Coventry Empire)

Supporting Accept on their Half A Century Of Metal Tour:

27.08.26 EN – Wolverhampton / KK’s Steel Mill

28.08.26 EN – London / Indigo at the O2

TAILGUNNER are:

Craig Carns - Vocals

Rhea Thompson - Lead Guitar:

Zach Salvini - Lead Guitar

Bones - Bass Guitar

Eddie Mariotti - Drums

TAILGUNNER online:

FACEBOOK

INSTAGRAM

Thrash legends Exodus share video for new single '3111'

Thu, 05 Feb 2026 14:55:53 GMT

Thrash legends Exodus share video for new single '3111'

Goliath album out 20th March via Napalm Records

Thrash legends Exodus share video for new single '3111'

Goliath album out 20th March via Napalm Records

Footage too brutal for YouTube

Censored and uncensored versions available

Just last week, Bay Area thrash legends EXODUS announced their 12th studio album, Goliath. Their first album with singer Rob Dukes since 2010, the band’s Napalm Records debut, and the follow-up to their highest-charting record ever will be released 20th March.

Along with it, the band revealed the massive opening track '3111' - whose video couldn’t be released due to the footage being too brutal for YouTube.

Today, the video is revealed, in censored and uncensored form.

Censored version: https://youtu.be/kmZXGb6MtF8

Uncensored version: http://exodus3111.com

Gary Holt about the video:

"So here it is, time to share the full, uncensored version of the video for 3111! If you put it in movie

terminology, we have the PG, PG13, and with this one, the rate R version! With YouTube flagging what we consider the PG13 version repeatedly with threats of losing our page permanently, (which to be honest contains nothing you can’t find on YT already) we decided to really push it and include all the scenes we KNEW they would not allow! So here’s the full video, with its own website to view! Enjoy!"

Set around the drug war in Mexico’s Ciudad Juárez, sinister '3111' is an intense song showcasing not only EXODUS’ ever-increasing dynamic approach, even decades into their historic reign, but also their willingness to go exactly where it hurts. Therefore, the band spared no effort to make the video accessible to fans. A censored version is now up on YouTube, while a new website has been set up to show the merciless brutality of '3111' in its true form: http://exodus3111.com

EXODUS on '3111': "We decided to go hard with the leadoff single, ‘3111’. The song is about the narco killings in Juarez, and ‘3111’ is the estimated number of murders for 2010 alone."

Pre-order Goliath here: http://lnk.to/Exodus-Goliath/napalmrecords

Emerging hungrier than ever in 2026, with Goliath, EXODUS reinforces their eternal foothold at the top of thrash metal's hierarchy with 10 of their most diverse, anthemic emissions to date.

Further fuelled by the widely embraced return of iconic late-era frontman Rob Dukes – first appearing on 2005’s Shovel Headed Kill Machine – the album boasts what the band describes as the performance of his life. Goliath is EXODUS’ most collaborative record in their four decade-plus history, featuring songs written by several band members and guest contributions from Peter Tägtgren (Hypocrisy, Pain) and violinist Katie Jacoby.

EXODUS - 3111

Flurried dueling solos, an isolated bass excursion, rigorous drum dexterity and a blend of both gritty vocal passages and cutting chants combine to serve as yet another prime example of the band’s ever-evolving musical mastery.

Produced by EXODUS, mixed and mastered by Mark Lewis (Whitechapel, Nile, Undeath), Goliath beams with the explosive authenticity that has set EXODUS eons apart from their peers since the release of their debut, 1985’s groundbreaking thrash blueprint Bonded By Blood. 40 years later, EXODUS are steadfast in their refusal to settle for the safety of mediocrity, fearing nothing and no one and continuing to forge their trademark just as resolutely as they did in their fruition.

EXODUS comment on new album Goliath: “Are we excited for this record? That’s an understatement. We put everything we had into this record (and it’s 80 percent complete follow up, but we’ll save that conversation for another day!) and it’s one of our proudest accomplishments. Wildly collaborative, the most band centric album to date with four songs written by Lee, lyrics by Gary, Rob, Lee and Tom, and just killer all the way around. The time to let the monster loose is coming! Bow Down!”

Goliath wastes no time proving as massive as its name, with a sinister introduction opening '3111'. Ode to owning one’s own volatility 'Hostis Humani Generis' features a palpable lyrical delivery from Rob Dukes that cuts like crystal amid frenetic riffs, before rolling into 'The Changing Me'. The track’s introductory notes cascade into hair-raising rhythms, forming one of the band’s most anthemic offerings – blending menace and melody with the cleans of guest Peter Tägtgren (Hypocrisy, Pain) together with Tom Hunting and at the end both Peter and Robb scream off the song.

Harmonic dual axe acrobatics from resident guitar legends Gary Holt and Lee Altus. 'Promise You This' incites mosh pit treachery with explosive energy, cyclonic riffs and turbocharged soloing from Holt and Altus, prior to colossal title track 'Goliath' simmering the tempo down with winding, malevolent leads, towering drums and ominous string work from Katie Jacoby coupling with intricate guitars.

The album standout showcases the band’s ever-increasingly dynamic approach, even decades into their historic reign. Tracks like 'Beyond The Event Horizon' and '2 Minutes Hate' provide EXODUS’ trademark deadly dose of thrash theatricality – the latter boasting one of the album’s most grimacing, grooving pit primers – while undeniably 90s-tinged metallic charm attacks alongside drummer Tom Hunting and bassist Jack Gibson’s unmistakable rhythmic rage on tracks like 'Violence Works'.

The nearly eight-minute epic 'Summon Of The God Unknown' turns the danger dial to max capacity, setting the stage with a wicked introductory passage before traversing a variegated passage of trudging riffs and heavy metal melody. Power packed closer 'The Dirtiest Of The Dozen' wraps the album on a manic high, showcasing EXODUS pulling out all the stops on all instruments.

EXODUS are touring the world extensively in 2026. First off with Megadeth and Anthrax in Canada in February and March, then Europe with Kreator, Carcass and Nails in March and April. The band then tour the US and Canada with Sepultura in April and May.

UK dates:

27.03.26 UK - London / O2 Academy Brixton

28.03.26 UK - Manchester / O2 Apollo Manchester

29.03.26 UK - Glasgow / O2 Academy Glasgow

EXODUS are:

Tom Hunting - drums

Gary Holt - guitars

Jack Gibson - bass, backing vocals

Lee Altus - guitars

Rob Dukes - lead vocals

Photo credit: Jim Louvau

Massive Wagons Release Live Single & Video ‘Pressure’ Ahead of Landmark Album ‘Live At The Great Hall’

Thu, 05 Feb 2026 14:35:24 GMT

Massive Wagons Release Live Single & Video ‘Pressure’

Massive Wagons Release Live Single & Video ‘Pressure’ Ahead of Landmark Album ‘Live At The Great Hall’

Watch Video HERE

Massive Wagons have released a brand-new single and video for Pressure, taken from their forthcoming album Live At The Great Hall, due out on 27th March 2026 via Earache Records.

A fan favourite and a staple of the band’s live shows, Pressure perfectly captures the raw power and adrenaline that Massive Wagons thrive on when they hit the stage.

Frontman Barry Mills explains:

Pressure is one of my absolute favourite tracks to play live. I love the live energy it brings and Adam’s solo in it is probably my favourite of all his solos to be honest. It jumped out at me when I had my first listen through the album in its entirety too, which was a big plus in my book for it to be filmed and released as a live single. We are super excited about the release of the live album. I think it really captures who we are and what we are about, and it kinda proves we are a serious outfit who bring it when we perform live! It’s been years in the making, it needed to be done right, at the right time and at the right place with the right songs, and it’s become another big chapter in the Wagons story”.

The band have also dedicated Pressure and its accompanying video to the memory of Stu Hunting, a close friend of the band and a hugely respected supporter of the UK rock and metal scene. “Stu was a champion of live music and a friend to so many bands,” Barry adds. “He may be gone, but he’ll never be forgotten.”

Live At The Great Hall documents two very special hometown shows recorded on 19th and 20th September 2025 at Lancaster University’s Great Hall, a venue steeped in rock history. After lying dormant for over 40 years, the hall once again came to life, echoing memories of legendary performances by The Who, Black Sabbath and Queen.

Both nights sold out, and the atmosphere was nothing short of electric. The performances were praised by original Great Hall promoter Barry Lucas, author of When Rock Went to College, while Classic Rock Magazine hailed Massive Wagons as “a band stepping up their league.”

Recognising the significance of the moment, the band knew it had to be captured. The album bottles the humour, heart, and spirit that Massive Wagons bring to every show, offering fans the chance to relive those unforgettable nights, or experience them for the first time.

Live At The Great Hall will be available in a selection of exclusive formats.

Pre-orders are open now at https://earache.com/collections/massive-wagons

Pre-Save Here - https://earache.lnk.to/LiveAtTheGreatHall

Pressure is OUT NOW https://earache.lnk.to/PressureLive

2026: LIVE DATES

07.02.2026 Warrington,UK, (Parr Hall) Full Nelson Show

27.03.2026 – Album Launch -Barnoldswick Music & Arts Centre (SOLD OUT)

28.03.2026 - Album Launch -Barnoldswick Music & Arts Centre (SOLD OUT)

EVERYWHERE WE GO UK TOUR - 2026

17.04.2026 – Norwich, Epic Studios

18.04.2026 – Leicester, O2 Academy

19.04.2026 – Holmforth, The Picturedrome

23.04.2026 – Aberdeen, The Tunnels

24.04.2026 – Middlesbrough, Empire

25.04.2026 – Hull, The Welly

30.04.2026 – Margate, Dreamland

01.05.2026 – Exeter, Phoenix

02.05.2026 – Gloucester, Guildhall

Tickets: https://www.massivewagons.com/live

VAN HALEN release 5150 Expanded Edition

Wed, 04 Feb 2026 16:01:22 GMT

5150 (Expanded Edition)

LP/3CD/Blu-ray Set Includes Remastered Album, Rarities, And Previously Unreleased 1986 Live Recordings, Arriving March 27

VAN HALEN

5150 (Expanded Edition)

LP/3CD/Blu-ray Set Includes Remastered Album, Rarities, And Previously Unreleased 1986 Live Recordings, Arriving March 27

Blu-ray Features New High-Definition Version Of 1986’s

Double-Platinum Concert Video Live Without A Net

PRE-ORDER NOW

Previously Unreleased Live Version Of “Summer Nights”

From New Haven, Connecticut On August 27, 1986

Out Today Digitally

Van Halen began a new chapter 40 years ago with the release of 5150, the first album featuring the lineup of Sammy Hagar, Eddie Van Halen, Alex Van Halen, and Michael Anthony. 5150 marked the band’s first #1 album with hits like “Why Can’t This Be Love,” “Dreams,” and “Best Of Both Worlds” and continued their streak of multi-Platinum releases.

Rhino will release 5150 (Expanded Edition) on March 27, just days after the album’s 40th anniversary. The LP/3CD/Blu-ray collection includes the 1986 album remastered directly from the original master tapes, overseen by the band’s longtime engineer Donn Landee. Additionally, an Amazon-exclusive green vinyl version will be available the same day.

The set also introduces more than 90 minutes of previously unreleased live recordings from the band’s August 27, 1986, concert at New Haven Veterans Memorial Coliseum in New Haven, Connecticut. These are joined by a selection of rare 7” single edits and extended 12” versions. The Blu-ray includes a new high-definition upgrade of Live Without a Net, Van Halen’s double-Platinum 1986 concert video that was also recorded that same August night in New Haven, along with promotional videos for “Dreams” and “Why Can’t This Be Love.” Pre-order HERE.

Standalone versions of 5150 featuring the remastered album and rarities will also be available the same day as a 2CD set or a 2LP on black vinyl. Ahead of the release, the live version of “Summer Nights” from the New Haven show is available today digitally, along with the HD remastered video. Listen HERE.

Van Halen recorded 5150 at Eddie’s 5150 Studios in California beginning in late 1985. Released on March 24, 1986, the album debuted at the top of the Billboard 200, becoming the band’s first #1 release. It quickly became one of the best-selling albums of Van Halen’s career, earning 6x Platinum certification in the U.S., and was followed by the extensive and highly successful 5150 Tour. On stage, the new lineup focused on new material like “Love Walks In,” “Best Of Both Worlds,” and “Get Up,” while still delivering early VH favorites like “Panama” and “Ain’t Talkin’ ’Bout Love.”

5150 (EXPANDED EDITION)

LP/3CD/Blu-ray Track Listing

LP: Original Album Remastered

Side One

“Good Enough”

“Why Can’t This Be Love”

“Get Up”

“Dreams”

“Summer Nights”

Side Two

“Best Of Both Worlds”

“Love Walks In”

“5150”

“Inside”

Disc One: Original Album Remastered

“Good Enough”

“Why Can’t This Be Love"

“Get Up”

“Dreams”

“Summer Nights”

“Best Of Both Worlds”

“Love Walks In”

“5150”

“Inside”

Disc Two

“Best Of Both Worlds” (Single Edit)

“Dreams” (Single Edit)

“Love Walks In” (Single Edit)

“Why Can’t This Be Love” (Extended Version)

“Dreams” (Extended Version)

“Best Of Both Worlds” (Live)

“Rock And Roll” (Live)

“Love Walks In” (Live)

Disc Three

New Haven Veteran Memorial Coliseum, New Haven, CT (8/27/86)

“There’s Only One Way To Rock”

“Summer Nights”

“5150”

“Panama”

“Best Of Both Worlds”

“Love Walks In”

Guitar Solo

“I Can’t Drive 55”

“Ain’t Talkin’ ’Bout Love”

“Wild Thing”

“Why Can’t This Be Love”

“Rock And Roll”

Blu-ray

Live Without a Net (HD Upgrade)

“Dreams” (Promo Video)

“Why Can’t This Be Love” (Promo Video)

5150

2LP Track Listing

LP One

Side One

“Good Enough”

“Why Can’t This Be Love"

“Get Up”

“Dreams”

“Summer Nights”

Side Two

“Best Of Both Worlds”

“Love Walks In”

“5150”

“Inside”

LP Two

Side One

“Best Of Both Worlds” (Edit)

“Dreams” (Edit)

“Love Walks In” (Edit)

“Why Can’t This Be Love” (Extended Version)

“Dreams” (Extended Version)

Side Two

“Best Of Both Worlds” (Live)

“Rock And Roll” (Live)

“Love Walks In” (Live)

5150

2CD Track Listing

Disc One

“Good Enough”

“Why Can’t This Be Love"

“Get Up”

“Dreams”

“Summer Nights”

“Best Of Both Worlds”

“Love Walks In”

“5150”

“Inside”

Disc Two

“Best Of Both Worlds” (Edit)

“Dreams” (Edit)

“Love Walks In” (Edit)

“Why Can’t This Be Love” (Extended Version)

“Dreams” (Extended Version)

“Best Of Both Worlds” (Live)

“Rock And Roll” (Live)

“Love Walks In” (Live)

Bad Bob Bates – Car Trouble (2026)

Mon, 02 Feb 2026 18:25:57 GMT

There’s a particular pleasure in watching an artist lean fully into the thing they do best. For Bad Bob Bates, the musical alter‑ego of Chris Davison, that “thing” is storytelling with a wink, a bruise, and a blues‑soaked grin. Car Trouble, his latest seven‑track collection recorded at The Old Church Studio in Thropton and produced by Adam Forster, is a compact, characterful showcase of everything that makes Bad Bob Bates such a compelling presence on record and on stage. It’s warm, witty, rough‑edged in all the right places, and delivered with the kind of charisma that can’t be faked.

Bad Bob Bates has long been known for his sharp eye for human behaviour, the tiny absurdities, the private heartbreaks, the moments of comedy that slip into tragedy and back again. On Car Trouble, he doubles down on that instinct, offering songs that feel lived‑in, unvarnished, and deeply relatable. These aren’t grand epics; they’re snapshots, overheard confessions, and late‑night mutterings set to blues riffs and battered‑but‑hopeful melodies.

The album opens with the title track, a fuzz‑drenched, upbeat blues number that uses car woes as a metaphor for life’s more stubborn misfortunes. Distorted vocals and a driving drum performance from producer Adam Forster give the song a gritty swagger. Bad Bob Bates sounds like a man laughing through the chaos, and the effect is infectious.

Opening with a harmonica‑led blues shuffle featuring Mick Davison’s expressive blowing “Don’t Tell the Bride” also features Bad Bob Bates The Bates Motel compadre Ally Lee’s providing additional guitar work. This track leans into Bad Bob Bates’ humour. It’s loose, lively, and knowingly mischievous, the kind of song that feels like it was written with a grin and recorded with a raised eyebrow.

Slowing the pace, “Foundry Lane” brings acoustic guitars to the forefront. It’s a gentler, more reflective moment, the kind of track that invites the listener to lean in. Bad Bob Bates’ voice carries a quiet ache here, proving he can land emotional weight without ever tipping into sentimentality.

“No‑one Told Me” is a down‑on‑your‑luck blues tune with alt‑rock DNA, this track nods toward Pavement and Phish while remaining unmistakably Bad Bob Bates. It’s a song about escape, or at least the fantasy of it, with one of the album’s most memorable lines:

“Gonna hook up my girlfriend’s fold‑up caravan, then I can make me a brand new plan.”

It’s scrappy, hopeful, and delivered with a shrug that says, “Well, why not?”

The guitars get heavier and the drums hit harder on “Silent Screen.” This is an ode to falling in love with a silent movie star, a concept that sounds whimsical but lands with surprising sincerity. Bad Bob Bates taps into nostalgia without ever sounding stuck in the past, giving the track a cinematic sweep.

Built on a sweet shuffle beat “Take What You Got” is one of the album’s most uplifting moments. Bad Bob Bates sings about squeezing every drop out of life, offering the simple but resonant reminder:

“You gotta take what you got and squeeze it ‘til it’s dry.”

It’s earnest without being cloying, and the groove is irresistible.

Closing the album with a bang, “You Looked Good” is an old‑school boogie rocker that channels classic Quo energy. Everything is cranked up, everything is fun, and Bad Bob Bates leans into the party spirit with lines referencing Grand Funk and wry observations like:

“You look good, but I was stoned,”

and

“You’re still sober and I’m still drunk.”

It’s cheeky, loud, and designed to be played at full volume.

This is a cohesive, confident release. Across these seven tracks, Bad Bob Bates plays everything except the drums, and that DIY spirit gives Car Trouble its charm. The performances are tight but never sterile; the production is polished but still lets the grit shine through. There’s not a weak moment here, each song earns its place, each one offering a different shade of Bad Bob Bates’ musical personality.

What really elevates the album is Bad Bob Bates himself. His voice, his humour, his knack for turning everyday frustrations into miniature blues operas, it all adds up to a record that feels both intimate and entertaining. Whether he’s channelling classic boogie rock, acoustic melancholy, or fuzz‑heavy blues, he does it with a confidence that comes from years of honing his craft on stage and in the studio.

Fans of his live work, whether solo or with The Bates Motel, will recognise the energy and storytelling flair. New listeners will find an artist who knows exactly who he is and what he wants to say.

Car Trouble is a top‑tier effort from Bad Bob Bad Bob Bates: funny, heartfelt, musically sharp, and packed with personality. It’s the kind of album that rewards repeat listens, each spin revealing another sly line or subtle musical detail. With its limited CD release and download available via Bandcamp, it feels like a gem waiting to be discovered, a small but mighty record from an artist who continues to grow without losing the rough‑edged charm that makes him so distinctive.

Preacher Stone + Revenant - Wednesday 28th January 2026 The Old Brewery Store, Faversham

Fri, 30 Jan 2026 10:11:01 GMT

If you follow Preacher Stone on their socials, you might have seen a video recently where frontman Ronnie Riddle bestowed upon us his ‘Fun Facts of Faversham’; apparently it’s “famous for gunpowder and oysters, and known for its medieval architecture and rich maritime and industrial history”. Be that as it may, the only reason I tend to visit is for an evening at The Old Brewery Store, a venue that, in collaboration with Rockin’ Roots Events, consistently books exciting acts and is fast becoming one of my favourites.

It’s busy tonight, despite being mid-week, the allure of two bands who made their mark at the (relatively local) Maid of Stone Festival proving strong. UK based Revenant are up first, frontman Sam Lay firmly suggesting that anyone at the bar needs to move forward. He’s got a point, because Revenant sound even better than I remember.

The influence of Southern rock seeps through the gorgeous twin guitar interludes and harmony vocals that make ‘Best Medicine’ so infectious, but there’s more to Revenant than that. The new songs suggest that the band are moving in heavier directions, ‘Waste My Time’ and ‘Something You’re Not’ favouring big riffs and rumbling bass lines which prove a hit with the crowd, even if we initially struggle to shout ‘hey!’ in the right places! ‘Black Dogs and Sad Men’ is a mini-epic, complete with an unforgettable percussive interlude that allows drummer Carl Donoghue to give his kit what for and guitarist Matt Hudson to really shred.

Throwing in a turbo-charged cover of Zeppelin’s ‘When the Levee Breaks’ is a masterstroke; close enough to the original to keep us happy, but different enough to feel revived. The only trouble is, we’re not quite sure when it’s finished and wait for an ending that’s already happened, much to the amusement of the band who conclude we probably didn’t like it!

‘The Healer’ reveals a more vulnerable side, a gentle ballad about checking in on your mates that sees phone torches light up the venue. The similarly personal, ‘I’ll Be There’ brings the set to a triumphant close, with a huge, unifying chorus that demands to be sung along with.

Americans are generally more natural showmen than us Brits, and so it proves for Preacher Stone. And though it’s unusual for a drummer to command the most attention, the effortlessly cool Wyatt subverts expectations, crashing in at the start of the set and marking ‘Hard Life PhD’ with his distinctive, cymbal-heavy technique. But there’s charisma all over the stage, frontman Ronnie Riddle winning us over quickly with his Southern warmth and North Carolina accent that doesn’t disappear when he sings.

The band flew in yesterday, but there’s no signs of jet lag as they tear into the wonderfully titled ‘Old Fashioned Ass Whoopin’ Sum Bitch’. Though it’s easy to stamp Preacher Stone with the Southern Rock label (and of course, there is an element of that), to my ears, they’re better described as good ol’ heavy rock, played loud and with a focus on catchy choruses that quickly embed themselves in your brain.

‘Not Today’ makes an early appearance, a song that opened doors for the band when it featured in Sons of Anarchy, and is still probably their best known. It translates particularly well live, all of us shouting the title back at the band at the appropriate moment. ‘Dance With the Devil’ highlights bassist Jim Bolt’s harmony vocals, and the wonderful grooving rhythm that makes Preacher Stone such an easy band to move to.

There’s a bit of a problem with feedback around the halfway mark, causing Riddle to jest that they have “flasks, CDs, vinyl and feedback” for sale at the end of the show! But thankfully it’s not enough to derail the band, who soldier on with the deliciously funky ‘Saddled and Rode’. It’s one of several songs from latest album ‘By the Horns’ to make the set, and all of them feel worthy. The joyful ‘Think By Now’ is a perfect party anthem, ‘Come What May’ almost brutally heavy with its aggressive riff.

‘Horse to Water’ sees the band at its most bluesy, Darrell Whitt’s swampy slide guitar lending a feeling of foreboding. Along with guitarist Ben Robinson, the pair make a formidable duo, the latter marking songs like ‘Writing on the Wall’ with fiery, expressive solos.

‘That’s Just the Whiskey Talking’ brings the night to a close, or at least, it’s supposed to, but the demand for the band to come back and play one more song is so strong that they can’t really refuse. ‘Lucky’ might not be a word you’d choose to describe Preacher Stone given the tragedies they’ve had to endure in their life as a band, but it’s the name of the song they choose to sign off with. Around me, people are dancing, singing and clapping. Preacher Stone say it’s “damn good to be here”, but I say it’s damn good to have them here. Join the congregation as the band continue their UK tour.

REVENANT

Sam Lay - guitar/vocals

Matt Hudson - guitar/vocals

Robin Nutley - bass

Carl Donoghue - drums

PREACHER STONE

Ronnie Riddle - vocals

Jim Bolt - bass

Wyatt - drums

Ben Robinson - guitar

Darrell Whitt - guitar

Phone photos by Laura DQ

Joanne Shaw Taylor/Connor Selby - Queen’s Hall, Edinburgh Sunday 25th January 2026

Tue, 27 Jan 2026 19:18:59 GMT

This was Joanne’s first gig of the year and it was a pleasure to welcome her to Edinburgh at the start of a short run of dates on a ‘provincial’ tour. The Queen’s Hall was decked out in fairly simple fashion, with the floor seated, a minimal stage set-up and plain curtains at the back, which definitely did not match the on-stage carpet on which Joanne played. There was plenty of space for the four-piece band backing the main lady herself, who was dressed in a fabulous flared trouser suit for the occasion. Ironically, had she been “home” in Nashville, she might have needed a woolly jumper, as I believe it has been snowing there this week – a highly unusual event.

Since Joanne last played here three years ago, she has released two full-length albums, so there was plenty of recent goodness to share, including ‘Hell of a Good Time’ early in the set. As ever, Joanne’s smoky vocals were as much of a feature as her incredible guitar skills, and wouldn’t it be great to hear JST having a smoke-off with Elles Bailey on a duet? Behind Joanne, the marvellous Katelynn Corll added exquisite backing vocals to her excellent drumming and really contributed something special to the occasion.

As usual, Joanne let the music do most of the talking, and the arrangements and guitar playing were very eloquent indeed. When she did chat between songs, the likeable Midlander shared some amusing stories about her dog Hank, Harry Potter and her secret crush, Kevin Costner. Memorably, her excellent cover of ‘Two Time My Loving’ by The Fabulous Thunderbirds came with a disclaimer that Joanne does not endorse cheating!

The set list was primarily drawn from Joanne’s own work, which includes a smattering of some other people’s songs that she has already put her stamp on. Gershwin’s ‘Summertime’ dates back to Porgy and Bess in 1935 and according to The Jazz Society, there have been over one thousand recorded versions of this tune, although other online estimates are considerably higher. I am sure folks from the 1930s would appreciate Joanne’s vocal interpretation but I think her guitar playing would blow their freaking minds.

As a boomer, I used to associate ‘Wild is the Wind’ with David Bowie, but his was just one of many covers of that song, dating back to Johnny Mathis. I suspect Ella Fitzgerald’s take will have been Joanne’s favourite version, but for me, the intricate song really brings the best out of Joanne’s voice and her quite exquisite rendition on her ‘Reckless Heart’ album is the new gold standard. Having listened in quiet appreciation, many in the crowd fell for the false ending and erupted into applause, before Katelynn’s authoritative short drum burst heralded the blistering guitar denouement that put the cherry on the cake.

As always, Joanne’s performance was outstanding. By doing it the old-fashioned way through recording and touring, Joanne has developed a loyal and discerning following who appreciate her work. In the corridor, I heard one individual deliver a slightly crass, cack-handed compliment, describing the main lady as “like Bonamassa with breasts”. I’m sure he meant well and was primarily referring to the quality of her playing, but as a friend and collaborator of Joe’s and a lady who does not overtly use her femininity and beauty to promote her talent, I doubt if Joanne would really welcome the comparison.

At the start of the evening, Essex lad Connor Selby was the opening act – the third time he has done the honours for Joanne, although once again, it was as a solo act, accompanied only by a small amp and his own happy, tappy feet. He comes with an increasing reputation, as he was voted "Young Artist of the Year" at the UK Blues Awards in three consecutive years between 2020 and 2022, before graduating to win a “big boy now” trophy with the 2025 "Traditional Blues Artist of the Year" award.

The subject of his song titles tended to fit the “modern blues” template. The opener ‘Falling in Love with You’ sounded potentially romantic, although Connor didn’t seem all that thrilled about it. He then introduced ‘All Out of Luck’ as being “about my current situation”, which drew some sympathetic “aawws” from the mothers in the audience. There was a “countrified heartbreak” song, plus the excellent ‘The Truth Comes Out Eventually’, which is the title of his latest album, before it all wrapped up with the comparatively upbeat and undeniably excellent ‘Someone’. Clearly an outstanding performer, and already a favourite with some Rockfiend colleagues, I will hope to see Connor in a band context at some point.

Postscript;

Although in fine form in this gig, apparently Joanne was subsequently laid low with a chest cold which impacted some dates and caused the cancellation of others. Best wishes for a speedy recovery.

PHONE PHOTO BY IAIN MCARTHUR

Solomon Hicks - How Did I Ever Get This Blue?

Tue, 27 Jan 2026 18:43:54 GMT

Solomon Hicks’ ‘How Did I Ever Get This Blue?’ is really a work of fascinating contradictions. Despite the clue in the title an album cover that could be mistaken for that of an old master, 30 year old Hicks seems to be forging forward whilst looking back, at times reverential to traditional blues, at others ripping up the rule book entirely.

A guitarist who has been gracing stages since the age of 13, his years of experience feed into an album that balances the familiarity of classics like Bobby Bland’s ‘Further on up the Road’ and Chuck Berry’s ‘Memphis, Tennessee’ with unlikely reworkings of modern pop classics by Bruno Mars and Adele; choices that feel intentionally controversial, and might upset the purists, but are all the more interesting as a result.

Adele’s ‘Rumour Has It’ is transformed into something almost feral, Joanna Connor’s slide guitar lending a gloriously unhinged feel to a song that always deserved this much attitude. The insistent drum beat adds to the frenzied atmosphere that works so well. Hicks is a master of moods, whether conjuring gentle melancholy with his plaintive guitar work on ‘All Your Loving (I Miss Loving)’, or injecting soul into a majestic ‘Feels Like Rain’ with his impassioned vocal.

It’s something he does very well in his original work too, ‘I’m Burnin’ Up’ is an assured slice of streetwise funk set to a hip hop beat, a striking contrast to the title track. The latter is appropriately sad, aching with yearning, an elegant blues ballad that feels like it must have been around for many years.

Elsewhere, ‘Dimples’ is given a swinging update that is utterly joyful, the bass doubling beautifully with guitar for the distinctive lick. Paul Butterfield’s ‘Driftin’ and Driftin’ is somewhat darker, almost sinister, as the menacing riff keeps slinking back for more.

Hicks has stated that he wants “to shock people” and I’d say it’s job done, in the best possible way. ‘How Did I Ever Get This Blue?’ is out now.

Greyfox Conspiracy + Leadfeather - The Anchor, Wingham Saturday 24th January 2026

Tue, 27 Jan 2026 13:04:20 GMT

The unassuming village of Wingham isn’t necessarily somewhere you’d consider as a hotspot for live music. Perhaps that’s why the turnout at the Anchor is so disappointing this evening, the void space in front of the stage surely not a sight any band yearns for. But Leadfeather don’t let it bother them, joking that sometimes they play to 300 people, sometimes 500, but that “this feels right”. If you’re unfamiliar with the London based quartet, one look at their open shirts, flared jeans and (mostly!) long hair gives some indication of what to expect.

Musically, they’re as Zeppelin as it gets, and I mean that as the greatest compliment. But vocally, Apostolos L has more in common with David Coverdale at his full throated best, even throwing in the odd swooning “oh baby” for good measure. His voice erupts with startling power on opener ‘Danger Zone’ and doesn’t let up thereafter. Blessed with a look as strong as his voice, he’s a proper, old-school, tambourine shaking frontman, complemented beautifully by guitarist and founder Simon Hurts.

With just one EP to their name at the moment, we’re treated to stellar renditions of all 6 tracks during Leadfeather’s set. ‘Roll the Dice’ is worthy of special mention, one of the finest rock songs of 2025, nodding to the aforementioned Zeppelin but also to Deep Purple with a lovely bit of call and response between L and Hurts, the former’s vocalisations being met with squeals of guitar from the latter. ‘Shoot for the Stars’ sounds equally colossal, grooving like a beast thanks to some particularly funky lines from bassist Wilson Zaidan.

A decent helping of new material slots in nicely; ‘Wild Child’ is particularly memorable, not just because Hurts switches out his Les Paul for a 12-string (also adorned with trademark feather!) but because Thanos’ drumming is very reminiscent of a certain Mr. Bonham, never going quite where you expect. Unapologetically retro, there are several references to the greats, riffs from Hendrix and Sabbath sneaking their way into proceedings. In terms of influences, these lads have chosen all the best ones - what’s not to love?

Headliners Greyfox Conspiracy certainly have a striking look; Decked all in black, there seems to be a loose uniform of boots and chains, a military jacket here, a waistcoat there. Centre stage, charismatic leader Greyfox Growl (aka Rob Cooksley) makes an immediate impression, eyeballing members of the audience and pointing his finger as the band tear into the fast-paced ‘Freight Train’. And they’re loud, really loud, the heavy thump of Darren Richards’ Rickenbacker bass giving some serious oomph to proceedings.

Cooksley jests that the collective age of the band is about 360… I’m assuming that’s an exaggeration, but by how much, I can only guess! Despite their advancing years, they’re a fairly new band, debut album ‘Preacherman’ released just last month. We get to hear most (all?) of it tonight, and the emphasis is on no-nonsense hard rock with easy to remember choruses that can be picked up quickly. ‘Twist of Fate’ is pleasingly reminiscent of AC/DC with its stomping riff, ‘Crazy Horse’ gloriously unhinged with Cooksley’s wild vocal.

Their set is a lot of fun, Cooksley disappearing at the start of ‘Preacherman’, returning with a bible in hand, and venturing into the audience to dish out blessings, placing his hand upon various heads (not mine, he takes a look and shakes his head, I’m clearly a lost cause!). The song itself is wonderfully dynamic, Cooksley’s snarl of a vocal alternating with a thundering guitar assault in the opening verse. A riotous ‘Fire and Gasoline’ seems familiar, but that’s because it’s a song written by Cooksley when he was part of Sons of Liberty. He says that Greyfox do it better, and it’s hard to argue. It’s a great song with an irresistible hook, delivered here with energy and style.

At just £11 a ticket, it’s baffling to me that this event isn’t sold out. I’d happily pay quite a lot more to see either band again. Get both bands on your playlist and turn up the volume, there’s great new music out there if you know where to look.

Leadfeather Setlist

Danger Zone/Queen of the Night/Silvertrain/Silver & Feathers/Higher/Roll the Dice/Why/The Answer/Wild Child/Shoot for the Stars/Troubled Man

Greyfox Conspiracy Setlist

Freight Train/I’ve Got Your Back/Renegade/Lord Have Mercy/Branded Man/Twist of Fate/Fire and Gasoline/Time Will Tell/Preacherman/Crazy Horse/Into the Great Unknown

PHONE PHOTOS BY LAURA DQ

Elles Bailey - “Can’t Take My Story Away” (2026)

Mon, 26 Jan 2026 18:09:38 GMT

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.

Marky Ramone's Blitzkrieg - The Dome, London 21st January 2026

Mon, 26 Jan 2026 11:22:13 GMT

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"......

Photos by Daniela Pagliuca

Midnite City/Nasty Ratz - Yardbirds Rock Club, Grimsby 22nd January 2026

Mon, 26 Jan 2026 11:06:49 GMT

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

Photos by Andy Bradley

Arcane Dimensions Tour 2026 Epica/Amaranthe/Charlotte Wessels - O2 Academy Glasgow 21st January 2026

Sun, 25 Jan 2026 18:41:49 GMT

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.

Phone photos by Iain McArthur

Elles Bailey In-Store Album Promotion at Assai

Sun, 25 Jan 2026 18:12:26 GMT

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.

Bangalore Choir - Rapid Fire Succession On Target part 2

Sat, 17 Jan 2026 10:11:25 GMT

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!

Brave Rival + Star Circus - Ramsgate Red Arrow Music Club, Thursday 8th January 2026

Wed, 14 Jan 2026 13:39:45 GMT

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

Photos by Martin Miles

Your Personal Vendetta – 'Hero'

Wed, 14 Jan 2026 13:05:28 GMT

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.

Bad Penny – ‘Love Bomb’

Thu, 08 Jan 2026 19:08:30 GMT

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!

IQ - Islington Assembly Hall, London 20th December 2025

Tue, 23 Dec 2025 11:29:02 GMT

At many points over the last 40-odd years, I've seen countless amounts of Prog groups arrive, and usually, disappear without a trace. In some respects it's a very exacting area to achieve success, and moreover, to maintain any inertia, once there. One of the few acts to transcend any such inconvenience is IQ. In 2026, they reach their 45th Anniversary, With a huge amount of deftness, they've avoided any of the laws of depreciation, and not only that, have flourished massively. Their recorded output still very much glistens, and tonight, at Islington, we receive a wonderful cross-section of it all.

Islington Assembly Hall is a lovely venue. Nearing 100 years old, and part of the old Town Hall, it has an array of Art Deco ornamentations that fit perfectly with the colourful music of IQ. After a warm and friendly set of videos, they arrive with opening song "It All Stops Here" from the "Seven Stories Into Eight" album from 1982. Hot on it's heels are "Sacred Sound" from "Dark Matter", and "Subterranea", from the album of the same name. When you consider that IQ aren't playing a large amount of concerts each year, it's startling how "together" they are. Each member is very dexterous and contrasting, yet harmonizing perfectly. The word "Progressive" sits very well with IQ, in it's realest sense. Always moving forwards, and including everything you'd expect from a top-tier outfit. Melody by the cart load, space when required, dramatic movements and intricate time signatures.

The most recent three albums from the group ("Dominion"/"Resistance"/"The Road Of Bones") are represented well here. It's a great thing, too, as I would make a case for those three releases being up there with the premier end of their output. Four of the Five members, Peter Nicholls (Vocals), Mike Holmes (Guitar), and Paul Cook (Drums:- "Taking time off from The Sex Pistols", as Peter Nicholls puts it) and Tim Esau (Bass) have been together (excluding some minor/non-minor gaps) since 1982. Neil Durrant (Keyboards) arrived 15 years ago. During the mid-section of the concert, "Never Land" and "Far From Here" from this year's "Dominion" are played, and the title track of "The Road Of Bones". I mention these, as they plant themselves amongst the stand-outs from the evening. This echoes the sentiment of the recent output being as valid as (at minimum) the older songs. "Shallow Bay" from "Resistance" is wonderful, too. Three top-end albums in just over ten years is almost indecent by Prog reasoning, but there you have it.

A lovely surprise is a cover of "I Believe In Father Christmas", by Greg Lake. Whilst not sticking entirely to the original arrangement, it works wonderfully and is timed well, due to the 50th Anniversary of the song arriving this year. I'd like to make a special mention of the "duo" of Peter Nicholls and Mike Holmes. Peter's voice is truly original, unique, and full of emotion and phrasing. Those skills are immediately arresting from the start of every song, and onwards. He also has lashings of personality. Mike Holmes....well feel free to mention him at the same time as David Gilmour and Steve Hackett. You wouldn't be over-egging it by putting him there. Outstandingly melodic, with a natural sense of knowing when to play, and when not to. You can't teach that.

The main set ends with "Headlong" from "The Wake", with "The Last Human Gateway" from their debut "Tales From The Lush Attic" album, following it as the first encore piece. IQ have always offered a very distinct and multifaceted version of "Nu Prog". They've somehow avoided repetition, kept unique, and played to the highest standards along the way. This evening was a great flag-waver for all of that. They are amongst the UK's finest musical sons, and tonight was a great illustration of that fact.

Photos by Daniela Pagliuca

VICTORY OR DIE/BAD ACTRESS/THOSE MADE BROKEN - Xmas Bash 2025, Dreadnought Rock, Bathgate

Mon, 15 Dec 2025 14:07:02 GMT

All roads led to Bathvegas on Friday as local band VICTORY OR DIE held an end of year~birthday bash to celebrate what has been a phenomenal year for the band with a performance at WinterStorm Festival a few weeks ago coming amid a support slot for Graham Bonnet's latest tour and legendary Scots rockers Gun.

Opening the night on a three band bill were Those Made Broken from Glasgow who brought a very new alternative metal sound, it was not what I expected but the songs were very much in the style of Korn or Bring Me the Horizon with a melodic twist, an entertaining opening 40mins and certainly made me check out their spotify links for another listen. The newest single is certainly well worth checking out as it merges the heavy alternative sound with melodic vocals.

Next up we had young rockers Bad Actress although given they burst onto the scene is 2018 maybe not so young any more. Its been a tough road as they just began to gain traction and then along came covid, line up changes have also given the boys troubles to overcome when Toby decided to leave earlier this year. This prompted drummer Lui so step forward and take on the frontman role and this was my first time seeing the band since. WOW what else can I say, his talents were being wasted behind the drumkit, for all the world like a young Steven Tyler he brings a whole new dimension to the songs new and old.

The boys have an infectious energy about them, they love being on that stage big or small and have some great 80's sounding songs to back it up. The newest song Feel My Pain is certainly and emotional one for the band detailing the struggles life can bring. Lets hope 2026 continues too see the boys build on a reputation for good time rock.

Its been some year for Victory or Die, a band born in the Rainbow Bar and Grill under the statue of Lemmy with an idea to just play Rock and Roll the way the great man himself did, boy do they pull it off. Its loud its heavy its full of riffs, did I mention its LOUD. Kicking off with New Rock Revolution the Motorhead influence is immediate, you can just imagine Lemmy standing stage center belting this out. Next comes Hang the DJ, we can't be sure about the reasons behind Zoe Ball quitting her radio show but you never know :-). I Lose Control takes on a much heavier vibe live than the original single version.

There is never any let up in the straight forward punching you in the face sound for the full twelve song set. We get the full repertoire tonight, Brian stands legs so far apart they are in different time zones, Andypaws oozing guitar hero sexiness, Jason and his voice of many talents and Carlos and his big “gong” which he bashes with fervor.

Whilst there was a decent number in attendance it could have been more, this is where music is, small independent venues putting on real bands, we simply must get out and support them or where do we go? Lets make 2026 the year of Keeping Rock Alive, get out and attend the shows, buy the merch and keep these guys making excellent music.

This House We Built – ‘Get Out Of The Rain,’ Self – Released November 2025 Album Review

Sun, 14 Dec 2025 21:07:24 GMT

‘Get Out Of The Rain’ is the second album by This House We Built. It’s the follow up to their 2022 self-titled debut. The Scarborough rockers sound has evolved on the self-released ‘Get Out Of The Rain,’ which was partially crowd funded. The album retains their classic rock sound while bringing in fresh elements that firmly place the album as a twenty-first century rock record.

Musically the album finds the band building on the solid hard rock of their debut album while adding in funk, hard driving metal and arena rock elements. Scott Wardell works his vocal range from sweetly melodic to snarling rocker never losing a drop of power or emotion along the way. He’s ably supported by fellow guitarist Andy Jackson who takes the lead vocals on “Broken Dreams” and “One by One.” The pair also dovetail beautifully on the guitar work grounding the album in catchy hooks in amongst the driving riffs they deliver. The bass register packs a solid punch giving Chris Mayes drums a thunderous boom and highlighting Wayne Dowkes-White nimble bass playing.

There’s a wider diversity in the songs on Get Out Of The Rain with life, love and everyday issues tackled in the lyrics. Stand out tracks include “Better Man,” where the protagonist seeks to grow as a person and be more present for their loved ones. “Drifter” tackles the self-doubt that plagues us all and times. Love is in the air on “One by One,” which delivers a poignant and empathetic love song, while opening track “Rain” is both hopeful and cautious at the same time. Then there’s “Desires,” a track that sets its sights on how we can face up to our problems with positivity and strive to come through them to a better place.

There’s still no nonsense balls to wall classic rock too. "It's Only Rock 'N' Roll" is a party in three minutes and forty-five seconds, there’s even some cowbell in there if I’m not mistaken! The song is all glam riffs, stomps and a sing-along chorus that take you right back to the heyday of hair metal on LA’s Sunset strip circa 1984. It’s not a cover of the Stones classic, only sharing a title with it, although opening salvo of the stones chorus is referenced in the song, albeit with an extra word that the Stones definitely didn’t use!

On the production side Dave Boothroyd has done an excellent job. The sound is crisp with cleanly defined vocals and instruments.

With its hummable melodies, ear worm choruses ‘Get Out Of The Rain’ sees This House We Built deliver one of the best albums of 2025. If you’re into Those Damned Crows, These Wicked Rivers, Massive Wagons, Black Spiders or Sisters Doll you’ll find something to love about ‘Get Out Of The Rain.’ It’s a perfect embodiment of all that’s good on the UK rock scene as well as how far the band have come in the three years since their debut.

Settle in and enjoy some top notch rock anthems that are going to sound immense when the band plays them live.

WinterStorm -Troon, Ayrshire 27-29 November 2025

Wed, 10 Dec 2025 08:40:00 GMT

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.

Jared James Nichols + Bobbie Dazzle + The Fever Dreams - The 1865 Southampton Wednesday 26th November 2025

Tue, 02 Dec 2025 11:43:25 GMT

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:

Photographs by Steve Rossi

Nonpoint - Stylus, Leeds 25th November 2025

Tue, 02 Dec 2025 11:39:27 GMT

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

Photos by Philip Piskor

Lacuna Coil - Stylus, Leeds 25 November 2025

Tue, 02 Dec 2025 11:38:10 GMT

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

Photos by Philip Piskor

The Hives / Yard Act - O2 Glasgow 26th November 2025

Sun, 30 Nov 2025 10:18:09 GMT

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!

13Scream Single Launch - Purple Orange, Bathgate 15th November 2025

Sun, 23 Nov 2025 17:39:07 GMT

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.

Eld Varg - 'Destroyer' Album Review

Sun, 23 Nov 2025 17:05:42 GMT

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.

Cassidy Paris - 'Bittersweet'

Sat, 22 Nov 2025 12:11:13 GMT

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.

Bad Nerves - Glasgow Art School, 20th November 2025

Sat, 22 Nov 2025 12:04:54 GMT

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!

Rockmantic 2025 - 14th & 15th November, Yardbirds, Grimsby

Fri, 21 Nov 2025 11:21:38 GMT

With a name like Rockmantic, you might expect a February festival for Valentine’s Day rock-heads, but this year’s Grimsby edition — held Friday 14th and Saturday 15th November — proved that rock romance thrives perfectly well on a dark, rainy weekend in November. Across two nights, the event offered a love-struck lineup and an atmosphere that left every attendee feeling thoroughly warmed, welcomed, and plugged into something bigger than themselves.

Originally launched in 2013 in Carlisle, Rockmantic has expanded over the years, and 2025 marks its third outing in Grimsby. The decision to branch out has paid off: the Yardbirds Rock Club version has quickly earned a reputation for being tightly curated, high-quality, and fiercely loyal to showcasing the best modern rock acts around.

A Venue Built for Rock

Yardbirds is a compact, two-tiered indoor venue so the layout and atmosphere lend themselves to exactly this kind of event. Established in 2007 and later renovated during lockdown, the club combines intimacy with excellent visibility — everyone can see the stage wherever they stand because of the elevated stage. Flames painted along the walls amplify the warmth of the room.

Yardbirds is well respected for its loud, punchy mix, and since the refurbishment it boasts a state-of-the-art lighting system and a powerful new PA that delivers superb sound quality. The rig comfortably handles complex live setups with strong monitoring and a clear, professional front-of-house sound that makes every band feel bigger.

Merch tables lined the mixing desk and left side, giving the bands much-needed income and offering fans a chance to support their favourites directly.

Friday 14 November 2025 — Night One

Ace of Kings

Scunthorpe’s Ace of Kings kicked off the weekend at the early hour of 6:10pm — a notoriously difficult early slot — but they rose to the challenge with confidence and charm, despite the initial lack of attendees at an early hour. This five-piece (Jonny Bilton on vocals, Oliver James and Josh Grinnell on guitar, Ben Hughes on bass, and Adam Lazenby on drums) opened with their most streamed song, ‘Watch It Burn’, immediately proving they weren’t fazed by the thinner early crowd.

Their hard-rock energy was infectious. Jonny’s confident, friendly banter engaged the crowd, especially as he proudly mentioned the band’s placement in Heat 2 of the Stonedead Festival poll. They definitely deserve your vote and I hope to see them there next year.

Clever lyricism, memorable melodies, and tight musicianship made them a surprisingly strong opener. Speaking to them afterwards, their warmth offstage matched their energy onstage. ‘Rebels and Renegades’ was a standout. Filling in as a last-minute replacement for Murder in the Airwaves, they didn’t just fill a gap — they set the tone for the whole weekend.

Verdict: A fantastic start. Absolutely worth seeing again.

The Soul Revival

The Soul Revival brought a heavier, groove-soaked rock sound that shifted the night’s energy into deeper, more emotional territory. Formed in 2023, the band — Steve Nunn (vocals), Andy Dove (guitar), Karl Selickis (drums), and Matt Higgins (bass) — have already built a growing fanbase, and it’s clear why.

Steve’s classic-rock vocals were both powerful and emotive, and his crowd work was just as entertaining, delivered with a distinctively Brummie charm that gave him a likeable stage presence. Their sound blends classic influences with a modern edge: crisp, dynamic, and authentically performed. A particularly moving moment came with ‘Heart So Hollow’, introduced as a song about a friend the band lost “far too soon.” Photos of fans’ own lost loved ones were included in their music video — a touching communal gesture that quieted the room for a moment of reflection.

Maintaining momentum until the end, their set commanded attention. To close their set, they treated the audience to their upcoming single ‘Rock Star’, an upbeat track set for a late-November release. Andy Dove’s guitar solos were a highlight — technically impressive and captivating from start to finish.

Verdict: A tight, authentic, emotionally charged performance that kept the momentum climbing.

Takeaway Thieves

The sleaze-rock swagger arrived with Takeaway Thieves, a Blackpool outfit delivering old-school rock with a glam twist. Frontman Peter McLoughlin strutted onstage with a Mick Jagger confident swagger, flanked by Ben Gibson (lead guitar), Neil Hunter (rhythm guitar), Max Yates (drums), and last-minute stand-in bassist Josh Carvell (filling in for the ill Adam “The Rev” Hall).

Their riff-driven, glam-tinged hard rock ignited the audience, pulling people closer to the stage. Songs like ‘Kicking My Heart Around’ and ‘Gypsy’ shook the dance floor — literally — with stomps that vibrated.

They dedicated ‘Crazy Horse’ to Ozzy Osbourne, complete with an Ozzy-style wail from Peter, winning the crowd instantly. Their set was theatrical, confident, and perfectly suited to Yardbirds’ punchy sonic landscape.

Verdict: Big swagger, tight delivery, irresistible energy.

Star Circus

Star Circus brought a melodic, classic-rock flavour to the night, drawing influence from Queen, Thin Lizzy, and Def Leppard while maintaining a modern sensibility. The lineup — Dave Winkler (vocals/guitar), Sophie Aurelia Young (bass/vocals), Santiago Periotti (guitar/vocals), and Reuben O'Donoghue (drums/vocals) — are seasoned performers with a polished sound.

That said, the set started somewhat shakily. Their first few songs suffered from some vocal tuning issues and mismatched harmonies. However, by the time they reached ‘Chained to You’ — the first single from their second album ‘From the Wreckage’ (released in June) — the band had found their footing. Harmonies tightened, confidence rose, and the energy in the room lifted accordingly.

Verdict: A rocky start, but promising by the end.

This House We Built

Closing the Friday night was Scarborough’s own This House We Built, who made a masterful musical mansion of sound with Scott Wardell doing vocals and guitar, Andy Jackson on guitar, Chris Mayes on drums, and Wayne Dowkes-White on bass.

From their first song, the floor filled. Their layered sound — strong vocals, crisp guitar lines, rhythmic confidence — created a big-room feel in a small venue. ‘Old Haunts’, from their debut album, earned roaring applause, and Scott’s frontmanship carried the set with assurance. They brought it home by ending with ‘Coming Home to You’ enabling the crowd to sing along with the catchy chorus.

Formed shortly before the world shut down in 2020, they’ve built a wall of sound, blending classic rock, hard rock, nu-metal and funk — all tied together with a modern melodic edge.

Verdict: A strong, cohesive, melodic headliner that ended Friday on a high.

Saturday, 15 November 2025

Paradise Sins

Kicking off the Saturday leg was Paradise Sins — melodic hard rock with a gothic edge and they started the second day all singing and dancing, literally. Frontman Luis Riley Morrison, flanked by guitarists Dan James and Conor Frampton, bassist Dav Fortei, and drummer Zack Morris, delivered a confident, high-tempo set that immediately set the tone for a packed night ahead.

Adding a unique twist, they were joined on stage by two of The Lost Girls, a dance troupe from Nottingham, Sandy Alice and Miss Militia, whose attitude and nightclub-cabaret flair hyped the crowd so that the opening performance was a visual as well as musical spectacle. Their presence elevated the atmosphere and created a full-production vibe.

Formed in 2022 and newly signed to Tower Rock Management, Paradise Sins already feel stage-seasoned and are a band to watch out for. Their sound blends melodic hooks with a shadowy tone and they quickly had the crowd clapping and dancing along. Luis asked, “Can you help us make some magic?” and they created an enchanting opening, ending with ‘Voodoo Love’, which had the crowd bewitched and chanting with them. It's no sin to love this band because they sound like paradise!

Verdict: A high-impact, charismatic opener with great showmanship and an already well-defined identity — definitely one to watch.

Dead Zebras

Next on stage were Dead Zebras, a fast-rising London rock act formed in 2023, blending 80s hair-metal attitude with modern rock hooks. With George on vocals, Ky on guitar, Jamie on bass, and Lukas on drums, they arrived with big energy and quickly lifted audience participation another level.

Their set was packed with catchy choruses and crowd-friendly moments, including a rock cover of Robbie Williams’ ‘Let Me Entertain You’, which did exactly that, as voices and hands across the room joined in. Original track ‘Picture’ proved especially memorable, and ‘What I Need’ pushed the momentum even higher, its hook landing with the growing crowd.

Frontman George, complete with tasselled jacket and natural showmanship, led a playful call-and-response chant of “Nah, nah, nah-nah”, turning the room into a united sing-back.

Verdict: Confident, catchy, and crowd-ready — Dead Zebras are building momentum fast.

Liberty Slaves

Mid-evening the energy really rolled with Yorkshire's own Liberty Slaves, who delivered solid, tight hard rock and moved the event to heavier territory. Formed in 2008 and hailing from Huddersfield, the band features Ryan Meehan on vocals, Craig Hopkins on bass, Shanx on lead guitar, Wozza on rhythm guitar, and Andy on drums, who arrived well-rehearsed and ready to push the energy up a notch.

Ryan’s gravelly vocals brought a raw edge that matched the band’s heavier rock direction, giving their performance texture and bite. Their set included attitude-driven favourite ‘Ain’t That a Bitch’ and new track ‘Queen Unseen’, which proved immediately catchy and well-received. They also showcased ‘In The Struggle’, reflecting on the challenges of band life — and although “the struggle is real,” they made every second look fun, effortless, and fuel-charged.

Verdict: A solid, gritty, and assured hard-rock performance that raised the weight and intensity of the night.

Victory or Die

Up next from Scotland came Victory or Die, a high-energy rock/metal outfit with big riffs and strong stage presence. Formed in 2022, the band features Jason Sweeney on vocal and guitar, Andy “Paws” Christie on lead guitar, Brain Stewart on bass and Carlos Marin on drums.

They opened with ‘The Rock Revolution’ and immediately ramped up the revelry and intensity, with raucous sing-alongs, and an unmistakable sense that the audience was gearing up. The mix held strong with drums and guitars cutting through clearly as the venue filled up.

The set was packed with showmanship: Andy tore into epic guitar solos, sometimes playing behind his head, while Carlos impressed with expert drumstick twirling. Jason led the audience in a confident call-and-response chant — “When I say victory, you say die, die, die!” — which had the crowd fully engaged. The set ended theatrically with ‘Death Trap’ and a huge gong behind the drummer, leaving a lasting impression of Scottish flair and rock-and-roll bravado.

Verdict: Loud, theatrical, and expertly delivered — Victory or Die brought big riffs, high energy, and full crowd engagement to the stage.

Moskito

Hailing from the East Midlands, Moskito took the stage next, marking their two-year anniversary with a confident, high-energy set. Fronted by Jake Rudd on vocals, with Will Rudd on bass, Joe Desmond and Sam Beck on guitars, and Drew Moore on drums, the band delivered a darker, contemporary indie-punk sound, packed with heavy riffs and edgy melodies.

By this point, the venue was full but never felt cramped, the crowd hyped and on their feet, singing along and jumping to the infectious energy. Jake’s vocals, when not screaming, carried a confident indie edge, while the band’s natural camaraderie and stage interaction made their performance feel effortless. Drew’s drum solo drew particular attention, adding a thrilling highlight to the set, while the guitars and rhythm section combined for a punchy, electric performance.

Verdict: Modern, energetic, and expertly executed — Moskito’s confident stage presence had the crowd fully engaged and dancing.

Bullets and Octane

As the penultimate act, Bullets and Octane brought a dose of hard rock pedigree from across the Atlantic. Originally from St. Louis, Missouri, and later based in Southern California, the band has been touring internationally since 1998, sharing stages with acts such as Avenged Sevenfold, Stone Sour, and Flogging Molly. Fronted by a tight, seasoned unit, they delivered a punchy set with energy and showmanship.

The crowd responded enthusiastically, singing along and feeding off the band’s high-octane performance. With a mix of polished hard rock and relentless live energy, Bullets and Octane warmed the stage for the weekend’s headliner, leaving the audience ready for the final act.

Verdict: Internationally seasoned, energetic, and crowd-focused — a powerful set that set the tone for the finale.

C J Wildheart

Closing out the weekend, C J Wildheart delivered a finale packed with power and stagecraft. Drawing on his work with The Wildhearts, the set featured tight guitar work, commanding vocals, and moments of full audience participation. By the final chord, the roar from the crowd made it clear: this was a rock weekender to remember!

Verdict: Familiar, energetic, and expertly performed — a high-octane conclusion to a weekend of excellent live rock.

Photos by Andy Bradley

The Damn Truth / Parker Barrow - MacArts, Galashiels Sunday 16th November 2025

Tue, 18 Nov 2025 18:22:32 GMT

Nestling in the beautiful Tweed Valley, Galashiels is one of those typically-faded provincial small towns, but it’s having a moment just now, not least with the brilliant bio-pic ‘I Swear’, which is based on esteemed local resident and Tourette’s campaigner, John Davidson MBE. One of the other jewels in the crown in Gala is MacArts – a former church which has been converted into a splendid performance arts space and concert hall and has been attracting some great musical talent to the town.

Tonight, two very fine feel-good rock & roll bands from Montreal, Canada and Nashville, Tennessee respectively have brought their own good times and sunshine to the Borders and, in turn, that drew in discerning music fans from Edinburgh, Cumbria and other parts for what turned out to one of the best music nights of the year.

First up were Southern rockers Parker Barrow; named after Bonnie Parker and Clyde Barrow, the infamous outlaws and mass-murderers Bonnie & Clyde. Like them, Parker Barrow have also been rampaging across state lines (and international borders) causing mayhem everywhere they go, but in their case, they are spraying good vibes, good music and good times around rather than bullets, and I think they’ve got much better things ahead of them than a couple of bullet-ridden corpses.

There are six good folks in this band, with twin-guitars, Allmans Brothers t-shirts, keyboards, long hair and a fully-opened can of whoop-ass. They also feature our first husband-and-wife duo of the evening. Dylan Turner is the big, hairy drummer and out front is his wife Megan Kane, who dazzles with her tambourine, great teeth and cheekbones, a sunny disposition, typically-Southern “y’all” chat and bonhomie, and above all, a cracking voice that covers a whole range of blues, soul and hard-rocking emotions.

Their intro tape was a song by Robert Johnson, a contemporary of Bonnie & Clyde with a similar life-span, before the band smashed into life with a couple of very good songs from their latest EP in ‘Make It’ and the especially fine ‘Glass Eyes Cryin’’. They’ve also got a full-length album ‘Jukebox Gypsies’ and some songs from that included ‘Good Times Gone Away’ and ‘Throwin’ Stones’, delivered with an extended jam with Megan saddling up as a third guitarist, and there was a glorious retro-rocking feel throughout but with contemporary chops and original tunes. ‘The Healer’ and ‘Novocaine’ were other highlights from the new ‘Hold the Mash’ EP and they definitely impressed a lot of folks with their show, as they have been doing all over the country by all accounts.

After a couple of UK visits this year, the band will definitely be back next year. They share a lot of the good traits of the headliners, who are maybe a year or two ahead of them in terms of UK visits and recorded output, but both bands should be on a star-spangled dual-carriageway to even greater success if there’s any justice left in the world.

The Damn Truth have arrived in a really good place – and I don’t mean Galashiels. After four albums, and touring their asses off all over Europe and the UK, they’ve paid their dues and built up a devoted following that probably includes just about everyone who’s ever had the privilege to see them play – I can’t imagine anyone not wanting to go and see them again after leaving a DT show with a guaranteed smile on their face.

They released their latest and best album this year; a self-titled effort that seems to signify that their prime-time is now, and they shared most of its prime-cuts, starting with the absolutely fantastic ‘Be Somebody’ – a joyous romp of a song about striving to be loved that rides a wave of glorious harmonies and fills your very soul - definitely one of the best songs I’ve heard this year.

Again, theirs is a wonderful retro-rocking sound and the four band members rock up a storm in front of an audience that was with them from the start. ‘The Willow’ is the one with the Led Zeppelin feel, ‘This is Who we Are Now’ sets out their mission statement and they let their free spirits flow on the fuel-injected riffage of ‘All Night Long’ before the emotional heft of ‘If I Don’t Make it Home’ makes you stop and think, but you somehow feel that “the road” actually might just be their home.

The core of the band is a married couple and they share the spotlight. Lee-La Baum does the lead vocals and she is smart, funny and loveable, with great charisma and a very fine voice indeed. Lee-La told the story about how she and husband / guitarist Tom Shemer first met - naked in a field jamming on acoustic guitars. Now wouldn’t that make a great reality TV first-date show? I might even have a go at that myself if the guitar was big enough, but to be honest, a ukelele would probably suffice!

Tom leaves most of the talking to Lee-La, but he did share a few words about the music we love, emphatically reinforcing that rock & roll is definitely not dead. That’s just as well, as I can’t think of any other job that this dude could possibly so. Dressed from head to toe in red, from strategically unbuttoned skinny red shirt to even-skinnier red trousers and red boots and nail varnish, and with the most rock & roll of barnets, the self-styled “Red Bastard” is every inch the cool rock star and some guitar player too. In fact, the whole band look the part. Lee-La and Tom travel with their young son but I think they are also going to have to adopt psychedelic gypsy bass-player PY and drummer Dave, who are integral to the look and sound of the band.

They might be French-Canadien but their music is rootsy rock and soul without borders and it translated just perfectly in this corner of Scotland. From a spot at the front of this converted church, I am here to testify that this was one of the finest rock & roll shows of this year, or any other year, and that’s the damn truth. There were certainly no non-believers left in Galashiels by the end of the night.

Saxon / Dirkschneider - O2 Academy, Glasgow 9th November 2025

Tue, 11 Nov 2025 09:45:10 GMT

The year 1980 is best remembered for some major world events, Former actor Ronald Reagan was elected US president, we lost John Lennon to an assassins bullet, the Solidarity movement in Poland began the fall of the iron curtain and we met Pac Man for the first time. In the musical world the NWOBHM was exploding across planet and albums that became synonymous with the genre hit the shelves of record stores. Iron Maidens self titled debut album, Judas Priest British Steel and Saxon's

Wheels Of Steel.

Saxons second album delivered what were to become some of the tracks of a generation of leather clad youths, 747 Strangers in the Night, Motorcycle Man and the title track itself which would become an anthem that has spanned decades.

The was of course the Hell Fire and Damnation tour to support the latest release but to celebrate 45 years since the WOS release the band decided to play the album in its entirety. Possibly the last time this would happen.

As if that was not enough tonight's support act was the German legend UDO Dirkshneider who back in 1983 hot on the heels of the NWOBHM boom saw his band Accept release their 4th album, the magnificent Balls To The Wall. I remember as a fresh faced 15 year who had gotten into metal via Maiden, Saxon, Priest and the Scorpions I was given a tape to listen to, the minute that riff of Balls to the Wall hit I was hooked, it was hard heavy and loud.

So tonight's double treat was Dirkschneider and his band also playing the Balls To The Wall album in full. His band includes former Accept band mate Peter Baltes and his son Sven Dirkschneider on drums.

If anyone has any doubt whether old school heavy metal still has a place in the musical world then look no further than a sold out 02 Academy, 2550 rockers of all ages are packed in, some of them would be mere twinkles in their fathers eyes when WOS was released but they are here tonight, teenagers alongside 60 odd year old men, all joined by the love of metal.

As the lights dim that iconic riff from Balls To The Wall kicks and the its clear a good percentage of those in attendance are fully aware of this album. UDO takes the stage complete with the white gloves he wore on the original Balls To The Wall tour and his trademark camo jacket. Its hard to imagine that the combined age of both of tonight front men is 147 years, UDO is 73 and Biff is 74, that matters not a jot as neither have lost their voice in the slightest. UDO growls his way through the iconic hits from the album, London Leatherboys, Head Over Heals, Love Child, Losers and Winners and finishing with the slower Winterdreams. An encore is inevitable and we get the German folk music intro to Fast As A Shark, Its a properly heavy tune and the crowd sing along loudly before the Germans take their leave with the gigantic inflatable Dirkschneider balls still bouncing around the arena.

A short change and the lights dim and Saxons into kicks in, The large curtain drops and we are off into the title track from the latest album Hell, Fire and Damnation. Power and the Glory and Sacrifice complete the opening salvo. Brian Tatler has added a different dimension to the band and could celebrate being named the HRH Axeman of the year just a couple of days previous. Along with Doug Scarrett the complete that twin guitar attack Saxon are known for. As ever Nibbs Carter and Nigel Glockler complete the rhythm section. Backs to the Wall from the bands debut album is followed by Never Surrender, Madame Guillotine, Heavy Metal Thunder and no Saxon show would be complete without Dallas 1pm. That signaled the start of the Wheels of Steel album in full. An album that was remembered by Biff as coming out when there was no mobile phones, no social media, no cd's, Only music magazines like Kerrang and Sounds and the radio, the band even had to hang around a telephone box to take calls from their manager, a simpler time and one could argue a better time.

The audience are in full voice for the big hits mentioned before but also with other classic metal master Like Suzie Hold On and Stand Up and Be Counted. Its cannot be passed over the Biff Byford has had his own battle of late and undergone some intensive treatment but his voice is as strong as its ever been and he reaches every note with perfection. A true living legend of Heavy Metal.

The encores are iconic Saxon, Denim and Leather might just be the most heavy metal song about heavy metal ever and The Bands Played On, A second encore see's a slight deviation from the set list as the band treat the Glasgow crowd to and extra song with Strong Arm Of The Law and finally we end with Princess Of The Dawn.

Never let anyone tell you Heavy Metal or Rock music is dead as long as teenagers are headbanging alongside their dads to iconic bands they are truly Keeping Rock Alive!!

Young Gun Silver Fox + Smith & Liddle - Olby’s Margate Friday 7th November

Mon, 10 Nov 2025 12:24:44 GMT

Only a few weeks ago, I’d never heard anything by Young Gun Silver Fox. But when I saw the duo were set to play Olby’s in Margate, I recognised their name from something I’d read in Classic Rock Magazine several months ago; an article which heralded the pair as revivalists of the 70s West-coast sound that is so appealing to my ears. With that in mind, I purchased a ticket and started doing my homework, working through a catalogue of albums that proved to be something of a goldmine.

I figured Yacht Rock would be a fairly niche proposition for the people of Margate in 2025, so I’m surprised to find the venue buzzing with life. A modest space with a capacity of just 340, Olby’s is already filling up nicely as a DJ blasts a selection of classics from the likes of Steely Dan, Toto and Christopher Cross, all of whom can be heard in tonight’s headline act. There’s less of a distinguishable demographic than I’m used to, but quite a few more Hawaiian shirts!

I feel disappointed for support act Smith & Liddle, who are largely drowned out by the noisy chatter of people accumulating around the bar. It’s a shame, as their gentle, breezy pop is quite beautiful, centred around the lovely harmonies of the pair. There is something infinitely pleasing about the blend of a male and female voice, exhibited best here during ‘Eyes on You’, a song that envelops you in wistful dreaminess.

Though their name is a bit of a mouthful, it falls into place when you learn that Young Gun Silver Fox is composed of British singer-songwriter Andy Platts (the 40-something ‘Young Gun’) and American multi-instrumentalist Shawn Lee (an unmistakeable ‘Silver Fox’ with his flowing white locks). Augmented this evening by the formidably funky rhythm section of bassist Paul Housden and drummer Adrian Meehan, the group bring the sunshine to a dark November night with a repertoire unashamedly indebted to the 70s and an image to match (just check out those snazzy shirts and the cactus that adorns the stage!).

Opener ‘Winners’ demonstrates the exquisite vocal harmonies and smooth, laid-back vibes that these men have perfected. The gently grooving ‘Kids’ follows, and it’s impossible not to move to the lilting bass. In fact, I’ve seldom seen an audience so engaged; as I glance behind me during ‘Rolling Back’, it seems that everyone is dancing, singing and smiling. No surprise really, given that it’s one of the most infectious songs I’ve heard in a long time, with a chorus that is destined to remain lodged in my brain for several days.

Though all of the men on stage can really sing, it’s obvious why Platts takes the lead. Stationed behind his keyboards, there’s no hiding an incredible voice that is both warm and melodic but also full of power. His soulful delivery of ‘Love Guarantee’ is a showstopper, and contrasts brilliantly with his falsetto that dominates the uplifting ‘Born to Dream’. But arguably, the most affecting moments are when the harmonies kick in, Lee and Housden elevating the performance to somewhere quite magical.

Lee radiates a sense of joy, and shares a noticeable chemistry with Platts. It’s an evening of many special moments, one of the best when the duo convene centre stage, sitting side by side for a stripped back version of early single ‘You Can Feel It’, accompanied only by their acoustic guitars. Platts engages in an enthusiastic call and response with the audience, his perfect vocalisations possibly somewhat ruined as we do our best to sing them back at him!

Somehow melding a little of so many bands that I love, there’s some Crosby, Stills and Nash about the mystical ‘Mojo Rising’ that I’m desperate to hear again the moment it’s over. But it’s Steely Dan that I can hear in the quirky ‘Underdog’, a jazzier excursion celebrating the downtrodden. Impressive musicians who make it look very easy, and are possibly overlooked as a result, they allow themselves opportunities to stretch out on ‘Tip of the Flame’ and ‘Kingston Boogie’.

As Young Gun Silver Fox put it so eloquently in the gloriously funky ‘Stevie and Sly’ - ‘take me back to 1975, it’s where I wanna go, when everything was gold’. They’ve got a point. But with music like this, there’s no need for a time machine. It’s difficult to do justice to a gig that for me, is one of the best I’ve had the privilege to witness. Just go and see this band, you can thank me later.

SETLIST

Winners/Kids/Rolling Back/Burning Daylight/Late Night Last Train/Love Guarantee/Born to Dream/Just for Pleasure/The Greatest Loser/You Can Feel It/Baby Girl/Mojo Rising/Simple Imagination/Underdog/Lenny/Stevie & Sly/Tip of the Flame/Long Way Back/Kingston Boogie

Phone photos by Laura DQ

Pendulum - Corn Exchange, Edinburgh 1st November 2025

Tue, 04 Nov 2025 14:51:50 GMT

Welcoming Pendulum back to Edinburgh after a 15 year hiatus and playing the same venue from way back when, the Corn Exchange was alive with that electricity that only electronic rock with some drum and bass thrown in for good measure can provide.

The set opens with a fiery start leaving the crowd bouncing along to "Napalm", a track coming straight out of the bands new album released August 22nd this year. Straight after, we're thrown into "Save the Cat", again from the new album and a personal favourite. The lads from Australia are sounding mighty and they lead us right into the classic "Propane Nightmares" from 2008. The crowd erupts!

The 16 song set truly soars from then on, giving the good people of Edinburgh the punchy riffs and the pounding bass the band are so known for, with tracks from albums such as In silico and Immersion, there is truly a little something for everyone regardless of how long you've been following the bands progression.

Pendulum seems to be one of those bands, whose appeal truly ranges from those in their teens to music lovers in their 60's and 70's as evident from the crowd here in Edinburgh!

The set closes with the almighty "Watercolour", again, just waves of energy emanating from the band and infectiously into the crowd, we've seen a good few circle pits tonight, with lead vocalist Rob Swire proclaiming, "Holy shit, it's hot as fuck".

We are then taken straight back to 2005, with the bands encore track, Tarantula. And what an encore it is, I don't think my feet touched the floor once.

Overall, a fantastic night of dancing, good vibes and an amazing start to Pendulum's Inertia UK tour leg. Long may it continue that bands of this ilk visit the capital.

Black Sabbath: The Ballet Black Sabbitch Edinburgh 29 & 30 October 2025

Tue, 04 Nov 2025 13:46:56 GMT

Gig and Ballet Review

“Strewth, there’s a bloke down there with no strides on” as Paul Hogan once said in a Fosters lager advert set at the ballet.

There was definitely a bit of a culture clash in evidence going into the Festival Theatre, Edinburgh for this performance by Carlos Acosta’s Birmingham Royal Ballet. As far as I could see, I was the only one in the foyer in full rocker gear, with a timely annual appearance for my Helloween 30th Anniversary Tour t-shirt paired with an Avantasia hoodie, although I did see a couple of Sabbath T’s and at least one Motorhead shirt in the cheap seats. Other than that, I would say it was largely a dance crowd. Sample overheard posh-voice conversations included; “can you even name one Black Sabbath song?” and “will the chaps from Black Sabbath actually be dancing in this?” FFS!

When the curtain rose for Act 1, the first ‘piece’ was ‘War Pigs,’ which started with the well-known vocal incantation and then morphed into an orchestral version as a soundtrack for an ensemble performance of around twenty dancers, all kitted out in conventional ballet gear – no tutus, but both male and female performers were in dark leotards and tights which enhanced their superbly supple, strong and athletic bodies – so a rather more fetching sight than Biff and Saxon with their socks-in-spandex look performing ‘Wheels of Steel’ on Top of the Pops back in the day! Definitely a very impressive start.

This was my second dose of Sabbath music in consecutive nights. The previous evening, I went to see another twist on some classic Sabbath songs by Californian all-female tribute band Black Sabbitch at the Mash House. Both performances started with ‘War pigs’, but that was the only song that both acts had in common and both stuck firmly to Ozzy-era material, so poor wee Ronnie James Dio didn’t get a look in. The Sabbitch girls were very impressive. Definitely a lot less choreographed, but they put on a great show in front of a rather more authentic audience of crusty rockers and young stoners, with a few Halloween nuns and ghouls.

Back at the ballet, the stage was rather less cluttered for the 2nd piece, which was ‘Iron Man’, an entirely instrumental interpretation, but this time with an on-stage guitarist, who didn’t actually dance but was very mobile and at times was carried around. At first, I assumed he must be synching, but on closer inspection, he was actually playing, and quite impressive it was too and he looked the part as well. It turned out he is a London-based singer and guitarist called Marc Hayward, who has played with some Sex Pistols in The Professionals and also Miguel Montalban & The Southern Vultures.

Things took a romantic turn with a passionate two-dancer performance to a toned-down and slowed-up love interlude on the ‘Iron Man’ theme, with the performers locked in an extended embrace / kiss in a quite remarkable, sensual and erotic performance, still accompanied by the guitarist. The passion reminded me somewhat of the last time I had seen a “rock ballet” in this theatre, which was a 1990s performance of ‘Billboards’ by the Joffrey Ballet company from Chicago, set to the music of Prince, which, as you might expect if the wee purple perv is involved, was more overtly sexual at times.

Act 1 concluded with a more straight-forward, guitar-based and rocking version of ‘Paranoid’, which was as heavy as it got in the theatre and the only time I got a bit of a rhythmic nod on. Ironically, we had been denied hearing ‘Paranoid’ the night before due to the Black Sabbitch set over-running and the crowd being turfed out to make way for a disco, which nearly caused a reprise of the infamous late-70s ‘Disco Demolition’ night at a Chicago White Sox baseball game which saw the field get trashed as fans burnt a pile of disco records.

The Sabbitch girls’ set changes nightly and they have a very good selection of Ozzy-era classics in the rotation, including my own personal favourite ‘Symptom of the Universe’ which got a rare airing and certainly made my night, alongside other un-danceable faves like ‘N.I.B’, ‘Children of the Grave’ and ‘Snowblind’.

By contrast, the ballet featured some rather obscure numbers, including ‘Solitude’, ‘Orchid’ and ‘Planet Caravan’, each of which seems more at home in an orchestral ballet situation than they do on a Sabbath ‘greatest hits’ package.

Act 2 of the ballet featured a great deal of spoken word segments from the band themselves, including the story of Tony’s fingertips and the origins of the band, all of which would be familiar tales for perennial readers of rock magazines. All four original members were featured and, needless to say, bloody Sharon got in there as well.

The recognisable songs in Act 2 were truncated versions of ‘Black Sabbath’ and ‘Sabbath Bloody Sabbath’. I thought the former might have been a bit more of a set-piece, given its theatrical Hammer Horror themes, but I was also glad that I remembered not to blurt out “you bastards” at the appropriate moment in the latter.

I would have to say that the dancing throughout was exceptional and it was thrilling to see these skilled and graceful performers in action close up, especially with lights turned right up for the start of Act 3. For sure, this was a million times better than Pan’s People dancing to ‘Fireball’ on Top of the Pops or any of the amateur crap that you get in “Rock Week” on ‘Strictly Scum Dancing’ on a Saturday night.

The music in the final act was largely a reprise of Act 1, but this time with the performers wearing a variety of Sabbath t-shirts, although none of them seemed to be authentic original tour shirts, unsurprisingly, although it did not feel like cultural appropriation or sneering at the rock community. As with the cheesy “juke box musicals”, it finished with the big number, which could only be ‘Paranoid’ again, and it all wrapped up with an extended ovation.

I would have to say that I thoroughly enjoyed the ballet performance and was very into it. At a push, I would say that musically, I enjoyed the straight-forward amplified rock sounds of Black Sabbitch better, but overall, the ballet was unmissable, very impressive entertainment indeed and some of the dances will live with me for a long time – a truly unforgettable spectacle that any rocker with an open mind should enjoy.

Bravo.

The Bates Motel – Backstage at The Green, Kinross (30th October 2025)

Tue, 04 Nov 2025 12:45:52 GMT

There’s something about The Bates Motel that makes their return visits feel like a homecoming. On 30th October, the Northeast five-piece rolled back into Kinross, taking another trip up the A1 to grace the intimate Backstage at The Green with their distinctive blend of grit, melody, and storytelling.

The venue, warmly lit and buzzing with anticipation, welcomed the band with open arms. From the moment they launched into the blistering opener ‘Broken Bottle and Broken Bones,’ it was clear the audience was in for a night of high-octane musicianship. Adam Forster’s drumming drove the set with relentless energy, setting the pace for a sequence of tracks that showcased the band’s signature guitar interplay and lush harmonies.

‘The Shape in the Mirror’ and ‘Put Your Hands on the Radio’ followed, the latter a nostalgic nod for those who remember the golden age of airwaves, Radios Luxembourg and Caroline, John Peel, and the Emperor Roscoe. These songs didn’t just evoke memories; they demonstrated the band’s knack for crafting tunes that feel both timeless and fresh.

One of The Bates Motel’s strengths lies in their ability to shift gears without losing momentum. ‘Hold On’ brought a moment of tenderness, slowing the pace and revealing a softer, romantic side. Chris Davison; aka Bad Bob Bates; delivered lyrics with emotional nuance, backed by arrangements that allowed space for reflection.

Their EP, “Songs For The Lost and Lonely”, has clearly deepened their repertoire. The set was peppered with tracks rich in local colour and dry humour. ‘Talking to Jesus’ imagined the Messiah as a country music fan, while ‘Bartender’ captured the universal frustration of trying to get served in a crowded pub. Meanwhile, ‘Let Me Be Your Doctor’ veered into cheeky territory, its tale of playing doctors and nurses had the sort of innuendo more suited to a “Carry On” film than a concert venue. The audience of course lapped it up as Chris delivered the song with that endearing charm only Geordies seem able to manage.

Musical influences were woven throughout the evening, sometimes subtly, sometimes with a wink. ‘The Blues Ain’t Gonna Feed Ya!’ took a deliberate detour into Status Quo territory, riffing so close to ‘Caroline’ that one half-expected Francis Rossi to burst through the doors and demand royalties. Yet layered atop that homage was Chris’s own guitar work; ferocious, fast, and full of flair, harking back to the earliest Dr. Feelgood albums and good enough to make Wilko Johnson grin from the afterlife.

Though Chris/Bad Bob commands centre stage, this is no one-man show. Ally Lee’s guitar work; whether electric, acoustic, or dobro; was exceptional, complemented by tasteful keyboard textures and effects. Dave Coates anchored the sound with both

electric and electric upright bass, while Les Young’s percussion added rhythmic colour and depth. His harmonica, when unleashed, brought a raw Southern blues edge that cut through the mix with purpose.

Chris’s songwriting continues to straddle the line between the everyday and the dreamlike. Songs like ‘Sundown in Santa Cruz,’ ‘Sausalito,’ and ‘Amador’ offered glimpses of California escapism, contrasting beautifully with the grounded tales of Northeast life such as first encore ‘Bridge Street in the Rain’ (the band never left the stage we just imagined they did).

They say lightning never strikes twice, but The Bates Motel defy that cliché. Their return to Backstage was another triumph; an evening of superb musicianship, memorable songs, and a band clearly relishing every moment on stage. They’ll be back next spring. Spread the word: they’re more than worth it.

Phone photos by Allister Spence

Adam Ant / Toyah - Royal Concert Hall, Glasgow 26 October 2025

Sun, 02 Nov 2025 14:50:08 GMT

Music can have an amazing ability to transport you back in time. Adam Ant’s gig last night in Glasgow certainly fell into this category and took me back to my pre-teens when I was obsessed with Adam & The Ants - my first experience of proper fandom.

Joining Adam on some of the tour is Toyah, whose connection with Adam dates way back to their involvement in the film ‘Jubilee’. Toyah’s shows in recent years have often been padded out unnecessarily with covers, but I’m pleased to report that tonight’s set was all her own material - and all the better for it.

(Due to Adam Ant photo contract only one photo could be used with the review)

Photos by Mr Rockfiend

MARGATE ROCK FESTIVAL - DREAMLAND ROLLER ROOM, SATURDAY 25TH OCTOBER 2025

Sat, 01 Nov 2025 19:40:25 GMT

It seems that for me, getting a ticket for Margate Rock Festival is effectively scheduling in a nasty cold for late October. I spent the day at last year’s event struggling to breathe through my nose, so I was looking forward to experiencing the festival this with clear sinuses this year. No such luck. But armed with a pocket full of tissues, Soothers and paracetamol, I once again made it almost to the end.

The festival looked quite different this year - still housed in Dreamland amusement park, it had been moved to the venue’s ‘Roller Room’, a quirky event space that usually plays host to retro roller discos and features an original arched Art Deco ceiling (if you’re into that kind of thing). It’s a decent space with plenty of places to sit down when your legs are feeling a bit weary, but it’s cold. Really bloody cold. And though I imagined it would warm up as more bodies filled the room, I can confirm that it didn’t. Thank goodness for my winter coat which I retrieved from the cloak room a little earlier than anticipated!

There’s just one stage this time around, the newly christened ‘Ozzy Osbourne Stage’ in tribute to the Prince of Darkness, and his influence, or at least that of Sabbath, seems to loom appropriately over proceedings. Whether it’s the monolithic riffs of Margarita Witch Cult or the occult imagery of Lucifer, it’s easy to trace a thread back to the originators of heavy metal.

German trio Samavayo clearly know their way around a heavy riff, starting the day right with the sprawling ‘Hate of Thousands’, somewhat reminiscent of Queens of the Stone Age and probably best described as stoner rock. Andreas Voland is an unusually melodic bassist, all over the fretboard and really bringing something special to these songs. His brother Stephan is similarly adept behind the drums, showcasing some devilishly technical offbeat trickery during a thunderous ‘Sirens’. Though brief, it’s a diverse and interesting set; Where ‘Talagh’ is unusual, cyclical and sung beautifully in Persian by frontman Behrang Alavi, ‘Keep on Rollin’ is unexpectedly catchy and boasts a chorus that marks the first singalong of the day.

It’s great to see some local acts on the bill, and Atravion certainly seem to have a following here. In Kelsey Graham, the band have an engaging and theatrical frontman; a singer rather than a screamer, there’s something of Bruce Dickinson in his occasionally operatic delivery, albeit given a distinctly modern update. Guitarist George Potter occasionally lends his more aggressive vocals, giving this melodic heavy metal a sharp edge.

I’ve heard a lot of good things about local foursome The SuperMicks, who I’m happy to report, are a lot better than their name suggests! With a host of catchy songs and energetic stage presence, there is much to appreciate in their uplifting, no-nonsense rock. ‘We Don’t Need Work’ waves a joyful middle finger at the man and frontman Wayne Jones’ likeable lad persona ensures that the crowd lap it up.

Flying in from the Netherlands to make their UK debut, TankZilla give one of the knockout performances of the day. With eyes closed, it’s hard to believe there’s only two men on stage. Peter van Elderen is an intense presence, knocking bludgeoning riffs from his guitar whilst hollering into his microphone with real power. He’s the kind of frontman who doesn’t shy away from a bit of eye contact, prowling the stage with a confidence that makes him utterly captivating. Drummer Marcin Hurkmans is rightfully positioned at the front of the stage, laying down the rhythm that makes songs like ‘Rubber Man’ and ‘Highway’ really groove. Even with my earplugs in place, these guys are loud. Royal Blood? Nah, I’ll take TankZilla thanks.

There’s been a lot of excitement around The Motherz, a modern supergroup made up of virtuoso guitarist Miguel Montalban, bassist Cedric Pfister (better known as one quarter of Daxx & Roxane) and drummer Jake Cook (formerly of Famyne and organiser of this very festival). It’s a band founded on friendship and the camaraderie these lads share is infectious; better yet, they sound pretty damn good together too. Though I can’t give you any song titles (I don’t know them yet!), it’s a very promising debut, Montalban’s guitar mastery setting them apart from the average power trio. Dirty, heavy and powerful, I look forward to hearing more from this band.

Hailing from the home of heavy metal, Birmingham’s Margarita Witch Cult make no secret of their debt to Sabbath, even throwing in a medley of some of the band’s classic riffs in the latter half of their set. There’s more than whiff of Tony Iommi about ‘Diabolical Influence’, but the band infuse things with their own unique stamp, a blend of their three voices that is quite hypnotic. ‘The Witchfinder Comes’ rings with doom and ‘Sacrifice’ is similarly apocalyptic. There are far worse bands to sound like than Black Sabbath; Margarita Witch Cult have taken the template and created something quite magnificent.

Bobbie Dazzle is utterly joyful. With her wonderful band, she is bringing a sense of fun back to rock music, a genre sometimes guilty of taking itself a little too seriously. ‘Flowers on Mars’ and ‘Back to the City’ are bouncy, good time tunes that harken back to a time when glam rock was king. Dazzle’s striking animal print catsuit and the presence of a keytarist serve to uphold the illusion that we have in fact travelled back in time. Whatever you think of Bobbie Dazzle, it’s hard to dispute that she’s armed with the most memorable songs of the day.

Bad Touch are as reliably enjoyable as ever, bringing the party to Margate with the kind of feel-good anthems that appear to come naturally. Having seen the band many times over the years, shamefully it’s my first time since the addition of drummer Brad Newlands and guitarist Pete Lance, both of whom seem to have injected a renewed sense of energy. A true classic rock band, in sound and image, Stevie Westwood is a frontman capable of winning over any audience with his charisma and impressive vocals. And it’s hard to imagine many things more pleasing than singing along to ‘99%’ or ‘Baby Get It On’.

Another European act deserving of more recognition here, The Vintage Caravan put on one of the most impressive performances of the day. A power trio in the truest sense, these Icelandic lads bring the fire (and the snazzy outfits!). Alexander Örn Númason’s bass is so loud that you feel it in your chest, and the riff that introduces ‘Crystallise’ is just brilliant. Though big, dynamic riffs are abundant, ‘On the Run’ shows a somewhat different side, taking some time to build and centring around an insistent hook. A truly spectacular set indicative of men who spend a lot of time on the road honing their craft.

Somehow, Lucifer had completely passed me by, but the news that Rosalie Cunningham and bassist Claudia Gonzalez Diaz had joined the ranks was enough to pique my interest. Centred around the only constant member Johanna Platow, drummer Kevin Khun is now seriously outnumbered by ladies. And what ladies! Rocking the catsuits and crucifixes, I’m very taken with the imagery (and wondering if I could ever look so cool!). Despite some vocal problems that temporarily stall Platow (apparently the result of a couple of nights in a cold environment), she keeps us spellbound, and the harmonies that dominate ‘Crucifix (I Burn For You’ are the best of the day. A cover of ‘Because the Night’ is pleasingly familiar, a welcome singalong that nestles perfectly with the band’s own heavy but catchy, 70s inspired rock.

By that time South of Salem finally take to the stage around 22:30 (about half an hour later than billed), the hall has thinned out considerably - perhaps the result of people having to leave to catch trains or maybe just a bit of impatience. In any case, it’s a shame, as South of Salem are left with just half an hour until curfew and are forced to headline with one of the shorter sets of the day. To their credit, there are no signs of frustration from the band as they get underway, and their show is as gloriously theatrical as ever. In terms of spectacle, they’ve got it all - illuminated coffins, scantily clad dancing ladies and even pyrotechnics. And it’s easy to see why they’re building such a dedicated following with songs like ‘Let Us Prey’ and ‘Jet Black Eyes’ striking just the right balance between heavy and catchy. Dynamic and watchable, none of the band are static, giving their all to an audience who are with them for every minute they can get.

Margate Rock Festival deserves to be successful. For me, the mix of local talent, established groups and some lesser known names from Europe hits the mark and makes the festival more interesting than some of the more familiar offerings.

A limited number of very early tickets for next year are on sale now - I’ve already got mine!

Photos by Matt H Band Photography

Graham Bonnet Band - Camden Underworld, London October 30th, 2025

Sat, 01 Nov 2025 19:02:59 GMT

Phone photo by Matt Wisdom

Some people are blessed with an awful lot. Graham Bonnet is one of them; an outstanding and characterful voice, obscenely handsome, and with cart loads of charisma. His movie star looks went as far as him landing a role in the 1975 film "Three for All", alongside such hefty acting luminaries as Richard Beckinsale and Diana Dors. This evening though, he's firmly entrenched in his native capacity of singer, on a tour promoted as featuring the majority of the MSG album, "Assault Attack". Camden Underworld is very full this evening, a massively encouraging turn-out for one of the UK's most-loved musical sons.

Effectuating the theme for the evening, the concert opens with five songs from "Assault Attack". Starting with the title track itself, the group hit the ground running with a crystal clear and powerful sound. Graham's voice is sounding astonishing, right on point from the first line. "Dancer" follows. Released as a single at the time of the album, I'm surprised that it didn't make more of a dent in the charts. It's also an example of how the styles of Graham and Michael Schenker gelled so well, with the mixture of melody and impact. The portentous "Rock you to the Ground" is next, revolving around a kind of blues-based riff. "Desert Song" follows, one of the stand-outs from the "AA" album. Ebbing and flowing, it works wonderfully. The end of first "section" of the MSG catalogue tonight is "Searching for a Reason", a song that should have received more attention than it did.

Other than Graham, the "GBB" features two other founder members:- Beth-Ami Heavenstone (Bass/Graham's wife/Manager/All-round hard worker) and Lead Guitarist Conrad Pesinato. Conrad has an extremely difficult task covering the many elite guitarists featured on the songs. He does so commendably, never falling into parody. He also has his own, definite personality within his playing. On Keyboards and Drums respectively, are Alessandro Bertoni and Francis Cassol. They both play very enthusiastically, and are extremely worthwhile musicians.

It's a joy to hear "Night Games", a whopper of a solo hit single in 1981 for Graham. You could easily imagine this being recorded by Rainbow, and right on cue, the classic riff of "All Night Long" is on it's tail. From the sole Rainbow album featuring Graham ("Down to Earth" from 1979), it's one of several songs that leaves me thinking how great it would have been to have had more from that line-up (no pun intended). "Since You Been Gone" solidifies those thoughts further. Rainbow's immense take on the Russ Ballard song, These two singles were hits of mammoth proportions. Whenever Graham became involved with any artist, it's clear that they either had a period of commercial or critical acclaim. That isn't a coincidence. His albums with Rainbow and MSG are still considered complete classics of the genre.

"Into the Night" is a hard-hitting and melodic song from the GBB album "The Book" from 2016. It's refreshing to hear it's inclusion today, giving people the opportunity to hear that Graham is still producing fresh music in these times. The last MSG song of the evening, "Samurai", is driven home dramatically, as was the original recording. During any between song banter, it's also very clear that the GBB are very pleased to be in the UK; the joy is never lost on them.

A brief interlude, and the encores of "Eyes of the World" and "Lost in Hollywood" from Rainbow are full of energy and precision. They serve as a wonderful denouement to the show. Graham's studio output in the rock sphere may not be as prolific as some of his peers, owing to a variety of reasons. This doesn't detract from the fact that he's one of the greats. I shall gladly shout that from the rooftops. His voice is as striking, versatile and as passionate as they come. He sits at the very top table of rock singers. Tonight hammered that point home with a gusto. A momentous evening.

Glenn Hughes/Sophie Lloyd - Glasgow Garage 25th October 2025

Mon, 27 Oct 2025 11:38:21 GMT

There are perhaps some comparisons to be drawn between rock legend Glenn Hughes and Glasgow’s Sauchiehall Street. Both built their reputations as being something a bit different and special in days gone by before a slump in fortunes led to some years of neglect and decline. But whilst the famously long Glaswegian street is still very much in the middle of a facelift and revival attempt, the “Voice of Rock” has steadily continued to rise from the ashes of his 1970s heyday to enjoy a well-deserved late career renaissance, with arguably some of his best recordings, particularly in a solo sense, happening over the last 25 years. So, there’s something quite poetic about Hughes’ latest solo tour, The Chosen Years, rolling into a venue in Sauchiehall Street on a Saturday night. Two institutions, keen to show that they still have a lot to offer.

Hughes is incredibly grateful to be in The Garage with his band. One thing the now 74-year-old has is class and a disarming humbleness, never taking his audience for granted and always ready to give his best as a thank you to those who continue to support him in the sunset years of his career. During The Chosen Years tour, Hughes wanted to celebrate his career from its beginnings with Trapeze, right up to the present day and his most recent solo album, the brilliant Chosen. With music from other bands and projects such as Deep Purple, Hughes/Thrall and Black Country Communion also ready to be thrown into the mix, there was potential for it to be a truly memorable night in Glasgow.

For every rock legend approaching the final stops of their illustrious career journey, there’s a new breed of rockstar fighting to be seen and heard, ready to have their own shot at superstardom. Hotshot guitarist Sophie Lloyd is one such artist, seizing the opportunity with her support slot to continue a recent upward trajectory that has seen her release an EP and debut album, perform live shows and find time to be a touring guitarist with Machine Gun Kelly’s band. More recently, she performed at the Women’s Rugby World Cup Final at Twickenham Stadium, London in front of 82,000 people and an estimated TV audience of 5.8 million at its peak! With a band that included Marisa Rodriguez of Marisa and the Moths fame on vocals and Lloyd’s husband Chris Painter on drums, the guitarist wowed the Glasgow crowd from the outset with a mesmerising display of high energy, technical musicianship. Arriving onstage to the Top Gun theme before entering into a blistering set of hard rock that included instrumentals, originals from her own catalogue and some well-chosen covers, Lloyd showed that she is the real deal and very possibly the heir apparent to be the next true Queen of Hard Rock. She’s helping to keep our favourite music genre alive, so buy tickets to her live shows and support her music by buying her EPs, albums and merch. Sophie Lloyd isn’t just the future of rock - she’s the present!

Glenn Hughes bounded onstage with an energy that matched that of much younger peers. You see, playing live onstage is where Hughes is comfortable. It’s where he truly comes alive, surrounded by positive energy that drives him to be the best he can be. Hughes believes that a much higher power put him on this Earth to spread love and peace through his music and to be honest, I think there’s something in that. Flanked by longtime guitarist and collaborator Soren Andersen and drummer Ash Sheehan, Hughes wasted no time in expelling some energy with the hard rock/funk hybrid of the high-octane ‘Soul Mover’, arguably one of the songs that started his late career renaissance 25 years ago from the album of the same name. The moody ‘Muscle and Blood’, with its memorable guitar riff intro and driving bass from the underrated 1982 Hughes/Thrall album, acted as a reminder of just how big that short-lived project could’ve been if things had worked out differently, with Hughes’ voice soaring across the venue with the power of a singer half his age. On this early promise, the Glaswegian crowd was in for a memorable night.

We all love the classic songs - the songs that take us back to a special or happier time in life. But Hughes is still a recording artist, refusing to simply rely on past endeavours and that was clear on his latest solo release Chosen. So, naturally there would be some tracks from that album, the first being the hard rocking, yet funky ‘Voice in my Head’, with Hughes’ prominent bass dictating the song’s tempo. Then, of course, there’s the great music Hughes recorded with the supergroup Black Country Communion, represented by the brilliant ‘One Last Soul’, with Andersen and Sheehan channelling their inner Joe Bonamassa and Jason Bonham respectively. This song seemed to really connect with the Glasgow audience, which makes it ever more of a shame that the band didn’t tour more in Scotland, with only one show that I can remember (and I still have the t-shirt that no longer fits!).

The next track was a special one for me, as ‘Can’t Stop the Flood’ was the song that really started me out on my journey to explore Glenn Hughes’ music when I heard it on the live recording Soulfully Live in the City of Angels. I was transported back to the first time I heard that album, when I had an impressive head of blonde hair and a waistline that allowed me to see my feet! Music really is a time and place thing and I thank Hughes, Andersen and Sheehan for allowing me to enjoy that little bit of nostalgia with a brilliant performance of the song. Then, it was back to the Hughes/Thrall album with the ‘First Step of Love’, an atmospheric yet driving rock song where Hughes and his bass take centre stage.

Hughes transported us all the way back to the beginning, over 50 years ago, to some music by Trapeze with the funky ‘Way Back to the Bone’ (that was a pre-curser to some of the music he’d later record with Deep Purple) and the epic ‘Medusa’, that he later re-recorded with Black Country Communion. Musically, Hughes has very much moved on since his days in Trapeze but he’s still clearly very comfortable in that funk/soul groove of their music, as it’s the origins of his musical DNA. However, it couldn’t sound any different from the much darker, heavier music he created with Black Sabbath legend Tony Iommi on the Fused album in 2005, represented on this tour by ‘Grace’ and ‘Dopamine’. This album was criminally underrated on its release, possibly due to the rock and hard rock trends of the time but received a well-deserved re-release last year that has given it a new lease of life. In Glasgow, Glenn Hughes further proved the merits of that music with a powerful run through of the two muscular sounding tracks. Brilliant stuff indeed.

The title track of the Chosen album is another modern, driving, polished heavy melodic rock song that transferred well into a live environment, whilst the groovy and funky ‘You are the Music’ brought some fun to proceedings, with the kind of shuffling and bopping in the crowd that Sauchiehall Street hasn’t seen since flared trousers and flowery shirts were in fashion. Hughes finished the main set with ‘Stay Free’, one of the newer Black Country Communion tracks from the band’s 2024 album, V.

With time tight due to The Garage turning into “a fucking disco” (Hughes’ words!) at 10pm, Hughes couldn’t leave the stage prior to the encore. Alone with an acoustic guitar in hand, he performed an emotional and spine-tingling ‘Coast to Coast’, his voice faultless throughout before being joined again by Sorensen, Sheehan and Sophie Lloyd for the frantic finale, a barnstorming run-through of the Deep Purple classic ‘Burn’. It really was the only song that could end the set, as it still bristles with a power and energy that can blow the roof off venues, which is testament to the masterful songwriting within that version of the legendary band. It was an explosive ending to a wonderful evening of live music, in the presence of musical greatness.

As I headed outside into a cold autumn evening in Glasgow, I was acutely aware that I’d just experienced something incredibly special. It was a kind of communion (not of a Black Country type!) with like-minded people, all there to celebrate the monumental career of a bona fide rock legend whose music has excited, calmed and healed in equal measure for over 50 years. Glenn Hughes is a special artist; soulful, funky, groovy… yet still the epitome of everything that is hard rock over the last half century. He is the energy and the soul of real, honest, rock n roll.

He is Glenn Hughes. He is the “Voice of Rock” and as the man himself said before leaving the Glasgow stage… “music is the healer”.

Photos by Mr Rockfiend

The Tempilstiks - 'Over and Over'

Sun, 26 Oct 2025 13:54:34 GMT

The Tempilstiks new single 'Over and Over' entices the listener with a slow melodic intro before hitting you with a killer riff and beefy bass notes, reminiscent of Kyuss.

With punchy lyrics and feral vocals, over and over keeps you hooked for the duration.

The guitar is where this track truly shines, with intricate solos, heavy laden riffs, outstanding counter melodies and honestly, I can't wait to hear more of this.

Overall, this is a strong start for The Tempilstiks, showcasing their innovative musicians and thinking outside the box.

The Tempilstiks, a newly formed genre-bending 4 piece hailing from Aberdeen bring to you their first single Over and Over, prepping you for the upcoming EP early 2026.

Secret Rule / Solitude Within - Bannerman’s Edinburgh 21st October 2025

Sun, 26 Oct 2025 13:26:30 GMT

The secret is out. Italian rockers Secret Rule do indeed rule when it comes to energetic anthemic modern metal with a slightly symphonic twist and a bit of electronica.

There are few things I enjoy more in music than discovering new bands, especially if I have taken a chance on going to see an act that I had not actually even heard of before. That certainly paid off last week when I nipped into Bannermans for a fine double-bill of European metal all the way from Italy and Belgium.

It turns out that, while Secret Rule are new to me and most of the other folks in the room, they are not new at all. They formed in 2014 and that’s why this is their 10th Anniversary tour and their brand-new album is called ‘X’. It is also why they deliver a polished and faultless theatre-ready performance with great songs, stage moves and crowd inter-play as part of a thoroughly entertaining show. As Edinburgh debuts go, this one was a cracker.

The band are a tight four-piece, headed by guitarist / producer Andy Menario – a taller, cooler Pep Guardiola lookalike, energetic drummer Andrea Miazzetto and talented young bass-player Sofia Basili. Leading the jumps, fist pumps and singalongs is the band’s trump card Angela Di Vincenzo – a vivacious and energetic presence at the front with a great voice, a winning smile and a captivating and charming stage presence.

The set opened with three stormers from ‘X’ in ‘Walking Down the Street’, ‘Silent Pain’ and ‘In the Silence’. The band made an immediate positive connection and it did not matter that the songs had not yet been released as I think all of the songs were new to the audience; at one point Angela announced that they would play one of their old favourites and asked the crowd to guess which one, but none of us could even name a single song before an Italian voice at the back correctly shouted out ‘The Song of the Universe’. As I said, it did not matter and everyone joined in very enthusiastically and the audience seemed genuinely thrilled to enjoy something new and this good.

Other highlights from ‘X’ included ‘The Storm’, ‘Just a Sacrifice’ and ‘Echoes of the Earth’ and happily, advance copies of the CD were available at the merch stall after the gig. This really was a very impressive and enjoyable set – one of my favourites of the year - and I am delighted to have belatedly discovered the music of Secret Rule. It really does make you wonder just how many other brilliant bands there are in other parts of Europe.

Of course, this was a double-bill and I think it was important that the gig came as a package, giving the bands the opportunity to share costs and also offer very good value indeed for the public. Solitude Within are named for a song by Evergrey and provided a contrast in styles with their more traditional symphonic / soothing emo sound. I think this was probably another first for me as I don’t recall ever seeing a Belgian band before but I do forget a lot of things these days so I can’t be sure.

Unfortunately for the band, their plans were disrupted at the last minute when their stand-in drummer was unable to travel at the last moment due to visa issues. Rather than cancel, they boldly went ahead, but with a greater reliance on backing tapes than usual. I always give symphonic bands in particular a pass when it comes to backing tracks given the nature of the music and the instrumentation involved in the recorded work, but it was particularly odd to see the headliners empty drum kit on stage and nobody playing it while the drum sound came from the album tapes. The volume was particularly low, presumably due to the use of tapes, and at times it did feel like watching an old edition of Top of the Pops, but the band just about managed to pull it off.

Overall, it was a “surreal but nice” experience and it was a real shame for the band as they clearly have a lot to offer. Emmelie Arents is a beguiling and willowy presence on vocals and with twin guitars, bass and live grunts, they definitely put on a show. A short eight song set allowed them to showcase songs from their two albums ‘Disappear’ (2017) and ‘When Kingdoms Fall’ (2022) and there was definitely enough there to encourage me to check out the band’s work further.

The message from me after this gig is to encourage folks to take a chance on bands you don’t know, especially if they are fully road-tested and experienced artists from overseas with a string of albums behind them. Thanks to Secret Rule and Solitude Within for making the effort to come to my town – much appreciated and I hope we will see you again now that the word is out.

Blacklist Union - Slay the Dragon, BLU Records. Released 12th September 2025

Thu, 23 Oct 2025 16:51:37 GMT

So with their eagerly awaited 6th album ‘Slay The Dragon’ now released after what seems an absolute age, those excellent lads ‘Blacklist Union’ have delivered some pretty cool rock n roll.

This 12 track album opens up with ‘Mississippi Moonhound’ and gives you from the outset that alternative riff and rock energy we’ve grown to expect from them. I’d heard this one before having been an early release single from the album. Likewise track two ‘Up In Smoke’ was also released as a single. As I said in an earlier review of this single, its a fast paced guitar focussed blast from Raf and Dee supported by quality vocals from Tony. Great track.

So what of the band, the tight lineup of Tony West (Vocals), Raf Ransom (Lead Guitar), Dee Hayes (Rhythm Guitar), Larry Harwood (Bass) and Justin Perez (Drums).

There’s a strong 80’s Sunset Strip vibe about ‘Can You Heal Me’. Love the Tyler-esque vocal soul Tony brings to this one.

‘Dyin’ 4 U’ sounds great, for me this would be a cracker in a live forum has a cool swagger and gentle head bop style to it.

When I heard their 5th album ‘Letters from the Psych Ward’ I immediately got a buzz from the way the band morph punk tones with hard rockin’ power chords. It’s no surprise then that Tony was raised in NY’s Bronx on a diet that included the Ramones and then in his teens moved to the West Coast, hence picking up that Sunset vibe in his writing.

‘Do it for the Song’ lurks in the dark side a bit, moody lyrics and opens up with some great guitar lines, could be set in any rock club on either side of the Atlantic.

The album is produced by Christopher Johnson, recorded and engineered at East West Studios Hollywood and The Village Studios Los Angeles. Christopher definitely brings to the album a punk rock/alternative rock/guitar rock grit and vibe.

‘Free At Last’ slows the pace down to bring you a soulful mid 80’s ballad come indy rocker.

Picture the night sounds of the amazonian jungle and that leads you into ‘All Hail the King’, maybe the short sound bite intro comes from Tony’s sojourn to that part of the world.

Love the powerful heavy guitar swagger from ‘Horns and Halos’ that pulls you back and forward with the edgy vocals.

‘Hey Mr Superstar’ and ‘Rock N Roll Soldier’ continue that Audioslave style that leads you through most the album, it’s a cool sound that Christopher brings to the production.

The penultimate track is my favourite its ‘X Marks the Spot’, showcasing the rhythms of Larry and Justin in a perfect dynamic with Raf and Dee, collectively delivering a quality tune. Although the bending tone fade out at the end was a surprise.

Album closer and title track ‘Slay the Dragon’ introduces a North African/Egyptian melody in parts supporting the overriding bands style that is throughout the previous 11 tracks.

So what of the bands 6th album? Well for me it improves on ‘Letters from the Psych Ward’.

The album gives you a crossover between the edginess/rawness of The Ramones and the heavy rock, alternative metal drift and punchiness of Alter Bridge and Audioslave.

If you like this in your rock , energetic and powerful, then check the band out.

Those Damn Crows/Autumn Kings/James Bruner - Glasgow 21st October 2025

Thu, 23 Oct 2025 12:15:48 GMT

As I walked towards the SWG3 venue for an early evening pre-show interview with Those Damn Crows singer Shane Greenhall, it occurred to me that it was just over 2 years ago, almost to the day, since I had made that same walk the last time the band were in Glasgow in October 2023. Things had changed a bit for both me and the Welsh band since our last autumn evening dalliance; I’m heavier with even less hair, albeit slightly sprightlier thanks to the wonders of arthritis medication whilst Those Damn Crows… well… they can now say they’ve had a Number 1 Album in the Official UK Album Charts following the stunning success of fourth album God Shaped Hole earlier this year. They’ve possibly trumped me with that one!

After a series of smaller sold-out UK shows shortly before the album’s spring release, Shane Greenhall (vocals), Ian “Shiner” Thomas (guitar), Lloyd Wood (bass), Ronnie Huxford (drums) and David Winchurch (guitar) capitalised on their chart success with some festival shows and a European tour in the summer/early autumn that would ultimately culminate in a 10-date UK Tour with support from Canadians Autumn Kings and American James Bruner. That’s what brought us all together in Glasgow, as “The Crows” embarked on show number 4 of the UK run.

With a decent number of the “Crow Family” already queuing next to the Box Office when I arrived for the interview 2 hours before doors, it was clear that the band’s fanbase had continued to grow since their last visit to Scotland’s biggest city… and that was a massive bonus for James Bruner and his band, who played to a decent sized crowd, particularly towards the second half of their set. Bruner arrived on stage wearing blue jeans and a black leather jacket, with his looks, demeanour and stage moves reminding me of a blend of early Bruce Springsteen, Freddie Mercury and Mick Jagger. Let’s be honest… you could be a mixture of much worse than three bona-fide rock legends! Strutting through an energetic set that straddled a few rock sub-genres yet remained steadfastly rock n roll, Nashville-based Bruner and his band entertained from the outset, with the main man himself removing his jacket to perform much of the set topless, reminding me of my own mid-40s ultra dad-bod challenges with the kind of lean physique that I last possessed when I was around 10 years old! As he confidently worked the Glasgow crowd, there was a definite whiff of future rockstar in the air, with Bruner ably assisted by a tight and talented live band that included the impeccably dressed bassist TJ Fink, who effortlessly sported a pair of slacks. I’d love to see them headlining a smaller Glasgow venue such as King Tut’s Wah Wah Hut or The Cathouse, as on this form, they’d take the roof off and would take great strides in securing a faithful UK fanbase. Definitely one to watch!

Autumn Kings won the award for best pre-show playlist, with some top songs played loudly over the PA before they confidently strode onto the Glasgow stage. With their nu-metal looks and stage presence complemented by a large curtain backdrop of their logo, the Canadian band wasted no time in their quest to impress, kicking things off with ‘Sleep When I’m Dead’, that to my ears, was clearly influenced by the rap and clear vocal interplays of bands such as Linkin Park. This initial assessment was confirmed as being in the right ballpark when they played an excellent cover of a Linkin Park song (‘Terrified’, I believe) later in the set but in terms of covers, the oddest yet most entertaining choice was the band’s reworking of Ricky Martin’s ‘Livin’La Vida Loca’. Yup… that’s a sentence I never thought I’d type in a rock review and judging by some of the dropped jaws around me, many were equally as shocked! But it was the song that arguably opened the Scottish crowd to the huge potential in the music of Autumn Kings, with more devil horns and pumping fists appearing as the set progressed. There was even an effort at the now ubiquitous Scottish rock crowd chant of “Here we, here we, here we fucking go”, which I’ve got to be honest and say is getting a bit boring and predictable now. Let’s go back to Scottish music crowds being known for energy and atmosphere as opposed to a football-like chant… but I digress! With some newfound mid-set confidence and pizazz, Autumn Kings tied things up with ‘Aliens’, ‘Snakecharmer’, ‘Bleed It Out’ and ‘Hellbound’ that had nu-metal influences bonded together by Metallica-inspired riffing. Were Autumn Kings the right fit for a Those Damn Crows audience? Possibly not. But do they have great potential to return to the UK in the future, whether headlining smaller venues or supporting more appropriate acts? You bet!

SWG3 was bursting to capacity by the time Welsh heroes Those Damn Crows took to the stage just before 9pm to a raucous Glaswegian welcome. The fact that the crowd was being galvanized by a band in a venue called The Galvanizers wasn’t lost on me! Ronnie Huxford was first to appear, playing the rock steady beat to new album track ‘Dancing With The Enemy’, with singer Shane Greenhall bounding on just in time for the first verse vocals. It was well-received and already appears to be a much-loved song, despite being new to “The Crows” arsenal of music. However, it’s always good to make sure the audience is on your side with a more well known, fan favourite early in the set and that’s exactly what happened as Wood, Thomas, Winfield and Huxford played the intro to the more frantic ‘Man on Fire’, causing much head bopping and singing of the chorus back to the band. Great start, indeed!

It was back to a newer track from the God Shaped Hole album with “Surrender”, as bassist Wood prowled the stage in impossibly leg-hugging jeans, with his distinctive long blonde mane of hair being thrown back and forward on his head (fun fact… I had a great head of blonde hair before it... well… fell out!). The sound was crystal clear and well-balanced, enabling Greenhall’s faultless voice to soar across the venue and even when I removed my filter ear plugs, it wasn’t uncomfortably loud. The moodier ‘Find a Way’, with its melodic, sing-along chorus was next up and by this time, the crowd had really started to warm up as they took on the “whhoooaa” background vocals.

Those Damn Crows are incredibly proud of the God Shaped Hole album and so they should be. After all, it’s not every band that manages to record a number one album! So, it was no surprise that the next five songs, one after the other, came from that record. ‘Spit and Choke’ was played with speed and ferocity, allowing plenty of room for a bit of head banging whilst the more atmospheric ‘Turn It Around’ showed just why a more commercial hard rock audience has been attracted to the band’s music. But it was the triple whammy of ‘Glass Heart’, the wonderful ‘Dreaming’ and the more serene ‘The Nigh Train’ that really highlighted the progression in songwriting within “The Crows”. These songs show a true maturity in song writing, with catchy melodic choruses, deep and meaningful lyrics and some brilliant musicianship. Even better… they fared very well in a live environment and went down a storm with the Scottish fans. Even a false start to a few songs by Greehall, with a poor woman from Yorkshire getting the blame (jokingly, of course!) couldn’t spoil the atmosphere within the venue at that point in the concert. God Shaped Hole was a number one album for a reason and that was abundantly clear in this special 10-minute section of the show.

The familiar guitar intro to longtime fan-favourite ‘Who Did It’ brought proceedings back to more familiar territory, with Greenhall and Wood continuing to work the stage whilst Winchurch and Thomas remained in their usual spots stage left and right. The raucous ‘I Am’ led to Greenhall taking an opportunity to impress again with his vocals in a stripped back ‘Still’ before heading to the piano for the now much-loved piano version of ‘Blink of an Eye’ that creates a special atmosphere for the rest of the band to return to the stage and turn up the volume to finish the song. I don’t think fans would forgive Those Damn Crows if they ever removed this from their set, such is the connection between band and audience during this song. It’s very much one of their signature songs.

The heaviness was upped again with ‘Go Get It’ and ‘Sin on Skin’ before the excellent ‘This Time I’m Ready’, a song about the loss of Greenhall’s father and the anger and hurt his death caused, brought a more emotional twist to proceedings. Most people have suffered loss at some point in their lives, so perhaps that’s why it connects so well with so many. Indeed, it appears to be number 4 on the Apple Music list of my most played songs of the last 5 years. I listen to a lot of music, so that’s no mean feat! The classy, sing-along, melodic ‘See You Again’ (and I hope we will!) finished the set, with Those Damn Crows leaving the stage after yet another top-notch live performance.

Those Damn Crows have worked hard to get to where they now are. They didn’t achieve overnight success – they earned it by gigging up and down the country and honing and improving their songwriting with every album. The chart success of God Shaped Hole was a well-deserved reward for, as the band says, “smashing the glass ceiling” in terms of their songwriting and musicianship. They have always been a magnificent and highly energetic live act but on this showing, on a cold autumn night in Glasgow… well, this could be their best Scottish show yet. Those Damn Crows are now an arena-ready rock act, playing arena-sized rock anthems. Catch them in smaller venues whilst you can because if there’s any musical justice, these crows will be flying even higher to rock superstardom.

The God Shaped Hole UK Tour continues with shows in Bristol, Plymouth, Southampton, Birmingham and London, with further shows scheduled later in the year in Belfast, Dublin and Kingston-Upon-Thames. God Shaped Hole is available in various formats through Earache Records. Listen to singer Shane Greenhall’s interview with Rockfiend on the Rockfiend social media channels.

Photos by MB Photography Scotland

Those Damn Crow’s Shane talks with Rockfiend

Wed, 22 Oct 2025 14:20:38 GMT

Shane from Those Damn Crows talks to Rockfiend's Gareth about the success of the latest album, touring and what’s in the future for them.

Photos by MB Photography Scotland

Full review coming soon

The Devil’s Forfeit - 'Outer Lines' Release Date: 24 October 2025

Mon, 20 Oct 2025 20:02:51 GMT

The Scottish border town of Galashiels seems to be having a bit of a moment just now. Previously best known for Braw Lads, textiles and rugby, the recently released film sensation ‘I Swear’ is set in Gala as it is the home town of John Davidson MBE, the Tourette’s campaigner and comedic good guy who is a local hero in the Tweed Valley.

Musically, legendary bassist Neil Murray of Whitesnake (and many other bands) is probably the best-known name from The Borders, but recently we’ve seen the emergence of WildFire and now also The Devil’s Forfeit – a Galashiels and Edinburgh based band who will release their debut album this Friday and celebrate with an album launch party on 1 November 2025 at The Banshee Labyrinth in Edinburgh’s Old Town.

The band formed in late 2024 and they’ve been making a name for themselves with plenty of gigs around the East of Scotland, with most of the attention focused on the femme fatale persona of singer Angela Grace and her eye-catching outfits. The focus stays on Angela in the album’s opening track and lead single ‘Session’ – a salacious and sensual sleazy-blues number that opens with a whip-crack and takes things straight to the boudoir for a good seeing to! It is overtly in-your-face sexy but the other thing that’s immediately obvious is a crystal-clear production and clever vocal effects.

‘Southern Style’ brings exactly that, with some Skynyrd piano and bayou guitar sounds, but the overall feel is more Creedence than Luke Combs. The song title that initially caught my eye on the track listing was ‘Knickers’ – what, nae fur coat? It is a lacy and jaunty little piano-led bar room boogie with some fragrant saxophone and lyrics about a “dirty little girl with her knickers in a twist”. It’s a lot of fun and definitely worth a quick sniff. So, three songs in, and we’ve already had plenty of variety in the style of music on offer, and that, plus the catsuits, actually put me slightly in mind of Space Elevator, another classy band that likes to mix it up a bit.

The title track ‘Outer Lines’ changes pace again. It is an addictive and riffy number on a bed of groovy bass and drums that I remember hearing at Bannerman’s over a year ago, and it’s been out in demo form on Bandcamp since April 2024. ‘Rock ‘n’ Roll All Night’ is not the KISS song and does not feature Ace Frehley, but it does have a really sharp, almost-indie riff and Angela adds a bit of a raucous edge to her vocal in a homage to everyone’s favourite (or second favourite) nocturnal pastime and it is probably the most melodic song on the album.

A selection box of styles keeps up the variety and quality throughout the rest of the album. ‘Playing With Fire’ is another one with a modern-sounding riff, ‘Hold Your Breath’ features some really fluid bass and a brief male vocal. ‘Defying Mother’ is a retro-groovy Hammond-infused stomp and ‘The Shakes’ is a fuzzed-up marvel, while the dance around the musical styles continues with ‘Rock ‘n’ Roll’, which is a riffy beauty but also a bit Doors-y with some retro keyboard highlights. The album closer is ‘Wander’, another live favourite, which reintroduces the sex appeal with a heavy bass presence, some pheromones and a very tidy guitar solo.

Overall, there’s a lot going on here and the variety of styles keeps it interesting throughout. The band’s EPK states that they “aren’t here to reinvent the wheel, but they fully intend to spin it fast,

kick up dust and remind you why rock ‘n’ roll still matters”. I think they have achieved that. I’m sure these songs and Angela’s strong stage presence will make for a fine live headline show and the album launch party will be a perfect opportunity to check that out.

The album is available to order from the band’s website or you can pre-order on Spotify and all the usual streaming sites. Even better, I’m sure they will also be happy to sign one for you at The Banshee on 1st November with Six Mile Wide and 8th Circle.

The Devil’s Forfeit are;

Angela Grace (Vocals)

Elliot Waugh (Guitar)

Ricky Nolan Duggan (Bass)

Viktor Lisonel (Drums)

Jack J Hutchinson - 'Battle Scars'

Mon, 20 Oct 2025 19:47:48 GMT

‘Battle Scars’ is a live album recorded on Jack’s tour this year promoting his album ‘Battles’. It’s an appropriate title for a record by one of Britain’s ultimate road warriors, who has been taking his blue-collar blues-rock performances to grassroots local venues around the country for years and has the damage to show for it. He’s probably been in your town playing in one of the wee venues that are constantly under threat, just hoping that people will dig his music and that enough folks will turn up to put petrol in the van. In other words, for the people on social media who are constantly banging on about keeping rock music alive, buying tickets in advance and saving small venues, Jack is exactly the kind of guy that you should be supporting and a good way to start would be by listening to this record and ideally buying a copy from the man, as the CD comes as a lovely little package, or it’s just £6.99 on Apple Music.

The 10 tracks were recorded from shows at The Grace, London and The Tuesday Night Music Club, Coulsdon in April 2025 and joining Jack were Phil Wilson on drums and Greg Smith on bass. All the best bits from ‘Battles’ are there plus some other live favourites from the nuggets in Jack’s back catalogue. ‘Don’t Let the F***ers Get You Down’ is a fine opener, followed by ‘Constellations’ with each being a fine example of Jack’s rocking style. ‘Road to Hell’ is a bit of an epic and ‘Love is the Law’ is about as close as it gets to love ballad (but not that close) and is even more epic. There are some Hendrixy outbursts on ‘Hip Slickin’’, ‘Overdrive’ does indeed go into that and ‘Call of the Wild’ would sound great at that festival.

Overall, this is a very enjoyable album from a chap who is very worthy of your support. Check him out.

Trivium - Struck Dead EP

Mon, 20 Oct 2025 19:35:16 GMT

In a year that has seen Trivium justifiably looking back, celebrating 20 years of ‘Ascendancy’ on tour, forthcoming EP ‘Struck Dead’ points the way forward and reveals a band who remain as intense and vital as ever.

With just three tracks, ‘Struck Dead’ is the distillation of all that makes Trivium a cut above the average metalcore screamers. Recorded at the band’s own Hangar Studios in Orlando, Florida, there is very little suggestive of the so-called Sunshine State here. Instead, the lyrics are influenced by frontman Matt Heafy’s personal struggles, tracks coming together whilst waiting for the band’s studio to get an upgrade and coloured by the energy of revisiting ‘Ascendancy’ in tour rehearsals. Apparently providing “a cathartic release” for all involved, the effect on the listener is similar, a rush of aggressive energy that proves irresistible.

Unveiled earlier this year as a single, ‘Bury With My Screams’ is gloriously percussive, drummer Alex Bent making an unmistakeable mark, seemingly pounding his kit into submission. Not to be outdone, the guitars drill the opening riff with real intent, the introduction punctuated with a lovely twin guitar moment before everything briefly slows in that pleasing, heavy way that makes you grimace in appreciation. Heafy switches from rage fuelled screams to clean vocals for a chorus that provides a melodic hook, something of a signature for the band that still works incredibly well. Concluding with the words “not dying” practically torn from Heafy’s throat, you can only hope he feels better for exorcising whatever demons are plaguing him.

The title track rages with an intensity that other bands can only dream of. The stop start riff is pulverising and there is something so satisfying about Heafy’s delivery, the way he attacks the words “struck f***ing dead”. Impossibly heavy, ‘Struck Dead (Pain Is Easier To Remember)’ seethes with unbridled anger that Trivium somehow deliver with such class. Though relentless, there is still melody to be found amidst the fury.

The delicate introduction to ‘Six Walls Surround Me’ provides brief respite from the aural assault, a reminder that Trivium can do beauty, but would rather tear it apart, as they do here, Heafy’s agonised vocal cutting in, seemingly from nowhere. The most sprawling of the tracks, there is room for some magnificent musical interludes, occasionally reminiscent of traditional metal with the sound of twin guitars, the influence of Maiden seeping through, albeit veiled in something decidedly more modern.

‘Struck Dead’ is released on Friday 31st October. A truly satisfying battering of the eardrums awaits.

The Blow Monkeys & The Christians, Edinburgh, Queen’s Hall Tuesday 14th October 2025

Sun, 19 Oct 2025 18:27:36 GMT

There’s nothing quite like a live music performance when it comes to quickening the pulse and raising spirits; even more so when the show is a double-bill featuring seasoned performers who know exactly how to entertain. On this occasion, it involved the short train journey to Edinburgh to witness The Blow Monkeys and The Christians showcasing a few of the tracks from each of their substantial back catalogues.

Both bands were signed to major labels and enjoyed the peak of their commercial success in the latter half of the 80s into the early 90s, so it was no surprise that the audience was, by and large, of a vintage similar to my own. For the first time of my own visits to the venue, the auditorium was seated which made for a comfortable experience albeit there’s often more energy when the crowd is standing.

Getting to the performances; first up were the Christians who played a tight set featuring their best known tracks along with a cover or two. Starting with “Forgotten Town” the set featured four of their first five hits from their eponymous debut album including a slightly more up-tempo rendition of “Born Again” which briefly morphed into Al Green’s “Take Me To The River”.

Only “Greenbank Drive” featured from their 1990 chart topper “Colours” but with only an hour on stage and such a long career, the set did not suffer as a result. This was another of the tracks delivered with a twist as it transitioned briefly into The Temptations classic “Papa Was A Rolling Stone” complete with that legendary bassline.

As the set drew towards a crescendo, we were treated to a stunning rendition of Marvin Gaye’s “Inner City Blues” before ending on their most successful release, their cover of The Isley Brothers “Harvest For The World”.

Every element of the performance was on point, from the musicianship to the vocal harmonies (especially evident during the acapella “Happy In Hell”). Frontman Garry Christian’s banter with the audience was also particularly witty while they made a point of getting the crowd to their feet during a couple of the tracks which added an extra layer of engagement and energy which the seating arrangement may otherwise have stifled.

A thirty-minute intermission, and a solitary beer from the bar followed before The Blow Monkeys took to the stage, right on schedule at 9pm. Their set was energetic from the off, starting with “Celebrate” from their 1987 album “She Was Only The Grocer’s Daughter”. Like much of the music at the time, the lyrics focused their attention on the then Prime Minister, Margaret Thatcher and anticipated the day when she no longer held that post. This was followed by a couple of tracks from their new album, the title track “Birdsong” and “Long Lost Child”.

The big 80s hits followed, “It Doesn’t Have To Be This Way”, “Choice”, “Out With Her”, “Digging Your Scene” and “You Don’t Own Me” from the movie soundtrack to “Dirty Dancing”. These were delightfully interrupted by more recent material including “Not The Only Game In Town” and the seriously funky “Said Too Much”. The rousing version of “Wait” transformed Robert’s uplifting 1989 house duet (with Kym Mazelle) into a raw funky groove punctuated by the guitars, bass and bounding keys before the set closed in mellow style with 2017s “The Wild River”.

There were a couple of tracks during the performance that I did not manage to identify. This will most likely lead me to investigate a few of their albums from 2008 onwards which until now I have neglected, starting with “Birdsong” which I picked up after the show.

It’s notable that the original 1981 line up persists with Robert Howard, Mick Anker, Neville Henry and Crispin Taylor all on stage. For those who remember the big budget, polished production of their 1980s albums, the live performance represents a significant departure from that sound but does not compromise the essence of any of their older tunes. In fact, I would expect many people who preferred edgier music back in the day to be pleasantly surprised were they to find themselves at a Blow Monkeys gig.

Based on the evening’s experience, I will be keen to catch each of these bands again in the future. I would be particularly keen to see each of them perform slightly longer sets (with or without intermission), as there were many tracks they were never going to be able to get into their sixty-minute sets that I would love to hear again. Thanks to everyone involved for an enjoyable evening, including the security team at the venue who helped Craig (our photographer), find the best vantage points.

Photos by Craig Hendry

Midnite City - Bite The Bullet

Sun, 19 Oct 2025 14:13:30 GMT

Midnite City’s fifth studio album, “Bite The Bullet,” is a full-throttle celebration of everything that made '80s melodic rock so gloriously addictive. Formed in 2017 by Rob Wylde (whose pedigree includes Tigertailz, Vega, Steevi Jaimz, and Teenage Casket Company,) the band has always worn its influences proudly. But here, they don’t just channel the spirit of KISS, Bon Jovi, and Poison; they elevate it, track after track, with a modern edge and unrelenting energy.

The album opens with ‘Live Like Ya Mean It,’ a thunderous statement of intent. Driven by Ryan Biggs’ pounding drums and Miles Meakin’s squealing guitar solos, it’s a riot of harmonies and swagger, with Wylde’s vocals evoking the gritty charm of Motley Crue layered over the melodic punch of Little Angels. It does what any good opening track on an album should do; grabs you by the collar and doesn’t let go.

‘Worth Fighting For’ shifts gears into softer territory, letting Shawn Charvette’s keyboards take the spotlight. The guitars build patiently toward a chorus that’s both tender and triumphant; a tale of love’s resilience that feels earned rather than sentimental. Later, ‘Seeing Is Believing’ offers a power ballad breather, reining in the bombast for a moment of vulnerability that still pulses with emotion.

‘Running Back To Your Heart’ is pure melodic rock gold. With chugging riffs, chiming keys, and a chorus that practically begs for a live singalong, it’s one of the album’s most infectious moments. The backing ‘wooooohs’ in the outro are tailor-made for festival crowds and sweaty club nights alike. ‘Lethal Dose Of Love’ follows with a chorus that hits like a freight train, the word ‘lethal’ shouted in unison before Meakin’s guitar solo takes flight.

There’s atmosphere too. ‘Archer’s Song’ offers a brief instrumental interlude, its soft drums and keyboard intro painting a cinematic introduction to ‘Seeing Is Believing’ before the next wave of rockers. ‘Hang On Til Tomorrow’ and ‘No One Wins’ keep the momentum going, with vocal double-tracking and driving rhythms that never overstay their welcome.

And just when you think the ride’s over, ‘When The Summer Ends’ closes the album with a nostalgic shimmer. Its intro nods to Journey with a synth sparkle reminiscent of Van Halen’s ‘Jump,’ but the track quickly finds its own identity; a pop-rock gem that leaves you grinning and reaching for the repeat button.

The band: Wylde on vocals and rhythm guitar, Meakin on lead, Josh Williams on bass, Biggs on drums, and Charvette on keys are locked in throughout. Their chemistry is palpable, and under the production of Chris Laney (Europe, Crash Diet, Crazy Lixx, Pretty Maids), the album finds the perfect balance of gloss and grit. It’s polished enough to shine, but never loses its bite.

“Bite The Bullet” isn’t just a throwback; it’s a masterclass in melodic rock artisanry. For fans of big choruses, soaring vocals, and epic guitars, this is a record that doesn’t just hit the mark; it blows it wide open.

Ally Venable Band - La Belle Angele, Edinburgh 15 October 2025

Sat, 18 Oct 2025 08:26:06 GMT

I met my pal Alan in Bannerman’s before this gig. It was absolutely rammed in there but the punters were actually going to five different gigs within about 200 metres of each other – Chris Holmes (WASP) in Bannerman’s; Dirty Sound Magnet at The Hive, Spear of Destiny at The Caves, Wild Hogs at Whistlebinkies and the one I was going to; Ally Venable’s Edinburgh Blues Club gig at LBA. And that’s not counting the folks who had already left to go to Glasgow for Y&T. You have to ask WTF is going on and whether anybody actually talks to each other when they’re booking shows these days but it is still good to have a choice, I suppose and I was very happy with mine.

I got a bit of a shock when I rolled into LBA – there were rows of seats set up down the front! Not only that, the “mature” element of the Edinburgh Blues Club must have been up before breakfast and put their towels down, as there were no spare seats to be had. That just meant I had to stand at the bar, where they were dispensing some outstanding pints of Outcider, which did nothing to spoil my enjoyment of the gig, but my note-taking may have suffered!

Young Texas blues guitarist Ally Venable is a bit of a hot-shot on stage. She first appeared in Edinburgh in 2019 as part of Ruf Record’s Blues Caravan along with Ina Forsman and Katarina Pejak and the potential she showed then as a teenager has now matured into a well-rounded performer with great guitar skills and an impressive catalogue of recorded material, not least her most recent LP ‘Money and Power’. Tonight, she is resplendent in a mini-kilt (MacFranandanna tartan) and full of southern “y’all” bonhomie between songs while she dispensed admirable guitar skills and a Texas honey voice.

The guitar fireworks start early and Ally is never slow to hit the SRV pedal on her rig – not least on ‘Unbreakable’, but there’s also some funky stuff and plenty of top-quality electric blues. Clearly Ally has come a long way since we last saw her, and I don’t mean just the Atlantic Ocean. She’s had some heavyweight collaborators too. Joe Bonamassa of course (funny how he collaborates with every female blues player), on ‘Broken and Blue’ and also with Buddy Guy. The excellent bass player EJ Bedford stepped up to do Buddy’s part on ‘Texas Louisiana’ and by the time she finished her main set with ‘Tribute to SRV’, Ally had the crowd in her pocket (well, no pockets in a kilt but you know what I mean) and earned a worthy standing ovation from those who were able.

Weegie Delta blues purveyors Blue Milk (not to be confused with Bridget Jones’ blue soup) ran through a very enjoyable support set of standards and originals. As far as I could see around the pillar, there were four of them - singing guitarist, bass, talking drummer and a mouth-organ Bez. In fact, the harmonica was the lead instrument for a lot of the set.

There was an early song called ‘Down by the River’. Of course there was – this is Delta blues! If you ever lose a blues player you’ll know where to look for them as there must be hundreds of them on that bloody riverbank. It was a that point that I started my own drinking game based around delta blues word bingo. Naturally there were mentions for the devil and Memphis before my imbibing got the better of me, but it was still a very decent set indeed.

The Edinburgh Blues Club put on great shows most months of the year in Edinburgh. You can join or simply buy tickets as you please and they are worthy of your support.

Donovan - October 12th, 2025 Richmond Theatre, London

Tue, 14 Oct 2025 17:17:48 GMT

In recent years, several phrases have been thrown around like confetti. One being "Legacy Artist". In some instances, it's firmly justified, and Donovan drops squarely in that remit. At the very forefront of the Folk Rock movement from it's inception, "Dono" has inspired many well known artists, as well as making firm friends with them along the way. His music has taken many twists and turns along through the years, with much variety therein. Today, he's performing at the perfect setting of the Richmond Theatre, south west London. A stunning Victorian venue, it serves as a great prop to go along with Donovan's 60th Anniversary show today.

It's refreshing to have a matinee show, as it makes things very relaxing. No one is hurrying like mad to get there, or get home. As the safety curtain rises, Donovan is sitting there ready, and goes straight into "Catch the Wind". As soon as the audience get their first glimpse of him, the reception is rapturous. It's clear that the love for him here is massive. He then rattles off "Josie", "Jennifer Juniper" and "Little Tin Soldier" in quick succession. His connection with audience is constant, very often making strong eye contact with us at the front. The crowd are singing along from the off. It's evident that he's not shying away from playing a "popular" setlist, with "Sunny Goodge Street", "Colours" ("There were so many colours then, it's not surprising I wrote a song with that title") and "The Universal Soldier" appearing more or less in one after the other.

As we progress, there some lovely, true anecdotes from the man himself. Helping Paul McCartney write a song (after Macca had turned up unannounced at Dono's flat), getting transported along a pier to his own concert in a crate (to get him into the venue past a massive crowd of fans), and telling us how quickly everything took off for him at the start of his career. I didn't expect "Hurdy Gurdy Man" to arrive until the end, though here it is, three quarters of the way through the gig. The crowd are singing along at every turn, and Donovan has a great way of inspiring this very easily. "Donna Donna" sounds marvellous, and in contrast, this is followed by "The Intergalactic Laxative". Yes, you read that correctly. The song came about after Dono was wondering how space travellers cater for the......"necessary daily routines" whilst there. It's all good to know, in case I get that call from NASA one day. I can skip that part of the training schedule......

For such a relaxed gig, the time still goes past quickly, with "Sunshine Superman" and "Mellow Yellow" bringing the main set to a close. As you would imagine, the singalong to "MY" was very joyous. Along with many others, this one was a huge hit in the UK, and many other parts of the planet. In truth, it's one of many examples of Donovan's skill with melody. The curtain drops, though the crowd aren't in any mood to go home. After a long response of cheers and claps, Dono returns with a lovely version of "Atlantis". A fitting way to end the show. How wonderful.

After the show, during a chat with Donovan, he playfully says to me "Make sure to mention how the crowd sang along". We are all still singing now.

Thanks to Donovan and Lawson for their hospitality. All photos:- Lawson Slater.

Cardinal Black - The Garage Glasgow 11th October 2025

Mon, 13 Oct 2025 13:48:31 GMT

It’s been a long time since an album has got under my skin as deeply as Cardinal Black’s ‘Midnight at the Valencia’ has done. I’ve been playing it repeatedly for months and I can’t think of any other record in the last thirty years that I’ve enjoyed more, so I guess that must make it my favourite record of this century so far?

The stories in these finely-crafted songs throb with passion and emotion and are performed with skill, finesse and a tender touch. If they weren’t Welsh, you might describe their music as Americana, but with a dash of blues, rock and pop too, and everything all snugly wrapped up in a blanket of pure soul.

From the audience reaction to the opening song ‘Ride Home’, it’s clearly not just me that has had the album on repeat. The sold-out crowd were loud, encouraging and spot-on with the “woo-hoo-hoos”, as they would be with all the audience participation parts throughout the show. The band have been to this town before – always drawing a capacity crowd and each visit has been in an increasingly bigger venue. I’m sure they have arenas in their future eventually, probably with a horn section and a line of backing singers too, but tonight’s immersive experience in the intimacy of a 700-capacity venue felt like it really hit a very sweet spot.

Cardinal Black don’t do lights, flash bombs and gimmicks – they don’t need to, and anyway, it would detract from the music and set them apart from their audience. Comfortingly, Tom Hollister looks like your favourite hipster uncle with his flat cap, glasses, beard and what looks like a fast-food restaurant server’s shirt, but OMG that voice! He might be a little bit scuffed-up from the road but he really brings it from the bottom of his heart and you can feel it all the way to the back of the hall. There’s a beautiful moment near the end of ‘Falling’ where the band briefly pauses as Tom sings the “I keep waiting for the better day” line with extra feeling and it is absolutely spell-binding. As Ted said to Morgan Freeman in ‘Ted 2’; “I think I want to sleep on a bed made of your voice”.

The first four tracks are all from ‘Midnight at The Valencia’ and it is on ‘Holding my Breath’ where Chris Buck really opens up for the first time with an extended solo. As always, it is song-focused and as much about tone, touch and feel as it is technically proficient and his work carries as much flavour and emotion as his vocalist pal.

Unsurprisingly, the band are becoming appreciated across America and have been putting in the hard work and long hours on the road over there. But, as someone on the telly once said; “fame costs”, and the song ‘Adeline’ eloquently and passionately describes the pain of being away from your family. Named for Tom’s daughter, this song gives off serious ‘Wichita Lineman’ vibes and strengthens the bond and understanding between the band and those who are just pleased that the musicians have made the effort to come to their town to play for them.

Irish singer-songwriter Nathan O’Regan made a lot of friends in his support slot, and he popped up mid-set to join the headliners and sing parts of ‘Morning Light’. The laid-back hook in the song is “let’s just get drunk and talk until the morning light” and with the easy interaction between the individual band members, at times it feels like it actually is midnight at The Valencia and they’re just mates having a drink and a laugh, while sharing some songs and secrets and talking about their feelings. And best of all, us lucky folks in the audience get to feel like we’re right there in the room with them enjoying a shared intimate moment.

After that, they played ‘Your Spark (Blows Me to Pieces)’ – my personal highlight from my new favourite album. On a night of sustained excellence, the most sublime wee bit of the evening came during this song. As Chris came to the end of his second solo – a Kossoffian masterclass of barely controlled emotion – the music majestically swells up again, and Tom came back in, just a touch higher than before, reprising the “I can’t make it if you don’t make it” refrain, and in that micro-moment it is absolutely f*cking perfect. They followed that up with their first great song ‘Tell Me How It Feels’ and it just can’t get much better than that.

Buck, Hollister and drummer Adam Roberts have been together since they were kids and they definitely seem to enjoy any easy “matey” banter. Tom cheerfully took the piss out of Chris about his on-stage prat fall in Belfast the night before and “the 27th best funk-pop solo of all time” but there are tender moments too. Prior to the encore, Chris opened up movingly and at-length about the death of his father, and explained how he had sketched out just a few words and chord ideas for a song about his old man. Band lyricist Tom took his mate’s idea and intuitively created exactly the right melody and words to articulate what he knew his pal wanted to express. The fantastic ‘Push / Pull’ was the result and you could hear a pin drop while they played it.

A remarkable show came to an end with a benedictory ‘Tied Up in Blue’ and the audience went out into the night with a warm, fuzzy feeling and the knowledge that they had been part of something very special indeed.

On a big night for the band, they totally slayed everyone with a fantastic killer performance. In Cluedo terms, the perpetrator was Cardinal Black: in the Garage; with songs that rip your f*cking heart out.

Electric Wires / Luca / Jeanice Lee - Bannerman’s Edinburgh, 8th October 2025

Sat, 11 Oct 2025 10:48:37 GMT

It was Bella Italia night at Bannerman’s on Thursday with a triple-header line-up of Italian talent to entertain us.

First up was Jeanice Lee – a band who are one quarter Italian thanks to lead guitarist and co-writer Marco Morelli, although after several decades over here and with a thistle tattoo on his arm, we’re actually claiming Marco as one of our own these days. That goes for Jeanice too. Originally from Hong Kong, she’s been here for a while as well, and with Marco forms one-half of Edinburgh’s premier rock power-couple. With Tony Hodge on drums and Jamie Hunter on bass, both local lads, the band are tighter than ever and have some exciting new music to share with us. A new album has been recorded, that’s the fun bit, but there is still a lot of work for them to do before it actually comes out.

‘Overhaul’ was a great set opener from the ‘Urban Legends’ album but the big focus was on two new tunes ‘Displaced’ and ‘Cradle to the Grave’ – both inspired by current events. Nobody does impassioned indignation quite like Jeanice and she poured all of her heart and soul into delivering these well-crafted howls of outrage on stage in a dramatic and riveting performance.

Everyone I spoke to agreed that ‘Cradle to the Grave’ should be an absolute game-changer for the band. It is an extended epic piece and moves through several musical movements, punctuated by some laser-sharp guitar work by Marco, but above all, it really feels like a “band track”, with all four of the players locked in and performing at the top of their game. The song is tabbed to be the lead single in due course, possibly with a promo video, so keep an eye on the band’s socials for release information.

Early October is probably too soon for a Xmas song right? Oh no it isn’t! That’s a cheesy panto joke I used in my Xmas film-themed review of their 2020 festive song ‘Xmas in C Minor’ (surely the “2nd saddest of all keys”?) which Jeanice was kind enough to reference in the song’s intro. It’s a gothic masterpiece and still definitely the bleakest Xmas song you’ve ever heard, although Jeanice wrapped it up hilariously with a cheeky and entirely unexpected “yippee kay yay motherf***ers”!

The last song of the set was apparently written by Jeanice before she and Marco got together – I believe they might have first met on a song-writing seminar – but they have spruced it up and finished it now. It’s called ‘Gone Too Soon’ and is about loss and bereavement. As we know, Jeanice doesn’t do “happy” songs, so if you’re hoping for an album of Air Supply covers, you’ll have a long wait.

Incidentally, if you are looking for an album of interesting retro-covers; Derek Mitchell of veteran Edinburgh rock heroes Vantage Point was at the gig, and they’ve just released ‘The News: A Tribute to Huey Lewis’ – available on all good streaming sites (and some crap ones too). Check it out if you’re hip to be square in a rocking kind of way.

Next up was a familiar face making a welcome return. Luca Negro has played Bannerman’s many times as a member of bands such as Temperance, COEVO and Revenience, and it’s always good to see him. This time he’s performing a solo project, accompanied by drum wizard Alfonso Mocerino. They have released an instrumental EP called ‘Azalea’ under the name ‘Luca’ and their very welcome short set shows that you don’t necessarily need a singer to make great music.

We are used to seeing the handsome and hirsute Luca on bass, but it turns out he is also a fantastic guitar player. He uses the instrument to deliver what Lord Coverdale of Saltburn-on-Sea might have called “sonic tapestries” – but not “from hell”; these are fragrant compositions; tuneful, intricate, atmospheric and elegant, and probably ideal for a film or TV score.

Compositions is definitely the right word too, as there is a contemporary classical feel in the air. Alfonso is integral to the project. He had a hand in the writing and tonight delivered some fine solos; not least when playing along to a piece that I think was Rossini’s ‘The William Tell Overture’. He’s worked with Robin McAuley and Jerome Mazza among others too. Other highlights from the EP included ‘Three’ and ‘Intra’ – the latter being introduced as a “love song”, in what was a very pleasant and enjoyable musical performance.

Electric Wires are an Italian power trio who performed instrumental post-rock and prog-metal sounds from their recently released CD opus ‘Mastodonic Pig’. Their cleverly constructed music meanders through heavy riffing into tender interludes and soars off into majestic prog odysseys. At times it was jazzy and even danceable – especially on what I think was their eponymous track ‘Electric Wires’ - a funky groove monster which inspired bouts of riverdancing and shoulder shaking in front of the stage and we didn’t even have to ask for more cow bell.

The three guys in the band are all exceptional musicians. Alessandro Di Virgilio is a classically trained guitar virtuoso who has a big reputation in jazz and folk circles as well as rock. Paul Zogno, resplendent in a Magic Johnson Lakers shirt, is an in-demand session player on bass, and Ciro Iavarone is similarly proficient behind the drum kit. These guys really know what they are doing and the combination of their skills brought energy and a fusion of styles to the stage.

This run of three shows is a UK premiere for Electric Wires’ music. Their specific skill set puts them firmly in a niche category and an evening of instrumental Italian prog is a difficult ‘sell’, but the fans who attended were enthralled by the close-up magic of the show.

Not all of the pieces were introduced but ‘Another Planet’ was. It started with a quiet intro but before long the space-jamming started and they were off space trucking all over the musical universe. There was another song inspired by the romantic vampire movie ‘Only Lovers Left Alive’ and there was also a song, presumably inspired or written by the drummer, called ‘Ciro’s Diet’. The song was heavy as fuck but he’s not!

All in all, it was a very interesting evening. I hope the lads from Electric Wires have enjoyed their trip. I’m sure Luca will be back in one of his guises, and I’m really looking forward to the release of the new Jeanice Lee material in due course.

Yippee kay yay!

The Beast UK, Iron Maiden Tribute - Assembly Rooms, Edinburgh 3rd October 2025

Sun, 05 Oct 2025 09:55:18 GMT

It’s only been a matter of a few months since the mighty Iron Maiden were playing sold out arenas and stadiums across Europe on their 50th anniversary Run For Your Lives tour and a 2026 tour announced just a week ago. So, the interest in arguably one of the world’s premiere heavy rock bands is pretty high and tonight shows how much as the Assembly Rooms is pretty busy with paying punters ready to see what The Beast UK have in store with their self-proclaimed largest tribute show to the stars. Billed as Somewhere On Tour (and a little bit more) the band have faithfully reproduced the stage set from 1986 complete with massive backdrop and light up risers. The massive drum set is the same as are the guitars used and hell, we even have that famous light up leather jacket with the beating red heart. We have a storm raging outside tonight but the people that braved the weather are in for a treat.

Once Doctor Doctor starts you know that the near 2-hour set was about to kick into action. It always gets the hair on the back of my neck standing to attention. The familiar Bladerunner theme signals that the band are about ready to tread the boards.

What we get for our hard-earned cash is a set full of tracks from Somewhere In Time and ones that the band themselves don’t play. With a few from the preceding albums thrown in for good measure the crowd are lapping it up.

Only one song from the preceding album Powerslave is played tonight but it had to be 2 Minutes To Midnight which was executed perfectly, as is the rest of the set. Complete with 3 guitars, something that the original tour didn’t have, but that’s just being a bit picky I reckon as all 3 axe wielding members play the intricate parts immaculately.

We even get a few songs that were a bit newer with songs from Seventh Son and also Fear Of The Dark for good measure. Throw in a Union Jack flag on The Trooper and it’s all really accurate from this 6 piece.

Now an Iron Maiden show wouldn’t be complete with an Eddie. Well tonight we have Freddie who is a bit of a combination of The Beast’s own mascot and the original and standing a good 10 feet tall. However, a few comparisons to the hand gestures of Tommy Cooper were heard later after the gig.

Fan favourite Hallowed Be Thy Name rounded off the night and what a great night it was. The band have just recorded a show which will be released as DVD in the future and also have further gigs planned, one being at the famous Barrowland Ballroom in Glasgow on the 26th November. So, if you can’t wait for the real thing in 2026 then get a ticket to this as you won’t be disappointed.

GeminiiDRAGON (Feat Linwood Taylor) - Moonlight Movin' & Groovin'

Sat, 04 Oct 2025 13:40:28 GMT

GeminiiDRAGON’s fourth album, “Moonlight Movin’ & Groovin’”, is a triumphant return to the raw, soulful blues that first put the New Orleans-based band on the map. After the more experimental turns of “3” and The Gold DINAR project, this record feels like a homecoming; one that’s celebratory, defiant, and deeply rooted in tradition.

From the opening bars of ‘Blues Is So Good,’ you know you’re in for something special. That cheeky vaudeville drumbeat sets the tone, and what follows is a masterclass in stripped-back blues: smooth grooves, sharp guitar licks, and harmony vocals that wrap around GeminiiDRAGON’s gravelly, joyfully growling voice. It’s a love letter to the genre, and it’s delivered with flair. ‘Low Down Dirty (Duck)’ keeps the momentum going, with second-line drumming, punchy horns, and organ swells that make the track feel alive. GeminiiDRAGON doesn’t mince words here; her warning to a deceitful man is both poetic and fierce. You can almost see the oak tree shaking.

‘Pressure,’ featuring Santiago Ortega on guitar, shifts gears slightly, bringing a more political edge. The rhythm section drives it forward, and Ortega’s guitar work adds texture to GeminiiDRAGON’s lyrics about survival and mental strain. It’s a powerful moment, grounded in the realities of modern life.

Then comes ‘Mr. Slip & Slide Man,’ a slinky, horn-laced groove that tells a familiar tale of betrayal. The organ and guitar dance together on the fade-out, giving the track a sultry finish.

Just as you’re settling into that mood, ‘Midnite Call’ kicks things back up. It’s vibrant and punchy, with GeminiiDRAGON channelling her inner Aretha, laying down the law with sass and style. The interplay between guitar and organ here is electric, and the message is clear: don’t keep this woman waiting.

‘Slow Slow Moan’ and ‘Rainy Wednesday’ offer a chance to breathe, but they’re no less compelling. The former is a standout, with its smooth arrangement and vocals that drip with emotion. It’s classic blues storytelling, and GeminiiDRAGON delivers it with conviction. ‘Rainy Wednesday,’ again featuring Ortega, captures that midweek slump with melancholy grace. The horns and guitar underscore the weariness in the lyrics, making it one of the more introspective moments on the album.

As the record heads into its final stretch, the energy ramps up again. ‘Sideways Down’ brings a Santana-esque vibe, with fluid guitar lines and a rhythm that won’t quit. It’s a song for the invisible ones, those who slip through the cracks, and it’s delivered with empathy and groove.

‘Blues Party,’ featuring Julia Dill on harmonica, is exactly what it says on the tin; a joyful, foot-tapping celebration of blues as communal release. Dill’s harmonica playing is front and centre, and it’s glorious. She returns for ‘Juke Joint Jumpin',’ a sultry, slow-burning number that feels like the kind of track you’d hear spilling out of a packed club on a humid night. If there’s any complaint, it’s that it ends too soon; you want that party to keep going.

The final track, ‘All Night (Bonafied Heartbreaker),’ blends blues and funk with a touch of heartbreak. The intro is rich with horn sounds and drums, and the guitar work is melodic and expressive, reminiscent of Clapton at his most tender. GeminiiDRAGON sings of a toxic love she can’t shake, and it’s a fitting close to an album that’s unafraid to show both joy and pain.

“Moonlight Movin’ & Groovin’” is a bold, soulful step forward for GeminiiDRAGON. The production, courtesy of Christian Simeon & The HATERZ, is tight and vibrant, and the addition of Linwood Taylor has clearly helped steer the sound back to its bluesy roots. GeminiiDRAGON’s voice is a force; capable of channelling the spirit of Aretha Franklin, Janis Joplin, and Grace Slick, while still sounding entirely her own. There’s a richness and range here that’s rare, and it’s used to full effect across the album. Comparisons to Janiva Magness feel apt, especially in the way GeminiiDRAGON conveys emotional nuance through her vocals.

This album doesn’t just revisit blues traditions; it reinvigorates them. It’s a celebration, a reckoning, and a reminder that GeminiiDRAGON is an artist who follows her own path, wherever it may groove.

PREACHER STONE - BY THE HORNS

Tue, 30 Sep 2025 17:38:30 GMT

As Southern Rock continues to enjoy something of a revival, bands like Black Stone Cherry and The Cadillac Three finding broad appeal with their decidedly modern approach to the genre, North Carolina’s Preacher Stone deserve to be embraced with just as much warmth. A five-some who have persisted in the face of adversity, it’s a thrill to hear the band sounding energised, and in their own words, “letting it rip” on forthcoming release ‘By the Horns’.

Drummer Wyatt’s thunderous wallop provides an appropriately bullish introduction to an album that is proudly big, bold and brash. The title track, like several that follow, boasts a grooving riff and a memorable chorus, elevated by Ronnie Riddle’s charismatic vocal performance. There’s a lovely feeling of spontaneity to the guitar solos that erupt as the song builds to a conclusion, a sense that nothing here is too contrived, rock and roll as nature intended.

‘Saddled and Rode’ picks up in similar territory, but it’s funkier, and really highlights the warm vocal harmonies that are such a hallmark of this kind of music. ‘Writing on the Wall’ has more bite, the hard rocking riff almost menacing, the perfect accompaniment to lyrics that find Riddle seeking to leave a relationship that he recognises has already broken down.

The twin guitar sound of Ben Robinson and Darrell Whitt drives ‘The Devil You Know’, a moodier, introspective track that changes the pace and generates an atmosphere of foreboding. ‘Blessing and a Curse’ lounges back into almost countrified territory with beautiful harmonies and mellow guitar, the only time the band chooses to deviate from almighty riffs, and perfectly placed at the album’s heart.

The out and out rocking ‘Old Joe’ struts with an assured confidence, and demonstrates the band’s ability to tell a story through song. ‘The Last to Know’ is pleasingly percussive, the rhythm section really giving it what for and injecting serious swagger, but the electrifying guitar work is just as impressive. At times reminiscent of a beefed up Lynyrd Skynyrd, ‘Come What May’ provides further evidence that Preacher Stone are happiest when leaning into the heavier side of Southern rock.

Arguably saving the best for last, ‘Think By Now’ feels like a natural anthem with the kind of shout-along chorus that will translate beautifully live, and a joyful lyric that takes an optimistic view of mistakes made through the course of life. It’s a hugely uplifting conclusion to an album that is undoubtedly one of the most addictive I’ve heard this year.

Level 42 / Roachford - Usher Hall, Edinburgh 21 September 2025

Wed, 24 Sep 2025 18:08:31 GMT

I’d been looking forward to this gig for a long time, having bagged a front row ticket 11 months previously - it had been a long, long time since I’d had one of those. This was one of the early dates on an extensive 28 date UK tour, celebrating the 40th anniversary of their breakthrough album, ‘World Machine’. Now that’s a proper UK tour!

Special guests on the tour are Roachford, and they were warmly received by the Edinburgh crowd. ‘The Doctor’ kicked the evening off with a bit of an indie feel to it, before moving on to more soulful material where Andrew Roachford’s vocal talents really came to the fore - particularly on a boogied up cover of Bill Withers’ ‘Ain’t No Sunshine’. The highlights for me though were ‘This Generation’, ‘Love Remedy’, an extended version of smash hit ‘Cuddly Toy’ and set closer ‘Only To Be with You’. A fine start to the evening which clearly left both the band and audience in good spirits.

After the changeover, Level 42 dived straight into ‘World Machine’, the opening track from their 1985 album and continued with the entire album in its normal running order. Having seen the band several times before, it was interesting to see them play many of these deeper cuts, in addition to the hits from it which are normally included in their sets (‘Something About You’ and the classic break-up song ‘Leaving Me Now’). But there was definitely a different feel to this part of the show, compared to what would come later - the band seemed a little more subdued than normal.

Of course, eyes are always going to be drawn towards Mark King because of his incredible bass playing. To play the way he does and be able to sing over the top of it is unbelievable, he really is a freak of nature….as perfectly demonstrated on ‘Coup d’Etat’. But Level 42 gigs are certainly not a one man show and he’s always happy to stand back and let the rest of the band, including a three piece brass section, take their share of the limelight. They’re all seriously talented musicians.

After the ‘World Machine’ set, we got a bit of jazz-funk in the shape of ‘Eyes Waterfalling’, before the atmosphere changed dramatically. “What a load of self indulgent tosh that was" joked King. “It’s time to party!”

This signalled a run of greatest hits, starting with a quick-fire double of ‘To Be With You’ and ‘Running In The Family’. By this point, many of the crowd had left their seats and headed down the front, which had become a packed dancefloor. ‘The Sun Goes Down (Living It Up)’ kept the bodies moving and ‘Starchild’ gave Mike Lindup a chance to shine on vocals. The band seemed way more relaxed by this point and the bangers just kept coming, with ‘Love Games’ and ‘Lessons In Love’ rounding off the main set.

The punters naturally demanded more and Level 42 returned for three well earned encores. The keyboard fanfare at the start of ‘Heaven In My Hands’ was a signal for the dancers to get moving again. The band were flying by this point and clearly having a lot of fun, particularly drummer Pete Ray Biggin whose smile was now beaming from behind his impressive kit. Who needs a percussionist and a drummer when one man can do both jobs at the same time?! Guitarist Nathan King provided some tasteful guitar work in ‘The Chinese Way’, while brother Mark and Biggin were egging eachother on to greater heights during this and the final song of the evening, ‘Hot Water’ - it was a joy to behold.

A superb night’s entertainment!

Phone photos by LH

Laura Evans - 'Out of the Dark' Available to pre-order Released 17th October 2025

Tue, 23 Sep 2025 10:42:09 GMT

Welsh blues-pop chanteuse Laura Evans will release her new album ‘Out of the Dark’ next month, and based on an advance listen, it really should be an absolute game-changer for her. Admirers of cross-over artists like Elles Bailey are really going to love this.

The potential was obvious from Laura’s previous recorded work and live shows supporting bands like Robert Jon & The Wreck and Robben Ford, but this time she’s really poured her heart and soul into a fine collection of blues-lite belters. She’s also worked with co-writers like Ian Barter (Amy Winehouse / Paloma Faith) and together they’ve added a sheen of polish and some big poppy choruses to some marvellous songs, the advance tracks of which are currently being heavily played and praised on BBC Radio 2.

The lead “focus” track is ‘Wherever You Are’ – one of the more overtly bluesy songs, but with strong pop sensibilities and it has grabbed a lot of attention. That’s also the case for ‘Superman’, which features in a nice video (link attached). It’s a lush and beautiful song with great hooks and you can decide for yourself who has the best smile in the promo; Laura or posthumous cameo guest star Christopher Reeve.

If you want to sing the blues, it helps to have a good / bad back story and Laura certainly does. She’s more than paid her dues with an acting and singing career that has taken her from Wales to Basil Brush and pantomime to vampire movies, Hollywood comedies, Nashville and a few more stops along the road. My Rockfiend colleague Gareth reviewed Laura’s 2020 ‘Running Back to You’ EP very positively and noted some of the apparent heartbreak behind some of the songs. In 2025, Laura is noticeably in a much more positive-blues place now – clearly a woman that has finally arrived in the right place at the right time with the right songs and ready to show the world ‘What I’m Made Of’ – the title of another great song on the album, and I also really like the triumphantly bitter kiss-off of ‘ATM’ – “you got the money, but you ain’t got me” and “the one that got away” story of ‘Heartbreaker’.

Laura got married to a very handsome and talented chap called Rich Turner recently. She wrote the song ‘Always and Forever’ for the occasion and it is a sunny, loved-up ballad, but with an edge of sass in a beautifully nuanced vocal. ‘I’ll Be the One’ is similarly soulful and infatuated, but my absolute favourite of the “lovey-dovey” songs is ‘Nobody Loves Me Like You’ – a sultry torch song with depth that is eminently chart-worthy and highly recommended.

‘Out of the Dark’ really is a very fine and classy piece of work indeed and absolutely should put Laura Evans into the spotlight where she belongs. The album is available to pre-order now (and there are some very nice signed CD / vinyl offers – see below). Laura and her full band will embark on a UK tour of England and Wales in November, although an extensive run of dates with King King throughout October will take her to Glasgow’s Barrowlands just before that.

Sapiency - 'Maniac'

Tue, 23 Sep 2025 10:34:43 GMT

Everyone loves the song ‘Maniac’ – Michael Sembello’s mesmerising electro-classic from the soundtrack of the 80s welding / dancing movie ‘Flashdance’ that has had enduring appeal for rockers and dancers around the world ever since.

It is one of the most-covered songs in recent history; inevitably specialists At the Movies have had a go, plus Avantasia, Firewind, Rockfiend’s favourite French rockers Harsh and even Herb Alpert & the Tijuana Brass - I found over 60 different versions online. But none of them quite like this modern metal take featuring death metal stylings over a pulsing beat and contrasting clean female vocal and manly growls.

Frankfurt heavy rockers Sapiency have been around since 2009 but they’ve re-invented themselves recently with the addition of Melis Altinoz to introduce a strong female voice to their mix. It works really well on this showcase and there is an Amaranthe vibe going on amongst one of the strongest and most original versions of the well-worn classic.

Check out the video and there should be an album to follow shortly.

The Switch - 'No Way Out'

Tue, 23 Sep 2025 10:28:42 GMT

Fancy a bit of retro-cinematic 80s AOR with lashings of keys and synths? You might not be familiar with the band name, but it comes with a quality guarantee kitemark as it has been written, produced and played on by Tom & James Martin – the creative force behind the best work of VEGA, ISSA (a Martin WAG), and the top melodic rock album of recent years; Nitrate’s ‘Feel the Heat’.

There is actually a concept running through the album. It is apparently meant to represent the soundtrack of a non-existent movie featuring a fictitious 80s rock band encountering bad guys on the road – even the album cover is done up as a VHS video sleeve. I didn’t actually get deep enough into the lyrics to follow any story, but instead, I just enjoyed it as a fine selection of vintage AOR, done in a style that evokes good and bad memories of 80s movies and hairbands, leg warmers and high-cut leotards (or is that just me fixating on Jamie Lee Curtis in ‘Perfect’ again!!)

One of the focus tracks is opener ‘Danger on the Loose’ and it really hits a sweet spot with exquisite vocals from Bobby John. He’s a singer-for-hire from Montreal, Canada and does an impressive job – he is really excellent throughout. The Martins have also assimilated ‘The Borg’ for bass duties; that’s Dennis ‘Butabi’ Borg of classy Scandi-rockers Cruzh.

‘Play the Game’ has a ‘Miami Vice’ feel and there are some other cracking tracks like ‘One Night with You’, ‘Young Gun’ and ‘No Way Out’ – the latter also the title of a fine Kevin Costner film from 1987 featuring a memorable love scene in the back of a limo touring the Washington DC monuments.

The vocals are great on this album and there are some very fine guitar and bass parts too, not to mention electronic drums and saxophone sounds, but this is very definitely a keyboard-based album. It is absolutely dripping with synths and that places it firmly in it’s target era – in fact, fans of synthwave bands like LeBrock will love this too.

Overall, this is a very strong offering. The “niche” concept makes it just a bit different from your bog-standard contemporary AOR and anything from the Martins is always going to be worth checking out – see the video for prime cut ‘Danger on the Loose’ below.

Pyroclast – ‘Brought by a Flame’

Wed, 17 Sep 2025 11:16:12 GMT

For several years, music fans up and down the UK were enthralled by the eruption of Scottish metal band Tantrum, with their brand of heavy, intelligent, often socially aware, even prog-tinged metal burning through speakers like an unstoppable flow of musical lava. The brilliant album No Place for the Damned was released to great acclaim, then… nothing! The once mighty Tantrum volcano stopped violently spewing, and the remnants of volcanic ash started to settle on the heavy metal plains below.

However, the metal gods deemed it was far from over, with deposits of ash, cinder, and volcanic spatter coming together to form PYROCLAST ; the same familiar lineup, the same great music, the same lyrical content… but with a brand-new identity that released them from the shackles of their former band name.

Mark Reid (vocals), Baz Fitzsimmons (guitar), Chris Horne (guitar), Liam Barrie (bass) and Mark Riches (drums) introduced PYROCLAST to rock and metal audiences with a self-titled single a few months ago that coincided with an appearance at the Wildfire Festival, followed by a rebrand of Tantrum’s No Place for the Damned album which is now available under the PYROCLAST name with new visuals and artwork. It all prepared the ground for the next part of PYROCLAST’s evolution, which comes in the form of their new single ‘Brought by a Flame’, set for release on 26th September, along with a glitzy new video that continues the story of the hero from the former band name’s Trinity Trilogy and brings a conclusion to the song ‘Traveller’.

It wouldn’t be a PYROCLAST song without some kind of clever, entertaining story or intelligent narrative to accompany the music, so before delving into the aural delights, let’s get an understanding of the story and lyrical content. The action starts in the year 4,022,037AD as our man hurtles through space in his escape pod (where ‘Traveller’ ended on the Trinity release), with the sound of an alarm system heard as he crash-lands on another planet. The inhabitants of this planet live a primitive but happy life, never having known war, weapons, or even basic elements such as fire. The traveller shows them a single flame from a lighter, one of his only possessions, and teaches them how to make fire and weapons, and allows them to see themselves for the first time in a mirror. He is reluctant to be treated as a god-like figure, worshipped by the inhabitants. But with fire, weapons, knowledge, and self-awareness comes human traits such as selfishness, jealousy, and an aggressive need to take what others have, leading our hero to realise that he’s far from being a saviour but has instead led a once peaceful planet to value fighting and weapons… all ‘Brought by a Flame’! It’s all sounding very 2025 and is undoubtedly a salutary nod to current world affairs.

So, how does the music help to drive this story. As the pod crash-lands, there’s a heavy, speaker-shaking noise of power chords, drums, and some melodic lead guitar noodling that almost has a Celtic-tinge to it. Imagine Thin Lizzy mashed up with classic Iron Maiden intros… but much heavier and with Dimebag Darrell on guitar! As Mark Reid’s storytelling vocals kick in, the verse is a chugging, thick slice of riffy, classic heavy metal in the vein of Touch of Evil-era Judas Priest but with a beefier, more modern sound. As it builds towards the chorus, there’s some fabulous guitar work in the mix, clearing the way for Reid’s crystal-clear voice to soar in a manner that Bruce Dickinson would be proud of, as he sings “a god amongst men, reluctant to rule”.

As our man realises the mistake he’s made and becomes aware of the issues he has brought to a once peaceful society, the music takes a more frantic turn with truly breathtaking, shredding guitar solos that will melt your face with their ferocity yet still manage to be wonderfully melodic. That’s a hard task, and to my ear, there are some elements of Metallica’s Kirk Hammett in the playing, with the hard-hitting drums, fast riffing, driving bass, and scorching solos creating the perfect setting for feeling and understanding the main character’s confusion and regret. This section of the song ends in a similar manner to the mid-section in Metallica’s excellent instrumental ‘Orion’ from the seminal Master of Puppets. Whether by design or coincidence… that works for me!

Bridges (or middle eights) are often my favourite parts of songs (strange, I know!), with some of the best guitar solos and soaring, heartfelt vocals happening in this short space of time. It can bring together everything that’s come before it, yet still has its own distinct musical identity. It’s pleasingly similar in ‘Brought by a Flame’, with the emotion clear when Reid’s character implores “Not a god. Not a saviour. Just the echo of something worse” as regret and realisation lead to anguish, pain, and anger. Musically, it’s dark, moody… and tremendously heavy as the original chorus reappears to bring the song to its conclusion, accompanied by a fist pump inducing “whoa, whoa whoa” that will go down a storm with live audiences. Great stuff indeed!

It's sometimes difficult to categorise PYROCLAST’s music, and ‘Brought by a Flame’ is no different. It’s most definitely classic heavy metal in the vein of legendary metal bands such as Judas Priest and Metallica, but it’s also very prog metal, with clear elements of Queensryche and Dream Theater. Throw in the brilliant storytelling and you’ve got Bruce Dickinson-era Iron Maiden. So, when you delve deep into the song, what is it? ‘Brought by a Flame’ is an experience. It’s a warning to us all that a simple, kind life should never be traded for material things and all the complications that can come with it. It’s an epic story driven by heavy, riff-filled, guitar shredding, melodic metal music, played by a group of uber-talented musicians who really care about the music they release and the fans who will hear it.

‘Brought by a Flame’ is released on 26th September, and physical copies are available for pre-order through the PYROCLAST website and on Bandcamp, with the music video released through YouTube on the same day. The music stands up on its own, but if you really want to fully understand the narrative and immerse yourself in the more cinematic elements of the track, watch the accompanying music video. The track will also be released through the usual streaming platforms on 3rd October.

Bloody Dice - '2' Eonian Records

Wed, 17 Sep 2025 09:48:36 GMT

Two years ago I ended the review I did of the Bloody Dice debut album with ‘Good debut album, bring us more please’, well the pot has been refilled and here we have the follow up.

‘2’ is a 10 track release, with a changed lineup from the debut album, bringing in Peter Larson on Drums and Jakob Haugaard on Bass, but still features on Vocals Dagfinn Joensen and on Guitar Nickie Jensen.

Album opener ‘ Cry for War’ hits you with a welcoming Bass run from Jakob bringing you into the identifiable guitar sound we expect from this band. Big powerful chords and effortless solo transitions paint a lyric thread of political angst.

There’s a distinctive tone and sound from these guys, very much evident in the debut album and continues through track two as we get into ’Maze’. Enjoy the lwriting here, messaging us that life keeps you going round in circles or hitting deadends, good analogy with the endless maze.

‘Break the Circle’ has a moody guitar line to it, awesome solo from Nickie, then think about a 70’s vibe combined with the power of the current hard rock guitar genre.

Love the power intro to ‘The Bitch is Crazy’, great track, showcases Dagfinn’s powerful vocals perfectly. There’s a confident swagger to this one.

‘Madness’ brings back the Bass intro with power chords filling the gaps, connecting up with a neat guitar solo.

Out and out rock n roll with ‘Back to Hell’, lyrics are subtle , kind of echo how we all feel sometimes, working hard just to stand still.

‘Unspoken’ slightly slower paced in some parts, but as with the preceding tracks delivers a quality rock song.

‘Struggling to Breathe’ is my album favourite, think Volbeat coupled with Priest. It's dynamic with power vocals at the right points, supported with a worthy rhythm section and of course Nickie with some mighty fine guitar work.

Slide guitar brings you into ‘Don’t Know Where We’re Going’, the band takes you on a road trip from their normal sound, but they deliver you back in one piece. Take a bow on the drumming here Peter.

‘Face the Truth’ closes the album perfectly with another great track delivered with all parts of the ‘Bloody Dice’ machine in unison.

Excellent follow up album, consolidates that initial good vibe I got from the debut.

‘Bloody Dice’, bring me more please.

Kevin McCallum

Luke Morley – St. Luke’s, Glasgow, Friday 12th September 2025

Sat, 13 Sep 2025 14:06:08 GMT

The third night of the Walking on Water tour, and already there was a buzz of anticipation and good vibes among those of us gathering early for the VIP teaser set and meet-and-greet. Given that most of us were of a certain vintage, there were plenty of shared stories about past gigs, our collective inability to follow bands around like we used to, and the new essentials: checking the day of the week, the venue location, and crucially, whether we can get a seat.

The meet-and-greet was a joy. We got a three-song preview of the main set, and then the band came down to mingle with the faithful. This was a change from the Thunder experience, where it’s usually a quick line walk, a brief chat, some signing, and the proper meet-and-greet happens later. As usual, I spent far too long chatting with Luke and Chris, apologies to Dean, Sam, and Reece. Would’ve loved a blether, but time ran away with us. Next time!

Support came from Willie Dowling. I’ll admit, it was one of those “hang on, that name rings a bell” moments. A quick online refresher reminded me of his pedigree: The Grip, Honeycrack, Jackdaw4, and The Dowling Poole. It was Honeycrack that had etched his name into my memory; I was a fan back in the day.

Willie’s short set was packed with sharp tunes and wry humour, as you’d expect from someone who wrote songs for Spitting Image when it returned to TV. Tracks like “The Simpleton” (a cheeky jab at a certain world leader), “The Gravy Train” (on greed), and his opener “I Killed My Imaginary Friend” had the crowd laughing. He introduced it by saying he’d recently lost his best friend; then grinned and added, “It’s okay, he was imaginary, and I killed him myself.”

With Willie on keyboards, Andy Lewis on bass, and Darby Todd on drums, the trio had a distinctly Sparks-like sound. No complaints there!

After a short break (and kudos to whoever curated the interlude music), Luke hit the stage with an electrifying one-two-three punch of upbeat rock infused with Americana, country, and pop sensibility. “I Wanna See the Light,” “Walking on Water,” and “Snakeskin Parachute” had the crowd cheering from the get-go. The positive energy in both music and lyrics set the tone for the night.

Between songs, Luke was in cracking form. When asking who had bought the new album, he spotted one person who hadn’t and laughed, “Why the fuck would you admit to that?”

Things mellowed slightly with “Errol Flynn,” a reflective piece Luke originally thought he’d written for his father, but now suspects might be about himself. It beautifully captured the theme of ageing and losing the ease of things that once came naturally.

“Always a Saturday Night” picked the pace back up before Luke, with a cheeky grin, introduced the next track with “You might know this one.” “River of Pain,” reimagined with a bossa nova beat, had the crowd belting out every word. It was rapturously received.

“Gun to Your Head,” one of my favourites from Walking on Water, followed. It’s a contemplative track that urges us to take risks, follow our passions, and avoid the regret of untaken paths.

“Killed by Cobain” brought humour and self-awareness, with the crowd joining in on the chorus. It’s a witty retelling of how grunge arrived just as Thunder were poised for a big American breakthrough. But as Luke sings, “It really doesn’t matter anymore;” he’s over it, and he loved every song anyway.

The mellow mood returned with “Breathe,” a tender love song; Luke always manages to sneak at least one onto every record.

“Watching the Sun Go Down” closed the main set on an upbeat note.

After a brief pause, so brief the band could’ve just stayed on stage; the encore began with another love song. Written in a pre-digital age (or, as Luke put it, “when dinosaurs roamed the earth”), it captured his loneliness in an LA hotel room, missing the woman he loved. It was, of course, Thunder’s “Like a Satellite.” A fan favourite, it got a full-throated singalong from the Glasgow crowd. Luke dedicated it to Danny, Ben, and Harry, who are currently facing personal health challenges.

“Bullets” kicked things into high gear with its glam-rock strut, Reece Morgan pounding the drums like he was channelling Don Powell in his Slade heyday.

“Go with the Flow,” from Luke’s debut solo album El Gringo Loco, brought the evening to a close. It featured a Steely Dan-esque guitar duel between Luke and Dean Henderson, plus solo spots for Sam Tanner (keys, backing vocals), Reece Morgan (drums and “good looks”; because someone in the band had to have some), and Chris Childs (bass, backing vocals, and “arse distractions”). Chris’s solo had Luke shaking his head in admiration.

The sound was crisp and crystal clear, and the acoustics in the hall were superb. The lighting rig was used to pronounced effect, highlighting both individuals and moods; including a lovely glitter ball moment during “Like a Satellite.” (Is a glitter ball obligatory in all of Glasgow’s smaller venues?)

It was my first visit to St. Luke’s, and I’ll be back. The food at the attached bar-restaurant The Winged Ox was excellent, as was the service. I also want to highlight the difference between this venue and The Cathouse, where Luke played during the Songs from the Blue Room tour (see “A Wee Rant” after the gig review.)

Upcoming Tour Dates

· Sunday, 14 Sep 2025 – The Fire Station, Sunderland

· Monday, 15 Sep 2025 – City Varieties, Leeds

· Tuesday, 16 Sep 2025 – St George's, Bristol

· Wednesday, 17 Sep 2025 – The Old Market, Brighton

· Friday, 19 Sep 2025 – Bloomsbury Theatre, London

A Wee Rant (Feel Free to Skip)

I wanted to highlight how venues can significantly affect the gig experience for those of us with chronic health issues. This isn’t in any way a reflection on Luke Morley or the show he delivered, far from it. But having seen him perform in two drastically different venue settings, it felt like the perfect opportunity to shine a light on how much the environment can shape our enjoyment.

The accessibility at St. Luke’s was top-notch. There’s a lift for wheelchair users from the restaurant to the venue, and plenty of space for wheelchairs, mobility carts, or walking aids at the sides and through the middle of the seating area. Although we didn’t need it (VIP perks!), the venue also reserves seats at the front for disabled guests.

Compared to The Cathouse; where the only concession was a lift to venue level, and disabled attendees were placed at the back between two bars, sideways to the stage; it was night and day.

I know these things are often out of an artist’s control, but they make a dramatic difference to how much a gig can be enjoyed. At least half the VIPs at this show had some kind of chronic condition, and every one of them had a brilliant night.

At The Cathouse, my review was only fair; not because of the music, but because of where we were seated. From a seated position, the stage was barely visible, and the constant chatter from the bar areas drowned out much of the sound. Had we been placed somewhere with a forward-facing view and less noise, I’m certain I’d have given a much more positive account.

I get that for many people these things don’t matter, and that accessibility provisions can sometimes attract negative comments. But for those of us with chronic issues; for whom gig-going is our happy place; it matters deeply. It shapes what gigs we can attend and where.

If anyone has ideas on how to promote the importance of accessibility at venues, I’d love to hear them. It doesn’t take much to make life better. Even something as simple as a raised platform with standalone seats at the back would let us see over the crowd and feel part of the experience.

Phone photos by Allister Spence

Toby Jepson & The Whole Truth - Look Out! (Vol. 2)

Thu, 11 Sep 2025 10:40:13 GMT

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.

Wed, 10 Sep 2025 12:50:54 GMT

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

Glenn Hughes – ‘Chosen’

Fri, 05 Sep 2025 07:46:02 GMT

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.

TYLA J. PALLAS - Bannerman’s, Edinburgh 24 August 2025

Wed, 03 Sep 2025 17:42:04 GMT

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).

Revenant - Black Dogs and Sad Men EP

Wed, 03 Sep 2025 17:10:22 GMT

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:

Stonedead Festival - Newark Showground 23rd August 2025

Wed, 27 Aug 2025 09:43:54 GMT

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.

Photos by Andy Bradley

Thundermother – Dirty & Divine

Tue, 26 Aug 2025 20:18:52 GMT

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 - Some Kind of Feeling

Tue, 26 Aug 2025 20:15:15 GMT

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 - Blues Is So Good

Tue, 26 Aug 2025 20:12:10 GMT

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.

Sex Pistols feat. Frank Carter/The Stranglers & Buzzcocks - Dreamland, Margate August 23rd, 2025

Tue, 26 Aug 2025 20:07:51 GMT

It's a wonderful sight to see Dreamland in it's re-vamped condition. An amusement park first opened in 1880, with the Dreamland name being introduced in 1920. It was a very popular attraction in the 1960's, with the ballroom also hosting some of the top names in Rock and Pop. The Rolling Stones and The Who played there during that period, to name but two. During the tail-end of the 1990's, it's popularity declined sharply, to the point of closure. Thankfully, it re-opened in 2015. Since then, gigs indoors in the hall, and outside (7,500 capacity), have been a frequent occurrence. Margate has long associations with Rock music, so it's all very apt. It's a perfect summer's day, so the scene is set wonderfully for a Punk Rock extravaganza.

Judging by the hordes of people still snaking into Dreamland at 6:30, I assume Buzzcocks have started their set to a fairly sparse crowd. But I’m wrong; the venue is already buzzing with life, a mohawk here, some tartan trousers over there, a sort of punk rock Mecca soundtracked by Steve Diggle and co. And though there will always be some who feel the band should have been laid to rest with Pete Shelley back in 2018, I suspect there are many more who would prefer his incredible catalogue of songs to be kept alive. Master of the concise, punk rock single, the likes of ‘Promises’ and ‘Orgasm Addict’ remain thrilling blasts of adrenaline, no messing, just as nature intended. And while it’s sometimes an adjustment to hear Diggle’s rough and rowdy voice in place of his predecessor, when he asks us if we’re “ready to f***ing rock?”, we’re hardly going to say no. I’m particularly impressed with bassist Chris Remington, whose distinctive thrum gives ‘Why Can’t I Touch It?’ real character. ‘Ever Fallen in Love (With Someone You Shouldn’t’ve)’ is rightfully regarded as a cornerstone of its genre, and is greeted rapturously, generating an appropriately ragged singalong that gets Dreamland bouncing. The set concludes with ‘Harmony in my Head’, a song that truly belongs to Diggle and dispels any doubt that he deserves his place front and centre.

The Stranglers

Over the past few years, The Stranglers have had an enforced upheaval within their ranks. One of the pioneers of the Punk genre have soldiered on admirably. The current line-up is founder member J.J. Burnel (Bass/Vocals), Baz Warne (Guitar/Lead Vocals), Jim Macauley (Drums) and Toby Hounsham (Keyboards). It should be noted that Baz has been with the group for 25 years now, making his recorded debut on the very impressive "Norfolk Coast" album. They are proudly carrying The Stranglers legacy forwards, and very impressively, too. The set starts with "Toiler on the Sea", swiftly moving into "Duchess", "Nice 'n Sleazy", "Skin Deep" and "Always the Sun". It's clear that they've chosen a very Cornwell-heavy approach today. The classics continue with "Always the Sun" and "Peaches". This theme is finally broken when they play "Breathe" from 2021's "Dark Matters" album.

The set is all business tonight, with The Stranglers largely eschewing between song banter. Refreshing really, as it means they shoehorn as many songs as possible in one hour. As I listen to them, I'm once more reminded of how much melody is contained therein. It's also one of the ways that they've developed and stayed relevant, despite a tidal wave of music and social "progress" around them over those decades. Such intelligently structured and well-written songs.

"Golden Brown" and (Get a) Grip (on Yourself) are up next, two ditties that are near the top of the tree when it comes to affection from the fans. Then "White Stallion" (another song from "Dark Matters"), leaving just "Hanging Around" and "No More Heroes" to put the cherry flavoured safety pin on top of the icing. It's been a few years since their most recent studio album, so here's to another one soon. The Stranglers still have a lot to offer. A great set, from one of the instigators of this particular scene.

Sex Pistols feat. Frank Carter

It's a very surreal thought to ponder upon, that when I first heard "Never Mind The Bollocks", the album was only 2 and a 1/2 years old. I'd hasten to add that I was very young. Very. (Documentation shown on request). Traversing the following near-50 years, it's grown and grown in legend, as has it's creators. Rightly so, as well. The album itself is an archetypal example of those times, as potent today as it was then. It hasn't aged. Neither have the Pistols themselves, at least not in terms of energy and relevance. So, it was with great delight to hear that the Pistols (Steve, Paul and Glen) had made the decision to team up with Frank Carter on vocals. Not only that, they were, and are, playing "NMTB" in it's entirety. Having played a smattering of dates in 2024, a much larger scale outing is well underway this year. Frank already knew Louis Matlock (Glen's son), from touring with him. Louis then put forward the idea to his Dad, and a massively inspired idea it is, too.

As the lights dim, the familiar sound of Paul Cook's kick on the bass-drum means the start of "Holidays in the Sun", and the lads waste no time in getting into the pace of the set. With sten-gun levels of rapid fire, "Seventeen", "Bodies" and "Pretty Vacant" hurtle at us. The sound is punchy and clear; no small achievement at an open-air venue. Frank has struck just the right balance in his approach. He has a very different style and demeanour to John Lydon, though transmits an energy and charisma all his own. He engages with a fair amount of banter with the crowd, even jumping into the front section of punters a couple of times. One of my favourite Pistols songs is up next:- "Silly Thing". Originally recorded with two versions (one with Steve singing, the other with Paul), this time it's Frank's turn. I'm very pleased that they deviated away from the compass to include this one. He announces "Pretty Vacant" as the "best punk song ever", and it's certainly one of the very top classics.

As a very firm nod to their influences, "No Fun" from Iggy Pop and The Stooges arrives. "Liar" then picks up the tempo once more, and I'm sure we can all think of one or two people in our lives that deserve these particular lyrics. Then "God Save the Queen", a song that caused so much umbridge (and Oxbridge, or any other entrance examination you can think of) in 1977, has the crowd warbling along in unison. Saying that, it's been like that for the whole set. Whose says Kent can't rock? The snarling, spitting attack on the music business that is "EMI", escalates the tempo once more. One of several standouts for me this evening.

I'm pleasantly surprised to hear "My Way" appear, another fitting inclusion from the tail-end of the 1970's run of the Pistols. Steve creates a very nice setting with the intro and first stanza of the song. All too soon, we are at the finale, "Anarchy in the UK". The set was only just over an hour long, though they crammed as much in as you'd reasonably hope for really.

So, the group that set the tone both aurally and visually of a large chunk of the Punk movement are here once more. You simply can't overstate their influence in any way. With a new singer, though also one that has also been instrumental in re-energising the interest of the other three members. Not so long ago at all, it all seemed a far-fetched pipe dream. I'm sure there are nay-sayers floating about, disappearing up their own jacksies with great effect. They can stay there, as far as I'm concerned, or even come out the other end and land in South America. Here's to more shows next year, as it's going swimmingly well. A new album of new material? Why not. I'm certainly looking forward to more from this very motivated version of the group. You should, too.

Eric Gales - A Tribute to LJK

Tue, 26 Aug 2025 19:53:17 GMT

If the title of Eric Gales’ latest album has you wondering who LJK might be, the answer can be found in the spoken word introduction, the voice of Gales’ brother Danuel revealing this as a tribute to another brother, the late Manuel Gales, also known as Little Jimmy King. In a family of five siblings, all of them guitar players, LJK set out to make his mark in the 90s as frontman of the Memphis Soul Survivors and would likely have carried on creating had his life not been cut tragically short in 2002, the result of a heart attack aged just 37.

But far from a sombre or tearful reflection, this is a joyful celebration, a showcase for LJK’s work with nine of the ten tracks his originals, interpreted lovingly by his little brother Eric and hopefully destined to reach a greater audience in his very capable hands. Opener ‘You Shouldn’t Have Left Me’ is a triumph, Eric’s incredible guitar playing front and centre, augmented by a lovely lilting bass line and bright stabs of brass.

Guitarist Christone “Kingfish” Ingram has noted LJK as an influence, and gets the opportunity to play homage here, guesting on the sexy ‘Rockin Horse Ride’, the first suggestion that LJK was no blues purist, instead mashing up funky grooves with rock and roll attitude. It’s this collision of styles that makes this album such a lot of fun; the strutting rocker ‘Don’t Wanna Go Home’ rubbing shoulders with the slow burning blues of ‘Something Inside of Me’, Gales’ soulful vocals at their best, his guitar crying with real feeling. ‘Baby Baby’ is wonderfully upbeat, a blast of sunshine that begs you to go back for a little more, ‘Worried Man’ introspective and delicate, a moody counterpoint to the utterly jubilant ‘Blues Been Too Good to Me’.

After a pleasing contribution to Gales’ 2022 album ‘Crown’, Joe Bonamassa is back for a couple of tracks, lending his unmistakeable voice to ‘It Takes a Whole Lot of Money’ on one verse, guitarist Josh Smith taking the lead on another. It’s a track centred around an irresistible call and response, and unsurprisingly, some very tasty licks from three masters of their craft.

As a man who collaborated with LJK, it’s fitting that the legendary Buddy Guy helps bring proceedings to a close with the traditional blues of ‘Somebody’. It’s a song that feels effortlessly classy, and highlights the enduring power of this music across the generations.

You’ll come for the story, but you’ll stay for the songs. It seems that LJK was overlooked in his lifetime, but as the clever lyric in ‘Guitar Man’ states, he’s ‘stroking [our] soul’ with his music now. With the reverence that only a loved one could deliver, Eric Gales has created something truly special.

‘A Tribute to LJK’ is available digitally from the 29th August, and physically from the 24th October.

Dr. Feelgood’s 2025 Remastered Reissues

Mon, 18 Aug 2025 18:01:34 GMT

In an era where music often feels airbrushed and digitally crushed, the 2025 remastered reissues of Dr. Feelgood’s first four albums; “Down By The Jetty”, “Malpractice”, “Stupidity”, and “Sneakin’ Suspicion”; arrive like a punch to the gut. These records don’t just sound better; they sound authentic. The remastering sharpens rather than sterilises, preserving the grit, urgency, and barroom bite that made Dr. Feelgood essential in the first place. It’s not nostalgia, it’s vindication.

I’d love to tell the tale here of how I grew up in London at this time and led a misspent youth following the band around bars and clubs as their reputation grew. Sadly, that’s a tale for others to tell or another me somewhere in the multiverse. At the time Dr. Feelgood were laying waste to bars and small clubs across the mid-seventies my musical interest lay elsewhere. I was aware of them in no more depth than I knew their hit single, “Milk & Alcohol.” Even then I never bought it, I may have copied a friend’s or taped it off the top 20, but that would be it. I only really became aware of, and then a fan of Dr. Feelgood somewhere in the mid-nineties. Even then it went no further than picking up a best of or two. Listening to these re-issues has been an ear opening experience.

What’s immediately striking across all four albums is the precision of Wilko Johnson’s guitar. His jagged, rhythm-driven style, once a blueprint for punk guitarists, now slices through the mix with surgical precision. Lee Brilleaux’s vocals, coarse and compelling, are spotlighted without losing their rawness. The remastering doesn’t polish the band into submission; it adds to their explosive nature. There’s no decoration here, no overdub, no added vocals, or instruments to augment the sound, but it’s anything but subdued.

“Down By The Jetty,” their 1975 debut, still feels like a live wire. Recorded in mono, it channels the energy of a band that had spent years grinding through live sets. Tracks like “She Does It Right” and “Roxette” are lean, mean, and unquestionably Wilko; his songs crunch with pressure, while Brilleaux’s delivery is pure working-class swagger. The album’s stripped-down appeal was a deliberate reaction to the excesses of prog and glam, and it laid the groundwork for punk’s back-to-basics ethos. Listening to it now, the remaster reveals just how tight and dangerous the band really were.

“Malpractice,” released later that same year, builds on that foundation while allowing the sound to grow. The Stones like swagger of “Back In The Night” and the untamed stomp of “Riot in Cell Block No. 9” show the band leaning into their R&B roots while pushing their aural attack further. Wilko’s guitar is more powerful here, and the remaster brings out the grit in every riff. There’s a sense of confidence, even cockiness, in the performances; Dr. Feelgood weren’t just reacting to the musical landscape; they were remaking it in their own image.

Then comes “Stupidity,” recorded live between two venues, Sheffield City Hall, and Southend Kursaal in 1976 the live album gave the band a UK number one. It’s anarchy barely controlled. The album captures the band at their peak, no overdubs, no polish, just pure adrenaline. The remastered version doesn’t control the fury; it augments it. Crowd surges, guitar slashes, Brilleaux’s growls; they’re all rendered with astonishing immediacy. “All Through The City” and “She Does It Right” sound like rock & roll classics reborn. It’s a lesson in live energy, and a reminder that Dr. Feelgood were one of the most intense live acts of the time.

There’s a poignant air surrounding 1977’s “Sneakin’ Suspicion.” This was the last album with Wilko Johnson, and you can feel the strain. The title track is moody and ominous. There’s a wider variety of sounds and styles as the band tried to grow and move beyond the rigid musical cage they had built for themselves. The remaster brings all those swirling emotions to the forefront but also provides a glimpse of where they might go. It’s the sound of a band on the edge, and it’s riveting.

Taken together, these four albums form a portrait of a band that was never interested in playing nice. Dr. Feelgood’s stripped-down style and no-frills attitude didn’t just influence punk, they helped birth it. Their DIY ethos, their confrontational energy, their refusal to compromise; all of it echoes through the decades, from The Jam and The Clash to Britpop and beyond. Even the way thy presented

themselves to the media, compare early shots of The Damned, The Clash or The Stranglers with pictures of Dr Feelgood and you’ll see the new bands adopting the same defiant poses. Julien Temple once called them “John the Baptists to punk’s messiahs,” and these remasters back that up with fresh sonic muscle.

What’s remarkable is how alive these records sound now. The remastering doesn’t just clean them up; it makes them feel urgent again. For longtime fans, it’s a reaffirmation of everything that made Dr. Feelgood matter. For new listeners, it’s a crash course in raw power. In a musical landscape obsessed with polish, these albums remind us of what rock was always meant to be: volatile, imperfect, and fiercely real.

Joanne Shaw Taylor – Black & Gold

Mon, 18 Aug 2025 17:56:19 GMT

Joanne Shaw Taylor’s Black & Gold is a masterclass in emotional storytelling and genre fluidity. Her tenth studio album finds her stretching beyond the familiar shapes of blues-rock into gospel, Americana, and indie pop, all while keeping the emotional core of the blues intact. Produced by Kevin Shirley and engineered by Bob Ludwig, the record is sonically rich yet open; each instrument breathes, each lyric lands, and every guitar lick feels earned. With a stellar cast of collaborators including Anton Fig on drums, Alison Prestwood on bass, Jimmy Wallace on piano and organ, and guest appearances from Joe Bonamassa, the musicianship is flawless. But it’s Joanne’s voice; husky, expressive, and emotionally raw, that anchors the entire experience.

The album opens with “Hold Of My Heart,” co-written with Philip Whitfield, and it drifts in like magnolia-scented summer air. What begins as a gentle acoustic ballad, blooms into electric textures that mirror the emotional arc of the lyrics. There’s a crossroads energy here; Robert Johnson’s bite meets Johnny Cash’s romanticism, as fiddles and guitars dance around a melody that feels both timeless and urgent. It’s a song about risking friendship for love, and the final solo spirals like a heart collapsing. That emotional evolution carries into “All The Things I Said,” where lyrical piano and expressive guitar work highlight the echoes of pride and regret woven into the song. Joanne’s low-key vocal delivery lays waste to your emotions, and the pop-tinged sheen enhances the song’s feelings rather than thinning them. It’s sunlight through stained glass.

The title track, a reimagining of Sam Sparro’s early-2000s hit, sheds its dancefloor origins for a stripped-down gospel lament. The electro-soul gloss is gone, in its place is a rootsy, intimate cry for a lost lover. “If you’re not really here, then I don’t want to be either,” Joanne sings, her voice trembling with vulnerability. It’s raw, soulful, and haunting; rebuilt from the ground up into something deeply personal. That sense of intimacy deepens with “Who’s Gonna Love Me Now?” reportedly inspired by the loss of Joanne’s mother. Anchored by a hypnotic drum pattern and dreamlike synths, the track is mesmerizing in its stillness. The lyrics ache with grief and abandonment, and the emotional intensity never wavers.

Then the record bursts open. “I Gotta Stop Letting You Let Me Down” is a shriek of release. Gritty blues guitar kicks off before Hammond organ swells ignite the song along with riffs that spit fire. Joanne sounds gloriously unrepentant, her vocals spitting venom as she breaks free from a toxic cycle. It’s cathartic, furious, and electrifying. That swagger continues with “Hell Of A Good Time,” a blues-rock anthem that’s a hymn to hedonism. “Sinning or singing, I love living like a live wire,” Joanne declares, and the band matches her energy beat for beat. It’s unrepentantly decadent, demanding to be played loud. “What Are You Gonna Do Now?” follows with spiky honky-tonk piano and razor-sharp guitar riffs that lay waste to another (or the same?) ex. Joanne delivers lyrical blows with lines like: “You never stop talking, but you’ve nothing new to say.” It’s playful, biting, and overwhelmingly good fun.

The album’s sensitive soul returns with “Greyer Shade of Blue,” where fiddle, piano, and guitar evoke the ache of a long-term friendship ending without explanation. Joanne’s vocals carry a deep, aching sense of loss, and the chorus swells with quiet devastation. It’s one of the album’s most poignant moments. “Look What I’ve Become” continues the meditation, a haunting reflection on addiction and isolation. The gospel feel resurfaces in this widescreen ballad, which swings between heavy riffs and quiet reflection. Joanne’s vocal is defiant, and the solo feels like a cry for help turned into resolve.

“Summer Love” offers a lighter touch; a breezy, radio-friendly tune with bittersweet undertones. “It’s only forever, forever till September,” Joanne sings, capturing the transient joy of summer romance. It’s an aural postcard from sun-drenched drives and fading sunsets. The record closes with “Love Lives Here Now,” a subtle, stripped-back take on The Faces’ 1971 ballad. The gospel vibe is back, and the catchy call-and-response chorus promises to shine in a live setting. Joanne’s version is aching, open, and truly felt, a fitting end to a journey through heartbreak, healing, and hard-won joy.

Some might argue Black & Gold isn’t a pure blues album, but they’d be wrong. Every track is rooted in the blues, even as Joanne Shaw Taylor stretches the genre’s boundaries, knocks down a few walls, and grows as both performer and writer. Whether whispering regret or roaring defiance, her voice and guitar speak with clarity and conviction. This is a record of hope, heartache, and fury; all delivered with remarkable aplomb.

SLYDER SMITH - ‘Nobody’s Listening’ Single review

Mon, 18 Aug 2025 17:50:09 GMT

Last Friday saw the release of the latest single from former Last Great Dreamer Slyder Smith - his first new music since his well-received debut solo album in 2022.

Lyrically, the song rails against the difficulty in being heard amongst almost endless noise in the world we live in.

Instead of trying to compete and out-do the noise by producing something louder and brasher, the song takes a different approach … and which requires actual listening, as, if like me initially, you just put this on in the background you may miss out on a really rewarding listening experience.

Opening with a raw and distinctive guitar riff which is repeated throughout and guides the song along, the pace is mostly low to mid-tempo with a melancholic under-stated vocal layered above - a combination which may not cut through or encourage repeat listening when listening casually. Also, if you were expecting ‘Oblivion Kids’ or ‘Glitterball Apocalypse’, you won’t find it here.

However, give ‘Nobody’s Listening’ a proper listen and the experience is very different and much more rewarding. You know what I’m talking about - put down your mobile phone, stop scrolling online and being part of the noise, sit back, turn this up loud and actually listen. If you’ve put headphones on, even better.

Like so many great songs ‘Nobody’s Listening’ isn’t an instant attention grabber, but a grower and with longevity. With each new listen it sonically seduces the senses and is beguiling, hypnotic, multi-layered, lush and very well produced. Presenting a change in sound and influence, it retains Slyder’s glam heritage, but is probably closer to early 70’s Bowie than the glam-tinged pop of the Last Great Dreamers.

As a taster for the new album, you’ve got my interest.

I’m listening.

‘Nobody’s Listening’ is available on the usual digital platforms and is also available as a limited edition signed CD with two additional acoustic tracks - ‘Pleasure Victim’ and the alway great cover of Hanoi Rocks’ ‘Malibu Beach Nightmare’.

GMcA

Casey Maunder – 'Paint'

Fri, 15 Aug 2025 16:35:44 GMT

Paint is the brand-new single from Casey Maunder, providing the perfect teaser for his third studio album. The song opens with bright, punchy open chords which gives it a modernised, polished AC/DC sound, which when combined with the more indie rock pre-chorus and chorus, carves out its own bright modern rock sound. The use of keys opens up the dynamics and depth of the music, with a cool 70s sounding organ complimenting the guitars throughout and the subtle use of piano chords in the chorus and bridge giving more shading to an already vibrant pallet. The chorus is extremely catchy and after one listen, you’re almost certainly going to be hooked! Paint provides an insight into the tone and undercoat of the new album and I’m more than looking forward to hear it in all its colours!

Hard rock AC/DC guitar tone.

Very early 70s keys

Poppy chorus

2000s indie rock vocals

Power chordy

Subtle piano in bridge and choruses

Short but sweet solo

Stiff Little Fingers/Cherym - Kelvingrove Bandstand, 13th August 2025

Fri, 15 Aug 2025 07:37:59 GMT

Tuesday was the start of the heatwave the BBC news promised us. So, dressed in t-shirts, shorts and suncream, Big Al and I headed off to Kelvingrove Park to see Stiff Little Fingers.

Every year there is a series of concerts at the Bandstand in the Park. There is no theme running through these gigs and lots of different genres come to play. This year, amongst others, Elbow, Billy Ocean and PIL all made an appearance.

The venue itself is outdoors and uncovered and boasts a stage with a tiered area looking down towards the action. On Tuesday it was packed with punks enjoying a bit of sun, a few beers and some live music. It was a great venue, but it would have been a very different night in the rain.

Perhaps it was just me, but I really felt a happiness in the air. We usually see Fingers in Glasgow in March, the nights are cold and, whilst the Barrowlands is great, it doesn’t compare to a great night of outdoor music in the summer. There was a feeling of punk optimism all around the place.

So, first up Cherym an all woman three-piece from Derry. Whilst I enjoyed them, their 35 minutes were not without their challenges. Lead singer and guitarist, Hannah Richardson, seemed to be having some sound issues and twice left the stage causing unexpected absences for her bandmates to manage.

Those two bandmates, drummer Alannagh Docherty and bass player Emer McLaughlin did a lot of heavy lifting during those lengthy periods and were, I thought, an outstanding rhythm section who were more than able to roll with things. When Hannah re-appeared, the set was full of energy and some good tunes. I hope to see them again, and hope they are not beset by issues for the remainder of this run.

Next up, the concert backing music. Gone were the classic punk hits that preceded the arrival of Cherym. For the next 30 minutes punks sang along and danced to ABBA’s greatest hits in the sunshine, it was great to see.

As we approached 9 o’clock Big Al and I were bemoaning the state of the world and all the angst that is imploding on human beings around the globe. Before we could put the world, properly to rights, “Go For It” the instrumental title track from Fingers 1981 album starting blasting through the PA. Minutes later, into the warm August night, the band appeared.

First up the opening track from that same album, the Bunny O’Reily number “Roots, Radicles, Rockers and Reggae”, then, bang, straight into “At the Edge” from the 1980’s Nobody’s Heroes disc. The lyrics from both openers kind of pointed to what Al and I had been chatting about just a moment earlier.

You see, this is exactly why punk is not just a good listen, its needed. Fingers were one of the first band who, in the truest of senses, could claim to be punk. They had something to say about the world and were not afraid to say it. The next 70 minutes of my life were spent listening to a social conscious talking about the need for change in a world that is getting ever more polarised. ‘They take away your freedom in the name of liberty’; a line that could be applied in so many different places and circumstances now. There were songs about mental health, racism, ignorance and wee love song or two. Few bands boast that breadth; it was something the fans loved and engaged with throughout the show.

Tonight, we were getting to watch one of the Godfathers of the genre do what they do best, get pissed off at injustice and fight it with music. So back to that…

“Wasted Life” and “Won’t be Told” took Jake to a wee break where he dedicated the next couple of songs to their inspirations. “Stummerville” got the crowd singing along in praise of the Clash City Rocker that was Joe Strummer. The next dedication was funny, surprising and placed a needle on the nerve of the man it was all about. I am pretty certain Harry Belafonte would not have minded Fingers borrowing his song title with pride. “Mary’s Boy Child” was a great summation of the current US President and, good on Jake for making the point publicly. Just as the song came to an end, I received a news update saying the Smithsonian Museum was being instructed to review its exhibits to ensure they alighted with the Presidents historical views. Once again, bang on the money Jake.

My two favourites of the night came one after the other “Each Dollar an Bullet” and “Harp” both tell their own, different, stories of the perception and life of both 1970’s Ireland and the people who came from that island.

As “My Dark Places” got a well received outing, the sun was beginning to set. The venue looked stunning with the trees lit up, the stage lights doing their job and the temperature remaining high. It really was a great setting.

The final run in was fantastic – “Nobody’s Hero”, “Tin Soldiers”, “Suspect Device” and “Gotta Gettaway” took us to the moment Jake said Hanx and off they popped. These were four of the best punk songs to come out of any guitar and it was great to hear them together.

Whilst the band were off Big Al and I had a wee conflab. The energy from the band tonight was the highest either of us had seen for a while, this was certainly not a group of guys going through the motions or cashing a cheque. Rhythm man Ian McCallum was all over the stage, smiling and jumping high into the air when the muse came upon him. Ali McMordie threw his bass around all night, and, when his right hand wasn’t on the strings, it was in the air. Steve Grantly has been the drumming powerhouse of Stiff Little Fingers for the past 29 years, tonight he showed why, hulking over his drums, he punctuated every song with passion. As for Jake, it was great to see him smile and he clearly enjoyed the feedback and interaction from the crowd. One lucky punk must have impressed, as Jake awarded him his set list at the end of the show.

But we were not quite there yet.

After a couple of minutes, the band were back. Ali told us what most of us already knew, punks were all hippies at heart before blasting into “Barbed Wire Love”.

There is never any doubt as to what finishes a Fingers show. Everyone knows what is coming next, they are expecting it and looking forward to it. Most of us have heard it many times before, but, as Jake said in an interview a while ago, if there is anyone in the room for which the closer is new song, then it needs done with passion. As always, that passion was right there as the opening riff of “Alternative Ulster” triggered the mosh pit for a final time.

As we wandered back to the car, the night was still warm, and we were in the afterglow of one of the best Fingers gigs, I think, I have seen. Outside, in the summertime, clearly works for the band, I’d love to see them come again when the weather is good.

No matter when they come back, I hope they bring their guitars, drums anger and passion. Once again, the proved the world needs all four and plenty of it.

Photos by Jai Dee Photography

THE SOUTHERN RIVER BAND “Don’t Take It To Heart” Single review

Fri, 15 Aug 2025 06:47:39 GMT

Still waiting for the feel good song of the summer or a new rock anthem to add to your playlist? Then listen no further than ‘Don’t Take It To Heart’.

Reminding us (not that it’s needed) that Australia can produce so much more than AC/DC tribute bands, scary snakes and spiders, The Southern River Band have delivered an epic shot of musical adrenaline to brighten any day.

Opening with a riff designed for driving compilations followed by the first of a number of insanely good melodies within, the controlled vocal catches attention at first listen. It also deserves a special mention just for rhyming the line “this feeling that makes you want to hurl” with “I’m crazy about you girl”.

Continuing at a steady pace the song draws you in with no intent of letting go before reaching a joyous sing-out-loud chorus accompanied by big guitars and beautiful solos … providing enough shredding and noodling to satisfy those who love twiddling and diddling while keeping all things melodic.

As a song, “Don’t Take It To Heart” is unashamedly ‘80’s and a massive song. Had I been younger I might even have called it a banger. Floor-filler? Absolutely. This will cause involuntary muscle movements and entice the most introverted amongst us to showcase their moves (without being asked). Think a John Hughes soundtrack and you’ll get the sense of the song.

While “Don’t Take It To Heart” has ‘playlist’ written all over it, it will also take many of us back to the days of making ‘mix tapes’ or for those of us of an earlier vintage to just making ‘tapes’. We might have lacked imagination for what we called them, but we spent many hours or days perfecting different tapes of our favourite songs for different moods and purposes - to romance our favoured girl or guy and demonstrate our (ahem … and of course) impeccable musical taste, a break-up tape, a ‘party’ tape, or a driving tape to provide a soundtrack to listen to while driving a convertible with the window down through the desert on that straight road over the horizon (straight off an Eagles album cover).

Granted, the reality might have been driving my battered Mini alone through the grey and rainy streets of Leith, but that’s what the best music is about - dreaming and transporting you away. “Don’t Take It To Heart” does that and so much more.

If you don’t believe me just go and listen to the song. It’s a banger. There, I said it.

Fresh from supporting The Darkness and playing Download, The Southern River Band’s new album, ‘Easier Said Than Done’, will be released on 17 October 2025.

GMcA

SKAM/Deadfire/Jeanice Lee/Pyroclast/The Number 9s - Bannermans, Edinburgh 2nd & 3rd August 2025

Tue, 12 Aug 2025 07:31:45 GMT

It's the beginning of August, it's the second to be exact, I'm in Bannerman's Bar in Edinburgh, not just for today, but tomorrow too, for the same headline band SKAM, but with different support bands.

Saturday night has already been reviewed, well almost, the gig started a little bit earlier, so our reviewer missed the opening band. I am reviewing the Sunday leg of the two gigs, but as I was there, early on the Saturday, so I'm kicking off with mentioning the opening band on Saturday night.

As it's the opening weekend of the Edinburgh Fringe Festival, I decide to catch an earlier bus from Glasgow, because of previous experiences, I know Edinburgh is going to be very busy. The bus takes half a hour longer than usual, which to be honest, is still quicker than expected. Getting from the bus station to the venue however takes more than twice the time it usually does. I still get into Bannerman's with plenty of time to spare before the gig I am there for. There is already a covers band playing when I arrive. An empty table is available, so I sit in the bar until the covers band finishes. I give them about 20 minutes before I head through to the staged area. I spend some time catching up with Pyroclast. A few minutes later members of the opening band arrive, It's handshakes and fist bumps from Jaimie, Tony and Marco and a hug from Jeanice, the band are obviously named after Jeanice, Jeanicelee are in the building! As they are first on, they are usually the last band to soundcheck, but as there are a couple of the lads from Pyroclast still caught up in a traffic jam coming into the city, Jeanicelee soundcheck, and gives the band members who are there, a taste of what is coming up later.

Jump ahead to show time. There is a very healthy crowd for Jeanicelee, so kudos to Skams fans for coming early. Jeanicelee describe their sound as a unique blend of modern melodic, guitar-fuelled heavy rock and metal with a progressive edge, a fair description indeed, but doesn't mention the dark edge their lyrics have. Jeanice tells us that her lyrics are dark, bordering on disturbing, all about people throughout the world, especially in todays time with the amount of wars and hardships that people face.

Jeanice is rather petit in size, but the power from her vocals makes tonight's crowd take notice. In the photos, it looks like Jeanice has several guitar changes, however, she uses one, which has a metalflake paint, which like some car paints, changes colour when the light changes direction. The band have a five song set "Overhaul", "Walk Away From Me", "Displaced", "Cradle To Grave", which will be the bands next single, and ended with "Gone Too Soon". I have to mention the last two songs, for me, they were two very emotional songs, "Cradle To Grave" is about the devastation of war, and living through it, well that's my take on it, I actually had goosebumps with this one, "Gone Too Soon" is self explanatory, a song about loosing someone!

It's easy to say, the band made a few new fans from this performance. The rest of Saturdays review is elsewhere here on Rockfiend.

It is now Sunday, because of yesterdays traffic chaos in Edinburgh, I am on another early bus, however, I miss the one I'm booked on, and the one after, because the taxi that I had booked a whole hour before the bus left, never showed until the time the bus left, for the record, it takes twenty minutes from home to the bus station. So, yeah, I get off to a flyer...….NOT! The journey to Edinburgh wasn't as bad as yesterday, also Edinburgh streets where no where near as busy too, so once again I was in Bannerman's very early. It was "open mic" when I got to the venue, there was a rather eclectic mix of songs, it actually wasn't bad sitting in the bar listening to the mix, but I was here for round two with Skam. The two support bands were, The Number 9s, a band I have not heard anything about, plus another Rockfiend family band, this time DeadFire, a band I know really well.

Like last night, I was there for the soundchecks, so got a little taster, especially from The Number 9s. They sounded different, and I mean in a good way, Souncheck over, Skam and The Number 9s lads went out for food, which left myself and the Deadfire lads alone in the venue, usually, this wouldn't be the best of plans, Charlie, frontman from Deadfire, was feeling a tad unwell, so the usual amusing antics were rather curtailed.

After a misunderstanding on my behalf, doors opened bang on eight o'clock, quite a few bodies from last night were here again for tonight show! So once again, there was a healthy crowd there for the opening band. I am going to contradict myself here. I hate when people pigeonhole bands, especially if they get it wrong, but I do it with consummate ease! The only time I show any sort of ego is when I go into DJ mode, I have DJ'd for over forty years, so when my ego pigeonholes, you can take it as fact! which in reality is complete nonsense, pigeonholing is a personal opinion and individual.

The Number 9s take to the stage and play a set which contains a multitude of musical styles, a fusion heavy rock, metal, funk and jazz. Their set is very entertaining. As with many other opening band that I have no knowledge of, there is no setlist, and I'm too busy with the camera to take notes. An eclectic bunch of lads with an eclectic style and well worth checking out. I spoke with the bands frontman after the gig and told him, that for once, I could not pigeonhole his bands style. He then said that my comment was the greatest compliment his band has had!

After The Number 9s finish their set, there is a mass exodus, to the bar, the loo and or smoke break? Which actually makes the changeover a lot easier, and quicker. DeadFire are up next, a band I have shot and reviewed several times, so by now, you should have a fair idea of what is about to happen. Charlie enters the stage clutching a bottle of cough mixture instead of his usual Jack & Coke, he announces to the crowd that he's "nae feelin weel" An early excuse of a poorer performance maybe? Oh hell NO! The only difference in Charlies performance was that he wasn't as mobile about the stage as normal, but that could have been down to five guys on the stage to their previous four, and the Bannerman's stage isn't as big as some of the stages they have played before, or just because Charlie was actually ill!

As mentioned above, the band are now a 5 piece, these days now sporting a Dave and an Eck, alongside a Tunk and Oi and Charlie. Their sound is a lot fuller, because of the second guitar, but still sound like Motorhead. Even although Charlie is poorly, you wouldn't know it with the way he powered and sweated through their setlist, containing usual favourites "BMF", "Anxiety", "DILLIGAF" and their own personal rendition of "Ace Of Spades"

The final change of the night sees the return of Skam. Skam promised that they would have a completely different setlist from last nights set. Playing two nights in the same venue has to be a challenge to come up with two completely sets, even with half a dozen albums to choose from. Having seen both setlists, they managed just fine. The only thing that was the same as last night, as you can see in the photos, was their shirts!

I usually pick out a few really stand out songs when writing a band review, this time, I don't know which ones to mention, obviously not knowing any of the songs before, it's quite difficult, not that any of Skam's songs were filler tracks, every single song they played rocked the venue from the very first note, to the very last. Matt Gilmore, the bands bassist was the more flamboyant on stage, playing his guitar above his head and pointing it like a gun into the crowd. The other two, brothers, Steve & Neal Hill were not statues on stage, frontman Steve came off stage and played right in the middle of the crowd, I know many guitarists do this, Dave from DeadFire did it earlier in the evening too, it makes the performance a lot more personal, especially if that band member is standing next to you. Now it is a bit more difficult for a drummer, even if he plays like Animal from The Muppets, its harder to see, being surrounded by his drum kit, but Neal stood up a few times and took his accolades. And then, all too soon the band reached their last song, the song was either "Soldiers of rock" or "No lies". Forgive my lack of knowledge, those were the last two songs on the setlist, but there were little arrows between those two songs, possibly meaning they switched places. As stated before, I concentrate more with photography than taking notes etc lol.

Before last night, I had no idea who Skam were or what they sounded like, I was there primarily for three of the four support bands. Now that I have left the venue and heading home, I'm a happier person having seen Skam, plus the other support band The Number 9s.

As always, if you have not heard any of the bands mentioned above, head on over to your favoured streaming social media platform and look them up, you might find something new that you like!

See you at the barrier.

P.I.L. / ERRORR - Kelvingrove Bandstand, Glasgow 29th July 2025

Mon, 11 Aug 2025 12:22:49 GMT

It’s Tuesday 29th July and tonight is the first of three gigs I’ll be attending at this year’s Summer Nights at the Kelvingrove Bandstand.

I’m half-expecting a bit of confrontation later on - I’ll explain why in a bit.

Tonight I’m here to see a man who has shocked, angered, and entertained throughout his career: the legendary Mr Punk himself, John Lydon - a.k.a. Johnny Rotten - with his band Public Image Ltd.

The Bandstand is an open-air venue in Kelvingrove Park, Glasgow - a bit like a mini Hollywood Bowl. It’s small enough to feel personal but big enough for a couple of thousand fans. The weather can make or break it, but tonight it’s just overcast - no rain, thankfully (not that a bit of rain would ruin the night).

Not every act at the Bandstand has a support, but Public Image Ltd do. The openers are a band I’ve never heard before, so I’m going in with an open mind. They’re called ERRORR - the third “R” printed backwards.

A young woman walks on stage with a guitar, plugs in, and tunes up. For a moment I wonder if it’s going to be a solo performance, but there are three mic stands and two drum kits (one clearly P.I.L’s, with their logo on the bass drum), so probably not. Sure enough, she’s joined by a second guitarist, a bassist, and a drummer.

The woman takes centre stage, but it’s the guitarist on stage left who handles a lot of the vocals. They look a little nervous at first - the bassist barely moves during the set - but as things go on both guitarists loosen up a bit and start using the stage more.

I hate pigeonholing bands... but I do it all the time. While in the photo pit, I’m racking my brain trying to work out who they remind me of, but nothing comes. Later, when I’m standing with my friend Billy and his dad, Billy says they’re obviously influenced by The Pixies. Bingo. I’m not a huge Pixies fan, but I know enough of their music to say the influence is there.

ERRORR go down well with the crowd, and I’m enjoying them more as the set goes on. All too soon they announce their final song - the life of a support band means sticking to a strict time slot.

There’s a longer changeover here than in smaller venues - gives the crowd a chance to hit the bar, grab merch, and so on.

Now, about that possible controversy I mentioned earlier. Last year, John Lydon toured solo with theatre shows in an “Audience With” style. Reports from the early dates said he got heavily political, with heated exchanges between him and audience members. When the show was due in Glasgow, there was talk of a disagreement between John (or his tour manager) and The Pavilion Theatre, and the date was cancelled.

John being John, I half-expected him to come onstage tonight and launch into a rant. But he didn’t.

The band came on to a huge cheer, John grinning from ear to ear. His first words were “Hello Edinburgh!” followed by laughter - nice one, John.

They opened with Home, followed by Know How. The third track threw me - I later found out it was a cover of World Destruction by Time Zone. Next came our first singalong of the night - This Is Not a Love Song, played in a different style to the original.

Poptones was next, then Death Disco. John chatted with the crowd, blaming Aberdeen for giving him a few bottles of whisky, which, he joked, had stopped him staying slim - cue laughter. Then we got Flowers of Romance and The Body.

John’s outfit deserves a mention: tartan waistcoat, black jacket, a builder’s utility belt, and a sporran. At one point he asked how we could wear one, as it kept hitting his “wee man” - another big laugh from the crowd. A couple more songs followed, and then they closed the main set with Public Image.

John announced they’d be back in three minutes after a smoke break.

It didn’t even feel like three minutes before they were back. The first encore song was another cover, Open Up by Leftfield. Then came the biggest cheer of the night for Rise - the crowd sang along so loudly it felt like it could go on forever. Finally, they wrapped up with a medley of Annalisa, Attack, and Chant.

The only vaguely controversial thing John said all night was that “the one thing the world doesn’t need right now is another Sex Pistols cover band” - a jab at his old bandmates. I don’t think anyone here disagreed.

A brilliant start to my run of Summer Nights gigs - next for me is Stiff Little Fingers, followed by The Sisters of Mercy. Both will be reviewed here on Rockfiend.

As always, if you don’t know the bands I’ve mentioned, check them out on your favourite streaming platform - you might find something you like.

See you at the barrier!

Photos by Jai Dee Photography

FIREHEART – WILD HEARTS; WILD NIGHTS, Single Review Release date – 14/08/2025 Earache Digital Distribution

Sun, 10 Aug 2025 09:42:01 GMT

Fair warning, this one is going to seriously test the old neck muscles! This is not so much an anthem as a statement of intent, a sliding doors moment and in true rock n roll fashion there’s glass all over the f*cking floor!

I’ll leave it for others to regale you on the intricacy of the music itself, put simply though, this is four minutes of hair swinging, foot stomping fist pumping unity. You know that feeling of grinding for days, weeks and months just to make it to that gig or festival that’s been double ringed, underscored and highlighted on your calendar for months and when you get to the venue, see your gig buddies and the band hits the stage you feel this moment of release? No tension, no worry, no stress, no life bullshit, just an entire room completely present in a moment of absolute shared joy. Yeah, this is four minutes of exactly that, this is a rock n roll rapture and everyone is invited.

PS…. Seriously; watch those neck muscles, we’re not getting any younger!

Much love

THIS HOUSE WE BUILT - 'COMING HOME TO YOU' SINGLE REVIEW

Sat, 09 Aug 2025 13:24:08 GMT

First you build the house, then you make the home. This House We Built are back with their second single from their forthcoming sophomore album Get Out of the Rain and having built the house they’re now working out how to cohabitate in it.

Serving as the perfect counter point to the adrenaline laced lead single Addiction, Coming Home to You shows the Yorkshire four piece at their open and honest balladic best. Their ability to craft real life issues into song and delivery it with sincerity is one of their many charms.

This is a relationship tale of turbulent times that will resonate with many of us out there. A door slamming serenade of confronting relationship challenges head on and working them out together, rebuilding together and going forward…together.

A house is built of bricks and beams they say, but a home? Well, that is built of love and dreams and what is becoming abundantly clear is that This House We Built are equally adept at both and that is a rare combination in this day and age.

Coming Home to You is out now on all major streaming platforms with the album Get Out of the Rain due later this year.

Much love

HALESTORM – EVEREST Atlantic Records Release date 08th August 2025

Fri, 08 Aug 2025 11:48:11 GMT

Fair warning, this will not be a short review as this is an album that can be loved and listened to on many levels, and I feel compelled to try and do it justice.

You can absolutely just sit in the relative safety and comfort of base camp and listen to this as just the next brilliant Halestorm album but if you’re willing to crampon up and go climbing with them, then your sonic sherpas Halestorm will guide you to the summit of their recording career and you’ll understand a saying that is synonymous with those that have climbed both the physical and the mental mountains of this life…when you’ve been to the mountain, you give back!

After two decades of climbing up and over everything that the industry and life in general has thrown at them the band have acclimatised to the air when you’re consistently playing at these heights. This is album number six and unlike many of their peers and influences they’re still out there playing with an all-original lineup and that shows a level of trust, of truth and of family that goes well beyond the mountaineer’s belay rope. They have arguably the most underrated rhythm section the genre has seen in their lifetime, two genuine guitar goliaths and out front they have the freaks freak, a woman who has a once in a generation voice, a stage presence that can go heel to heel with any icon you care to mention and the poetic ability to write lyrics so deep they should come with a lifeguard.

Between hope and hell lies the real, and this is album is very, very real. They say that wisdom is simply healed pain and whilst that is absolutely true for all of us Lzzy Hale manages to turn that pain into poetry and then poetry into song and that is the rarest of gifts my friends. Great songwriting you see has the ability to deliver brutal truths in beautiful ways and has the answers to the questions we were too afraid to ask ourselves and this gets to the heart of why I think Halestorm have not only survived but thrived over the past twenty years. They understand and openly embrace the duality of their own existence for they are and always have been simultaneously a masterpiece and a work in progress.

The recording process for Everest was very organic and what you are hearing is the energy created and captured between inception and execution. This is not so much a journey of discovery as one of re-discovery and I’d be willing to bet that the band came out of the recording process entirely differently than how they went in. This very much feels like a cathartic experience where the band just made the album THEY wanted to make. Not what the fans wanted, not what the radio expected and certainly not what the industry demanded, and you know what? Not only have they earned the right to do exactly that, it has produced something truly special.

The moment ‘Falling Star’ explodes into life you know that this is an album that doesn’t ask for your attention, it demands it…and you give it freely. The opener is rooted in a positively filthy riff that drops so low it’s cavernous and hypnotic which allows the vocals time to breath and play beautifully round about it. Up next is the title track and one of the three songs released as singles, Everest has that grinding groove to it that drives home the message of the song, that whatever passion you have in your life you do it simply because you don’t know how to or want to do anything else…put simply you never rest on your Everest.

As much as the temptation is there to continue with a track by track, I think it best to leave you to journey at your own pace and time through the rest of the climb, but it would be remiss of me not to signpost a few particularly special moments that had me stopping to admire the view along the ascent. ‘Like a Woman Can’ is the best Bond theme song you’ve never heard, ‘KILLING’ takes the phrasing from Extreme’s Play with Me and turns it into an extreme sport. ‘I Gave You Everything’ has the most hauntingly relatable lyrics you’ll hear this year, and the closing ‘How Will You Remind Me’ is that classic Halestorm piano led ballad we always crave.

With frontwoman Hale currently adorning the front cover of almost every rock and metal magazine the world over and Metal Hammer in particular crowning her “the queen of everything” it’s very easy to forget that this was once just a wee girl sitting in sight of a log cabin in the Appalachian Mountains singing her heart out to the leaves on the trees. Twenty-eight years ago tomorrow that girl and her brother decided it was Everest or bust…I hope wherever they are today they take a minute to sit and enjoy the view, because it’s spectacular. Mz Hyde is no longer hypoxic, Miss Understood now understands and the Daughter of Darkness is now radiating her own internal light because those alter egos have been left further down the mountain; the woman standing planting the Halestorm flag on top of her Everest is one hundred percent, prime time, flesh and blood…Lzzy Hale.

Much love

SKAM/Pyroclast/Jeanice Lee - Bannerman's, Edinburgh 2nd August 2025

Tue, 05 Aug 2025 18:44:18 GMT

Saturday was a great day weatherwise and when Graham and I got dropped off outside the Peartree bar on Edinburgh’s southside we heard sweet, sweet music. We followed the sound and took up position in the pubs beer garden, drink in hand to listen to a double act called The Kings Ransom. They were really good, playing on a big stage in front of a jam-packed audience which must have numbered around 250 and who were loving it. Now, here is why I mention it, as they got to the end of their set the band asked for tips, they were not getting paid. They were performing to 250 folk and bringing people into a packed bar and venue and were receiving nothing for it. This is one of the reasons the music industry is toiling. Musicians deserve to be paid, particularly when they are generating income for others.

So, after an overpriced beer and kebab in the heart of the Edinburgh Festival, we hit the relative tranquillity of Bannerman’s. It’s such a pity more festival goers don’t find their way to this rock and roll den, many would love it.

Every band was on a bit earlier than advertised and so, unfortunately, we missed Jeanice Lee, but heard some really good things about her set. Next time.

Pyroclast were up next. They gave us thirty minutes of no-nonsense metal. They wore their influences on their sleeves - Maiden and Priest were shining through. These guys boast two guitarists, Baz and Chris. The each took their turn with the face-rippers and supported each other well when the other was soloing. Mark kept a solid drum rhythm at the back, whilst bass man Liam, well, he was all over the stage and up and down the neck of his four string throughout the set, I really enjoyed his performance. Markuz is the guy at the front. He has a rare set of pipes and a good range that suits the operatic rock these guys produce. I really enjoyed Pyroclast, the sound was big and I just felt a warm, metal hug engulf me after the madness of the Festival Fringe.

So, to the main event. Saturday was the first of two nights SKAM were playing in Edinburgh. They were in town last year, but the gig was cancelled at short notice. It was great to see them back.

Now, SKAM are one of these bands that surprises me, I am always surprised they are not further up the festival bills and playing to bigger audiences. Their riffs are ripping, their songs cracking and, well, they are also three really decent guys who deserve a bit of a break.

SKAM were also one of the bands who grabbed lockdown and used it as a creative space. They did regular Facebook gigs and provided lots of updates. Graham was a keen watcher and, like for so many, SKAM shows were one of his highlights during those most bleak of times.

On arrival the band kicked off with “Green Eyes” from their 2021 EP, Intra and a cracking start it was too. Next up “Iron Cross” their 2017 face bender and my personal favourite. “Fading Before the Sun” from the same 2017 long player – The Amazing Memoires of Geoffrey Goddard - was next then “The Wire” from Peacemaker, the bands 2014 album.

Singer/guitarist Steve Hill let us know that they would be playing some older tracks and lesser gigged songs and that was a really good thing. It was also a reminder that this, still young band from Leicestershire, have already released six albums and, in this reviewers opinion, everyone is a banger.

On with the show, “Weapon”, “New Dawn” and “Fate of Souls” were next up and kept the heavy vibe alive.

It's fair to say, I love a three piece, I am never sure how much more you need, and, on tonight’s evidence, that was quite enough to keep the joint jumping. Steve Hill led his amigos well. Steve’s brother Neal kept time on the see through drum kit and, Matt Gilmour and his ever changing bass face, kept the low end sparking. As Graham said, ‘the best three-piece rock band in the UK, bar none’. I think he was spot on.

The night came to a close with a bit of a mash up of Who and Rush numbers as well as a chorus of “Keep on Rocking in the Free World”. That is quickly becoming a staple for live bands with a conscious in these troubled times. It was great to hear it played and I appreciated the sentiment behind it.

It was over too soon. I was gutted I couldn’t make the Sunday show too; I am sure it would have been a cracker. However, I was delighted to get to see one of the UK’s best rock bands in Bannerman’s. I hope they will be back in Scotland again soon and, if there is any justice, they will be playing a far bigger venue.

Keep on rocking in the free world indeed.

Luke Morley – “Walking On Water”

Tue, 05 Aug 2025 18:11:51 GMT

Luke Morley has never been shy about steering his own ship, but *Walking on Water* feels like the voyage he’s been itching to take ever since Thunder pressed pause. With only Sam Tanner adding his velvet touch on keys and Rhys Morgan keeping time behind the kit, Morley handles the rest, carving out an album that breathes, sweats, and occasionally bleeds. It’s delicate when it needs to be, downright granite-jawed when it doesn’t. Every chord, every lyric, pulses with lived-in authenticity, a craftsman telling stories the only way he knows how: full-bodied and from the heart.

“Natural High” offers that feeling of stepping into someone’s arms after a rough day. It’s all warmth and quiet power; each guitar note ringing with the weight of past lives, bruises and victories etched into every bend. Morley’s vocals; not flashy, not smooth, but profoundly human; wrap the track in comfort. He doesn’t just sing love; he sounds like he’s survived it.

Then comes the title track, swaggering into view with a Southern blues strut and a riff that tips the hat to Creedence Clearwater Revival. It’s playful and sharp, imagining Morley as a self-anointed rock god only to gleefully knock that statue to the ground. The whole thing is tongue-in-cheek, much like “Killed by Cobain” from his previous solo effort, but with even catchier hooks and a chorus that sticks to your ribs like pub jukebox gold.

At the heart of the album lies “Breathe,” a ballad soaked in renewal. It’s not about forgetting; it’s about shedding the dead skin of what held you back. The vocal cracks right where it needs to, like someone trying not to cry but failing, beautifully. Morley has a knack for ballads, and here he leans into vulnerability, letting his voice falter in ways that deepen the ache.

“Don’t You Cry Now” and “Forever and Again” drip blues, late-night meditations shaded with soul. These aren’t songs that scream; they whisper, probe the tender parts, and break you slowly with empathy. They sound like conversations you only have after midnight with someone who’s seen the same pain and still poured you another drink.

Then, just as you've nestled into melancholy, “Snakeskin Parachute” and “Bullets” crash the party. Loud, glam-soaked, and utterly unrepentant, they yank you out of introspection like your best mates forcing a pint into your hand when you'd rather be binging reruns in bed. The riffs are huge, the choruses bigger, and the energy reminds you that sometimes music’s job is just to make your blood move.

“Gun to Your Head” follows with a sharper edge; a compact rocker that cuts quick and clean. The solo is a highlight, flashy in all the right places but raw enough to sting.

Morley isn’t just riff-happy, though; he’s a storyteller, and nowhere is that clearer than on “Texas” and “Always a Saturday Night.” These songs feel cinematic, where the dust from the ride settles over pedal steel and faded denim. There’s a Springsteen meets Spielberg flavour, epic, widescreen, endless highways, yearning for barrooms and backroads, but always shot through with Morley’s distinctly British grit.

“In Your Light” closes the record like a final breath before sleep. Sparse and folk-tinged, it doesn’t demand attention; it earns it quietly, letting space do the emotional lifting as Morley whispers his way out.

There are so many facets to *Walking on Water*, it’s no wonder it gleams like a diamond. Morley tosses rock, blues, soul, country, and Americana into the melting pot and lets the stew simmer until it tastes distinctly his. The themes are broad; confidence and despair, loneliness and triumph; but never generic. The album explores how we feel, how we cope, and what makes us claw our way through the mess. One track might lift you up, the next will break your heart, but every moment is earned.

Ultimately, Morley remains the nucleus around which these songs orbit. He’s been there, done that, and still sings like music can lift us out of whatever hole we’re stuck in. If you need a shortcut to what *Walking on Water* feels like, imagine Springsteen from the heart of London, Dire Straits with a Rottweiler’s bite, or Free after a long night of introspection; but the truth is, it sounds like Luke Morley. Straight-talking, soul-bearing, and absolutely worth your time.

This isn’t a good album; this is a great album.

DOROTHY – “The Way”

Mon, 04 Aug 2025 18:58:18 GMT

DOROTHY’s fourth album, “The Way,” is a gritty, primal scream of a record. It rejects the pristine polish of the digital age; no click tracks, no overt studio trickery. This is DOROTHY stripped bare, heart and soul exposed. Raw, loud, and defiant, it’s a record that demands to be played front to back, not cherry-picked for playlist fodder. Dorothy Martin doesn’t just sing; she preaches, prowls, howls, and pleads. Her voice is a weapon, matching every shriek and holler to Sam Bam Koltun’s exorcising guitar work. Producer Joel Hamilton pushes the levels into the red, making each track crackle with energy. Crescendos peak just shy of collapse, the speakers straining to contain the sonic chaos.

The album opens with “I Come Alive,” a wash of Hammer Horror organ and Martin vocalising like a mad witch summoning her personal devil. When the band kicks in, it’s a thunderclap; hook-heavy, simple, and ferocious. “The Devil I Know” follows, its grinding riffs morphing into melodic leads as Martin confronts her demons; especially the one wearing her own face. “Hell has no fury like my soul,” she declares, backed by a rhythm section locked tighter than Fort Knox. “Mud” leans into southern rock mayhem: power riffs, slide guitars, and Martin screaming like she’s caught in a fever dream, speaking in tongues as sweat splashes across the grooves.

“Tombstone Town” sees Slash return the favour after Martin’s guest spot on his “Orgy of the Damned” album. It’s a swampy, blues-soaked duel; Slash doesn’t get his own way, as DOROTHY match him lick for lick, grit for grit. “Bones” dials things down a notch. Think southern-fried Black Sabbath; verses that growl and scrape, choruses that soar. Each drumbeat feels like a heartbeat, and Koltun’s hook-heavy guitar work injects a dose of melodic venom.

“Unholy Water” is as close as DOROTHY come to delivering a pop tune. It still rocks, but Hamilton sprinkles some extra magic dust, giving it a polished shine. It’s another anthem of defiance, ripped straight from Martin’s soul. “Haunted House” explores internal battles with stark simplicity. The lyrics capture the feeling of being trapped in your own mind, misunderstood by those around you. It’s haunting, relatable, and quietly devastating. “Puttin’ Out The Fire” is a pop-rock gem; pleasant enough, but a bit pedestrian. I could easily imagine it being covered by Pink, or Demi Lovato in her more rocked up mode. It’s a nice song but doesn’t deliver in the same way the other tracks do.

“Superhuman” is a standout. From the first note, it builds tension like a slow-burning fuse. Gritty and dark, it haunts you long after it ends. Martin baptises the listener in rock ‘n’ roll salvation, making you feel safe and transcendent. The title track, “The Way,” closes the album with a stark piano ballad, light guitars, and strings. It’s a sonic outlier; quiet, contemplative, and cinematic. “I built this house from ashes and grace,” Martin sings, as the end credits roll in slow motion. It’s not the album’s strongest track, but it’s the perfect closer to a spiritual journey.

If you’re looking for comparisons, think Soundgarden stripped of ego, Sheryl Crow as a revivalist preacher, or Larkin Poe clawing their way out of the grave. Altogether, “The Way” delivers one message: when all hope feels lost; internally, or externally, only you can manifest a better tomorrow. DOROTHY urge you to ignore the noise, let go of regret, and fight for redemption. No, this isn’t a theological treatise; it is not a “Christian” album, but it is a raw, honest exploration of addiction, mental health, broken relationships, and spiritual reckoning. Dorothy Martin has lived through all these torments and come out the other side stronger and with a clearer idea of who she is. This album is her testimony. It’s well produced, well-paced, and well played. If you like old-fashioned hard rock with attitude and soul, “The Way” is your sermon.

Yngwie Malmsteen/Andry/Spirit War - Garage Glasgow, 29th July 2025

Mon, 04 Aug 2025 08:20:29 GMT

Yngwie Malmsteen is a shred guitar icon, and a greatly anticipated tick off the guitarist bucket list to see live. Entering the Glasgow Garage I was greeted by the expected wall of Marshall amps that are usually associated with AC/DC, but for any guitar aficionado, are just as synonymous with Yngwie.

About 15 minutes after doors opening, Spirit War, the first support act, came on stage to a pretty sparse crowd, thankfully filling out as the set went on. Regardless of the initial small audience, the three piece band brought serious energy to the stage. The music they played was almost Viking like, with epic dual vocals and heavy riffs. It was also clear from a guitar playing point of view why these guys were chosen to open for the maestro. The chops were outstanding, with neoclassical shred guitar lines, complemented by an effortless stage presence – something Yngwie knows how to do. The singer/bassist rocked (what looked like) a Victor Wooten 6 string bass, and maintained really solid rock vocals throughout.

Next on the roster were Andry, a prog metal band. The lead guitarist was phenomenal, with such raw energy, showmanship and unbelievable technique, accompanied by a really beautiful Charvel guitar. Lightning fast alternate picking, sweeping and tapping with a low strapped guitar is no easy feat. However, my friend did complain that one of the many picks thrown into the audience landed directly in his pint. Nevertheless, I think a special mention should be given to guitarist Michael Lussos for the astounding performance he delivered.

The rest of the band too need to be acknowledged for their skill. The lead singer, sporting a mask with horns on it (before it presumably got too hot and had to be taken off) had vocals (I thought) reminiscent of Dream Theatre’s James LaBrie, jumping huge intervals with great vibrato, even on those top notes. There was some great harmony and unison lines between the keyboardist and the guitarist, and a keytar was put to use, which I thought was great.

I was honestly apprehensive about two support acts that I hadn’t heard of when I was purely there to see Yngwie, but I was gladly proven wrong to have been. I’ll definitely be checking out the music of Andry and Spirit War, and would recommend anyone reading to do the same!

I should note that in the half hour turnover I met someone from the earlier Satch Vai gig in the Royal Concert Hall, which I reviewed, who got his wrist signed by Steve Vai, and decided to tattoo this signature onto his wrist. This should hopefully highlight the fervour of the audience for a guitar superstar like this.

Before walking on stage, Yngwie teased the audience from backstage with his signature million-note-per-second arpeggios, before coming onto stage playing ‘Rising Force’, one of his biggest hits, and one of the few songs with vocals, which were all done by Yngwie. Although the vocals were almost inaudible compared to the loudness of the guitar, I was still happy; I was there for the guitar, not his singing.

Yngwie’s stage presence was massive, with him pointing and shouting at the photographers to get over to the other side of the stage, even visibly having a bit of a go at his own band at some points, which is not something that I’ve ever seen. Despite this, the band cohesion was really great. A big stand out moment for me was the trading licks between the keyboardist and Yngwie; emulating these very guitar-centric licks on the keyboard was really cool, even if it was drowned out slightly by the guitar.

Yngwie played about 27 songs (including those in the encore), so he covered all the expected ground, including my own favourites like ‘Trilogy Suite Op 5’ and ‘Baroque and Roll’, which is one of my favourites, mainly because of the title. However, he did do a couple of covers, ranging from Paganini’s 4th, a piece composed for the violin, but transposed onto the guitar, Deep Purples ‘Smoke on the Water’ and ‘Red House’ by Jimi Hendrix. ‘Red House’ was a standout, as it showcased Yngwie’s blues chops a bit, which isn’t something that he emphasised in the concert as much to my ear.

I was a bit disappointed at this point that Yngwie hadn’t gotten the classical guitar out, but this was remedied in the encore, as it was placed on a stand in front of him for him to begin an extended acoustic Cadenza followed by ‘Black Star’, a piece that I once learned to play as a guitar exercise, before finishing his set with ‘I’ll See the Light Tonight’.

It was mesmerising to see this guy live, and I was standing there a gawk for the whole set. From my interactions with some of the other fans there (especially older ones), he doesn’t seem to visit Scotland too often, making this an apparent rare treat. If Yngwie is near you, catch him while you can.

Photos by MB Photography Scotland

MOTLEY CRUDE – LIVE REVIEW Glasgow Garage – 1st August 2025

Sun, 03 Aug 2025 13:01:09 GMT

The puzzle of putting together a top tier tribute band is there are a lot of pieces to put together, but when you’ve got Jigsaw Jimmy in your corner then the assembly process is just that wee bit easier. Motley Crude are very much the real deal my friends, as much as the stage gear is sewn to near imitation perfection the fabric of Motley Crue is stitched not only on the outside of these four gentlemen, it’s woven through their very beings.

Pulling almost exclusively from the big four opening albums the setlist perfectly balances the chaotic energy that is peak Crue. The opening salvo of Live Wire, Looks That Kill, Shout at the Devil and Too Young to Fall in Love lets the positively healthy crowd know that they are in for a quality night of Crue action and perhaps more importantly that some serious thought has been put into the sequencing and song combinations that are exploding off the Garage stage.

As we transition into the classy bluesy swagger of Smoking in the Boys Room my eyes drift back to the crowd and what becomes apparent is as much as there are absolutely OG Motley fans in here who would have no doubt seen the originals tear through the Edinburgh Playhouse twice in three years back in the eighties there are also fans in the room who are two generations removed from those halcyon years and that is perhaps the biggest compliment Crude and the music of Motley can get.

Back to the present and as the setlist now bounces between decadence and deep cuts it was nice to see a big reaction for If I Die Tomorrow and Children of the Beast before the customary solo sections for Messrs Lee and Mars allowed some social interplay between stage and crowd. Wildside and Take Me to the Top then take us into one of my personal favourites in Primal Scream, there’s just something about that low end rumble intro and the raunch n roll guitar sound that awaken another level in my ears and soul.

For a show that clocks in at more than two hours it goes in very quickly and before we know it, we’re five songs from the finish but what a quality quintet to finish on. From the always gorgeous serenade of Home Sweet Home into the anthemic Dr Feelgood by way of another of my favourites Helter Skelter Motley Crude are delivering an outstanding big finish worthy of any band or stage. By the time everyone has sung themselves hoarse to Girls, Girls, Girls there’s really only one song left to finish a night like this, and it is ironically enough what Motley opened with at the already mentioned Playhouse show back in 89’.

Kickstart My Heart is just an open invitation for band and crowd to go absolutely nuts as the energy levels explode in a spectacular Cruecendo! There’s going to be a lot of people in need of a chiropractic neck adjustment after that, myself included, as I absolutely wrecked my neck in a bout of hair swinging exuberance that my old bones will feel for days.

There we have it then, two plus hours, twenty-four songs, four stellar musicians, hundreds of fans old and new and all in the name of Motley f*cking Crue! Motley Crude can and do rightly refer to themselves as the worlds number one Motley Crue tribute band and on tonight’s showing I’ll happily stand one hundred percent behind that statement.

Much love

PS…For the purists out there please excuse the lack of umlauts, try as I might the transition from document to internet kept sending them into the ether!

Photos by Andrew West Photography

Grace Potter – Medicine (2025)

Sun, 03 Aug 2025 12:31:11 GMT

That what was lost is now found. Refusing to remain in the vaults, this lost classic of early noughties America finally surfaces into the light. Almost twenty years ago, in 2008, the Americana and roots revival was basking in its moment under the desert sun. “Raising Sand” had cracked open the mainstream, My Morning Jacket were blending indie grit with Southern soul, and T Bone Burnett was the quiet architect behind it all—his fingerprints on everything that mattered. It was in this fertile moment that Grace Potter entered the studio to create “Medicine.”

Seventeen years have passed. The Americana movement has grown, fractured, evolved. And now, “Medicine” arrives not as a relic, but as a revelation. It’s quieter than her later work, more intimate, more elemental. Where albums like “Midnight” and “Daylight” burst with barroom bravado and open-tab energy, “Medicine” is a late-night record—lights down, candles lit, the kind of album that asks you to lean in and listen rather than sing along.

There’s a rootedness to it. The bass is deep and grounding, a steady pulse that holds the songs together like soil holds roots. The guitars don’t jangle or crunch—they twang, shimmer, and ring out with a kind of quiet conviction. Potter’s voice is different here. She croons, she murmurs, she lets the lyrics rise from somewhere deep inside. It feels as if Burnett simply stood her at the mic and said, “Give me what you feel,” and then stepped back. What we hear is unfiltered, untampered, raw in places, and yet the songs soar—creating a swirl of musicianship and emotion that feels almost sacred.

The opening track, “Before the Sky Falls On Us,” sets the tone with a slow, deliberate groove. Horns drift in like the warmth of a late summer evening, slipping from twilight into night. It’s a gentle invitation, a soft landing into the world of the album. The title track, familiar to fans from the 2010 “Nocturnals” record, is transformed here. Gone is the rock swagger—in its place, a slow blues that throbs with physicality and longing. It’s not just a reinterpretation; it’s a reclamation.

“Make You Cry” leans into vintage R&B, with echoes of Memphis soul and the spectral presence of Stax Records hovering just out of reach. It’s all heartfelt emotion, delivered with restraint and reverence. And then there’s “To Shore,” where tremolo guitar winds through the track like moonlight on water—haunting, delicate, and quietly devastating.

Had “Medicine” been released in 2009, it might have been lost in the wave of Americana records flooding the market. But today, as the genre reaches new heights—led by artists like Jason Isbell, Corb Lund, and Dave Hause—it lands with weight. It doesn’t strive. It settles. It’s not just a curiosity piece; it’s a career milestone.

I’ve been a fan of Grace Potter for many years, and I don’t think I’ve ever heard her sound like this. “Medicine” is a reminder of what happens when an artist is given space to feel, to explore, to simply be. It’s a beautiful, aching, grounded record—one that doesn’t demand attention, but earns it. And now, finally, it’s ours.

MAID OF STONE FESTIVAL SUNDAY 20TH JULY MAIDSTONE - MOTE PARK

Thu, 31 Jul 2025 10:59:02 GMT

Sunday always comes around too soon at Maid of Stone. One minute you’re getting your bearings, checking out the stages and planning out your food for the weekend (hmm, shall I have macaroni cheese today and chicken tenders tomorrow?) and the next, you’re having to think about heading home. Time flies when you’re having fun, apparently! But I can’t be too miserable, as before the festival comes to a close for another year, there’s still another packed day of music to look forward to.

It’s hard to think of a more perfect band than Absolva to shake off any Sunday sleepiness with their thunderous bass rumble that vibrates through your chest. This is British heavy metal at its finest and unsurprisingly, given these lads also work as Blaze Bayley’s touring band, there’s a definite Maiden feel to some of the twin guitar work. Chris Appleton says he can’t see us very well, a result of problems with his contact lenses (if only he knew what I do for a living!), but hopefully he can hear our appreciation. ‘Freedom and Glory’ is a fast-paced thrill ride with a proper, rousing chorus that compels you to throw your fists in the air. ‘Atlas (War Between the Gods)’ is another slice of similarly epic and unashamedly old-school metal - what’s not to like?

The weather’s taken a bit of a turn, so I’m cocooned in my camping chair with an umbrella on my legs and attractive Pack-it jacket protecting my top half. Yes I’m a bit damp, but I’m cheered by the sound of Parker Barrow emanating from the Inferno stage, a band who hail from Nashville and play authentic Southern rock, though perhaps not quite as you know it. In place of the usual, drawling front-man, we have the hollering, tambourine shaking front-woman Megan Kane who proves to be something of a force and pushes a well-worn genre in a new direction. Apparently it’s the band’s first visit to the UK, so we’ve been missing out on their riotous rock and roll until now.

I take some time for a wander, enjoying a nose around some of the stalls that offer up up jewellery, clothes, vinyl, and, best of all, enamel pin badges (I’m a bit of a collector, you know!). The Heat Inc. sound great on the Firestarter stage, delivering energetic garage rock with punk flair, at times reminiscent of Billy Idol, or at least his snarling vocal style. What’s best about only having two stages this year and no clashes is that wherever you are and whatever you’re doing, you can still hear what’s going on, making it easier to do a bit of exploring without freaking out that you might be missing your new favourite band (or is that just me?!).

Following a memorable performance with guitarist Sophie Lloyd yesterday, Marisa Rodriguez is back with her own band Marisa and the Moths, to the delight of an adoring crowd. Rodriguez has the kind of star quality that can’t be manufactured, and a wonderful, soaring voice that compliments the crunchy, grunge influenced heaviness of her band. Reflecting on her struggles with insecurity which feed into the lyrics of songs like ‘Skin’ and ‘Fake It Till You Make It’, it’s great to see Rodriguez translating those feelings into something positive, and encouraging others to talk about their own mental health. There’s no need for any self-doubt, Marisa and her Moths are onto something special.

The acoustic sets in the VIP area are a lovely perk, and always very popular. Judging by the number of t-shirts and the crowd gathering well in advance of their 14:30 time slot, Empyre seem to have a particularly devoted fan base. Part of that is undoubtedly because of Henrik Steenholdt’s voice, which is both sonorous and majestic. But a great voice needs great songs, and thankfully Empyre aren’t short of those either. Cleverly reinterpreting their own material, with Did Coles switching between keyboard and guitar, the likes of ‘Drive’ and ‘Hit and Run’ feel quite moving, even when interspersed with jokes about the emerging theme! ‘Titanium’ might be an unlikely choice of cover (yes, that’s the David Guetta dance classic!) but becomes something altogether more moody and atmospheric in the hands of the Empyre.

Sari Schorr has a voice that has to be heard to be believed, and for a short while, we can’t hear it! There’s a problem with her mic which renders her temporarily silent and her band are forced to improvise while she gets it sorted. But suddenly, we’re back in business, a cover of ‘Ready for Love’ revealing Schorr as a proper blues belter in the vein of Beth Hart. A likeable lady with the kind of warmth that many Americans seem to have in spades, it’s interesting to hear her talk about the inspiration behind certain songs, but sad that domestic abuse is apparently something she’s had to experience. You sense real pride when she mentions singing ‘Black Betty’ at Carnegie Hall, and she treats us to an incredible rendition today, transforming the familiar into something quite different, the delicate start contrasting the explosive conclusion.

After having to drop out of the festival last year, and missing out on predecessor Ramblin’ Man Fair (a casualty of Covid) These Wicked Rivers have made it to Mote Park at last. The stage is decked out with lampshades and swathes of cloth and the band themselves look resplendent in their uniform of snazzy hats and print shirts. ‘Force of Nature’ is an appropriate opening statement, as it certainly feels that the band is becoming one. With big, fuzzy riffs and John Hartwell’s rich voice there is much to appreciate. ‘Don’t Pray For Me’ is surprisingly soulful, an interesting counterpoint to the heavy grooves of ‘Black Gold’ and ‘Testify’.

Having never heard This House We Built before and with no idea what to expect, I’m pretty much an immediate fan. The band don’t mess about when it comes to making an impression, bursting onto the stage with such infectious enthusiasm that resistance is futile. With his low slung bass and quirky white shades (duplicates of which are thrown into the audience during the set!) Wayne Dowkes White is certainly an unmissable presence, but it’s obvious that all four of these men are very good at what they do. Playing taut melodic rock with unique, funky flair, a cover of ‘You’re the Voice’ gets us all singing, and their own material catches on pretty quickly too. ‘Nobody’s Fool’ has the kind of chorus that I love, a harmony laden ear-worm that really hits the spot. It’s heartening to see frontman Scott Wardell so pleased with the reaction, a man who says he’s been doing this since he was 15 years old.

As Stone Broken hurtle towards their imminent hiatus, the continued fondness for the band is undeniable. Apparently capable of penning super catchy, radio friendly rock bangers with more ease than really seems fair, their set is loaded with them. There’s a lovely warmth about the group, not particularly rock and roll, but an endearing sense that they're not so different from the rest of us. Frontman Rich jokes that he and drummer Robyn are “the cool aunt and uncle” as their niece and nephew watch on from the crowd. I think that label is probably justified, as would the hundreds singing along to ‘Wait for You’, a proper heartfelt anthem that sums up why Stone Broken are beloved by so many. Let’s hope they don’t stay away for too long.

Recently voted best emerging UK blues band, Blue Nation jokingly dispute that they even qualify as a blues band! Whatever they qualify as, they’re very good indeed, and deserving of any plaudits they receive. A power trio with real emphasis on the power, they admit to stealing much from Zeppelin (like that’s a bad thing!), but really seem to be solidifying their own identity. I’m very taken with ‘Hand Me Down’, with its fantastic “I don’t pay you to talk, I pay you to listen” refrain and tasty riff that keeps coming back for more.

With their enviable catalogue of hits, Sweet bring the party to Maid of Stone. A band who appear a bit incongruous on the line-up posters, a diversion from the so called ‘NWOCR’ acts, their set is pure nostalgic joy and suggests that more of these heritage groups would be welcomed. Though guitarist Andy Scott is the last of the original line-up, the band arguably sound better than ever, revitalised for a new generation. With singer Paul Manzi up front, and some fantastic harmonies from bassist Lee Small, it’s pretty much a flawless display. And it’s hard to beat the atmosphere in the crowd as we sing along to ‘Teenage Rampage’, ‘Fox on the Run’ and a jubilant ‘Ballroom Blitz’.

Empyre are back for their second slot of the day, a headline appearance on the Firestarter stage. Newcomers are probably a bit baffled by the inevitable boos but I know they come from a place of love! Unfortunately, I don’t get to watch quite as intently as I’d like, the result of bumping into a few new friends, but it’s impossible to miss the impact of ‘Waking Light’ or ‘Relentless’ as Steenholdt’s voice rings out over the park.

In the headline slot on the Inferno stage this evening, it’s a proper legend in the form of the Blonde Bomber, Michael Schenker. Better yet, the set is a celebration of his years with UFO and comprises every song from ‘Strangers in the Night’ - pretty much the dream for any fan. And, with Erik Grönwall lending his vocal talents, the songs sound fantastic. Thankfully, Grönwall is also a commanding point of focus as I’m surprised to discover Schenker himself is not the most charismatic performer, remaining largely rooted in the same spot throughout, occasionally leaning into the mic for a quick “thank you”. Admittedly, he doesn't really need to do anything else, the sight of Schenker with his iconic Flying V is enough to get most of us excited, and his incredible guitar playing prowess speaks volumes. Like Sweet before them, it’s another set that benefits from familiarity, comprised of songs that are ingrained in the fabric of classic rock, from ‘Only You Can Rock Me’ to ‘Doctor Doctor’ and ‘Lights Out’ to ‘Rock Bottom’.

Every year I come to Maid of Stone with an open mind, and every year I leave with at least three or four new favourite bands. For me the festival continues to strike the right balance, exposing me to new acts whilst giving me some of what I know. Tickets for 2026 are on sale now - put your trust in the impeccable taste of the organisers and get yours here:

Phone photos by Laura DQ

Lita Ford, Vixen and Chez Kane – KKs Steel Mill – 23rd July 2025

Sat, 26 Jul 2025 21:05:29 GMT

A night of female oriented rock blasted the walls of KKs Steel Mill which also featured a poignant moment remembering the life of Ozzy who sadly passed away the day before.

Chez Kane

First up was Chez Kane a Welsh vocalist whose band blends melodic metal and classic hard rock, and has often citied female rock icons like Lita Ford and Vixen as her role models so she was in perfect company tonight. She defiantly impressed with vocal power and showmanship. There was a really large crowd already assembled to see her set, you could clearly hear her 1980s influences with songs like All Of it and Get It On. A really strong start to the evening, warming the crowd up nicely.

Set list

TOO LATE FOR LOVE

ALL OF IT

NATIONWIDE

LOVE GONE WILD

GET IT ON

ROCKET ON THE RADIO

POWERZONE

Photos by Andy Bradley

Vixen

Then was time for the legendary all girl band Vixen – although none of the original line up were in the band - with the current lineup being Britt Lightning - Guitar, Roxy Petrucci handling the drums since 1986, and Julia Lage - bass, with vocal duties now handled by Rosa Laricchiuta (since mid‑2024).

Their set was focussed on classic hits from Vixen (1988) and Rev It Up (1990), with a selection of covers including War Pigs and Still Of The Night and occasional newer material. They kicked off with Rev It Up and this set the tone for their whole set, Laricchiuta is a fantastic vocalist and leads from the front with her extraordinary vocal range. The KKs crowd were loving them and hit the right tone for the evening perfectly with massive crowd reactions, particularly to beloved tracks like Cryin’, Love Is A Killer and Edge of a Broken Heart. Britt Lightning – Guitar – is fantastic and is ably complimented by bass player Julia Lage with Not A Minute Too Soon being a particular highlight. This was a brilliant set and got the crown nicely warmed up.

Set list

REV IT UP

CHARMED LIFE

HOW MUCH LOVE

CRUISIN

CRYIN

NOT A MINUTE TOO SOON

COVERS - Runnin' with the Devil / I Want You to Rock Me / Perfect Strangers / What You're Doing / War Pigs / Still of the Night / Drum Solo / I Want You to Rock Me

HARD 16

LOVE IS A KILLER

EDGE OF A BROKEN HEART

Lita Ford

Then was time for Legendary Rock Icon Lita Ford who is in the UK for a limited run of shows, with people travelling from all four corners of the UK to see her show at a packed KKs Steel Mill. Lita delivered a blistering set of classic material proving that age is no barrier to rock excellence. Her voice was as impeccable as ever and the crowd were loving it, singing and jigging away.

The set was a mixture of old, new and covers starting with Gotta Let Go from her 1984 album Dancin On The Edge followed by mix of old and new with Larger Than Life, Relentless and also a nod back to her days with The Runaways with Cherry Bomb when they were joined by Chez Kane and Roxy Petrucci from Vixen on vocals which drew all parts of this amazing evening together.

There was also a really emotional moment when she played her song which she did a duet with Ozzy – Close My Eyes Forever – and Lita asked the assembled crowd to put their lights on on their phones to light it up for Ozzy and it looked a magical sight with a chant of OZZY, OZZY coming up together with a picture of Lita and Ozzy on the screen behind the band. I for one had a massive lump in my throat and really emotionally charged song.

The band finished with Kiss Me Deadly and the crowd left in a warm Wolverhampton evening having been thoroughly entertained.

Set list

GOTTA LET GO

LARGER THAN LIFE

RELENTLESS

LIVING LIKE A RUNAWAY

HUNGRY

THE BITCH IS BACK

PLAYIN' WITH FIRE

BACK TO THE CAVE

CAN’T CATCH ME

CHERRY BOMB

BLACK LEATHER

ONLY WOMEN BLEED

CLOSE MY EYES FOREVER

KISS ME DEADLY

ROULETTE – 'GO' Black Lodge Records Release date 25/07/2025

Sat, 26 Jul 2025 12:34:52 GMT

If you’re here for the short punchy one-line review then let me lay this down nice and simple for you…this is the best melodic rock album you’ll hear this year, and it includes one of the best songs I’ve heard in decades.

Now, if you’re still reading let me explain why. Cards on the table time dear friends, I’ll listen to, enjoy and review almost every kind of rock and metal you care to mention; but I am at heart, unashamedly, unapologetically and unreservedly…a melodic rock geek! When it’s done right, really right, there is a magic that is for me, unmatched.

That said, when I was sent the new Roulette album to review, I was genuinely nervous for a couple of reasons. Firstly, I had just reviewed two stellar albums and the chances of getting three or the bounce are remote in the extreme, secondly and more importantly I like these guys and when it’s personal like that the disappointment can be crushing. This is Roulette though and if you’re not familiar with their work then this Swedish four piece have been on the go since 1985, and I was in the safest of melodic hands.

From the joyous opening of ‘Answer to my Prayers’ to the wistful melancholy of ‘We Remember You’ by way of the gorgeous groove of ‘Don’t be Sorry’ this is everything that I want from a melodic rock album. It’s four decades of experience poured into ten songs and although there is absolutely no filler and a whole lot of killer there is one song that I need to single out for a line or two of its own.

All my favourite songs all have one very simple combination in common and it’s one that was engrained in my musical DNA when I was being musically schooled and raised by my older brother. Build…bridge…hook…chorus, and the bigger the better! ‘Take Me As I Am’ is without doubt one of the finest examples of this I’ve heard since those halcyon days of yesteryear. It’s glorious in the extreme and even writing about it puts the biggest smile on my face.

Much has rightly been made these past couple of decades of the new wave of melodic rock bands that Sweden has produced. The truth is though that whilst the likes of H.E.A.T., Eclipse, Crazy Lixx et al are out there blazing their own trails, the fire that lit the way for them was sparked by bands like Roulette and I’m absolutely delighted that Sweden’s best kept secret have stepped out of the shadows and back into the spotlight.

Put simply; and to finish as we started with a simple tagline…Roulette’s GO is a ten-song explosion in the joy factory, and it comes complete with more hooks than a Peter Pan convention!

Much love

WASP - O2 Academy, Glasgow 25th July 2025

Sat, 26 Jul 2025 10:01:29 GMT

Back in 1984 the world first saw and heard of WASP who prior to the album release had to delete the track Animal(F**k Like A Beast) which caused a bit of an uproar as expected. The PMRC which was active at the time had labeled the song as one of its "Filthy 15", songs that the group determined to be morally objectionable so the record company chose to not include it. I wonder if it will be played tonight as the band play their debut album in full. We'll get to that later.

So here we are in Glasgow to see the shock rock masters WASP. Unfortunately as we all line up there is a lot of talk about who is supporting as it's not clear from the posters. Turns out that there is no support tonight and with reports of a short set the murmurs start to increase with a bit of disappointment if that's the case. So inside we go and yep that's correct. No support which is pretty poor considering the price of a ticket and transport these days.

So as the lights go down and the smoke billows the band launch into album opener "I Wanna Be Somebody", something that in 43 years of the band they have never done. Usual set opener "On Your Knees" is kept for later since the album in being played in chronological order. With Blackie still wearing his white fringed boots and the rest in black he is sometimes difficult to see behind his "Elvis" microphone stand and with the rather moody lighting photos tonight were difficult to get. None the less the band storm through the 10 songs and with the additional backing vocals on tape the full experience of the songs are produced. Unfortunately Animal wasn't performed tonight as Blackie has publicly said he doesn't agree with it due to his religous beliefs, although it was played back in 2022 on the 40th Anniversary tour. The stage set up also has screens playing all of the original videos along to the relavant song and also some archive live performances.

After 50 minutes the band leave the stage after saying Thank You and Goodnight. Again something that has sections of the crowd in a state of bemusement. However after a short towel down the band return to do a couple of medleys which include more recent songs, Inside the Electric Circus, I Don't Need No Doctor and Scream Until You Like It. The second one with The Real Me, Forever Free and The Headless Children.

With little talking throughout the gig Blackie does a solo start to Wild Child before set closer Blind in Texas has the crowd singing along before the real end to the gig comes a little to soon. With the set length being only 80 odd minutes the venue clears quite quickly and folk are able to get home before the start of the 10 o'clock news, something that's unheard of at gigs these days and maybe a touch too short for many punters tonight. However what was on offer tonight content wise certainly pleased a lot of people and some songs that will never be played again live were heard.

Alice Cooper / Bobbie Dazzle - Edinburgh Playhouse 23rd July 2025

Fri, 25 Jul 2025 09:02:10 GMT

"The shock rock master returns and better than ever. Long live Alice Cooper"

Sometimes you get these surprise gigs and tonight was one of them. The legend that is Alice Cooper playing at Edinburgh Playhouse just a mere 25 years or so after the last one there. More used to selling out large arenas the legend that is 77 year old Alice and his band came to the UK for 2 small theatre shows before a more typical arena show in London later in the week. Although this review is mightily short the show itself was packed with class, theatre, musicianship in spades and the legend that is Alice Cooper commanding every second of his near 2 hour set.

You get the classics as well as a good smattering of his 90's hair metal tunes. The sold out venue is full of what shall we call it, a more mature audience. No chance of crowd surfing here unless there was a space for zimmers and walking aids. None the less everyone here loved it and sang along and danced (when the body allowed) all night.

Being in a theatre the sound here was fantastic and showcased the stellar musicians that Alice surrounds himself with. A steady band just adds to the tightness tonight.

I wonder if other bands will see how good this was received and maybe get back to the Playhouse rather than some of the larger sheds that just don't have as much atmosphere. Thank you Alice it was a pleasure.

MAID OF STONE FESTIVAL - SATURDAY 19TH JULY MAIDSTONE MOTE PARK

Fri, 25 Jul 2025 08:35:39 GMT

Well, the sunshine was nice while it lasted, but it’s raining in Maidstone this morning. Jack J Hutchinson graciously accepts that it’s probably his fault, given it was raining the last time he played in Mote Park too! It hasn’t deterred him, or his band from optimistically donning their sunglasses and fedora hats, and thankfully it hasn’t deterred the crowd from turning up early either. ‘Don’t Let the F****** Get You Down’, starts the day right, an appropriately loud middle finger to anyone who makes you feel unworthy. The big riffs of ‘Constellations’ and ‘Days are Gone’ are an excellent antidote to any fatigue, and augmented today by additional guitarist Ash Wilson filling out the sound. But it’s the gentle ‘I Will Follow You’ that hits the hardest and results in the first major singalong of the day, a moving reflection on Jack’s father’s battle with Alzheimer’s.

Scheduled to perform last year, Big River were forced to cancel their appearance at short notice, a result of their “melodramatic singer going to hospital” (his words, not mine!). So it’s a joy to see them get their chance to open the Firestarter stage at last. Wearing the influence of Bad Company proudly, the heavy blues of ‘Hometown Hustler’ kicks things off nicely, Simon Gardiner’s lovely grooving bass underpinning Adam Barron’s soulful vocal. ‘Beautiful Trauma’ shows the band at their best, a classy slow burn with a show-stopping guitar solo courtesy of Damo Fawsett. Throwing in a “cheeky cover” of ‘Higher Ground’ initially seems a strange choice, but works well, showing Big River to be capable of funk as well as blues.

Looking like some kind of heavy metal Avengers, Fury explode onto the stage with irresistible energy, tearing through new single ‘Interceptor’. The band has made the jump to the main stage, having opened the festival in a smaller tent back in 2023. Successfully mixing heavy with catchy, ‘Burnout’ showcases their unique approach, male and female vocals combined to great effect, the chorus complete with synchronised arm movements. Frontman Julian Jenkins asks us if we like it loud and fast and of course, the answer is a resounding yes; Fury give us what we want, but we’re less generous, declining to shout ‘I’m gonna buy JJ a beer’ despite his best efforts!

One of many impressive front women to take to the stage today, Bobbie Dazzle appears to be attempting to revive the glam rock era, and is doing a fine job of it. ‘Flowers on Mars’ is pleasingly chirpy and uplifting; where many rock bands scowl, this band smile and bounce. Admittedly, it’s difficult not to when hearing the Quo-like stomp of ‘Revolution’ or hip shaking ‘Back to the City’ which sees a keytar employed and hand claps encouraged. More fun than should reasonably be allowed, Dazzle makes a suitably sparkling impression.

Introduced to the stage as “something a little bit different”, Rosalie Cunningham and her incredible band are all the better for it. Unrestricted by genre or expectation, Cunningham is a truly creative talent. ‘To Shoot Another Day’ sounds like a Bond theme, ‘Timothy Martin’s Conditioning School’ reveals a Beatles influence and ‘Heavy Pencil’ is an utterly majestic prog epic, building to an unexpected conclusion. The heavy thud of ‘Spook Racket’ rumbles with menace, contrasted by Cunningham’s elegant vocal that is like no other in rock. Though it’s Cunningham and bassist Claudia Gonzalez Diaz who dominate visually and vocally (teaming up beautifully for ‘Ride On My Bike’), guitarist Rosco has a great voice too, taking the lead on ‘Rabbit Foot’ and sending the band on yet another, more bluesy musical tangent. For me, it doesn’t get much better than this.

I hear many describing Kim Jennett as a powerhouse, and they’ve got a point. With the most aggressive vocals of any of the women on stage today, she certainly gives the performance her all, an incredible noise erupting from her petite frame. New song ‘Bloody Killing Floor’ is about being at rock bottom, and you sense that being on stage provides some catharsis, an opportunity to let it all out. A ferocious ‘Immigrant Song’ brings the set to a close, the Led Zeppelin classic reinvented, still familiar but much more angry.

It’s not the first time Welsh trio Florence Black have graced the Maid of Stone main stage; not part of the original line-up for this year, they were called upon to replace a band who had dropped out. It’s hard to imagine anyone being disappointed by this news, as these lads successfully trample any audience they are put in front of with their bludgeoning riffs that are guaranteed to get heads banging. ‘Zulu’ is the kind of song that makes you contort your face in appreciation whilst ‘Sun and Moon’ utilises clever soft/loud dynamics for maximum impact. The band have made Budgie classic ‘Breadfan’ so much their own that there are some who probably don’t even realise it’s a cover! A masterful set that passes all too quickly.

Over on the Firestarter stage, Flint Moore have a challenge on their hands trying to win over a largely new audience with their moody, atmospheric rock that generally unfolds slowly. The band has a strong look, all adorned with lines of black face paint across their eyes adding to the air of mystery that seems to surround them. There is reward in sticking with them, ‘Bury My Sins’ is a quality song, highlighting Francis Pennington’s rich voice that wouldn’t sound out of place fronting a grunge band. Absorbing and different, Flint Moore are ones to watch.

There seems to be a lot of excitement around guitarist Sophie Lloyd, hopefully the result of her incredible proficiency as a musician and not just because she looks good in very little clothing! In any case, it’s encouraging to see a female guitar hero getting some attention, and slightly baffling as to why there haven’t been more over the years. Joined on stage by singer Marisa Rodriguez, the duo make a fabulous pair, both masters of their art. Nathan James takes over on vocals for an epic ‘Fall of Man’, but it’s the appearance of Black Stone Cherry’s Chris Robertson for ‘Let it Hurt’ that triggers even those who haven’t been paying much attention to run in for a better look. I’m very impressed by an instrumental ‘Thunderstruck’, Lloyd demonstrating that she can shred with the best of them.

Having recently chatted to the Revenant lads, it’s a pleasure to watch them win new fans on the Firestarter stage with their no-nonsense rock imbued with Southern flavour. ‘Best Medicine’ is a perfect festival tune, easy to pick up and fun to shout along with. Pleased with the reaction, singer and guitarist Sam Lay acknowledges, “You guys are raucous” before treating us to a new song that, like much of this band’s work, feels warm and heartfelt. Less so, ‘Coming Back to Life’, a song that apparently got Lay “in a lot of f****** trouble!” but rocks particularly hard.

I only really see and hear The Raven Age from a distance (I suspect it was probably time for some topped chips or something of a similar nature!) which is a shame, as their sharp modern metal seems to go down very well. Looking the part with their distinctive blacked out arms and necks, it’s great to see some heavier acts getting some representation in the park. I hope to catch The Raven Age properly another time.

Though perhaps an acquired taste, there’s no denying that In Search of Sun are bringing something fresh to a genre that can sometimes feel a bit tired. Much bouncier than your average metal group, they lean into their pop sensibilities with songs like ‘Contagious’ and ‘The Fire I Play With’ that funk as much as they rock.

Embracing the somewhat juvenile image that they have cultivated over the years with their long socks and shorts, Ugly Kid Joe are actually a very impressive live act. Whitfield Crane is a truly gifted frontmen who has such command over the audience that if he tells you to get your hands up or jump, you’re not going to argue. He encourages all the “little dudes and dudettes” onto their parents shoulders, cleverly involving the children at the event in a way that no other act has. And the band have some pretty cool songs to back up the performance; ‘Neighbour’ and ‘Goddamn Devil’ are transformed into something heavier than their studio counterparts. ‘Cats in the Cradle’ inevitably gets everyone singing, as does a cover of Motörhead’s ‘Ace of Spades’. But we’re all waiting for the finale, and ‘I Hate Everything About You’ is as infectiously catchy as it ever was. One of the best sets of the weekend.

A riot of colour and energy, Beaux Gris Gris & the Apocalypse certainly know how to put on a show. Unfortunately, I only catch a couple of songs as I’m passing which I recognise may be a mistake as ‘Wild Woman’ and ‘Satisfy Your Queen’ are riotous slices of rock and roll that should warrant my full attention.

In any poll about who people wanted to see headlining Maid of Stone, Black Stone Cherry always came out on top so it’s no surprise that the festival feels significantly busier today, and dominated by t-shirts bearing the band’s logo. As someone who has been with the band from the very beginning, it makes me happy to have witnessed their ascent and to see them back at Mote Park for the third time. A little less happy when they point out their debut album was released 19 years ago (But I can’t be that old? Can I?!) A band who give every performance their all, the energy is high from the very beginning, Ben Wells and Steve Jewell careering around the stage, Wells in particular in danger of giving himself a pretty nasty headache! Jon Fred is a fantastic drummer, always reminiscent of the Muppets’ Animal in the best possible way, thundering away at the back.

It’s a killer set, favouring the familiar, just what you need to round off a day at a festival. ‘Me and Mary Jane’ gets things underway, the first of many anthems that we shout back at the band. Chris Robertson acknowledges that there’s not many countries that they would fly to for one show, but the UK has embraced them from the beginning. We’ve clearly got good taste and are certainly up for “a good time and a party with Black Stone Cherry”. It’s great to hear some of the band’s older material; ‘Devil’s Queen’ goes over particularly well. So devoted is the group’s fan base here that Black Stone Cherry could probably play anything and we’d still be singing along. As with any Black Stone Cherry show, there are poignant moments. I'm sure I'm not the only one who sheds a tear or two during 'Things My Father Said', a song that forces you to reflect on loved ones lost. And encore 'Peace is Free' a futile cry for the world to come together - if only it was as simple as it seems at a festival. Chris Robertson concludes “We want to thank you for a beautiful evening. We love you guys so f****** much” - well, right back at you boys.

Photos by Jim Higham Photography

Ten / The Reminisce - La Belle Angele Edinburgh 19th July 2025

Thu, 24 Jul 2025 19:20:46 GMT

For an old geezer like me, the name “Ten” first conjures up hazy memories of the Dudley Moore rom-com from 1979 with Bo Derek in the titular role of a woman he sees as a perfect 10 out of 10. It was a different time back then and I doubt that film will stand the test of time - unlike Gary Hughes’ rock band “Ten”, who have just started on their 30th anniversary T-30 tour (this was the first night).

I guess they’ve been going since 1995 then – just a little too late for the period when quality melodic rock was at its peak and in the spotlight, which might explain how they seem to have flown under my radar. I’ve picked up a few songs here and there, I’ve even reviewed an album of theirs and I am certainly familiar with their cool artwork and imagery, but somehow, I had not yet seen them live. Better late than never, I suppose.

The band are a classic 5-piece (two guitarists, keyboards, bass and drums) plus Gary on vocals. He strode on looking lean and fit, like a young Stone Cold Steve Austin, and joined in with the opening song ‘Arabian Nights’ which put me in the mood for a chicken shawarma to go with the very fine Outcider that they’ve now got on draught in LBA. That leads into ‘Alone in the Dark Tonight’ which was embellished by a very fine solo by the lefty Dann Rosingana, who might be the best guitarist the band has ever had, and then ‘Spellbound’.

So far, so good, and Gary announced their intention to play something from nearly every album (17 studio albums, I think). The band had a selection of CDs from their back catalogue on the merchandise table for a bargain £10 but I’m told it is the last of the stock and when they’re gone, they’re gone, so jump on it quickly.

The set list was indeed crammed with a fine selection of their well-crafted songs – typically ambitious in scale and sometimes exploring epic concepts, but always melodic and tuneful. One that particularly caught my attention was ‘The Tidal Wave’ from ‘Something Wicked This Way Comes’ which started with some Steiman-esque piano but when the revels began it was a tsunami of good sounds and inspired three guys down the front to form the most Eurovision-looking mosh pit I’ve ever seen.

Their most streamed song is apparently ‘The Hour Glass and the Landslide’ from ‘Stormwarning’ – just one of several of their albums featuring an epic pair of well-drawn buttocks in the artwork. It seemed that all of the fan favourites got an airing. There is absolutely no shortage of very good tunes here, and yet, somehow, they seem to be missing that one absolute blockbuster that everyone knows or that random X-factor quality that would have put them right in spotlight. ‘The Name of the Rose’ is probably the closest thing they have to a “greatest hit” and it ended what was a thoroughly enjoyable show.

The tour runs sporadically through to November, so it will be worth your while to check them out. Gary can’t seem to stop himself churning out immaculately-formed tunes – he’s previously created songs for Bob Catley and Tao, as well as solo material, and I’m told that they have enough quality material ready now for two new ‘Ten’ albums – watch out for details in due course.

At the other end of the experience scale were the support act ‘The Reminisce’, who opened the show. They are a very young modern hard rock band from Stockport, channelling a Halestorm / Paramore vibe. They are very new but already have a handful of interesting songs, featuring some fiery guitar work from Fred Roberts and a bright vocal performance by Belle Rigden, who has a strong visual image.

An early highlight might have been called ‘Burn Me Alive’ and there was a slower, more intimate song, possibly called ‘Look in my Eyes’ that worked well. Overall, they seemed quite promising. They will be appearing on some more of the Ten dates in Gravesend, Sheffield and Manchester and might be a great fit for smaller festivals like Wildfire. It will be interesting to see how they develop but they are off to a good start.

Phone photos by Iain McArthur

MAID OF STONE FESTIVAL FRIDAY 18TH JULY 2025 MAIDSTONE - MOTE PARK

Mon, 21 Jul 2025 17:27:21 GMT

Three years in, and Maid of Stone Festival looks a little different this time around. Where once there were three stages, there are now only two; the Inferno, or main stage, and the Firestarter, a showcase for the best up and coming talent. It’s supposed to do away with clashes, and for the most part it does, but some technical difficulties cause a delay that throws the timings a bit out of whack. Not that it ruins anyone’s day; the sun is shining, the beers are flowing and there’s a solid eleven hours of music to get excited about. No longer just the opening party, Friday has been upgraded and is no longer an occasion you might decide to skip.

It falls to Hillbilly Vegas to get the party started, and they do so admirably with their self-proclaimed “Hillbilly rock and roll from Oklahoma”. Bearing all the hallmarks of the best Southern rock, from lovely harmonies and catchy choruses to a little tinkling of the ivories, they are the perfect soundtrack to a summer day. Frontman Steve Harris (not to be confused with a certain well-known bassist) is warm and engaging, taking time to talk to the crowd and assuring that although it’s early, the band “don’t mind going first”. With songs like ‘High Time for a Good Time’ and latest single ‘Feels Good’, the band maintain the illusion that writing uplifting crowd pleasers must be very easy.

Opening the Firestarter stage, Leadfeather are a proper old-school rock band, perhaps best described as a modern day Zeppelin. A four-piece fronted by tambourine shaking, open-shirted singer Apostolos with his incredibly powerful wail, they make quite the impression. The funky ‘Shoot for the Stars’ struts with an assured confidence, Simon Hurts’ riff driving itself straight into your brain, whilst ‘Roll the Dice’ makes a case for one of the strongest rock songs of the year, going all Whitesnake “oh baby” in the latter half. Definitely a band on the rise.

I think some of us have solved the mystery of the secret set (the clues were an anagram!) but it’s still exciting to witness Kris Barras’ Hollow Souls make their live debut. Entering the stage like a champion, arms aloft, Barras has made a real impact on this scene and it’s interesting to see him positioned here as guitar hero rather than frontman. Though he steps up to the mic for ‘Bad Things’ and ‘Shotgun’, it’s Phoebe Jane who spends much of the time centre stage, showing off her powerful voice on the impossibly catchy ‘Borderline’ and a cover of Zeppelin’s ‘Rock and Roll’. As a band still in the fledging stage, it’s a privilege to catch them at the start; a tantalising glimpse of the potential still to be unleashed.

Now recognised as a formidable photographer, there are some of us who are possibly too young (or ill-educated!) to know that Myke Gray was an equally formidable guitarist first. Returning to the stage after a couple of years away, the broad smile on his face says it all, the incredible solos he delivers suggesting that the guitar remains his calling. Assembling a band specifically for this event must have been a challenge, but there’s little evidence of that given the polished nature of the performance. Skin classics like ‘House of Love’ and ‘Raised on Radio’ are greeted with delight, and sung to perfection by Henry Gottelier (better known as frontman of the Karma Effect).

With the inimitable Spike rightfully at the helm, the Quireboys play rock and roll as nature intended; raucous, rowdy and just a little rough around the edges. Spike’s charisma is arguably as important as his distinctive rasp of a voice, and there’s a lovely sense of camaraderie amongst the band which now includes Thunder’s Luke Morley on guitar and reinstated bassist Nigel Mogg. Dedicated to late guitarist Guy Bailey, ‘King of New York’ is the only sombre moment in a set that favours rollicking anthems from ‘Sweet Mary Ann’ to ‘There She Goes Again’. Of course, ‘7 O’ Clock’ brings proceedings to a close, truly signalling that it’s “time for a party”, even if we are maybe an hour or so early!

Over on the Firestarter stage, Tom Killner and his band impress with their laid-back, Southern vibes. The countrified ‘Home’ and gently lilting ‘Ride With Me’ showcase the lovely harmonies and exquisite musicianship that make Killner’s music so easy on the ears. Unfortunately, I don’t have time to catch the entire set, but having seen the band fairly recently, can confirm that they are well worth your attention.

In terms of commanding an audience, Sweden’s H.E.A.T seem to have it licked. Unapologetically cheesy in the best possible way, their debt to the 80s is great, but I mean that as a positive. ‘Disaster’ sounds absolutely enormous, as does everything that follows, the irresistibly huge chorus of ‘Back to the Rhythm’ surely the envy of many bands who would kill for one song this memorable. Kenny Leckremo’s voice is reminiscent of Europe’s Joey Tempest, albeit with more oomph, and stalking the stage draped in a Union Jack, he is very much a presence. Am I a little distracted because Spike is in the signing tent? Perhaps I am. But only a fool could miss H.E.A.T’s dominance of the stage and their wonderful presentation that sees keyboards given equal prominence with the drums, both elevated at the back of the stage. Throwing in a bit of ‘War Pigs’ is a clever move, appealing to the Sabbath fever that still seems to have the nation in its grip (well… those with any taste, at least!).

Sharing the billing of co-headliner with Dirty Honey, it’s Joanne Shaw Taylor who takes to the stage first. She’s an interesting choice, perhaps lacking the big, well-known songs of some of the acts who have preceded her. That said, she brings a level of class with her sophisticated blues that’s difficult to resist. A likeable lady who jokes about her “dulcet West Country accent”, she is a talented guitarist blessed with an unusual voice that aches with soul. Up-tempo numbers like ‘Dyin’ to Know’ are interspersed with ballads like ‘I’ve Been Loving You Too Long’ and it’s pleasing to witness something a little different and perhaps, a little more elegant than we would usually expect from Maid of Stone.

Headlining the Firestarter stage, Manchester’s Gorilla Riot seem capable of winning over any audience with their dirty rock and roll. The likes of ‘Molotov Sister’ and ‘Bad Son’ are elevated by two female backing singers who bring a contrasting softness to Arjun Bhishma’s deep, throaty vocal. There’s a pleasing grit to their sound that has clearly won them admirers in the scene; Bad Touch’s Stevie Westwood and former Collateral guitarist Todd Winger both get shout outs as they watch from the crowd, testament to the solid songs and irresistible swagger that will continue to push the band forward.

Bringing day one to a conclusion, Californians Dirty Honey show why they are being tipped as the next big thing. Bucking the trend of unassuming bassist, Justin Smolian is surprisingly animated, getting the audience clapping and largely dominating the sound with his heavy bass wallop. If you were to picture a classic rock frontman, you’d probably conjure up someone resembling Marc LaBelle, with his shades, hat and studded jacket. His voice is possibly an acquired taste, a little shrill in a way that never hurt Geddy Lee or Robert Plant, sharply cutting through the big riffing of ‘California Dreamin’ and ‘Dirty Mind’. ‘Don’t Put Out the Fire’ really grooves and precedes an extended guitar solo from John Notto. They might not be doing anything particularly new, but they are doing it particularly well.

It might only be Friday, but Maid of Stone has served up one of the strongest days I can remember. More of the same tomorrow please!

Gods of Tomorrow – [self-titled]

Sun, 20 Jul 2025 08:55:00 GMT

Gods of Tomorrow is the new band formed by Electrified co-founder, Konstantinos, who released their debut album on 11th July. The band are set to make waves with their melodic hard rock sound. From the very thundercrack of the intro, the band builds the atmosphere in a swelling chorus of ambience reminiscent of Nightwish or Sabaton, before blasting into the driving force of their title-song, complete with heavy guitar harmonies and pummelling mid-pace double kick. Filipe’s vocals provide a similar timbre to that of Dave Mustaine in the mid-register but combined with a more traditional or power metal style of vocalisation and harmony. The use of synthesisers add to the monumental wall of sound and ensure no space in the register remains unexploited.

Second track Fire and Ice follows with a heavy melodic riff reminiscent of 80s Judas Priest and Running Wild. Cherubini’s double kick really shines through in the verse, with the reverberated snare hitting you in the chest as you bang your head to every beat, whilst the band’s multi-layered harmonies provides a welcome dynamic rarely seen in modern rock or metal. Hold Onto the Vision follows in the form of a mid-tempo minor-key anthem. The riff and style combination is much akin to modern Swedish bands like Crashdïet or Ghost (imagine Dave Leppard singing Danse Macabre), with the chorus definitely being one of the catchiest on the album and very possibly a modern classic!

Devil’s Daughter starts strong with a thumping drum intro, with a gnarly bass tone throughout and a fantastic guitar solo. If you’re not already hooked by this point in the record, then this album isn’t for you! Tracks like Dying for your Love, Point of No Return and Face the Truth provide more driving, powerful riffs and virtuoso lead guitar playing that could definitely stand up with many of the legends. Every song is a no-nonsense, straight-to-the-point barrage of the senses and never once lets loose. You will listen and you will remember!

Songs like Rise of an Empire and Girl from Tokyo feel like they would fit perfectly on Bon Jovi’s Slippery When Wet, which, when combined with the other aforementioned influences shows the breadth of influences the band has utilised. Gods of Tomorrow’s debut is a strong statement with a huge sound perfect for stadiums and festivals. I’m definitely eager to see how the band delivers the goods in a live setting. This might be the best album released this year!

Bold name – will they deliver live?

Huge sound perfect for stadiums and festivals.

Buzzards of Babylon - 'Ancient Machine'

Sun, 20 Jul 2025 08:23:35 GMT

Fife’s Buzzards of Babylon bring the riffs with Ancient Machine, a six-minute slab of bass-heavy, sludge-soaked stoner metal that demands repeat listens.

It’s thick, it’s gnarly, and it grooves like the bastard child of Down, Crowbar, and Clutch. The bass dominates in all the right ways, while the guitars jab through the verses with sharp, deliberate stabs. When the chorus hits, it’s a full-body pummelling — furious, focused, and feral.

Vocals stay clean but punchy, matching the heaviness with clarity and conviction. The drums? They hit like the guy’s using bones instead of sticks — relentless and raw from start to finish.

The final quarter shifts gears, upping the tempo for one last pit-ready thrashing. It’s the kind of payoff that sludge and stoner metal often hint at but rarely deliver with this much precision.

With a full-length album and an EP already out in the wild, Buzzards of Babylon are well worth digging into — and Ancient Machine is a perfect place to start.

Buzzards of Babylon are:

Dragonius Maximus – Vocals

Breengemeister General – Guitar

Rev Sludge Skull – Guitar

Ragnar Thunderbucket – Bass

Ljotulf, Harbinger of Doom – Drums

The Theander Expression Chaos, Dreams & Love Pride & Joy Music Release: 19 September 2025

Sat, 19 Jul 2025 13:42:17 GMT

“Do not cite the deep magic to me witch, I was there when it was written”

Quoting CS Lewis is not the way you’d normally expect an album review to start I grant you, but that’s exactly the line that appears in my head every time I read a press release that alludes to a new album having a sound akin to the halcyon days of AOR.

Here’s the thing though; it’s not because I’m a grumpy old muso who turns his nose up at new music. It’s because time and tide has taught me that trying to capture that classic AOR experience almost always leads to disappointment as most fall into the trap of thinking it’s just a sound to be replicated. Is the sound important? Absolutely it is, but that’s only part of the experience. What so many miss is that it needs to be evocative, it should be tethered to truth, and it absolutely must illicit an emotional response, whether that be a tear, a melancholy memory or flat-out whole-body goosebumps. Ladies and gentlemen, Chaos, Dreams & Love does it all…and so very much more.

The Theander Expression is the vehicle for Swedish guitarist Andrée Theander, and by guitarist what I really mean is multi-instrumentalist, and by multi-instrumentalist what I actually mean is uber talented singer-songwriter. Put simply the man is a sonic smorgasbord of talent so if you’re an AOR fan and only indulge in one ‘new’ album a year then I implore you to make it Chaos, Dreams & Love, it even comes complete with a few guest vocalists in Andrew Freeman, Chandler Mogul and August Rauer.

Now, this is normally the point where I’d give you a track-by-track rundown but honestly, I don’t want to ruin the experience by failing to adequately describe just how stellar this album is. From start to finish it’s the most luscious, layered, intelligent and classy collection of songs I’ve heard in a very, very long time and it’s smoother than silk on shoeshine. If absolutely pushed I would nudge you lovingly in the direction of the utterly glorious ‘Too Many Miles, Too Little Time’ the hook laden ‘I’m Moving On’ and the acoustic apricity of ‘You Left in the Middle of the Night’ but honestly, there’s not a single element of filler on here.

Somebody needs to check Theander’s studio for a wardrobe, a witch and a lion as The Theander Expression are citing the deep magic and it’s so utterly glorious we may need to change the meaning of AOR again…

Album-Orientated Rock

Adult-Orientated Rock

Aslan-Orientated Rock

Much love

Elles Bailey - Edinburgh Jazz & Blues Festival Spiegeltent St Andrew Square Gardens Edinburgh 15th July 2025

Thu, 17 Jul 2025 17:54:35 GMT

The Famous Spiegeltent really is a marvel. Built in Belgium in 1920, it is an opulent delight, created using wood, mirrors, stained glass and canvas and decorated in velvet and brocade. It positively reeks of decadence. Elles Bailey was dressed in an appropriately glamorous fashion for her appearance here, sashaying around the stage in a white sparkly trouser suit and enjoying way more freedom to move than the tiny Cabaret Voltaire stage that she graced just a few months ago.

Elles has just completed a support slot with Rag ‘n’ Bone Man that has seen her spread her gospel in fab locations like Cardiff Castle and Halifax’s Peace Hall, and she still seemed to be absolutely buzzing from the breakthrough success of her ‘Beneath the Neon Glow’ album, so understandably she was eager to showcase some of those songs. ‘Enjoy the Ride’ was a great opener, but at the start of the second song, Elles realised she had left her tambourine in the van. Fortunately, by the end of ‘Leave the Light On’ it had turned up, but only after we had seen her absolutely top-drawer band show off their skills, not least Joe Wilkins, who earned a spontaneous mid-song ovation after a scorching guitar solo. Joe was wearing a cap and, on that form, he really should play guitar for England.

Anyone who regularly listens to Elles’ radio show on Planet Rock will know that she is a delightful human and very interactive and obliging with listeners and fans. Elles sat down beside Jonny Henderson at the keyboards for the next song and introduced ‘Ballad of a Broken Dream’ as having been requested by a lady called Alison, who duly leapt to her feet and asked if it was OK to stand up and dance. Elles, of course, agreed, but noted bemusedly that “I didn’t know it was a dance number”! It isn’t, unless it is the last song of the night in the Last Chance Saloon, but folks were quite happy to let Alison have a wee boogie to herself, bless ‘er. Later on, they played ‘Silhouette in the Sunset’ which had been requested at a recent show as the soundtrack for a marriage proposal in the crowd. It was a yes. ‘1972’ was up next. None of the band were around then but bass player Matthew Waer at least looked the part, with a passing resemblance to that year’s Olympic swimming champion Mark Spitz.

Among the well-known figures to have performed in The Famous Spiegeltent over the years is Marlene Dietrich, who appeared in 1930. Elles sat down at the front of the stage for her own torchy song ‘What’s the Matter with You’ and her vampy performance was every bit as smoky and sensuous as her illustrious predecessor. ‘Hell or High Water’ was another highlight from the ‘Road I Call Home’ album, with Joe sliding it in to great effect.

Wee Demi Marriner is always a stand-out performer and an essential part of the band’s vocal harmonies. Tonight was a special night for her, as she had earlier completed her last ever day as a school teacher, before dashing north to join her pal on stage. Her presence makes all of the songs better and Demi also enjoyed a short solo showcase by singing the part of the “young girl who had me a cowboy” in a wonderful duet with Elles on the John Prine classic ‘Angel from Montgomery’. Demi is also a solo performer in her own right and we can surely look forward to some more juicy goodness from her if she is now a full-time muso.

Elles was back sitting at the piano for the heart-break song ‘Let it Burn’ and by the end of it, there was a fan on the stage - not a stage invader, but an actual wind-blowing appliance. Not only did it keep everyone cool, but it also added a 1980s MTV hair-blowing-in-the-wind effect for Elles to release her inner Bonnie Tyler while performing ‘The Game’.

That brought us to what Elles called “the soulful, sassy section” and that started with the very sassy ‘If This is Love’. Elles teased us with the promise of revealing the “kiss and tell” story behind the song on her radio show this Saturday, so be sure to listen in. A cover of ‘Better Days’ from the band Catfish was a joy and came over like one of Van the Man’s more upbeat songs from when he’s taken a happy pill, although the song came with a sad dedication to Matt from Catfish who passed away last year.

‘Riding Out the Storm’ was another opportunity to showcase the band, with each player jumping into the song one-by-one. It must be a joy for Elles to have such good people behind her and it provides a wonderful platform for her to relax, be entertaining, and let her voice soar. She really was a charming presence all night and seems to be a woman in a happy place who has really found her groove. She will surely go from strength-to-strength from here.

There was still time for ‘Sunshine City’ to get the appreciative audience on their feet and for Elles to send everyone home feeling happy. The Spiegeltent will be in town until the end of August and Elles will be back in Scotland on 1st August for the Belladrum festival in the Highlands, which will also involve a TV appearance. Definitely one to look out for.

RIVAL SONS + CREEPING JEAN FOLKESTONE LEAS CLIFF HALL TUESDAY 8TH JULY 2025

Thu, 17 Jul 2025 17:54:28 GMT

It seems that many ticket buyers have decided to skip Brighton based band Creeping Jean, which is their loss, as it’s hard to imagine fans of Rival Sons wouldn’t enjoy this party starting five piece. Looking great in their vintage threads and sounding even better, they favour an appropriately retro approach to rock, uniquely skewed through the lens of lads who sell second-hand clothes for a living. It’s a quirky set up; tambourine shaker in chief Tom Elliot is centre stage, but he plays more of a supporting role vocally to guitarist and singer Oliver Tooze. Their ragged dual vocals give them a unique edge and the groovy riffs that dance across ‘Sassy Got Shakes’ and ‘Spice Rack’ are guaranteed to get you moving.

The fact that Rival Sons are not a bigger band continues to be a source of bemusement to me. Though Zeppelin comparisons don’t seem to have done Greta Van Fleet any harm, there are some who claim Rival Sons are just too derivative, too much of a throwback. To my ears, they are quite simply the distillation of all that rock and roll should be; an irresistible marriage of almighty riffs, thundering drums and vocals that erupt with an other-worldly power. And yet, tonight’s show at Folkestone’s Leas Cliff Hall isn’t a sellout. It’s not that the band are lacking exposure; in the last few weeks I have seen them on enormous stages, as support to Guns N’ Roses at Wembley Stadium, and as part of the lineup at Villa Park for Black Sabbath’s monumental Back to the Beginning. But as headliners, they remain confined to these modest venues. Great news for those of us who recognise their brilliance, but not a reflection of what I feel they deserve.

In Jay Buchanan, the Sons have a uniquely gifted vocalist, capable of tenderness and soul, but also fiery outbursts that would have positioned him as one of the greats had he been doing his thing in the 70s. Pairing a sharp suit with bare feet, he is a hypnotic presence as he prowls the stage, so much that you would struggle to look anywhere else if he wasn’t backed by one of the finest bands to have emerged in the last 20 years. Guitarist Scott Holiday, the self-proclaimed ‘Mr. Fuzz Lord’ seems to breathe incredible riffs; if you assume all the good ones have already been taken, the likes of ‘Electric Man’, ‘Open My Eyes’ and ‘Pressure and Time’ are here to prove you wrong. Michael Miley is equally formidable, making his presence known from the back of the stage, adding real weight with his drumming that is both elegant and powerful.

There is barely a moment to breathe through the first half of the set, one absolute banger following another, a welcome barrage of classic rock par excellence featuring the slinky ‘Tied Up’ and pummelling ‘Get What’s Coming’. Buchanan first addresses the audience before ‘Shooting Stars’, dedicating it to all who are “living through the long dark night” of war. Interrupting the preceding heavier numbers, it feels particularly striking, performed by Buchanan alone, with only an acoustic guitar to accompany his voice. The lyrics are a poignant reminder of the importance of love over hate, the audience clapping in all the right places a reminder of the unifying power of music.

Rival Sons are in the enviable position of drawing from an incredible catalogue that has maintained a level of quality many bands could only dream of. It is pleasing to hear the diversity that has crept into their sound over the years. ‘Mosaic’ is a beautiful ballad, melodic and catchy, with a chorus that builds to something truly cathartic. ‘Feral Roots’ is reminiscent of Zeppelin at their most spiritual, Holiday even utilising a twin-necked guitar to alternate between the gentle jangling verses and explosive choruses. ‘Rapture’ is a slow burn with it’s unusual, slower place, but proves ultimately just as satisfying as anything else the band have produced. These men know what they’re doing, and I am happy to follow them wherever they choose.

‘Secret’ concludes the set, further evidence that ‘Great Western Valkyrie’ should be regarded as the band’s magnum opus. It’s transformed here into a magnificent, wandering epic that somehow integrates a little ‘Ain’t No Sunshine’ before returning to where it started. It’s a song that reveals bassist Dave Beste as a bit of an unsung hero, holding that wonderful bouncing riff throughout, leaving Holiday free to solo over the top. It’s the Sons last show on this UK run, a fact that is greeted with both cheers and boos from the crowd. Hopefully it won’t be the last time we see them here in Folkestone, but if there’s any justice, bigger stages beckon.

Phone photos by Laura DQ

Led Into Zeppelin - O'Riley's Hull, Friday 11th July 2025

Thu, 17 Jul 2025 17:40:04 GMT

A Whole Lotta Love for Led Zeppelin at O'Riley's in Hull

The newly formed Led Into Zeppelin, previously known as Led Zebbedee, have now found a new front man in Damian Fisher and performed a two hour show at Hull's O'Riley's on Beverley Road on Friday night. It included all the classics and an amazing acoustic section.

From the moment Damian Fisher took the stage as Robert Plant, we were transported back to the golden era of Zeppelin. His vocal range soared from the high-pitched wails of “Immigrant Song” to the haunting tones of “Stairway to Heaven.” But beyond the notes, Fisher nailed Plant’s mannerisms too —shuffling across the stage, leaning into the mic, and delivering that iconic swagger.

Chris Preston as Jimmy Page was also brilliant. His guitar work was crisp, passionate, and technically stellar — every bend, slide, and riff was executed with conviction. Whether he was finger-picking the intricate acoustic intro to “Stairway to Heaven” or unleashing thunderous power chords during “Whole Lotta Love”, Preston’s Page was pitch-perfect.

Holding down the rhythm and groove, Pete Betts embodied John Paul Jones with musical skill. His bass lines filled out the band’s sound beautifully. But it was Damon Waite as John Bonham who stole hearts — and ears. His drumming wasn’t just powerful; it was poetic. From building gentle momentum in “Good Times Bad Times” to exploding into a full-on Bonham-style drum barrage in “Rock and Roll,” Waite’s performance had the perfect balance of passion and precision.

The setlist spanned Zeppelin’s catalogue and each song was performed with love and attention to detail. Led Into Zeppelin didn’t just pay tribute; they resurrected the essence of Led Zeppelin. This was a triumph of a tribute! If you missed this, you can see them in Bradford on 15th August, Newcastle on 30th August and at Cottingham Civil Hall on Saturday 7th February 2026.

BARNABAS SKY – OVER THE HORIZON Release date 22/08/2025 Pride & Joy Music

Sun, 13 Jul 2025 14:46:56 GMT

It’s been a while since I did a track-by-track review but when I was sent the new Barnabas Sky album to review, I knew that given the bounty of singer songwriters involved it would have been poor form not to give each of them a line or two. This is the third outing for German multi-instrumentalist Markus Pfeffer and his Barnabas Sky project, and he has once again assembled an outstanding array of vocal talent. There are some returning favourites like Messrs Diebys, Small and Vaughn along with some new faces and voices such as Tony Harnell. Crucially though, unlike other project ventures, Pfeffer encourages each of the singers to weave their own magic when it comes to the lyrics and that means you get artists that emotionally invested in the project from the outset.

In keeping with the previous two releases the opening track goes to the melodic Mount Rushmore’s Danny Vaughn as he once again dips into his lore and legend bag to pen an otherworldly tale. Vaughn has previous for this, a master of lost and forgotten epochs and weaver of ancient epics, he writes the way the ocean moves; rhythmic and rolling with dark currents and a powerful grace. When you add in the composition and musicality of Pfeffer as he weaves his intricate string work around the lyrics, we’re off to a frankly ridiculously strong start.

‘One by One’ is track two and it starts slow and threatening before some tribal drums open the piece up for Hittman’s Dirk Kennedy to shine vocally and Pfeffer to play off the vocals with some huge riffs and solos. ‘Platform of a Star’ is the lead single and it’s easy to see why with its soaringly melodic message of hopes and dreams delivered by the pen and voice of David Cagle, if my musical taste has a sweet spot then this is most certainly it.

In comes the title track of the album ‘Over the Horizon’ and we’re back to a heavier, brooding sound as Deibys Artigas imprints his sonic stamp all over it, brilliant hard rocker with the occasional tempo chance to keep the listener on their toes. The rhythm guitar work underneath the solo ticks another of my sweet spots. After the frenetic finish to the title track, we get a chance to catch our breath as TNT’s Tony Harnell soothes the mood with a gorgeous ballad entitled ‘The Only Way’. It’s everything I want from a rock ballad, heartfelt yet not cliched, big lift and hook into the chorus, subtle use of strings and a solo that ignites from the top of Harnell’s range.

The fabulously entitled ‘Book of Faces’ is up next and it’s a foot stomping mid-tempo rocker from the mind and voice of Cory Lind. Pfeffer again puts his own unique stamp on the solo work, but I’m again drawn to the rhythm work underneath along with killer drumming that anchors the whole thing brilliantly. Lee Small is to the fore on track seven’s ‘Lone Wolf’ and as you’d expect from Small this is melodic hard rock gold. I just love the way this man writes and sings, and this may be my favourite solo on the album.

With Cagle back on singing duties we get another uplifting melodic message on the straight up rocker that is ‘Dreams’ which comes complete with a tremendous driving riff and solo. The penultimate track ‘Fire Falls’ is handled by Vaughn again, this time weaving a warning tale of war whilst Pfeffer plays with a sense of foreboding. In amongst the complexities of Vaughn’s lyrics and Pfeffer’s playing there is a simple descending piano line that ties the whole piece together just wonderfully.

We finish with another of my musical sweet spots, the epic! ‘Scirocco Sands’ is a nine-minute opus that pours the best parts of the previous nine songs into one truly epic ending. All things told ‘Over the Horizon’ is a marvellous collaborative effort that should garner fans from almost every sub-genre rock and metal have to offer. There is most definitely something in there for everyone and the variety offers the listener access to artists that perhaps wouldn’t normally come across your rocking radar.

Much love

Blues Afternoon Edinburgh Jazz & Blues Festival, The Famous Spiegeltent St Andrew Square Gardens - Aynsley Lister/Black Cat Bone/Stevie Nimmo 12th July 2025

Sun, 13 Jul 2025 14:04:42 GMT

A Good Day for the Blues

I’ve not really had the blues during the day since I took early retirement, but this cheeky wee three act bill with a 1PM start was just too intriguing to miss.

The venue was also an attraction. Once upon a time, I used to live high above St Andrew Square (the caretaker’s flat of the then GRE building), so the prospect of a proper gig in my former private back yard was too good to miss. It is approaching time for all of the Edinburgh festivals, and the square is providing a temporary home for ‘The Famous Spiegeltent’. The name comes from the Dutch for “mirror tent” and spiegeltents generally feature very ornate décor with lots of mirror and stained glass. Back in the late 19th / early 20th centuries, these were very popular but only a handful still remain in use, of which ‘The Famous’ is probably the best known, and its opulent interior made for a unique and splendid music venue.

On a scorching hot day, both the gardens and the tent were absolutely rammed and the various bevvy dispensaries were doing a roaring trade. I’m used to attending blues gigs in dark caverns like The Caves, so it was a bit of a shock to see the crusty old Edinburgh blues clientele out in the daylight. There are always a few Middle Earth-looking characters in that crowd and in some corners of the venue it looked more like the Smeagol-tent, but it was good to see every seat taken, including some charming booths around the outside.

Now I’ve never seen an acoustic guitar that I didn’t want to smash, and I’m firmly in the PIFO group (“Plug-in or F**k off”), but Stevie Nimmo was a warm and engaging presence and his shortish unplugged set was actually very good, especially as he wove in some amusing stories and anecdotes to his delivery.

I was a bit worried at the outset, as the first song, a cover, rhymed “baking bread” with “Old Bill was dead” and I don’t really enjoy stereotypical miserabilist blues, but the tempo went up and things got really good when Stevie started mixing in some of his own songs. Stevie is a big, scary-looking bear of a guy but his sentimental white-lie song ‘Coming Home to You’ was a beauty, as was what he called “a wee quiet gospely thing”, ‘If You Need Me Just Call my Name’. We are used to seeing Stevie solo, or with his kilt-wearing sibling in The Nimmo Brothers or King King, but one song that he always tries to play regardless of which formation is Storyville’s ‘Good Day for the Blues’ from 1996. It was good to hear that live on what turned out to be a very good day for the blues indeed.

Next up was a typically pulsating set from local rising stars Black Cat Bone. These boys were very definitely plugged in and they got the tent rocking with their swampy, groovy blues-rock and americana vibe. They fairly motored along but there was plenty of variety, including a song that had a Lizard King Doorsy vibe and another that captured some Stonesy ‘Made in the Shade’ ambience. The 3rd song featured a full-throttle harmonica assault and I think it had some kind of “p*ssy’s on fire” lyrics. I don’t know about that but, despite wearing shorts to a gig for the first time, I was definitely enduring an attack of the Betty Swollocks! Each of the four band members played a blinder and kudos to singer Ross Craig, who was a very proficient front man. Their song ‘Up to No Good’ really is a riff-driven belter and the band will be back in the tent for their own show on the 26th of August during the Edinburgh Fringe Festival.

Aynsley Lister is a worthy headliner of any event and he really showed his class at the top of this bill. Aynsley and his band are regular visitors to Edinburgh and seem to pop up every December during panto season (“oh yes, they do”). Behind him today are Craig Bacon (drums) and Jonno Martin (bass) as the Aynsley Lister Trio. The tent was booked out for a strict 3-hour timeslot, so it was a slightly shorter set than usual from the Midlands man, but packed with juicy goodness like Aynsley’s Life on Mars TV show-inspired ‘Hyde 2612’. There is plenty of light and shade in a Lister set. A short guitar interlude introduced a rampaging and skilful version of ‘Hurricane’ and in some other quieter moments you could even hear the tram bells clanking through the open windows of the tent.

I had been following medical advice to stay well-hydrated during the sweltering weather conditions but my cider intake eventually overtook my bladder’s capacity and I needed to nip out for a quick “hit and miss”. Unfortunately, the bogs were actually outside the tent so it meant leaving the gig. On my way back, I bumped into one of my favourite cousins and his family, so I ended up having some more ciders and a blether in the gardens outside the venue and never made it back in. Through the open windows, I could hear Aynsley wrapping things up with his iconic extended version of ‘Purple Rain’. It was a shame to miss it but hopefully I will get another chance when Aynsley and the full band come back to The Caves, Edinburgh on 14th December.

The Jazz & Blues Festival runs until 20th July. I will certainly be avoiding that annoying plinky-plonky twat Jools Holland on Monday but I’ll be back for the delightful Elles Bailey on Tuesday. Review to follow.

Phone photos by Iain McArthur

DEAD BARS - ‘All Dead Bars Go To Heaven’

Sat, 12 Jul 2025 13:01:11 GMT

Released in late March, the latest album from Seattle’s Dead Bars has gone under the radar in the U.K., but has quickly established itself as one of the strongest releases of this year and also commanded a place in my jaded musical heart.

Straddling rock and punk, the Dead Bars provide a scuzzy musical marriage made in heaven for fans of The Replacements and early Soul Asylum. However, while ‘All Dead Bars Go To Heaven’ would suggest they could musically match these illustrious bands, they do more than simply replicate what has gone before (no matter how good), bring in other influences, inject their own originality and produce new music which is raucous, melodic, fun and quite different to much other music coming through at this time.

Put on to their music by an online friend in Denmark, with a great taste in music, I hadn’t heard of the Dead Bars or any of their music until a few months ago, since when I have been listening to their music heavily.

So, who are they? Formed over ten years ago by John Maiello, originally from New Jersey and a drummer who stepped out from behind his kit and picked up the guitar to become their singer and main songwriter, this is the Dead Bars’ third album. While the Dead Bars’ website and socials didn’t have much information, they’ve had a band membership which has changed over the years and now appears to have settled on a line-up of John Maiello, Elliot Thordarson, Will Smokett, Jon Oddo and Rosie Gonce.

Featuring ten songs and clocking in at under 30 mins, this is very much in three-minute (or sub three-minute) territory … cue my happy face.

The opening track and first single, “I Wanna Be a Ghost”, starts off with solid drumming and then scuzzy guitars layering up, over which John’s raw and impassioned vocals soar and deliver a chorus to which many of us will have related at some point, “I wanna be a ghost tonight, I wanna party with my friends on the other side, Gonna come back tomorrow seeing you’re alright, I wanna be a ghost tonight”.

The throttle is turned up for “Last Call Alarm” which snarls out of the speakers, but while being more of a faster punk tune and a lyrical wake-up call for us all, the melodies and hooks beloved by the Dead Bars are never far away.

“I Live Here Now” accepts the songwriting challenge laid down by the opening tracks and provides a multi-layered fuzzy song with a chorus straight out of Hooksville … once heard, difficult to let go of. “Wait So Long” follows with an almost Oasis-leaning vocal delivery, melody and attitude, before “Underground” takes us to the end of side 1 (if listening on vinyl) or to the middle of the album (if not) and provides another reminder of why the Dead Bars are so different - opening with a crushing and grinding riff which doesn’t relent and provides an anchor to stop the sing-song chorus from soaring too high and away. In the hands of other more mainstream pop/punk bands this song could have had “hit” written all over it, but in a much more polished form which would have been required to reach mass market; instead, the Dead Bars stick to what they do and deliver a masterclass in wonderful sludgy punk/pop – without compromising their music.

“Valentine Heart” provides the sole song about love and heartbreak on the album, but a ballad it ain’t … providing a fast, frenetic and truly life-affirming song. Yes, I know “life-affirming” has been used by others to describe their songs, but if the description is accurate why try to say something else?

“Bad Life” is unexpected and just stunning. Showing they don’t always need a fuzzy guitar, a raw vocal is delivered over just bass and strings providing a truly unique alt song. “Missed Connection” is much airier and lyrically wonders about if there is still a special person out there waiting to meet.

And as the album draws to a close, second single “Give the Metalhead a Hug” celebrates the warmth in metal/rock communities with a looping, rolling song in the nature of “Steal Your Sunshine” or “Teenage Dirtbag”, based largely around the line of “Give the metalhead a hug” being repeated after every couple of lines … and while fun, be assured that the big fuzzy guitars are never far away.

Having delivered almost 25 minutes of wonderful music, the Dead Bars could have been forgiven for ending with a lesser song. Instead, they saved the best for last in the form of ‘Be Me’. With an almost acapella vocal, sung over just a bass line for a full 45 seconds, the song builds into another affirmative shout-out loud song, aided by, yes, big guitars and an anthemic, spiralling line of “goes on and on and on” which 99% of bands may have been tempted to milk and extend ad infinitum. Instead, the line and the song suddenly stops dead and ends after just over two minutes. Having the confidence not to do what others would have done and doing their own thing. Wonderful stuff.

There is so much more that I could write, but I’ve written enough for you to get the picture. Let’s just end by saying – give them a listen and the Dead Bars might just be one of the best bands you’ve not yet heard of.

GMcA

BACK TO THE BEGINNING - A FAN’S PERSPECTIVE

Mon, 07 Jul 2025 20:26:09 GMT

Nirvanher - All Female Nirvana Tribute - O'Riley's, Hull 21st June 2025

Thu, 03 Jul 2025 18:03:58 GMT

Saturday night saw an all female Nirvana tribute band called Nirvanher perform at Hull's often overlooked O'Riley's on Beverley Road. Despite it being a small crowd, they rock the room and with powerhouse lead singer, London King's, raucous attitude and strong vocals, they left a lasting impression.

London did all she could to get a small audience going and had a sassy, confident persona. Her strong stage presence was phenomenal and she demonstrated a very impressive physicality in her performance: she did backbends, rock kicks and raged around the stage with more high energy. Her raspy, sexy vocal delivery along with her dynamic stage presence demanded attention and it's evident that she has decades of experience, having performed at iconic venues, such as Whiskey A Go Go and the 100 Club, as well as the Rebellion Festival. She brought unbelievable energy to her performance and witty banter between songs.

London engaged with the other band members, who consist of Pat on bass guitar and Cristina on drums, and they clearly have a love of Nirvana and grunge. Pat's bass lines and intricate riffs provide the groove and depth that drive Nivarnher's sound whilst Cristina's versatile drumming provided a powerful rocking rhythm to Nivarnher's explosive performance.

Although they are usually accompanied by guitarist, Ezra, but she was unable to attend for personal unforeseen family issues so they have had to cancel their Bournemouth show and postpone the one in Leicester. However, you can still catch them in their rescheduled shows in London on 28th September and in Winchester on 21st February 2026. For Saturday night, they had a male guitarist fill in so they were able to fulfil their commitments but it's really unfortunate that they've been plagued with bad luck because they are a brilliant band worth watching.

They were supported by Lux Lisbon, who are an impressive up-and-coming local Hull band, who've performed in other local venues, such as Adelphi. Fronted by lead singer, Isaac, they are starting to get more gigs for good reason.

Phone photo by Julie Visgandis

GUNS N’ ROSES LONDON - WEMBLEY STADIUM THURSDAY 26TH JUNE 2025

Tue, 01 Jul 2025 12:20:45 GMT

When I mentioned to anyone that I was going to see Guns N’ Roses this year, I discovered that the standard response was “have you heard Axl’s voice lately?” and to suggest that my experience might be sub-par as a result. Someone asked if I thought Axl would turn up on time, but as it turns out, audience punctuality is more of a problem! It’s bang on 7 o’ clock, and the unmistakeable introduction to ‘Welcome to the Jungle’ is already reverberating around a less than full Wembley Stadium. It’s early, yes, but the doors have been open for three hours and there’s no way I’d risk missing this. Some songs are just so iconic, so much part of the fabric of life as a rock fan that to hear them live is nothing short of complete joy.

I’m a first timer, having put off seeing Guns N’ Roses before on the basis that I don’t really like stadium shows, but I’ve given in because I know I’ll probably never see them any other way. It’s a decision I realise very quickly is the right one. Admittedly, the sound isn’t perfect (I’ve since heard it described as ‘dogshit’!) and my gripes with stadiums remain - too much talking, too much to-ing and fro-ing as people collect drinks or nip off to the toilet, and definitely too many phones. But there is something quite wonderful about the congregation of thousands of people in one place, united in their love for a band who have remained exciting, unpredictable and relevant despite releasing relatively little music in their 30 odd years of existence.

Much of that music is aired over the course of this evening, a tour de force performance that is both sprawling and magnificent. It calls to mind the band’s Use Your Illusion albums which which have been described over the years as bloated, over-ambitious and in need of some quality control. I suspect there are some who might feel similarly about this set that spans an unwieldy three hours and fifteen minutes, but I welcome the diversity. ‘Appetite for Destruction’ is rightfully dominant, but there is time for epics like ‘Coma’ and ‘Estranged’, the crushing riff of the former contrasting nicely with the elegance that Slash’s guitar playing brings to the latter. There’s an enthusiastic run through of Velvet Revolver’s ‘Slither’ and a handful of covers both expected (‘Live and Let Die’, ‘Knockin’ on Heaven’s Door’) and unexpected, Duff McKagan taking the lead vocal for Thin Lizzy’s ‘Thunder and Lightning’. It’s frustrating to see so many heading for the stairs every time the band play something relatively new because ‘Chinese Democracy’ is probably better than you remember and recent single ‘Absurd’ snarls with punk attitude.

I would argue that much of the flack Axl receives seem unfounded; of course his voice isn’t quite the same as it used to be, but forgive him for being 63. He still has the energy and the charisma that made him a star and is seldom static, careering around the stage whilst hitting his notes, at least for the most part. And a cover of Glen Campbell’s ‘Wichita Lineman’ suggests that if he gets fed up with rock and roll, he could do a decent job as a country singer!

The crowd pleasers are all present and correct, from ‘Civil War’ to ‘November Rain’ and ‘You Could Be Mine’ to ‘Patience’, a song I hadn’t expected to make the set list. But ‘Sweet Child O’ Mine’ generates one of the biggest reactions I have ever seen, Wembley Stadium a mass of phone screens held aloft as everyone scrambles to capture this moment. Better just to soak it in and enjoy I think, and though it’s weird to admit, I’m a little emotional as the song builds to a crescendo, a band once labelled ‘the most dangerous in the world’ bringing a tear to my eyes. Don’t listen to the doubters, Guns N’ Roses have still got it.

SETLIST

Welcome to the Jungle/Bad Obsession/It’s So Easy/Chinese Democracy/Live and Let Die/Mr. Brownstone/Slither/Coma/You Could Be Mine/Hard Skool/Estranged/Reckless Life/Knockin’ On Heaven’s Door/Double Talkin’ Jive/Catcher in the Rye/Thunder and Lightning/Anything Goes/Down on the Farm/Civil War/Slash Guitar Solo/Sweet Child O’ Mine/Perhaps/Absurd/November Rain/Wichita Lineman/Patience/Rocket Queen/Dead Horse/Human Being/Nightrain/Paradise City

Phone photos by Laura DQ

AC/DC - The Pretty Reckless - Praha Letnany, Prague 26th June 2025

Sun, 29 Jun 2025 16:31:11 GMT

Like so many thousands of others, I was stoked when AC/DC announced a date at Murrayfield – a stadium show with rock legends I could literally walk to from my house. Again, like those other many thousands, I was gutted not to get a ticket. There had to be a ‘Plan B’. I found that there was, but it would involve a trip to Prague to make it happen.

I managed to secure tickets to the AC/DC gig for Prague and went about sorting planes, hotels and taxis to get us there. First up, anyone who says going abroad for this type of gig is cheaper than going at home is just plain wrong. The gig tickets were cheaper, but not by much and by the time flights and a place to sleep were added in it was certainly going to cost more that the top tickets at Murrayfield would have. But it was going to be so worth it!

So, just to make sure we made it to last Thursday’s gig on time, we left the house on Tuesday morning at 6AM and made the journey. That got us to the hotel in time to dump our bags and get out for a lunchtime beer in Prague. I’ll not bore you with a city review, safe to say it was a nice place with lots to see.

The big focus for us was Thursday. We were up and out the hotel by 11 o’clock grabbing lunch and a beer before heading over to the Praha Letnany, a disused airfield on the outskirts of the city which now serves as a venue for some pretty big gigs.

This was a Live Nation event, and if you are a lover of Live Nation, look away now.

I never feel they do much to make the concert experience easy for the fan and always look for a way to make a bit of profit. This was a cashless event, but we had to buy a chip upon which we deposited cash. The chip was cheap, about 50p, but multiply that by 62,000 and that’s a nice turn for the promotor. There was a deposit for AC/DC branded glasses, fair enough, but this could not be redeemed until after the show, so every beer bought came with an added cost. Finally, and the thing that really ripped ma knitting, was the search policy. The weather was due to be 31°C, which for this fair-haired Scot, was at least on the

warm side. My small tube of factor 50 was not allowed in – a wee bit dangerous in my view. Yup, Live Nation are not in the business of making friends.

We were keen to bag a good spot so got there at 1530 and remained in place looking forward to the support band. From our vantage point it was great to see middle aged men appearing in schoolboy outfits and flat caps in obvious homage to the two men who are now, very much, the heart of the headliners.

I last saw The Pretty Reckless at Download, I think 12 years ago and have been an on and off listen to list since. Bang on 6 o’clock they strolled on stage and started to hit us up with some banging riffs that were the start of “Death by Rock and Roll”. Just before the lyric kicked in, singer Taylor Momsen appeared from the side of the stage, took the mic and set about delivering 50 fantastic minutes of music for the many thousands who had arrived early enough to hear them. The stick outs for me were “Witches Burn” from the latest album and “Make me Wanna Die” from their first album. I really enjoyed their 50 minutes and The Pretty Reckless have been on my personal listen to list since Friday.

There can be few bigger opportunities for a rock band than having the support slot for AC/DC, I felt The Pretty Reckless grabbed their chance with both hands and really made the most of their opportunity. A fantastic start to the night.

By stadium standards, this was a mega quick turnaround. Forty minutes after the support left the stage, the lights dipped and the intro animation for the headliners came on. AC/DC were about to hit the stage.

They blasted forth with opener “If You Want Blood (You’ve Got It)”. That got the toes tapping, “Black in Black” was next up, a real crowd pleaser and “Demon Fire” from the Power Up album completed the openers.

Wee, quick grumble…put your phones away folks. Be in the moment and let others do the same. A quick photo is not something, I think, many people have an issue with, but to all the ‘fans’ who think they are making a Cecil B De Mille classic recording of a concert – you are not, you are simply being a selfish…I will let you finish the sentence.

As with all AC/DC shows, it really was a show! The Marshall stacks, the graphics and the camera work take this from being a gig into being an event.

Brian Johnston, strutted about the stage in his flat cap and sleeveless shirt. His shoulders hunched and smiling like he had just got the call to let him know he’d been given the gig in the band. Angus was in his red, velvet school buy outfit, a colour that drew the lights and the eye to this most diminutive of guitarists. The band was completed by Stevie Young, who on the rhythm takes the berth where his uncle Malcom used to play, Matt Laug was on drums and Chris Chaney kept solid rhythm on bass. These guys were as tight as any AC/DC line up.

Five songs in and the opening bars of “Thunderstruck” brought a huge roar from the crowd. Now, it's fair to say this was also the song where my own doubts crept to the front of my thoughts. No matter how hard anyone runs, time will always start to catch up and, I felt, during this song both main protagonists may have felt Father Time’s breath on their necks. Neither Brian nor Angus could quite make their notes. The crowd were there to carry them through, but the polish had dulled a little on who were always a couple of stick out performers. Time, that’s all it was, just time. These were thought that returned across the set.

But this is AC/DC and they still rock!

There are, thankfully, very few surprises in an AC/DC setlist. Fans come to hear the same bluesy rock the band have been consistently producing for the last 50 years. “Have a Drink on Me”, “Hells Bells” and, of course “Highway to Hell” are found in the meat of the show, but it was the last few that really made me smile. “Dirty Deeds Done Dirt Cheap”, “Riff Raff” and “You Shook Me All Night Long” took us to the crescendo. Then the graphic of Rosie appeared – she may not be exactly pretty or exactly small, but she got one of the biggest cheers of the night.

The main set ended with “Let There Be Rock” which included a solo from Angus, which, whilst enjoyable, perhaps overstayed it's welcome just a little.

After the shortest of breaks, “T.N.T.” and “For Those About to Rock” finished a two-and-a-half-hour trip around some of the highlights of the back catalogue belonging to one of the greatest rock and roll bands ever.

We left the stadium and went for a beer. We got talking to other fans. Like us, everyone had loved the night but thought it was a good tour and gig for the band to bow out on.

I was there with my 19 year old, Gregor. He agreed with that sentiment but was very keen to point out, that we had just seen AC/DC and they were still awesome and that he was now able to say he’d seen them, something most of his mates never would be able to say. He was right on both counts, and, judging by his smile and mine as we discussed the night, it had been a cracker.

Iron Maiden - The London Stadium June 28th, 2025

Sun, 29 Jun 2025 08:57:28 GMT

Whilst meandering towards this massive venue, I still have to take several looks to fathom just how far Iron Maiden have progressed since I first started following them. In the days of yore, I saw regular adverts for them playing London club venues such as The Ruskin Arms, The Bridgehouse, The Cart and Horses and The Marquee. The London Stadium states that it holds 80,000 for concerts. I'd say all other than a few here this evening are wearing IM shirts, too. Maiden have been at this level for some time, though it still astonishes me. The fact that they are also able to evaporate the cavernous space with their presence, (on so many levels), is utterly commendable.

This tour goes by the sobriquet of "Run for your Lives", celebrating 50 years of Maiden, and also touted as containing songs from 1980-1992. The start of the show hints at a sort-of chronological feel, with a wonderful CGI sequence taking us through the streets of the East End of London, incorporating many IM reference points along the way. Playing along to this, is the intro tape of "The Ides of March" from the "Killers" album. We then fly right into "Murders in the Rue Morgue", giving new Drummer Simon Dawson a chance to stamp his personality on proceedings immediately. His characterful style is closer to earlier Maiden drummers, Clive Burr and Doug Sampson (now with Airforce). With his arrival, the band appear to be playing songs closer to the tempo of the original recordings. Over the next three songs, we are treated to more of the Di'Anno era, namely "Wrathchild", "Killers", and "Phantom of the Opera". The sound is holding out fantastically well, just the right volume and clarity. Bruce's voice is on great form, taking no time at all to settle. He also changes his clothes/costumes more often than a West End actor.

Unusually for him, Bruce says very little during the first handful of songs. When he does, he describes this gig as a homecoming gig for Steve Harris, and in a different way, for the band themselves. As we know, Steve is a hardcore West Ham United fan. This must be a very special day for him. Not only that, this venue is also very close to where he formed the group in 1975. He delivers the goods tenfold today. Although they now have a new drummer, the IM line up hasn't really altered for half of the band's existence thus far. The three-guitar combo of Dave Murray, Janick Gers and Adrian Smith remains as strong and as awe-inspiring as ever. Such wonderful variety and seamless interplay. So many syncopated sections to cover, and all very masterfully shared out. The next part of the gig is really a "Powerslave" and "Seventh Son" section. Very welcome, as to me, those two albums are where the Dickinson line up (at that point) really hit it's stride fully. Highlights of this segment for me, are the title track of "Seventh Son", with it's Prog twists and classical leanings, and "2 Minutes to Midnight". The latter is a contender for one of the most perfectly written Rock/Metal singles ever. A stunning riff, hard-hitting lyrics, and a stirring chorus. Nothing wasted.

Everything is flying past expeditiously, and we are soon roaring into one of the fan favourites, "The Trooper". Bruce is sounding very fine on these challenging songs too, where breath control and force are required in equal measure. Very fittingly, the main part of the set wraps up with "Iron Maiden". The band trot off very modestly, though that's due to the fact we know they are returning anyway. After a few minutes only, the sound of war planes is heard, so we know it has to be "Aces High". It's interesting to hear at this point in the set, as it was so often the opening song many years ago. "Fear of the Dark" and "Wasted Years" conclude the evening. "WY" is a lovely way to end the evening, as it was initially written to convey how gruelling the touring schedule was for Maiden during the 1980's. Thankfully for them, they are now able to reduce the gigs and play in larger venues.

To analyse how rock groups can become so popular is multi-faceted; it has to be. If it wasn't a multitude of factors, then they simply couldn't be this great. Iron Maiden have always had so many constituent parts. Very driven individuals, great performers, and immense song writing. And oodles of charisma. They've also achieved it all without compromise on any level. You can add many more factors, too. With a new line-up, I'm also starting to imagine how new material might sound if they translate it to the studio. A fascinating thought. Oh, and I can't finish without mentioning Eddie, who appears strikingly in different formats throughout.

What a wonderful evening, a classic (in all senses) rock group still performing to such an distinguished level. Walking out of the Stadium, I take one last look over my shoulder. Was that really a Stadium? I'm sure it was the Cart and Horses. I really am.

Willie Nile – “The Great Yellow Light “

Sat, 28 Jun 2025 10:38:39 GMT

Somewhere between a busted jukebox in Asbury Park and the last cigarette in a Brooklyn dive, “The Great Yellow Light” crackles to life. Willie Nile returns with an album that threads punk brevity through the heart of Americana yearning. New music from Nile is always cause for celebration, but at a spry 77 (his father is 107), this latest set of electric anthems is especially remarkable. Inspired by Vincent van Gogh’s letters to his brother Theo, the album’s title reflects its glowing, emotional core. Nile is still championing the everyman, still wearing his heart on his sleeve, and these ten tracks feel both urgent and lived-in—punk lullabies penned in a 24-hour diner after reading “The Grapes of Wrath.”

The album bursts open with “Wild Wild World,” a punch of garage grit and punk vigour. It tears in like the Ramones via the Jersey Turnpike—anthemic, raw, and tightly wound. Nile’s core band returns in full force: Jimi Bones (guitar, backing vocals), Johnny Pisano (bass, backing vocals), and Jon Weber (drums), all sharpened under the seasoned hand of producer Stewart Lerman (Elvis Costello, Patti Smith, Neko Case, and more). Nile’s throaty roar is front and centre, full of grit and conviction.

It's hard to imagine many artists at Nile’s age delivering this much fire across a full-length LP. “Electrify Me” channels the energy of a debut record, not that of a seasoned veteran. Then comes “We Are, We Are”—a Springsteen-tinged anthem of hope that feels like a spiritual cousin to “Radio Nowhere.” Nile’s voice cracks at just the right moments—worn, tender, and heartbreakingly catchy.

Guest spots add texture without disrupting the album’s drive. Paul Brady joins Nile on “An Irish Goodbye,” a wistful Pogues-esque tune that mixes romance, nostalgia, and sorrow. It’s lyrical, sharp, and deeply affecting in its simplicity.

Nile’s sense of political awareness often flies under the radar, but it shines brightly here. The title track, “The Great Yellow Light,” steps back from the album’s muscular rock for a moment of graceful reflection. There’s a reverent spirit in its bones—one that situates Nile alongside Dylan, Patti Smith, Leonard Cohen, and Lou Reed as a songwriter with poetic weight. Sentimental, but never saccharine.

The second half of the record kicks off with “Tryin’ to Make a Living in the U.S.A.,” a Celtic-tinged rocker that pairs toe-tapping buoyancy with smart, self-aware lyrics about the grind of a working musician. It’s a welcome moment of levity wrapped in one of the album’s most infectious hooks.

“Fall on Me” reveals Nile’s romantic, nurturing side—an intimate pledge of support in hard times, softly delivered and quietly powerful.

On “What Colour Is Love,” he shifts musical gears once more, piano centric, Nile creates a world-weary ballad about unity, identity, and belonging. It aches with restrained grace.

Then “Wake Up America” arrives like a fist pounding on the table. Nile’s battle cry for change snarls from the speakers, all urgency and raw defiance. His call for collective action is both timely and global—urging people to shake off complacency and resist division. Steve Earle lends weight to the message, trading verses with Nile and joining him in a chorus that roars with conviction.

The album closes with “Washington’s Day,” a reimagining of The Hooters’ 1987 track. Featuring Rob Hyman and Eric Bazilian themselves, the song looks back with clarity and forward with resilience—a fitting end to a record steeped in memory and purpose.

Willie Nile has delivered one of 2025’s great albums. The Great Yellow Light is a blue-collar fever dream—part jukebox confessional, part roadside manifesto. The tracks are lean, heartfelt, and perfectly paced; when the album ends, you instinctively want to cue up side A again. It’s a record for the 99%, bursting with hope, fight, and the undiluted spirit of rock ’n’ roll. Punk urgency meets lyrical depth in a way that’s messy, magnetic, and full of soul.

BLACK SPIDERS + GURT - OLBY’S MARGATE, FRIDAY 20TH JUNE 2025

Wed, 25 Jun 2025 18:32:16 GMT

Olby’s, in Margate’s Old Town, is advertised as a soul cafe. But if you’re here this evening in search of smooth grooves and honeyed vocal performances, you’re in for a shock as hard rockers Black Spiders, with support from Gurt, come rolling through on their Sons of Beaches tour. The venue isn’t very busy (well… there’s at least 9 other people!), perhaps the result of Supergrass playing a huge show at the neighbouring Dreamland, but it’s hard to imagine there’s much crossover between their audiences. If you like Supergrass, you’ll almost certainly be horrified by Gurt, who label themselves as 100% premium British sludge, a fairly accurate description that possibly doesn’t prepare you for their vocal approach. Even when introducing the band, frontman Gareth Kelly sounds like he could do with clearing his throat. It’s intentional, of course, and his growls pair nicely with the huge, grooving riffs that are at times reminiscent of Clutch. I particularly enjoy ‘Squidgy Black Slide’, though the lyrics aren’t that easy to decipher (I’m initially convinced they’re singing about a sticky bum slide… whatever that is!). ‘Sludge Puppies’ might have a disarmingly cute title, but is about as cute as an angry Rottweiler who’s hoping to bite your face. Despite a very modest crowd, Gurt play like they mean it, and make an impression with the few of us who have bothered to show up early.

The room fills up a little bit for Black Spiders, though there’s still more space around me than I’m used to. ‘Death Comes Creepin’ gets things underway, a fast-paced rocker that is as no-nonsense as anything from the band’s catalogue. Like many of the greats (think Motörhead, AC/DC, Status Quo), Black Spiders seem to have hit on a formula that works and they’re sticking with it. Powering through sixteen songs in little more than a hour, it’s a relentless riff assault with gang-style choruses that bludgeon you into submission. Impossibly high energy throughout, it’s difficult to know where to look as the band bound around the stage and throw their best rockstar poses. With three guitarists, they make an impressive sight, sometimes lining up with bassist Adam Irwin at the front of the stage for maximum impact.

Frontman Pete Spiby is at his best on ‘Just Like a Woman’, a song that shows off his range perhaps better than any other. Taken from the band’s debut, along with ‘Stay Down’, it’s clear that their identity was established quickly and has only been cemented with the passing of the years. ‘A Rat is a Rat’ is spectacularly frantic, and ‘The Mofo Sauce’ generates a joyful, swear-fest of a singalong. I’ve had my middle finger in the air at gigs a lot recently, and so it is again tonight, Spiby insisting on us shouting ‘F*** you Black Spiders’ as has become tradition.

‘KISS Tried to Kill Me’ brings the set to a raucous, and abrupt conclusion. It’s only 9:30, but there’s no encores and no fuss. Far from feeling short-changed, I feel like I need a bit of a rest after trying to keep up with the energy displayed on stage. Supergrass might have the bigger crowd, but I’d choose to be here every time.

Phone photos by Laura DQ

Black Rain – Black Rain

Tue, 24 Jun 2025 17:51:16 GMT

In the spiralling lexicon of post-punk revivals, few debut albums summon the ghosts quite like Black Rain, the eponymous release from Sunderland’s three-piece of the same name. They enter the fray not with reinvention but with resurrection—resurrecting unease, urgency, and the taciturn swagger of throbbing basslines under sodium glare. This is music made for flickering streetlights and cracked windshields: equal parts Joy Division pallor and Stranglers’ sneer.

The album splits itself, artfully, between the embalmed sterility of studio control and the beautiful mess of stage abrasion. The five studio tracks lean into architectural minimalism with bleak elegance. ‘Inside’ opens with brooding intent, Scott Hays’ bassline coiled like a slow fuse as a cracked vocal intones with hypnotic resignation. Josh Cowey unspools panic, chanting: ‘Can’t Think, Can’t See, Can’t Breathe, Can’t Speak, Can’t Run, Can’t Hide, Can’t Feel, Can’t Find,’ before arriving at the resigned epiphany: ‘Can’t Dream of Better Times.’

More propulsive is ‘Save Me,’ the band at their most Stranglers-esque—jittery, paranoid, and threadbare. Mick Christen’s drums drive the song forward beneath a low hum of synths before Josh Cowey’s jagged guitar and droned vocals cut through with snarling desperation, pleading to be saved from himself.

The standout, for me, is ‘Satanists,’ a blistering screed of political anger. Cowey reels off a litany of societal ills—homelessness, underpaid nurses, wilful indifference—and the blood-stained hands of governments. His guitar tears through the track while Hays and Christen pound beneath it. It’s short, furious, and desperate for answers.

‘Shotgun’ marks a shift from the political to the personal, arriving on a bouncing bassline and staccato drumming. It’s a love song for a fractured romance, with Cowey repeatedly asking, ‘How did it come to this?’

A shimmer of guitar and Hays’ ominous bass lead us into ‘Fear,’ returning us to political terrain. Cowey voices disbelief at the news cycle and calls for unity—an anxious plea for survival through solidarity.

But it’s in the live material—recorded at Sunderland’s The Bunker on 23 March 2025—where the band unbutton their collars and bare their teeth.

‘Shadows Cry’ lurches toward apocalypse, dragging its bass-driven carcass through three-and-a-half minutes of warped paranoia and regret. ‘Broken Words’ haunts with the sound of betrayal and quiet desperation. Who among us wouldn’t still take back the one who lied, if it meant not being alone? It begins slowly, then breaks into a gallop of raw catharsis.

‘I Suffer Alone’ deepens the descent. Cowey’s shimmering guitar leads us in, while Christen’s drums tap a subtle, near-military cadence. The track crescendos in a wall of sound reminiscent of early Siouxsie and the Banshees—particularly ‘Placebo Effect.’

‘Dust Tubes’ prowls in on cascading guitar notes, haunting the derelict corners of city streets, where ‘hope flickers’ ‘in this forsaken place.’ In the end, it retreats into a longing for a lost time—for somewhere that once felt like home.

Make no mistake: this is a dark record. It speaks to the unease of our times, to collective fears and private insecurities. But it’s also powered by muscular musicality and defiant spirit. You can trace the lineage—Joy Division, Gang of Four, The Stranglers—but Black Rain avoid mere imitation. What they offer instead is a kind of elegant possession. They don’t mimic the past. They haunt it.

For fans of Joy Division, Gang of Four, The Stranglers, Pere Ubu, Public Image Ltd, Fugazi, Bauhaus, Magazine, and Siouxsie and the Banshees.

available from 14th July from:

BANDCAMP https://theblackrainband.bandcamp.com

INSTAGRAM https://www.instagram.com/the_black_rain_band/

SPOTIFY https://open.spotify.com/artist/0bQG0K40fWr4EaMs0seDxB?si=z7aDs4WDT5OOskeH01ZmNg

APPLE MUSIC https://music.apple.com/us/artist/black-rain/1808657118

VINYL PURCHASE https://elasticstage.com/blackrain

CASSETTE PURCHASE https://violethourtransmissions.bandcamp.com/

Black Rain play the forthcoming dates:

26/9 - FIRE STATION - SUNDERLAND

4/10 - CARPE NOCTUM - LEEDS

1/11 - SHADOW FACTORY - WHITBY GOTH FESTIVAL

Cardinal Black - Midnight At The Valencia

Tue, 24 Jun 2025 17:46:37 GMT

Three years after their debut full length album ‘January Came Close,’ blues-rock trio Cardinal Black are back with their sophomore release ‘Midnight at the Valencia.’

‘Midnight at The Valencia’ continues the path laid down on ‘January Came Close.’ Cardinal Black fill the album with carefully crafted blues-rockers, perfectly balanced by some slower more languid tracks. What is evident from the very start of ‘Midnight at The Valencia’ is how much Cardinal Black have grown in the last three years. The playing is tighter, and the songs pack a much greater punch, musically and emotionally. The choice of instruments has also widened from the traditional guitar, drums, and bass of their earlier work.

There are new tricks on show as well. Album opener ‘Ride Home’ has a pop sensibility about it that makes it an excellent choice to kick proceedings off with. There’s some lovely drum work from Adam Roberts and an atmospheric bagpipe solo from Alastair Campbell, and Finlay MacDonald. The track segues perfectly into the heavier groove of ‘Falling.’ Chris Buck comes to the fore here with some terrific guitar work that manages to deliver the feel of Pink Floyd and the great blues performers of the late sixties and early seventies like Cream, Hendrix, and Peter Green’s Fleetwood Mac. Tom Hollister’s vocals are gritty and punchy, matching the theme of the song as he searches for something that he realises was the person he left behind.

The band lean into their more soulful side on the next couple of tracks, ‘Racing Cars’ and ‘Breathe.’ ‘Racing Cars’ opens with a quiet piece on the piano before Tom Hollister’s heartfelt vocals come in. There’s more imaginative guitar work here from Chris Buck but just when you want it to stretch out and play on, it’s over, and ‘Breathe’ has begun, its emotive phrasing burning its way through the grooves. There are some powerful backing vocals laid down here and Chris Buck shines again with another of those blues-drenched guitar solos he’s becoming so good at.

That brings us to ‘Keep on Running,’ not the old Spencer Davis Group track but, perhaps, a sly nod to Steve Winwood who gave the band a helping hand in their early days. The track was dropped as the lead single from the album and a fitting choice it is too. It’s a high tempo blues rocker driven by the drum and bass pairing of Adam Roberts and Sam Williams. power their way through the track. He’s well supported by the catchy singalong backing vocals courtesy of Jade MacRae. Chris Buck provides another example of why he’s a great blues-rock guitarist and becoming very highly regarded amongst his peers. This one is going to explode in concert.

From the blues-rock of ‘Keep On Running’ we drop, via a short walk and a slammed door into the ‘live in the studio’ rootsy sound of ‘Morning Light.’ It’s a clever change of pace at the midpoint of the album and shows a more vulnerable and tender side of the band.

‘Need More Time,’ takes another turn from the blues-rock that band usually trades in. There’s a distinct whiff of Americana on display here that follows on nicely from the roots rock of ‘Morning Light.’ The band adds some lovely harmonica and organ parts that sends the track into territory you would expect to find the likes of Counting Crows, Jesse Malin, or Willie Nile inhabiting.

The band get funky on ‘Holding My Breath.’ The rhythm section of Adam Roberts and Sam Williams are pushed right up in the mix. Once more, Chris Buck proves his guitar prowess with a languid piece of guitar work, which has that Dave Gilmour/Pink Floyd vibe going again. You can almost feel Tom Hollister holding himself back on the vocals. He delivers a restrained performance to allow the backing vocals from Jade MacRae to push through and harmonise with his.

On ‘Push/Pull’ it’s not just Tom Hollister who’s holding back. This is the most intimate track on the album. Hollister’s vocals carry the song along with subtle support from the band. Chris Buck’s gently picked guitar showing another side to this talented guitarist. The emotion carries on into ‘Adeline.’ Tom Hollister’s vocals are centre stage again and he gives a wholly mesmerizing performance on this track. He’s ably supported by some melodic guitar playing from Chris Buck. The track builds with simmering intensity before it erupts in the finale.

With the end of the album approaching Cardinal Black knock the musical ball into another field. As the music takes shape we have jangly guitars, Hammond organs and more harmonica work. I can only describe this track as Dylanesque with a side order of Tom Petty. It’s a cracking track highlighting that Cardinal Black won’t be tied down or defined by one genre, much like their blues-rock peers Elles Bailey and When Rivers Meet.

Ten tracks down, with no drop off in quality amongst them, Cardinal Black, like a good poker player, have saved one final ace to drop right at the death. ‘Your Spark (Blows Me To Pieces)’ is quite simply immense. For every time I’ve played the album, I’ve played this track twice. Even though I’ve praised him throughout this review, Chris Buck still manages to blow me away here. Tom Hollister’s not far behind as he pulls the emotional strings of the song together leaving the listener drained as the track slowly fades into nothing.

The sound of the album is full of energy while maintaining a polished studio sheen, courtesy of Cyrill Camenzind who both produced and engineered the album. From the way Tom Hollister’s raw, gritty, yearning vocals hold the songs together and bring the album home in the final flourish that is ‘Your Spark (Blows Me To Pieces),’ to how Chris Buck’s expressive playing feels effortless. He plays with real feeling, each piece weaving its way through the music. The genre-spanning mix is managed skilfully, drawing listeners into each track.

It all goes into making ‘Midnight at the Valencia’ a resounding win for Cardinal Black. The lyrical depth and emotional performances and the way the recurring themes of survival, need, and looking into ourselves run through the album all contribute towards making this one of my favourite releases of 2025 so far.

On this album Cardinal Black have delivered a diverse, entertaining, and hugely listenable album. Every track takes its own path and delivers something a little bit different to the one before. This is a bold step forward from Cardinal Black and it delivers everything that a listener could want in the space of forty-five minutes. ‘Midnight at the Valencia’ isn’t simply a second album, it’s a glorious success that signposts the many paths Cardinal Black can travel in the future.

‘Midnight at the Valencia’ is available on CD, LP and on Amazon Music, Apple Music, and Spotify. It was released on the 23rd of May through Jump In Records.

Satch Vai Band - Royal Concert Hall, Glasgow 17th June 2025

Mon, 23 Jun 2025 18:22:05 GMT

Steve Vai and Joe Satriani are renowned as virtuoso guitarists, prolific in their creation of music, whilst maintaining consistent originality. They are considered the ‘the guitar player’s guitar players’ for a reason. Vai and Satch have played together many times in their G3 tours, where they have been joined by other formidable players, like Eric Johnson, John Petrucci and Yngwie Malmsteen; however, the two have never collaborated solely in a band, making this a totally unprecedented spectacle.

The two were joined by legendary musicians to complete the band, with Pete Thorn on rhythm guitar, Marco Mendoza on bass and occasional vocals, and Kenny Aronoff on drums. Pete Thorn is arguably the lesser-known musician in the lineup, at least to the non-guitar-aficionados (of which there were few). However, he is a fantastic musician and guitar player, with his own instrumental albums worth checking out. Marco Mendoza has played and recorded with huge stadium bands, notably Journey and Thin Lizzy, whilst Kenny Aronoff is essentially the go-to drummer for almost any rock band, having played on over 60 Grammy nominated recordings. The standard of musicianship couldn’t be much better.

The show opened with a short set from Ned Evett. He was clearly chosen to suit a guitarist crowd for his unique style of playing, on his unique style of guitars. The guitars he played were completely fretless, with one of them being made from pure glass, presumably very heavy. He played with an attached slide in opening tunings, in which he used Hendrix-style double stops and ornamentation over, paired with an octave pedal, giving it a bit more character. His voice was also great. Although I really love purely instrumental music (especially when the instrumentalist is so skilled) I thought the singing added lot to his set. He used a backing track for each of his songs, which (although an accompanying band would have been better) worked well. He finished off the set with a homage to Jimi Hendrix, playing ‘Are You Experienced?’.

Next was the main event. The smoke machines were rolling, the lights were dimmed, and Satch and Vai walked onto the stage and began playing ‘I Wanna Play my Guitar’. This was one of the few tunes in which there was singing, which Marco Mendoza did a great job with. However, all the attention was directed at Satch and Vai, ensured by the two spotlights. This was one of the two songs written specifically for the band, the other being ‘Sea of Emotion’ which followed thereafter.

It was a total tour de force of electric guitar playing, with guitar harmonies and unisons balancing perfectly off each other. My only critique of when the two played together was that Joe Satriani was far louder than Steve Vai – I’m not sure if this was because of the area we were sitting in, but I struggled to hear Vai at some points. Pete Thorn, being on the other side of the stage was even harder to hear, which was a shame, especially during his handful of solos. However, when Vai was playing his own music, I could hear him just fine, which was what was important.

After they played their opening songs together, Satch left the stage, to leave Steve to play the songs ‘Zeus in Chains’, making use of a seven string, and ‘Little Pretty’ with a flamboyant hollow body Gretsch guitar – a shift from his usual style, but one which suited the music, with its more jazzy chordal ideas.

Satch then returned to stage where they combined Satriani’s ‘Ice 9’ and Vai’s ‘The Crying Machine’ turning these two solo pieces of music into one unified duo. Vai departed from stage and left Satch to play ‘Flying in a Blue Dream’ and ‘Surfing with the Alien’. It was flawless. Vai returned to the stage once more during Satriani’s third solo song ‘Sahara’, in which they played together again. Satriani left stage again to let Steve play ‘Tender Surrender’. This is one of my favourite Vai songs, and one of his best-known ones, containing maybe the best guitar lick ever written (skip to 2:26 on the recording and you’ll hear it). It was amazing to hear this played live. Next Steve played ‘Teeth of the Hydra’, with his custom Hydra guitar. This is a three necked guitar, including a bass neck (with a fretless E and A string), a standard neck, and another standard neck, half of which is fretless. There is also a harp attached to it. It is admittedly a bit over the top. However, Steve Vai, despite this pretentiousness, can really play it. The skill it takes to play what is essentially a new instrument like that and make it sound good demonstrates his ability.

Satch finished his solo stuff just after, ending with ‘Satch Boogie’ and ‘If I could Fly’, my favourite Satch tune. Steve then began playing ‘For the Love of God’, with Satch playing rhythm and harmony alongside. The climax of the tune had me in tears. If anyone says that you can’t play emotionally whilst shredding a million notes per second, I’d play them this track.

Finally, ‘Always with Me, Always with You’ was played to end the set. I was in a state of awe as the show ended. It was one of the best live experiences I’ve had. The two came on for an encore, where they started playing lines on the guitar, which the crowd chanted back (until they became way too hard to sing). This was followed by Metallica’s ‘Enter Sandman’ and then ‘Born to be Wild’, giving Mendoza a chance to return on vocals for a rocky end to the night.

Despite the volume of Satch somewhat overbearing Steve’s at some points during the night, the show was extraordinary, and it was surreal to see two illustrious guitarists, whose masterclasses and online interviews and lessons I have watched repeatedly, stand and play, and clearly enjoy it so much.

The Punk All Dayer - Bellahouston Park, Glasgow 21st June 2025

Mon, 23 Jun 2025 14:03:18 GMT

Saturday was a day I’d been looking forward to for a while, a day out in Glasgow listening to some classic punk bands, having a beer and catching up my old mate Andy.

The sun was shining as I left the house for the train station, and I jumped on the 1045 to Glasgow. The station had a great feel to it on Saturday morning, the Edinburgh Pride March was on in the city and there were lots of colourfully dressed marchers getting off the trains that were arriving in the Capital. This contracted massively with the elderly, black t-shirted punks who were heading for Platform 4 en route to Glasgow.

Yeah, the days of reeking mayhem on the way to punk shows was over, I was surrounded by guys in punk shirts drinking coffee and reading the Scotsman!

Once I arrived and met Andy, we headed to Bellahouston. To be honest, the organisation at this end of the day wasn’t great. Too few stewards and too far to walk to get into the one gate that was open. However, we made it. We had splashed for the VIP tickets and got sorted with a wristband for that wee village and headed in for a quick beer before the first band.

We had no sooner grabbed our £7.30 pint when the rain came on. We got a bit of shelter but, the fear came over me that the day was going to end up being a muddy one. After 10 minutes or so, the heavens shut over and the sun popped out. Time for some music…

We had some flying saucer rock to kick us off, The Rezillos. Being first band on is always a big ask, particularly in the rain, but The Rezillos carried it off. Their sound was great, they looked fantastic and they managed to fill the stadium size stage to it's brim. The hits were all there; “Top of the Pops”, “Somebody’s Gonna Get Their Head Kicked in Tonight” and “Teenbeat” did it for me and “I Can’t Stand My Baby” finished a great set of. The day started well.

Quick beer and it was time for The Skids. Like all of Saturdays bands, The Skids have seen many line-up changes since their first release sent them on their way. Richard Jobson remains the only original left in this gathering of black clad gunslingers. His energy and enthusiasm for what he does sticks out a mile; like so many in the crowd Jobson is evidently happy just to be here. Also, in common with so many in the crowd, he has lost some fellow travellers along the way and knows their legacies are to be celebrated. Acknowledging that was a nice touch. “Circus Games”, “Masquerade” and “Into the Valley” keep the gathering crowd on their toes throughout a packed set.

Buzzcocks hasbeen on a journey. Steve Diggle is now truly at the helm and, like Jobson before him, he leads a band of youngsters who breath new life into old songs. This was a Ramones style set where song after song was blasted out with no time to breath in between. Diggle and Co put a power and an energy into their set that belied the years. Again, they knew they were there to play the hits and didn’t disappoint. “What Do I Get”, “Orgasm Addict” and “Ever Fallen in Love” all made me smile and all made me think of Pete Shelley.

We decided it was time to grab a quick bite to eat so off we popped to the VIP Village. Now, this cost us an extra £20 and I think it was worth it. Us punks are getting old and the ability to find a loo without a queue close to the action was a benefit for many. Bar queues were, generally, shorter and the food came out fast and hot from the various vendors. There was a good amount of seats but very little cover when the rain came. The biggest bonus was access to the front section of the venue, this got us a good bit closer to the stage and it was not mobbed either. I thought it was money well spent, and I’ll do the same next time I am at Bellahouston.

After a burger we went to see the band, I was most looking forward to – The Undertones. I was not disappointed. The great thing about short songs is that it's possible to ram a ton of them into a set list. The Undertones managed 23 in their allotted time. Kicking off with “Jimmy Jimmy” and ending with “My Perfect Cousin” pretty much everything else they could have played they did. At one point they were told they were going too fast and had to stick in an extra to bulk their time! This is a band that relies on the quality of their songs over any one personality and these songs certainly stand out. The musical depth of “When Saturday Comes” contrasts with the shallowness of “Male Model” and “You Got My Number” remains, in my view the finest riff in punk music. This was an hour I massively enjoyed.

The only thing every guaranteed in a Stranglers setlist is “Waltzinblack” being pumped though the PA as the band take the stage. Their 50+ years of making consistently good music has left The Stranglers a back catalogue others can only dream off. They are also not afraid to use it, mix it up and surprise their audiences. The first chords were struck, and we were back in 1978 as “Toiler on the Sea” opened up a set of Stranglers crowd pleasers. The next hour or so brought smiles to so many faces, many of whom were wearing Stranglers t-shirts of various designs, vintages and trips through the washing machine. Who doesn’t love a blast of “5 Minutes”, “Duchess” and the big hit “Golden Brown”. Their time with us ended with “No More Heroes”, with a nod to the recently departed Brian Wilson.

Now, much has been said about this particular Sex Pistols reunion. I have reached the age I was on Saturday without ever seeing the Pistols, so I was happy just to have that opportunity and make my own mind up. Frankly, my mind was made up by the first chorus of the opener “Holiday in the Sun”…awesome! I’ve always liked Frank Carter and felt he was just right for this gig. He managed the bridge between respecting the songs, putting his own spin on them and delivering a concert with punk legends pretty well in my view. Like the other three on stage, Frank looked like he was loving it.

This was a night for Never Mind the Bollocks and all eleven tracks from the original release were on Saturday’s set list. As the summer sun dipped, the luminous yellow backdrop of the stage paid it's own homage to the album’s cover and it's colours.

The night ended with “Anarchy in the UK”; after that the lights came on and the March of the Penguins began as many thousand knackered punks made their way back toward the city. My hips were giving me gip, and Andy’s back had gone but we managed to limp to the taxi and back to the hotel.

After a nights rest our shattered bodies made it to the railway station. The punks of the day before were once again on the train and drinking coffee whilst reading the Sunday broadsheets. As Andy said, ‘punks not dead – it’s just better read’!

The day was everything I’d hoped it would be. As the years go on bands will, inevitably, dwindle, until then, it’d be good to see more of these jamborees, punk is certainly not dead not while we live!

Phil Campbell & the Bastard Sons + Black Roze - The Booking Hall, Dover Friday 13th June 2025

Wed, 18 Jun 2025 18:41:11 GMT

Friday 13th has a notoriously bad reputation which proved appropriate in Dover last week, as the town was absolutely battered by a storm that left homes flooded and cars drenched. Those of us in the Booking Hall were blissfully unaware until we left the venue, the sound of any rain or thunder utterly obliterated by Phil Campbell and the Bastard Sons, a band who don’t deal in subtlety. Instead, these Bastards favour uncompromising, no-nonsense hard rock played at ear bleeding volume (and that’s with earplugs in!). Campbell Senior has never tried to distance this project from what came before, his Motörhead heritage still proudly front and centre, even on tours like this, where the band play a good chunk of their original material too.

It must be a challenge to join a band made up of family, but it seems that frontman Joel Peters has successfully injected new energy since taking on vocal duties in 2022. A towering hulk of a man who looks the part with his tattooed arms, monster beard and dark glasses, he’s certainly a presence and engages well with the crowd, encouraging one particularly “noisy c**t” (his words, not mine!) to shout as loud as possible before the band will play their next song - the ensuing bellow is something to behold! And when we’re told to raise our middle fingers and shout “f**k you Tyla Campbell” at the bassist, we don’t question why, just obey.

It’s that kind of show; loud, sweaty, sweary and soundtracked by a band who are as tight as you would expect from men who have spent their lives together. Unsurprisingly, Motörhead is in their DNA, from the frantic, almost punk like energy of ‘Hammer and Dance’ to the slow menace of ‘Dark Days’. If it’s frustrating that the Motörhead numbers still elicit a bigger reaction, you’d never know; there’s a sense that these lads enjoy playing them as much as we enjoy hearing them. And really it’s hard to notice a separation as the adrenaline blast of ‘Going to Brazil’ and anthemic ‘Born to Raise Hell’ slot in between the band’s own ‘Step into the Fire’ and Phil’s ‘Straight Up’, a song written with Rob Halford that feels befitting of the Metal God.

Dispensing ‘Ace of Spades’ as early as they do seems bold, a song stitched into the very fabric of hard rock history and sung so loudly we threaten to drown out the band (well… maybe not quite!). But, as Lemmy was keen to remind us in his lifetime, Motörhead did have some other pretty good songs too, a few of which find their place in the encores. A thundering ‘Overkill’ is as relentless as ever, a showcase for Dane Campbell’s drumming and the perfect finale to a set that is both thrilling and relatively brief, a full throttle assault that barely pauses for breath.

It says much for Black Roze that the venue is already pretty packed out in time for their support slot. A band who have built a reputation locally as one of Kent’s most reliably hard rocking acts, front-woman Viixen is their trump card, a captivating point of focus who gives her all to every performance. Tonight is no different, her snarling vocal at turns powerful and abrasive. Guitarist Baz is an equally dynamic performer, fulfilling the role of guitar hero with impressive solos that delight this adoring crowd. Theirs is a sound that feels influenced by the NWOBHM (complete with lovely galloping bass courtesy of Steve Rankin), albeit with a sleazy edge. This group recognises the importance of a great hook, ‘Give Yourself to Me’ boasting a memorable riff and the kind of chorus that I’m still trying to shift from my head several days later. New single ‘Afterparty’ brings the set to a raucous close, an appropriately joyful celebration of the hedonism synonymous with heavy music. But it’s the lyrics to ‘Kix’ that perhaps sum the band up best, a group who truly seem to get their kicks from rock and roll.

Photos by Matt H Band Photography

Bruce Springsteen and the E Street Band - Anfield, Liverpool 7 June 2025

Sat, 14 Jun 2025 20:02:59 GMT

Having had their last tour in 2023 and 2024 dubbed “the greatest show on earth” by Billboard - an accolade which was entirely deserved - anticipation was very high when Bruce Springsteen and the E Street Band confirmed a small number of U.K. dates for 2025 as part of their latest tour, a tour which had the makings to be quite different.

As their first tour after the pandemic, the 2023 tour started in the US with arena gigs before coming over to Europe to play larger stadium gigs and then returning to the States, but such was the demand to see the band live the tour was extended and went out on a second leg in 2024 starting again in the States, before again going around Europe and back to the States and Canada – racking up 115 shows along the way.

In marked contrast, the 2025 tour is much shorter – a mere 16 dates – and all in Europe. The latest tour, the ‘Land of Hope & Dreams Tour’, hadn’t been planned. Playing the number of gigs that they did in 2023 and 2024 would have taken its toll on any band, of any age, and after playing for 3 hours in horizontal rain at the Stadium of Light in Sunderland in May of last year, Bruce got sick and the band had to cancel 4 shows in Marseilles, Prague and Milan. Honouring their commitment to fans, the gigs were quickly rearranged for this summer and to make it worthwhile to come back to Europe, 12 other dates were added to these dates in cities which they hadn’t played before.

With three nights at the Co-op Live Arena in Manchester and two nights at Anfield in Liverpool being the only gigs in the four UK home countries and Ireland, demand for tickets was going to be very high, and it was, with tickets even harder to get than in their last two visits here. And for Liverpool, this was always going to be something special. Bruce and most of the original E Street Band members are massive fans of The Beatles. Bruce is on record as having said that hearing The Beatles playing “I Want To Hold Your Hand” on the radio for the first time had changed his life and it was this song which inspired him to be in a band and play rock’n’roll. Similarly, Stevie Van Zandt wrote in his autobiography, ‘Unrequited Infatuations’, about the impact that The Beatles had after appearing on the Ed Sullivan show, “The Beatles changed the world literally overnight. There were no bands in America on February 8, 1964. There was one in every garage on February 10”. The other members of the band all have their own stories to tell. While Stevie had visited Liverpool, played at The Cavern Club and recorded a live album there with his Disciples of Soul in 2021, the E Street Band themselves had never played Liverpool before. And for fans of The Beatles and the E Street Band, there was the tantalising likelihood that Paul McCartney may make another appearance after his earlier appearance on stage with the E Street Band at Hard Rock Calling in 2012 when the organisers infamously pulled out the plug mid-song to comply with the curfew.

So, against this background, and as a lifelong fan of the E Street Band who first saw them live in 1988, I managed to get some tickets to see them on their second night in Liverpool (Yaaaaaahhhh Beauty!!!!!, as we say in Scotland) and it was game, or gig, on.

After a challenging week leading up to the gig in which it felt like the Gods of Gigs were against us, including the death of our much-loved 12 year old German Shepherd, the stomach bug from hell (I’ll spare you the details, but let’s just say I was probably responsible for shortages of Imodium across Scotland) and then a tyre blowing out on the morning of the gig, we arrived at our hotel in Liverpool just before 5.00pm. After only having time to dump our bags, we headed over to Liverpool One to catch one of the shuttle buses along with hundreds of other fans. Everywhere I looked there were fans converging on the bus station. Liverpool had become New Jersey. No taxis anywhere and the only thing to do was join the good-natured queue as it snaked around the block.

Approaching Anfield, the world-famous ground of Liverpool Football Club, the driver recognised time was against us, did the right thing and dropped us all as close to the ground as he could instead of going to the designated stop. Security cleared, we made our way on to the pitch via the gap in the corner between The Kop and the Main Stand at 7.25pm, a mere 5 minutes before the band were due on – a very different experience to my normal gig going where I would have been there a couple of hours before showtime to soak up the atmosphere. The positive side to this was there was no need to wait for the atmosphere to build. It was instantly electric, tingling on your face (it might even have caused the hair on top of my head to stand on end … that is, if I had any) and approaching fever pitch. Fortunately, we didn’t have to worry about grabbing a beer, as, in a new gig development for me, hospitality staff wearing large back packs, with flags above their heads indicating ‘beer’ or ‘cider’ appeared alongside us and enabled us to buy a couple of (plastic) bottles of beer before the gig started.

Looking at the stage, the set-up was familiar, with a stars and stripes flag fluttering in the wind above the stand to the right of the stage, with a Union Jack and Liverpool FC flag to the left. Before I could process much more, cheers went up as the E Street Band made their way on stage at 7.30pm prompt. As usual, no big entrance or fanfare, just coming up the stairs at the back of the stage, waving to the crowd, making their way to their positions and wishing each other good luck. Bringing up the rear was Bruce who also smiled, waved and strapped on his Telecaster before saying -

“Hello Liverpool, we’re so glad to be here, as without this town there would no E Street Band, let me tell you … and the mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock’n’roll in dangerous times. The America that I love, the America that I’ve sung to you about for so long, that’s been a beacon of hope and liberty for 250 years is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight, we ask all of those of you who believe in democracy and the best of our experiment to rise with us, raise your voices, stand with us against authoritarianism and let freedom reign”.

With the crowd still roaring in agreement with and applauding his introduction, Bruce started singing “I hear the sound of your guitars” and launched into ‘Ghosts’. And like that, the gig had started. Not your usual start to a gig, but this was to prove to be no ordinary gig … and for those who might think this sounded like a political rally, get over yourselves – it wasn’t, but it was an exceptional night of music.

‘Land of Hope and Dreams’ swiftly followed, segueing gently into Curtis Mayfield’s ‘People Get Ready’ (a song written about Martin Luther King Jr’s civil rights march on Washington), followed by the Celtic stomp of ‘Death to My Hometown’ and the fan-favourite ‘Seeds’ which has been played live off and on for years, but not received a studio release. After this opening salvo of songs was played, it was pretty obvious that the set had been constructed carefully by Bruce to tell the story which he wanted to be told – that of America as a land of hope, opportunity and dreams, but also of division and hatred. And for those of you who have read about the statements which he is making between some songs on this tour, and the Presidential response which he received on social media including being told to “keep his mouth shut”, he responded in the only way he could by releasing the ‘Land of Hope and Dreams’ download EP containing 4 songs and his spoken introductions about what is happening in the States recorded in Manchester last month and which promptly went to Number 1 on iTunes. He also continues to repeat his views at every gig.

‘Lonesome Day’ followed along with the hugely well-received ‘Rainmaker’ (a more recent song from ‘Letter to You’ (2020) about snake oil salesmen or politicians who come in when things are bad, inflame the situation, promise the world and don’t deliver) … dedicated to “our dear leader”.

Time for a few classics – ‘Darkness on the Edge of Town’, ‘The Promised Land’ and ‘Hungry Heart’ (yes, the crowd sang the full first verse before Bruce started singing, but they didn’t stop there and just kept going … as Bruce did in the song). At this point, I should say that I am not religious at all, but looking around me, everywhere I looked I could only see fans from many different countries singing their hearts out and beaming with happiness. For those who have seen the E Street Band ‘live’ and experienced this for themselves, it’s not surprising that so many have likened this to an old-style revival meeting. The experience is communal, intense, uplifting and possibly the closest I may come to a religious experience.

Taking things down a little, ‘My Hometown’ and then, much to my delight (having not heard it on either of the gigs which I attended on the 2023 tour) the epic ‘The River’ followed. Continuing the thematic story which he was building, ‘Youngstown’ came next, but far removed from its original acoustic form on the Woody Guthrie-influenced ‘The Ghost of Tom Joad’ album, complete with an incendiary guitar solo from Nils Lofgren. Having been sadly tracking their evolving setlist from each gig on setlist.fm, I had been really hoping that the next song would make the cut and be played … it did, and was … ‘Murder Incorporated’, an outtake from the Born in the USA sessions, which many of us managed to track down on bootleg before it was released on his first Greatest Hits album. This is very much a big guitar song and it was great to see Stevie taking the limelight.

And as we approached what would be the mid-point of the gig, Bruce took the pace and sound down again, expertly acting as band leader and orchestrating all and everyone around him. ‘Long Walk Home’ was introduced with the, by now expected, simple spoken introduction of “This is a prayer for my country”, before Bruce gave the rest of the band a break (yes, at 75 years old – giving everyone else a break) while playing ‘House of a Thousand Guitars’ on acoustic guitar.

Still gently strumming, Bruce took another moment to speak directly to the crowd. In introducing the next song ‘My City of Ruins’, he spoke articulately and powerfully about how troubled he was by what is currently happening in his home country with people being lifted off the street by unmarked, armed individuals for no reason, historic civil rights legislation being rolled back, educational institutions who didn’t agree with the government being de-funded and of his hope and belief that these troubled times would pass and that America would recover from the dark place in which it is now. I’ll not repeat the full script here, but it is available online or on the downloadable EP from iTunes and worth reading.

Lifting the tempo of the gig again, the band then launched into a pre-encore, breathless and exhilarating run of ‘Because the Night’ (the Bruce Springsteen song which almost everyone knows, but which he didn’t release, instead gifting it to Patti Smith), with Nils once again stealing the show with his fretwork while whirling around the stage; the always-defiant ‘Wrecking Ball’; the soul-lifting ‘The Rising’ which will forever be associated with New York healing after 9/11; ‘Badlands’ (which has become one of the greatest examples of crowd-inspired participation, as waves of “whoa-oh-oh-oah-ohs” roll across the stadium engulfing the band, back again and up and away into the night; and possibly my favourite Springsteen song (I grapple with this placing responsibility regularly), ‘Thunder Road’ … and its “sways”, it always was and always will be … none of your “waves” crap here. Just, no. IYKYK.

After what had felt like an emotional rollercoaster of a set, the band put down their instruments, made their way to the front of the stage, lined up and soaked up the applause rolling it’s way across the Liverpool night. But, they knew … and we knew … this encore business is just part of the theatre and expectation. Returning to the stage, and watching him close-up on the big screens, Bruce appeared to have an added twinkle in his eye and proceeded to introduce a “local Liverpool boy”. As sure as night turns to day, and Saturday rolls into Sunday, the much-expected happened - probably made even more expected by local news stories appearing on the day of the gig reporting that Bruce and Paul McCartney had made a private visit to the Liverpool Institute of Performing Arts the day before where Bruce had given a lecture and Paul McCartney had presented an award to students. Yes, Paul McCartney strode on to the stage with his bass guitar. However, instead of playing ‘Twist & Shout’ together, as I had expected, Bruce and the E Street band took a step back and became his house band, as Paul sang ‘Can’t Buy Me Love’ and a song unknown to me which I had to check out later – a Beatles’ cover of ‘Kansas City’. Being honest, I’m not a huge fan of The Beatles, but the sheer joy and happiness of the band playing with one of their childhood idols was evident to see and very special. With the cheers ringing in his ears, Paul left the stage to allow the E Street Band to get down to business and deliver the encore which they deserved.

You want big songs? How about, ‘Born in the USA’, ‘Born to Run’, ‘Glory Days’, ‘Dancing in the Dark’ (one of the few songs I didn’t hear the beginning of as the wind moved the sound around the ground), ‘Tenth Avenue Freeze-out’ (complete with the band continuing to project images of Clarence Clemons and Danny Federici above them on stage long after their deaths in 2011 and 2008 respectively … once members of the E Street Band, always members of the E Street Band) and their gloriously goofy ‘Twist & Shout’.

As has become customary, the band return to the front of the stage, take a bow and Bruce hugs or shakes hands with every member of the now extended E Street Band and thanks them before they leave the stage. Every one played their part and was a master or mistress of their art – Bruce (vocals and guitar), Stevie Van Zandt (guitar), Nils Lofgren (guitar), Garry Tallent (bass), ‘Mighty’ Max Weinberg (drums), ‘Professor’ Roy Bittan (piano), Jake Clemons (saxophone), Charlie Giordano (keyboards), Suzie Tyrell (guitar and backing vocals), Anthony Almonte (percussion), the ‘Miami Horns’ – Ed Manion (tenor and baritone sax), Ozzie Melendez (trombone), Curt Ramm (trumpet), Barry Danielian (trumpet), and Curtis King Jr, Lisa Lowell, Michelle Moore and Ade Dyer on backing vocals.

Bruce takes the long walk to the front of the stage for one last time and ends the gig with his acoustic cover of Bob Dylan’s ‘Chimes of Freedom’ which he played on Amnesty International’s ‘Human Rights Now’ tour with Sting, Peter Gabriel, Tracy Chapman and Youssou N’Dour and released a live version in the late ‘80’s.

With that, the gig was over.

At 30 songs and almost 3 hours, tonight was the longest night of the tour so far. One week on, while writing this, I am still processing what I saw, heard, experienced and was part of – an incredible night of music, singing, dancing, hope, optimism and defiance … something we all need at a time when the world is becoming scarier by the day.

For those who think you shouldn’t mix music with politics, no-one is forcing you to listen and if an artist can use their platform for good and has the integrity to do so, we should all be supporting them to do so. It’s not as though this is a new development for Bruce - only those who haven’t listened to the lyrics of ‘Born in the USA’ would think it is patriotic or flag-waving and without recognising it as a condemnation of how America abandoned and treated their Vietnam veterans; he gave a large donation to the families of striking miners in Sunderland when touring in the ‘80’s and fans were also encouraged to take food to gigs as collection points to help others long before Taylor Swift was even born, although full credit to her for making large donations to food banks in every area in which she played on her Eras tour; or, how about calling out police brutality on ‘41 Shots’, his song based on the number of bullets fired by police officers at an unarmed black student in New York in 1999 who was shot dead, and then playing it live in New York night after night after having been told not to by the mayor? Or Stevie who left the E Street Band just before the Born in the USA tour, and missed out on a massive pay check, to concentrate on his solo music while becoming politically active, conceiving ‘Artists Against Apartheid’, putting together ‘Sun City’ and playing a key role in the boycott on playing Sun City and ending apartheid in South Africa. As a music fan, I would take artists with a conscience any day.

As a reviewer, I like writing and words. But words are inadequate to describe just how good the E Street Band are live. On paper, they defy logic and belief - Bruce, Roy and Garry are 75, Stevie and Max 74 and Nils 73. When I saw them in 2023, it was bittersweet, as I genuinely thought that was their last tour. Fast forward two years, they show no signs of stopping and Bruce has said they’ll keep playing until they can’t and the wheels come off. Who knows if this is the last time I will see them playing live. If it is, I’m not sad. I’m just so happy to have seen them a number of times over the years.

And as for Billboard, on the basis of their continuing form you’re going to have to revise your description to “the greatest ‘live’ rock’n’roll band … ever”. If you don’t believe me, I’ll leave you with the words of one of our readers who commented on my check-in post for the gig – “He won’t see a better band”. Steve – you’re not wrong there.

'Volbeat': God Of Angels Trust - Label: Vertigo Records, Republic Records, Universal Records Release Date: 6th June 2025

Wed, 11 Jun 2025 18:45:53 GMT

Denmark’s 'Volbeat' are once again giving us a delightful new album to wet the appetite ahead of their UK tour later in the year.

‘God Of Angels Trust’ is their 9th album, featuring 10 tracks of pure full on 'Volbeat'.

Opening up with ‘Devils are Awake’ big guitar riffs, powerful vocals from Michael Poulsen collectively form what we’ve grown to know and love from ‘Volbeat', sets the tone smack right in front of you for what will follow.

The single released ahead of the album ‘By a Monster’s Hand’ is next up, pure rock n roll, big stop/start guitar solo starts about half way in. Important to note, that this album is the first released by the band since the departure of renowned guitar player Rob Caggiano, for me the transition is seamless.

‘Acid rain’ is one of my favourite tracks on the album, doesn’t have the out and out power rock of most of the other tracks, but showcases Michael’s vocal clarity with a melodic rock twist throughout.

For me their best release prior to this album was ‘Seal The Deal & Lets Boogie’ from 2016, so many great tracks that echoed and consolidated their unique style and tone to the listening public. ‘God Of Angels Trust’ is so far, in my view, shaping up to be on a par with ‘Seal…’

Back to the characteristic riff laden power with ‘Demonic Depression’, there’s sometimes a dark side to their lyric writing, but always tempered with some inner thoughts on life's struggles, great track with some of the best guitar work on the album.

‘In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom’, might be the longest song title I’ve seen in a long while, but quality track. Opening salvo of Jim Morrision-esque atmospheric vocals then explodes into full guitar onslaught as per ‘Volbeat'.

’Time Will Heal’ will slow you right down, not anyway as heavy as the previous tracks. It's melodic, upbeat and lets the band show you what they can turn their hand to successfully.

OK respite over, back into the big chords with ’Better Be Fueled than Tamed’, fast rocker will be quality live, heads down and go with the flow.

‘At the End of the Sirens’ has the style which depicts the ‘Volbeat’ way of rock. Powerful riffs, steady rhythm section, crystal clear vocals and awesome lyrics.

‘Lonely Fields’ is the closest you’ll get to a rock ballad, but still with the powerful way these guys operate. Slows you down write in the middle with some pretty haunting tones, but lifts you back up through to the close.

The final track ‘Enlighten the Disorder (By a Monsters Hand pt2) reprises track 2, its dynamic, stylish with top quality musicianship, perfectly brings to a conclusion this album.

This is a great album one of the picks of the year so far for me. Favourite song choices are ‘Acid Rain’, ‘Demonic Depression’, ‘Better Be Fueled than Tamed’’ and ‘At the End of the Sirens’.

As a release in terms of ‘Volbeat’ quality this is on a par with ‘Seal…’ for me, if you’ve not heard ‘'Volbeat'’ before check them out , just work through their albums from start of business until this one, believe me, you won’t be disappointed.

Bring on the tour.

Francis Rossi - An Evening of Francis Rossi’s Songs From the Status Quo Songbook & More… Leas Cliff Hall, Folkestone Tuesday 3rd June 2025

Tue, 10 Jun 2025 19:27:05 GMT

Francis Rossi has only been on stage for about 15 minutes, but he reckons he’s already over-running. This is nothing new for a man who loves to talk, and is now some way into his third tour of this style. Though the focus has shifted a little from stories to songs this time around, that doesn’t stop Rossi chatting about everything from the perils of an ageing prostate, to smoking weed with Noel Redding and cutting off his ponytail. He’s a natural raconteur, giving the illusion that he’s in conversation with you, perhaps in your living room, as he laments the lack of water on stage or coughs while spraying echinacea onto his throat.

In contrast, the man occupying the second chair on stage is quiet and unassuming, barely uttering a word until he poses questions to Rossi from the audience in the second half. But perhaps that’s why talented producer and engineer Andy Brook is the perfect foil, though I suspect his lovely harmony vocals and guitar playing might also have something to do with it. There’s a pleasing sense of friendship between the two men; a warmth in the exchange of glances that allow them to communicate without speaking and the easy laughter that punctuates their interactions.

As with all of Francis Rossi’s recent ‘solo’ tours, this is a relaxed and seated affair, with Quo songs stripped back to basics and generally faring very well in this format. From ‘Pictures of Matchstick Men’ via ‘In My Chair’, ‘Gerundula’ and ‘Claudie’, it’s a thoroughly enjoyable cross-section of a 60 year career that suggests the Quo catalogue might be more diverse than the naysayers would have you believe.

Rossi jokes that unlike many of his contemporaries, he doesn’t have to worry about losing his voice because he never really had one to begin with. I suspect that most of this audience would disagree, and might argue that Rossi is actually quite underrated as a singer. His distinctive voice is as good as it ever was, carrying ‘Wild Side of Life’ and ‘Don’t Waste My Time’ with ease.

As ‘Burning Bridges’ starts, I feel sure that Rossi is wrong in his assumption that none of us really know the words to the chorus and will be forced to make up our own gibberish. But once we get past ‘on and off and on again’, I realise he’s totally right! It’s these moments of humour that make Rossi so endearing; an ability to laugh (and sometimes snort!) at himself is irresistible.

Rossi promises some deeper cuts in the second half and delivers several, a refreshing shakeup from the setlist staples that are pretty much guaranteed. As someone who discovered Quo somewhere around ‘In Search of the Fourth Chord’, it’s lovely to hear the gentle ‘Tongue Tied’, a song that Rossi says he thought would resonate more with Quo fans than it ultimately did. ‘Someone Show Me Home’ and ‘20 Wild Horses’ also appease the die-hards, before the set gets into very familiar territory, ‘Roll Over Lay Down’, ‘Rockin’ All Over the World’, ‘In the Army Now’ and ‘Down Down’ proving themselves as indispensable crowd pleasers.

The evening concludes where a Quo set normally begins, ‘Caroline’ encouraging us to our feet whilst Rossi also stalks the stage, coaxing our best Marc Bolan impressions from us as we sing along to the riff (if you know, you know!). It’s probably about half an hour after the published finished time but we ain’t complaining - it’s a joy to see Francis keeping the music of Status Quo alive.

The tour continues in September of this year, don’t miss it.

New Era Ignites as Pyroclast Announce Debut Single and Rebrand Release

Sat, 07 Jun 2025 12:57:20 GMT

After closing the chapter on their former name Tantrum, UK metal band Pyroclast are set to officially ignite their new identity with the release of their self-titled debut single “Pyroclast” on Monday 30th June. For fans who’ve followed the band’s evolution over the past year, the new track marks not just a fresh start but a statement of purpose: heavier, sharper, and forged in the fire of a newly focused creative direction.

The decision to change names wasn’t made lightly — and certainly not as a rebrand for the sake of it. “The band we once were no longer existed,” says vocalist Mark Reid. “In terms of personnel, attitude, and genre, everything had changed. Before, there were rules — defined boundaries for what a song could be. That went out the window with No Place for the Damned, and with the new material we’re working on now, there are no rules left at all.”

Maiden Eruption: “Pyroclast”

Written by guitarist Baz Fitzsimmons — music and lyrics — the new single is a sharp distillation of the band’s raw force and new-found cohesion. Anthemic in structure, “Pyroclast” was designed from the start to be a rallying cry — both for the band and their fans.

“I wanted something that felt like it was the band,” Baz explains. “Not just in name, but in tone — a powerful, direct song that people could latch on to, especially live. It’s still melodic, still musical, but there’s a frenetic energy to it — relentless from start to finish — and definitely more weight behind it than anything we’ve released before.”

Guitarist Chris Horne reinforces this, “‘Pyroclast’ perfectly encapsulates the explosive, high energy for the hard-hitting introduction of our new name. With a chorus that will scuttle its way through the cracks of your skull, and riffs that'll bring your gran to the mosh, we knew this had to be our first single. This ripping anthem does not hold back. It’s here to stay. This is Pyroclast.”

Originally, the band had planned to lead with a different track — “Prisoner Game”, a thematically dark, riff-heavy song in the vein of “The Darkest of Times”, the lead single from their previous album. But after stepping back, they felt Pyroclast was a stronger introduction to what the new chapter truly represents — a controlled eruption, volatile but deliberate.

“It made sense to hold that one back,” Mark adds. “We didn’t want to give the impression we were doing more of the same. “Pyroclast” is heavier, more aggressive, and yet bluesy in places. It’s more dynamic. It kicks down the door to what comes next.”

The band will debut the track live at Wildfire Festival on June 28th, along with a performance of “Brought by a Flame” — a future single that trades the aggression for something more reflective and expansive. “It’s a very different kind of song. We’ll talk more about that one later,” Mark says. “But it’ll definitely catch people off guard — in a good way.”

Physical copies of “Pyroclast” will be available at Wildfire, including a special Wildfire Edition CD. A small run of Ignition Edition copies was also produced — a launch-exclusive

gatefold variant on red vinyl that’s already close to selling out. Pre-orders are open now on the band’s website and Bandcamp page, and while streaming will follow a couple of weeks later, exact platform release dates are still pending. “It’s always a bit of a lottery with the digital services,” Mark admits. “So we’re focusing on physical and direct sales first.”

No Place for the Damned: Redux

Alongside the single, Pyroclast have also reissued their critically acclaimed previous album under their new name. Titled No Place for the Damned Redux MMXXV, the release is more than a name swap — it’s a fully reimagined package, from the artwork to bonus content.

“We only had a handful of NPFTD copies left and didn’t want to repress more under a name that no longer fit,” Mark says. “So we took the opportunity to update it entirely. The cover now features a volcanic eruption — pyroclastic rock and all — but we’ve kept the subtle nods to each track in the artwork like before.”

All interior artwork has been redesigned, and fans who purchase the CD or digital version from Bandcamp will also receive immediate access to a hidden bonus track — Trinity, the complete three-part saga that was previously only available on a special edition release. Buyers from the band’s own store will receive a follow-up email with access instructions.

There was even a moment, Mark laughs, where the name nearly got away from them: “I had to hold back on the naming. I nearly called it No Place for the Damned Redux: The Return of the Son of the Man on the Last Album 3000 MK II Beta — but I knew the guys would kill me.”

No Place for the Rules

If “Pyroclast” the song represents the band's power, then Pyroclast the name represents their freedom. With a new album in development — as yet untitled — the band is taking a completely different approach to the writing process.

“Before, songs were brought in more or less finished,” Mark says. “We’d write them individually, send demos around, learn them, maybe rehearse them once or twice and then record. We even recorded songs without ever rehearsing them as a band. This time, everything is going into the rehearsal space first. We’re shaping songs as a unit. Even though each track is invariably written by one member, the final form is something that’s built together.”

The band aims to write and record 15 tracks, then select 10 for the final album. The direction, Mark says, is unpredictable — and deliberately so.

“There’s thrash in there. Power metal. Traditional British metal. Big commercial choruses. A fully acoustic ballad… which still somehow manages to be heavy. There’s no checklist. We’re just letting the songs go where they need to go.”

That sense of artistic freedom came with a sense of pressure — particularly after completing No Place for the Damned.

“When we finished that album, we sat back and thought, ‘Shit. This is too good. There’s no way we can top it,’” Mark admits. “But instead of scaring us, it lit a fire under us. At first, we just wanted to match it. Now? We’re on track to surpass it.”

FIRST LIGHT – 'DAMNED IF YOU DO' Pride & Joy Music, Single Review

Sat, 07 Jun 2025 12:23:54 GMT

Well now, what do we have here? Lush layers of keyboard loveliness, driving drum and bass combos, tasteful and elegant guitar work all woven together with intelligent and emotive lyrics. If you’re a lover of those classic yesteryear AOR/melodic rock calling cards, then this one is most definitely for you my friends.

The brainchild of lifelong friends Dave Hardman (Guitar) and Carl Sharples (Bass) and starring FM’s former baron of the black and whites Didge Digital, New York vocalist Warren Passaro and drummer Andy Jakeman, First Light are on the cusp of something rather special here.

Lead single ‘Damned If You Do’ is a gorgeous slice of the AOR golden days served up with modern production values and a healthy side of fresh talent. The album ‘Elemental’ debuts on the 25th of July and we’ll bring you a full review in due course.

Much love

JIMMY BARNES – DEFIANT

Fri, 06 Jun 2025 12:24:31 GMT

Those big open chords, that rolling piano line, the gospelesque harmonies and then Barnesy pouring a lifetime of grit, graft and gravel into heartfelt lyrics. Yeah it's all in there; from the quintessential opening drive of That’s What You Do For Love and title track Defiant, to the utterly beautiful Beyond the River Bend by way of the Americana storybook of The Long Road and the closing brass infused bluesy swing of Sea of Love this is truly a work of art and to my ears at least the most complete album Mr Barnes has ever put together.

The good you see will give you a moment, the great will hold you in that moment for a night or an album…legends though, well legends will make that moment last a lifetime. Forty years ago, this boy fell in love with the music of the working-class man, forty years on the boy has become a man, and the working-class man has become a legend. Man or boy, working class or legend, this is peak Jimmy and it’s glorious, absolutely glorious.

Much love

THIS HOUSE WE BUILT - 'ADDICTION' Single Review

Fri, 06 Jun 2025 06:46:59 GMT

Three years after their debut album gained critical acclaim, UK rockers This House We Built have broken ground on sophomore soil and whilst the sonic scaffolding is still up around the album those Yorkshire gents are now taking viewings for the new lead single, Addiction.

This is an adrenaline fuelled statement of intent and some thirty-six years later we may just have a worthy successor to Motley’s Kickstart my Heart. The only thing missing from the video is a couple of guys called Johnny Utah and Bodhi so to paraphrase my point (break)…

It’s 100% pure adrenaline! Other guys snort for it, jab a vein for it, when all you gotta do is press play for it and the little hand on the clock says it’s time to rock n roll…

Much love

Animalyze – ‘Powerhouse’

Tue, 03 Jun 2025 14:31:30 GMT

If you’re asked to think of Denmark, you might think of “wonderful, wonderful Copenhagen”, Lego, Carlsberg, Hans Christian Andersen fairytales, possibly Vikings… and if you’re a fan of a particular Scottish football team, Brian Laudrup probably springs to mind! But there’s also a rich history of rock music in the country, with the likes of D.A.D, Pretty Maids, Volbeat and White Lion’s Mike Tramp all hailing from the Scandinavian country. Then, of course, there’s the important part Denmark played in the early days of the legendary Metallica, with Danish-born drummer Lars Ulrich and the band temporarily relocating to Copenhagen to record the Ride the Lightning and Master of Puppets albums.

With that rich rock and metal heritage in mind, the latest Danish band aiming to live their own Hans Christian Andersen-like rock n roll fairytale is Animalyze! The band, consisting of Vikki Mahrt (vocals), Mike Lauren (bass), Clay Ronson (guitar) and Chris Clark (drums) has gone from strength to strength since joining forces with legendary Danish music manager Ken Anthony and will release their debut album ‘Powerhouse’ through Steelheart Records on 9th June 2025. With some energetic live performances, singles and music videos released, anticipation is high amongst rock fans and music critics. But will ‘Powerhouse’ live up to the hype and help take Animalyze to the next level?

A wailing siren provides a throwback to Thin Lizzy’s ‘Jailbreak’ on the opening of title track ‘Powerhouse’ before Clark’s drums make way for a joyously nostalgic, chugging riff and bass that nods to early Judas Priest. Mahrt’s vocals have the timbre of Saxon’s Biff Byford with the power of Accept’s Udo Dirkschneider whilst Ronson wastes no time in proving his guitar chops with some sizzling solos. The classic “whoa, whoa” in the sing-along chorus will surely go down a treat with audiences in a live setting too. Great start!

‘Hunter of the Night’ continues the classic rock theme, with more driving bass, more guitar riffs and another earworm chorus that will have you singing along during the first listen. Driven along by Lauren’s rock-solid bass, this is another song that could’ve graced Hollywood’s Sunset Strip in its 1980s heyday, with a strutting riff and air guitar-inducing guitar solo, all held together by a glue of sleazy, almost sneering vocals. Think Cinderella… think Rainbow Bar and Grill… and you’re in the right ballpark!

If I was to hazard a guess, I’d say that the pomp-rock of very early KISS was an influence on ‘Beauty is a Killer’. With a dancing bass, great vocal harmonies and a general feel-good vibe that makes you want to bop and dance, this is a fantastic tribute to 1970s rock; so much so, that I can almost smell the leather and hairspray from my stereo speakers! It makes me think of the gritty, smoky streets of New York and legendary venues such as CBGBs, when glam rock was cool and anything went!

There’s a much heavier and harder edge to ‘Trigger of Love’ as it bursts out of the speakers like Ratt in late 1980s. Mahrt’s vocals appear more menacing, as if he really means business, whilst Ronson’s solo evokes images of a long haired, six string master standing on top of monitors and under the spotlights, mesmerising the pretty girls in the front row of the audience. It really is a time and place kind of track!

‘Hot But Dangerous’ is another track that could be straight out of the Ratt songbook, with an opening riff to die for and some seriously sexy lyrics… just like they used to be in the 80s before everyone became so scared to complement someone on their looks! “She’s oh so sweet. She’s dangerous to me. Hot. Hot. Hot” sneers Mahrt, as Ronson’s guitar soars sweetly in the background. This is pure musical nostalgia, reminding me of a time when songs about good looking women ruled and a female muse was a common inspiration. Great stuff indeed!

With the sound of a revving motorbike engine starting the track, you know exactly what you’re getting with ‘Wild for Free’ before it even finds its groove. It’s high energy, hard rocking, classic rock, with a Motley Crue-vibe that’s… well… better than current day Motley Crue! ‘X-Medication’ continues the early Crue vibe with a vocal performance that is reminiscent of a young Vince Neil, whilst the rock-solid rhythm section of Clark and Lauren could challenge Tommy Lee and Nikki Sixx any day of the week! Punch your fists in the hair and let me hear a “hey, hey, hey”! ‘Pleasure and Pain’ returns to the sound of early Judas Priest heard at the beginning of the album, with chugging riffs and vocals performed with real Rob Halford-like attitude, whilst Ronson’s guitar solos sound inspired by the Downing/Tipton twin guitars of the legendary metal band’s heyday.

‘Dr Feelgood’, ‘Calling Dr Love’, ‘Doctor Alibi’, ‘Doctor Doctor’; hard rock bands love songs about the great medical profession… and Animalyze is no different! Penultimate track ‘Dr Chemical’ is a big, bombastic number with a brilliant, classic Winger sound and Def Leppard vocal harmonies that Joe Elliott et al would be proud of. It’s got everything you want in a rock song and is this writer’s favourite track on the album. This would be the perfect soundtrack for a music video (hint, hint!!!) with a sound so big that it would fill any arena! The album closes with ‘Kings of the Night’, an energetic rocker that allows Mahrt’s voice to soar, Ronson’s solos to shine and a drum and bass rhythm that’ll make your speakers shake. It’s the perfect way to end an album.

Throughout this review, I’ve mentioned many legendary classic hard rock and metal bands. That’s not something that I particularly like to do in reviews, as too many comparisons can muddy the musical waters. So, why mention Judas Priest, Cinderella, KISS, Ratt, Motley Crue, Winger and Def Leppard at all? Simple… because with Animalyze’s Powerhouse album, that’s exactly what you get! It’s all those classic bands and everything that made them great melded into one fantastic debut album. It’s huge choruses, soaring vocals, mammoth guitar riffs, searing solos, driving bass and thundering drums all brought together with a cliched and unapologetic nod to the sounds and vibes of 1980s Sunset Strip. It’s a time capsule of everything that was great about that long gone and much missed era when hard rock really mattered… and it’s something that fans of that bygone age need to hear again.

If Carlsberg did 1980s inspired hard rock bands… it would sound like Animalyze!

Powerhouse is due for release in Europe on 9th June 2025 with a further release planned for Japan. Pre-order your copy now!

INTRODUCING 'STAR CRYSTAL'

Mon, 02 Jun 2025 13:34:54 GMT

Once upon a time, in Chernivizi in south western Ukraine, two little girls were born, just a few years apart, but who would both go on to become international performing stars.

One of them was Milena Markova “Mila” Kunis who moved to America and became a Hollywood actress, but that’s a different story.

Susanna Radimovskaya comes from the same place but she wanted to be a very different kind of performer. As she explained to me; “it was my dream from childhood to be a musician and a rock star. I remember ‘little Susanna’ wanting to be like Tina Turner or Whitney Houston and I always wanted to sing on stage, but not like a soul singer; I wanted to scream and perform with all of my energy like Vixen or Lorraine Lewis from Femme Fatale!”

You can see and hear what Susanna is talking about in the astonishing video for the song ‘Fall in Love’, which captures her in the studio belting out the lyrics with style and class. In particular, listen out for the delightfully-accented and seductive honey trap of the spoken-word segment that precedes a magnificent band interlude reminiscent of Whitesnake’s ‘Still of the Night’.

Having also been inspired by other great 80’s bands like Scorpions, Slaughter, Dokken and Def Leppard, when it was time for Susanna to form her own rock band in 2012, she sought out like-minded musicians. All bar one of the current line-up have been with Susanna from the outset and the group initially bonded over a common love of 1980s movies like ‘Top Gun’ and ‘Rocky’ and in particular, their original soundtracks.

All of Star Crystal’s songs are written collaboratively by the group. Guitarist Alex Nasyrov was the first to join and when it comes to song-writing, he is usually the one who starts it off by bringing his cool 80s-inspiredc riffs and guitar phrases to the band. Elijah Dubchack will then layer on that essential melodic rock sparkle with his keyboards and Eugene slaps on the bass, before finally Susanna adds her voice and lyrics.

You can really hear the influences in an early song called ‘Forgotten Love’ from their 2015 debut album ‘Follow Me’. It opens with a Survivor-style keyboard intro and flows into a bright and breezy guitar riff that Susanna’s voice soars above and there are some very fluid guitar solos too. In the video (link below) the band introduce themselves and are filmed on-stage.

Whilst the core group have been together from the start, the drummer position has changed twice. Both Eugene and Susanna are very happy with their current drummer, who comes from a family of professional musicians and has a grand-father who actually teaches drumming at a music college. “Right now, we have Max” said Eugene, “and we hope that we are finished with making changes”. “We are not just musicians” explained Susanna, “we are living like family”. In fact, the whole band have relocated to Romania together. “We have not moved too far” explained Eugene, “our city was 40km from the border and it is only another 40km to where we are now, so 80km from our home town”.

Star Crystal’s second album ‘Revival of Glam’ was released in 2018 and in addition to ‘Fall in Love’, it also features ‘Dancing All Night’ – a glam-tastic song that shimmers and parps like Night Flight Orchestra and comes with a very sexy video that showcases Susanna’s sass and bears good comparison to the current trailblazers of feminine-fronted rock and metal like The Big Deal, Chez Kane and The Cassidy Paris Band.

The band have released three singles since ‘Revival of Glam’ and all of them will be included on the next album. Of those, Eugene picked out ‘Come on Baby’ as his favourite and Susanna agreed; “it’s a very sexy song”. She’s not wrong. It starts in a Shania Twain kind of way and the video features the singer in a union jack mini-dress and a signature red top hat, which she feels is “the cherry on my cake”! See what you think and also watch out for the rubber duck on the drum kit.

The 2021 single ‘Wild Wind’ shows another side of the band; a sultry power ballad worthy of inclusion on any play list and which features the lyric “this night I’m going to ride on you” – the promo video does include a horse!! There is also a very fine keyboard motif that Jonathan Cain would be proud of.

The band’s most recent single ‘Power of Love’ was released in November 2024 and their immediate priority is to produce a video to promote the song. After that, Eugene believes the band need to create and record another three songs before their third album will be complete. “We are searching for a good label” said Susanna, “but for now we are doing it all by ourselves and trying to make connections to appear at festivals”.

So far, the band have appeared in several European countries and will next be seen in Belgium and the Netherlands. Of course, I had to ask what it would take to get the band over to the UK and Scotland in particular? Susanna informed me that they have contacted a lot of bookers but so far they have been told that they need more promotion first, “so we plan to promote our 3rd album heavily so that hopefully we can come over and play for you”. Naturally, I extolled the virtues of Scotland’s own favourite festivals WinterStorm and Wildfire so who knows? I would encourage folks to check out Star Crystal’s music and videos and if we can all help promote them by liking and following their socials and playing their songs on the radio then maybe one day soon, we will get to experience them live.

My thanks to Susanna and Eugene for taking the time to chat with me on Zoom.

Iain McArthur

THE COMMONERS + TOM KILLNER - THE OLD BREWERY STORE, FAVERSHAM WEDNESDAY 28TH MAY 2025

Mon, 02 Jun 2025 11:47:34 GMT

The Old Brewery Store is fast becoming a hotspot for quality live music in Kent and is just the sort of venue I love - small enough that wherever you stand, you’ll have a decent view, but big enough to have a bit of atmosphere. The beer’s probably good too, but I wouldn’t really know as a staunch drinker of coke on any night out (no wonder I’m usually by myself!).

Tom Killner is a dream of a support act, a rare instance of a set feeling like it’s over all too quickly. Hearing his music for the first time, it’s hard to believe he’s a Brit; described on his own social media as ‘soul drenched Americana’, the influence from across the pond is clear. ‘Cosmic Sounds’ is a perfect introduction; Killner’s voice has a warm, almost soothing quality, with just enough of a country twang to fool you into believing he’s a real Southern boy - at least until he talks between songs! With his talented band, Killner impresses with laid-back, mesmerising grooves that are at times reminiscent of Lynyrd Skynyrd, at others not too far from Robert Jon and the Wreck - all the good stuff. There’s an infectious camaraderie between the five men on stage, a sense that they really love what they do. They certainly should, as there’s much to be proud of in the gently rumbling ‘Devils Gate’ and the foot-stomping ‘Ride With Me’.

The Commoners burst onto the stage with ‘Shake You Off’, a song joyfully reminiscent of the Black Crowes in all its hip shaking, strutting glory. These Canadians are quite simply one of the finest live acts tearing up stages at the moment. Blessed with that extra something that makes them special, it’s a charisma that doesn’t come from being great musicians (though they certainly are), a presence that can’t be forced. It’s the little things, the way guitarist Ross Hayes Citrullo lifts his arm above his head whilst dispensing the riffs that drive ‘The Way I Am’ and ‘Who Are You’ or the way Chris Medhurst seems to look you straight in the eyes as he utterly embodies whatever song he’s singing.

Arguably at their best on the high energy numbers like ‘Gone Without a Warning’ or ‘Devil Teasin’ Me’, the band can do a good ballad too, and sandwich two in the middle of the set. The first, ‘Restless’ is a contemplation of a life spent on the road, the second, ‘See You Again’ full of yearning. It doesn’t take long to rebuild the hard rocking momentum after, and it’s exciting to hear a new song, particularly given that the chorus of ‘Black Gold’ really sticks; the band joke that maybe it won’t make the next album, but I certainly hope that it does. 'Find a Better Way' brings the evening to a close in spectacular fashion, a song that suggests this band had their identity sussed from the very beginning.

The Commoners may be retro in their presentation and their sound, but there’s a reason music like this stands the test of time. For those (like me) who love a good harmony and some keyboard with their rock, it doesn’t get much better than this. Definitely a band not to be missed.

Phone photos by Laura DQ

Samantha Fish – 'Paper Doll'

Mon, 02 Jun 2025 11:47:30 GMT

Samantha Fish has carved out a reputation as a powerhouse artist—an award-winning singer, songwriter, and guitarist whose explosive riffs, raw rhythms, and electrifying vocals have earned her multiple Blues Music Awards and a GRAMMY nomination. A festival headliner and magazine cover star, Fish has toured the world, commanding sold-out venues with her fierce slide guitar and compelling stage presence.

For ‘Paper Doll’, her latest album, Fish joined forces with renowned producer Bobby Harlow to create her strongest collection of songs yet. Collaborating with co-writers Kate Pearlman, Jim McCormick, Anders Osborne, and Harlow, she blends emotional intensity with fiery energy, pushing the boundaries of blues while staying true to her mission of bringing the genre to new audiences.

‘Paper Doll' marks Samantha Fish's return to solo work after her 2023 collaboration with Jesse Dayton on ‘Death Wish Blues’. Under Bobby Harlow eye the album expertly captures the band's dynamic performance. Each instrument is given room to breathe, resulting in a crisp, unmistakable sound. Topping it all off, Fish's vocals add the perfect final addition. Recording with her live band infuses the album with a raw, in-the-moment energy.

Well, what’s between the covers then? Everything you'd expect from a Samantha Fish solo album is here. The tracks flow seamlessly, shifting between blues, rock, soul, or a dynamic blend of all three.

The album bursts open with a fierce one-two punch. 'I’m Done Running' sets the tone with its slide guitar-driven blues rock, laying out the album's lyrical theme as Samantha Fish asserts her independence and strength. The band is razor-sharp, with the bass and drums driving the track forward with relentless energy. There's no pause for breath—'Can You Manage the Heat' erupts from the speakers, giving the bass drivers a serious workout as Fish leans into the grittier, rock-heavy side of her playing.

'Lose You' is the kind of track you must hear to fully grasp its unique vibe. It blends spacey rock with a folk-rock-inspired vocal delivery, creating an atmospheric, genre-bending experience. Just as the music drifts and evolves, so do the lyrics—shifting between storytelling, bold declarations, and unapologetic attitude.

‘Sweet Southern Sounds’ rolls out next. So far this is my favourite track on the album. It’s a looking back warmly kind of song. There’s warmth to the song and the delivery. The organ and guitar intertwine seamlessly, creating a sound that feels as if it emerged straight from Stax in the early seventies. It would nicely nestle among that era's more politically charged releases, where it would have offered radio stations a touch of sweetness amidst the rising wave of anti-war, anti-government, and environmental activism.

'Off In The Blue' keeps things light, embracing a rootsy, Americana sound. Fish taps into her deepest emotions, delivering one of her signature soul-infused ballads with effortless grace.

‘Fortune Teller' shifts the pace, a beautiful soul-infused track. Fish’s vocals are hushed, a whisper, carrying an undercurrent of menace in the verses that erupts into a fierce, roaring chorus. The song reaches new heights with a blistering, almost demonic guitar-break across the bridge.

'Rusty Razor,’ a collaboration with garage punk Mick Collins, bursts in with a punk-infused buzz, its guitar slicing through the track with raw energy. While it teeters on the edge of punk-pop, Fish and her band expertly keep it gritty and fierce, ensuring it retains just the right amount of bite.

The title track unfolds with a moody, mid-tempo blues, setting a rich atmospheric tone. With every musician performing at their peak, Samantha Fish stands out, delivering a vocal performance that is both stunning and deeply emotional. Her enthusiastic delivery brings the song’s raw intensity to life.

‘Don’t Say It' closes the album with a deeply emotional finale. It opens with a languid lead guitar gliding over an acoustic strum, then unfolds into a heartfelt tale of lost love and the lingering pain of being left behind. As the song builds, a gospel-infused chorus swells, delivering a powerful, rousing conclusion. Fish and her backing vocalists echo the song’s title into the fade, leaving a lasting impression.

Samantha Fish’s Paper Doll captures her most expressive guitar work yet, seamlessly blending bluesy grit with rock intensity. Her solos feel raw and instinctive, never overindulgent but always serving the song’s emotional core. Vocally, she shifts effortlessly between defiance, vulnerability, and swagger. Lyrically, the album explores themes of self-reliance and resilience, channelling nostalgia and deep blues traditions.

Recorded with her touring band, Paper Doll exudes a live-wire energy, capturing the grit and spontaneity of a stage performance. Fish weaves blues, rock, and soul into a dynamic listening experience, shifting between fiery anthems and introspective ballads. Under producer Bobby Harlow, the sound remains crisp yet unpolished, allowing each element to shine—the drums pulse with power, the keys add warmth, and Fish’s guitar tones resonate with rich, organic depth.

Compared to Faster (2021), Paper Doll exudes confidence, with songwriting that feels more self-aware and emotionally rich. This depth adds greater weight to the album, enhancing its impact. Fish continues to push blues rock forward while staying true to its roots, standing alongside modern greats like Joanne Shaw Taylor and ZZ Ward.

‘Paper Doll’ was released by Rounder Records on CD and Vinyl on 25th April 2025.

Digital version can be purchased from BandCamp: https://samanthafish.bandcamp.com/album/paper-doll

It can be streamed on Apple Music, Spotify etc.

BIG RIVER + GALLOWS CIRCUS + LAND CAPTAINS The Penny Theatre - Canterbury Friday 30th May 2025

Mon, 02 Jun 2025 11:36:53 GMT

Canterbury is a pretty disappointing city when it comes to live music. With no dedicated venue, and a heavy student population, the focus seems to be on tribute bands and club nights, with few opportunities for original acts to make their mark. But tonight, for the absolute bargain price of £7 (or £10 if you’ve left it until today), the Penny Theatre plays host to three bands who fall under the NWOCR banner. The place should be packed, but apparently the people of Canterbury have no taste, or at least, no taste for anything new or different!

I’ve never heard of Land Captains prior to this evening and am initially a little dubious given that I sometimes struggle with a female lead vocal. I’m converted almost immediately, singer Tzarina Red winning me over with her powerful, melodic delivery, punctuated with the odd guttural scream. A band who recognise the importance of putting on a show, it’s a high-energy performance, Hugo Bowman right up front from the start, brandishing his guitar like he’s playing to thousands. The Bristol based quartet have a sound that’s difficult to put in any one box; occasional proggy turns are met with seething punk energy and punishing breakdowns - the kind of riffs that make you snarl in appreciation. The rhythm section is formidable, Tiggy bringing the bludgeoning thump of 5-string bass, while drummer Dru Franks thunders away at the back. But there are lovely harmonies to be found amid the aggression, Hugo and Tzarina reminding me how pleasing it is to hear a man and a woman singing together - an under-utilised sound in the rock world. The set concludes with ‘Banana Phone’, an inflatable banana initially used to bash a riff from the guitar before being tossed into the sparse but appreciative audience.

It’s been a while since I’ve seen Gallows Circus, always a popular band locally but temporarily stalled whilst assembling a new line-up around original frontman and founder Ian Day. The line-up has been established for nearly a year now, and I’m pleased to report that the band has lost none of its fire or ability to deliver a nasty riff. It’s refreshing to hear three new songs in the set, and an encouraging glimpse of what to expect from the long-awaited debut album (apparently very much on the way). Of course, the songs from the first couple of EPs are now so familiar that hearing them is a guaranteed good time, ‘Game On’ rightfully gets things underway, whilst ‘Hell’s Whiskey’ provides the big finish. Gallows Circus have seemingly mastered the art of heavy music that you can move to, proved tonight by the audience throwing some impressive freestyle shapes to the groovy ‘Medicine Man’ and ‘Bring Your Crucifix’. A well chosen cover of Free’s ‘Wishing Well’ shows Day’s vocals off nicely and gets the crowd singing, but the band’s own ‘Holding My Breath’ is received with just as much joy.

What’s not to like about Big River? Proudly wearing the influences of Free and Bad Company (“the pinnacle of all that is good”, as singer Adam Barron puts it), their heavy blues is utterly irresistible. And there’s a reason that Barron appeared on TV show ‘The Voice’, he’s got a really good one, elevating the likes of ‘Hometown Hustler’ and ‘Devil’s Whiskey’ with a power that feels effortless. Joking about the validity of a ukulele as a rock and roll instrument, the distinctive sound provides the hook for ‘Don’t Hold Out’, a song with a lovely Faces feel, with lyrics about being good to the people around you. An unexpected cover of Stevie Wonder’s ‘Higher Ground’ loses none of its funk, testament to the band’s ability to groove with the best of them. ‘Wings’ is an elegant end to the evening, guitarist Damo Fawsett’s tasteful solo lifting the song before it drops back for another heartfelt chorus; an earworm that lingers a long time after the music is over. Having overcome health issues that forced the band to cancel their appearance at Maid of Stone Festival last year, it’s great to see Barron and the rest of the group flourishing - don’t miss Big River at the festival this year.

With small venues struggling, it's more important than ever to support events like this. I understand the allure of the big bands and stadium shows, but some of the best nights happen in little places like the Penny Theatre. You can't get much for £10 these days, but it seems like you can still get some superb live music.

Phone photos by Laura DQ

Sisters Doll - Live in the UK

Wed, 28 May 2025 11:29:24 GMT

It’s a good day to be alive

On this crazy rock and roll ride…

It certainly has been a crazy ride for the guys in Sisters Doll from Australia on their first tour of the UK! Now coming towards the end of their 14 date tour in almost as many days, they’ve been all over the country and gained many new fans.

I first encountered them during one of the times Melbourne was open during the lockdowns of 2021. I went to an indoor tribute festival, 7 bands in 7 hours to see some friends play in their Foo Fighters tribute. Sisters Doll were the headliners playing a Kiss set as they are huge fans and heavily influenced by the band. We were all blown away by them, welcomed their energy after a long night and especially impressed by drummer Bryce’s style and performance.

From there, I ran into them a few times with guest appearances at other gigs and also one of their own shorter sets at the Cherry Bar. Ironically I finally only got to see a full set just as I was leaving Melbourne so I was very excited to read that they were coming to the UK!

Since I last saw Brennan, Austin and Bryce they have been joined by little (or not so little!) brother Sage on bass and whilst the three of them previously made some big noise, it’s an even better sound now with the four of them.

The first gig up last week for me was at the legendary Cart and Horses pub in Stratford supporting Kicking Valentina, who we loved and are now definitely rock party people. Sisters Doll played a 45 minute set of just pure energy, fantastic show and you’d think they were playing somewhere way bigger which to me is the sign of a great band, 5, 5k, 50k people you put on the same show with the same enthusiasm. One day we hope to see them playing to 50k and for now we’ll enjoy the intimate shows whilst we can!

The other show I was going to was Hastings, originally they were supporting Cassidy Paris on her UK/Europe tour but sadly there were some band issues and the rest of the tour was cancelled. There’s usually a rainbow and this time the show would go ahead with Sisters Doll headlining, which meant a much longer set and the guys got to play a wider range of songs. Supporting them were Kit Trigg band, who I really enjoyed.

The band had been a little concerned about numbers being relatively unknown but the room soon filled up and everyone had a great night, quickly picking up on the lyrics and Brennan commented how lovely it was to have an audience from across the world singing your lyrics back at you!  

The guys were still looking remarkably perky, as we know a UK tour isn’t going around in a sensible manner but zig zagging, so they’ve seen a lot of the country and are probably running on a lot of adrenaline but enjoying the experience and the welcoming audiences.

Both nights they played a good set list, with stand out favourites United, Prisoner, Black Mirror, Dollhouse, Good Day and finishing of course with a sing-a-long Kiss cover. Sisters Doll have such a great stage presence, audience interaction and always look like they’re having way too much fun up there! They’ve been a band since they were teenagers, have kept playing, crafting their songs and adding fans to the Doll Army over the years, they really do deserve even more success and I’m sure it is out there waiting for them. The Doll Army has grown to include UK fans so Brennan hinted they might be back next year, fingers crossed.

Photos by Kim Hearn & Mr Rockfiend

ROCK THE MOTE FESTIVAL - MOTE PARK, MAIDSTONE SUNDAY 25TH MAY 2025

Wed, 28 May 2025 06:38:11 GMT

Okay, I’ll admit it, I wasn’t entirely sold on the idea of a festival line-up comprised entirely of tribute bands. After all, tributes can be a funny old business, susceptible to unfortunate wigs and sometimes cringey performances. And whilst it makes sense to me to keep alive the music of bands who have long ceased touring (Led Zeppelin) or who have lost key members and been forced to call it a day for good (Audioslave) it’s harder to understand why you would choose to go and see imitators of Biffy Clyro or Alter Bridge who are alive and well and fairly regularly on tour. But given my ticket for Rock the Mote Festival was just under £28 for the day, a fraction of what it would cost to see any one of the aforementioned bands for real, I can see why this is an appealing option and a great draw for families and teens who probably aren’t willing to part with hundreds of pounds to see AC/DC in a stadium.

The festival site at Mote Park is pleasingly compact and easy to navigate; there’s three stages in close proximity (arguably a little too close, occasionally giving rise to unusual mash-ups between Volbeat and Katy Perry or Alter Bridge and Taylor Swift!), simply labelled Rock, Pop and Heavy. It will come as no surprise that I largely avoided the Pop stage, a strange place where I didn’t see any musical instruments, but did see someone dressed in Shania Twain’s leopard print all-in-one, belting out her greatest hits over a backing track. Still, there was a great party atmosphere here and I found myself merrily bopping along to Becky Hill’s ‘Remember’ whilst visiting a nearby Portaloo (don’t tell anyone, I might ruin my credibility as a rock reporter!).

The Heavy stage held much greater appeal, and I felt at home in a crowd decked out in denim jackets smothered in patches and band t-shirts of various varieties (nearly all black). Twisted System brought the colour and the fun with an enjoyable romp through some of Twisted Sister’s best loved tracks. ‘I Wanna Rock’ was temporarily stalled by the threat of stage collapse but recovered nicely after, the frontman joking that you CAN, in fact, stop rock and roll! A likeable presence, he asked in thick northern accent how many of us realised that Dee Snider was, in fact, from Batley in Yorkshire! Swearing was banned, which could have been a problem for a band notoriously partial to a naughty word, but ‘S.M.F.’ was quickly retitled ‘Sick Melon Farmer’ to the delight of all. Even a friend of mine who admitted she’d never really heard Twisted Sister before was singing along to the likes of ‘I Am (I’m Me)’ and the inevitable set closer ‘We’re Not Gonna Take It’, testament to the catchy tunes that the band made into an art.

As someone who doesn’t know Volbeat all that well (shame on me!), I was pleasantly surprised by Volbeaten, who seemed to be doing a very solid job of the likes of ‘Seal the Deal’, ‘Shotgun Blues’ and ‘Lola Montez’. Never one to turn my nose up at a heavy riff, Volbeat apparently have them in abundance and I was left feeling this is a band that requires greater investigation on my part. And on the subject of heavy riffs, Alter Bridge also have quite a few up their sleeve and were represented by the youthful Altered Bridge, who managed to generate a modest mosh pit in the latter half of their set! Myles Kennedy is probably an impossible voice to take on and there are moments when the vocals seem a little strained at the top end, but that doesn’t stop me having a great time banging my head to ‘Addicted to Pain’ and ‘Bleed it Dry’.

I was looking forward to Audiorage, but was slightly disappointed to find the set heavily weighted towards Rage Against the Machine, with just a few Audioslave numbers at the beginning. ‘Like a Stone’ was presented as a tribute to Cornell, but attempts to get a singalong going fell a little flat, the audience more engaged with ‘Cochise’, surely one of the best rock songs to have been released in the last 25 years. I realise I’m in the minority, but rap is always a bit of a problem for me, and while there’s no arguing with ‘Bulls on Parade’ or ‘Killing in the Name’ (both sounded absolutely ferocious), I’m more of a Chris Cornell gal. Still, I was impressed with the ease in which the vocalist transitioned from Cornell’s melodic style to spitting absolute venom on the likes of ‘Bombtrack’ and ‘Freedom’. And Tom Morello’s incredible riffs are in a league of their own so the opportunity to hear them recreated live is always a thrill.

There was a huge crowd for B.Y.O.B, who initially confused me by being a trio but won me over very quickly with an absolutely triumphant run through System of a Down’s unique catalogue. Blitzing through an impressive number of tracks in their allotted hour, there’s everything from ‘Forest’ to ‘Cigaro’ and ‘Aerials’ to ‘Violent Pornography’ (wait, isn’t this a family friendly festival?!). I was a bit nervous when the crowd was split down the middle during ‘War?’, waiting for the riff to kick back in, knowing that there would be chaos as both sides barrelled into each other (I’m too old and too boring to get involved with that sort of thing!) but it was great fun being on the sidelines, safely tucked behind some other sensible types! I’m not sure I’ve ever heard a crowd sing as loudly as during ‘Chop Suey!’, at times threatening to drown the band. The only band of the day who were summoned back for an encore and obliged with ‘Lonely Day’, it was certainly a highlight and has reinforced my desire to see System of a Down for real.

Not the Biff opened the Rock stage, and proved that Biffy Clyro are really quite a difficult trio to take on, their unique style encompassing gentle ballads like ‘Space’ and ‘Many of Horror’ (no, it’s not a Matt Cardle song!), the unusual, syncopated ‘Living Is a Problem Because Everything Dies’ and thunderous but complex ‘That Golden Rule’ (a personal favourite of mine). The trio did an admirable job, and even threw in some older numbers for the die-hards.

I particularly enjoyed Coda, who had the difficult task of considering the best of Led Zeppelin into just an hour, and started with the slightly left-field ‘The Song Remains the Same’, perhaps losing some of the more casual fans (not me!) who then insisted on talking loudly through the entire set. Quite annoying when I was trying to lose myself in the brooding beauty of ‘Since I’ve Been Loving You’ or the delicate introduction to ‘Stairway to Heaven’. Of course, ‘Immigrant Song’, ‘Black Dog’ and ‘Kashmir’ are pretty much guaranteed to go down well and are almost loud enough to drown out the voices! Though I'm always a bit on the fence about tribute bands wearing costumes, they do help to keep up the illusion that you're watching the real thing... and there are times that Coda could almost be Led Zeppelin... well, if you squint a bit!

AC/DC can always be relied upon to bring the party and it was pleasing to see Let There B/DC upholding those familiar good time vibes. Angus looked like he’d been through a stretcher, significantly taller than his Aussie counterpart but just as energetic, legging it around the stage and dropping to the floor to spin around with his guitar as the band blazed through the likes of ‘Shoot to Thrill’, ‘Back in Black’ and ‘High Voltage’. It’s a mystery to me how anyone could fail to enjoy, but given the high number of AC/DC t-shirts worn around the festival site (including mine!), they are a band blessed with an unusually broad appeal.

Wrong Jovi certainly felt like the right choice to close the festival, representing a band who have more absolute bangers than you might remember and effortlessly cut a balance between rock and pop. Bookended by the anthemic ‘You Give Love a Bad Name’ and ‘Living On a Prayer’, the set was fleshed out with irresistible power ballads ‘Bed of Roses’ and ‘Always’ and rockers ‘It’s My Life’ and ‘Keep the Faith’. The frontman at times sounded more Bon Jovi than Bon Jovi himself these days and though there was at least one dodgy wig on stage (I’m looking at you Mr Keyboard Player!), it didn’t detract from a thoroughly enjoyable conclusion to a day that was much more fun that I had anticipated.

For me, this was a notably more relaxed festival experience than I’m used to with none of the usual stress about clashes or losing a decent spot close to the stage. There’s a peace that comes from knowing that it’s not really Robert Plant or Jon Bon Jovi on stage. And a joy in being able to sing along to all the classics that I know and love. Would I go again? Absolutely. If there’s anything more fun than spending a sunny day with friends in a park listening to good music then I'm yet to discover it. Do yourself a favour and pick up some tickets for next year at an absolute bargain price now!

Phone photos by Laura DQ

91 SUITE – SEE THE LIGHT Single Review 25/05/2025

Sun, 25 May 2025 21:21:07 GMT

It’s been nearly twenty years since Spanish rockers 91 Suite exploded through my speakers and onto my rocking radar with their 2006 release Times They Change, an album I still play regularly to this day.

They’ve just released the second single for their upcoming album, and it is absolutely, positively worth five minutes of your time. Opening with just enough keyboards to keep the sound honest to their aor/melodic roots until a monstrously chonky riff comes in and drives the song on to the next level. Clever song writing and positively lush vocals from Jesús Espín, more hooks than a Spanish butchers, room for the song to breathe before a blazing solo anchored with the opening riff repeated underneath and a wind-up finale that has you going immediately to the play again button.

This is 91 Suite vintage 2025, and it’s sounding like a very good year indeed!

Much love

The GOLD DINAR – The Nightingale Floors

Sun, 25 May 2025 14:46:08 GMT

The GOLD DINAR is the latest vehicle for GeminiiDRAGON and Christian Simeon. The album follows hard on the heels of the EP, ‘The Future Decline Of A Digital World.’ While the EP leaned heavily into an early seventies Motown experimental vibe (think Marvin Gaye’s ‘What’s Going On,’ or Stevie Wonder’s ‘Talking Book’ or ‘Innervisions’) with its free flowing tunes and experimentation, ‘The Nightingale Floors’ sees them shifting again to a more pop orientated sound.

Clocking in at a swift ten tracks in thirty-five minutes the album is closer to Christian’s solo works than the more blues grounded elements of earlier GeminiiDRAGON releases. One thing that it does bring from those records is the earthy sound of GeminiiDRAGON’s voice, although here she shares lead vocals with Christian Simeon. Each song sees them switching vocal duties back and forth between verses and choruses.

This time around The GOLD DINAR tackle topics around looking back and learning from the past, and the power that we hold within ourselves to do more and grow.

Love is a key theme throughout the album. The opening track is a bouncy little number called ‘Believe in Love.’ The title tells you everything as the band declare their love for each other and everyone.

‘Out There’ describes the search for love in trying times, and that sometimes you need to move on to find what you need. It’s a slower number bathed in synths. Both artists give powerful vocal performances.

‘Psycho Babble’ is one of my favourite tracks. Rolling on a simple seven note refrain it catches the ear with its gentle delivery. Ethereal and beautiful the song deals with how we are all judged by people who know extraordinarily little about us. The ones that talk about people that they don’t know to other people, spreading mistruths and those that spread baseless views on the internet. Bonus points for managing to get Mr Snaggleoflepuss (?) into the lyrics and making it rhyme seamlessly.

A darker view of love comes through in ‘Novocaine.’ This track deals with how the pain of heartbreak can’t be solved with painkillers and how numbing the pain of heartbreak can lead us to more dangerous addictions.

‘Bright Lights’ is a pop anthem that celebrates letting the world see your true self. It’s another key track, underpinned by some lovely bass playing and jangly guitars.

Hard lives, and poor choices come to the fore in ‘Battle Scars.’ Musically the layered instruments are used economically but to significant effect. The piano recurs with a dark little motif over a static beat as the guitars weave in and out.

‘Crashing Down’ continues the hasher side of life vibe. It’s a slow soulful track about how we feel when love ends and depth of pain we feel right down to our bones. The lyrics talk about the devastation we feel in these times, and how our instinct is to tear down everything until there’s nothing left to remind us of what we’ve lost. Christian takes the vocals all on his own on this track and delivers one of the best vocal performances I’ve heard from him.

Things pick up musically and emotionally with ‘Jump.’ It’s a fantastic piece of modern R&B. The artists voices blend and take solo turns telling us about the different sides of love. Christian sings of longing and uncertain futures, while GeminiiDRAGON brings the more positive side of wanting to ‘jump’ and ‘touch the sky.’

Penultimate track ‘Frankenstein’ drives along on synth sound reminiscent of New Order. The artists give two points of view on a failing relationship. Each character finds reasons to blame the other. Between them they create a ‘monster.’

The album ends with ‘Lifeline.’ It comes in on strummed guitars and GeminiiDRAGON on vocal harmonising. Production wise it the simplest track on the album, just guitar and GeminiiDRAGON’s vocals. It’s delicate and fragile and yet uplifting as the lyrics articulate how we can all find something that can lift us above the ‘bullshit’ of everyday life. It’s a quiet end to the album that basks in its simplicity making it another key track.

Overall ‘The Nightingale Floors’ is an album that moves around between indie pop, contemporary R&B, and straightforward pop sounds. Synths sounds are layered on top of each other, giving a warmth to the overall production. The drums have been given an exceptionally clean sound that drives each track forward with precision. The overall mix is well done, blending the instruments and vocals in such a natural way that it draws you into the warmth of the album. It’s a dynamic little album. Add the emotional and descriptive words on top of this confection and it’s a winning mix.

I must admit the album took me a little while to get into. It was only after several play throughs that the songs started to stand up for themselves in my head. The more I’ve listened to ‘The Nightingale Floors’ the more I’ve been able to get into the emotion of the album. It’s a further step forward in the sound of GeminiiDRAGON and Christian Simeon and it makes another fine piece of work to add to their repertoire.

If a gold dinar is the most valuable coin in the world, then The GOLD DINAR have come with an album that will add musical value to your record collection.

Release Date: May 1, 2025 Label: Nepotism Recordings Available On:

Ronnie Romero - Live At Rock Imperium Festival

Fri, 23 May 2025 11:50:02 GMT

Ronnie Romero has been around the rock block, his is a classic rock voice and one so many writers want fronting their band, Rainbow and Schenker being just two.

This live release is ripped from Ronnie’s set at last year’s Imperium Festival in Spain. For the greater part this is a live rendition of Romero’s 2023 album, Too Many Lies Too Many Masters. The studio album was good and hearing it with the twist that only comes with a live recording is a bonus.

That said, there are no surprises in this collection, it is simply a good rock show record. There are the anthems, the big choruses and the ripping guitars all of which provide the background for one of the biggest voices in rock. Ronnie tears through these songs with passion and that operatic swagger that suits his choice of metal just perfectly.

The production on this 10 song album is good, everything has a real clarity which, when played through the big speaker, turned up to 11 really packs a punch.

There are a couple of tracks from elsewhere in the Romero songbook; “The Last Ship” and “Ferrymen” coming out of the era when our protagonist was the singer with The Ferrymen. The albums Romero produced with that band were all excellent rock fayre and translate well to the live groove.

Romero is a talent in his own right, but he does wear his influences on his sleeve. One of those is undoubtably Ronnie James Dio and so, it’s fitting the curtain comes down on this release with a Dio cover, “Rainbow in the Dark”. Ronnie and his band deliver it well and it serves as a reminder that having the ability to hit the high notes of metal makes so many people smile.

This is a record that is well worth a listen.

Bryan Adams - OVO Hydro, Glasgow Tuesday 13th May 2025

Fri, 23 May 2025 11:36:18 GMT

Photo by Mr Rockfiend

“It doesn’t seem so long ago since Bryan Adams was last in Glasgow. He’s a prolific tourer”, said one friend when I mentioned I was heading to the OVO Hydro arena in Glasgow to see the Canadian rocker. Indeed, they have a point. Adams loves performing live and only recently played to a Scottish crowd at the small 800 capacity Eden Court Theatre in Inverness as part of his Bare Bones shows, causing the venue’s website to crash due to high demand. So, a trip 170 miles south to the big-shed arena in Glasgow as part of his much bigger Roll With The Punches Tour gave those who missed out the opportunity to see him in all his fully lit and amplified, arena-pleasing prime!

As the Bryan Adams juggernaut rolled into the city, Scotland had been experiencing some wonderfully warm and sunny weather and it was pleasing to see so many concert goers in t-shirts, shorts and summer dresses, without having to consider the usual Scottish conundrum of “will I need a jacket for later?”. With no support slot, it was going to be a night of Bryan Adams and Bryan Adams only… ably assisted by his band of merry men, including longtime guitarist Keith Scott, keyboard player Gary Breit and drummer Pat Steward. There was no bass player on this occasion, as has happened on some past tours, with either Adams himself filling in on bass or the wonders of musical technology assisting.

The sold-out arena was packed as a large floating boxing glove (connected to small drones, I believe) hovered over the crowd; a nod to the singer’s upcoming album Roll With The Punches, due for release in late summer. As the lights dimmed, Adams, Scott, Breit and Steward appeared on stage to rapturous applause, which got even louder when the crowd realised they were all wearing kilts! It’s not difficult to fire up a Scottish crowd by playing on some Scottishness, something which Adams continued mid-show… but more of that later!

Opener ‘Roll with the Punches’, a new track and the title track of the upcoming album, started the show, with much of the crowd singing along with familiarity due it being released as a single a few months ago. Adams then took the Glasgow crowd from the very new to the very old, with a trip back in time to 1984’s Reckless album and the unmistakeable intro to ‘Run to You’ and the rocking ‘Somebody’… guaranteed crowd pleasers that elicited some dad dancing and a smattering of air guitar in the standing section. The good going ’18 Til I Die’ led to a dreamy and atmospheric ‘Cloud Number 9’, with Adams bathed in blue light as the images on the big screen gave those up in gods (the really high up and faraway seats!) a chance to have a proper look at the tartan on the main man’s kilt.

With a new album to push, the bouncy ‘Make Up Your Mind’ (which is apparently about meeting an ex-partner) was next and again, lots of recent airplay on UK commercial radio paid dividends as the faithful seemed to know the song well… although also possibly aided by the lyrics showing on the screens! It was back to familiar territory with a stirring run through of the uber popular power ballad ‘Heaven’ (ably assisted by the Glasgow choir) and a tribute to the legendary Tina Turner, who duetted with Adams on the superb ‘It’s Only Love’ when he was young artist, helping him on his way to fame and fortune. ‘You Belong to Me’, a more recent effort from 2015’s Get Up album has a rockabilly feel to it and Adams encouraged the crowd to dance and enjoy themselves for a chance to feature on the big screen. The disproportionate number of good-looking women appearing on the screen compared to bald and overweight men in their mid-40s was noted! I know what you were doing, Adams!!!!

Lively, sing-along crowd favourite ‘Can’t Stop This Thing We Started’, from 1991’s excellent Waking Up The Neighbours album, saw guitarist Keith Scott on fine form on as he showcased his skills before the tempo dropped for another moment of exquisite balladry with ‘Please Forgive Me’. The fun ‘Go Down Rockin’’ preceded an emotional ‘Shine a Light’, which Adams wrote following his father’s death, leading him to encourage the audience to switch on their phone lights in memory of those they’ve lost. Seeing phone lights illuminating the huge arena was quite a powerful sight!

‘Here I Am’ led to an acoustic section, with Adams running through a sprightly cover of Thin Lizzy’s ‘Whisky in the Jar’ and ‘When You’re Gone’, before playing an incredibly sultry ‘Have You Ever Really Loved a Woman’, brand new modern-sounding ‘Never Ever Let You Go’ (another new album track) and the brilliant rocker with the most amazingly catchy guitar riff, ‘The Only Thing That Looks Good On Me Is You’, with the stage lit up in red like certain districts of Amsterdam (or so I’m told!!).

One of the great things about a Bryan Adams show is where he takes audience requests. If someone asks for it, there’s a high chance he’ll give it a shot! So, imagine my own delight when the first request was ‘Thought I’d Died and Gone to Heaven’, a personal favourite songs which I owned as a cassette single back in the days when I had hair and waistline! The blue mood lighting used took me right back to the cover of that very single. Aaaahhh, memories! Now, remember I mentioned that any nod to Scottishness is an easy way to win over a Scottish audience? Well, to complement the kilt wearing, Adams pulled another tartan cat out of a tartan bag by playing an unusual audience request; a rip-roaring, high-energy cover of The Proclaimer’s ‘I’m Gonna Be (500 Miles)’. To say the arena was bouncing would be an understatement, so much so that the bespectacled Reid brothers could probably have heard the song whilst sitting in the sunshine of Leith! Keeping the energy high with a final audience request of ‘Kids Wanna Rock’ left many in the audience drenched in sweat. It was a superbly fun 10 minutes or so!

The first single I ever bought was from the movie Robin Hood: Prince of Thieves… and yes, you’ve guessed it… it was Bryan Adams’ magnus opus power ballad, ‘(Everything I Do) I Do it For You’. It’s fair to say, that I have a love/hate relationship with the song, probably to do with loving it initially before its own success led to it being criminally overplayed and me, well… hating it! But marrying a woman who it means so much to has softened my attitude to it in recent years, meaning it was quite special to hear it played live for the first time with Mrs Griffiths next to me. It’s sickly-sweet and at times overwrought… but as power ballads go, it’s massive and it deserves its rightful spot on any Bryan Adams setlist. There was dancing, swaying, hand holding, hugging… even a few tears were shed by some. That’s why it’s such a hugely successful song, as it means so much to so many. But we were there to rock and the rock returned with one of my own personal favourites, the brilliant ‘Back to You’, ‘So Happy It Hurts’ and another song that has become a favourite of rock fans worldwide, ‘Summer of 69’. It was the song that many wanted to hear and led to a further bout of karaoke vocals, bad dad dancing and air guitar moves. ‘Cuts Like a Knife’ and a raucous cover of Frankie Vallie’s ‘Can’t Take My Eyes Off You’ brought the main set to a close.

Adams returned to a small ‘B-Stage’ situated at the rear of the arena, minus his band and with only an acoustic guitar in hand for an encore of ‘Straight From The Heart’ and ‘All For Love’, accompanied by the Glaswegian choir, who again illuminated the arena with mobile phone lights. An unexpectedly low-key end to a great show! No unnecessary long talks or preaching. Just two and a half hours of great music.

People tend to overly fawn over Bruce Springsteen these days, holding him up as some sort of musical genius (some even think he’s a political heavyweight now!) and failing to understand why some people just don’t get it. That’s not to denigrate The Boss, who rightly holds legendary status in rock and has written some rock n roll masterpieces… but he’s not the only ageing musician who can still rock as hard as he always did for the best part of two and a half hours. Bryan Adams easily matched Springsteen’s passion, energy and musical prowess and although at 65, he’s a decade younger than New Jersey’s finest, Adams’ voice has arguably held up much better. Plus, he didn’t have to revert to political rhetoric at any time, simply letting his catalogue of songs do the talking! After all, that’s why people go to a rock show. There was nothing reckless about Bryan Adams’ Glasgow show as he delivered a set filled with hits, favourites, deeper cuts, fan requests and a smattering of new songs that shows he's far from being a legacy act. He’s still rocking and still relevant… and long may he continue to wake up the neighbours!

GARY MOORE LIVE - FROM BALOISE SESSION

Fri, 23 May 2025 11:26:08 GMT

If you ask someone to name the greatest guitarists of all time, they’ll probably rattle off the usual suspects - Eric Clapton and Jimi Hendrix, Jeff Beck and Jimmy Page. It’s perplexing that Gary Moore is often overlooked, failing to command the same level of reverence, because anyone who ever witnessed Moore in action surely recognised they were in the presence of a master, as new release ‘Live From Baloise Session’ ably demonstrates.

Baloise Session is not your average festival; there’s no mud, no unwashed hordes and no opportunity for sunburn. Instead, the venues are inside, intimate, the audiences seated around candlelit tables, the definition of civilised. An ideal environment then, for Gary Moore, who I have seen telling rowdier audiences to “shut the f**k up” should they dare to shout out requests or talk during the quieter moments. No need for that sort of thing here, Moore’s performance garnering respect from the moment he launches into Albert King’s ‘Oh, Pretty Woman’ with storming authority.

Despite wearing many hats during his 58 years, Moore always seemed most at home playing the blues, a genre that was undoubtedly in his soul. It’s very much the focus of this compact, eight song set that successfully evokes the image of Moore throwing his head back, wrenching incredible noise from his guitar without ever glancing at his fretboard. The extensive solos that dominate the likes of ‘Since I Met You Baby’ and 'Thirty Days (To Come Back Home)' crackle with fire and passion; the distinctive stamp of a performer with a sound entirely his own.

Earning a reputation as more of a fighter than a lover, it’s easy to forget that there was a tender side to Moore, exemplified here by the slow burning ‘I Love You More Than You’ll Ever Know’, delivered with emotion that can only come from a place of understanding. ‘Still Got the Blues’ deservedly remains his signature song, and aches with a beautiful sadness that it’s hard to imagine any other guitarist being able to conjure, the result of an unforgettable riff and an underrated vocal.

Always a staple of Moore’s solo shows, Thin Lizzy’s ‘Don’t Believe a Word’ is reinvented as a moody, slow paced blues before picking up the pace in the latter half, where it thunders in more familiar fashion, transitioning spectacularly via a crash of drums courtesy of fellow Lizzy alumnus Brian Downey. 'Walking By Myself' is similarly powerful, Moore engaging in some call and response with the audience before giving them the full blues rock assault.

Fourteen years since Gary Moore’s sad passing, ‘Live From Baloise Session’ serves as a reminder of his spectacular talent, a talent that should never be forgotten. Next time someone asks you to name some of the greatest guitarists of all time, spare a thought for Gary Moore.

Restless Natives - The Musical, McRobert Arts Centre, Stirling University 14th May 2025

Sun, 18 May 2025 18:12:13 GMT

Musical Theatre Review

The Clown and the Wolfman ride again – and this time they’re not just modern-day Rob Roys on a Suzuki with a puffer gun; they’re singing and dancing too.

There have been a fair few cult-classic home-grown, heart-warming Scottish feel-good movies over the years. Gregory’s Girl is still the pick of the bunch, but there was also ‘That Sinking Feeling’, the bigger budget ‘Comfort & Joy’ in the 1980s, and later ‘The Angels’ Share’ and more recently ‘Our Ladies’.

For lovers of rock music, the jewel in the crown was always ‘Restless Natives’. The film, released in 1985, was not just a good-natured comedy caper but also a bromance and a romance with a side order of political and social satire. The icing on the cake was an atmospheric, largely instrumental sound-track by Big Country that perfectly captured the spirit of the ghostly legends sleeping under the green hills of home.

The actual music was not released at the time, other than as a couple of B-side tracks on 12” singles, but it did eventually appear as one continuous piece on the CD release of ‘Restless Natives & Rarities’ in 1998. This time, the film has been transformed into a musical by the addition of some carefully-curated original Big Country songs, plus a batch of witty new songs written by the original film’s script-writer Ninian Dunnett, together with musical theatre pro music-writer Tim Sutton. They truly have grown flowers in the desert with a set of tunes that fit in perfectly. I particularly enjoyed the song that rhymed ‘genitalia’ with ‘failure’ in the lyrics!

The show starts in the same way that ‘Our Ladies’ ended; with a choral rendition of ‘In a Big Country’ – of course it did! I saw the show in the excellent, intimate and very comfy McRobert Art Centre on the Stirling University campus at Bridge of Allan. As you would expect, and entirely fittingly, this is a comparatively low budget production without lavish set changes, but it is cleverly done, very effective and sets the scene appropriately. There is also a live band in the pit to perform the soundtrack.

The main characters are played by some of the country’s best home-grown theatrical talent and are instantly recognisable. The delightful Kirsty MacLaren slips into the Terri Lally role of Margot, while Kyle Gardiner plays Ronnie Wotherspoon (The Clown) with Finlay McKillop as his pal-with-a-conscience Will (The Wolfman). The show largely stays true to the original but with some subtle tweaks to enhance the story and keep it fresh and appropriate for a stage presentation.

The most obvious diversion from the original is the casting of Agent Bender. Bizarrely, the original movie part was graced by the instantly recognisable Hollywood actor Ned Beatty. Poor old Ned did some great work over many years and dozens of movies but is destined to always be primarily remembered as the “squeal like a pig, boy” from ‘Deliverance’. However, being bummed on-screen by in-bred rednecks is probably still not as embarrassing as the sight of him disguised in drag as a female Cotter’s Buses’ tour guide in ‘Restless Natives’. Here, his part has been trans-gendered into a female role and is expertly delivered by an actual American Broadway performer named Sarah Galbraith.

I can only comment from the perspective of someone who has loved the movie for a long time and is very familiar with it. I really enjoyed this show. I first saw the movie on its release whilst I was living in London. Me, my wife, and two friends were apparently the only Scottish folks in a small cinema off Leicester Square. We were hee-hawing to the point of incontinence from the start but the locals didn’t quite seem to get it to the same extent.

The musical is the same. The jokes are wonderful and the humour taps into that more-modern Still Game combination of Caledonian warmth and vulgarity; I don’t remember anyone in the original being referred to as “Little Miss Fanny Flaps”! The more recognisable jokes and skits from the original absolutely still hit the spot and are welcomed like old friends home from a trip to New Mexico, but younger folks and newbies will also definitely enjoy this show – it’s easy to follow and its big themes are as old as the hills and still relevant today.

As I mentioned, this is a comparatively low budget production but it represents a big bang for your buck with reasonably-priced tickets. The original movie was highly-rated on sites like Rotten Tomatoes, but while it remains a national treasure in Scotland, it never really achieved big success in other parts. I can only imagine that this will be the fate of the musical. As great as it is, I doubt Broadway and the West End are in its future but that’s not really the point – every Scots person will enjoy it and it should live on forever.

Having debuted in Perth, ‘Restless Natives – The Musical’ is on a limited run right now around Scotland, including dates at the re-vamped Leith Theatre in Edinburgh and Glasgow’s King’s Theatre. With warmth, humour, poignancy, good music and likeable characters that you can root for, this show is a delight.

Enjoy the Big Country and you should walk away entertained and proud of our wee country, its myths and legends, and its writing and performing talent.

RESTLESS NATIVES – THE MUSICAL TOUR REMAINING DATES

May

21-24 His Majesty’s Theatre, Aberdeen

29-31 Eden Court Empire, Inverness

June

7-22 Leith Theatre, Edinburgh

24-28 King’s Theatre, Glasgow

Michael Schenker / Wytch Hazel - The Garage, Glasgow 13th May 2025

Thu, 15 May 2025 07:43:11 GMT

Photos - MB Photography Scotland

A sweltering day in Glasgow and a sold out show suggested it was going to be a hot and sweaty one at The Garage. A lengthy queue had formed early outside, in anticipation of a special evening.

The tour is in support of last year’s ‘My Years With UFO’ album, which celebrated the young Schenker’s classic stint with UFO in the ‘70s. The album featured a stellar supporting cast, with the likes of Dee Snider, Axl and Slash, Joe Lynn Turner and Joey Tempest, to name just a few.

Support act on the tour are Lancastrian four-piece Wytch Hazel. And what a great choice they turned out to be. We were treated to a very enjoyable 45 minute set of melodic rock/metal which was reminiscent of some bands from the NWOBHM scene.

Their medieval image did raise a few eyebrows, but I think it helps set them apart. Not that it’s necessarily needed, as the strength of their material does that too - catchy tunes and some great melodic twin guitar work. In fact, I woke this morning with ‘Archangel’ as my earworm! Other high points were the Lizzy-esque ‘I Am Redeemed’ and new track ‘Woven’.

I’d definitely like to see them again so, hopefully we’ll get dates in support of their forthcoming album ‘V: Lamentations’.

By the time Schenker and his band took to the stage, we were packed like sardines down the front. There was a tangible sense of anticipation, which was understandable given that one of rock’s original guitar heroes was in town. After bursting onto the rock scene as a teenage prodigy with the Scorpions, he left for UFO in 1973 and, over the next five or so years, helped make some of the most influential albums in rock - Phenomenon, Force It, No Heavy Petting, Lights Out and Obsession. And tonight’s show, of course, celebrated this era.

‘Natural Thing’ started the night off in fine style, quickly followed by singalong ‘Only You Can Rock Me’, with Swedish singer Erik Grönwal enthusiastically encouraging crowd participation.

It’s great to see him back in action, having recovered from his battle with leukaemia and he has had a short stint out of live action since his departure from Skid Row. He proved to be an excellent choice of frontman for Michael’s band: full of energy and does a great job honouring Phil Mogg’s vocals, as well as adding another layer at times with some acoustic guitar.

The strength of the UFO catalogue is highlighted when a classic like ‘Doctor, Doctor’ can be played just a few songs into the set. ‘Lights Out’ was another highlight for me. As a teenager, it was my first introduction to UFO. Watching Michael solo over it, with his Flying V resting across one leg, was such a pleasure and a real iconic image. Topped off with his now familiar fur hat. He must have been roasting with that on all night!

Steve Mann (rhythm guitar and keys), Barend Courbois (bass) and Bodo Schopf (drums) all deserve a mention too as they were rock solid throughout. Each were given opportunities to shine during the show. In fact, Steve even had the first solo in the first song! Unfortunately Bodo was hardly seen as the lighting in the venue barely showed him other than at the end of the show when he did get a moment in the limelight bringing a song to and end with a short but tasteful drum crescendo.

Mid-set there was a brief technical issue where the PA appeared to cut out (during ‘Between The Walls’ I think) with only Michael’s on stage sound really audible. Despite a few concerned looks across stage, they carried on like true pros until the sound kicked in again.

An epic ‘Love To Love’ followed but, for me, the best moment of the evening was ‘Rock Bottom’. Not only one of rock’s greatest riffs, but Michael’s extended solo had the crowd transfixed; his controlled, melodic playing a joy to behold.

“Would you like another song?” asked Michael. ”Would you like two?” As if he needed to ask!

‘Shoot Shoot’ and ‘Too Hot To Handle’ again had the Glasgow audience in fine voice and rounded off a hugely enjoyable gig which will live long in the memory of those who attended.

Oi Polloi / Collision Course - Bannerman’s, Edinburgh 7th May 2025

Mon, 12 May 2025 11:37:17 GMT

I always think Oi Polloi are as much a concept as they are a band. For the last 25 years this bunch of troubadours have been sharing their vision of life, with a guitar sound as a backdrop. Whilst membership has been through something of a revolving door, the ever present, Deek Allen remains the driver of the bus.

So why a concept? Well, Oi Polloi is very much a platform for Deek and his views. He is not a shrinking violet and proudly wears his heart and political opinions on his sleeve. Whilst I don’t agree with all he stands for, I have always admired that he does, indeed, stand for something and is not shy about sharing his thoughts.

It's been a while since this particular anarcho-punk bus rolled into Edinburgh and I was keen to see it park at Bannerman’s.

First up though was Collision Course. This three-piece made full use of their thirty minutes. Total punk, they had to restart their first song as the guitar was feeding back too much – not sure anyone but the sound man noticed. Another was restarted as it didn’t go well on the first try. This was a band who took a few songs to settle into their set. Once they did, this turned out to be a quality, hard core start to the night. If you like a bit of thrash punk, Collision Course are worth a look.

After grabbing a quick beer I took position and waited for the main event. Now, this was Bannerman’s on a Wednesday night. I have been to many gigs in here mid-week, many poorly attended affairs. Tonight was not one of those. At £10 for three band, sorry I missed the first one, this was a good value night for the fans, but I expect none of the players made anything from the night. I reckon there were around 80 punks of various descriptions in the room. That “description” thing was quite a sliding scale. Behind me were a couple of guys, one was telling his mate how chuffed he was to have brought his golf handicap down to 14. Infront of me, was the mosh pit. Punks with Mowhawks, studs, chains and bullet belts all stood waiting for the action to begin.

The action did begin, albeit a little late. The band were ready, but they had to pretty much send out for Deek who was up to other things when his party was dues to start. He ambled his way to the stage and, frankly, set about it.

Nuclear Wast and UK2025 kicked us off. A wee commentary on drugs warmed us up for THC and then, a favourite of mine – Punx Picnic. I remember the days of the punk’s picnics in Princes Street Gardens. They were happy affairs everyone enjoyed, well apart from the guy fin the Beefeater costume. It had a solid hat and body. This made him easy pickings as he was stuck on his side and rolled through the Gardens.

Every song in the set brings it’s own preamble from Deek. Anti – religion, anti-foxhunting (the hunt saboteurs had a table at the gig), anti-homophobia and anti-Keir Starmer these are just some of Deek’s targets. One thing he does like is linguistic freedom and a couple of numbers are sung in Gaelic, it's funny how ‘fuck the police’ sounds the same in most languages though!

Dirty Protest, Boot Down the Door and When Two Men Kiss - it was good to see a couple of punk guys have a kiss when this ditty was announced, kept this 20-song set on the boil.

As their hour came to a close, two bangers to finish, Americans Out and Let the Boots Do the Talking wrapped up the main set fantastically.

Deek remains a man with a mission so his introduction to the encore song was heart felt and impassioned. Bash the Fash, sums up punk – fast, no prisoners music, that invites inclusion and is not welcoming to bigoty. It was a great way to end a top punk night.

These guys with the Mohawks and studs, well, they spent the hour at the front carrying on a mosh pit worthy of Oi Polloi gigs of the 80’s. The years may have gone by but the music and attitude has not changed. Deek Allen has also managed to retain his passion and integrity in spades. Long may that continue.

Punk is certainly not dead

ROBIN TROWER - COME AND FIND ME

Sun, 11 May 2025 18:36:11 GMT

At 80 years old and widely regarded as one of the finest guitarists ever to brandish a Fender Stratocaster, bluesman Robin Trower has nothing to prove. But it seems that he’s proving it anyway with latest album Come and Find Me, a work of remarkable inspiration from a man who could reasonably have been expected to run out of ideas some time ago. A talented lyricist, capable of defiant, stinging rockers and wounded, romantic ballads, there is a place for both on an album that takes traditional blues and gives it a bit of a shake.

With a guitar sound that sits somewhere close to Hendrix (a comparison undoubtedly made many times), the slinky One Go Round temporarily passes for Voodoo Child but favours sultry atmospherics over fiery histrionics. And it’s this sense of elegance that trickles through every track, a result of well-placed, distinctive solos that are always uniquely beautiful. But some credit must also go to vocalist Richard Watts, who brings life to Trower’s words, handling ballads like the achingly sad Take This Hurt Away and gentle Capture the Life Begun with real feeling. His smooth sophistication translates equally well on rockers like I Would Lose My Mind, bringing a welcome sense of warmth; a perfect foil for Trower's daring guitar mastery.

Contributing her own brand of soulfulness, Jess Hayes is at the mic for Tangled Love, giving a spirited performance reminiscent of Mollie Marriott. The track is a funkier diversion, powered by drummer Chris Taggart and bassist Glenn Letsch and punctuated with bursts of Trower's guitar wizardry. Without a Trace moves with similar groove, lending the album an interesting balance between smoky blues and songs that make you want to move, the title track somehow straddling both.

There’s class emanating from every note Trower plays, from the triumphant sound of wah guitar that opens A Little Bit of Freedom to the poignancy of the solo that closes out Time Stood Still, the latter so romantic that the weeping guitar might just have you crying too. You’ll come for the guitar playing, but you’ll stay for the songs. Come and find him, Robin Trower isn’t done yet.

Counting Crows - Butter Miracle, The Complete Sweets!

Sun, 11 May 2025 08:08:43 GMT

It’s hard to believe that it’s been thirty-two years since Counting Crows introduced themselves to the world with ‘August And Everything After.’ Six further studio albums followed in four year intervals, along with numerous live recordings. The last studio album was ‘Somewhere Under Wonderland’ released in 2014.

Since then, the only recent music from Adam Duritz and the band was the 2021 EP ‘Butter Miracle, Suite One.’ In interviews at the time Adam Duritz spoke about the band releasing a follow up EP ‘Butter Miracle, Suite Two.’

While the second EP never materialised, the band have now released ‘Butter Miracle, The Complete Sweets!’ The four songs that made up the 2021 EP are all present and correct but sound like they have been rerecorded. The full album consists of the reworked songs plus five more new tracks.

Musically the album delivers across the spectrum of genres that Counting Crows are recognised to be at the forefront of. Americana, Roots Rock, Jam Band and Folk influences weave their way between the tracks to deliver and winning mixture that is prime Counting Crows. Add Adam Duritz’s compelling lyrics and distinctive vocals on top of the mix and it’s clear that the band have created and sweet tasting confection of an album.

A taster for the album came in the earlier release of ‘Spaceman in Tulsa,’ which showed that the band were continuing to evolve while retaining their customary warmth and wonderful ability to create songs that draw you in with the band’s musical virtuosity and Adam Duritz storytelling.

The album itself kicks off with the rocking ‘With Love, From A-Z,’ It’s a terrific song to open the album off with delivering a bluesy tale of past histories while searching for deliverance in the future.

‘Spaceman in Tulsa’ follows. It’s all about finding connection in spaces you don’t belong and the way the music is way to create those connections. Musically the track finds the band in a playful mood creating as close to an out and out pop song as I’ve heard from Counting Crows.

‘Boxcars’ widens the lens to look at how certain communities are forced to societies edges and cruelties that are inflected on them. It opens with guitars at the forefront of the mix before Duritz’s vocals come in and the track takes off. There’s an element of Springsteen circa ‘The Ghost of Tom Joad’ here in the tale of the downtrodden. Jim Bogios drives the song along with his drumming and the guitars of Immerglück, Bryson, and Vickrey rock.

Things slow down with ‘Virginia Through The Rain.’ There’s a hint of The Grateful Dead, particularly the countryfied sounds of ‘Working Man’s Dead’ running through this song and it’s easy to imagine the instrumental section being jammed out in concert.

The band are back in alternative/Indie pop mode on ‘Under the Aurora.’ The most recent pre-release song is sweetly constructed with added strings to give it that wide open cinematic sound the band does so well. The song finds Adam Duritz harking band to themes he explored on the debut album ‘August And Everything After.’ The trick here is that this is a much older take on those ideas and Duritzs sees the natural wonder about us and asks, “to believe in something.”

The final four tracks of the album are the songs that made up the 2021 EP. ‘The Tall Grass,’ is a classic Counting Crows song and could drop comfortably into anyone of their albums.

‘Elevator Boots’ is a song for the everyman. It’s about how we are all searching for that certain something. Sometimes it’s as easy to find as “taking a ride on the radio dial” and hearing that certain song that brings you comfort.

“Angel of 14th Street” has grown since the first hearing four years ago. There is a timelessness to the track and the haunting trumpet playing lifts the song to a special place.

Lastly there’s ‘Bobby and the Rat Kings.’ It’s a song for dreamers for those of us who have always felt there was something out there, just beyond our reach, which would make us something better, “never stop wishing we were someone else.” If the album has hints of Bruce Springsteen’s songs for every man, I guess this I the albums ‘Jungleland’ or ‘It's Hard to Be a Saint in the City.’ Achingly beautiful, gossamer threads trailing away into the run out groove.

This is the sound of a band that still has plenty to say. There’s passion here and the production brings all these elements together with a crisp clarity that doesn’t dilute any of it. Adam Duritz is older and wiser, and the lyrics and themes offered up here reflect that. He can look back and remember but he also adds a new level of understanding to the sentiments he expressed on the band’s earlier albums.

So, it’s a happy return. The Counting Crows are back and have delivered one of the strongest and most accessible albums of their career.

ROBERT JON & THE WRECK - FOLKESTONE QUARTERHOUSE THURSDAY 1ST MAY 2025

Sun, 04 May 2025 20:22:19 GMT

A self-professed man of few words, Robert Jon Burrison admits he’s content to let the music do the talking. And really, anything else is unnecessary, because to watch Robert Jon & the Wreck is to witness one of the finest live acts on the circuit. It’s a joy to see the Californian five-some back in Folkestone, packing out the modest Quarterhouse a second time. The abundance of t-shirts on display suggest many of these fans were here on the first occasion, understandably lured back for more of this utterly joyful, 70s influenced, Southern fried rock and roll (or should that be rock and soul?).

Tonight, there’s no support, so it’s straight in with ‘The Devil is Your Only Friend’, a song that showcases the band’s gloriously old-school approach, the groovy guitar riff doubled up with keyboard, strongly cementing my belief that all great bands need a keyboard player (particularly one as good as Jake Abernathie). The funky ‘Trouble’ follows, the rhythm section masterfully handling the irresistible bounce that makes this cautionary tale so darn catchy. It’s not the only time the band prove they can funk with the best of them, bassist Warren Murrel and drummer Andrew Espantman injecting ‘High Time’ with restless energy.

‘Everyday’ is masterful, sprawling more than its studio counterpart, and revealing Henry James as a bonafide guitar hero, stepping up front for some truly spectacular solos that result in rapturous applause from a notably impressed crowd. He looks like a star with his big hair and snazzy retro threads, but sounds even better, his inspired flourishes enhancing every song but never threatening to overwhelm.

There are glimpses of forthcoming album ‘Heartbreaks & Last Goodbyes’ as the evening progresses, the mellow, harmony laden ‘Ashes in the Snow’ contrasting nicely with the thunderous ‘Sittin’ Pretty’, a song that makes spectacular use of stop start dynamics, leaving Burrison’s voice exposed between frantic blasts of full band fury. Recent single ‘Highway’ is sweetly melodic, boasting a chorus that feels immediately familiar.

It becomes clear that melody is at the heart of everything the band do, lovelorn ballad ‘Gold’ nestling comfortably between the atmospheric ‘Ballad of a Broken Hearted Man’ and an uplifting ‘Oh Miss Carolina’, the latter so infectious that it generates the most enthusiastic singalong of the evening. Though very different songs, all centre around memorable choruses and Burrison’s gently Southern vocal delivery.

The band are inevitably summoned back to the stage for encores, and opt for ‘Tired of Drinking Alone’ and the Allman Brothers-esque ‘Do You Remember’ with its lovely twin guitar hook, the perfect conclusion to an evening of top tier Wreck and roll. Two hours pass in a flash, the mark of an unmissable performance. Don’t let anyone tell you that they don’t make bands like this any more, Robert Jon & the Wreck prove that that still do.

Phone photos by Laura DQ

Black Cat Bone - Dreadnought Rock Bathgate, Friday 2nd May 2025

Sun, 04 May 2025 13:28:47 GMT

A black cat bone is a type of lucky charm used in the magical tradition of hoodoo. It is thought to ensure a variety of positive effects, such as invisibility, good luck, protection from malevolent magic, rebirth after death, and romantic success. So absolutely perfect for Bathgate then?

A short jaunt to West Lothian made an ideal double-header for me; Edinburgh Monarchs speedway at Armadale first and then a short dash to the always excellent Dreadnought Rock in Bathgate for some swampy indie-rock blues from redoubtable Edinburgh band Black Cat Bone on their ‘Up to No Good’ Scottish tour.

A home win for the Monarchs was a good start but a few crashes delayed proceedings a bit, so I sadly missed what was apparently a typically great set from another rising band The Devil’s Forfeit. The borders-based band have new music on the way and a few gigs lined up, so I will look forward to seeing them again on another night.

Headliners Black Cat Bone were already four songs deep into their set when I arrived, fortunately just in time to hear what I recognised as ‘Up to No Good’ from the band’s excellent furry cos-play video which we shared on Rockfiend recently. It is their latest and greatest song – a riffy groover with bad boy swagger that quickly got the ladies up on the floor in front of the stage for a wee boogie. If you’ve not heard BCB before then this video is a good place to start.

Singer - and like me, a former resident of Buckstone – Ross Craig is a captivating performer with a few good stage moves. On ‘Blue for You’, he whips out the maracas which, combined with his static shuffle and indoor sunglasses makes him look a bit like a blind Bez! He does a great job though and oozes charisma.

Their current album ‘Tales of the Amplified’ is a belter, combining retro-blues with modern indie-rock stylings, perhaps incorporating some influence from Oasis producer Owen Morris who also did the honours for the Edinburgh boys. ‘Let it Breathe’ is one of the best songs on the album, coming on with a vintage Rolling Stones vibe, and it is even better live, with the hairy Ewan McKenna adding nimble bass lines and exquisite backing vocals alongside the shit-shirted Jamie Beaton’s nifty lead guitar solo. With Kai Wallace on cool cap and drums, overall, the band are tighter than Tam from Still Game.

Ewan whips out a violin bow for some atmospheric bass noise to introduce the strange ways and strange days of ‘Hang or Hold On’ which Ross embellishes with some primal shamanistic lizard king yowls. After ‘Freak Machine’ and ‘Shake It’ from ‘TOTA’ the short set ends with a last chance to dance to the infectious groove-rider that is ‘Loose Juice’; Ewan loses control with a bit of Ian Curtis dancing and he’s joined by an enthusiastic throng at the front who can’t wait to shake their baby-makers to this absolute banger.

Black Cat Bone have now wrapped up their Scottish tour but will be appearing at The Mash House in Edinburgh on Saturday 24th May 2025 and at PJ Molloy’s in Dunfermline on Friday 19th September.

This was my first visit to Dreadnought Rock this year and usual there was a warm welcome from Alan and his team. The Dread makes excellent use of multiple video screens and there is always a good sound mix and a good pint, so it’s a great place to go for a gig. This show was wrapped up by 10:30 but came with complementary admission to the upstairs rock club which was open until 3AM. If only I was forty years younger!

Phone photos by Iain McArthur.

Primitive Instinct - Studio 6, Maidstone April 30th, 2025

Fri, 02 May 2025 10:59:12 GMT

It's amazing to think that in less than two years, "PI" are going to celebrate their 40th Anniversary. They are held dearly within the hearts of discerning Prog fans everywhere. Regardless of widespread sales (or not), they've gained enormous critical acclaim amongst fans and fellow musicians alike. Even John Wetton was a fan. The old Maidstone River Festival was a regular date in the Primitive Instinct diary, so it's rather fitting today that they are playing as part of the Maidstone Fringe Festival. The group has seen a few line-up alterations over the years. Lead Singer/Guitarist/Principal Songwriter Nick Sheridan, is strictly speaking the only original member, forming PI in 1987. However, Bassist Pic Hayes only missed the first 18 months or so, joining in 1989. Nowadays, they are joined by Jonathan Vincent (Keyboards), and Simon Harrison (Drums). If you are new to their music, I guess modern day Marillion is fair enough comparison. However PI have very much their own sound, too.

As the lights dim, we hear the familiar sounds of fan-favourite instrumental "Hypnotic", from the "Floating Tangibility" album from 1994, with "Ideology" from the "Belief" album (released in 2000) right on it's tail. When you consider that PI only play a handful of gigs a year, it's astonishing how tight they sound. Sheridan and Hayes have known each other so long, you can see there is a real telepathy up there between them. For quite a while, PI dropped having a keyboard player. I'm very pleased that they've added Jonathan Vincent; he adds so many lovely touches throughout the gig. For some outfits, not having a vast selection of albums to choose from, could be an issue. Not so for PI. The few they've released contain so many great songs, they can include the vast majority at a live gig. As the first half moves on, standouts for me are "Finding My Way", "Primitive Instinct", and "Falling Down". The latter from the "One Man's Refuge" album (2012). Nick thinks that they've overrun the first half by 15 minutes, though he forgot that they came on 20 minutes after they should have.....

After a short interval, the pace continues early on in the set with the marvellous "Praying For The Rain". The song details how innocent people are caught up in wars. Sadly, the wars have changed over the years, though this song remains as relevant as ever. "Solitary Man" follows it, detailing how a rational thinking person can get isolated within our current, rather skewed, society. "Break on Through" wings it's way in next, unusual to hear it in this part of the set, as it's usually right after "Hypnotic" at the start. It's nice to see Steve Moore guest on Violin on a few songs this evening, adding a different edge to proceedings.

Prior to the gig this evening, Pic promised to re-introduce "The Pic Trot", a little prance he performed on stage with some degree of regularity, particularly in the 1990's 3/4 of the way through, and still no sign. Nick asks if he's going to do it, though he remains coy. What a tease. As last year was the 30th Anniversary of the "Floating Tangibility" album, I guess it's fitting that we hear a good dose of it this evening. "Friend", "Circles", and "Triludan" are rammed into the latter part of the main set. "FT" had a very nice expanded reissue last year, very much worth a look for sure. Principle songwriter Sheridan seems to write great songs as easily as I make a cup of Tea. He's also a talented "sound man" too.

With the set already having passed the two hour mark, the band disappear. However, the crowd hasn't had enough yet, so PI oblige and play us two more songs. Another fan-favourite, the lengthy "Chosen Few". This is certainly withing my Top 5 PI songs, it builds very dramatically throughout. I very much like Simon Harrison's take on the drumming withing this song. "Triludan", an oldie but goodie, wraps the whole evening up, concluding a 2 and a 1/2 hour set. You don't get that often, now, do you? Nick is promising a new PI album this year, very welcome news indeed.

Well, we didn't get "The Pic Trot", though we did get everything else that you'd want from a gig. A long set, great musicianship, and a wonderful rapport with the crowd. With talk of a couple of festival slots this year, seeing them is a treat you deserve.

Matt chats to Primitive Instinct

Phone photos by Matt Wisdom

Harem Scarem / Art Nation / Russ Ballard - 3 x Album Reviews

Mon, 28 Apr 2025 20:36:05 GMT

Last weekend was a big one for Italian label Frontiers. Their own three-day festival in Milan showcased the best of the talent on their roster and on the Friday they released another batch of three albums that are worthy of attention. With the earlier release of the latest collection from W.E.T. they’ve had quite a month in April.

Canadian rockers Harem Scarem were the Sunday headliner at the festival and their latest album ‘Chasing Euphoria’ continues a fine late-career renaissance. Their 1993 album ‘Mood Swings’ has justifiably achieved legendary status and like FM, they were re-united and rejuvenated by an appearance at Nottingham’s Firefest a few years ago. Songs like ‘Sinking Ship’ and ‘Things I Know’ from 2017’s ‘United’ have fully justified that.

Pete Lesperance on guitar and vocalist / producer Harry Hess (also of First Signal) have always been there and allegedly the band’s name was derived from a ‘Bugs Bunny’ cartoon. The latest album is another slice of muscular Canadian melodic rock (which is just like American melodic rock but with more hockey and less tariffs) and standout tracks include the rollocking title track, ‘Better the Devil You Know’, ‘Reliving History’ and especially ‘In a Bad Way’. The band are just completing a short European run with Cassidy Paris and hopefully we’ll see them back over here soon.

Gothenburg rockers Art Nation burst out of Sweden about ten years ago, featuring guitarist Christoffer Borg and rising star vocalist Alexander Strandell. We know Strandell from his stellar work singing the Martin brothers’ songs on the outstanding Nitrate album ‘Feel the Heat’ last year but he’s also performed with Crowne and on the most recent Lionville album.

Other than the Covid years, they’ve been good for an album every second year and the latest ‘The Ascendance’ follows on from 2023’s ‘Inception’ and features some more muscular melodic rock but with a harder edge, some euro-bounce and it hits the spot with some anthemic songs which are almost power metal-lite. ‘Set Me Free’ and ‘Thunderball’ rock along well, there is a typical lady’s name power ballad ‘Julia’ and ‘Unstoppable’ comes over a bit danceable like Amaranthe.

Overall, this is another quality release and I am sure they will have gone down well live at the Frontiers festival too.

Veteran Russ Ballard is a veritable emperor of song-writing, with royalties from repeat plays of some of the best songs you’ve ever heard topping up his pension with every passing month. He can’t stop the great song ideas popping into his head though, so he’s now released thirteen new ones in a double CD collection entitled ‘Songs from the Warehouse / The Hits Rewired’. On first listen, it is clear that there are some gems in here like ‘Soul Music’ and ‘Last Man Standing’ but generally I would describe it as a song-writing masterclass but maybe “a grower rather than a shower” and I’m not sure there are any obvious chart-topping sensations to match ‘Since You’ve Been Gone’, ‘I Surrender’ or ‘God Gave Rock & Roll to You’.

No fear though, the second disc in this set features updated home-grown versions of many of Russ’ greatest hits that are perhaps best known when performed by other artists. Now when you are so familiar with hearing these works by KISS, Rainbow and Ace Frehley, it can make this CD sound like a covers album but it is none the worse for it. Among my favourites are marginally lesser-known, less rocky songs like ‘I Know There’s Something Going On’ (ABBA’s Anni-Frid), ‘No More the Fool’ (Elkie Brooks) and ‘So You win Again’ (Hot Chocolate). For slightly younger rock fans, we get ‘On the Rebound’ (Abominog-era Uriah Heep) but sadly no ‘Riding with the Angels’ (Samson).

This album really is a treasure trove and it is great to hear Russ still writing and performing to a very high standard. Those attending WinterStorm in Troon in November will enjoy seeing and hearing Russ in action and it will be interesting to see how he edits his back catalogue into a festival set. I am certainly looking forward to it.

Wayward Sons / MuddiBrooke - The Cathouse, Glasgow 19th April 2025

Mon, 21 Apr 2025 19:28:52 GMT

Saturday brought a much-anticipated trip to Glasgow. Along with a pile of pals we were heading to The Cathouse for a night with the Wayward Sons.

First off, there was time for a quick bite to eat and catch up in The Howlin’ Wolf. It was great to see the place full of music fans at 6 o’clock on a Saturday night. The band playing was, I think, called The Lonesome Whistles. They were a three-piece comprising guitar, bass and mandolin. I thought they were absolutely outstanding. Their set was all covers which they played with a twist – no drums and an exceptionally talented bass player who was effectively playing lead. I loved them and would love to know more about then so I can get along to another of their shows. Check them out if you can.

We headed down to the Cathouse and just missed the opening band. This was a really early show as the place turns into a nightclub at 11:00 PM. We decided to grab and beer and this resulted in a bit of a challenge. There were six of us and three of us went to grab the drinks. We were refused any more than one drink per person so it became impossible to buy a round for friends. This was a gig for aging rockers at 7 o’clock on a Saturday night; it was not a scene from the Fall of Rome! Whatever the Cathouse policy is, it failed to read the room and, I know, annoyed a good many punters whilst severely limiting their bar takings. It may be good to review that policy before booking similar gigs or at least make the position known when tickets are bought.

So, to the music. MuddiBrooke arrived after an ultra-quick change over and gave us 11 songs in their allotted time. This three piece had a real ‘girl punk’ vibe about them, despite having a guy on drums. They delivered a powerful, grunge rock set which I enjoyed. Hopefully, they will get the chance to head back to Scotland for a full show, they’d be well worth a night out.

Did I mention quick changeovers? It took less than ten minutes to get things sorted for the headliner and just before quarter to nine, The Wayward Sons took the stage.

The first couple, ‘Alive’ and ‘Don’t Wanna Go’ came from the bands 2017 debut long player, “Ghosts of Yet to Come” and the third from their opening blitzkrieg, ‘Big Day’, was a cut of the 2021 album, “Even Up the Score”. This was to be an 18 song set with thirteen of those coming from these two albums.

There was no time for a breath, it was just, bam, into the next salvo – ‘Bloody Typical’, ‘Land of the Blind’ and ‘Radio Denial’.

This is a venue where the ceiling is low over the stage; this gives a sense that the band are moving within a picture frame. The heat was up and, by now, the sweat was rolling off everyone in that tight little room and, of course, the music was rocking. This was a big band playing a small room. If this had been a club warm gig up for a Download headliner it would have neither looked or felt different from what we were watching on Saturday such was the musical stature of the four protagonists moving in that frame.

Taking on lead guitar duties was Sam Wood. Sam has been around the block and played with some great musicians over his career. It is easy to see why, his commanding, front of stage solos were outstanding, and despite his hight and his ever-present sparking grin, he was just as able to blend into the back of the stage and play two strings as others took the lead.

Nic Wastell was on the four string. Nic has been a long-term partner in crime of Jepson’s and that shone out in his playing. His instrument of choice was Firebird bass. As Graham, my mate with the mega music knowledge, pointed out “these things weigh a ton”. Nic was throwing it around, moulding it to his body and pointing it at the crowd all night long. All the while, nailing a bass line that others would find a bit too complex for live performance.

At the back of the stage, sporting a Denis the Menace jumper was Phil Martini. He was the one guy in the room who appeared not to have cracked into a sweat. Phil’s drumming in blistering. Tonight, he was playing a set of 50 year old Ludwig drums and what a tone and beat he got from them. There is no surprise that Phil, his drums and his rhythm skills are in such demand. He gave a fantastic beat to the night and, as Graham pointed out, “no drums, no rock and roll”.

On with the show. The title track to Even Up the Score made a welcome appearance as did ‘Downfall’ and ‘Faith in Fool’s’ from the same album.

Wayward Sons have been a solid base for Toby Jepson for a while but they are not, by any stretch, his first band, so it was good to hear that Little Angel’s favourite ‘Small Talk’ arriving at the end of the set.

There was no heading off to milk the applause. Like most of the audience, Toby recognised that his back and knees just couldn’t take it. Instead the band stayed put and blasted through ‘Joke’s on You’, ‘Feel Good Hit’ and ‘Until the End’ to bring the night to a close.

What a night it was too. I always feel Toby Jepson comes along with a guitar in one hand and his integrity in the other. He always provides a night of fantastic rock and roll. His influences are obvious, but he always comes carrying a passion for, and a commitment to, his fans. I watched a bit of him during lockdown, but, for Graham, Toby’s weekly acoustic shows from his home was a staple. Toby worked hard to get himself and his fans through a difficult period, and, good on him I say. Toby is a fan focused performer, and I often wonder if that has come at a cost to him. As I mentioned at the start of this piece, if that same band were headlining Download with that same set of tunes, the following day, I would not have been a surprised. That level of commercial success has, thus far, eluded Jepson and I don’t know why.

Saturday was the last gig of the tour. This rolling circus of rock and roll creativity will, no doubt, be back and if they arrive in a town near you grab a ticket and get down the front. Their artistry, alive and well within the Wayward Sons picture frame, is joy to see.

Midland Railway - 'Midland Railway'

Mon, 21 Apr 2025 17:12:12 GMT

Midland Railway hail from one of the UK’s most famous breeding areas of musical talent, Manchester. They’ve just released their debut album the self-titled “Midland Railway.” The five piece band, Nick Lote, Sarah MacFhearadhaigh Blemings, Andy Traverse, Kat Donohue, and Ben Ambridge, create a joyful geek rock where you can hear influences as far ranging as Weezer, Artic Monkeys, Buzzcocks, Squeeze, and, in the pitch and sound of some the vocal harmonies even a bit of Queen.

Of course, nerdy pop music isn’t a new turn for Manchester. There’s a long history of this kind of music from the city, Herman’s Hermits, 10 c.c., Buzzcocks, Jilted John, and Jon Cooper Clark all hail from in or around the city, and Midland Railway have been catching the ear of people with their own take on it.

The album itself provides 10 songs of mostly tongue in cheek humour and slice of life dramas. Clocking in at a very concise 29 minutes there’s no room for any waste here. The tone is set with the incredibly catch “She Loves Ted Bundy,” which has a chorus that will linger with the listener for days after they last heard it.

“Bedroom Analysis” leaves no doubt for the listener about why Weezer are often mentioned when Midland Railway’s sound is being described. Under the upbeat music lies a melancholy tale of heartbreak and break-up. This recalled the kitchen sink dramas of Squeeze like “Up the Junction,” which deploys a similar mix of catchy tune with a sad tale or the lyrical smarts of Paul Heaton and the Beautiful South.

“A Song for Hannah-Beth” follows and it’s going to keep the foot tapping with its honky-tonk vibe and fun time feeling. There are fuzzy guitars a plenty in the mix here too. The juxtaposition of happy song after and sad song keeps the listen from wallowing too much. The Smith’s this isn’t.

I’d mention here the one thing that irked me slightly while listening to the album as it’s particularly noticeable on a “A Song for Hannah-Beth.” There are moments throughout where the mix has the instruments so high up in it that the lyrics are almost impossible to pick up. It’s an annoyance, which doesn’t distract from the album’s enjoyment too much, but I do like to listen to lyrics, and I think Midland Railway’s humour in those I can hear makes me sad for what I may be missing.

That sense of fun and good straight forward pop vibes carries through the next few tracks. By the time “The Mysterious Cities of Gold” ends you have a good idea of who Midland Railway are.

“General Debility” takes the foot off the accelerator briefly. It’s moodier than any of the tracks before it. This bodes well for Midland Railway not being a one trick pony.

That point is driven home by “One Day” with its angry punk energy. The vocals on this track from Nick Lote and harsh and raw. You could imagine he had a sore throat for a few days after recording this track.

“Involuntary Counsellor” follows “One Day” and stays true to the quirky pop and smart lyrics Midland Railway seem to revel in.

As the album come towards it end “Anna in Wonderland” adds in some nice touches of psychedelia that give the track a hazy smoke filled glow. “An Attempt to Write a Song” wraps the proceedings up. It’s another smart piece of geek rock where the target of the song is the writing of the song.

It’s a smart record. Anyone who likes any of the bands mentioned above will find something to love here. The ten tracks sit well together and the album breezes along. It’s short enough to not out stay its welcome and it makes you want to click on the play button to start it all over again. Not every album has me wanting to do that.

There will be some who’ll want to smooth some of the rougher edges off, but it’s that punk rock roughness and joy de vie that makes the whole album pull together as a cohesive whole for me.

A band to watch out for with hopefully a lot more to come from them. If you wanted an abridged introduction to Midland Railway I’d go for a listen to "Bedroom Analysis”, "A Song for Hannah-Beth”, "Cities of Gold”, and “One Day”.

Midland Railway will play:

· King’s Loch, Middlewich, Sunday 27th April 2025

· Salty Dog, Northwich, Friday 2nd May 2025

· Cavern Club, Liverpool, Wednesday 28th May 2025

· Castle & Falcon, Birmingham, Sunday “3rd August 2025

“Midland Railway” the album was released 14th February 2025 and is available on: Spotify Apple Music Amazon Music

NEIL YOUNG - ‘Coastal’ Film review

Mon, 21 Apr 2025 16:58:39 GMT

The premiere of ‘Coastal’ was shown UK-wide for a single screening and for one night only as we approached the Easter weekend last week.

‘Coastal’ documents an acoustic tour around Californian undertaken by Neil Young in 2023. Providing a mix of live concert and behind the scenes footage mostly shot on his tour bus, it also provides a rare and intimate insight into one of rock’s longest-standing and some might say cantankerous troubadours.

Opening slowly, the documentary starts on his vintage tour bus with Neil Young sitting up front on a passenger seat across the aisle from his driver, Don, talking simply about life. Leaning back, and what looked like without a seatbelt and with his feet on the dashboard as the tour bus drove down the freeway did for a moment make me think of the tragic loss of Cliff Burton.

Shot in black and white by his wife, Daryl Hannah, the movie uses a number of fixed camera angles around the tour bus with the one at the front in the corner of the bus at dashboard level putting Don in the foreground with Neil to his side - not your usual star as the focus of everything approach. The conversation was a little mundane at the start and the documentary a little slow to drag you in, but touring’s not all about sex and drugs.

Accompanying Neil on the bus were Daryl, Ben (his adult son who is quadriplegic with severe cerebral palsy and who goes everywhere with him including tours, award ceremonies etc) and their two dogs.

The first gig to feature was at the John Anson Ford Amphitheatre in Los Angeles, a 12,000 seat outdoors venue in which much of the stage had to be covered temporarily in gazebos to protect the instruments and stage equipment from the heat of the sun during sound check. As the time of the gig approached we saw his human side, as Neil felt nervous about performing for the first time in four years due to the pandemic. However, any pre-shoe nerves didn’t affect his performance.

As solo gigs, Neil accompanied himself on harmonica, acoustic 6 and 12 string guitars, his customised Les Paul with Bigsby tailpiece and tremolo arm, different pianos and a wonderful pipe organ which he thought he might have picked up in a pawn store, but his memory and drugs at the time may have let him down in remembering. The only additional accompaniment was on some occasional percussion and piano.

Those attending were warned by him during the show that this was a “no hits” tour and instead he’d be pulling rarely played songs from his vast back catalogue.

Highlights for me included - ‘Vampire Blues’ which despite being played solo was much louder and rawer here than on ‘On the Beach’ (1974), as Neil strapped on his Les Paul and delivered some wonderful distortion while not losing the melody; ‘Don’t Forget Love’ from the more recent ‘Barn’ an album released two weeks before Christmas in 2021, which leapfrogged what had come before it and became my album of the year; ‘Prime of Life’ from ‘Sleeps with Angels’; and the beautiful piano ballad ‘When I Hold You in My Arms’. His time in Buffalo Springfield was also marked with the inclusion of ‘Expecting to Fly’.

The stage for each show also featured a large guage train set which regularly puffed its way around the stage - probably not surprising if you’re aware of Neil’s passion for toy trains which was reawakened when Ben was small.

As an artist, his music has spanned folk, rock and Americana, and there are few who can be compared with him. Yes, he’s slowing down. He was 76 when this was shot, but he’s still got it. While some who don’t like his music may find his voice a bit whiny, to others it’s angelic and in the cinema with surround sound his vocals were crystal clear. While well-known for his gentler work, it’s also not for nothing that he is also known as the Godfather of Grunge marrying loud distortion with beautiful melodies … and we also have him to thank for providing the muse for one of Lynyrd Skynyrd’s greatest songs.

As the songs progressed, there was also something magical and gunslinger-like watching him play piano with his Les Paul slung over his back and then swinging it around mid-song to play an electric guitar break.

Finally, this wouldn’t be a proper review if I didn’t mention ‘Love Earth’, an album track from his last album with Crazy Horse (2022’s ‘World Record’). Played live, this had a similar effect to hearing ‘Always Look on the Bright Side of Life’ from the ‘Life of Brian’ and not being able to get the sing-song melody out of your head. Also based on a deceptively simple sing-song melody, Neil encouraged his audience to sing just two words (not hard to remember) - “Love Earth” after almost every line of the song. It’s still going through my mind and I’m still walking around singing “Love Earth” four days later. A simple message in line with his Hippie Dream and it’s hard not to smile at him raising his middle finger as the tour bus passes the Big Oil rigs off the Californian Coast on the way to his next gig.

Not for everyone, but personally I loved it. But as a one-time only screening which created more of a communal and shared experience for like-minded fans than more normal trips to the movies, you’ll have to wait for this to be released in other forms. The songs from ‘Coastal’ are also available on CD or for download and, as with the rest of his catalogue, will not be available on Spotify.

GMcA

The Bates Motel - Backstage at the Green Hotel, Kinross, Thursday 17th April 2025.

Sun, 20 Apr 2025 19:38:12 GMT

A one-off gig north of the border for The Bates Motel. Billed as being for fans of Tom Petty, Steve Earle, and Robert Jon & the Wreck they got a hit on all three bands for me.

Formed around guitarist, singer and main songwriter “Bad” Bob Bates, the rest of The Bates Motel, (TBM from here on), are Ally Lee, guitar, backing vocals, Dave Coates, bass, backing vocals, Adam Forster, drums and Les Young, percussion, harmonica and backing vocals. While “Bad” Bob has been writing songs for many years, the band have only existed for the past two years. Yet it was clear from the first song that every member of the band is an excellent musician and played as a unit.

As promised by the advertising the bands music does cross and mix sounds and elements of country, rock, roots, and Americana music. TBM open with the rocking “Broken Bottles” and the ‘haunting’ “Shape In the Mirror,” which sees The Police’s “Every Breath You Take” taken beyond the grave. “Hands on the Radio” is an anthem and an ode to the golden days of radio, when you could listen through the static to Radios Luxemburg and Caroline and Radio 1 catered to every genre of music like it was part of the mainstream. TBM’s opening salvo is rounded off by “Let me be your Doctor,” which has enough innuendos to make David Coverdale blush.

Through the middle of the set TBM take things down a notch “Sundown in Santa Cruz” stands out here. “Bad” Bob explaining all the things he would do if he had the money to pay for it. The chorus lays out how he’ll see sundown in Santa Crus and breakfast in Johannesburg (if I heard it right!). The country side of Bob’s songs also comes to the fore in the middle of the set, most noticeably on “Talkin’ to Jesus” and “Cryin’ Time.” Bob admits he makes no concession for the way his songs move between genres. He writes how and what he feels. It’s not an issue and all his songs work and feel like they belong together. Songs like “Talkin’ to Jesus” and the final song of the set, the hard rocking “Bartender” also display that Geordie sense of humour. On that note another artist I’ll add to the “for the fans of” mix would be Ginger Wildheart, particularly on his more American, roots leaning solo records.

There’s plenty of onstage banter between Bob and Ally. Much of it around guitars and what sort of person throws a good guitar in a dumpster. After an on stage discussion of how both Bob and Ally don’t like San Francisco but Dave does, TBM play “Sausalito” Bob’s ode to the town across the bay that sits on the other side of the Golden Gate Bridge. Bob really likes Sausalito and declares in the chorus that “some singers leave their hearts in San Francisco, but I left mine in Sausalito.”

It’s the rocky side of TBM that brings the set home with “Remains to be Seen” and “Bartender.” The audience laps these up and then the set is done. Rather than mess around with leaving and coming back TBM remain on stage pretend their coming back after a thunderous demand from the crowd for more. After Bob comments on how much the audience seemed to enjoy the more upbeat rock songs, they rock their way through “Blues Ain’t Gonna Feed Ya” and an epic “Bridge Street in the Rain.” The latter building from the actual sounds of Bridge Street in the rain recorded by Bob on a walk to the pub complete with traffic noise to a crescendo of guitars in the way that Dire Straits “Love Over Gold” or “Telegraph Road” did. And then it’s over.

The band were excellent all night, Dave and Adam were a tight rhythm section, Les providing rhythmic support though more impactful was his harmonica playing and Ally and Bob providing sparring guitars in the way the Knopfler brothers once did in Dire Straits or Parfitt and Rossi in Status Quo (fitting in that Bob was in Quo tribute band “Ma Kelly’s Boys”).

Going into this show I had no knowledge of the music. I was intrigued by the bands mentioned in the advertising. I had seen Ma Kelly’s Boys. Yet I was entertained for all the near two hour set. That’s how good these guys are as a band; how good the songs are. There’s the right amount of self-reverence, humour, and insight into the human spirit (or at least into Bob). I’ve been to see major acts in vast arenas or stadiums that haven’t held my attention like TBM did.

The Back Stage venue is compact (the capacity is 120ish) and when full can be quite noisy. The recent investment in a new sound desk is evident in the excellent sound in the room. Being situated with the Green Hotel it makes for a good night out. The venue has a bar, and there is the main bar of the hotel to enjoy a tipple at pre gig. There’s also an extensive bar menu and the food is excellent.

That makes it all the sadder that only around twenty people made the effort to come out and see TBM. So TBM deserve a big thank you for still making the journey up from the ‘Toon to play the gig and giving us such an entertaining evening. They are already talking about a return event, and we’ll be there, hopefully with a lot more people than there were tonight, to enjoy another cracking evening in the company of TBM. You can check The Bates Motel and “Bad” Bob Bates Amazon Music, Apple Music, Bandcamp, and Spotify.

Photos courtesy of Mundell Music.

'Ascend to the Skies Co-headline Tour' Andromedous, Skies Turn Black, Jack Brodie - Bannerman’s Edinburgh Monday 14th April 2025

Tue, 15 Apr 2025 16:30:19 GMT

All hail the keytar – the absolute prince of musical instruments!

The Ascend to the Skies Tour features Skies Turn Black with their hyper-melodic, keytar-driven and danceable power metal plus the loud & aggressive, even more danceable, metalcore / EDM turbo gimp mask-wearing band Andromedous in one hellacious, loud and energetic package.

But before all that there was Jack Brodie. Jack is a talented and thoughtful local acoustic singer-songwriter, so his presence on this bill might have been the biggest musical mis-match since The Blues Brothers movie when they played at Bob’s Country Bunker, but somehow it all worked out just fine. It must have taken some balls for young Jack to take this one on but he’s keen to grab all the chances he can to perform and he seemed to bring in a few of his own supporters too.

The metal crowd embraced him and the headline bands also showed support as he ran through a selection of his own self-penned numbers, including ‘Tell Me’ – his latest release which he described as a “sex song” (not that sexy though), an obligatory heart-break song, plus a few covers including ‘Candy’ by Paolo Nutini and ‘Champagne Supernova’ by the Brothers Grim. His best song ‘Take Me Away’ even got an enthusiastic sing-along.

I’m sure Jack was relieved to get a good reception and he seemed to enjoy the rest of his evening too, joining in with the head-banging through both co-headliners’ sets and even venturing into the ‘pit at the end. I hope the expected hearing loss does not impair his own future song-writing.

Glamorous, gravy-loving Northern lads Skies Turn Black book-ended their set with two great numbers that I recognized from their performance at Wildfire Festival previously; ‘Playing with Fire’ and ‘The Skies Are Falling Down’. Their debut album is about six years old and they are a different band now but good numbers like ‘The Sickness and the Cure’ still hold up well.

Jamie Jordan handles the vocals cleanly and stylishly but with some growls thrown in and Xander Isles is a big presence on the keytar and backing vocals, alongside the handsome dancing bass player Danny Woodhead. The band sound a bit like a Dragonforce single but played at 33 rpm instead of 45 rpm and with extra harmonies thrown in. There is even an occasional hint of an 80s synth-pop vibe but with additional ass-kicking metal stylings and classic rock grooves, their style went down really well and would appeal to fans of bands like Beast in Black.

The newer songs are even better and there is an album on the way. ‘Sweet, Sweet Solitude’ was good, there was one that might have been called ‘Stand with Me’, a very new one called ‘Witness’ and of course their latest single ‘Angel’ was a stand-out, although sadly there was no sign of the pole dancer who stars in their current throwback promo video.

I thoroughly enjoyed their performance once again. The band are an excellent live proposition and with this line-up and an album to follow, they will hopefully get the credit they deserve in due course.

Andromedous are an imposing proposition with two (usually three) masked performers plus harsh but spot-on growling vocals from the unmasked Elliot Harrison. The band specialise in aggressive electro-core with dance beats, dub step and beat box grooves mixed in with the metal in an effective and striking package that is just a little outside of the comfort zone but all the better for it.

The only song I really recognised was the brutally good ‘Tyro’ – one of several songs that might have been recorded instrumentally originally but now with a lead vocal from Elliot, but this band are more about the overall vibe and the mix of rave and mosh atmospheres. With the dim lighting, nightmarish sounds and Squid Game-esque masks, the show could blow anyone out of a trance and actually reminded me of that time I visited a Rage Room in Glasgow and got to smash shit up for fun. On both occasions, I came out feeling better for having blown off a bit of cathartic steam and no one got hurt. Even the mosh pit at the end was the happiest and danciest one I’ve ever seen.

With Ghost playing the sold-out OVO Metha-drome in Glasgow on Wednesday, another avant-garde masked rock outfit have monopolised the rock dollars this week, but with the £10 ticket here being £2 less than the cost of two pints at the bar in Bannerman’s (and a lot less than the tariff imposed at the Hydro) I was very happy with the bang for my buck this Monday evening.

Andromedous have an EP called ‘The Ascent’ due out shortly and a home gig in Weston-Super-Mare at the end of this short tour. All of the acts at this show did themselves proud and are well-worthy of further investigation for those with open minds and a willingness to try something a bit different. Check them out.

Phone photos by Iain McArthur

Skunk Anansie/So Good - O2 Academy, Glasgow, 10th April 2025

Mon, 14 Apr 2025 13:51:04 GMT

The enduring phenomenon that is Skunk Anansie arrived in Glasgow to a sold out O2 Academy for their tour promoting their new album ‘The Painful Truth’ and left the crowd with the knowledge that the real truth of the evening is that this band are untouchable as a live act.

It’s been a few years since I last saw Skunk Anansie live and it was at the same iconic venue as tonight's gig that I stood in awe at just how brilliant a live act they were back then. I was hoping that I would experience the same feeling again tonight.

Before Skunk Anansie take to the stage there is the small matter of the evenings support band, called ‘So Good’ to listen too.

Glasgow is a welcoming place for bands and whilst I had never heard of ‘So Good’ it was clear that many of the crowd had done. As they take to the stage there appear to be 3 men, though I don’t actually know they are men, dressed in what appears to be boiler suit style clothing and wearing bright pink balaclavas.

This is the guitar, bass guitar and drum section and I am immediately reminded of the ‘Pussy Riot’ band of a few years ago. Three girls then take to the stage in dressed in American high school outfits reminiscent of the 80s movie ‘Porkys’ complete red berets, knee length socks and some Tartan draped over their shoulders.

The music and lyrics are hard and are peppered with strong language and politics with an over use of the middle finger salute which the crowd are fully encouraged to engage in. This is mainly aimed at US President Donald Trump and a proportion of the crowd reciprocate.

With their short set continuing mainly on a political theme, there was time for reflection on sexuality and, from what I could make out, a specific part of the female anatomy together with asking the crowd if it was true that Glasgow men had big dicks.

You can imagine the response to that line of questioning.

With the support act over, and a 30 minute wait for the arrival, of Skunk Anansie, the temperature in the venue seemed to rise and it was rapidly becoming a sweat box. This was my memory of the last time I saw the band in this venue but no-one seemed to mind.

Having initially split up in 2001 then reforming in 2009, Skunk Anansie have re-established themselves as a formidable studio band and even more formidable live band. Their lead, bass and rhythm section being just as integral to the band as their iconic front woman in “Skin’.

With the O2 Academy Glasgow absolutely full, and with no space for anyone else within the tightly packed front standing area, the lights are dim and New Rose by The Damned comes over the PA.

Skunk Anansie take to the stage to a massive Glasgow welcome and launch into ‘This Means War’ with lead vocalist ’Skin’, dressed in black and with her eyes masked with black mascara, prowling the stage like a caged wild animal, its clear that this is going to be a masterclass in stage presence, vocal prowess and musical brilliance.

Immediately following the opening number with ‘Charlie Big Potato’ and ‘Because Of You’, I've rarely seen a crowd so much in the palm of the hand of the band on stage since I first saw Bowie in concert nearly 40 years ago - Skunk Anansie really are that powerful a live presence.

The set continues with a mix of old songs, new songs and the familiar, but well constructed political themes, which are well received by the crowd. The mix of the old and new songs balance each other out and its clear some thought has been put into the setlist for this tour.

With Skunk Anansie having written and played live some amazing softer songs, it is without doubt the harder songs that are the real crowd pleasers. Taking the fantastic ‘Weak’ and ‘Hedonism’ out of the equation as they are the obvious pleasers for those who are not as familiar with the back catalogue as some, it’s the bands earlier music that gets the crowd really bouncing with tracks such as ‘I Can Dream’ and ‘Yes it’s Fucking Political’ proving to be the highlights of the evening for most.

Leaving the stage to join the crowd on more than one occasion, lead vocalist Skin surfed her way back to the stage to finish the main set with ‘Little Baby Swastika’ before the band returned for their encores including a snippet of the Led Zeppelin track ‘Whole Lotta Love’.

How to explain the live spectacle of a Skunk Anansie gig to a newcomer - is it the he demonic stare of vocalist Skin or is it the combined musical talents of Martin "Ace" Kent on guitar, Richard "Cass" Lewis on bass or Mark Henderson on drums? No, it’s the classic formula of the whole being greater than the sum of the parts with Skunk Anansie.

The easiest way to sum up Skunk Anansie live its to simply go see them. You won’t be disappointed.

Photos by Gavin Ross Photography

Mike Dawes - Oran Mor, Glasgow, 2nd April 2025

Mon, 14 Apr 2025 13:34:47 GMT

Mike Dawes is an acoustic fingerstyle guitarist, who has brought redefining technique to the style of playing. Mike’s playing has the ability to fill a whole room with all the elements of song – melody, harmony, a bassline and even percussion. Bringing all of these together on one instrument is a rare thing, making his solo concert a really unique experience. I remember the first time hearing him play on YouTube, and wanting to put down my electric for good, and only play acoustic from there on.

Mike Dawes has a custom made guitar, by German luthier ‘Andreas Cuntz’, which has special provisions made to fit his playing style. Examples of these customisations include a special ‘scratch pad’, and a distinct body to make hitting the guitar more accessible whilst playing, both used to emulate the sound of drums. This is a guitar I’ve watched a few ‘rig rundowns’ on, so it was really cool to see it being used in front of me.

Unfortunately, due to issues with my train I missed the first 20 minutes of the show – a bit of a blow considering he played some of his more popular covers then, including ‘Jump’ by Van Halen and ‘Somebody I used to know’ by Gotye. There’s a great video of Mike playing ‘Jump’ on YouTube (that anyone reading this should watch to get an idea of his talent) where he somehow manages to play Eddie Van Halen’s guitar solo whilst continuing with the backing instrumental?!

I still managed to catch plenty of the show after my delayed arrival. The show consisted primarily of covers of songs, arranged by Mike. There were a couple original pieces of music mixed in, which might have been nice to hear more of; there was a pretty big degree of experimentality in these originals, which could maybe be perceived as a bit over the top and admittedly unnecessary (like playing the strings behind the capo to add a drum beat). However, this was a Mike Dawes concert, where people have paid to see him do weird Mike Dawes things, so I welcomed it.

Other noteworthy covers included ‘All Along the Watchtower’, ‘Purple Rain’ and ‘Smells Like Teen Spirit’. There was a great segment in the show during a cover of John Mayer’s ‘Slow Dancing in a Burning Room’, where the audience was split in half, and were instructed on what notes to sing, resulting in the whole of Oran Mór singing in harmony, ignoring my bum notes.

The gig ended with Mike unplugging the guitar and having a walk about the audience, playing ‘Be My Mistake’ by The 1975, a really great ending. Mike stuck about for a pint at the merch booth once the show had wrapped up, where I got a chance to meet him and get a photo, along with everyone else waiting in line. It was Mike’s first show in Glasgow, and I’m definitely hoping for many more!

Frankie and the Studs - ‘Life’s A Glitch’

Sun, 13 Apr 2025 18:55:40 GMT

At the beginning of the year, a friend in the US who also reviews rock music was raving about a new album out of California which had just been released there on CD and vinyl only.

Having heard a couple of the songs, I was interested, but my Scottish nature balked when I discovered that the CD was available for £13, but with a hefty £17 postage to the U.K. Call me tight … I prefer canny … and don’t get me wrong, I have occasionally paid that for a different version of an album released on CD from an artist I love and could guarantee would be worth the cost, but £30 felt steep for an album which I knew much less about. So, I miserly and miserably decided not to take the risk and to wait until it was released digitally, so I could download it.

Fast forward three months and Frankie and the Studs’ debut album ‘Life’s A Glitch’ has finally been released more widely.

Based mainly around the vocals and writing of the abundantly talented Frankie Clarke, ‘Life’s A Glitch’ provides a heady mixture of rock, punk, new wave and pop lifting the best elements from the 70’s, 80’s and 90’s and still producing something which sounds fresh, urgent, raw, melodic and now. All delivered with attitude … make that attitude+.

Frankie’s vocals are front and centre throughout, and underpinned by heavily guitar-driven songs with both her vocal delivery and the music shape-shifting through styles and influences within and between songs.

Think Debbie Harry (and Blondie), Siouxsie Sioux (and Siouxsie and the Banshees), Chrissie Hynde (and The Pretenders) and Gwen Stefani (and No Doubt) - if you like any (or in my case) all of these singers and acts, you will love this album. Yes, big name comparisons for a new, young singer and act to stand up to, but completely deserved on the basis of this outing.

Stand-out tracks include - the urgent album-opener ‘Hole in My Head’; the slamming ‘Bimini’; the chopping ‘Head Rush’; the dance floor-filling ‘Flash’ (which will have even the most “too cool to dance” rock fan rushing to put their JD down and get their freak on); the massive, driving ‘Monster’; the NY punk of ‘Can’t Stand You’; and the glorious fuzzy guitar and bubblegum punk/pop about one-sided love of ‘Nothing To Do’ complete with rock guitar solo rising above.

Not to mention the heavily rock’n’roll or rockabilly-leaning lead single, ‘Fuck this shit’, which with its chorus of “Fuck this shit, Fuck You, I quit” is simple, effective and so much more than an anthem for Generation Z, and will roll back the years and also resonate with those of Generations Y and X (and anyone who’s had enough of their job); the wonderfully raucous cover of Bananarama’s ‘Venus’ also featuring Green Day’s Billy Joe Armstrong (go on, admit it - you know the words); and the sublime ‘Losing You’.

The production is raw, big and beautiful, befitting the music and songs. The album was produced by Gilby Clarke, former guitarist with Guns’n’Roses, who also swapped his more usual six strings for four and played bass on a number of the songs. Not being the quickest, I didn’t initially make the familial connection as I was so engrossed in the music, but further reading confirms that Frankie is also no less than Gilby’s daughter. Having discovered this fact, I deliberately left this to the end of this review as this album deserves to be judged on its own merits - not the artist’s lineage (no matter however rocking). Having said that, Gilby could well find himself being introduced in future as “Frankie Clarke’s Dad” instead of by his past membership of G’n’R if this album has the impact it deserves.

Very highly recommended. Just buy it, put it on and turn it up to loud. I might even oil the lock on my wallet and order the CD.

‘Life’s A Glitch’ is available on vinyl (12 songs) or CD (14 songs) and can be ordered directly from Dead Beat Records; it is also available on the usual digital and streaming platforms.

GMcA

Tygers of Pan Tang - The Carlisle, Hastings April 10th 2025

Fri, 11 Apr 2025 12:41:03 GMT

With the seemingly ever-changing planet we live on, it's very reassuring to still have the long-standing and wonderful Carlisle at Hastings still going at full-throttle. Forever a rock institution, and long may it continue. Now managed for some time by the fan friendly and ultra-efficient Gemma, it's a lovely diamond on the Seaside. No disappointments tonight either, as "NWOBHM" stalwarts Tygers of Pan Tang are here, promoted this evening by Phill and his team at "See Ya There Promotions", regularly dishing out the decibels in the Hastings area.

The current, very impressive Tygers line-up features original Guitarist Robb Weir, Lead Singer (since 2004) Jacopo Meille, Drummer Craig Ellis (since 2000), Bassist Huw Holding, and Guitarist Francesco Marras. I'm not sure about you, but thinking of the "NWOBHM" being nearly 50 years old, astounds me. As soon as the Tygers hit the ground running with a 1-2 wallop of "Euthanasia" and "Gangland", it's even more astounding. The energy they exhibit gives you the impression that the music was written last week, not half a century ago. Lead Singer Jaco has a very easy going charm, and what a voice. He's able to trot through the registers from low to high, without the aid of a tight jockstrap. (as far as I'm aware).

It's a joy to watch the lovely Robb Weir playing. Very rarely do you see him without a smile. He also interacts wonderfully with the audience, drawing everyone in at one point or another. In fact the whole group look to be enjoying their gigs, and this makes a massive difference. As the set progresses, there are several more recent cuts played. Along with the other handful of top-end groups from their era, the Tygers are still regularly releasing top quality new material. "Rock Candy" from "Animal Instinct", "Keeping Me Alive" from "Ambush" and "Fire on the Horizon" from "Bloodlines", come to mind immediately. The standard really hasn't dropped since 1980.

The set steamrollers on at speed akin to Lewis Hamilton driving down a ski slope, with very little time wasted with between song ramblings. Very refreshing it is too, and also helps with the inertia of it all. It's always great to hear "Slave to Freedom" (one of the very first tracks I recall hearing from them), along with "Suzy Smiled", from that same wonderful period of time. Robb says that it's nice to so much youth in the room, then saying he was only referring to himself. After seeing him running about this evening, you can't question that.....

The evening finishes with chart hit "Love Potion No.9". Another great memory, as I proudly recall this getting TV time. We didn't see that often enough with rock music in those days. Jaco mentions that there is a new album in works, though we have to be patient for now. Great news. Another electric performance from the Tygers of Pan Tang, here's to the new album. This is the start of a run of a few gigs for them, so please get along to one if you can. You'll witness one of the creme de la creme of Metal. I'm sure the Amps were turned up to 11, too......

Phone photo by Matt Wisdom

REVENANT - BEST MEDICINE EP

Fri, 11 Apr 2025 06:45:12 GMT

When I asked Revenant how they’d describe their music to a newcomer, they concluded that they’re a ‘guitar band’, naming various influences but struggling to pinpoint exactly who they might sound similar to. Listening to new EP ‘Best Medicine’, I understand the struggle, as the Revenant sound is a wonderful mix of hard rocking riffs and quieter introspection, good old classic rock and occasional Southern flavour.

Formed in 2023, ‘Best Medicine’ is the band’s second EP, and feels like a work of two halves. Front loaded with the noisier tracks, ‘Public Service Announcement’ is a suitably raucous introduction, getting things underway with a riff that 70s Aerosmith would have been proud of. It’s no nonsense at less than three minutes long and kicks with real attitude, the result of a rhythm section with proper wallop and two commanding guitarists giving it what for.

The title track that follows has all the makings of a hit, going straight for a chorus that’s guaranteed to get lodged in your brain. It feels as uplifting as the subject matter, vocalist Sam Lay singing joyfully about his partner being the ‘Best Medicine for [his] mind’. There’s something warm and familiar about the sound; perhaps it’s the lovely harmonies or the pleasing twin guitars that reveal a Thin Lizzy influence, but Classic Rock readers had it right when they voted this one a track of the week.

An appropriate centrepiece, ‘Runaway Rage’ marks something of a high point, with swampy, slide guitar giving way to a punchy chorus that makes clever use of dynamics for maximum impact. It’s an opportunity for the band to stretch out, a particularly magnificent guitar solo lighting up the second half.

From here, we move into more restrained territory, but don’t let that put you off. ‘Least I Can Do’ is a truly lovely ballad, written from the perspective of a father, assuring his children that he’ll be there for them whatever life may throw. ‘Miss You’ is quieter still, Sam Lay’s vocal accompanied only by acoustic guitar, highlighting the emotion present in his performance.

Where some bands seem hung up on being flashy, Revenant recognise the importance of great songs and quality songwriting. ‘Best Medicine’ is out on Friday and available to order here www.revenantsongs.co.uk

Revenant play Maid of Stone Festival on Saturday 19th July - don’t miss them.

Revenant is:

Sam Lay - vocals/guitar

Matthew Hudson - guitar

Robin Nutley - bass

Carl Donoghue - drums

Lordi / Sick N' Beautiful - SWG3, Glasgow 6th March 2025

Tue, 08 Apr 2025 13:54:57 GMT

Photos by Andrew West Photography

It would be easy to place Lordi in the one hit wonder category but if you strip away all the stage sets, costumes, props and theatrics in the end you are left with a band with a thirty year history and a host of catchy sing along rock and metal songs.

Indeed the band had already recorded 2 albums before they hit the big time with that defining Eurovision victory. This tour in support of their nineteenth studio album will take in much of Europe before a break and then a run of shows in September in Germany and Spain.

Opening tonight are Rome based Sick N' Beautiful who return to Scotland after appearing with Wednesday 13 eighteen months ago. Akin to Lordi the band are all costumed and masked apart from singer Herma whose flawless vocals split the air throughout their set and who would give Tarja Turunen a run for her money. Opening with new song Human is Overrated there is nods to Marilyn Manson and Lacuna Coil. The thunderous cover of the Kiss song God of Thunder is very apt as the hall fills up and the crowd sing along with the classic. The bands 8 song set is well received and with their 4th album Horror Vacui due for release from Frontiers later this month named after a Latin term meaning fear of empty spaces on this performance I don't think they will be playing to many of them.

The stage is now set for the “monsters” of rock and the Finnish legends hit the stage to new song Legends are Made of Cliches the fun begins, Mr Lordi controls the crowd with a waive of his large taloned hands. The songs just draw you in and you can't help but join in and sing along, we go back to the early 2000's for Girls go Chopping and the unbelievably catchy Who's your Daddy.

Mr Lordi entertains the crowd between songs and jokes with the crowd that tonight's tight curfew time curtails his ability to interact but as a self confessed fat bastard he needs a breather much to the amusement of those present . As with all Lordi shows there is a fair share of props to go along with the show and those in the front rows are giving a good soaking from Mr Lordis large axe at one point followed by a large guitar shaped chainsaw making an appearance. The pace mellows for a brief moment for the almost ballad esque Call of the Wedding. The two singles from the new album Limited Deadition follow and are pure melodic metal classics in the making. Retropolis and Hellizabeth are full of hooks and great choruses and sure to be live favourites for a long time to come. The band all have short solos to allow for costume changes and there are small theatrical interludes that all seem to play around the torture of some pour soul. The strangely alluring Hella even leaves her keyboard for a moment to behead a figure much to the delight of those present.

The clock is turned right back now for songs from the bands first two albums, notably heavier in sound, Blood Red Sandman, Would You Love a Monsterman and Devil Is a Loser pave the way to the final song of the night, Mr Lordi has joked throughout that apart from the first few rows this is what everyone is here for but I think he does himself a disservice there. Its hard to believe its been nineteen years since Lordi turned the Eurovision Song Contest on its head in a brief shining moment for a a contest that has become more political than musical in recent years. The victory though shot the band to stardom and Hard Rock Hallelujah is a staple rock anthem now. The crowd pump their first and Mr Lordi leads the sing along as confetti canons fill the air and then with the curfew time being met spot on its all over although it would take some time to clear with hall with the length of queue at the merch stand. The new album Limited Deadition is available now on RPM records and is worthy of inclusion in any rock n metal collection.

Morganway / Robyn Red - Drygate Bar, Kitchen & Brewing Co, Glasgow Saturday 5th April 2025

Mon, 07 Apr 2025 20:08:02 GMT

Quality live music in a brewery – happy days!!

On my first visit to this venue, I was very impressed. Drygate is a hipster micro-brewery on the Eastern edge of Glasgow City Centre. It sits further down the road that runs behind Glasgow Cathedral, adjacent to the huge Tennent’s Caledonian Brewery and is literally in the shadow of the iconic Necropolis hill-side cemetery. The modern re-fitted former industrial building hosts various bars dispensing food and their own home brew over two floors and also features a 350-500 space performance area where this gig took place.

The gig venue is largely a functionable box with a low stage and twinkly lights in the ceiling to disguise the various pipes in the roof but it is roomy and there are ample areas outside the room to chill out and enjoy a beer in comfort. There is a good-sized gated car park and ample free on-street parking too, so overall it is a tidy addition to the Glasgow gig scene and comparatively handy for a quick getaway back to Edinburgh, provided there are no slip road closures or diversions (but there always are – every f*cking time).

The support artiste tonight is local lass Robyn Red and it was nice to see SJ from Morganway step up to introduce her on stage with a positive endorsement. In these tough times for independent artists, it is good to see performers supporting each other and young Robyn was also later invited to jam with the band on a song and join the obligatory post-set photo with the crowd.

Robyn is starting to build a good profile as a country singer-songwriter in these parts and she certainly looks the part with a glamorous image, a signature red hat, a strong voice and an increasing cache of top-notch story-telling songs. This was a solo acoustic show (she also has a band) and showcased a handful of songs that will comprise her debut EP due in May. A couple of those songs have been released as singles and we got to hear personal tunes like ‘Between the Two of Us’ and ‘My World is Yours’ along with ‘Luke Jackson’, which Robyn was at pains to point out is not a true story as it would also double as a confession to murder if it was.

Robyn is originally from Airdrie but most of her material is more suited to North Carolina than North Lanarkshire, other than the excellent drinking song ‘Just Need the Wine’ which is a pure gallus Weegie tale and was released as a single just a few days before the show. My wife and I spent a bit of time hanging out on Broadway in Nashville, Tennessee last year but we both felt that what Robyn has to offer is every bit the equal of what we heard there and she’s only going to get better and better.

Robyn is very excited for an EP release show with her band at Glasgow’s famous King Tut’s venue on 7th June 2025 and she will also be appearing solo in Edinburgh with Kezia Gill on 19th April and Arbor North on 6th July, as well as dates in York, Manchester, Wales, London and Chesire, if anyone fancies painting the town red with her.

Morganway put on a very enjoyable show. Not to be confused with country artist Morgan Wade, who I saw play in Glasgow 6 days previously, they are a very likeable band – all six of them – and with variety of instrumentation and shared vocals, they play a veritable compendium of styles so there is never a dull moment. They are hard to classify. Modern, indie, Brit-Americana might cover it but there is plenty there for fans of rock, pop and country and isn’t it just nice to have a band playing out of the boxes and without genre-based cliches? There is something good here for everyone.

With the release of their astonishingly good third album ‘Kill the Silence’ earlier this year (still on heavy rotation in my household) they now have more than enough world-class material to choose from when compiling a headliner set. The bulk of tonight’s songs come from that latest collection, and why not? It’s “all-hit-no-shit” and full of already classic tunes.

‘Hurricane’, an older one from their self-titled album, opens the show but it is billed as ‘Harry Kane’ on the set-list as they like to play around with the song titles for their own amusement. Right from the start, SJ Mortimer imposes herself vocally, but with great backing from the rest of the band. ‘Feels Like letting Go’ is a great showcase for the violin skills of wee Nicole J Terry and that sound is one of the band’s unique selling points and integral to their signature style.

Bass man Callum Morgan steps up to lead with a male vocal on a couple of songs, initially the euphoric ‘Boy on the Train’ which he wrote for his son and later on the good-time romp of ‘Goddam Time’. With the variety of vocal styles and song-writing skills, you get a Fleetwood Mac / Eagles vibe but the fiddle adds a bit of Mellencamp and there is plenty of guitar and keyboard action too.

SJ is back on vocals for a sexy booty-call song called ‘Come Over’ from 2nd album ‘Back to Zero’, followed by ‘Devil’s Canyon’ and a brand new “groovy angry” song called ‘Machine’ which laments the difficulties of being independent artists and being “f*cking broke”!

About halfway through their 15-song set, the band step down off the stage and form a huddle with the audience for an extraordinary and effective acoustic rendition of the uber-melodic and joyous ‘Halfway Tonight’. Robyn was invited into the virtuous circle and with everyone in the crowd involved in this up-close and personal moment, it really sealed the bond between the artists and their audience.

The rest of the set is also a triumph. There is a dramatic, almost tango-esque intro for the emotive ‘Wait for Me’ and the highlights keep on coming. Kieran Morgan gets his guitar freak on during the even more dramatic ‘Kill the Silence’ which is, of course, the title of their most recent third album.

We were getting near the end now but ‘Don’t Turn the Lights on Yet’ captured the mood of the crowd perfectly and it is one of the band’s finest songs, featuring the violin and all the other instruments kicking up a storm – they’re never not going to get an encore after that wee beauty.

Apparently, the band wrote ‘DTTLOY’ in the van when they were snowed in at Inverurie in the North of Scotland. On this latest round of dates in Europe and the UK, poor Nicole went down with food poisoning bad enough to cause hospitalization. That can’t have been much fun in the band van either and we probably don’t need another van-tale song about that – “Shiteing Through the Eye of a Needle”?

There was still time for another number before one final SJ tour-de-force vocal on ‘I Feel the Rain’ to reinforce what a quality night of music some of us had been fortunate to witness. There is a real joy about this band and they are a very likeable live presence. They might not get paid what their music deserves yet but with three albums in the bag they have all the ingredients for a very tasty career indeed. The gig might have been over but the feelgood factor was still felt a few days later and the songs will be living rent-free in my heid for a few more weeks yet.

The second leg of the tour runs from 9-26 April and includes Birmingham, Manchester, Nottingham, Oxford, Bristol and London. Check out the band’s Facebook page for details and don’t miss them if you live close to one of the venues.

Phone photos by Iain McArthur

South of Salem (supported by High Parasite/In Search of Sun) - The Cathouse, Glasgow Tuesday 1st April 2025

Fri, 04 Apr 2025 10:23:07 GMT

Photos by Mr Rockfiend

It may have been April Fool’s Day but the lineup at the famous Cathouse Rock Club in Glasgow was far from a joke as South of Salem arrived in the city as part of their Death of the Party Tour, with High Parasite and In Search of Sun in tow as support. The Bournemouth-formed rockers, with a penchant for horror-inspired visuals and dark yet melodic hard rock/metal, have been steadily growing in stature since their 2020 debut album, with a reputation for powerful and high energy live shows. So, it was no surprise to find the venue packed on a beautiful, spring evening in Scotland’s biggest city.

Since releasing sophomore album Death of the Party in early 2024, South of Salem have toured all over the UK and even into Europe in support of it, playing headline shows, support slots and festivals. They’re rightly proud of the album, so on this tour they decided to play the album from beginning to end… every single hard rocking song!

But before the headliner, two support acts had a chance to shine, the first being In Search of Sun. Formed around 15 years ago, it was all going so well for vocalist Adam Leader and the band, with two albums released, momentum building and high-profile appearances at Download and Download Europe. Then… disaster, when the events of 2020 and the subsequent years of restrictions set them back. But rather than wallow in self-pity, they wrote new music, releasing the Lemon Amigos EP last year. Arriving on stage to a decent sized crowd, In Search of Sun showcased their funk-metal vibe, with tracks from their two albums and latest EP; ‘Mega Piranha’, ‘In the Garden’, ‘Contagious’, ‘The Fire I Play With’, ‘Idle Crown’, ‘Rhythm’ and ‘Bad Girl’. It was an energetic performance of great music that would thrill fans of bands such as Linkin Park, with plenty of synchronised jumping and on this kind of form, I have no doubt that the band will be back in Glasgow as headliners sooner rather than later. It was a pleasure to interview Adam after their set, so be sure to check that out on Rockfiend’s socials in the very near future.

Bradford-formed High Parasite have been making quite a lot of noise (musically and otherwise) since announcing their presence to the world last year. Formed around the unique vocal talents of Aaron Stainthorpe, longstanding frontman of doom metal maestros My Dying Bride (as well as two faces well-known to the Rockfiend team on bass and guitar!), the band released debut album ‘Forever We Burn’ in September of last year. Arriving on stage, wearing a completely white suit, Stainthorpe was in stark contrast to the rest of the black clad band, which included a scary looking mask-wearing Tomb on bass. High Parasite presented a masterclass in Gothic death metal, with Stainthorpe’s wonderful baritone-cum-throaty vocals menacingly filling the room. It was a rip-roaring, hard and incredibly heavy romp through songs from the album, consisting of ‘Parasite’, ‘Concentric Nightmares’, Grave Intentions’, ‘Wasn’t Human’, Hate Springs Eternal’, the brilliant debut single ‘Let It Fail’ and the album title track ‘Forever We Burn’. High Parasite isn’t just a side project for Stainthorpe. It’s a working, recording, touring band and I look forward to them returning to Glasgow for a headline show, perhaps around Halloween! What a wonderfully frightening Gothic night of death metal that would be!

Stage changeovers were impressively fast, so it seemed no time at all before some foreboding sounding intro music welcomed South of Salem to the Cathouse stage. It’s a small stage and a structural supporting pillar that partially blocks the view is a pain in the backside… but that meant nothing to singer Joey Draper, guitarists Kodi Kasper and Denis Sheriff, bassist Dee Vower and drummer James Clarke, who made a huge noise in the small space with the menacing, heavy opener ‘Let Us Prey’ from 2020 debut album The Sinner Takes It All’, complete with bursts of smoke and big sparks at the front of the stage. A brand new track, a brilliantly dark and heavy reworking of Australian pop duo Savage Garden’s ‘To The Moon and Back’ followed, with a fantastic reception from the Glasgow audience before ‘Pretty Little Nightmare’ acted as a reminder of South of Salem’s melodic sensibilities with its catchy, almost commercial-like chorus. What a start!

As previously mentioned, the band were playing the Death of the Party album in full from beginning to end, starting with the brutal one two of ‘Vultures’ and ‘Static’, allowing guitarists Kasper and Sheriff ample opportunity to showcase their phenomenal guitar skills and captivating stage presence. Draper is the perfect frontman, with his impressive voice, which never sounds strained, soaring across the venue on ‘Jet Black Eyes’ as the coffin backdrops flashed eerily behind him. If you were looking for a bit of respite from the heavy metal aural assault, you weren’t going to find it in the Cathouse, as the band continued on with the riff-filled ‘Stitch the Wound’ and the frantic ‘Left for Dead’, with the rhythm section of Dee Vower on bass and James Clarke on drums driving the tracks along with an intensity that was literally shaking the floor!

With more smoke, more sparks and some synchronised dancing in the background by Lolly Draper (wife of Joey) and Georgia Blehs, it was a visual feast and impressive stage show, considering the size of the stage. The brilliantly catchy ‘Hellbound Heart’, the kind of modern hard rock/metal song that would do well on commercial rock radio in the United States, led to the speaker bursting riff of ‘Bad Habits (Die Hard)’, with some vocal help from the Glasgow choir at the chorus. The title track of the album ‘Death of the Party’, another heavy yet melodic earworm, the moody ‘A Life Worth Dying For’ and ‘Villain’ brought the main set to a close before South of Salem returned to the stage for an encore of two songs from their debut album, the brooding, atmospheric ‘Demons Are Forever’ and fan favourite, the excellent hard rocker ‘Cold Day in Hell’.

As they posed at the front of the stage for a photo with metal horn raising fans in the background, South of Salem must’ve known that they had played a pretty perfect gig in Glasgow. It was a high energy show from beginning to end, showcasing everything that is special about the band. The music is often dark, moody and heavy, probably even more so in a live setting, yet each song also has a brilliantly melodic sensibility that will have you yearning for more. The band have honed their stagecraft to perfection, looking like experienced rock star as they prowl the stage, engaging the audience with every note played and every lyric sung. South of Salem won’t be playing smaller venues for much longer, as they are an arena-ready band destined for much bigger things. The South of Salem party certainly isn’t dead; it’s very much alive and kicking!

South of Salem’s Death of the Party Tour ends with a sold out show at the Underworld in London on Friday 4th April. Check out their music and merch online at www.southofsalem.com and stream on the usual streaming platforms.

Scarborough Punk Festival - 29th & 30th March 2025

Thu, 03 Apr 2025 07:03:10 GMT

So, another punk weekend in Scarborough was on the cards. In the company of punk encyclopaedia Pete, Andy who was driving, and Big Al who volunteered to cook for us, we made the four plus hour trip to the English Riviera who were hosting this festival for the fourth time. We loved it last year and bagged tickets for this weekend on the road home from our last outing to the seaside.

Fast music is exciting and we were right up for a weekend full of it.

Saturday morning, we were up good and sharp and headed down to Scarborough Spa. This is a great venue, right on the coast. The festival takes the whole place over, and that includes a well-stocked and reasonably priced bar - £5.50 for a pint is okay I reckon; an area for merch and a huge conservatory. There is also the concert hall that holds, give or take 2000. Once again, this event was a sell out; unlike many of the attendees. There were Mohawks, zips, pins and hair colour of all description being sported by fans who really did live the life. Pretty much everyone we met were great, it was good to chat with fans from across the world. The place was full of characters – the ‘one man mosh pit’ got the fan prize from us for his exuberance at being, well, a one man mosh pit for every band. There were a couple of exceptions for whom the chorus of “Nazi punk, Nazi punk…off” could have been written - but they were the very, very small minority and, I hope they will continue to feel less welcome and come in fewer number as every year passes until the time they are totally gone.

However, to the music. I enjoyed last year’s bill immensely; this year’s offering was a wee bit different. The focus on Saturday was a more general punk vibe whilst Sunday had a bit more of a thrash, Oi and skin theme to it – all appealed to me.

We got to the venue just in time for Riskee and the Ridicule. This was the first time I’d seen them – wow. I thought they were fantastic. A bit of hard core, a bit of rap-punk and just some good old guitar-based music. If you like the American hard core sound, they are a band for you and they would have been just as at home in the tent at Download as they were here. It was a great start to our day.

I have been trying, and so far failing, to see Millie Manders and the Shut Up for a while. Like the band before them, these young punks made the stage their own. Millie banged 11 songs into her 40 minutes, Big Al thought the band had the best guitar sound of the day. The new single “Me Too” was a stick out for me.

It was great seeing two young bands play it like they stole it. They filled their time and filled the stage not just music but with confidence too. Nothing was taken away at the end of the set, it was all left out there. That wasn’t lost on the crowd who filled the room for these early acts.

The first of the memory lane bands to make an appearance was The Vapours. They took 34 years off from playing, during which time, front man, Dave Fenton, spent most of that period working as a lawyer for the musicians union.

Their current line up included both Fenton and his son Danny. Danny, is without doubt the bounce of the band. He spent the set careering around the stage and doing the intros at the end of the set. He was a good addition and brought a youthful appeal to these aging songsmiths.

I often wonder how the conversation goes in bands around when to play “that song”. For the Vapours it was third from the end of their 10 song set. As soon as that most recognisable of riffs started, the mobile phones were out and dodgy films were recorded that will, quite probably, never be looked at again. Sadly, once the song was done, a good number of punters made for the door. They missed a couple of crackers, particularly “News at Ten”. Keep the phones away and just enjoy all the music is my advice.

We missed the next couple of bands as hunger took over. That’s always the challenge at Scarborough, when to eat? We decided to grab it when we needed it and so missed Random Hand and Grade Two, both of whom seemed to have been excellent, according to the hungry punters we spoke to on our return.

We made it back just in time for the Bar Stool Preachers and I am so glad we did. They were outstanding. Eight power punk songs were on the menu, and they battered them all like their lives depended on it. “One Fool Down” and “Suicide Girls” were standouts for me. The band are also really nice guys. One young man named James was at the festival with his mum. The Bar Stool Preacher have looked out for James in the past and it was great to see them doing that again in Scarborough. If you get the chance to see these guys, take it!

Animal and his mates were up next. You know what you are getting with the Anti Nowhere League. It’s always a little sleazy, sometimes a little bit dangerous and always a lot of fun. Tonight was no exception. It was a run out of the hits, and we loved them for it. No surprises but who needs to be surprised by bearded, tattooed, leather clad men of a certain age? They were brilliant.

Saturday ended with another punk survivor – Richard Jobson, the last of the original Skids. Mind you, this new band was really good. Axe Man Connor White has a lot of heavy lifting to do. Jobson has dropped from two to one guitar in the band, and I think that is a really good thing. Connor had more space to hit the riffs and bang out the solos and I thought that made the music all the clearer. This also gave space to bass man Gil Allan. He hung off his guitar throughout the full set pounding out the distinctive basslines that so shaped The Skids sound. Gil is one of the best bass players around in my view; and that’s a pretty busy field. I always think one of the unspoken realities of punk rock is the quality of the bass guitar. There are just so many good players and stonking basslines out therein so many punk bands.

The Skids gave it their all. They had an hour but pulled the pin after 50 minutes, another couple of songs would have been nice, but all the bangers were there, including a great cover of the Clash’s “Complete Control”.

The end of the first day had arrived – well almost. He headed back to the wee local, The Albert, we had found near our AirBnB. We discovered a top 80/90s cover band called Codaplaying. They brought a bit of a contrast to our day and this three piece was really good at what they did. It was a nice way to end a long and fantastic day.

There are few downsides about this festival, but the clocks going forward halfway through it is one of them! That meant Sunday was a bit of a slower start.

This was a different day and had, very much of a hardcore/thrash punk and Oi feel to it. That looked pretty good to me, but I did get the impression there were less fans around throughout the day.

Our day kicked off with Gimp Fist. I always thought of them as a fairly new band, but they have just celebrated their 20th anniversary! Once again, an absolutely belting set I thought. “Working Class”, “Skinhead not Bonehead” and their finisher, “Here I Stand” were the stick outs for me. I loved their energy, I loved the riffs and I loved the enthusiasm. They are in Scotland later this year, I will be there – a brilliant live band.

I have always liked Steve Ignorant and Crass were one of the stickouts in punk. Today I though Steve and his band were outstanding. Musically, I thought they were a bit of an outlier today and they brought a show that was a wee bit Avant Guard to the Scarborough stage. Vocalist, Carol Hodge led on a few songs, including my personal favourite “Shaved Women”. I thought Carol added a different feel to the music and really added a layer. Steve Ignorant was always somebody I respected, he lived the life he professed, vegetarian, commune member and pacifist. He is many things, ignorant is not one of them. This set made me smile.

By now hunger was setting in again, but Conflict were up next. It was surprising to see Wattie Buchan from the Exploited take the stage with the band; there was a well documented fall out between Wattie and Conflict. Things may be thawing – he took to the stage to let us know Conflict singer Colin Jerwood would not be appearing and was being replaced by Fiona Jayne Friel for all songs. After a cry of ‘punks not dead’ Wattie left the stage and Fiona got on with it. She was great. Energy, pink hair and a real punk attitude carried her and her band through their set. We left after a few songs for a quick bite, they were just finishing when we got back and the crowd were going nuts – Fiona did well.

Charged GBH are one of the bands I was looking forward to seeing. Jock Blyth is an Edinburgh man and was a central figure in the annual Punk for Pam festival in the city, which raised money for charity in his sister Pam’s, name.

These are a band of guys who simply look punk and no one more so than Colin Abrahall who, with his spiked hair and tied up leather jacket clings to the mic as he belts out thrash punk classics. The crowd take a minute to warm up, but the one man mosh pit is there, and they are off and forty minutes of thrash was well received. Personal topper for me…“City Baby Attacked by Rats”. I loved it.

For Big Al, Booze and Glory were the band of the day. This Polish/English mix really brought out a great punk Oi vibe that really resonated with the crowd. They were also a great lead up to The Cockney Rejects.

I had no idea what to expect from the Rejects. I’ve seen them a few times and always enjoyed them but then they retired and almost immediately popped back up with Stinky Turner leading a new band of troupers. I’ll tell you what I didn’t expect, I didn’t expect them to be this good! They were flying – former Toy Doll, Olga on guitar had a great sound and just carried the music all night, JJ Pearce claimed the bass lines and Ray Bussey kept the rhythm clean throughout this 50 minute set. The new look Rejects are every bit as good as the last incarnation. There is a revived feel and freshness to the songs. I look forward to going to see them again soon.

Last up, another Edinburgh legend, Wattie Buchan leader of The Exploited. I first found The Exploited when I saw the title of their first album, “Punks Not Dead” graffitied all around Wester Hailes when I was on the bus going to school. I liked the album from the get-go. I loved the thrash, the DIY production and the don’t give a monkey’s attitude of it all. Alas, it didn’t go great for the band on Sunday. Their sound was not all it could have been and, like a good few others, I called it quits after about 20 minutes and headed for a reflective beer.

Once again, Scarborough put on a great punk festival. I loved it that they called in the talents of less well known and younger bands like The Bar Stool Preachers and Millie Manders as well as Gimp Fist and Booze and Glory. Looking around the auditorium, punk is not getting any younger. Festivals like this can’t survive solely on the antics of the old guard, they need to promote new bands and get them up the roster. That would support both the bands and keep festivals alive for years to come. This year, I felt Scarborough got the mix right. It was great to see the League and GBH but equally fantastic to see Riskee and the Ridicule making an appearance too.

Early bird tickets went on sale at 1000 on the morning we were leaving. A wee bit jaded, we pulled the car into Greggs, grabbed a cup of tea and a yum yum. Bang on 1000 Big Al got his credit card out and bought the tickets for next year. We’ve no idea who the line-up is, but we do know it’ll be another great gathering of the Punk Clan by the seaside, both on and off the stage and it’ll be a privilege to see, most of, them again.

Punks not dead…just yet!

Salem UK - 'Outer Limits'

Wed, 02 Apr 2025 20:32:40 GMT

Salem have been around the block. Hailing, originally from Hull, the band formed in 1979 very much wearing the heavy metal cloak of the time and sounding like their new wave of British heavy metal contemporaries. Their star burned out quickly though, and in 1983 the members hung up their rock shoes to go and do other things.

Music does have a habit of surviving in the soul and in 2009 they popped up again, this time adding a UK to the end of their name, Salem UK was ready to rock once more.

The road to rocking never runs smoothly. By the time we get to the present day, there have been four albums, several changes of personnel and a court case between members, all conducted in the name of Salem UK.

So, with all that water under the bridge, what does this iteration of the band have to offer?

Outer Limits is their new long player and sets out a very clear agenda from the opening song – we are here to rock!

A brief fairground overture takes us into the first of the 10 songs on offer. “Rock You” unashamedly sets out just what the band want to do. Drum and bass heavy, this a driving start to the record.

This is an album, the of kind of which, you would expect from a NHOCBHM band and that is a good thing. There is riffage in abundance. There’s a ballad in the mix - “Red Light” which takes things down a notch. “Miss Fortune” has that searing guitar into that is so synonymous with the genre. The mix is drum heavy, there are operatic vocals and some banging solos.

Some of the lyrics are reflective, “Overrider” and “Miss Fortune” both sound to be songs of lost love.

“Meteorite” is my pick of the bunch. It has a real Iron Maiden feel to it at the start and develops into a bit of a prog vibe as it goes on.

This is an album that reminded me of being 14, of sitting in my bedroom wearing a rock t-shirt and just banging my heard along to every tune. I suspect this record will convert very easily into the live setting and I can see my, slightly older, self banging my head along with this in a concert hall or festival tent very soon.

It’s good to have survivors back and I love listening to new stuff. This is a new record, but the sound and vibe are things of the classic fayre of a few decades ago. This is, in the best possible way, retro rock and if you like Maiden, the Tygers and Saxon you will love this.

Dig out your old cut off and look at the patches and smile as you give it a listen.

Bad Penny – ‘Big Bomb Ticking’

Wed, 02 Apr 2025 20:14:17 GMT

It’s been almost 2 years since US rockers Bad Penny last released music in the form of the powerful ‘The Shadow Still Remains’, with outstanding vocals by Corey Glover of Living Colour. In a review for this very publication, I described it as “thrilling, edge-of-the-seat stuff” and hoped it wouldn’t be too long before they returned with new music. Well, two years is longer than I’d hoped… but sometimes in life, the best things come to those who wait. Quality over quantity, as is often said!

With that in mind, I was excited to learn that Bad Penny would be releasing a brand new single, ‘Big Bomb Ticking’, on Friday 4th April 2025. With vocals on previous single releases performed by illustrious rock stars such as Todd La Torre (Queensryche), Steve Augeri (Journey), Rob Halford (Judas Priest), Dee Snider (Twisted Sister) and the aforementioned Corey Glover, I was just as excited to find out who would be at the microphone for the latest track… and was thrilled when it was announced that it would be Cheap Trick’s legendary singer Robin Zander!

With the Bad Penny lineup completed by founding member, songwriter/guitarist Mike Holtzman, Danny Miranda (Queen, Blue Oyster Cult) on bass, Jason Gianni (Trans-Siberian Orchestra) on drums and Tony Bruno (Joan Jett, Dee Snider) on rhythm guitar and production duties, as well as Abigail Rose Reedy (wife of Holtzman) and Robin-Sailor Zander (daughter of vocalist Robin) providing backing vocals, will ‘Big Bomb Ticking’ build on the momentum of the band’s previous releases?

A brooding acoustic intro, with Robin Zander’s slightly distorted and echoey voice giving a dream-like vibe, slowly builds in intensity with powerful hard rock power chords and hard-hitting drums. As the moody verse progresses, there’s a very Ziggy Stardust-era Bowie feel to Zander’s vocals… yet it’s still unmistakeably Robin Zander and will evoke memories of prime-time Cheap Trick for longtime fans of the vocalist. It’s almost menacing, in a rock musical theatre, Alice Cooper kind of way!

It all takes a change of direction as the chorus bursts to life. Minor turns to major. Menacing and moody becomes fun and happy. It’s the type of chorus that will have you turning the volume up as you pogo around the room, singing along with a huge grin on your face. “Got my eyes on the prize. I’m coming out swingin’”, sings Zander, and on the strength of this catchy, earworm chorus, it’s a hard point to argue!

The second verse is like the first… but with added intensity as Gianni’s drums complement some amazing work on the bass by Miranda. They’re a talented rhythm section, driving the music along and must surely be the envy of many a band! The chorus is just as good second time around, maybe even better as the prominent addition of the female backing vocalists provides a sort of 1970s rock throwback. It’s genuinely great stuff and it’s difficult not to tap your feet or bop your head in rock n roll bliss!

Would it be a real, retro-inspired rock song without a guitar solo? Of course, it wouldn’t… and Holtzman obliges after the bridge section. It’s a classic rock guitar solo, up and down the fretboard with plenty of ‘throw your head back and pull faces’ screeching air-guitar moments. Yet, it’s not overplayed and doesn’t outstay its welcome, which is often a hard balance to find in a rock song. The brilliant chorus brings the song to an end… and I guarantee you’ll be pressing play to start all over again!

To use a Scottish phrase, ‘Big Bomb Ticking’ is a belter of a rock song! It’s got everything that the discerning rock fan wants; a legendary vocalist, some atmosphere in the verses, a magnificently catchy chorus, a guitar hero solo and a kick-ass band holding it all together! This is the kind of song that will appeal to rock fans in 2025 in the exact same manner as it would’ve had it been released in the 1970s. It’s a true classic rock song, with the attitude of Cheap Trick, Thin Lizzy and countless other legendary bands… but with a real modern edge.

Pre-order ‘Big Bomb Ticking’ now… because when this Bad Penny bomb explodes, it’s going to be huge!

LORDI - LIMITED DEADITION

Wed, 02 Apr 2025 07:57:21 GMT

If, like me, you best remember Lordi as the blokes in monster costumes who won Eurovision back in 2006 with ‘Hard Rock Hallelujah’, you might be surprised to discover that the Finnish rockers have just released their nineteenth (!) studio album. An unashamed love letter to the 80s, ‘Limited Deadition’ is loosely conceptual, apparently inspired by frontman and founder Mr Lordi’s lifelong obsession with collecting. It’s a theme that particularly resonates with me, as someone who has also dedicated significant effort into surrounding myself with the things that make me happy; From enamel pin badges, to CDs, to cuddly toys and action figures, I am almost certainly the target audience. And though it’s 80s toys that are the focus here, a collection I’m a little too young to get involved with, the sentiment of the title track still hits hard, the lyric, “I am compelled to get, each item in the set” surely familiar to anyone who has ever questioned if they’re secretly a bit of a hoarder!

Listening to the album is a pleasingly cinematic experience, punctuated with brief interludes that sometimes feel like snippets from a schlocky horror, at others, like ads for the aforementioned toys. Stripped of the visuals that I’m sure many regard as little more than a gimmick, the music is much better than you might expect. Keyboards are an unexpectedly dominant force, lending a melodic, hair metal feel to many of the tracks, albeit with a frontman who snarls rather than preens, often sounding like he needs to clear his throat - apt for a man who spends much of his time dressed as an unholy overlord! Proper stomping, shout 'em out loud anthems are the speciality, the likes of ‘Skelephant in the Room’ and ‘Killharmonic Orchestra’ boasting the kind of rousing choruses that I imagine translate even better on stage.

It’s somewhat harder to imagine Mr Lordi crooning the ballad ‘Collectable’ in his stage gear, a gentle, lilting number that feels notably different when surrounded by its noisier, more belligerent siblings. Not that the heavy riffs and frantic pace are ever at the expense of melody, memorable hooks seeping through every track, even the urgent ‘Syntax Terror’ with its shrieked chorus. It’s not too much of a stretch to imagine fellow masked maestros Ghost releasing ‘Hellizabeth’, though it probably wouldn’t sound quite as aggressive. And there’s something almost Steinman-esque about ‘Fangoria’, the rumbling bass-line and female backing vocals adding a real sense of drama.

If you take your rock music particularly seriously, then this probably isn’t the album for you. But I imagine you’d pass on a group wearing monster costumes anyway. That said, if listening to ‘You Might Be Deceased’ doesn’t raise a smile, I’d suggest that you might, in fact, be deceased! There’s more substance to Lordi than meets the eye, and some truly spectacular tunes behind the masks. 'Limited Deadition' is definitely an album I'll be adding to my collection.

Morgan Wade / Karley Scott Collins / Sammy Harrison - O2 Academy, Glasgow 30th March 2025

Tue, 01 Apr 2025 06:45:28 GMT

I’ve been watching a lot of Married at First Sight Australia on TV recently and I know that me and Morgan Wade would never be matched together by the experts on that show. I’m a boring old Scottish grandad that’s into melodic rock and old-school metal, while she’s a young, kick-ass, talented nu-country girl that’s tattooed, out-and-proud and into power-lifting. But we both like Elvis and the other thing we have in common is authentic, powerful and evocative alt-country music with crossover appeal; she writes it and sings it and I like listening to it, so tonight we’re on our first live date, along with about 2,000 other people in the East End of Glasgow.

This was a very short UK Tour (with one date in Ireland and one in The Netherlands) in advance of Morgan going on tour in the USA with Shinedown for most of this year. The stage was set up with an Obsessed-themed curtain / carpet, plus stools and guitars, so it was clear that this would be an entirely acoustic evening. I usually prefer my music and my chairs to be electric and, like Muse’s Baby, I think things are generally better plugged in, but Morgan is predominantly an acoustic writer and performer and this suits her just fine. The whole evening was unplugged but with an increasing number of musicians and instruments involved as we progressed through a 3-act bill there was nothing lacking.

First up on the carpet was a young English chap called Sammy Harrison, who was all on his own busker-style with just a guitar and a baseball cap for back-up. Formerly performing as ‘Rising Fever’ he delivered a short folky set with country undertones, of which the highlight was a brand-new track called ‘Shining Boy’. Sammy is a likeable character with a nice line in chat and he clearly enjoyed being on the big stage and touring with Nashville royalty, and he also had family in the crowd who will have enjoyed it too.

Karley Scott Collins used to be a child actor in TV and movies (and some TV movies) but recently she’s been making a name for herself as a country writer and performer and was a CMT ‘Next Women of Country’ honoree in 2024. She certainly looked and sounded the part and made a big impression on this Scottish audience.

After draping her long limbs over a stool and sweeping her hair out of her eyes, Karley blew everyone away with her opening number: a gloriously harmonic “driving away from heartbreak” song called ‘Hands on the Wheel’ that really grabbed the attention.

On the cover of her brand-new single, Karley presents a perter version of the Bruce ‘Born in the USA’ art-work pose and the song references the great man in its lyrics; “Damn, if he didn’t make me a believer, like the first time Springsteen on the speakers”. The song itself is exceptionally lush and sounds like a love letter to Levi-wearing, sleeve-tattooed, motorcycle-riding American bad boys in general rather than one specific one, but it is top quality and warmed up an already balmy Scottish Spring evening.

Karley’s songs tell her own story. ‘Runner’ is a “first cut is the deepest” broken heart tale, ‘Quit You’ is about addiction, ‘Heavy Metal’ refers to an old friend who’s wedding ring is weighing her down and ‘Marlboro Reds’ recounts some of the stuff she learned from her Nana during smoke breaks.

With all of this contemporary song-writing goodness on offer, it was almost a shame to include a cover, even if it was ‘The House of the Rising Sun’, but it did allow Karley’s “Plus One” to show his guitar skills (sadly, I did not catch his name). It sounded like the lady had enjoyed her day in Glasgow too, with visits to the Necropolis and Scotia Bar, which were good choices. Karley will be on tour with Keith Urban in the USA for a good chunk of 2025 and that should win her even more admirers.

There is much to savour from Karley Scott Collins and she is well-worth checking out. You might initially come for the blonde hair and long legs, but y’all will want to stay for the warm country tones and a collection of mighty-fine songs. Haste ye back.

Morgan Wade has built a passionate following in this country through previous visits and the large crowd were clearly emotionally invested in her from the start. ‘Phantom Feelings’ was a great opener and allowed Morgan to introduce the band; that’s Clint Wells on guitar and Tyler James on keyboards and guitar, although the latter also whipped out a trumpet during ‘Deconstruction’.

Most of the set was drawn from ‘Obsession’ and 2021’s ‘Reckless’ but a brand-new track ‘East Coast’ was an early winner. Like most of her impressive catalogue, it is a beautifully observed and relatable story laced with poignancy and feeling. The original features a nuanced electric solo but this version also hits the spot without it.

A long-sleeved top and jeans covered most of Morgan’s body art but she still wears her heart on her sleeve and some of her songs can really rip a hole in your chest, not least the raw and lonesome ‘Left Me Behind’ and a plaintive rendition of ‘Crossing State Lines’ which really hit the spot. There was no ‘Stand by Your Man’ bullshit on display here and this is not your granny’s country & western.

Seated throughout, Morgan was an understated presence on-stage but she engaged warmly with her people between the songs with a bit of “y’all” chat and the crowd were hanging on her every word. There was good banter between the players too, culminating in a surprise ‘Happy Birthday’ serenade for Tyler, who really added something to the performance on the night.

The real show-stopper in the set was the lascivious emotional longing of ‘Take Me Away’ from the ‘Reckless’ album – a slow-burning classic that built up to an intense crowd sing-along and you could just tell that everyone there wanted to feel something too. If this song does not become the soundtrack to a big love scene between Beth Dutton and Rip then the producers of Yellowstone have truly missed a trick.

A few more different emotions get twanged with songs like ‘Psychopath’ and ‘2AM in London’ and a rendition of ‘Total Control’ was apparently the first time that track had been played in an acoustic format. It worked.

The show ended in the only way it could, with ‘Wilder Days’ – a breakthrough song with broad crossover appeal that the audience loudly enjoyed singing back. At least three of my gnarly rock veteran colleagues on the Rockfiend staff are believers in Ms Wade and her work. It’s probably for the best that her own truly wild days are behind her, with booze replaced by fitness, strength work and song-writing, but she has stories to tell and a great way of sharing them.

At the next MAFS commitment ceremony, I’m definitely going to be voting ‘stay’ and whenever Ms Wade returns to our shores, I’ll be turning up to share a second date, and I think there will be even more folks along for the ride with us. Get on board the Wade train while you can.

Phil Campbell & The Bastard Sons/Absolva - Garage, Glasgow 30th March 2025

Mon, 31 Mar 2025 10:22:31 GMT

Photos by MB Photography Scotland

Billed as a celebration of 50 years of Motorhead, Phil Campbell and his Bastard Sons roll into Glasgow for a sold-out show that promises to be loud. First up though is Absolva. Hailing from the northwest of England and full of heavy riffs this 4 piece get the night off to a busy start. With regular bass player Karl Schramm unavailable for this short run of 4 dates with the Motorhead legend, Vice and Fury guitarist Tom Atkinson, who was part of Absolva back in 2012/13 fills in on stage left.

With the venue pretty full it’s great to hear some classic heavy metal riffage from this band. Think old school 80’s heavy metal and you’ve got Absolva. There are no frills to this band but what they blast out is melodic, full of hooks and enough balls to fill Sports Direct! What’s even better is that the assembled masses love it. A 45-minute 8 song set is perfect for the Glasgow audience as a warmup for the main act. With new single Find My Identity getting an airing it shows that the new album due from Absolva is going to be a banger. Let’s not forget that this is also the band that Blaze Bayley uses live, and you can see where front man Chris Appleton gets his stagecraft from. It’s refreshingly honest, something that is missing from a lot of bands these days. By his side is brother Luke and between them they conjure out the blistering guitar work that supports their songs. Let’s not forget sticksman Martin McNee who anchors the band. All in all, a brilliant set from the guys and remember to look out for their new album Justice coming out in May this year.

And on to the main reason we are all here tonight. To celebrate 50 years of one of the UK’s loudest bands, Motorhead. Long time guitarist, well since 1984, Phil Campbell rolls into town with his Bastard Sons, Tyla on bass, Dane on drums and Todd on guitar and “musically” adopted son Joel Peters on vocals to deliver what is billed as a celebration of Motorhead and something that fans have been requesting for since the death of rock n roll legend Lemmy.

It’s pretty clear that this gig is going to be something special and with the amount of Lemmy and Motorhead t-shirts on display there a lot of diehard punters here. To introduce the band onstage is Winston from Still Game, actor Paul Riley. A self-confessed fan and friend of Phil he tries to crack a few jokes in his intro speech, something that really doesn’t go down too well especially the introduction of some religious infused humour. The cries of Get Tae F**k start to become louder before he either takes the heed or has finished his short comical interlude. Wasn’t really required but we soon get to the band. Iron Fist, Damage Case and Going to Brazil explode into action and we are in for a blistering rife tonight. In what is a 19-song set you get the classics and even songs that have never been played live before this audible orgy. Phil isn’t sure but he reckons that Smiling Like A Killer was never played, he’s not really sure. I’m sure that the Motorhead lifestyle played a big part in that. Stand out song in middle of the set was Born To Raise Hell which had the mainly “mature” audience abandoning any sense of decorum and let loose. I would say let their hair down but that was in short supply.

Ace Of Spades was brought into life after Joel had everyone shouting “F**k You Tyla” and the place exploded with crowd surfers and the inevitable mosh pit. The main set was brought to a close with the last recorded song by Motorhead, Heroes as made well known by its original singer David Bowie. Campbell had already told the crowd that this was the last song but if they made enough noise then they would be back.

The introduction of an acoustic and “moothie” brought us a lower paced and quieter start to the encore with Whorehouse Blues. The mosh pit that was trying to establish in this song was more like the Weegie Conga. Anyway, that soon was brought to life with the remaining 3 songs, Bomber, Motorhead and night closer Overkill.

As the t-shirts for the tour said.... NO MIMING, NO GIMMICKS, NO BULLSHIT, 100% PURE ROCK N ROLL and that’s what we got. I doubt if we’ll ever hear some of these songs being played again and tonight, I think we got a fitting send off to Motorhead from one of the guys that played a major part in bring us the ear-splitting experience for the last 50 years. Thank you Phil, thank you Bastard Sons and thank you Lemmy for the ride.

Set List -

Iron Fist, Damage Case, Going To Brazil, Orgasmatron, Rock Out, Metropolis, Born To Raise Hell, Smiling Like A Killer, (We Are) The Road Crew, Lost Woman Blues, R.A.M.O.N.E.S., Chase, Ace Of Spades, Killed By Death, Heroes, Whorehouse Blues, Bomber, Motorhead, Overkill

'Clash of the Titans' - Live Undead/Megadeth UK/Arranthrax - Bannermans, Edinburgh Saturday 22nd March 2025

Fri, 28 Mar 2025 11:09:25 GMT

Being only a very occasional thrash metal fan, Friday’s ‘Clash of the Titans’ was an unfamiliar experience. It was also an unfamiliar experience in the sense that I had never been to Bannerman’s when it was so busy – after getting a good spot near the action, my return trip from buying a pint meant I was set all the way to the back of the room, with little scope of getting back to the front.

Although this meant that my view of what the guitarists were physically playing wasn’t ideal (not helped by how low-down the guitars were being held), I still enjoyed what I heard.

Being a guitarist, my main attraction to the thrash metal is the guitar solos, being an uncompromised spectacle of technique, where often (although not always) there’s a melodic quality. Or, in Kerry King’s case in Slayer, a complete dissonant confusion.

I unfortunately missed ‘Live Undead’, Slayer’s tribute, having shown up too late. I didn’t consider the fact that to squeeze three bands in one night, it may have to start earlier, before my arrival at 7:30. Nevertheless, chatting to a rocker in the crowd, who’s opinion could surely be relied on, judging from all of the badges on his jacket, there was no doubt that ‘Live Undead’ was thoroughly enjoyed, and a great show was put on.

Next were ‘Megadeth UK’. This was the act that I was most anticipating. I’m a massive fan of Kiko Loureiro, Megadeth’s lead guitarist for almost a decade, which lead me to discovering some fantastic songs and guitar solos, particularly ‘Tornado of Souls’ and the band’s finishing song ‘Holy Wars’. All band members were rocking out with Jackson guitars, wired up to Orange amplifiers with classic Soldano heads. Very metal.

I thought that their sound was excellent, and their lead singer had the ability to really get the energy out of a room of fans who, although they were clearly loving the music, seemingly wanted to stay static and listen, as opposed to moshing about. This, along with the voice fitting the genre perfectly really gave the band a great front.

There was a slick turnaround post-show, where the room totally emptied out to the bar. It was only about 20 minutes from the last note of ‘Megadeth UK’ to the first of ‘Arranthrax’, the night’s final band.

The lead singer of ‘Arranthrax’ said that they were going to play some ‘classic thrash’, which was accurate. Anthrax was a band that I hadn’t really encountered before, but I really enjoyed the performance. I thought the energy the lead singer brought to the stage was great, no doubt helped by being the only lead singer I saw that night who wasn’t constrained by a guitar.

I thought the music they played was the most rhythmically interesting that night, with changing tempos and a bit of syncopation, led by a very solid drummer as their backbone. Again, the standard of musicianship was excellent. Complex lines were played on both guitar and bass guitar, with plenty of headbanging riffs.

I think that the ‘Clash of the Titans’ night is great idea and although not being an outward thrash fan, I enjoyed all of it. It was great to see so many people come and support the bands and especially stay for the whole night. The crowd of people watching didn’t taper off at all from start to finish, giving Bannerman’s a really good atmosphere all night.

Now, where’s my headband?

Victory or Die – ‘Welcome to the New Rock Revolution’

Thu, 27 Mar 2025 20:23:54 GMT

There were some “ooohs”, “ahhhs” and even more “ooohs” when award-winning Scottish singer-songwriter Jason Sweeney announced that he was taking a bit of time away from his successful solo career to… well… rock things up a bit! A “weel kent face” in the music industry for his work with the much-loved The King Lot before releasing two incredibly well-received solo albums, Sweeney’s stock was high. But there was an itch that he felt he hadn’t quite scratched properly… and that itch was a harder, heavier, sludgier rock sound. After all, that’s the music he grew up with.

Step forward Victory or Die, a project conceived following a trip to Los Angeles, visiting the Sunset Strip, Rainbow Bar and Grill, Whiskey a Go Go and other legendary venues that helped to make hard rock and metal what it was in its 1980s heyday. Inspired by the experience, Sweeney (on vocals and guitar duties) and longtime friend and bass player Brian Stewart headed back to a slightly drearier and less glitzy Scotland, recruiting guitarist Andy “Andypaws” Christie and hard-hitting drummer Carlos Marin along the way. Victory or Die was surely a no-brainer of a band name, considering it was the title of a Motorhead song. Let’s be honest… how much more rock n roll can you get than Motorhead?! The legendary Lemmy pretty much defined the genre!

With two hard rocking singles already under their bullet-studded belts, ‘I Lose Control’ and ‘Hang the DJ’, as well as some demo videos and live performances available on their popular YouTube channel, Victory or Die have hard rock and metal coursing through the blood in their veins with every pump of their denim and leather-clad hearts (this makes no sense… but you get the general image and vibe that I’m trying to put across!!). Their quest for rock n roll dominance continues with latest single, ‘Welcome to the New Rock Revolution’, due for release on Friday 28th March 2025, with the accompanying music video being premiered the night before.

A quick and powerful double trio of tubthumping by Marin and an almost punky guitar riff make way for Stewart’s riff-following prominent driving bass and sludgy sounding power chords, with Sweeney’s Scatman-rapid vocals sounding like a mix of Ginger Wildheart and Lemmy. Think golden-era Wildhearts with latter day Motorhead… but with extra oomph! “What are you looking for? What are you waiting for?” hollers Sweeney.

I’ll tell you what we’re waiting for; the chorus… and it’s got everything we’re looking for too! It’s a hard rocking, fun-filled, sing-along romp with shades of Green Day-style Cali-punk but with a much harder edge and a smattering of Jack Daniels-fuelled Sunset Strip attitude. If the chorus doesn’t have you bouncing around your living room, banging your head and playing air guitar whilst interfering with your elderly neighbour’s hearing aids, press play and start again with the volume even louder. If that doesn’t work, check your pulse and put on some Adele with a small glass of Advocaat, as your rock n roll days are clearly over!

A growl of “born to lose… live to win… victory or die”, a brutal but great sentiment, leads to Christie’s obligatory guitar solo (is it a real rock song without one?)… and what a scorcher it is! Think of an 80s/90s rock guitar hero, be it Slash, Paul Gilbert, Nuno Bettencourt or any other once long-haired six-string legend. Now think of their style and vibe and how it used to make you feel… and you’ll enjoy this solo immensely!

“Welcome to the new rock revolution” sings Sweeney, briefly unaccompanied, before the riff, drums, bass and that brilliant chorus brings the song to a close with a bang… and a gong! Yes… a gong! Brilliant stuff!

Victory or Die is a band on a mission to take you back in time to a golden era when loud and proud rock n roll ruled record stores and every musician headed to LA looking for their shot at fame and fortune. They doff their musical hats in a respectful nod to the greats of the genre, merging the best sounds of that special era with a weightier, more modern edge. This is the song that could take Victory or Die to the next level and if there’s any justice in the world of music, it might even start a revolution!

They are Victory or Die… and they play rock n roll. ‘Welcome to the New Rock Revolution’, indeed!!

Alabama 3 / Million - The Queens Hall, Edinburgh, Saturday 22nd March 2025

Thu, 27 Mar 2025 10:57:34 GMT

If I am being honest, I wasn’t too sure what to expect at The Queen’s Hall last Saturday. Graham, who has an eclectic taste, if you think shaking it up with Bowie remixes is eclectic (just kidding), bought the tickets a while ago and asked if I fancied it.

So, we arrived, full of pizza, at The Queens Hall to see The Alabama 3. Right up to this point, all I’d ever heard from them was the theme tune to the second best TV series ever. That was enough to convince me to come, there cannot every have been a better match of theme to TV programme. I’m deliberately not filling in the blanks – if you know, you know!

Unfortunately, we missed pretty much all of the support – Million. They were a duo comprising guitar, bass and a Macbook. We heard their last song. Both of us really enjoyed what we heard, and I’ll be looking out for them again.

Nine o’clock sharp and the lights went down. Five members of The Alabama 3 appeared. The night started with a cover of the Eagles Hotel California. The vocal was supplied by the only female in the gang, Zoe Devlin and what a voice she has. I really enjoyed it, and the song really set up the evening for all that was to follow.

Front man, Larry Love, the alias of singer Rob Spragg, appeared from stage right. Wearing a gold lame jacket, cowboy hat and shades he set a commanding presence in the centre stage.

Then, bang, we were off on a pretty much non-stop 90 minute journey of what I can best describe as cowboy-techno-Americana. All sporting cowboy shirts, the band pointed to this vibe too. I really enjoyed what they produced. There was no bass guitar, save for one track when Zoe took hold of a four string. Rather, The Spirit, who haunts the keys provided all of that, and did it well. A big part of the band’s sound is the harmonica and Harpo Strangelove, in his shades and equally cool attitude played it hard throughout the night.

Cocaine (killed my community) was an unexpected toe tapper that came up second.

This evening was, primarily, a review of the bands 97’ debut album Exile on Coldharbour Lane and their 2000 offering La Peste with 13 of tonight’s 18 songs being drawn from them.

I often wonder how bands feel about playing ‘that song’; you know, the one they are really well known for. Is it the opener, the big finale or snuck in during the bulk numbers. Tonight, Woke Up This Morning, came in at song four. It made me smile. I enjoyed hearing it live and it prompted great memories of chats with so many friends about the ending of that particular show.

U Don’t Dans 2 Tecko was next up, this was the highlight of the night for me, I loved the vibe and I loved the tongue in cheek confidence it was delivered with.

The Old Purple Tin took a good swipe from Prince and his Purple Rain in the middle of the track and Sister Rosetta just kept the dance vibe going.

The Thrills Have Gone was the first of the encores. This track features a sample from Paddy Joe Hill, one of the members of the wrongly convicted Birmingham Six. I really liked it. I feel music should feel edgy and this track, it's sample and its content was just that.

The last track on the debut, Peace in the Valley, brought the night to a great close.

I looked round the packed room. There were those who had easily been at raves in their younger years, still banging out those dance vibes whilst having a bit of an empty look behind their eyes. There were country fans, their shirts gave them away, and folk like us, who had come along for a look. The thing that united us? We all loved it. The Alabama 3 is a band who can put on a show and that was very evident on Saturday.

I had not listened to Alabama 3 before Saturday, since we left The Queen’s Hall I have had these two albums on a loop. I like a bit of country, and the techno backbeat combine well and simply make my head bob and lips smile.

Me and this weird bunch of musicians who come from Brixton and not Alabama and who number far more than 3 are going to become great friends and, until they come again, I will be spinning their disks on my record player and bobbing my head with a smile. You should give them a listen, you might be surprised.

Cory Marks - Cathouse, Glasgow Tuesday 18th March 2025

Tue, 25 Mar 2025 10:37:45 GMT

With sing along choruses, guitar riffs aplenty and loads of attitude, it has been said that country is the new rock n roll! Some artists have taken that a stage further by sticking to the country music basics… but with added riffs, heaviness and general oomph! One such artist walking the country/rock line is Canadian Cory Marks, who recently spent a few weeks touring Europe and the UK for the first time as part of his Sorry For Nothing Tour, which included a date at Glasgow’s famous Cathouse.

It may be the first time that Cory has performed in Scotland but a Marks has displayed his talents on Scottish soil (or ice!) previously, with his brother Matt playing and coaching Dundee Stars in the UK’s Elite Ice Hockey League for a few years. But there wasn’t a puck or random punch-up in sight when Cory Marks and his band took to the stage at a packed Cathouse for the final date of the tour.

Kicking off with the blistering modern day Lynyrd Skynyrd sounding ‘A Lot Like Me’ from the tour’s namesake album, Marks slowed the tempo ever so slightly to the country radio sounds of ‘Drive’ and ‘A Different Kind of Year’. It was a great start to the show and anyone lucky enough to be in the Cathouse knew that it was set to be a special night of music.

Marks returned to his current album, Sorry For Nothing, for the foot stomping ‘Whisky For Sale’, which initially invokes images of a small town saloon and tumbleweed before bursting to life with the kind of chorus and riffs that would be at home on Planet Rock. ‘(Make My) Country Rock’, another hard rock and country crossover song that was originally recorded along with country and rock legends, Travis Tritt and Mick Mars, as well as Sully Erna of Godsmack. It’s a great hard rock song that is clearly steeped in country roots but it’s exactly the kind of song that proves just how well hard rock and country can mix with the right artist at the helm. ‘Devil’s Grin’ took it back to a more traditional country rock sound, albeit with sing along “oh, oh, oh, oh” that the Glasgow choir revelled in singing along to.

Marks showed that he’s so much more than simply being a country rock singer-songwriter by getting behind the drums for an impressive drum solo before hinting at where some of his rock inspirations come from with an impressive cover of Creed’s ‘My Sacrifice’. There’s a definite Scott Stapp quality to his voice and perhaps that’s why it worked so well. ‘Keep Doing What I Do’, with its ZZ Top vibe and the more menacing, moody sound of ‘Guilty’ (which has a Creed/Alter Bridge feel to it) led to another cover, this time by fellow Canadian Bryan Adams with the brilliant ‘Somebody’.

The main set was brought to a close with ‘Blame It On The Double’ before an encore of the brilliantly radio friendly ‘Tough To Be Strong’, the rocking country outlaw sound of… well… ‘Outlaws & Outsiders’ and the wonderful acoustic finale of the spellbinding latest album title track, ‘Sorry For Nothing’ ensured that the affable Canadian left the stage to a heroes goodbye from the Glasgow audience.

Country is one of the fastest growing music genres in the UK and when it’s crossed with rock and hard rock, longtime UK favourites, it makes for something very different and very special indeed. By merging the power of rock and hard rock with the sensibility of classic country, Marks is doing something that not too many artists have successfully managed before… but he’s ably showing what a spinetingling feeling you get when those sounds are merged oh, so perfectly. Add in his energetic stage presence and a small but legendary Glasgow venue and you’ve got a perfect night of live music.

Hopefully, it won’t be too long before Cory Marks returns to the UK. He’s all country… but also all rock n roll!

WILLE & THE BANDITS / DAN OWEN - RED ARROW MUSIC CLUB, RAMSGATE THURSDAY 20TH MARCH 2025

Mon, 24 Mar 2025 19:11:58 GMT

Photos by Martin Miles

The unassuming seaside town of Ramsgate is perhaps an unlikely hotspot for live music, but boasts two of the best small venues in Kent. Tonight, the Red Arrow Music Club plays host to Wille and the Bandits, a band who don’t sit comfortably in any one genre, instead skewing their heavy blues riffs through the lens of a group willing to embrace funk, folk, and even rap. It feels very different, modern, and a breath of fresh air from the generic and sometimes bland rock that often seems to garner the most popularity.

Support comes from singer-songwriter Dan Owen, who jokes that he and Wille Edwards share the same hairdresser, both sporting similarly shaggy, mid-length styles. Owen’s musical style is somewhat more traditional, though no less impressive. Initially presenting as a one-man band, playing acoustic guitar, harmonica and stamping his foot, it’s his talent for a heart-wrenching ballad that shines; best of all, the tortured ‘Made to Love You’, a musing on why we might continue to love someone who hurts us. Maybe it wouldn’t hit quite as hard without Owen’s incredible voice, a showstopper that crackles with real emotion. His set concludes with a truly rollicking take on Willie Dixon’s ‘Little Red Rooster’, building to a frenzied, foot-stomping crescendo.

Hailing from Cornwall, Wille and the Bandits are a group seemingly in constant flux; band members coming and going over the years, but centred around the charismatic guitarist, vocalist, songwriter and lap-steel enthusiast Wille Edwards. Starting out as a power trio, the band is now a four-piece, augmented by keyboard player Stevie Watts, a bit of a regular at the Red Arrow and unquestionably very good at what he does. It’s impossible not to be struck by the power of the rhythm section; drummer Zac O’Loughlin adding significant oomph to the grooving ‘Make Love’ with a fantastic, percussive intro and the similarly bouncy ‘Keep it on the Down-Low’. Bassist Harry Mackail is no slouch either, the pair showing they can funk with the best of them on the semi-rapped ‘Chakra’.

It’s been three years since the band released their last album ‘When the World Stood Still’, which remains significant as a piece of work that reflected upon the Covid pandemic. The title track is a gentle thing of beauty, and recreated wonderfully this evening, with a real fragility in Edwards’ vocals. Lifted from the same album, ‘Caught in the Middle’ is contrastingly heavy, crashing in with a monster of a riff that keeps returning with a fearsome energy. Wille clearly writes about the things that matter to him, ‘Got to do Better’ yearning for a time when people are kinder to each other, ‘Living Free’ a simple reflection on the joy (apparently!) of hitting the road in a camper van. Edwards talks about losing his mother seventeen years ago and writing the song ‘Angel’ in her memory. Largely instrumental, bar some anguished cries of “mother” towards the end, it’s quite startling, a masterclass in composing an epic that never overstays its welcome.

Apparently, promoter Geoff Pine of the Red Arrow was one of the first to get Wille and the Bandits gigs outside of Cornwall. Now, fresh from support slots with the inimitable Beth Hart, it certainly feels like the band are on an upward trajectory. Catch them in these small venues while you still can, you won’t regret it.

Stiff Little Fingers/Ricky Warwick - Barrowland Ballroom, Glasgow 17th March 2025

Mon, 24 Mar 2025 11:59:00 GMT

Photos by Jai Dee Photography

On St Patrick’s Day in Glasgow there’s no better place to be than the Barras, which has become a second home for Stiff Little Fingers. The band have a long history of playing the venue on St Pat’s, with this year’s gig being part of their ‘Flame In The Heart’ UK tour. The title comes loosely from the song ‘Strummerville’ which, of course, pays homage to Clash frontman Joe Strummer.

These Barras gigs sell out fast year after year, and for good reason. Because we know SLF always deliver.

After a quick frisk on entry (fnar, fnar) I make a beeline for the merch stall upstairs. Hats off to SLF who had a great selection available and at very reasonable prices - it’s good to see they don’t take advantage of their fans, unlike many bands these days.

Ricky Warwick & The Fighting Hearts

If you were to sit down and draw a rockstar then I think most people would end up with something that resembled Ricky Warwick. Along with his band, The Fighting Hearts, Ricky ambled onto the Barrowlands stage at 7:45pm wearing his leather jacket, black jeans and low slung guitar. Whilst the crowd was still pretty sparse, those that were there could clearly see that Ricky was ready for business.

I have seen Ricky Warwick a few times over the years. The first time was on this same Barrowlands stage in 1989 when he and his erstwhile band, The Almighty, opened for the Ramones. I remember that as a night of no-nonsense rock and roll.

Tonight was much the same. From the get-go this four piece band tear it up. Much of the set list was drawn from the bands current top ten album “Blood Ties”. ‘Angels of Desolation’, ‘The Crickets Stayed in Clovis’ and ‘Rise and Grind’ being big pulls from that disc.

The Fighting Hearts were outstanding too. Tax the Heat’s drummer, Jack Taylor, was behind the kit and really gave it large for the full set. Richard Vernon, who was previously with The Mission and looked every inch the reformed goth, provided a really banging bassline throughout the night. Guitar was supplied by another goth survivor, Ben Christo. I saw Ben with the Sisters of Mercy a few years ago and really enjoyed his guitaring then. He and Ricky bounced well off each other, Ben taking on a few solos and delivering a solid rhythm across the show.

This was a short set, only 45 minutes, but the band packed everything they could into it - including a cracking cover of ‘Born To Lose’, the old Johnny Thunders tune. There was little time for banter, rather a very loud (and that’s a good thing) rock and roll wave crashed over the Barrowlands. By mid-way through the set the crowd had increased significantly and it looked to me that people were really enjoying it.

Ricky Warwick and The Fighting Hearts were a great St Patrick’s Day opener for Stiff Little Fingers. The Celtic influence that came through their set was just enough to remind everyone what the day was and why they were here.

Fingers crossed, Ricky and his band take on their own promotional tour soon - a full set from these guys would be a night worth investing in.

Stiff Little Fingers

After a handful of Bond themes were played over the PA, the lights went off again and the familiar ‘Go For It’ intro began. This is always the cue for the obligatory crowd chant-along, and when the band appeared they were welcomed as returning heroes.

‘Roots, Radicals, Rockers and Reggae’ kicked the set off in grand style and was quickly followed up by gutsy, rapid versions of ‘At the Edge’ and ‘Wasted Life’. The Glasgow punters were clearly up for this one with lots of friendly jostling down the front.

Next up was an unexpected addition to the set, ‘Won’t Be Told’, which had amazingly had never been played live before this tour, more than 42 years after its release!

Another new addition, ‘Mary’s Boy Child’, followed. Not the Christmas song popularised by Harry Belafonte or Boney M, but a new song about the pampered and spoiled son of Mary and Fred, who would go on to become the President of the USA - in Jake’s words, it’s about a “f**king arsehole”.

Jake has always been an interesting lyricist and his songs continue to be relevant, whether they’re political commentary or about life’s struggles. More new material would be very welcome as it’s been 11 years since the last album, ‘Not Going Back’.

Much of any Fingers setlist picks itself - old classics such as ‘Tin Soldiers’, ‘Just Fade Away’, ‘Nobody’s Hero’ and more recent favourite ‘My Dark Places’ were all included. But having such a strong back catalogue allows Jake and Co to also include deeper cuts, such as ‘Harp’ and ‘Piccadilly Circus’, without adversely affecting momentum. With the latter, Jake said they don’t play it much as he can’t sing it, but I didn’t notice any problems.

The band’s debut single, ‘Suspect Device’, was released on St Patrick’s Day 47 years ago. It was was famously championed by the late John Peel and the rest is history. Back then, my pals and I used to go to a kids disco in the school on Saturday nights. Amongst all the disco and pop, the DJ used to give us 4 or 5 punk tunes and I fondly remember jumping about to it all those years ago. But that was nothing compared to the frenzy at the Barras when Jake started the opening riff tonight. It still sounds just as rousing now as it did back then. An equally thrilling ‘Gotta Getaway’ rounded off the main set and the band left for a well earned breather.

They soon returned with ‘Barbed Wire Love’ and topped off another great St Patrick’s Day gig with the hair raising ‘Alternative Ulster’. Top stuff!

For a band who formed in 1977, it’s remarkable that they’ve retained so much enthusiasm and energy in their performances. Ali McMordie deserves a special mention as he bounced around the stage like a teenager all night, without ever a bum note.

I mentioned earlier that SLF always deliver. This year’s gig certainly didn’t buck that trend. Same time next year!

Rosalie Cunningham / Kavus Torabi - Ramsgate Music Hall, Saturday 15th March 2025

Wed, 19 Mar 2025 07:55:18 GMT

The Ramsgate Music Hall is packed out this evening, which is a bit of a blessing given how cold it is outside. It’s a tiny place, with a capacity of just 125. Rosalie Cunningham reckons it’s her fourth time playing here, testament to the excellent sound and atmosphere that vibrates from this quirky venue. A perfect fit then, for the equally quirky Queen of modern prog. It’s a more challenging fit on stage for the 5-piece band, who are crammed into the space with very little room for manoeuvre. Bassist, flautist, vocalist and all-round talent Claudia Haze still gives it a good go, throwing shapes (and her hair) like her life depends upon it. But I’m getting ahead of myself, because it’s some-time Gong frontman Kavus Torabi who gets the evening underway.

Cutting a striking figure on stage with his flamboyant attire and shock of wild grey hair, Torabi gives a performance unlike any other I’ve seen, stunning some into silence, and others into strange, hypnotic dancing. The unusual drone of a harmonium provides an almost constant backdrop to his curious ruminations that are punctuated by unfamiliar sounds, and, in the case of ‘The Sentinel’, expressive vocal wails. Occasionally reminiscent of Syd Barrett, particularly during “unlikely crowd pleaser” ‘The Skulls We Buried Have Regrown Their Eyes’, there is a real British-ness in his delivery, and his sense of humour, which at one point sees him pulling faces suggestive of shock and alarm as he wrests notes from his guitar.

Rosalie Cunningham and her impressive band significantly lift the energy and the noise levels, opening their set with ‘Ride on my Bike’, perhaps the finest distillation of all that makes this group so wonderful. They look the part too, Rosalie rocking a lace-up purple catsuit, a Gibson SG and shades (apparently necessary on the final night of a tour!). There exists a time when this woman would have been a superstar, but sadly it’s not 2025, when popular opinion suggests that Taylor Swift and Beyoncé are the best female artists available to us. Those of us in Ramsgate this evening know better, and are quickly proved right with a dazzling display of musicianship, great songs and flawless vocals.

The set feels largely a celebration of latest album ‘To Shoot Another Day’ with a significant chunk given over to relatively new music. It’s not a problem for this crowd, who lap up the title track (surely the soundtrack to a Bond film that never was?), the Beatles-esque ‘Timothy Martin’s Conditioning School’ and spectacular ‘Heavy Pencil’, a bit of an epic that highlights the vocal harmonies this band do so well. Instrumental ‘The Smut Peddler’ segues nicely into ‘Spook Racket’, a magnificent piece of work that boasts the biggest riff of the evening, the relentless stomp translating perfectly live.

Part of the joy of Rosalie Cunningham’s music is in the diversity; ‘Home’ is a gentle musing on the simple pleasures in life, ‘Tristitia Amnesia’ a prog masterpiece that deceives with its many twists and turns. And for anyone who may have forgotten Rosalie used to front a band called Purson, there’s a reminder in the form of ‘Wool’, a pleasingly heavy delve into ominous psychedelia. Rosalie's band are a joy to watch, effortlessly recreating the likes of ‘Donovan Ellington’ and sequel ‘Return of the Ellington’, but somehow making them even better than their studio counterparts.

Cunningham’s partner and fellow guitar wrangler Rosco Wilson steps up to the mic on ‘Rabbit Foot’, and duets with her on the aptly named, er, ‘Duet’, proving himself a very worthy frontman in his own right. The former is bluesy, grooving, the latter leaning into cabaret with its bouncy, piano-led melody before transitioning into something altogether more psychedelic. The evening concludes with ‘Dethroning of the Party Queen’, and though the band are probably glad it’s over (apparently it's very hot under those lights!), I am less so, but only because this is a band I could happily watch for another hour. Rosalie Cunningham deserves bigger stages than this, but it certainly feels a privilege to see her here.

Phone photos by Laura DQ

The Darkness / Ash - Connexin, Hull, 12th March 2025

Mon, 17 Mar 2025 09:45:06 GMT

Photos by Andy Bradley

The Darkness lit up Connexin in Hull on Wednesday night (12th March) with one of the first few sets from their tour to promote their new album, 'Dreams on Toast'. They were here in Hull for one night only so if you missed it, the opportunity to see them will require travel, as they go on to tour to York (17th March), Edinburgh (18th), Glasgow (20th), Newcastle (21st), Manchester (22nd), Bristol (24th), Portsmouth (25th), Leicester (27th) and end in London (numerous dates).

Justin Hawkins is an energetic and charismatic front man, who's brilliant at crowd work and interacted with the audience to entertain, engage and include us, creating an uplifting atmosphere. He still hits those high notes with impressive ease and consistency, showing his vocal range and cocksure confidence.

They kicked off with 'Rock and Roll Party Cowboy', which is immediately rousing and catchy pop rock that makes you want to dance but if it sounds familiar that's because it is: it's noticeably similar to previous hits, as if they have stripped the parts of their most popular hits for reusable parts. Nevertheless, it's an enjoyable track and started the set on strong footing.

The band were excellent, despite the occasional yet repeated moments of distortion, but these are technical issues and didn't distract from our overall enjoyment for too long because the sound quality improved after the first 20 minutes or so of their set. It seems to be HPSS, who provide technical stage services, doing the sound engineering and they're the best in the business around here but who knows what the sound quality problems were due to because The Darkness will have brought their own gear and problems with a rigg aren't always easy to identify. Nevertheless, for a trained or sensitive ear, the feedback was uncomfortable for the first half of the show.

The Darkness were supported by Ash, who brilliantly transported us back to the nostalgic 90s with every song, but it's disappointing that their set was distracted with distortion for its entirety.

Justin Hawkins never fails to deliver and overcomes any issues with the sound of his tuneful charm though, and Wednesday night was no exception. However, during Justin's crowd work that night, there was a hilarious misunderstanding with the audience as he simply sang "mother" and turned his mic towards us. Some people responded loudly with "mother" in return, mirroring him, to which he just laughed, bemused and bewildered: whereas some audience responded with "f*cker!" which was presumably what he expected us to reply! When he realised that hadn't landed, he just giggled and went on to sing an unfathomable melody, showing off his vocal dexterity, but we would never be able to copy it when it was our turn because trained singers would find it difficult!

Justin's showmanship didn't desert him, and nothing can knock him off his stride in delivering an experience for an audience: he united us all and we did our county proud by chanting "Yorkshire! Yorkshire! Yorkshire!" back at him with happy and harmonious enthusiasm because we know how to have a fun and we know that "love is only a feeling" but we let ourselves "believe in a thing call love" for one night only in the darkness of the light of The Darkness!

To turn the spotlight upon itself, the lighting was also impressive, and the screen visuals were engaging, but the mystery remains: how does Justin Hawkins hit those high notes when bathed in smoke that surrounds, nay, drowns him, like a modern-day Jesus descended from the misty heavens? As a singer myself, I can tell you from experience, I personally find it impossible to sing through such thick plumes of smoke from over-generous smoke machines and yet those frequent high notes appeared as easy as breathing for Justin Hawkins. Though there would have been from me, there was no coughing nor spluttering through the smoke, and Justin stole the stage, emerging like an illuminated, ephemeral figure.

You could say Justin's ego was showing with his out-stretched arms Christ-like, but he was comedic and confident, and it is confidence that's been earned and it's deserved because, despite the similar riffs in many of their songs, Justin delivers impressive falsettos consistently and seemly comfortably. despite being almost 50, whereas a lot of singer's voices degrade over time, and it's been a staggering 21 years since ‘I Believe In a Thing Called Love’ was first released!

It's more important than ever that you hear the call from The Darkness because they're independent artists and reminded us on stage that they are without the safety net of the structure and stability of a record label; they were dropped by Atlantic Studios back in 2006 so when they started this tour of 'Dreams on Toast' back on 7th March in Ipswich, they really were (and still are: get tickets now!) offering us their dreams on toast and tickets are available across various cities in the country until the tour comes to its conclusion in London's OVO Arena in Wembley on 29th March.

It feels unsettling that Justin felt compelled to make it clear that The Darkness need your help because they’re scared of fading into the darkness of mere memory within the music industry. Although the legacy of The Darkness will not be hazy obscurity or unknown oddity because they've made a lasting impact on the landscape of music, Justin seemed less self-assured of the band's cultural status in his desperate pleads for support. Perhaps he's almost too good at performing emotively or maybe his persona slipped momentarily for a segment between songs, but either way, the raw emotions were palpable and added to the atmosphere.

Justin's brother, Dan Hawkins, was excellent on guitar and was on form throughout, clearly up for fun! Frankie Poullain was amazing bass and the drummer, Rufus Tiger Taylor, didn't miss a beat and was the happy heartbeat behind but he also offered vocals for some tracks too. However, Justin's natural exuberance owned the stage because his stage presence was dynamic and endlessly energetic: for a man about to turn 50, he still has more energy than a Duracell Bunny! He bounced around the stage but included his band members in his adrenaline and there seems to be committed camaraderie on stage between band members.

The band left for an extended amount of time and made us wait so long for an encore that the stadium started to empty out but for those of us who stuck around to the very end, it was worth it!

Fans of The Darkness can also see them at Download Festival on 13th June but tickets of their ‘Dreams on Toast’ tour are still available!

Jason Donovan - Glasgow Royal Concert Hall, Monday 10th March 2025

Sat, 15 Mar 2025 14:03:12 GMT

1990 was quite a year! It saw the reunification of Germany, Baltic states declaring independence from the Soviet Union, Nelson Mandela being released from prison and Margaret Thatcher resigning as Prime Minister, as well as Scotland’s national football team failing valiantly (again!) at the Italia 90 World Cup. Away from politics and sport, a young Australian called Jason Donovan was touring the UK and Ireland with his I’m Doin Fine Tour, which included a show at the brand-new Glasgow International Concert Hall. Fast forward 35 years, the world remains in a state of political disarray and the Scotland national team continues to fail at international tournaments. As for Jason Donovan… he’s still on the go and touring his music on the Doin Fine 25 Tour, including a show at the same venue, the now-named Glasgow Royal Concert Hall. It’s as if the world hasn’t really changed at all!

In the late 1980s and early 1990s, Jason Donovan was arguably at the peak of his power. Fresh from starring in Australian soap Neighbours with a young Kylie Minogue, his star was soaring high in the UK. His 1989 debut album was the highest selling in the UK that year, spawning three number one singles. Following a sophomore album, he moved into musical theatre in Andrew Lloyd’s Webber’s reboot of Joseph and the Amazing Technicolour Dreamcoat. It’s fair to say, Jason Donovan was everywhere! Magazines, TV shows, the West End… and plastered all over the bedroom wall of a then-teenage Mrs Griffiths! Ok, his star waned a bit in the late 90s into the 2000s, with some acting roles in Australian TV shows, more musical theatre and an obligatory appearance on I’m a Celebrity… Get Me Out of Here! But throughout it all, his music remained and Donovan continued recording the occasional album and touring now and again.

Jason Donovan’s music was never far away from the airwaves of the Griffiths household, with my wife Kirsteen regularly playing his hits as she attempted to ward off time by reliving her youth whilst ironing, tidying up, making packed lunches and any other task that a busy working mother does of a day and evening! An email to his longtime manager, the lovely Sam Wright, during the pandemic led to the man himself recording a wonderful video message for my wife as she celebrated her 40th birthday in a world of lockdowns, face masks and social distancing, something that she still watches regularly to this day and is regarded as a bit of a prized possession. But she still hadn’t seen him live in concert… until I leapt into action when I noticed the Doin Fine 25 Tour was stopping off in Glasgow and managed to grab a few tickets seven rows from the front. Not all heroes wear capes! Some are bald and slightly overweight!

“His skin is flawless and he’s gorgeous” gushed one usher as we entered the concert hall. Aye… and my skin would also be flawless if I’d been brought up in the Melbourne sunshine and not an old mining town in deepest, darkest Ayrshire. But I digress! I must admit to being slightly apprehensive that I’d be the only male in the audience, so I was relieved to see a few other males there, some even closer to the front than me and Mrs G! But it was clear to see that the bulk of the audience were females in their mid 40s to mid-50s… and they were ready to have fun! Screams were near deafening as the behind stage screens showed Jason Donovan backstage, preparing to open the stage door. If you’ve ever been to a KISS concert, it was very similar… but without the pyrotechnics! Then Donovan bounced onstage, arms wide as he welcomed the audience with a beaming smile on his face, dressed in a very un-Glasgow-like white (or perhaps cream) outfit of trousers and a waistcoat. The band kicked into the cheesy, yet ultra catchy ‘I’m Doing Fine’, with the protagonist turning his back to the audience and slowly shaking his bum in a circular motion. Swoon!!!! But the cheeky smile between the singer and his drummer made it clear that he wasn’t taking himself too seriously. He knew his audience and he was going to give them a good time. A few bars of the Beatles ‘Can’t Buy Me Love’ had the audience singing along but I was surprised that the vast majority remained seated. Perhaps it’s an age thing, I thought. But that all changed with the unmistakeable sound of a Stock/Aitken/Waterman song, R.S.V.P! The audience rose to their feet, hands were thrown into the air, screams and whoops echoed throughout the venue… we had lift off!! During ‘Nothing Can Divide Us’, I even have found my own feet tapping and maybe even a slight swing of my (arthritic) hips, whilst Mrs Griffiths… well… she was 14 years old all over again and loving life!

A Cliff Richard cover, the classic ‘I Just Don’t Have a Heart’, kept the audience bouncing but the pace slowed a bit as the band took us to theatreland with the beautiful and magical ‘Pure Imagination’. It was a brave move for Donovan to allow his voice to be heard with such a stark arrangement but it worked well, helped along by nice visuals on the screens. The Glasgow crowd took a well-deserved break on the seats, allowing them to refuel for the ‘Any Dream Will Do’. There’s something impossibly catchy about the Andrew Lloyd Webber song and it’s difficult not to sing along, even for someone like me who’s more used to headbanging along to hard rock and metal. The “ahh-a-ahhs” must’ve been heard in Sauchiehall Street, as every voice in the Royal Concert Hall sang along. ‘Sweet Transvestite’ from The Rocky Horror Picture Show (Donovan was recently a touring cast member) brought some 70s-style shock-rock to the show but thankfully he left the tights and high heels in theatreland! From the West End, Donovan took us to a variety show in Australia in 1961, singing a wonderful duet of Frank Sinatra’s ‘I’ve Got You Under My Skin’ with his dad Terence. Terence, of course, wasn’t actually there in person but some clever computer wizardry, a video of the 1961 show on the screens and perfect timing by the live band allowed them to duet. It was actually a nice touch and the reaction of the crowd could very possibly have been felt by 89 year old Terry, even though he was thousands of miles away on the other side of the world. A story of Terry slamming the phone down on Seal and an anecdote of the singer’s young daughter not being a fan of her dad’s work led to a subdued ‘As Time Goes By’ before the tempo was upped again for another Stock/Aitken/Waterman classic, ‘Hang on to Your Love’ and ‘Like It Was Yesterday’. The audience were once again on their feet, although I remained seated for this one to allow the ladies behind to see past my substantial frame! “Let’s have a break” suggested Donovan. “Some of you will have hot flushes to sort out” joked the singer to much hilarity. Yup! He knows his audience!

The shock of the interval for me was how easy it was to access the male toilets, whilst the queue for the female toilets spiralled upstairs and round the corner. However, the serenity of having a whole row of urinals to myself was interrupted by three ladies who clearly couldn’t wait in line for their own toilets, rushing in whilst I was in full flow and going into the cubicles, whilst laughing. I suppose vast amounts of Lambrini on an empty head will do that to you! I dare say there would have been a very different reaction if I had walked into female toilets and I’d very likely have been manhandled out of the venue by security whilst being branded a pervert… but that’s another argument for another day!

A cover of Roachford’s ‘Cuddly Toy’, which I have to admit is a favourite of mine, signalled the start of the second half, with Jason returning to the stage wearing a garish pink version of the outfit he wore in the first half. From thereon in, it was Jason Donovan songs all the way, with no more covers (kind of!). ‘Mission of Love’ and ‘Talk You Down’, a brilliant pop song with a great atmospheric feel to it and superb musical arrangement led to ‘Another Night’ and ‘When You Come Back to Me’. The audience danced and sang along as Donovan returned to his debut album with ‘You Can Depend on Me’ and ‘Sealed With a Kiss’ (ok… it’s also a cover… but Donovan breathed new life into it with his version in the late 80s!). ‘Happy Together’ (ok.. I get it… it’s a cover too!) had such a feel-good vibe that I couldn’t resist singing along and by the time he reached ‘Every Day (I Love You More)’, I was boogying along with Mrs Griffiths. Jason Donovan had me in his musical grip!!!! ‘Just Call Me Up’, with its uber-90s club vibe brought the evening to the song many had been waiting for. The one that Jason Donovan allegedly didn’t like initially… but then it took off and became his signature number; ‘Too Many Broken Hearts’. Throughout the concert, the love between Donovan and his fans was clear to me but if there was any doubt at all, it was destroyed during this number. A quick look around showed that not one person was sitting, with people standing, singing and dancing from the stalls to the balconies. I even saw a few concert hall staff members bopping along as the main set was ended with a banger of a pop song!

Of course, Jason Donovan wasn’t done yet. He returned to the stage in a brand new outfit (think Jean Paul Gaultier sailor boy crossed with a fortnight in Tenerife) to duet with backing singer Sophie Hiller on ‘Especially For You’… and I was shocked to find that I pretty much knew every word, with the lyrics clearly burned into my mind from some misspent youth in the late-80s/early 90s! Again, memories of better times caused the Glasgow audience to swing, sway and sing along at the top of their voices, before all control was lost with the last song ‘Don’t Leave Me This Way’ (ok… it’s another cover… but it’s a belter!).

Jason Donovan left the stage to much deserved rapturous applause. A few hours earlier, when he took to the Glasgow stage, I really didn’t know what to expect. As someone who’s musical taste is steeped in rock, hard rock, metal and blues with a smattering of country, I was totally out of my comfort zone. But I’m not too proud to admit that I was taught a lesson by Jason Donovan; live music is live music! Irrespective of genre or artist, live music can bring much needed fun, nostalgia, love, laughter and light to a world that it becoming depressingly darker every day. That’s exactly what Jason Donavan and his band brought to Glasgow on a cold March night. There was singing, dancing and memories of youth in the late 80s and early 90s when I had hair and a waistline! But for me, seeing Mrs Griffiths’ reaction throughout the show as she watched her childhood idol live for the first time was all I needed. I can’t imagine what she’ll be like if she ever gets to meet him!!

Thanks Jason Dovonan. You are indeed, still doin’ fine!

Jason Donovan’s Doin Fine 25 Tour continues until April, with shows in Edinburgh, Darlington, Buxton, Hull, Liverpool, Bury St Edmonds, King’s Lynn, Canterbury, Reading, Northampton, Cork, Dublin and Belfast.

Pretty Maids / Animalyze - Gimle, Roskilde, Denmark 7th March 2025

Sat, 15 Mar 2025 13:01:56 GMT

Photos by Andrew West Photography

Another trip to Denmark and a short train ride has us the the town of Roskilde, Dominated by the large gothic cathedral that houses the tombs of many Danish kings and queens, tonight though we are here for the Danish King makers once again Pretty Maids are in town for a warm up show ahead of a trip to Miami for the Monsters of Rock Cruise.

Support tonight comes from Animalyze. They had first come to my attention in December at the Maids Amager Bio shows as the band members eagerly handed out leaflets advertising their forthcoming single Kings of The Night. The band have recently joined with legendary Danish manager Ken Anthony and have been on a large PR push ahead of their forthcoming debut album Powerhouse scheduled for a late May 2025 release.

How to best describe the band, imagine an illegitimate love child of early 1980's Motley Crue and Kiss and you are pretty much bang on. Sleazy, Melodic, Hard rockin metal. They add to this with the looks, leather and chains are prominent as as huge riffs and choruses, The aforementioned single Kings of the Night is a superb fist pumping straight from that 80's heyday tune. Other numbers out like Hot but Dangerous and Hunter of the Night. The crowd are fully invested into the performance, the future looks very good for these lads under the esteemed steering of Anthony and the deal with Stealheart Records. Do yourself a favour and check out their socials and You-Tube and give them a follow.

Following last years reunion the Maids rock and roll train is firmly back on the tracks and almost every week brings a new show announcement going forward. Tonight is billed as a pre MORC warm up show, and in that we get a longer than average set that lasts a couple of minutes under 2 hours.

The venue is a full 1000 capacity sell out by the time the lights go down and the intro to Mother Of All Lies kicks in, a song very poignant of today's world and events in a certain large white house across the Atlantic. The set list for a Maids show almost writes itself these days with so many hugely popular tunes, we always get a extra blast from the past and this time its Hell on High Heels from the 1999 album Anything Worth Doing. Its been 40 years since Red Hot and Heavy was released and that album still features heavily in the set along with a fan favourite in Shelly The Maid from the debut EP way back in 1983.

The amount of smoke and lighting make for a challenging photo night, but the atmosphere is for want of a better description very Red Hot and Heavy.....

With two sets to play on the cruise we get 19 songs tonight. All the big hits are there, Please Don't Leave Me, Little Drops of Heaven, I.N.V.U, and the usual encores of Future world and Love Games.

Following the cruise the band are off to Brazil in May and then another 11 gigs are lined up over the year with mostly festival headline slots and an appearance at Sweden Rock at the start of June.

There are plenty nights of Pandemonium ahead.

Fish - O2 Academy, Glasgow 9th & 10th March 2025

Fri, 14 Mar 2025 12:04:18 GMT

As I walked along Eglington Street on Monday evening, I found myself remembering so many other journeys I had made to see Fish. The 34 bus to get to the Playhouse, then waiting outside for 2 hours for the doors to open. Jumping on a bus outside Ripping Records to travel to Milton Keynes; a 3 am pit stop in Newport Pagnell Services remains more memorable than it deserves to be.

These were not the only thoughts I had going on. In my head, I was 14 again and running down Princes Street to catch Fish as he went into Bargain Books, he bought a Catherine Cookson novel and I got an autograph on a Bargain Books Bag. In my thoughts I was heading to the Carlton Hotel after a gig because that was where the band were staying; we had to meet them. The autographs from that night still hang on my wall.

My final thought was my mum, she died of cancer, and I wanted to raise money, so my friends and I did a sponsored head shave – it was Fish who came along with his clippers to do the shaving.

This was not a walk to a gig, this was a walk down memory lane. I was not alone in my stroll, there were another 2500 people on each night of these two-night goodbye gigs who were also walking my way. Nobody was there to listen to the new stuff, no one was talking about the new album; there was none, this was an occasion to look back and to look back and smile.

Like so many, my journey to the O2 in Glasgow began in 1983. Since then, there have been the highs – the success of Misplaced Childhood, the 40,000 who were in the audience at that Milton Keynes show and the pull of Fish on Friday. There have been few lows along the way too, I remember a night in The Liquid Rooms when the crowd was no more than several dozen. The constant was Fish. I have seen him play it theatrical – the Fugazi tour, happy – the last gig before lockdown and angry, his performance at Ramblin’ Man in 2018 was still a cracker!

Most importantly, this was, for me, a walk down memory lane with my mates Andy and Paul. We have been friends since school and part of that friendship, nights at gigs and trips away have often been to see Fish. I was standing in the incredibly long queue with them on Sunday night, and being with them made me happy.

The long queue gave us plenty of time to chat and, in Andy’s case, theorise. Like many he had been following the tour online since we pitched up in Haddington three weeks earlier. He had keenly noticed that backing singer Elisabeth Troy Antwi alternated her jacket between a red one and black one. Andy wondered if this was a sign regarding the set list, Elizabeth’s jacket serving as a reminder to the rest of the band what they would be playing on any given night.

So to the gigs, Sunday night was, I thought, a cracker. Andy was unable to come on Monday so he had a great deal of hope invested in what would be played tonight. As the band came on, his hopes were high, Elizabeth was in a black jacket. That night in Haddington it had been a red one; it had to be a different setlist.

Andy was not disappointed. Pretty much all he wanted to hear was on offer. Vigil kicked us of, that first track from the first solo album was a statement then, and very much felt like a statement tonight.

After a fantastic blast of Pipeline, things got a bit progy, which was no bad thing. Weltschmerz and Shadowplay were two tracks I really enjoyed. Family Business was always a top tune, and I thought tonight it was delivered with a real bite. Very few singers write songs about domestic abuse, if you count Punch and Judy, Fish has done two, both, in my view, are belters although there was no hint of that 1984 single on this farewell journey.

Throughout this tour Fish has been playing full suites from a number of albums. This approach is a high-risk strategy for any artist. If the crowd love it, it's great, if not it can be a long wait for the next toe-tapper to make an appearance. Tonight, it was the turn of The High Wood from “Feast of Consequences”. For Andy, this story about service and sacrifice was exactly what he was looking for. He loved it and I thought it was pretty good too. Slainte Mhath from “Clutching at Straws” got a run out – personal favourite for me. The main set ended with Raw Meat. I’ve always liked that song, the first time I heard it played was at a poorly attended gig on the Suits tour, I am chuffed it got an airing in front of 2500 as part of this tour.

The first encore was Fugazi, everyone loved a bit of that. Fish went off but the crowd kept singing. It was one of the few times I have been at a gig where this happened for the full encore. The energy in the room and the obvious love for the protagonist on stage could almost be tasted.

Lucky and Market Square Heroes lifted the crowd and The Company, the only constant of this entire tour, brought the first night to a close.

Well not quite the only constant, it’s important to mention the band, most of whom have been part of Fish’s travelling circus for many years. Robin Boult on guitar was outstanding, Steve Vansis kept the boogie strong on the bass and Gavin Griffiths really knows how to bang a drum. I don’t know where these guys will appear next, but whoever grabs them for their band is both wise and fortunate, their individual and collective musicianship was outstanding. Mickey Simmonds was, well, Mickey Simmonds, he can pay the key fantastically, moreover he just looked, all tour like he was living his best life. As for Elisabeth Troy Antwi, what a voice. She carried some of the top end and gave a passion to all the places she was brought into. She was outstanding.

As we all left the O2 there were people limping, people on sticks and clearly many suffering with hip problems. As Paul said, it would have been great to get a photo of everyone leaving Glasgow 2025 and hold it against a similar picture of fans leaving Edinburgh 1983. The limps would have been fewer, there would have been a more innocent, less world-weary look on the faces, but I am certain the smiles would have been just as wide.

Night two and it was just Paul and me. Again, with the queue around the block, but we got in and found a spot. As we walked in, we were wondering what colour of jacket Elizabeth would have on tonight.

The lights came down, The Thieving Magpie blasted out and the band appeared – the jacket was black! The first bars of Credo were struck, and Andy’s theory went out the window.

I thought this and Big Wedge gave the night a much more rocking start. The duet of Just Good Friends was wonderful. I still don’t quite know why this was not a solo Kayleigh moment for Fish. I always thought this was a great song for radio; how different so many things might have been if it had taken off.

It's not all about the voice, Cliché is a top song, but Robin Boult’s guitar solo at the end really makes this piece of music come alive for me. I’ve always liked Robin’s playing, and I thought he really nailed it on Monday.

Tonight’s suite came from Raingods with Zippos. I heard it at another gig and though “hmmph, that’s okay”, as I say long suites are high risk strategies. I enjoyed it much more tonight and have given it a play on a dusted down CD since and enjoyed it more.

Having already played one Marillion era song – Incubus, Fish pulled out another three for the first encore, Kayleigh, Lavender and Heart of Lothian. In the second encore he gave us Market Square Heroes too. There is much, and, indeed, heated, debate in the fan Facebook pages about how much Marillion era stuff should or should not be played. I think the cold hard truth of the matter is that Fish would not be playing to 5000 people over two nights without it, I also thought these were the parts of both shows that got the biggest cheer. To give up just about a quarter of the 21-song set list to this era was, I felt fair. Every one of them was a banger.

The Company ended the night and the era of Fish’s live performances. I thought there would be more of an onstage marking of that. Instead, there was a cameo from long time tour manager and friend Yatta before Fish signed off by simply introducing himself as Derek. Fish was officially retired.

These were two great nights. I am not a man given over to tears easily, but I found myself weeping a wee bit at the end of Monday’s gig. It's important not to be melodramatic, nobody has died or been injured, somebody has just retired. Retirement is a privilege not granted to everyone and we should congratulate Derek on reaching that milestone. However, I will miss the gigs and time with friends that his music has afforded me since I was 14.

Thanks for the music and the memories Fish, I’m one of the fortunate ones, I still have hair so when I need another haircut, I know you can turn your hand to it.

Slainte

Ronnie Romero/Absolva - Bannermans, Edinburgh 10th March 2025

Tue, 11 Mar 2025 13:07:24 GMT

Photos by MB Photography Scotland

There was a remarkably big Monday evening crowd in at Bannerman’s and they had all turned up early to enjoy Absolva. Judging by the reception they were given, I assumed that the Manchester lads had built up a rapport and a following from previous appearances in Scotland’s capital, but it turned out that this was their first state visit in ten years. They have been frequent visitors to the Weegie side of the country though, and they’ll be back at The Garage on 30th March with Phil Campbell and his illegitimate male offspring.

Always a hard-working band, they got straight down to business and immediately got the heads nodding with ‘Code Red’ and the Appleton brothers to the fore, as usual. Luke (the baldy one) leads on guitar and shared the vocal on the second number ‘Fire in the Sky’, while Chris (the top-knot one) stars on vocals and impressive facial expressions, which are worth a thousand words – not that he’s short of those either.

After 13 years, five albums and a relentless gigging schedule, they are tight, loud and noisily enjoyable. They describe their music as “pure heavy metal” and that’s what they play – no more and certainly no less. Album number six is called ‘Justice’ and will be released on 7th May 2025 (available to pre-order). They previewed the excellent song ‘Find My Identity’ from it – it’s the one with the video that Ronnie Romero also sings on – and it could be their best yet.

Why do Absolva have some wee shades of grey in their hair? Because they “Refuse to Dye”; or is it “Die”? That was the penultimate song of their set and they closed with ‘From Beyond the Light’ which facilitated one last bit of quality power-widdling dual guitar. Absolva didn’t have to work hard to get this crowd on their side, but they did anyway. They will always be welcome whenever they decide to return to the classy side of the country again.

Chilean singer Ronnie Romero powered out of the blocks with a rousing ‘Stand Up and Shout’ which quickly established his classic rock credentials and highlighted the rich Dio-esque quality of his voice.

Now based in Spain, Ronnie initially came to most folks’ attention when he was hand-picked as Blackmore’s singer for the Rainbow revival shows. He has subsequently enhanced his reputation with Schenker, various projects including Sunstorm, and a pair of covers albums in his own name.

His 2023 “proper” solo album for Frontiers, ‘Too Many Lies, Too Many Masters’ was a significant step forward though and songs from that album anchored this set admirably. ‘I’ve Been Losing You’ was a melodic rock treat, with prominent keyboards from Fran Gil Torres, and ‘Chased by Shadows’ was another early highlight, featuring an Iommi-esque instrumental change-up.

The bluesy ‘Crossroad’, also from “TML, TMM”, began with a short interpolation of Whitesnake’s ‘Love Ain’t No Stranger’ and Romero had a pretty reverential bash at emulating Lord Coverdale of Saltburn’s lonesome and lascivious tones, but Ronnie James Dio is definitely still the most obvious vocal comparison.

Other highlights from the Old Testament of rock included vivid renditions of Rainbow’s ‘Stargazer’ and ‘Kill the King’ plus ‘Rainbow in the Dark’ which closed the main set.

A three-song Deep Purple encore included ‘The Battle Rages On’, ‘Child in Time’ and ‘Burn’. They were good and well-received but the other songs that stuck in my head the most were ‘Castaway on the Moon’ and ‘Vengeance’ from ‘Too Many Lies, Too Many Masters’ and I really do think this is the way forward for Ronnie Romero.

A smattering of RJD vocal covers will always be welcome - and why wouldn’t he do these when he’s so good at it - but I will look forward to future solo releases and hearing some more quality original material infiltrating the set, in due course.

FISH - Aberdeen Music Hall, 7th March 2025

Mon, 10 Mar 2025 10:51:46 GMT

Photos by Alex Sun

Having been a University student in Aberdeen for the last 7 months, I’ve somehow managed not to see any live music in the city, making Fish’s ‘Road to the Isles’ stop in Aberdeen the first proper concert I’ve been to while studying here. My friend Alex came up from Edinburgh to take the photographs (the ones you can see alongside this review) Alex hasn’t been into a photography pit before, making it a pretty cool first time in a venue like the Aberdeen concert hall.

We arrived to the venue pretty sharp, and saw a queue which stretched from the front door of the Music Hall to the tour buses at the back of the building, a length of queue which I have never before had to endure at a concert. I’ve always thought that no one would ever queue like that unless it was to get right to the front of the stage, but it struck me when getting in that only a small majority of fans went to that part of the auditorium with a big number heading for the seats or the bar. Maybe this reflected the older demographic of crowd members at the concert? Fish did joke regularly about how old everyone who came to his concerts had become – he told the crowd he ascertained this from the shine of bald heads in front of him! Fish also said that the only young people at the concert would be the children of Marillion fans. This was certainly true in my case. My dad has been a fan for life, and after years of taking the micky out of him for it, I started to work out both Marillion and some of the Fish stuff was pretty cool. And so, here I am on a cold March evening waiting for the Aberdeen show to begin.

The set opened with the ‘Thieving Magpie’ overture; during which band members, Robin Boult on guitar, Steve Vantsis on bass, Gavin Griffiths on drums, Mickey Simmons on the keys and finally Elisabeth Troy Antwi on backing vocals, all took their places on the stage. Then on came the man himself. He looked visibly moved by the reaction he got. It was then that it really hit, I saw for the first time just how loved and popular Fish was for his fanbase.

The main set comprised of entirely Fish’s solo music, which although I didn’t know so well, I thoroughly enjoyed. Vigil kicked off the night then Credo from his “Internal Exile” album an then back to another from the Vigil album – Credo.

A good bit of complex prog came next Shadowplay and Weltschmerz were stick outs.

Just Good Friends was a great duet with Elizabeth. I didn’t expect a backing vocalist in the band, but I can really see why she was so important to the final sound and she made this song happen. Cliché gave Robin Boult the chance to deliver a fantastic solo; this was one of the highlights of the night for me. I thought Fish brought a great balance between playing the music, and interacting with the crowd through the set.

He finished with a succession with the Marillion classics ‘Kayleigh’, ‘Lavender’ and ‘Heart of Lothian’. I thought that it was only noticeable in ‘Kayleigh’ that the key of the song had been brought down to suit Fish’s voice – I didn’t notice this in the other two, although maybe I had just gotten used to hearing the song in a lower key by that point. Although this made the song sound different to the original, I didn’t really mind and thought it was great – purists may disagree.

For Fish’s first of two encores, he played another Marillion track, ‘Fugazi’. This was another favourite of mine from Fish-era Marillion. This was followed by another encore, where ‘The Company’ was played, poignantly ending the concert and Fish’s final return to play his music in Aberdeen.

The concert was fantastic, and regardless of a wide catalogue of music being played which I didn’t know so well, it was really amazing to see and hear Fish in concert, alongside such talented musicians. I think that not many concerts could deserve to span for two and a half hours, but Fish’s certainly did, and I was glad to be able to stand there and listen to his music for the night and smile.

AfroDiziac - 'Shine'

Thu, 06 Mar 2025 20:15:47 GMT

Often, an artist’s look tells you something about how they might sound. Not so for virtuoso guitarist AfroDiziac, whose snazzy threads and impressive hair suggest he might be a purveyor of retro, psychedelic sounds. But in reality, new single ‘Shine’ has more in common with grunge, favouring the soft loud soft dynamics that Nirvana made into an art form.

It’s an art that remains effective, the vulnerability of AfroDiziac’s vocal as the track begins in contrast with the wallop of drums and aggressive distorted guitar that follows. The chorus benefits from a familiar lyric, almost identical to the well-known “this little light of mine, I’m gonna let it shine”, albeit delivered with more snarling defiance than I recall from when it featured in school assemblies!

AfroDiziac’s vocal performance is as passionate and engaging as his guitar playing, which is pleasingly powerful without being unnecessarily flashy. There’s a wonderful moment where the noise drops away, leaving the throb of bass exposed before the track builds back to a crescendo, ultimately taking us back to where we started, giving the track a pleasing, cyclical quality.

The wait for debut album ‘Vanity Affair’ continues, but on the strength of ‘Shine’, there is much to look forward to. A powerful track with an even more powerful message; a reminder of the strength it takes to defy expectations and to allow your true self to ‘Shine’.

Listen to the single from Friday 7th March.

Troy Redfern / Warm, Reekin’, Rich -Bannerman's Bar, Edinburgh, 4th March 2025

Thu, 06 Mar 2025 08:40:21 GMT

Photos by Alex Sun

A Tuesday night in early March is still a bit cold and uninviting when you leave the house. But, you know, sometimes it’s worth leaving the house because you don’t know what you might come across.

My journey took me to Bannerman’s, the grassroots venue champion of the year. For those of us who know this place, their win was no surprise. Christian Kimmett and his team do a fantastic job, putting on live music every night and doing their best to support new talent. If you are around Edinburgh any night and fancy some live music, for the price of a couple of pints, you’ll find it in the Cowgate.

Alex and I arrived just before 8, this was Alex first time in Bannerman’s and his first photoshoot for Rockfiend. Give a boy an easy start! As good as the venue is, the lighting for snappers is notoriously poor. He did a great job.

First up was a Glasgow four piece who were making their debut at this end of the M8. Warm, Reekin, Rich are all talented musicians, that was clear and I enjoyed them. My only concern was I didn’t quite know what they were. We had blues, folk, a bit of an Elvis thing and a few songs where the tempo and time signature changed several times in a single number. I think if they nailed one or even two genres in their live set, they would be formidable. I enjoyed then and if you get a chance, go see them.

During the changeover I had a quick chat with Troy and his drummer Nicky Waters. They have been doing their thing for a wee while now and doing it in some pretty good company. The last time Alex saw them was when the opened for Philip Sayce in November.

The tour has been going well for the pair with a sold out night in Leamington Spa, a busy evening at Kinross and gig to come in Barnoldswick, where tickets are seriously limited. These are just rewards for this travelling troubadour. One of the things I like about Troy is that he is not just a creative but a creator and so he produces some great and different sounds, some great licks and some great new ideas that he’s happy to try out – a tour with guitar and drum being case in point. Troy also knows what he is good at and makes an art of that. If you like a bit of slide guitar, Troy is your guy.

Troy walked on stage wearing his wide brimmed hat, feathers in his hair and beads round his neck looking all very Jack Sparrow, if Jack Sparrow ever played a blues guitar. It was a shame there were not more people in Bannerman’s to see him. For the 20 or so who popped along they were rewarded with a top hour of slide guitar, blues and drums.

This was a gig that was built around new tracks and the new album “Invocation”. I enjoyed the first couple of songs. For Troy, these were on a hollow body guitar that gave us a gutsy tone as his little finger did all the work on the slide. Nicky stood at his drums - a snare, a cymbal and a solitary tom. It takes both confidence and skill to give a stripped back show like this, but both guys were showing their chops.

The next three, Take Me High, The Calling and Native were all cut from the new album. I liked them all. Back to that creator thing, Troy did a bit of a sitar sound and a bit of western cowboy vibe across these three which worked great.

John the Revelator, from the 2020 album “Island” fitted perfectly into the groove the night had taken on. All Night Long from the new record give a bit more of a rocky hint to the night and Sweet Caroline from “The Wings of Salvation” kept the heads nodding and toes tapping – this was my favourite of the night.

The night ended with Voodoo Priestess, again from the new record and it was a cracker too.

It was clear from the get-go that this was, as Troy put it, going to be an ‘intimate’ gig. For the 20 or so people, who saw the show it was clear they really enjoyed it – these were two talented guys and there was lots to enjoy. I guess there is always a risk that an artist’s head can go down when the room isn’t full. I didn’t get the impression that happened on Tuesday, quite the opposite, I don’t think Troy and Nicky could have put in more effort if they were headlining Download.

As Alex and I left into the Tuesday night air, we both agreed that we didn’t know where the last hour had gone. The new stuff was really good and the mix of drum and guitar worked better, over the full hour, than I thought it might. As I got on the bus I plugged into “Invocation” and started to smile. It’s a great album and tonight it was presented just right.

Carly Pearce (with support by Wade Bowen) - O2 Academy, Glasgow Tuesday 25th February 2025

Wed, 05 Mar 2025 18:37:57 GMT

As much as I love the power chords, driving bass and thumping drumbeats associated with Rockfiend’s usual genres of choice (rock, hard rock and metal), I also have a longstanding love of country music. As the syrupy-sweet judges on reality TV shows such as X Factor like to say: “it’s my guilty pleasure”! Country music is something that has been ingrained in my musical soul since childhood, when the first music I was exposed to was my dad’s Glen Campbell, John Denver and Bobby Goldsboro records. Perhaps being Scottish is a factor too, with many people believing that Ulster-Scots immigrants influenced early country music in the United States. Think back to the school gym hall and the awkward and much hated social dancing classes that every 7–14-year-old in Scotland had to suffer on a yearly basis and you’ll realise that the accordion music blasting from the cassette player isn’t a million miles away from traditional country music. Anyone for a “Dashing White Sergeant”?

With country artists regularly selling out venues up and down the UK in the last decade and the venues getting bigger with each subsequent tour, country is fast becoming the new rock n roll! Kentucky-born singer Carly Pearce is one artist keen to capitalise on the UK’s love of the genre and has played in Glasgow previously, at Oran Mor in 2022 and as part of the Country 2 Country (C2C) lineup last year. Returning to the city on a cold February evening as part of her Hummingbird European/UK Tour, Pearce sold out the 2500 capacity O2 Academy. Despite suffering from flu-like symptoms for a few days, the determined singer refused to even consider cancelling the remaining concerts on the tour, doping up on medication and taking lots of rest in her hotel to ensure she was up to the task.

Texas-based singer and guitarist Wade Bowen has been supporting Pearce throughout the European and UK run of shows, arriving onstage resplendent in a white Stetson and accompanied by another guitarist and a bassist. It was a wonderfully simple support slot, with no loud electric guitars or even a drumbeat, giving the audience an opportunity to enjoy his music in its starkest, most honest state. With a set made up of songs from throughout his career, including latest album Flyin, Bowen seemed to enjoy the enthusiasm of the Glasgow audience, even if he was somewhat bemused by some hard to understand, guttural Scots voices shouting encouragement to him! From opener ‘Rainin’ on Me’ and ‘Mary Jane’ (a song about his wife… who I’m sure he said was actually called Shelby?) to ‘Saturday Night’ and set closer ‘Fell in Love on Whiskey’, Bowen ably displayed his country music chops. Of course, there was a classic country moment in ‘Til It Does’, with the entertainingly memorable lyric “it don’t happen… ‘til it does’). True that!! It was an enjoyable performance of pure Texan-inspired country music by a consummate professional who undoubtedly won some new fans in Glasgow.

With the sold-out crowd packed into the venue, there wasn’t much room to move. Wide-brimmed cowboy hats whacked my face as their wearers walked past and I’m pretty sure a woman with a particularly vicious heel on her cowgirl boot almost pierced my very non-country-like Vans! Include the over exuberant guy behind who constantly shouted “Yee-Haw” at the top of his voice near to my ear for no apparent reason (it was funny the first time and maybe even the second… but tiresome for the whole performance after that!) and the stage was set for a great country music show. As Pearce’s band took to the stage and started the show, quickly followed by the star of the show’s arrival, the crowd bopped and rocked to catchy opener ‘Rock Paper Scissors’ from the Hummingbird album, followed by the wonderful ‘Next Girl’ and ‘Country Made Me Do It’. There was no hint of vocal issues in Pearce’s voice, with the medication doing the trick to ward off the flu-symptoms that had plagued her for a few days. Her band, consisting of guitar, bass, drums and a talented fiddler (is that what you call it?) who also played keyboards, was on fire and it was possibly the best sound that I’ve heard at the O2 Academy for a long time.

Next was a triple-whammy of songs from latest album Hummingbird, with ‘Truck on Fire’, ‘My Place’ and a quite stunning rendition of tearful ballad ‘We Don’t Fight Anymore’. On the recorded version, Pearce is joined by country superstar Chris Stapleton and I was unsure how the song would sound solo. But kudos to Pearce’s guitarist, who ably filled in for Stapleton, which is no mean feat! ‘Every Little Thing’ from the 2017 album of the same name and the classic country sound of ‘Still Blue’ led to Wade Bowen returning to the stage to duet on a foot-stomping, barn-storming cover of ‘Louisiana Woman, Mississippi Man’, the kind of country song that makes me happy as it evokes images of golden fields, haybales and blue skies. Basically, the complete opposite of the weather and sights outside in Glasgow!

Pearce, who wasn’t even distracted by a slipping right knee-high boot and who seemed to be loving the vibe of the Glasgow crowd, lovingly connected with a child in the upstairs balcony; a beautiful moment to be cherished whilst “Yee-Haw” guy continued to fight for attention in the near silence. I sincerely hope his throat was as sore as my ears the next morning… but I digress! Pearce was in a more introspective mood for the next two songs, the plaintive ‘29’ in which she spoke of the embarrassment she felt at marrying and divorcing at… well… the age of 29, whilst her voice truly soared in ‘Things I Didn’t Chase’. It was a truly beautiful performance and you could’ve heard a pin drop as her faultless voice soared through the venue. One woman near to me was quite understandably moved to tears, even if what I assume was her part looked a tad confused next to her, considering the lyrical content! It was a special connection between Pearce and the audience.

Pearce thanked her band for quickly learning the songs in a new, lower key to allow for her flu-symptoms, showing that the talent behind the main event is just as vital in any genre of music. ‘No Rain’, a brand new song that was originally written for a new album but is instead going to be the perfect bookend of the Hummingbird album in a soon-to-released deluxe version, impressed whilst the bar room feel of ‘Hide the Wine’ (played as Mrs Griffiths supped a white wine next to me!). Pearce ended the main set with ‘I Hope You’re Happy Now’, a brilliant mid-tempo ballad-like romp that first introduced me to her music, with her guitarist once again ably filling in on vocals for Lee Brice’s voice, who plays on the original performance. An encore (of sorts) of ‘Oklahoma’ and ‘What He Didn’t Do’, with the band continuing to play as Pearce took her bow and left the stage (I love that about country concerts!) to end a perfect night of country music.

Carly Pearce is a true talent. Her faultless voice and undeniable songwriting skills have a knack of burrowing into the souls of her audience. Why? Because she sings about real life and things people can relate to. Breakups, heartbreak, shame, alcohol, trucks and good fun. It’s what country music should be like and it was a privilege to witness such a special performance. When Pearce returns to Glasgow, I wouldn’t be surprised if the venue is bigger once again, with her fanbase sure to continue growing as her music continues to be exposed on UK radio. It’s what she deserves.

“Yee-Haw” indeed!

Carly Pearce continues the Hummingbird Tour in North America from March through to May. Hummingbird Deluxe Edition is due for release on 14th March.

Tyla J. Pallas - ‘Gilding the Lily’

Thu, 27 Feb 2025 09:25:11 GMT

While still more known to some for establishing and fronting the Dogs D’amour (and who’ve continued with a different line-up as Tyla’s Dogs D’amour in recent years), Tyla’s much longer career as a solo artist has afforded him more flexibility in sound while retaining his trademark heart on sleeve lyrics and street poetry.

Normally very prolific in output, which has at times almost reached “another week, another album” level, the latest solo album from Tyla has taken longer to see the light than planned due to a couple of factors.

Having started life as the ‘Blue Blood, Black Heart’ album, Tyla found himself abandoning much of what he had written, going in a different musical direction and renaming the album ‘Gilding the Lily’ after rummaging through his equipment in search of another piece of kit and finding an old brown leather bag which contained two effects pedals which he hadn’t used in years – a tremolo and an octavidor. This led to some re-acquainting and experimenting, his creating a very different sound and was the first factor. The second was bouncing some song ideas off his, also Edinburgh-based, producer, Jamie Turnbull who Tyla was aware played the guitar, but had no idea just how well until Jamie was encouraged to let loose and laid down some guitar on top of Tyla’s rough demos. Run these happy discoveries together and the result is what I think will become known as Tyla’s “guitar album”, what Tyla believes is his “best album” and one which he has been wanting to make for years … and in places very different to how you may have heard him before.

The album opener, ‘Baptism By Fire’, starts with just a descending bass line and almost instantly launches into the full-band played raucous chorus. This has the effect of feeling like you’re walking through town on a dark, depressing, cold and wet winter’s night and suddenly a door opens basking you in light and sound … opening into the lock-in to end all lock-ins with the band in full swing playing some mean glam-tinged bar room boogie with guitar soaring above, punters of all ages dancing on the bar and tables, being warmly hauled in and handed the first of many very large drams. Gauntlet and statement of intent laid down, then.

The 70’s feel is ratcheted up to the max on ‘Cadillac Man’ which struts and blasts out of the speakers - again with that very prominent guitar working its magic above and throughout the song, as the satin-sounding female backing vocals weave and sprinkle their glittery magic over the song. Never mind their Weetabix, Tyla and his friends just might have been binge watching Sounds of the Seventies for weeks while mainlining double espresso before being let loose on recording this. Possibly not surprising given Tyla’s love of Be Bop Deluxe and Mott the Hoople when growing up.

On the subject of his musical friends, Tyla is accompanied by his long-term partner in crime Simon Hanson (Squeeze) on drums, Tyla plays bass in addition to singing and guitar, and they’re joined by Jamie Turnbull on guitar, Mark Stanway (ex-Magnum) on keyboards, Rik Evans on strings and Mark’s wife Mo Birch on backing vocals (on Cadillac Man). The playing from all is top notch throughout, as is the mixing and production.

As a 17-track double album on vinyl or 18 tracks on CD, there is so much new music here to absorb and process that I’ll probably still be doing so in some months’ time. However, I’ll try to provide a flavour of what is contained within.

‘Glory Days’ starts with and is driven along by Tyla half-singing over a rhythmically strummed acoustic guitar which feels almost Dylan-esque before going off in more Spanish-influenced directions augmented by mournful violin and electric guitar dancing around the song, closely followed by the under-stated ‘Gilding the Lily’ and then the scuzzy and big guitar riffs of the brooding “Gunfight” … and, yep, I did just say “scuzzy” guitar which is not normally associated with Tyla, but is also wonderfully dirty sounding in places.

‘Killerstown’ does what Tyla does so well, subtly and effortlessly as a songwriter – and provides what sounds, at first, like a simple strum- and sing-along, with a memorable if a little melancholic melody and chorus, but scrape the surface, listen to the lyrics and you’ll find something darker beneath.

For those of his fans who love a Tyla ballad (all of us), ‘Don’t Ever Stop Lovin’ Me’ hits the spot. At 63, Tyla’s voice has changed over the years and he’s grown from having vocals which he didn’t rate himself into having a voice with which he is now comfortable and this shows. The vocals are as strong as I’ve heard them, both raw and tender and his vocals and lyrics are complemented by what has to be said is some fairly epic guitar-playing in which the touch and feel might draw a tear or at least a lump in the throat. Who needs over-produced power ballads and multi-octave histrionics when you’ve got this?

Or if you want to take this down to an even simpler level, ‘I Really Love You’ pulls off the lyrical feat of consisting of just one line, “I really love you’ repeated throughout the song (and occasionally a second if you want to be pedantic and include the shorter “I love you”) … maybe more of how you might develop the melody for a song while jamming and riffing a single repeat phrase, but very effective and different as a song in it’s own right.

Sandwiching ‘I Really Love You’ are ‘Mickey Roses’ and ‘Human After All’ which are two of the most atmospheric songs on the album, mainly as they don’t sound as though they were just written to simple and conventional songwriting structure of verse, chorus (repeat), bridge, verse with guitar riffs and solos to fit. Instead, the guitar work seems to play more off the vocals and create its own sound and emotions which weave around the song and really complement the vocal without over-shadowing them.

‘It’s a Shame’ also starts with a simple chorus with melancholic sing-along melody, which feels both familiar and new, and will strike a chord with anyone who has ever lost or is losing someone close. ‘In Plain Sight’, ‘Religion Kills’ and ‘Special Ones’ lyrically reflect the more serious and heavier nature of much of the songwriting on this album which has been written at a time when it feels like the world is going to hell in a hand basket and just when you thought things couldn’t get more extreme, they do.

The slow, bluesy and again atmospheric ‘Do Anything’ (available on CD only) leads into ‘River of Death’ or what I admit, for me, was a case of “you had me at 16 seconds” … courtesy of a plucked bass intro for the first 15 seconds followed by a whistled melody and emotional guitar break then kicking in simultaneously. This is the type of moment that if it was on a crappy TV alleged musical talent show, the judges’ heads would explode with excitement. But, seriously, I swear my stomach drops each time I hear this – a masterclass in how to build a song.

The big guitars return on ‘Written in Heavy Blood’ before we reach the end with Tyla and his acoustic guitar providing the short (1 minute +), but emotional musical outro of ‘Love Will Find You’.

As would be expected, the ‘Gilding the Lily’ artwork has also been created originally by Tyla.

Okay, this was a LONG review. I hadn’t planned to do a track-by-track review – never a good idea when faced with 18 songs. I mean, is anyone still reading this? But, the quality of material packed into this album is of such a level that it is hard to convey in a shorter review which would barely have scraped the surface.

Tyla’s upcoming book, ‘More Cocktails & Dog Tales’, devotes a whole chapter to ‘Gilding the Lily’ and it’s clear that Tyla believes this is his best album to date. While, as fans, we have our own favourite Dogs’ or solo albums and songs, having listened to this album on repeat it’s not hard to see why he believes this. Artists shouldn’t really be expected to make albums this good so late in their career, but, against any expectations, he has and it could surprise many.

As for his book, if you’ve seen Tyla playing solo (or even with Tyla’s Dogs D’amour) in recent years, you’ll be aware that the gigs are almost now as much about the banter and stories as they are the music. His latest book takes us from the Dogs’ early and chaotic days of “smoke, sniff, drink, swallow ‘n’ repeat”, while in the studio and on tour, through his solo career in music and as an artist to the present day and back again – all interwoven around his personal life and told in Tyla’s conversational style which is not unlike sitting down and having a pint with an old mate. As it says on the book, “fascinating, unfiltered, frank, moving and very, very funny”. As someone who reads more music memoirs than is healthy, I can only say buy this book … probably the most candid rock memoir you’ll ever read.

‘Gilding the Lily’ will be released on 14 March 2025 on King Outlaw records, and distributed via Cargo Records (or is available directly from www.tylasarttavern.com (where ‘More Cocktails & Dog Tales’ can also be pre-ordered).

Glass raised.

GMcA

Perfect Plan - 'Heart of a Lion' Released by Frontiers s.r.l. on 28th February 2025

Wed, 26 Feb 2025 19:44:53 GMT

This 4th studio album from Perfect Plan might just be the one that takes them to the very top of a long list of brilliant Scandi-AOR bands. That list may have H.E.A.T. and Eclipse at its summit just now but ‘Heart of a Lion’ also combines all the elements of the melodic rock holy trinity; great songs, stellar voice and a big production, and the result will be hard to beat this year.

That voice belongs to Kent Hilli and he comes on with all of the panache and finesse of Jimi Jamison, coupled with the power of a young Lou Gramm. The title track is one of a number of tub-thumping, chest-beating powerplays that includes ‘Too Tough’ and ‘We Are Heroes’, the latter of which has an undertone of ‘Boys of Summer’ in its initial keyboard and guitar instrumentation. The triumphant chorus includes the repeated refrain “we are, we are, we are, we are the heroes”. I couldn’t remember where I had heard similar word repetition before and, after racking my wee brain for a bit, it turned out to be ‘Whisper to a Scream’ by The Icicle Words from 1984. The songs don’t sound similar at all, it was just that bit of the lyric, but it’s very good.

I won’t go through all of the tracks, but there are no weaknesses and some of the tunes will be on heavy rotation in my house for a while. My particular favourites are ‘Turn Up Your Radio’, two Whitesnakey ones; ‘All Night’ and the femme-fatale cautionary tale of ‘Lady Mysterious’ (“She’s a ball-breaker”), and the immaculate chorus of ‘One Touch’, which also features a classic AOR “brief pause and go again in a different key” moment.

Having seen Perfect Plan play live at Lion Rock in Spain last November, I can confirm that they are also a very good live band. A UK tour seems long overdue and that, in conjunction with this album, would boost their profile no end. We can only hope, but in the meantime, you won’t regret giving this album a try if you enjoy quality melodic rock. Enjoy.

URIAH HEEP/APRIL WINE/TYKETTO - Live Review, Kings Theatre, Glasgow 23rd Feb 2025

Wed, 26 Feb 2025 10:19:46 GMT

Photos by Jai Dee Photography

Many years ago, when I was a young lass of 15, my mum took me to see my first ever live band. I’m always pleased (and a little smug!) that it wasn’t some rubbish pop act that I’d surely be embarrassed about now, but the ‘very ‘eavy, very ‘umble’ Uriah Heep. It was a modest affair, a charity gig at a venue that holds no more than about 350 people, but it ignited in me an enduring passion for live music and a real fondness for the band who kickstarted it all. 18 years on and I’m a very long way from home, in Glasgow to witness ‘The Magician’s Farewell’, apparently the final time the Heep will embark on a full length tour, though it’s made clear that they’re not ruling out the possibility of occasional live shows or even new music. But I’m getting a little ahead of myself, because tonight it’s a triple bill, and an early start for Tyketto who are due on stage at 18:45 sharp.

I’ve rushed here, having arrived from Derbyshire within the last hour or so, checked in at my hotel and wolfed down a burger at high speed. But I’m glad, because arriving late would have meant missing one of the most formidable support sets I have seen in some time. There is nothing complacent about Tyketto’s performance, no sense of going through the motions. In fact, this feels like a band still hungry, still keen to make a mark despite 30 odd years in the business. As always, I’m floored by Danny Vaughn’s vocals that seemingly refuse to show any signs of age. And it helps that the band behind him are incredibly tight; In Harry Scott Elliott the band has a true guitar hero, who looks the part in his snazzy kilt, but more importantly, can shred with the best of them. From the moment the harmonies kick in at the chorus of opener ‘Reach’, there’s a sense that Tyketto have everyone on side, backed up by the enthusiasm with which we join in on ‘Strength in Numbers’ and the irresistible ‘Lay Your Body Down’, shouting the chorus louder at every opportunity. Vaughn seems almost apologetic about the inclusion of a ballad, but ‘Standing Alone’ has earned its place and certainly doesn’t hinder the momentum. The set may be short, but it’s perfectly appointed, with time for ‘Wings’, ‘Seasons’, ‘Burning Down Inside’ and ‘Forever Young’. The latter provides a triumphant conclusion that leaves me questioning why this band still find themselves somewhat under the radar.

April Wine perhaps suffer a little in Tyketto’s wake. Though there’s some excitement around these Canadians being in the UK for the first time in more than 40 years, there’s a sense that they might have been away a little too long. Maybe I’m just too young, but none of the songs are familiar, and the relaxed harmonies feel a little rough around the edges after the polished perfection that preceded. Not that it’s a bad set, far from it. Opening with the self explanatory ‘I Like to Rock’, there is much to enjoy in the persistent groove and heavy sound of two Les Pauls thundering along. This band do no-nonsense boogie particularly well, a pleasing bass rumble underpinning the likes of ‘Crash and Burn’ and the percussive ‘Oowatanite’, both blessed with catchy choruses that don’t take long to absorb. Longest serving member Brian Greenway takes the lead vocal on ‘Before the Dawn’, but it’s the tender ‘Just Between You and Me’ that I enjoy best. The harmonies come together best on ‘Sign of the Gypsy Queen’, apparently a cover, but a song that April Wine have made convincingly their own. The set finishes with an enthusiastic ‘Roller’, a song that bounces along nicely, successfully getting heads bobbing throughout the theatre.

It’s perhaps brave to front load a set with three relatively recent songs (admittedly, ‘Overload’ is now a scary 17 years old, but in the lifespan of Uriah Heep, that’s still recent, isn’t it?!) but it’s proof, if needed, that this is a band who should never be viewed purely as a heritage act. ‘Grazed by Heaven’ and ‘Save Me Tonight’ are great songs, delivered with far more energy than should reasonably be expected from five men whose average age is somewhere around 68! Bernie Shaw’s charismatic performance makes a strong case for him to be regarded as the definitive Heep vocalist (not just the longest serving!). He urges us to our feet immediately and there we stay, quite a feat given the audience is not the most youthful (is there a more polite way to put this?!).

Unsurprisingly, it’s the classics that really get the crowd going. As Shaw puts it, “we’re back in 1973” and a bouncy ‘Stealin’ provides the first real singalong. There’s something joyful about watching Uriah Heep; a sense of fun in the way Mick Box waves his hand and Phil Lanzon attacks his keyboard with real purpose. ‘Shadows of Grief’ is quite magnificent, a showcase of all that is wonderful about the band, an epic, prog leaning masterpiece. Not that Shaw would probably thank me for that description; he mentions that the band have been called many things over the years - prog, hard rock, heavy metal - but prefer not to be pigeonholed. The truth is that they cover all of those genres pretty well. Where ‘Sweet Lorraine’ is catchy and carefree, the relentless riff that dominates ‘Free ‘n’ Easy’ goes some way to remind you just how heavy Uriah Heep can be. But really, it’s the epics that dominate the evening. The centrepiece is ‘The Magician’s Birthday’, played in its entirety, a song that shifts through so many moods in ten minutes that there’s no time to get bored. It also highlights just how thunderous a drummer Russell Gilbrook is, his performance bringing real power to the second half of this sprawling classic. A supercharged ‘Gypsy’ and unmissable ‘July Morning’ follow, both deserving of their rapturous response.

It’s all over a little too quickly, the feeling that there are so many songs missing from this celebration. But of course, it’s an impossible task to represent a 55 year career in about 90 minutes. ‘Sunrise’ is well received as the first encore and inevitably, it’s ‘Easy Livin’ that closes the show, as if it could ever be anything else. If this is truly ‘The Magician’s Farewell’, then Uriah Heep are going out on a high. But if the suggestion of a second farewell comes to fruition, be assured I won’t want to miss it.

Angel Eyes – ‘Constellations’

Fri, 21 Feb 2025 12:39:42 GMT

“There’s not any great, new rock music out there”.

That’s a phrase I often hear parroted at gigs, music festivals, in the workplace, in pub toilets etc. It’s a phrase usually said by people who can’t see past the band or music genre that was in the mainstream when they were young and who will often be found paying extortionate amounts of money to see ‘legacy’ bands in big-shed arena package tours. Now, there’s nothing wrong with a so-called ‘legacy’ bands. I’ve seen Whitesnake live on 14 occasions and still love seeing shows and listening to music by the rock greats such as Guns N’ Roses, Led Zeppelin, Metallica… the list goes on. But the simple fact is that the future of rock music can’t be found in the artists of the past. Music fans must look to the present day, where young bands are starting out in schools, garages, youth clubs, local gala days and pubs and clubs up and down the country, just like the musical greats did many decades ago. Everyone started somewhere.

One such band taking their first steps into music is Ayrshire five-piece Angel Eyes. Consisting of Evie Strawhorn (vocals), Callum Todd (lead guitar), Caleb Muir (rhythm guitar), Aaron Hewitt (bass) and Marissa Milligan (drums), they originally formed as a Junior School Rock Band at Robert Burns Academy in Cumnock, playing covers at school concerts. However, by late 2024, they felt a creative nagging to spread their musical wings and write some of their own original music, using equipment found in the school music department to record their own song. Their first single, ‘Constellations’ is the fruit of that labour.

There’s no gentle handshake or polite curtsy as Angel Eyes introduce themselves to the musical public. They burst through the speakers with a crash, bang, wallop and a very 90s Californian rock sound of grungy power chords, symbol crashes and a catchy chord progression. Think prime-era Wheatus with the attitude of early Green Day and maybe even a sprinkling of The Offspring. It took me right back to when I had an abundance of blonde hair and a waistline! Pre-wife. Pre-kids. Ah… those were the days!

As the verse kicks in, the track remains very Cali-Punk but when Evie Strawhorn’s voice merges with the riffs of Caleb Muir’s rhythm guitar and the almost mournful wailing of Callum Todd’s lead guitar, there’s also a very Oasis-style, Brit Pop vibe to it. Marissa Milligan’s drums and Aaron Hewitt’s bass drive the track towards the chorus, with Milligan’s power reminding me of another female powerhouse drummer, Kid Rock’s Stefanie Eulinberg (watch the intro to ‘Bawitdaba’ from Woodstock ’99 and you’ll get the general gist).

The chorus itself turns ‘Constellations’ into a delightful, feel-good, mid-tempo rocker with flawless, soaring vocals by Strawhorn. Todd’s searing guitar solo in the bridge is played with just enough energy and feel to ensure it’s not overwrought, whilst the sing-along chorus returns to take the song to its conclusion.

When listening to ‘Constellations’, it’s worth remembering a few things. The members of Angel Eyes are 14/15 years old and this is their first effort at writing an original song, recorded and self-produced in the music department of a school in deepest, darkest Ayrshire. When you take cognisance of those facts, this is an excellent debut song that transports the listener back to the heyday of 1990s rock. Elements of Californian punk, Brit Pop, UK indie rock and American alt. rock are all blended in a big musical pot to create a song that could be the lovechild of modern-day Chrissie Hynd and Monster-era Michael Stipe (listen to The Pretender’s latest album and the sound of REM’s Monster to understand where I’m going with this strange analogy!). Ultimately, if you lived in the 1990s and listened to the radio, you’ll hear in ‘Constellations’ what the nostalgic part of your brain wants you to hear… and that’s the ‘time and place’ beauty of the music created by Angel Eyes.

Whoever said there’s no great, new rock music out there anymore hasn’t bothered looking. Angel Eyes are starting out on a journey where they and young bands like them are the future of rock music… and it’s every true rock music fan’s duty to help support and nurture them.

Angel Eyes plan to release an EP later in the year and on this kind of form, it’s one not to be missed. Look out for them playing live and support local music by buying the gig tickets, streaming the songs on the usual digital platforms (‘Constellations’ is available now!) and following the band on their social media platforms, even leaving a positive, encouraging comment or two!

Fish - The Corn Exchange Haddington, 2nd Night, 19th February 2025

Thu, 20 Feb 2025 17:37:14 GMT

SPOILER ALERT: CONTAINS SET LIST DETAILS

Fish is a big cult.

He has a very devout following who have immersed themselves in his scriptures for a long time and this is where they often used to gather as a Company for fan conventions and special shows. Back in 2006, attendees received a laminated lanyard. Tonight, the second and final night of a two-night home town farewell, they only got a high-viz wrist band, but that granted access to a very special show indeed; one that will live long in the memory, even after the character of “Fish” has been killed off.

It was an intimate gig in front of 700 family members, local fans, Fish on Friday devotees and loyal Fish-heads that had travelled from near and far to be here. Those who attended both nights were amply rewarded with two completely different set lists, each rammed with classic tunes, quality musicianship and deep-cut surprises. Only one song was repeated and it was the one that most characterises the shared bond between this performer and his audience.

‘Credo’ was an instant kick-starter, with full-throated engagement and syncopated hand-claps from the congregation from the outset, although the “to me; to you” vocal call-back choreography always makes me chuckle. Despite communal lyrical protestations to the contrary, you could tell it meant the world to those in attendance just to be there.

Next it was ‘Big Wedge’ and ‘Long Cold Day’. None of the opening three songs needed any introduction to these people and they didn’t get one. When he did speak, the big man seemed jovial and relaxed, pointing out that he was 66-years-old and drinking water. Aye, but you were spotted in The Plough at the back of seven fella!

The Corn Exchange is a lovely old listed-building dating back to 1854 but it’s been updated, and from the marked-out badminton court where I was standing, it looked and sounded brilliant. We’re in Haddington, a lovely Royal Burgh on the banks of the River Tyne, because that is where Fish has lived and worked since around 1988. Not for much longer though, as we all know that he and his wife Simone are casting away to the Outer Hebrides. That’s what nearly 50 years in the music business, and even longer supporting Hibs, can drive a man to do.

The studio in Haddington is where Fish and his musical co-conspirators have written most of his songs. As he pointed out when introducing ‘A Feast of Consequences’, it seems like most of those songs have been about lost love, broken hearts and failed relationships. He asked for a show of hands from those who had been through a divorce and there were quite a lot, including the guy in front of me holding up both hands and looking for a third.

Fish can’t play all of the songs in his back catalogue, but he did confess that he had carefully created the set lists for this tour based on the ones he really wanted to sing one last time rather than those that we might like to hear. Fair enough I suppose; they’re his songs and he’s earned the right, but you can’t help wondering if that attitude is also a part of the reason why he’s had so many break-ups? If he ever writes that auto-biography, maybe we’ll find out.

‘Cliché’, from ‘Vigil’ is apparently his one attempt at writing a genuine love song, but according to him, between leaving the studio and the album being released, the object of his affection started an affair with someone else. I guess you never stop needing that mother’s kiss on a broken heart and a warm wet circle but that’s a song for another day, although that day will probably never come.

Before that, he presented ‘Goldfish & Clowns’; a delightful deep-cut from ‘Sunsets on Empire’, but judging by the howls, there were only a couple of werewolves in attendance. The song was a delight throughout and the band’s performance was enthralling, with Elisabeth Troy Antwi really adding depth on backing vocals and tunic.

Many aspects of the Fish and Derek’s soul, psyche and personality have been laid bare for our entertainment over the years. With and without the face-paint and mask, he’s been on display as a lover, a loser, a poet and a seanachaidh, a grouch, a comedian, a warm and jovial raconteur, an impassioned proclaimer, a man with a unique and compelling way with the words and story-telling, and an all-round big-time rock god. He displays the “Grumpy Ayatollah of Prog” side when scowling at those wielding camera phones but there was also an amusing anecdote about a BT engineer and a cracker about his book-keeper, and he knows his people; addressing some directly and making sure that a fan who felt temporarily unwell was taken care of. It was very warm in there and happily the chap recovered to enjoy the rest of the show from the back of the hall.

The absolute unicorn in the set, and an unexpected delight, came when the big man announced that he was pulling one “out of the grave”. That turned out to be ‘Incubus’ from ‘Fugazi’ – a tortured tale from the emotionally fraught bed-sit days that must have excavated deeply-buried feelings in some, judging by the sight of grown men weeping silently as the pseudo-Shakespearean porno tragedy unfolded. For a few, “nursing an erection” may now be harder to achieve, but the images still remain. It was an absolute triumph and a show-stopper, deserving of its fierce and prolonged ovation.

At the end, Fish simply said “that was fun” and it looked like he meant it. Yes, Fish – it was fun. Maybe he could have gone “grave-digging” just a wee bit more over the years, but it’s nearly too late now. Fair enough, it was a long time ago in a galaxy far, far away and he’s not been in that band for decades, but folks still love that stuff – really, really love it, in fact. I’m sure Fish does understand the power of nostalgia and fond remembrances; after all, he has individually named the sheep on his island after a football team from season 1972/73.

On this Road to the Isles Tour, Fish has generally placed one of his longer “suites” at the core of the set. The previous night it had been ‘The High Wood’ from ‘A Feast of Consequences’. Tonight, it was the 6-part ‘Plague of Ghosts’ from ‘Raingods with Zippos’ which he “Fishsplained” had been over-looked in some parts, but he wanted to play it because “its really important”. He didn’t say who it was important to, or perhaps who it should be important to, but I think it was understood.

Fish seems to have always had a tendency towards the morose, and like a prog rock-Morrissey, this piece was apparently inspired by the book ‘Girlfriend in a Coma’. It is musically complex but stunning, and meanders through the phases, most noticeably a dramatic and captivating Attenborough-esque spoken word segment that is ostensibly about chocolate frogs, but of course, there is so much more to it than that. It was great performance art. Sometimes, there is a thin line between symbolic and bollocks, but he danced along it with all the skill of a nimble jester. The guitar work by Robin Boult was outstanding and the denouement was perfect, with each band member departing the stage individually after being introduced. Once bass-playing collaborator Steve Vantsis and drummer Gavin Griffiths had left, the benevolent cult leader was the last to go – rhythmically dad-dancing slowly off the stage and then back on again for the reprise. Bravo.

After a short break, ‘A Gentleman’s Excuse Me’ is a very welcome inclusion. He might not do conventional love stories and he’s no Taylor Swift, but when Fish writes from the heart - broken or otherwise - he does it with a palpable emotional heft that is deeply meaningful and inspires relatable feelings. This poignant rendition by just Fish and Mickey Simmonds really hit the spot in front of the familiar video images on the screen. There were two songs from ‘Weltschmerz’ played on the first night but none on Day Two. Fish looked like he was actually enjoying himself and he didn’t even seem that world-weary at all.

What followed was “The Top of the Pops Suite”. ‘Kayleigh’ is the housewives’ favourite and a recognisable thing of beauty, but it doesn’t cut quite as deeply. ‘Lavender’ too. As an artist, you’re damned if you do and damned if you don’t when it comes to playing “the hits”. If you don’t, the people you meet in Tesco think you’re a dick. But in this of all crowds, you just know that nobody is here because they first saw that band on Top of the Pops or heard ‘Kayleigh’ on Peter Kay’s ‘Car Share’. Most of them probably desperately crave a serving of cold-case classics from his Marillion song-book one more time, but possibly not these ones as a first choice.

They might have preferred to hear ‘Three Boats Down from the Candy’ instead, but they’ve learned to know better than to shout that out, so they just sing “gie’s a bun” instead, but it still feels like you’re losing on the swings and losing on the roundabouts. That’s what tribute bands are for, I guess? It was ever thus though, and folks knew in advance that they would be feasting on whatever tough-love crumbs the glorious leader shares with them and they are delicious morsels after all.

Not least, ‘Heart of Lothian’. We are in East Lothian but, as well as Fish, there are also a few other natives of neighbouring Mid Lothian in the house, not least the Dalkeith boys from his school days who were there at the start and at gigs like The Nite Club in Edinburgh back in the days before the big, bad guy from Beowulf got cancelled.

After another very short break, the end is upon us. The penultimate song is a shake of the tartan tablets and a thingummy-jig on ‘Internal Exile’, which comes laced with the taste of political posturing. Other flavours of Kool-Aid are available.

And then with the house lights on, it’s time for one last barn-dance in Haddington and a final coming together of ‘The Company’. He also played it the previous night but there is no other way to say goodbye to this particular audience. They didn’t want to leave and there were awkward old-guy hugs and lumpy throats around the hall, but it was all over. By any standard, this was an outstanding show and for some, it was a life-enhancing experience.

Biggus Dickus has left the building and the town of Haddington.

He won’t be a forgotten son.

The Outlaw Orchestra + Ross Harding & The Dark Hearts - The Old Brewery Store Faversham, Friday 14th February 2025

Wed, 19 Feb 2025 10:36:00 GMT

Though I am sure it will be a great shock to all, I had no plans on Valentine’s Day (after all, it’s only about the twelfth year I’ve been on my own!). But rather than stay home and mope about my largely self-imposed loneliness, I ventured to Faversham for my first visit to the Old Brewery Store, lured by an evening of live music with The Outlaw Orchestra and Ross Harding & The Dark Hearts. Though not the easiest venue to find (I definitely walked past it at least twice, convinced the entrance must be somewhere else!), it turned out to be worth the mild stress.

Initially, I wonder where Ross Harding has been hiding. Heading up a trio, Ross is a sharp looking man with some tasty riffs and an impressive voice, and I feel sure I should have heard of him. But then he speaks, and everything falls into place; a professional musician in South Africa for a decade, he’s starting over in the UK, having been here for about a year. He pokes fun at his self-proclaimed “funny accent” which disappears entirely when he sings, transitioning to something more akin to grunge; not quite Eddie Vedder’s distinctive ‘yarl’ but just as warm, with a little more rasp. Like all good power trios, the performance depends on a solid, grooving rhythm section, and thankfully drummer Reef Anslow and bassist Andrew Hollos have got that down. It’s their pummelling groove that helps make ‘Everything is Black’ an absolute monster, and the riff that resembles Muse’s ‘Psycho’ certainly doesn’t hurt. In contrast, 'London Blues' is appropriately melancholy, a reflection on our notoriously miserable weather that Harding quickly discovered on spending some time in the capital.

It’s hard to imagine that anyone has ever been to see The Outlaw Orchestra and hasn’t had a good time. An infectious sense of fun permeates their shows, largely thanks to frontman Dave ‘Rocker’ Roux - an excellent spinner of yarns, throwing out stories between songs as easily as he dispenses riffs. It’s why the band have affectionately named him ‘glovebox’ - “because he’s full of shit and you can’t shut him up!”. Without his interjections, we wouldn’t know that ‘Bag of Bones’ was inspired by a visit to the butchers where Roux was mistaken for a homeless man, or that ‘Too Much Willie Nelson’ wouldn’t exist if the band hadn’t been gifted a large amount of weed from the titular country superstar! But for every quirky anecdote, there’s a belter of a song, and these three are not to be underestimated as musicians.

Pete Briley is a man of many talents, and consequently, many names - we hear him referred to as Banjo Pete, Powerslide Pete and Pedal Steel Pete as the evening progresses! His higher register vocals cut across Dave’s more countrified twang, providing harmonies throughout, and he’s a great presence, throwing shapes with his banjo like a guitar god. He trades the banjo out for a cigar-box guitar as the band rattle through ‘Rotten Apples’, a song so catchy that I’m still singing it in my head several days later. It’s a great showcase too for drummer Ryan Smith (aka ‘Thundersmith’) who is truly commanding behind the kit, driving every song with real conviction. Though he emerges briefly to shake a tambourine during the creeping ‘Voodoo Queen’, he’s back at the stool for a suitably thunderous crescendo.

Always straddling genres, but far too rock and roll to really be considered country, there’s more diversity than you might expect in The Outlaw Orchestra oeuvre. Straight up rockers like the anthemic ‘Outlaw’ and foot-stomping ‘Small Change’ rub shoulders with the brooding ‘Born to Be a Thief’ and Blackberry Smoke-esque ‘S.O.S.’ (though the band describe it as a cross between ‘Beating Around the Bush’ and ‘Walk This Way’ which I can definitely hear!). An enthusiastic cover of Joe Walsh’s ‘Rocky Mountain Way’ is given the Outlaw treatment, and though they feign it’s their first attempt, I suspect they might be fibbing!

Once again, a local venue proves to be a winning night out. It's not been a romantic Valentine's, but it's been a lot of fun. And it's difficult to think of two bands I'd rather have spent the evening with.

Phone photos by Laura DQ

Harsh / MOSKITO - Bannerman’s, Edinburgh 6th February 2025

Sun, 09 Feb 2025 19:27:57 GMT

As Adam Ant once camply stated “young Parisians are so French” and that’s what drew a discerning crowd of knowledgeable glam rock fans to Bannermans to see what the French boys in Harsh do. The handsome young lads from Paris have made a great impression in Scotland in previous visits and with a bag-full of excellent new tunes to share, they kicked ass again with an even better show.

But first for something completely different. MOSKITO describe themselves as “a 5-piece shouty rock boy band” and that’s not a bad description. They are good looking young lads but with a rouigh edge and if they were an actual boy band they would have to be called ‘The Jackson Five Finger Death Punch’, ‘McFlies Undone’ or ‘Take That, Ya C*nt’. They’ve got a load of “Rage Against the Punky Monkeys” swagger and some fine tunes to back that up and blow the earwax out. The aggressive rocker ‘Shut The F*ck Up’ was delivered with attitude, a bit of gob and some rap and ravey interludes. With the singer Jake Rudd stripped down to a wife-beater vest, they look like they could have been the house band at The Jockey in Shameless. Jake did invite more of the crowd to step forward as “we don’t bite” but not everyone was feeling that brave. Needless to say, they turned out to be lovely lads off-stage after the show but theirs was a very passionate and convincing performance adhering to their adopted ethos of “defeat fake c*nts in music by being relentlessly courageously humanistically authentic”.

Jake revealed that he was almost crying before the gig, their first in Scotland, when he thought he had lost his voice, but happily, one of the locals prescribed Buckfast for him and that did the trick nicely. The band had a fine line in in-band banter. Ceiling-scraping guitarist Sam got some stick for ordering pineapple over hash browns and there is another Rudd in the band – Will on bass (presumably he’s better than Canadian cousin Paul Rudd when it comes to “slappa da bass”) and Australian Uncle Phil was not on hand to play the drums but Drew “Barry” Moore was. The band are from Boston, but it’s the one in Lincolnshire not the cooler Massachusets version where Ted lives. I assume I was the only person in the room who had actually visited Boston, but that was back in the 1980s to see the Boston Barracudas speedway team. Of course, none of these boys were even born then. I’ve definitely got more than a feeling that MOSKITO could do well though. They’ve got an EP out and top songs from that included ‘Clinomania’ (psychological desire or obsession to stay in bed). I’m glad I didn’t.

After a rendition of the serial killer song ‘Thrill Seeker’ they chucked in an outstanding cover of the vintage electro-house banger ‘Satisfaction’ by Benny Banassi & The Biz. If you don’t know the song, you might remember the video for the re-boot that featured models in scanty construction gear working power tools? The song definitely sounded a lot better with additional piss & vinegar in MOSKITO’s rocked-up version and that earned a great reception. There was a special guest on hand to round off the set. In the spirit of Brooce plucking Courtney Cox out of the crowd in the ‘Dancing in the Dark’ video, Jake handed a mic to Mike McDermott, formerly the singer in Semi Konshis, and together they belted out what might be the band’s best song so far; ‘Killing Joke’ which sounds a bit like Manson’s ‘The Beautiful People’ in a good way.

MOSKITO were playing Rockmantic in Carlisle the next day. I wouldn’t have put them down as the romantic types but they’re definitely more lairy than malaria and it might take a S.W.A.T. team to hold these guys back once they get more well-known. Check them out.

Now Harsh are definitely romantic. They are four charming and photogenic young chaps from Paris and they are all about the headbands, red leopard print, scarf round the microphone, spandex and boots look with gallic charm and sex appeal to die for and that certainly drew the girls to the front of the stage and it must have felt like Valentine’s Day had come early for some ladies of a certain age. Don’t be fooled by the name. They’re not that harsh and, while they do rock hard, fast and loose, they’re also smooth, sweet and fragrant like fine wine and finer perfume.

Harsh already have a fine selection of great 80s sounding songs from their 2022 album ‘Out of Control’ but they expect to record some new songs this year and some absolute belters got a preview airing here, including the riffy ‘Don’t Mess with Me’ and ‘When We’re Together’. In a modern world of sometimes identikit flat-pack Swedish AOR, it was a refreshing change to hear a French twist on the classic sound and they certainly deliver it with a bit of joie de vivre and panache.

Bass player Julien Martin was the first to get his top off and guitarist Severin Piozzoli grabbed the spotlight with fine some neo-classical widdling and a lead vocal on a cover of ‘Born to be Wild’, but drummer Leo Lowenthal might just have been the housewives’ favourite if it wasn’t for the good manners, cheeky smile and killer cheekbones of front-man Albert Arnold. Bannerman’s is located in the Cowgate at the heart of Edinburgh’s Old Town, birthplace of Hibernian FC, and around these parts, the legendary footballer Franck Sauzee is known as ‘Le God’ but Albert should now be known as ‘Le Rock God’. He might have Cruella deVille’s hairstyle (no dalmatian puppies were harmed in this show) but he knows he’s got sex appeal and he gave generously on one of his off-stage walkabouts, offering generous pours from the biggest bottle of Jack Daniels I’ve ever seen and the Rockfiend team were seen lining up with mouths open for second helpings.

Clearly a well brought-up young lad, Albert announced a whole list of thank-yous and even found time to wish Nicola, the young lady who won Rockfiend’s ticket-giveaway competition, a happy birthday before introducing their cover of ‘Maniac’, dedicated, as always, to their favourite GILF Mrs Suzy Campbell, for obvious reasons. At the conclusion, Harsh invited MOSKITO back up on stage for a jam and I was genuinely scratching my head as to where they could find common ground in view of their diverse styles. If in doubt, crack out Marty Mcfly’s favourite ‘Johnny B. Goode’ and a good time was had by all.

This turned out to be a great double-bill of bands that you might not have expected to see together but top marks to Raz White for putting it together and it definitely worked. A splendid night’s entertainment, especially for £10. Harsh had been staying at Rockfiend HQ this week and swapped cuisine with their hosts Mr & Mrs Campbell, exchanging some snails for a parting gift of cans of Grants’ haggis which they might have to smuggle through customs in their prison pockets. If it doesn’t kill them, I’m sure we’ll be seeing more of Harsh in these parts and that’s definitely a good thing. Tres bien.

TOTO + CHRISTOPHER CROSS WEMBLEY ARENA LONDON WEDNESDAY 5TH FEBRUARY 2025

Sun, 09 Feb 2025 13:28:52 GMT

Phone photo by Laura DQ

It’s been years since I’ve been to Wembley Arena and to say I’m excited is an understatement. Toto are a band who have been on my bucket list for some time, and the opportunity to see Christopher Cross is an added bonus; another purveyor of the smooth, romantic rock that I just can’t get enough of. Of course, this kind of music is notoriously uncool, but luckily I’ve never worried much about that kind of thing!

I’m shown to my seat and my initial response is one of joy; just seventeen rows back and I’ve got a reasonable view of the stage, albeit over to one side. I’m feeling pretty pleased with myself, concluding I made a great choice with my ticket. The venue is filling up nicely, and yet, nearly an hour after doors, there’s a suspicious number of vacant seats, the row in front of me barely occupied. It’s almost like there’s a lot of people waiting for Christopher Cross to start before they come in. Oh. Turns out there are. The lights have dimmed and I can hear Cross’ backing singers getting the bouncy ‘All Right’ underway, but I can’t really see them as the remaining hordes pour in, the frustrating upping and downing of people having to let people into their row, the murmuring of “sorry” as another has to squeeze past. It’s utterly distracting and persists for some time, as does the incessant chatter of those who probably should have just waited in the bar. It’s impossible to lose myself in the music, which is a shame, as Cross and his band sound good.

Rumours that Cross’ vocals have significantly deteriorated since his heyday seem a little exaggerated, and he does a particularly lovely job of the ballad, ‘Think of Laura’. Admittedly, there are moments where he seems a little breathless (forgive him for being 73!), and I’m sad that Michael McDonald doesn’t miraculously appear to lend his inimitable backing vocals to ‘I Really Don’t Know Anymore’ and ‘Ride Like the Wind’. I guess it’s a bit much to hope for, and the three female vocalists do a decent job. Cross’ songs prove timeless, as the reaction to ‘Sailing’ attests, an immediate roar as the first delicately plucked notes reverberate around the arena. ‘Arthur’s Theme’ is similarly well received, and puts Cross’ impressive saxophonist in the spotlight. For me, the set peaks with ‘The Light Is On’, a song that bounces along with such breezy brightness, you’d think writing a chorus this catchy was easy.

Initially, I'm disappointed to discover Toto have dropped ‘Goodbye Girl’ as their opening number for this leg of the tour, but ‘Child’s Anthem’ is a worthy replacement and recreated in such spectacular fashion, that the audience is immediately on its feet. Not a problem, as such, and a clear sign of appreciation, but not ideal for those of us who are somewhat vertically challenged. At a very average 5 foot 5, I often struggle to see past the various tall men who inevitably end up in front of me. Oh well, I figure we’ll sit down in a minute, but as ‘Carmen’ gets underway we still haven’t! The band sound absolutely incredible but I’m struggling to catch a glimpse. As the band dispense ‘Rosanna’ at this early stage, I realise I’ve got no chance, we’re on out feet for the long haul. It’s a shame, as when we we’re all seated, I can see, but I can’t complain about the atmosphere which is utterly jubilant. There’s something quite magical about being part of this crowd, singing “meet you all the way”, imagining we sound as good as Joseph Williams, undoubtedly falling somewhat short!

Unbelievably, it’s the Toto’s first time at Wembley Arena and they’ve come with a set list that strikes a perfect balance between hits and unexpected deep cuts, seemingly engineered to disarm anyone who wrongly sees Toto as ‘just’ soft rockers. The reality is, this is a band who can play anything, from the light funk of ‘Georgy Porgy’ to the soulful ‘Pamela’ and the driving ‘White Sister’. It’s a treat to hear a smooth ‘Mindfields’ finally get a live debut, and the similarly overlooked ‘I Will Remember’ is truly moving, a song that I wonder how I've missed.

It’s almost impossible to convey just how impressive Toto are as a band, the perfection achieved in their studio work is reflected and even elevated in their live performances. To have so many top tier singers in one band seems almost unfair, the harmonies are just beautiful throughout. Perhaps most revelatory is Dennis Atlas, who renders me stunned with a show-stopping vocal performance during ‘Angel Don’t Cry’, hitting the high notes with ease; a relative youngster at 36, he’s also a talented keyboard player, keeping us entertained with an engaging solo. I enjoy Shannon Forrest’s drum solo just as much, but can’t help feeling that I’d rather drop these indulgences in favour of some more songs (bring back ‘Burn’!).

Steve Lukather introduces us to a “magic guitar” that belonged to Jeff Beck, claiming modestly that it won’t make him magic. He doesn’t need it to, because Lukather has enough magic of his own. A strutting ‘Don’t Chain My Heart’ provides an opportunity for him to show off his prowess, shredding a solo with real passion. I feel even greater admiration as he introduces the band, treating us to brief snippets of their session work in the process. I’m in awe of how immaculate these men sound, whether they’re locking into the riff from ‘Beat It’ or ‘The Power of Love’, or highlighting Joseph Williams vocals as featured in Disney’s ‘The Lion King’.

The evening inevitably concludes with the big hitters; and most bands can only wish for songs as huge as ‘Hold the Line’ and ‘Africa’. I'm giving the harmonies my best shot as we go for another "it's gonna take a lot to drag me away from you", and I'm not the only one! I’ve seen a lot of bands over the years, but I’ve not seen many who sound quite as spectacular as Toto. Let’s hope they don’t leave it quite so long for a return visit next time .

Morganway - 'Kill the Silence'

Sat, 08 Feb 2025 16:25:40 GMT

Fast-rising East of England band Morganway play wonderful cross-genre music, combining a variety of styles to cook up a jambalaya of tasty sounds. Like Forrest Gump’s box of chocolates, you never know quite what you’re going to get in any particular song but there’s definitely a whole pot full of americana, plenty of soft rock stylings, a touch of the blues and they’re always popular at the UK Country Music Association Awards. Comparisons bandied about usually include Fleetwood Mac, Tom Petty and The Waterboys, but they’ve also just been on tour with Welsh rock heroes Scarlet Rebels and they can even list Belle & Sebastian as previous tour buddies.

This is their 3rd studio album and it opens with a monster of a song. ‘Don’t Turn the Lights on Yet’ starts quietly with female singer SJ Mortimer intoning the first of the album’s well-crafted lyrics, with just a hint of a Dolores inflection in her vocals, before an absolutely massive drum beat kicks in and the whole band rock up a storm together, building up to a howling climax. Great stuff.

The joyous ‘Boy on a Train’ showcases all the aspects that make Morganway great. It starts with acoustic guitar and violin in a style that brings to mind Lonesome Jubilee-era John Mellencamp. Co-vocalist Callum Morgan sings most of it but SJ joins in with one of the verses and they both work together very harmoniously. There are six performers in the band, so there’s also keyboards and bass in the mix and it really is a glorious radio-friendly noise.

‘Feels Like Letting Go’ is a pure americana-style foot-stomper featuring SJ on vocals, while the band’s secret weapon Nicole J Terry delivers the main riff on fiddle and it’s definitely more “The Devil Went Down to Georgia” than Sharon Corr. SJ is the songbird again on ‘The Edge of the Sun’ with a plaintive vocal over a sparse piano and fiddle arrangement which is augmented by some sonic-sounding spacy guitar work.

The band definitely seem to hit peak Americana when Callum is on vocal duties. He takes the lead on ‘Goddam Time’ and also ‘Halfway Tonight’ but everyone pitches in on the backing vocals for that one and the violin and keyboards are again prominent in a jaunty little number. ‘Devils Canyon’ is another undisguised slab of Americana – well, there are no canyons in the UK – but SJ handles this one with relish and it sounds as American as hot chicken but this time with some raunch sauce on the side.

The foreboding title track ‘Kill the Silence’ takes it all down a notch again and a gently rolling bass line builds a lightly menacing southern gothic atmosphere, suitably augmented by spooky fiddle and ethereal guitar. Other quiet moments include the beautiful musical choreography of the intoxicating ballad ‘Surrender’ and ‘We Sing’ which features Alyssa Bonagura as a guest. Alyssa is a young Nashville singer-songwriter with one foot in North West Britain. She graduated from The Liverpool Institute of Performing Arts - presented with her diploma by Sir Paul McCartney no less – and, as a one-off, she even performed as a member of Pete Wyllie’s The Mighty Wah in support of the other living Beatle Ringo Starr.

The Fleetwood Mac similarity is prominent in two absolutely cracking songs towards the end of the album. ‘All the Signs Are There’ actually starts with a gentle Springsteen ‘I’m on Fire’ drum beat then adds mournful background violin and some absolutely delicious vocal interplay before building in some gentle rhythmic chanting that creates an atmosphere vaguely reminiscent of Mac’s ‘Big Love’.

The other is ‘I Feel the Rain’, which is an absolute monster. The song has a very fine bass groove and fiddle riff but SJ’s vocal is the pinnacle. The lady must have really been feeling that rain, as she delivers a passionate and powerful performance that builds and builds and dominates a very fine tune that also features a frenzied guitar solo in an epic denouement.

This really is a very strong album and despite the various comparisons, Morganway have their own identity and enough variety to make repeat listens a voyage of further discovery and a gift that keeps on giving.

The band are currently on a record store album launch promo trip but will headline their own conventional UK tour throughout April. It should be a cracker and Rockfiend will be at the Glasgow, Drygate gig to do a live review.

Kill the Silence? Enjoy it.

Tremonti / Florence Black - SWG3 Glasgow 6th February 2025

Sat, 08 Feb 2025 16:02:07 GMT

Photos by MB Photography Scotland

Last weekend, I attended my first concert of 2025, watching Toto and their legendary guitarist Steve Lukather perform at Glasgow’s OVO Hydro Arena. A few days later, I found myself back in the city, slightly down the River Clyde at the SWG3 Galvanizers venue, to see a more modern-day guitar legend; Creed and Alter Bridge’s shredding, six-stringer Mark Tremonti.

The affable and uber-talented guitarist arrived in Glasgow as part of a UK and European tour with his solo band, simply called Tremonti, to promote their recently released 6th album ‘The End Will Show Us How’, with Welsh three-piece rockers Florence Black as support. With his main day job band (Alter Bridge) usually playing the well-designed but ultimately soulless ‘big shed’ arena nearby, his outings with Tremonti are always a great opportunity to see his unquestionable musical talent in smaller, sweatier venues with a bit of attitude and personality. SWG3 Galvanizers fits that bill perfectly and judging by the crowd queuing to enter the venue, many other Scottish rock and metal fans felt the same way!

Accompanying Tremonti (the man!) was longtime guitarist and collaborator Eric Friedman, drummer Ryan Bennett and bassist Tanner Keegan, who had already spent over 3 weeks on the road touring through Europe before arriving for a 7-date run in the UK and Ireland. With ‘The End Will Show Us How’ performing well in the charts (including number 6 in the Scottish Albums Chart and number 2 on the UK Rock & Metal Albums Chart), as well as 5 previous albums of recorded material to pull from, there was a sense that the Glaswegian audience was in for a great night.

Tremonti (the band!) have always given up-and-coming bands an opportunity to showcase their skills with a support slot and on this tour, Florence Black grabbed the musical bull by the (devil) horns, taking the opportunity to show just why they were voted Planet Rock’s Best New Band of 2022. The setlist consisted of songs drawn from their two albums, 2021’s ‘Weight of the World’ and 2024’s ‘Bed of Nails’, including ‘Start Again’, ‘Bed of Nails’, ‘The Deep End’, ‘Look Up’, ‘Rockin’ Ring’, the frantic ‘Zulu’ and fan favourite ‘Sun & Moon’… although it was difficult to see what the band actually looked like due to the incredibly dark lighting setup! With a heavy sound tempered by true melodic sensibilities and exceptional musicianship, Florence Black was the perfect support for a Tremonti audience and I have no doubt that during their half hour set, they found some new fans in Scotland’s largest city. The band play a headline show at Chepstow Castle on 21st August, with special guests South of Salem, Black Lakes and Trucker Diablo. On this live form, get your tickets now… as it’s not one to be missed!

Shortly before Tremonti arrived onstage, security personnel were trying to usher the crowd forward to make more room for those who hadn’t entered yet, highlighting just how full the venue was. As the lights went down and the foursome of Tremonti, Friedman, Bennett and Keegan took to the Glasgow stage, the ever so slight surge forward and loud applause with hands raised was clear corroboration of their popularity. But the crowd noise was quickly drowned out by the intro to the blistering title track of second album ‘Cauterize’, with applause replaced by pumping firsts and headbanging. The bombastic sound of ‘You Waste Your Time’ from their 2012 debut album made way for the set to come right up to a date with new songs ‘Tomorrow We Will Fail’ and ‘Just Too Much’ from their latest release. 13 years of Tremonti music showcased in the first four songs alone with the guitarist, bedecked in his signature look of black clothing, explaining that Glasgow is one of his favourite cities to play… but I’m sure he says that in every city (or does he?)!

It was back to the debut album, with Friedman playing the intro to the brooding mid-tempo rocker ‘The Things I’ve Seen’, with the Glasgow choir singing the chorus back to the band before the tempo was raised again with menacing ‘Throw Them to the Lions’, the first track of the night from 2018s ‘A Dying Machine’ album. ‘Another Heart’, which goes from heavy riffing to brilliant melody, brought the set back to a double shot of the new album with ‘One More Time’ and ‘It’s Not Over’, where despite battling “one of those stupid European colds”, his voice still managed to impress, ably proving that his talent extends so much further than just being a great guitarist. Tremonti is clearly proud of the band’s latest effort, making no apology for many new songs being part of the set and the crowd reaction suggested that wasn’t an issue at all.

‘So You’re Afraid’, and the heavy, menacing sounding ‘Flying Monkeys’ led to one of the highlights of the night, the soaring almost-ballad ‘Dust’. Tremonti can rock harder than most but when the band takes the tempo down a bit and cuts back on the fast riffing, they can tug on the heartstrings better than most! The Glasgow audience responded by singing the chorus loudly, with phone lights creating an almost romantic ambience (and the brightest lighting there had been all night!). It’s the type of song that forms a band-audience connection and I always find that special at any concert.

After the breather of ‘Dust’, the tempo and energy ramped up again with ‘Catching Fire’ and ‘My Last Mistake’ before the main set was brought to a close with ‘Marching in Time’, a song that Tremonti said was written when he found out he was going to be a father for the third time. Indeed, time does march on when you’re enjoying yourself, as the band left the stage before returning for an encore of the tempo-shifting ‘A Dying Machine’ and the short, snappy ‘I Wish You Well’. A fitting farewell to the Glasgow audience! Frank Sinatra’s ‘My Way’ played over the PA as the band threw picks and drumsticks to the crowd before disappearing backstage in a nod to Mark Tremonti’s other musical passion of singing Sinatra songs with yet another successful musical project. As we cheerily say in Scotland when complimenting somebody… “he’s a talented wee bugger”… and that was clear when Tremonti rocked Glasgow.

Mark Tremonti’s name will always be synonymous with the arena-filling sounds of Creed and Alter Bridge. The music he has created (and continues to create) with both bands will always ensure that he is a massive draw in any live setting. But to simply base his talent on Creed and Alter Bridge is musically short sighted. His solo work with Tremonti is just as vital and energising as anything he has done with his other bands and that is no more apparent than in a live setting when he takes to the stage with Friedman, Bennett and Keegan. Tremonti is a powerhouse of a live band, playing rock and metal just as it should be; heavy yet melodic music with monster riffs, shredding solos and a driving rhythm section, all played with high energy and an exquisite show of musicianship. Next time you hear Mark Tremonti’s name mentioned in conversation, make sure that you associate it with Creed, Alter Bridge… and Tremonti! Tremonti isn’t just a sideshow. It’s a headline act, as was clearly obvious on a cold February night in Glasgow.

Tremonti’s tour of the UK and Ireland continues in Belfast, Dublin, Birmingham, Manchester and London before finishing in Europe with shows in Paris, Antwerp and Amsterdam. Their latest album ‘The End Will Show Us How’ is available now through Napalm Records.

The Big Deal - 'Electrified'

Wed, 05 Feb 2025 19:38:34 GMT

The new year means another batch of monthly releases from Frontiers srl and they have new work from some big hitters lined up over the next few months including Harem Scarem, Perfect Plan and W.E.T.

The pick of the bunch from January was ‘Electrified’; a 2nd release from Serbian band The Big Deal. Founded around the husband-and-wife team of Marko and Nevena Brankovic, the band have worked with esteemed writers like Anders Wikstrom (Treat) and Jonas Tee (H.E.A.T.) to produce another fine platter of melodic hard rock.

The focal point of the band is the beautiful dual-vocalist pair of Nevena and Ana Nikolic and they are to the fore in the band’s promotional videos, grabbing the attention with some salacious outfits and Nevena’s distinctive keytar work – she’s classically trained and there is an air of sophistication to the band’s music, but it’s the catchy and punchy numbers like ‘Survivor’ and especially the defacto title track ‘Like a Fire (Electrified)’ which have the biggest impact. They rock hard too and ‘They Defied’ has a feel of Sabaton-lite about it.

The band look like they are an exciting live proposition and they will be showcasing their talents at the Frontiers Festival in Milan in April.

Brothers Osborne / Tyler Braden O2 Academy, Glasgow 22nd January 2025

Fri, 24 Jan 2025 17:33:59 GMT

Glasgow has a long-standing affection for Country music: hell, the blue-collar city even has its own Grand Ole Opry club and always pulls in a big crowd for the annual Country to Country shows. Chris Stapleton played at the enormous OVO Hydro last year and sold it out in minutes, so it was perhaps no surprise that modern country’s rising stars Brothers Osborne sold out their first night at the nearby O2 Academy and then did the same thing with a hastily-added second night.

This was my first time seeing the Maryland-born brothers but I’ve seen pictures and I’ve heard stories about previous shows at venues like The Queens Hall, Edinburgh and ABC Glasgow on their journey to build a loyal, engaged and ever-growing audience. Word has been getting around, even in the rock community, where the band have huge cross-over appeal.

Supporting artist Tyler Braden was a new name to almost everyone in attendance but by the end of his short set, he and his band had won a whole bunch of new friends. Hailing from ‘Slapout’ Alabama, Tyler is a burly, bearded and authentic-looking country boy. He started out as a firefighter before moving to Nashville and he brought a strong deep voice and a pocketful of great songs with him to Scotland.

With the band already on stage, Tyler emerged wearing a ‘Still Game’ bunnet and holding just a microphone to deliver ‘Me or the Dawn’ almost in the style of modern country-rap, as performed by artists like Jelly Roll and Hardy. After that, he strapped on a guitar and rocked-up a more traditional country storm with ‘More Than a Prayer’ and followed that with the hard-driving ‘Thank Me for That’ which might just be his best and most-underrated song.

In between those two, came an important men’s mental health message in ‘Call Me First’ which Tyler was apparently inspired to write by real-life events and repeat listens of The Fray’s ‘How to Save a Life’ and it has become one of his most-played tracks.

In addition to the bunnet, Tyler also shamelessly sucked up to the Scottish crowd with a snippet from our contemporary national anthem ‘I’m Gonna Be (500 Miles), thankfully without doing a Shrek accent and he at least had the good grace to find out what “havering” meant in advance. Tyler’s Mom is over here with him and she was right down the front for this show, so he serenaded her with a brief excerpt of Elvis’ (You’re the) Devil in Disguise, which set-up the next song; a great new un-released one called ‘So Long’ which is an angry and bitter “go to hell” song written for an ex: (“it’s been so long, since you said so long….but it ain’t been long enough”). Could it be any more country?

The closing number was ‘Devil You Know’ and this song has been getting a lot of radio play, which certainly helps to raise the profile. When Tyler finished the vocal bit, he waved and walked off to leave the stage to the band (Will Martin: Bass, Dan Crawford: Guitar and Eric Schanie. Drums) for a mini-Freebird instrumental freak-out at the end. He didn’t come back but he will have heard the clapping and cheering all the way back to the dressing room after a job-well-done warming up the crowd. We’ll be hearing more from this guy.

The Brothers Osborne opened their set with some swirling Hammond Organ before launching into their ultimate party-starter ‘Might as Well Be Me’. You can’t help thinking about the Danny DeVito / Arnold Schwarzenegger film ‘Twins’ when you see the titular siblings on the stage. They’re both tall and strong but guitarist John sports that eternal country look with hat, beard, work shirt and boots, while TJ sports a sharper haircut and a more fashionable city slicker look. They both sing brilliantly but TJ takes the lead most of the time with John providing the lead guitar parts and vibes.

Including the brothers, there is a six-piece band in action and for ‘Nobody’s Nobody’ they each have a vocal mic and join in on the harmonies. ‘Shoot Me Straight’ follows that and gives Big John a chance to step on a riser and show his guitar skills. ‘Skeletons’ is a highlight. Lyrically, it borrows a line from Crystal Gayle’s 1978 hit ‘Talking in Your Sleep’ and adds a clever chorus line of “you’ve got skeletons in your closet – and I’ve got a bone to pick with them”.

TJ introduces my favourite of the band’s tracks as “one for the love birds”. Of course, it is ‘I Don’t Remember Me (Before You); and the brothers’ vocal inter-play is Everly-level good. The band’s outlaw country swagger and attitude are on display with ‘I’m Not for Everyone’ and ‘Weed, Whiskey and Willie’. I suppose the Weegie equivalent would be ‘Beer, Buckfast and Boaby’ although it’s not that kind of Willie in the real song – its Willie Nelson. That was followed up with the first of two cover songs that are popular with football crowds in Tom Petty’s ‘I Won’t Back Down’ which is a favourite with Gainesville’s Florida Gators. The BO’s version featured on an EP last year.

To emphasise that this is not your grand-daddy’s old country & western, TJ absolutely slays on ‘Stay a Little Longer’ with all its ripping off of T-shirts and hands all over bodies. This song was the absolute roof-raiser of the night and earned a frenzied response and extended post-song enthusiastic ovation from a crowd who were bringing it all night long. Unfortunately, just after they had opened up a can of musical whoop-ass and whipped the crowd into a frenzy, the buzz was killed by an inexplicable cover of Bob Marley’s reggae plodder ‘Three Little Birds’ whose “Don’t Worry About a Thing’ refrain is popular with fans of Ajax Amsterdam among others. I think the idea was to supply some musical ganja to mellow everyone out, and maybe some of the people in America might need it, but frankly, I was there to party and that song was a pooper. Some folks seemed to enjoy a wee singalong though, but I couldn’t help thinking about what we missed out on to accommodate this clunker.

A tasty bit of slide guitar in ‘Rum’ started to build things up again and a throbbing version of ‘Burning Man’ (the brothers’ collaboration with Dierks Bentley) got us back on track before the main set closed with another absolutely classic live masterpiece ‘It Ain’t My Fault’. This was clearly a crowd favourite and folks were absolutely on-point with syncopated hand-claps and a Native American sounding vocal “woah-oh” chant which they kept going long after the song had finished and maintained right up until the band came back on for a 3-song encore.

Lyrically, ’21 Summer’ is like a country take on the Bryan Adams’ ‘Summer of ‘69’ theme and that was followed by ‘Break Mine’ and ‘Heart Shaped Locket’ before we all went noisily into the cold Scottish night. I think the next time we see these brothers here it will be in an even bigger hall – they’ve earned it.

MAGNUM - A PASSAGE IN TIME: A TRIBUTE TO TONY - O2 Forum Kentish Town Tuesday 21st January 2025

Thu, 23 Jan 2025 20:41:37 GMT

With the devastating news of Tony Clarkin’s passing last year, I wondered if I’d seen the last of Magnum. It was hard to imagine anyone standing in for the co-founder of the band, guitarist from the very beginning and writer of Magnum’s entire body of work. Clarkin truly left a legacy, one that fans of the band have been clamouring for Magnum to honour with some final live shows. Tonight, they get their wish, as the group commence a short UK tour in tribute to their fallen leader.

I’m in London (Kentish Town, to be precise), and there’s a notable sense of excitement emanating from the bustling pubs that surround the venue, filled with fans swapping stories and comparing t-shirts, wondering what songs are going to make the setlist. It’s more of the same as we enter the O2 Forum, a significantly larger venue than the originally planned Islington Assembly Hall. We know it’s a show of two halves, no support, and that we’re likely to hear some songs that haven’t been played live for many years.

The lights darken and it’s a hooded figure in black that first graces the stage, lights thrown against a reflective mask, providing a suitably dramatic prelude to ‘How Far Jerusalem’. Could there be a more perfect opener? It’s a distillation of all that makes Magnum so wonderful; grandiose, epic and yet somehow accessible. Bob Catley is, as ever, impossible to look away from, his arms in a constant dance, waving us through every note. And he sounds great, or at least he does when I can hear him over the man behind me bellowing every word in my ear! But it’s to be expected, the atmosphere is celebratory rather than sombre, a chance to rejoice in the magic Clarkin has left for us.

It’s certainly an adjustment to see an unfamiliar face stage left. But guitarist Brendon Riley is not entirely new to the Magnum family, having served as Clarkin’s guitar tech for many years. Perhaps that’s why his integration with the group seems so effortless, and why, despite looking a little ill at ease at times, he proves to be the perfect man for this daunting job. He seems to relax as the evening progresses, possibly helped by the warmth of the crowd who appreciate his respectful take on Tony’s guitar parts. He plays it straight, no unnecessary embellishments, and we love him all the more for it.

It’s fantastic to hear ‘Lost on the Road to Eternity’, a song that has rightfully earned its place as something of a live anthem. I’m surprised to find that it’s the lone representation of anything released in the last ten years. I’m probably in the minority but I’d welcome a little more of the band’s recent output, particularly from ‘Here Comes the Rain’, an album that seems destined to be confined to the studio. But general consensus is that this is the set list of dreams. Admittedly, it’s hard to imagine anyone being unhappy to hear ‘Wild Swan’, ‘Just Like an Arrow’ or ‘Vigilante’.

There are some surprises along the way, ‘The Tall Ships’ providing the first, a change of pace with the band seated, Catley and bassist Dennis Ward singing in beautiful harmony, backed up by an audience who are loving this opportunity to sing along. ‘Need a Lot of Love’ also finds a place in the set for the first time in many years and is met with absolute rapture, Rick Benton's swathes of keyboard bathing the number in real elegance.

It would be almost sacrilegious, of course, if the band didn’t play ‘Les Morts Dansant’, surely one of Clarkin’s finest compositions. It’s a beautiful moment to witness the phone torches light up the venue and to hear the song brought to a crescendo by Lee Morris’ thunderous drumming. And just when I think my goosebumps are about to subside, the band deliver ‘Don’t Wake the Lion’, a song that has to be heard to be believed, initially restrained and gentle, it transforms into something altogether different as it reaches its dramatic peak.

The second half of the evening flies past in a rush of wonderful familiarity; ‘Soldier of the Line’, ‘On a Storyteller’s Night’ and ‘Kingdom of Madness’ keeping us in Magnum heaven. When it comes to encores, a majestic rendition of ‘The Spirit’ is dedicated to Tony Clarkin and ‘When the World Comes Down’ closes the show, a song that feels even more poignant under the circumstances. It's incredibly moving to be part of an audience who are so invested, throwing their all into every 'woah'.

For many, it’s an emotional evening, the absence of Tony keenly felt, and surely even more so by his former band mates. Add to that the creeping realisation that this might be our final opportunity to hear these songs live and it’s no surprise that some tears are shed. But there’s a glimmer of hope in Catley’s words that he’ll “see us again sometime, somewhere”. It certainly seems that Magnum are happy to be back on the stage, delighted by the warmth and enthusiasm rightfully shown by the audience tonight. Tony Clarkin would surely be very proud.

SETLIST

How Far Jerusalem

Lost on the Road to Eternity

Wild Swan

When We Were Younger

The Tall Ships

The Flood

Les Morts Dansant

Don’t Wake the Lion

Soldier of the Line

Just Like an Arrow

Need a Lot of Love

On a Storyteller’s Night

All England’s Eyes

Vigilante

Kingdom of Madness

The Spirit

When The World Comes Down

Phone photos by Laura DQ

The Cartoon Boyfriends / The Heartbreak Diet - Leith Depot, January 16th 2025

Sun, 19 Jan 2025 20:47:25 GMT

Some nights life just throws a heap of new things at you and Thursday evening was one of those for me.

I am rarely in Leith and, so, a night in a venue on Leith Walk was something a bit different, particularly as tonight’s venue, Leith Depot was a place I’d never visited before. I arrived to find a buzzing, trendy bar, the sort of place that’s all wooden and has had a fortune spent on it to make it look old. On a Thursday in early January, it was good to see it packed out.

There was a sign pointing the way to the venue and it took me to a big old door, behind which I could hear some music wafting out. Opening the door took me into a concert space the like of which I had never experienced before. I was literally standing in what had clearly been a living room. Now, it was a pretty big living room, but it was a living room nevertheless. The place had a funny feel to it, really nice, but also a little unusual. It felt like it was a mix between, a music club, somebody’s front room and a chic, underground, hipster joint that somebody like me had no business visiting. The crowd mirrored that mix. There were folk in leather jackets, others in V-neck jumpers and some so styled they could cut themselves. It was a really eclectic mix, but it was also a cool one with a mega welcoming vibe. I liked it.

I reckon the space held about 70 and tonight it was chalk full. It was great to see people out on a Thursday having a couple beers with friends and spending a fiver to come see some live music performed on a stage that rose no more than 4 inches above the carpeted floor.

Regretfully, I arrived too late to hear any more than the ending bars of the Heartbreak Diet, who deserve a listen just for the name alone. The crowd were enthusiastic, and I will look out for them again.

I always enjoy an intimate gig, but this was a new level. Before they started, the singer announced that a set of keys had been found. Pockets were checked and the owner identified themselves and the keys were returned. Now, time for the music.

The Cartoon Boyfriend’s have been around the Edinburgh music scene, in one form or other, for the last five years or so. The band write their own stuff as well as playing a few covers that very much point to their style and influence. And that influence? It's clear the five guys who make up the band all enjoyed the jangling, guitar driven music, that came out the post punk scene and which made the ’90 so much fun for guitar bands.

First up was “Something to Say”. Like most of tonight’s set, this was drawn from their 2022 album ‘Get Up and Dance Together’. The album is on Bandcamp and very much worth a listen.

“I Never Told You I Was Perfect” was next then a cover of “Psycho Killer” and, already a theme was starting to emerge. This was a band who were introspective and self-deprecating with their lyrics and who enjoyed a strong punch through with the guitar. No long guitar solos either and very few singalong or call and return song lines, this was a no nonsense approach to music, and, I think it worked.

“Extravagant Party” which described an older guy looking back to times of greater freedom and success was followed by “I’m Not Playing Without You”. This had a really nice riff to it and had a bit of a dance-along vibe. That said, there was not too much dancing going on, however given the setup of the venue, singer Chris was able to jump of the stage – remember it was a perilous 4-inch drop, have a wee pogo, and return to voice duties without losing a beat or his breath.

Another cover and, I think, The Cartoon Boyfriends did a good job of making The White Stripes “Fell In Love With a Girl” their own. Back to their own stuff and I really enjoyed new song “Crush”, it was song of the night for me. “Crush” was followed by “Arsehole” which was a far kinder song than the title suggests. Again, it was self-reflection and self-blame that came battering out of this song. Like most of their stuff, I thought this was witty, pithy and came with a wee touch of Buzzcocks Pete Shelly both in style and delivery.

The night ended with two more from the album, “Nothing to Lose” and “Croydon/Sutton”. There was a shout for an encore but the band had run out of songs so “I Never Told You I Was Perfect” got a re-run.

It is important to doff the cap to the sound guy. What a fantastic mix he got out of the night. Guitars were sharp and vocal crisp and clear. There are a few, higher profile, Edinburgh venues that would benefit from giving him a call, he did a great job.

This was certainly a bit of a different one for me. When there were moments of guitar tuning going on, the crowd shared stories of crofting and the challenge of naming cows as well as debating the best kind of soup – Heinz tomato, for anyone interested. I guess that’s what happens if you have a gig in a living room, the conversation can go anyway.

What was important was that this was good music being played to a paying audience in a small venue which was packed. Sure, the surroundings made it feel like you were crashing a private party, but that just added to the atmosphere. I will certainly be making a return to the Leith Depot and will be looking out for The Cartoon Boyfriend’s next gig.

SISTERS DOLL – SCARS Release date 24/01/2025

Sun, 19 Jan 2025 15:57:45 GMT

Welcome to the dollhouse dear readers; your hosts are Sisters Doll, a four-piece band of Mileto brothers (yes actual brothers) from a wee mining village called Collie in Western Australia. Having relocated to Melbourne they have crafted and grafted for over a decade producing two albums and countless live shows that have swelled their doll army at every turn. Now we arrive at album number three and if I’m any judge of rock music, any judge at all, then this is the album that will send them over the top internationally. Like I said in the single review of ‘United’, when you state on your band bio that your sound is for fans of Kiss, Motley Crue and Van Halen and you add in the band is named after Twisted Sister and the New York Dolls you damn well better have the cojones, charisma and craft to back that up. Let me tell you right now these four firebrands tick every single box then promptly burn them to the ground.

Kicking off with a ninety second, scene setting instrumental entitled ‘Purgatory’ it allows you to acclimatise to the sound, mix and frankly outstanding audio assault that’s about to follow. Big, open, almost flamenco chords give way to an acoustic riff that’s builds beautifully to an electric finale.

As the opening instrumental fades, we’re met with a wall of amplified thunder as ‘Climbing Out of Hell’ explodes into life. It softens just slightly before quickly going back up through the gears to be an all-out rocker. An incendiary guitar solo with subtle yet sublime bass runs take it firmly into fist pumping anthem territory. Yes, we’ve just had Purgatory into Climbing Out of Hell…somewhere back in time two Winchester brothers had this blasting from a 67 Impala! Quick breath and we’re launched into another glorious anthemic rocker called ‘Prisoner’. The ascension through the chorus is classic unapologetic eighties and it’s bloody marvellous, melodically dirty would about cover this one.

After two huge hard-hitting anthems it’s time to lighten things up a little with a brilliant power pop piece called ‘Change’ and a chance for the listener to connect with the lyrics as opposed to their neck muscles. Beautiful mid-tempo rocker with another perfectly placed and tasteful solo, the gang chorus vocals with lead over the top to finish is just perfect. We’re firmly in ballad territory next for the ‘First Time’ and it’s unashamedly lighters in the air time or if you’re a younger doll then pop the light on your phone on, sway and enjoy. Track six already and we pick the pace up ever so slightly for a classic on the road story of long-distance love. The tribal feel of the drums carry the song brilliantly and once again the gang vocal chorus is a thing of absolute beauty, particularly in the closing sixty seconds.

Side two (yes, I’m that old) of the album kicks off with more than a hint of dirty sleaze about it as ‘Baby Doll’ grinds her way to the fore. Very much a darker doll but still very much a looker

nonetheless. Track eight is the lead single ‘United’ and at the want of repeating myself I’ll simply say again what I said in the single review…monstrous riff and a groove so deep it should come with a palaeontologist. Seriously, it’s HUGE!

Having dabbled in the dirty melodic and sleaze worlds on previous tracks, up rocks the absolute filth of ‘Take You Away’! Another disgustingly deep groove opens into three minutes of rocking raunch n roll with just enough fret wankery to loosen knicker elastic from fifty paces. If we’re extending the doll analogy, then this is very much dive bar Barbie action and it’s absolutely glorious.

Three songs to go and we’re back in the pomp of power pop territory. ‘Kiss Me’ is just a right good fun pop/rock song with just enough bontempi action to help shape it into some fluffly loveliness. In an album full of earworm action, you may have this chorus stuck in your head for days! Proving to be the perfect counter point to the previous power pop, the penultimate track draws very much from the New York side of the antipodean dolls as ‘You Can’t Bring Me Down’ is positively punk complete with a classic down tuned finish.

The twelfth and final track, and we finish as we started with an acoustic intro as the title track of the album, ‘Scars’ pirouettes into life. Wonderfully poignant lyrics with a hauntingly beautiful sonic backdrop highlight a stunning four-minute build into what you think is an electric and drum laden finale before over the top comes a bank of strings to finish you off. A truly magnificent magnus opus moment to end a potentially career defining album.

‘Scars’ releases on the 24th of January and the Dolls bring their unique brand of antipodean anarchy to the UK in May 2025 culminating in a UK festival exclusive at Call of the Wild.

Welcome to the dollhouse…bring your scars.

Brennan Mileto – Lead Vocals/Guitar

Austin Mileto – Lead Guitar/Vocals

Sage Mileto – Bass/Vocals

Bryce Mileto Drums/Vocals

Spectre Scribe for Rockfiend

Magnum - Live at KK's Steel Mill

Thu, 09 Jan 2025 10:22:33 GMT

Has it really been a year since we lost Tony Clarkin? As a Magnum fan, I recall a sense of profound sadness at the news of his passing; a sinking realisation that as the band’s lone songwriter the possibility of a future for Magnum had surely died with him. A sadness somehow deepened by the release of 23rd studio album ‘Here Comes the Rain’ just days later; an album that proved Clarkin still had much to offer, both as a guitarist and a wordsmith.

Whilst the likelihood of any new music from Magnum remains remote (and possibly even unwanted without Clarkin’s input), the release of ‘Live at KK’s Steel Mill’ on January 10th is certain to garner some excitement as the last official live recording of Mr. Clarkin in action. Captured at the end of the European tour in 2022, it’s a bittersweet listening experience, now marked by sorrow but ultimately joyful, boasting an impressive setlist that successfully strikes a balance between the classics and more recent material.

From the keyboards that introduce ‘Days of No Trust’, this is Magnum as you remember them, alive, on stage and seeming to relish every moment. There is a magic radiating between band and audience, a genuine warmth in the interactions captured. Bob Catley is reliably affable, and in good voice (despite what you might have been told!). Yes, there’s the occasional wobble (shall we pretend we don’t notice Bob missing his cue on ‘The Monster Roars’?!), but let’s not forget that Catley is a man very much in his 70s and still singing better than should reasonably be allowed. His performance of ‘Les Morts Dansant’ is particularly moving, and his invitation for the audience to sing ‘On a Storyteller’s Night’ with him could not be better received.

As the set progresses, the old favourites are dispensed with greater frequency, to the delight of those in attendance. The noise that greets ‘Vigilante’, ‘Kingdom of Madness’ and ‘Sacred Hour’ is something to behold. But I would argue that there’s as much majesty to be found in the dramatic ‘Where Are You Eden’, the adrenaline rush of ‘Lost on the Road to Eternity’ and the moody strut that dominates ‘Dance of the Black Tattoo’. Overlook modern Magnum at your peril!

With tribute shows to Tony Clarkin fast approaching, ‘Live at KK’s Steel Mill’ successfully whets the appetite; a reminder of what we’ve been missing, and igniting the desire to hear these songs live once again. Magnum will never be the same, but it seems appropriate to keep Tony’s songs alive.

Bad Nerves / Ultra Q - King Tut’s Wah Wah Hut, Glasgow Friday 20th December 2024

Sun, 22 Dec 2024 17:25:45 GMT

Big Al and I were out having a few beers and playing some really bad darts back in June. Just as one of us, him probably, managed to score a magnificent 27 with three darts at the start another leg, my phone pinged to let me know Bad Nerves were playing Tut’s in December. Before we had completed another 34 dart leg, I had tickets booked and a hotel sorted. This was one I was right keen to see.

Back in April, I had come back from a punk weekend in Scarborough and forgot I had tickets to see The Hives on the night we returned. I got to that gig just in time to see the support band, you guessed right, it was Bad Nerves. They blew me away.

Fast forward to the end of a challenging last week of work before the Christmas break and Big Al, Andy and I met in Glasgow for our day out. A few beers and bite to eat at the Howlin’s Wolf later, we pitched up at Tuts.

This is one of my favourite venues, but not one I get to as often as I’d like. We arrived in time to grab a quick pint in the bar before heading though to the concert hall. This is a place with a capacity for only 300 gig goers; it is a small room and, tonight, it was bursting at the seams.

We caught the tail end of the support band, Ultra Q. Not one for Big Al but I enjoyed what we saw.

Bad Nerves hail from Essex and are making quite an impact in the world of fast music. Think Ramones and Manic Street Preachers fast and you are just about there. Bad Nerves have been touring incessantly this year and have become quite a hit on the other side of the Atlantic. Find me a band that doesn’t want to crack America and I will show you a band of fibbers. It looks, certainly to this listener, that Bad Nerves are well on their way to doing just that. They have all the vibe, presence and sound that you’d want to hear in a New York punk dive. Good luck to them, I say.

Tonight, their brand of music showed off Tuts, what I think is it's, best side. Grungy, packed, dry ice and backlighting like there is no tomorrow. This is how I like my Tuts gigs and Bad Nerves didn’t disappoint.

Bang on 9 o’clock the onslaught started. The show was only going to last an hour and there were 19 songs to cram into those few precious minutes. No time for chat or filler. “Baby Drummer” kicked us off and the crowd jumped to action, an early pit appeared.

A lot of feedback and a screaming guitar took us to the third song of the night “Don’t Stop”. This one is a cut from the second album, ‘Still Nervous’. All tonight’s songs are drawn from the bands two albums, the first, ‘Bad Nerves’ and, this year’s, ‘Still Nervous’.

By this point I had moved from my normally safe berth at the back of the room to the outskirts of the mosh pit. I’m cracking on and should know better, but this is the style of music I love and watching it whilst trying to stay vertical just added to the night.

“Radio Punk”, “Television” and “Mad Mind” proved to be a great three song mid set combo. Another three followed and then three more. With each onslaught the crowd jumped some more. I was surrounded by people who knew these songs word for word. It was great to be a part of it all. What I also loved was looking at the demographic. I was brought up on Green Day and The Clash and tonight’s sound were an echo of that with a modern twist. People my age were, thankfully, in the minority. This was a venue full of people who still had their own hair and who had not, yet, developed a beer belly. It is great to see the torch being passed to younger fans who will, hopefully, keep this style of music alive.

After the proper punk entitled “The Kids Will Never Have Their Say” the main set ended 45 minutes after it started. I was knackered. After a short break, the band were back, three more – “You’ve Got the Nerve”, ‘Can’t Be Mine” and “Dreaming” ended what, for me, had been a top 60 minutes. Big Al and Andy, who had, wisely, watched from the back agreed, a top night was had.

This is a band on their way up and are spanning two different price codes. The ticket price was £15 which I thought was a bit light, particularly given the quick sell out. The t-shirts were £30 which I thought was a bit on the dear side for a gig at this level.

By the time we were having a final nightcap in the hotel bar, I was goosed. My hips were starting to nag me for my mosh pit endeavours and I found a couple of bruises coming up on my arm where I’d been grabbed by random others. Forget that though, for those 60 minutes I was 16 again, I was down the front, I was bouncing and loved every second.

Bad Nerves can come again whenever they like, I will be there to see them, though next time I might listen to wiser heads and stay at the back.

On the other hand…1-2-3-4!

King King / Bison Hip - QMU, Glasgow Saturday 14th December 2024

Sun, 22 Dec 2024 17:19:03 GMT

Saturday was my first visit to the QMU in Glasgow. Set in Glasgow’s, student laced, west end it's amongst some lovely flats and bars in Ashton Lane. Unfortunately, we didn’t have time for a beer there and headed straight for the venue. When we saw the queue, not going for a pint all of a sudden became a really good idea. The tailback to get in was huge and, I certainly felt, the admission process was not the best. Lots of staff and very slow movement, as Andy put it, it felt like we were being “man marked” on the way in.

Once we got inside the concert hall, it was another story. I really liked the room, and I was, at last, able to see the band I’d been listening to in the queue for the previous twenty minutes.

The main support act was due to be Rebecca Downes. I’ve seen Rebecca a good few times and really love her voice and vibe so, it was with disappointment, I learned she’d been set about by the lurgy and was unable to make the journey north. This meant the opening act were given a full support slot. Now, I had never heard of Bison Hip before tonight and my only experience of them was listening to them through a wall whilst waiting in a queue!

What a sound! This Glasgow five piece were, to my ear, a really interesting mix. On one side of the stage, the guitar and drums drove a solid rocking, blues vibe, whist on the other side of the stage the be-suited bassist and keys unit had a much more jazzy sound coming on. I thought the fusion, coupled with a really strong vocal made for a great listen. Bison Hip took the chance they had been given tonight and really delivered. I look forward to going to see them on their own headline show soon.

I’ve been going to King King shows for years, support slots, muddy fields, festival tents and headline shows. Line-up changes along with their various highs and lows, I have always enjoyed seeing them live.

Alan Nimmo brings a humility to the blues guitarist/singer role; he always seems to be enjoying himself and, at times, despite the success and full rooms, is still a little disbelieving that people have come out simply to hear him play.

The Hammond organ bristled and 2013’s “More Than I Can Take” kicked us off. For me, that is one of the things that give King King a bit of an edge in the blues world, the liberal use of the Hammond. The organ just gives them options many of their contemporaries do not have and, I think, that’s a good thing.

“Waking Up”, is the first of four tunes from the ‘Reaching for the Light’ album. I’ve always thought that was the best of the King King long players and, this cut along with “Stranger to Love”, “You Stopped the Rain” and personal favourite “Rush Hour” really give the 13 song set a fantastic grounding.

It was nice to see Alan welcome his mum, who he said “had not been to many gigs lately” before launching into “I Will Not Fall”; I’m guessing there was a wee irony in that.

Alan is not the only one of Mrs Nimmo’s boys on stage. For the last few years big brother Stevie has been a commanding figure playing the other guitar. I use ‘other guitar’ deliberately, Stevie’s is not a role which only supports the work of his brother, he sings and takes on lead a few times across the night. He does both with skill, good humour and an awful lot of quality. It’s great to see him as part of the band. The second guitar also give the band a greater depth than they enjoyed with just one six string contributing. This is a band who continue to develop.

One of the other things that stands out is the quality of the singing. Across the set there are often four voices joining together producing a great harmony piece, again, this just adds to their offering.

During “Stranger to Love” the solo keeps getting quieter and quieter, now this is a trick Alan has been deploying for a few years now. The problem tonight, and I am sure going forward, is that the rooms the band are now playing in are just too big. Where we were standing, the sound was lost amongst the other hubbub of gig, which was unfortunate.

“Finding Your Way Home” was a cracking tune to finish on and to bring, what was, once again, an excellent night to a close.

After the obligatory short break we were treated to Thin Lizzy’s “The Boys are Back in Town” as the first encore. It was unrehearsed and more than a bit raw and I, along with the full room at QMU, loved it! “Waiting for my Heart to Fall” brought the entire evening to a finish. The lights came on and a room full of tired smiles started to head to the door and the cold December air.

Tonight, very much, had an end of term feel to it. This was the last King King show of the year. 2025 will, I hope bring great things for the band. We are going to be getting some new music, the first for a while. King King have found a place in the firmament of the British blues/rock scene. I hope some new music will see them climb further up that particular mountain.

As Andy and I headed back to the car, we chatted about how tight the band had been tonight, about how every time we see them, they just get a little bit more slick. We are both looking forward to seeing them soon again. When though? January did you say? In Edinburgh at the Queen’s Hall? See you there.

Tantrum – Now That’s What I Call A Tantrum Christmas EP

Sun, 22 Dec 2024 17:07:16 GMT

In the immortal words of Sir Neville Holder “It’s Chriiiiiiiiiiiiiiiiiiiiiiistmaaaaaaaaaaaaaas!” Yes, it’s that time of year when sensible muscians wear Santa hats, dance, prance, and dash with reindeers and make snow angels in fake snow shooting a video in the middle of summer.

That time of year when such musical luminaries as Bob the Builder, Mr Blobby, LadBaby, St Winifred's School Choir, Renée and Renato and Mariah Carey thrust themselves towards the pinnacle of the music charts.

This year to save us from tears and to add some class to the proceedings, Tantrum have followed up last year’s Christmas effort, “Santa Time”, with their “Now That’s What I Call A Tantrum Christmas” EP.

The “The Jolliest of Times” has guitars chiming like Christmas bells before the track takes of into a galloping little Christmas ditty. There’s so much drumming going on you’d think Mark Riches had mutated into an octopus.

The track itself is an interesting take as to what happens at Christmas. If I have this right, Santa is a demon that knows who all our fears. He slithers down the chimney, does what he needs too and leaves us special candy that erases all trace of what he does. It seems that according to Tantrum, “the jolliest times are protecting our minds from a demon that comes out of nowhere,” and that we are “walking in a bloody winter land.”

It's great stuff, fun and played at a furious pace. The guitars play off each other in the middle instrumental passage before blending into a twin attack. And, in the play out we do get some genuine jingling bells.

Second track on the EP, though not a Christmas song is an absolute gift as the band tear their way through Gary Moore’s classic “Out In The Fields.” Without dramatically moving away from the original version, no bluegrass or hip hop rendition here. Make no mistake though, Tantrum manage to put their own stamp on the song.

Tantrum follow “Out In The Fields” by unwrapping another cover. This time they take on “I’m Alive”, from Helloween’s “Keeper Of The Seven Keys (Part I).” It sits very comfortably in to Tantrum’s style.

“Turbo Tyrant” is Tantrum’s final gift for 2024. A re-working of one of their earlier tracks. There’s more twin guitar solos and the rhythm section does a good job of keeping up. I got a sense of Judas Priest around the time of “Turbo” in how Tantrum delivered this track.

“Oh, Holy Night” start off with gentle acoustics and a synth with Mark Reid delivering his vocals over them. This gentle approach is swept away at the chorus as Mark Riches drums crash int and the guitars pick up the melody. Tantrum deliver an epic take on the on the carol. Soaring guitars are matched by Mark Reid’s soaring vocals, which he delivers with energy and passion.

It’s clear that Tantrum are simply having a wonderful Christmas time.

Tantrum are:

Mark Reid – Vocals

Baz Fitzsimmons – Guitars

Chris Horne – Guitars

Liam Barrie - Bass

Mark Riches – Drums

The Digital EP is available now on Bandcamp

Merry Christmas Everyone!

Joel Gibbons – 'Cheap Liquor'

Wed, 18 Dec 2024 18:50:09 GMT

‘Cheap Liquor’ is the debut release from vocalist and multi-instrumentalist Joel Gibbons. Released 18th November to Spotify it finds Chatham’s Gibbons pulling together new songs with tracks that have been made available over the last couple of years. With no credits to work with I’ve reviewed this from the assumption the Joel is playing and singing most parts on the tracks.

There’s a wide range of styles displayed amongst the seven tracks. Opening track “Free Me” has a distinctly southern rock feel with layered guitars fitting comfortably into the groovy southern rock of Blackberry Smoke, Whisky Myers, and similar bands. The drumming here has a tribal feel that synchronises well with the guitars.

Contrasting to “Free Me” track six, “Forever” shimmers with its simpler charm producing a power ballad that counterpoints the other heavier tracks that are around it. There’re acoustic guitars at the forefront here, electric ones embellishing the choruses. The bass rumbles through the whole track and it’s all glued together by some syncopated drumming.

Between these two tracks Joel gives us some bluesier moments in the title track choruses, shifting into heavier mode for the verses but keeping things down and dirty.

For the rockers there’s “Big Love”. Full of youthful energy and enthusiasm it delivers in a style that reminded me of Def Leppard circa “On Through the Night” or “Pyromania”.

There’s further evidence of Joel’s desire to rock hard on “Break Even” and “A Long Time”. The former has the staccato style of sharply defined notes that bands like Judas Priest and Skid Row favour, which should be no surprise to anyone who’s followed Joel’s YouTube output or read any of his online profiles. “Break Even” also has a stop-start tempo and an atmospheric quieter passage before the sound fills back in for the end of the track. Both tracks have some nice guitar work in the solos.

According to Spotify “Through the Streets” features Joel Hoekstra. This track closes the album with an up-tempo rocker that has a rowdy chorus and the best solo of the set (Hoekstra?)

In places the production seems a bit muddy (I was listening through Spotify so that may play into this) and some of the elements would drop in and out of balance. However, without knowing what equipment was involved and how much multi-tracking was going on its not something I want to draw too much attention too.

Joel wears his inspirations proudly. There’s nothing wrong with that, plenty of artists first recordings clearly showed who they were indebted too, Rush, Queen and many others started off sounding like Led Zepp, The Sheep dogs still have moments when they turn into the Allman Brothers, The Struts have never hidden their love of Queen and all things glammy. What matters is that all these bands grew from their debuts and established their own sound. In many cases becoming bands that would inspire those who followed them.

There’s a tenacity on display here that makes you think of the underdog fighter looking for his shot at the crown of his heroes. It will be interesting to see if Joel’s next steps see him developing into his own musical identity.

“Cheap Liquor” is available on Spotify.

The Snuts / The Academic - OVO Hydro, Glasgow 6th December 2024

Mon, 09 Dec 2024 18:39:31 GMT

‘People make Glasgow’, was the perfect summary of the energy presented In the Hydro last night when The Snuts tore it apart!

The Snuts are a band I’d heard some of my friends rave about, but I never really listened to them much, that will change after my experience from seeing them live.

There is something special about watching a band from your hometown, fill out one of the biggest venues in Britain and watch them have such a positive effect on effect people’s lives.

On Friday, after a tough week of school and more and more stress leading up to exams, I made the impulse decision to buy a ticket and join my friends in Glasgow for the gig that night. We hatched out a plan on how to get there but soon realised maybe we weren’t quite cut out just yet for travelling to Glasgow and back. We spent a long-time trekking in the rain, sitting in the city centre maccies trying to figure out how were ever going to make it to the venue in one piece. Eventually after giving up, I called my dad and got him to sort us an Uber we made it to the venue at last. I was sad to have missed the first supporting band but shortly after we arrived and fought through the the crowd ‘The Academic’, a band from Ireland, came on.

The Academic were loved by the crowd and they were the perfect support for The Snuts, playing a similar genre that went down well with the audience. They had a lot of energy that kept up with the young fans (this was one of the only gigs I’ve been at where I didn’t see a single bald head). They played a short but powerful set. My friends and I were ready for The Snuts!

As I was waiting for the band I took a minute to look around as I have never been in the standing section of the Hydro before. I realised how massive it was and how many seats were filled out. I was surprised when I saw the gig was in a venue this big but it just proved how many listeners and fans The Snuts have. It was great to see them performing in the same place I saw The Cure and the same place I dream to see Kevin Bridges!

At around 9, the lights turned off and with the crowd were screaming, literally screaming, it sounded like a primary school playground in the best way possible.

They kicked off the set with their track ‘Millionaires’. The crowd picked up on it instantly and I found myself in the centre of the mosh pit. I have to say I didn’t expect this - their music didn’t seem like the type to start a mosh. They continued on with playing tunes from the most famous to the more underground of their tracks. Their energy was amazing to see and be part of. It was great to see a young band and young fans. Singer, Jack Cochrane, clearly felt that too smiling, as he was, throughout the entire show.

Throughout the night, when they were speaking to the audience, it was obvious how authentic and genuine a band they are. Jack spoke about the struggles the band went through when trying to break into the industry and what it was like to be making music whilst growing up in Scotland. These thoughts paired with some more of the slower tracks from their setlist like, ‘Top Deck’ and ‘Somebody Loves You’ this was of my favourite songs of the night. Everyone, even strangers, had their arms were around each other, it was such a bonding moment and reminded me of why I love concerts so much. The sense of community and belonging shined through in this song.

After coming on for their encore, they played a couple of their most listened to tracks, ‘Glasgow’ and ‘Gloria’. ‘Glasgow’ was one of my highlights and having the ‘PEOPLE MAKE GLASGOW’ sign on the big screens just made it a proud Scottish moment. They wrapped the show up and we went home.

The Snuts were a great experience and well worth the ticket. I was really impressed by their gratitude towards their fans and the people who support them. I’ll wrap this up with a chant repeated many times that night by the crowd, ‘F*ck the tories!’, that may get cut out but I thought it was great!

The Damned / Doctor and the Medics / The Fleshtones - Barrowlands, Glasgow 5th December 2024

Mon, 09 Dec 2024 18:20:58 GMT

The Damned were one of the pioneers of punk back in the strange days of the mid 1970’s; they are also one of the last of the originals still standing. There have been changes of line ups, fall outs, fall ins, relationship breakdowns and relationship repairs; but they are still here. The current line up contains three of the original four members, something of a record at this stage of their career. Their journey has been a long and rocky one, but they are still here and, for that, us old punks are thankful.

When I say old, I am really starting to mean that. The venue was sold out on Thursday night, the demographic were not as angry as a ’77 audience might have been, there were far fewer spikes, padlocks and safety pins on display, but the punk audience and attitude was still there. What is ‘punk’ has changed too, and, I think, in a good way. It was great to see a pair of fans, one on a stick and the other just looking after them together at the front - proper punk

Barrowland’s is not a place I have seen The Damned play before, indeed, their visit to the venue on Thursday night was the first time they have played the ballroom for over 30 years. As Andy and I munched our pre-gig beer and burgers, there was much to look forward to.

By the time we got to the venue we were just in time to hear the last couple of Fleshtones songs. I’m sorry we missed most of their set, these guys are compatriots of the Ramones and came out the same 1970’s CBGBs scene in New York. Their sound absolutely reflected their heritage. I hope they come back again.

Next up were a band I last saw when they supported Alice Cooper in 1986! Doctor and the Medics arrived on stage sharp and certainly made the most of their time. The Doctor was resplendent in a checkerboard cloak, checkered eye make-up and dark shades. He was living his part. Now, the thing about most of these retro-bills, and tonight it was definitely one of those – this that, with a few notable exceptions, the bands can play. Tonight, I thought the Medics nailed it. They sounded great and the Doctor carried the show with all the theatrical charm and vocal ability needed to captivate the crowd in spades. I hope they do a tour of their own. On tonight’s evidence, they would easily fill one of the smaller venues full of enthusiastic fans. They were a great pick for this support slot.

The lights were out, the backing track was on and The Damned wandered onto the stage. Then, bang, the bass line that introduces “Love Song” blasted out and we were off. “Machine Gun Etiquette” and “Wait for the Blackout” made up the rest of the opening salvo.

Dave Vanian, the only constant in the revolving door of the Damned dressing room since the first record, prowled the stage from the off. Back shades, black jacket, shirt and gloves, he was every inch the goth demi-god. The original goth and still, in my view, the coolest front man, not just in punk, but pretty much anywhere. He made the front stage his own.

“Plan 9, Channel 7” and “Stranger on the Town” sat well together and “I Just Can’t Be Happy Today” lifted the crowd.

This was a really assured performance by a band, who in their more mature years, have discovered, well, maturity. The Captain was still there and still a force behind the humour that sets The Damned apart, but it was his guitaring that was front and centre tonight. Similarly, Monty Oxymoron took up a berth at the back of the band. I really enjoyed his playing and thought the work he did on the keys really added a positive element to the band’s sound.

The defining part of the band was, however, the rhythm section.

Paul Gray, in his black cap and aviator shades, patrolled the stage all night. So much of The Damned songbook relies upon a strong and prominent bass line. Paul and his red Rickenbacker blasted those parts out giving the music a fantastic gravity.

“Rat is back in the box” was the Captain’s shout at the end of the main set, just after a mini drum solo from Rat Scabies. The fall out between Rat and the Captain has been well documented, but that was nowhere in evidence tonight. Rat watched the Captain all night, possibly as throw back to when the stripy topped one was on bass. The pair kept an eye on one another and their chemistry was evident. Rat was always a top drummer and age has not lessened his beat; those skins took an absolute battering. He was the wrapper that brought the band together and really underpinned the sound. It was good to see him back in the fold.

“Gun Fury”, “Noise, Noise, Noise”, “Ignite” and “Neat, Neat, Neat” brought the set to a close. I guess one of the things that has kept The Damned relevant is their ability to move between genres - punk, goth, pop they were all represented tonight. The only bit that left me a bit unsure was the psychedelic parts of the night. All very well played, just not my thing.

“Is she really going out with him’? “New Rose”, my personal Damned highlight, brought the first encore of the night to an end. Unfortunately, it also brough our time with The Damned to a close. By now the clock had turned 11 and we had 18 minutes to make the 23 minute walk back to the train station. We missed “Smash it Up” and “Sanity Clause”. which was disappointing. We also missed our trains, which added insult to injury!

The Damned continue to be one of the shiniest of the punk crown jewels. They might all be approaching or passing their three score and ten, but they show no sign of age or of slowing down. On tonight’s evidence, there is much left in the tank. I hope it's not another 30 years till they return to Barrowlands. If they do decide to wait 30 years, I am pretty confident they will all still be going, still falling in and falling out but will still be the best punk band in the world.

David B Archibald / Ciara Watt - The Old Dr Bell’s Baths, Edinburgh 7th December 2024

Mon, 09 Dec 2024 17:59:36 GMT

The Old Dr Bell’s Baths is a new venue to me. It is in Leith and is, ordinarily, a wedding destination. It is an old, Victorian, swimming pool. The architecture, the height of the ceilings and the shape of the hall all, very much, point a pool being in the middle of the room. As I wandered in, I thought I could smell chlorine but I’m just guessing that was psychosomatic but you get the picture.

The venue is a large white walled room with chairs set out for around 100 people. The stage was no more than 6 inched high. Bearing only a seat and microphone, it didn’t give any performer a place to hide. Tonight was to be a stripped back affair.

Rhona and I got there in time to see the second artist of the night, Ciara Watt, take to the small stage. Clutching her semi-acoustic guitar, Ciara gave us 30 minutes of love and loss, friendship and teenage angst. She also threw in a bit of “Caledonia” too. I thought Ciara had a great voice and knew her way around a guitar. She also seemed, to me, to be very comfy in her own songs and the emotions that came as part of those. I really enjoyed Ciara’s half hour and hope to see her again.

The first time I came across David B Archibald was in 2018. His band, “The Rising Souls”, were headlining the new bands stage at the Ramblin’ Man Festival in Kent. As I recall it, when they took to the stage there were around 15 of us in the tent, that doubled for the festivals third stage. By the time they finished, the tent was full. The last time I saw David was, again with The Rising Souls, but this then it was in King Tuts in Glasgow. A new guitarist had been recruited and the band were pushing on. Sadly, that push was not enough and they folded. I was really sorry to see that happen, I thought then that they were a band with many good things in front of them and, they should have achieved more success.

Fast forward to last Saturday night and I was delighted to see David and his guitar take to the stage in this old swimming pool. It struck me that this evening was something of a showcase, an opportunity for the singer to introduce new songs, not just to friends, (and there were a lot of them there), but also to paying customers who may not have been just as familiar with his work. I felt tonight was a small, but significant step, along David’s musical journey.

As I said, tonight offered no hiding place but David Archibald’s voice certainly needs no place to hide. He has a mighty vocal and a range many established singers would envy. He took us on a voyage of soulful music, tinged with Americana, bluegrass and country. His time in Georgia clearly influenced his music, and for the good - even though he had to pen tunes by a cold lake so as to not upset his neighbours!

David has returned from America and is back in his hometown. The set ends with “Edinburgh” a song all about David’s early relationship with that hometown. This was a song I particularly enjoyed and it made for a powerful end to the night.

Tonight’s hour sped by. Since I first saw David play I have loved his voice and followed his output on social media. I am so pleased he is back home, and the muse is still upon him. I very much hope he gets the big break he, and his voice deserve, if you’ve not heard him before, find his stuff and give it a listen. If you like a big bit of Scottish soul, you won’t be disappointed.

ABBA Voyage - ABBA Arena London

Mon, 09 Dec 2024 08:41:31 GMT

When is a gig not a gig? There has been plenty of talk in rock circles about holograms taking over, most recently after KISS “retired” again recently, but long-time-resting Swedish pop sensations ABBA have actually pulled it off with a lot of help from the people who do the visual effects and animation for Gladiator and the Star Wars reboots and a ton of financial backing.

Everything about this production is on a huge scale. It necessitated a lot of hi-tech work, digital imaging and motion capture technology in advance and the show goes on in a purpose-built 3,000 capacity arena near Stratford in East London. They don’t allow any photos or videos at the “gig” to preserve the element of surprise, so we won’t do any plot spoilers either, other than to say that this is a fully-immersive experience with animation, big screens, a live band and, of course, some very lifelike avatars performing on-stage.

I had gone off the music of ABBA a bit over the years, probably due to an overload of crap karaoke, dodgy themed hen nights, shite tribute bands, and that awful film with Meryl Streep, the pish James Bond and the lassie with the big eyes from Ted 2. Here however, it all came alive again and it was nice to see tipsy people of a certain age enjoying themselves. Naturally it was a greatest hits set-list including a tribute to a certain Peri-Peri chicken restaurant – yes, we can hear the drums for Nandos! There were a few surprises though and there was also some decent riffage in tunes like ‘Waterloo’ and ‘S.O.S’ so I did feel like dancing from the neck up on a few occasions but some of the mature ladies were giving it laldy throughout.

The avatars were quite believable, even in big screen close up. They say that the eyes are the key to the soul and that might be the only slight give away, but the emotions were real by the end of the show and the winner does still take it all. Frankly, if you are willing to suspend belief and reality enough to accept DC and Marvel movies, Sci-Fi in general and get into cos-play tribute bands, then you can definitely easily get on-side with a top-quality avatar / AI musical experience.

I can assure you that this experience did not suck. It was not cheap though – but still less expensive than the going rate for recent big gigs at the OVO Methadome in Glasgow. Some other Rockfiend colleagues concur and one of our guys actually went to see ABBA Voyage the day after a Foo Fighters gig at nearby London Stadium and gave both events a resounding thumbs-up. Is this the future of rock & roll? Naw – it isnae. But it is a legitimate part of the future and although it will never replace actual gigs, it can supplement your musical enjoyment and it is a fabulous way to enjoy the songs of icons you cannot actually see perform, or perform well, anymore.

‘Elvis Evolution’ opens in London in May 2025. Hopefully it won’t be like the Glasgow Willy Wonka experience. I am pretty sure that KISS do have the fan base, finances and clout to do one and it wouldn’t be a shock if Queen did something Freddy-themed in the future too. It could be all aboard the avatar train in a few years.

But what do you think?

Sam Millar /The Devil’s Forfeit - Bannerman’s Edinburgh, 6th December 2024

Sun, 08 Dec 2024 22:13:21 GMT

This gig was part of the ‘Virtual Summer’ Tour in support of Sam’s excellent album of the same name. Unfortunately, in Edinburgh it was “actual winter” and absolutely chucking it down with rain. “Cold never bothered me anyway” my arse – I was f*cking frozen!

Fortunately, The Devil’s Forfeit were on hand to warm the cockles of the heart, not least singer Angela Grace, who was a veritable ray of sunshine in a bright red top. The four-piece band have been together for about a year now and hail from Edinburgh and the Scottish Borders. They specialise in old school bluesy-rock but with a few musical spritzers. ‘Outer Lines’ was a notably good song and ‘Wonder’ was one “to get your groovin’ shoes on” for, as Angela correctly stated. Whilst the focus is inevitably drawn to the eye-catching singer, the boys in the band have got something going on too. One of the songs had an almost Strokes-ian riff and bass line and there was another with a dreamy ‘Last Dance with Mary Jane’ feel. Guitarist Elliot Waugh even got to sing part of a song that might have been called ‘Hold Your Breath’. On the day of the gig, the band had released a new single entitled ‘For the Money’ which Angela got the tambourine out for while the rest of the band took the music to the Bayou for some down south jukin’. Their last song of an entertaining and well-received set was ‘Playing with Fire’ and I think having The Devil’s Forfeit as a support band would be a very welcome addition to any line-up in 2025.

Towards the end of the support slot, Angela asked the crowd if they were looking forward to Sam Millar? “Aye – he’s a sexy wee man” was one response and the former Bigfoot singer certainly looked the part as he took to the stage with his shirt / blouse open to the navel. Naturally, most of the set came from the ‘Virtual Summer’ album – a sneakily good record that generally dwells on the sunny side of rock music, although he started with ‘The Killing Floor’ before moving onto ‘Fooling Yourself’ and the wonderful “woah-oh-ohs” of “Something I’ll Regret”.

It was clear that all was not well though, even before Sam announced that he was “not having a good day”. This was almost certainly to do with a weird sound mix that had the vocals submerged and Sam was clearly having trouble even hearing himself. A round of fireball shots for the band briefly lifted the spirits a bit before Sam introduced ‘Forbidden’ as a song about “having a big fat w*nk in a bathtub” and I needed some fireballs too after that just to get ‘Saltburn’ TV flashbacks out of my head.

The band were very audible though, especially the drums, and Benji Faith played a stormer on the bass; playing well, throwing shapes, hair-twirling like a good ‘un and even venturing into the crowd for a bit of a play around. Back on stage, the great songs kept coming, like the very modern break-up song ‘Showbiz’, the throbbing intro to ‘Déjà vu’ that seemed very familiar and ‘Chardonnay’ – the obligatory girl’s name song with the bonus posh bevvy reference. It’s just a shame that the singing was verging on inaudible as these songs were crying out for a big stage, big lead vocals and even bigger backing vocals.

The last song was ‘Neanderthal Man’ and you just knew there wasn’t going to be an encore in the circumstances. To be fair, it is unusual for bands to suffer bad sound at Bannerman's but tonight it was a case of regret for what could have been. Despite a night to largely forget, I would heartily recommend ‘Virtual Summer’ as a bright and fluffy antidote to the winter blues and a worthy addition to your Santa list. I remember seeing another Sam – Sam Ryder – playing to a tiny crowd at HRH AOR in Rotherham with his melodic metal-core band The Morning After, long before he broke through via Eurovision and Space Man. I think Sam Millar might also have the talent, sass and charisma to break-out and I’ll certainly be watching out for another chance to see Sam and his band live in better circumstances.

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Black Stone Cherry/Skillet - OVO Hydro, Glasgow 20th November 2024

Sat, 07 Dec 2024 09:44:11 GMT

Back in the west on what was a nightmare journey to get to the venue thanks to a suspicious package causing gridlock around the grey and cold streets of Glasgow…..no matter it can only get better from here on in. Well, that’s what I thought. First of a number of us trusty togs were waiting patiently for our pass, then waiting more….and more until they finally arrived just as the opener Ayron Jones was finishing his set. So, apologies for no photos or any review of the opening act on this short 5 stop UK Tour by Kentucky rockers Black Stone Cherry.

But onto our opening act Skillet. Not a regular visitor to our fair shores and that was referenced during the set when frontman John Cooper mentioned that the last time they played the UK was with Nickelback in 2013. The 4-piece hit the stage and it was obvious that a fair portion of the crowd had come to see them. Plenty of fists in the air and the appreciation was loud. A nice 11 song set and plenty of lights were afforded to the band. Guitarist and wife of frontman John is the bands purple haired whirling dervish tonight. While the band are labelled as a Christian Metal band there is nothing along the Stryper lines of lyrics that make it obvious. There are touches of industrial and grunge rock in here as well and some uber melodic songwriting. John even had a moment to adorn a smoke wielding “flame thrower” contraption for one of the songs that he didn’t play bass on. Unfortunately, due to the poor sound in the Hydro, a common theme sadly, you didn’t miss the bass as it was inaudible for most of the night. A great set though and I’d like to see the band come back but play in a smaller venue more suited to them headlining.

On to the main act Black Stone Cherry. 17 years ago, the burst onto the Glasgow stage as youngsters bring their riff laden music to our ears. And hailing from Glasgow, Kentucky a bond was made straight away. After numerous tours the band reach us on what is the final leg of their Screaming At The Sky tour. Playing a mixture of new songs from the album, the trusty “have to play” songs and some that haven’t been heard for a while. Spanning a vast amount of their catalogue the band are on it from the drop of the massive white curtain hiding the stage set.

Me And Mary Jane is a strong fan favourite and it’s obvious from the get go that this is going to be a hard-hitting night. On the big stage that any hair metal 80’s band would be proud of guitarist and energy bunny Ben Wells covers all of it….4 ramps and an upper stage at the back are adequately run over countless times. His Fitbit must have been worn out never mind him! “New” bass player Steve Jewell also must have dropped a few pounds in weight as well and he gave Wells a run for his money on the steps gained front. And none of the energetic movements detracted from the playing. With frontman Chris Robertson handling most of the lead guitar work tonight he was centre stage mostly leaving the 2 to run around everywhere. Credit also to John Fred Young who was also a flurry of arms thanks to his drumming style. He must be one of the most under-rated drummers out there. Even when he dropped a stick he never missed a beat. Impressive work.

So, bone crunching heavy riffs were laid down all night with hit after hit until we got to the emotion laden Things My Father Said which Robertson stood and sung on his own with some stunning guitar work. He did say that this song is different every time…. sometimes if brings him to tears in memory of his late father, yet other times just makes him smile in appreciation.

We are treated to a Kentucky version of American Horse as originally done by The Cult and Ayron Jones and John Cooper join the band onstage to give us a trio of vocalists.

Finishing off the night are bangers White Trash Millionaire, Lonely Train and Blame it On The Boom Boom. Boy this was epic to say the least. After a short break and the inevitable “Here we, Here we, Here we f**king go!” chants Robertson and Wells return to the Glasgow stage for a lighter version of Peace Is Free. In this age of wars, conflicts and general unrest in the world the message in this song is clear. Peace IS free and can we just not get on with each other. Robertson gets into the thick of the crowd and delivers part of this song in amongst the rock faithful before making his way back to the stage where the song is finished with all 4 blasting it out before taking their bows.

Black Stone Cherry are UK favourites and especially in Glasgow and we were treated to a non-stop balls our rock show tonight. With new material in the works, we probably won’t see them for a couple of years but they will be welcomed back with open arms.

Lionville - 'Supernatural' album review

Wed, 04 Dec 2024 19:30:36 GMT

The 6th album from Stefano Lionetti’s Lionville marks the start of a new chapter. Until now, the glorious honey-tones of Lars Safsund have brought life to the songs but the microphone has now passed to Alexander Strandell of Art Nation, who has previously contributed to bands like Crowne and featured to great effect recently on the brilliant Nitrate album ‘Feel the Heat’.

The riffy and throbbing ‘Heading for a Hurricane’ opens the album and you can immediately detect a harder edge to Alexander’s vocals in comparison to Lars on the verses but he hits all the sweet spots in the chorus. It’s definitely a noticeable change in tone but it certainly works all the same.

Stefano is still the main song-writer but his long-time collaborator Lenny Macaluso is also involved. He masterminded Stan Bush’s ‘The Touch’ from ‘Transformers: The Movie’ and you can easily pick out the 80s vibe on songs like ‘Gone’ and ‘Breakaway’ although ‘The One’ might be the pick of the bunch.

Overall, this is a very nice AOR / melodic rock package. The change in style from the smooth West-Coast-style Safsund vocals to the more conventional melodic rock voice of Strandell is noticeable but it still works.

It would be a shock if Lionville are not added to the bill for Frontiers Festival in Milan next year and lucky gig-goers in England will get a chance to see Alexander Strandell perform with Art Nation on the H.e.a.t / Chez Kane tour in January.

W.E.T. - 'Believer' single review

Wed, 04 Dec 2024 19:24:14 GMT

It looks like W.E.T are back then.

The melodic rock “supergroup”, comprising Jeff Scott Soto, Erik Martensson and Robert Sall, had been quiet for a few years but it appears they have a full album ready to go with release likely to be early in 2025 via Frontiers.

The first single, Believer, has just been released and it is, of course, up to the usual standard. I interviewed Jeff a few years ago and he told me how it is getting more difficult for him to sing in the higher register best suited to W.E.T but he is in fine form on this song, supported up by some epic modern backing vocals that sound like they have been hyper-produced in the studio, Queen-style. It is a high-tempo song featuring a fine short guitar solo by Magnus Henriksson and ticks all the right boxes.

With rumours that a Work of Art album is also in the works, it sounds like 2025 could be a vintage year for classy melodic rock.

Rick Wakeman - Folkestone Leas Cliff Hall, Friday 29th November 2024

Tue, 03 Dec 2024 21:20:48 GMT

For a famously Grumpy Old Man, Rick Wakeman doesn’t seem to have any trouble locating his festive cheer. On a stage dominated by keyboards and a grand piano, it’s the tinsel draped upon them that draws the eye first, and the lavishly decorated Christmas tree that stands centre stage. Though it’s not the first time that the legendary pianist has embarked on a Yuletide jaunt, this year’s tour sees some notable changes in the addition of his son Adam and acclaimed vocalist Mollie Marriott. There’s an opportunity for Wakeman to mix up the setlist and to share some fun (if occasionally cringey!) interactions with his co-performers. And when I say cringey, I’m referring to the exchange of gifts that you suspect are unwrapped night after night - Wakeman expectantly unfurling what he thinks is a golf club to discover a walking stick within!

But what shines through the slightly forced humour is Wakeman’s exceptional talent. The evening serves as a showcases for a lifetime of work that has seen him collaborate with David Bowie on huge hits ‘Space Oddity’ and ‘Life on Mars’, write an album with Tim Rice and record and tour with Yes through arguably their finest years (tonight represented by ‘Wonderous Stories’). Sections from his solo works ‘The Six Wives of Henry VIII’ and ‘The Myths and Legends of King Arthur’ are also featured, sprawling progressive rock par excellence, but controversially, it’s his ‘Nursery Rhyme Concerto’ that pleases me the most; an eccentric re-working of various children’s favourites in the style of classical composers (and er… Les Dawson!) that is as unexpected as it is wonderful.

And it would seem Adam has inherited his father’s talent, not only for the keyboard but also for re-working famous songs in unexpected styles. He is permitted some time to plug his own ‘Jazz Sabbath’ (he’s got a new album out you know!) and gives a surprising rendition of ‘Iron Man’ on the grand piano that is unlike anything fans of the original heavy metal band could imagine.

The set is interspersed with seasonal tunes including ‘In the Bleak Midwinter’, ‘Blue Christmas’ and ‘Jingle Bells’ all delivered beautifully by Marriott. But it’s ’The Twelve Dogs of Christmas’ that really amps up the audience participation. Yes, that’s dogs, not days - Wakeman is a dog lover, who supports charity Saving Strays. We’re split into twelve sections, then encouraged to leap up and do accompanying actions at the right moment (I’m still trying to work out how I’m supposed to enact ‘two cockapoos’)!

We are told that the “bullshit encore” will follow and the group duly oblige, loitering at the side of the stage before returning for a rendition of ‘Eleanor Rigby’ in the style of Prokofiev (naturally!). You learn to expect the unexpected at a Rick Wakeman performance, a show that manages to be utterly impressive without ever taking itself too seriously.

Lixx-' Revolve' Gathering Storm Records

Thu, 28 Nov 2024 21:58:43 GMT

So here’s an idea, pull together five years of your bands single releases from 2019 through to 2024, join them together in an album and release it as ‘Revolve’. That's exactly what Scots glam punk rock n rollers ‘Lixx' have joyfully done.

Formed back in the 80’s the band signed originally to Fast Forward Records and were prominent across the UK and International rock scenes.

Literally fast forward to 2018 and the band and their back catalogue was snapped up by Demon Doll Records (a US label) and the whole rock n roller coaster kicked off again, culminating in signing up with UK based Gathering Storm Records in 2020.

Featuring Steevo Athwal on Drums, Robin Paterson on Bass, Nazz Ebblewhite on Guitar and Joe Ogilvie on Vocals they’ve pulled together 11 great single releases that totally showcases what these guys are about.

‘In for the Kill’ opens up the album with that great guitar riff that is their signature. Heard this first time around on the ‘Diamond Star Halo’ album in 2020, was impressed then and still like it today.

Up next with again from ‘DSH’ is ‘Long Way’, reminiscent of Aussie rockers in the mid 70’s , boots you right in the solar plexus with power rock.

‘Zero Zero’ and ‘Chills’ keep that attitude going, both featured in the 2021 album ‘V8’, which I’d think is their best album to date.

The pacy ‘Feeling Fine’ is mosh pit territory, wouldn’t be out of place in the best rock venues on the UK circuit, love the Drum sound on this one.

2023 gave us the ’44 Below’ album and this is one of the tracks from it ‘Supercharger’. Harks back to an age of early Alice Cooper vibe, the Transam and muscle cars pounding down the midwest dusty roads, music cranked right up.

‘Private Eye’ gives you a tale of society angst against authority, great lyrics guys and power melody to run it through.

Power chords open up ‘21st Century Wreck’, fast paced, the lads give it to you full blast, in their own quality glampunk style.

‘Creeper’ has the best guitar work from Nazz backed up with some fairly raunchy vocals from Joe.

As we get near to the end, ’S.L.Y.’ gives you some innuendo in there, brilliant.

The final and slowest paced track on ‘Revolve’, ’Thing about You’ closes this album. There’s a thing about saving the best until last, this is a great song . Bluesy, raunchy, with that glampunk rock n roll thrown in for good measure.

If you need a 40 minute introduction to what ‘Lixx’ can do for you, then this album fits the bill perfectly.

David B Archibald - 'Edinburgh'

Wed, 27 Nov 2024 19:51:17 GMT

One of the things that’s always given me a wee pang on jealousy concerning my west coast amigos is that Glasgow people have a song, in fact they have several, that puts their city front and centre. Then there are the Americans, whether its Los Angeles, San Francisco, Chicago or any other bit town you can name, they have a song. Edinburgh, well, it just doesn’t. Then pops up David B Archibald and his new song that bears the city’s name.

This isn’t a song about Edinburgh; it’s a song about a boy growing into a man. That human just happens to have completed that process in this city. Edinburgh was his backdrop to the tears, troubles, traumas, and stains of moving from boy to man. It is evident too that this was a backdrop he was proud of.

Added to all this, there is a good helping of musicians self-doubt. That emotion seems to take the singer to a point where he feels he has to leave the city to find himself and ‘to be someone’. Those three words become the repeated refrain for the last part of the song. Now back in Edinburgh, where he ‘was born’, this strikes me as the singer’s statement of intent. He wants his city to know he has, indeed, become someone.

“Edinburgh” is a reflective take on home, dreams and ambitions. David looks back at his past and rather using rose tinted specs as his lens, he observes himself through the ‘bloodshot eyes’ of his high school years. That lens focuses on a few too many beers and some bad decision. He then moves to reflect on his ambitions as a musician and feels that his ‘dreams were bigger than songs’ he had. Like so many self-doubting musicians, this singer does not seem able to sweeten his drink by including any of the successes he has already enjoyed nor by adding how good much of his work, to date, has been.

Musically, this song is all about, well, the song. The music is, certainly to my ear, playing a supporting rather than a leading role; and that is just fine. The centre of this tune is David’s voice. It is clear, soulful and clearly invested in the work. He is not singing someone else’s words; the emotion is too evident for that.

David is an Edinburgh man and an Edinburgh man with a fantastic voice. He has been absent from the town and country for a wee while having left his home for love and marriage in the USA. It is great to see him back here, albeit for a short time. He is play in Edinburgh on 7th December and if you like your music soulful and delivered by a top voice, go get a ticket – you won’t be disappointed.

Gun / Kira Mac - MacArts Centre, Galashiels 24th November 2024

Mon, 25 Nov 2024 20:49:07 GMT

Sunday was a good day to be in Scotland. I was at the rugby in the early afternoon and watched Scotland score a famous victory over Australia. How could the day get any better…well, quite easily with a trip to Gala to see Gun!

This is the second time my partner in crime, Big Drew, and I have made our way to Scotland’s happiest town to see Gun. Once again, they were playing in the MacArts Centre and this time it was to mark the start of their 2024 tour.

The MacArts is a great venue, it is a nice square space in the middle of, what was, an old church. The beer is cheap and the view of the stage is pretty good regardless of where one is situated. It makes a really good alternative for us Embra folk, to heading along the M8 to see a gig in Glasgow. This is a venue I really liked. Better train services would improve things even more, but I guess that’s still a bit away.

So to the gig. We got there early, and I was pleasantly surprised to find it was Kira Mac who was supporting. I’ve always enjoyed Kira’s voice and tonight was no exception. I didn’t think her band enjoyed the best of sound and that let her set down a little bit. Kira’s enthusiasm was outstanding and she, and her sparkly microphone, left it all on the stage. It is no wonder Planet Rock and playing her with the regularity they are. Kira and her band really set the night up well.

Bang on 9 o’clock the sways of the Sensational Alex Harvey band rang through the monitors. Delila welcomed Gun onto stage and, bang, we were off. First up “Lucky Guy” from this year’s long player “Hombres”. Tonight four of the 17 song set were culled from that album, and quite right too. It is a top record and really propelled Gun back toward the rock end of the line. Give it a listen.

“Favourite Pleasures” was next and “Vicious Heart” from 1994’s “Swagger” brought the first barrage to a close. A short breath and a bit of a chat and we were off again. “Don’t Say its Over” from the same 1994 album was the first radio cut of the night and it went down a storm with the packed room.

Halfway through the set, new single “Pride” got an airing, the first time it’s been played live. The band certainly looked a little nervous before they lamped into it, but it was a belter. If they plan on playing it across the tour, there is little doubt it will evolve into to a live staple going forward. I really enjoyed it.

“Word Up”, “Better Days”, “Inside Out” and “Steal Your Fire” brought the set to a rocking close.

Time for a stocktake, Gun have been around for the other side of 30 years and have remained a staple of the Scottish rock scene. There have been changes of personnel along the way but the solid line of Dante on vocals, Jools on guitar and Paul on drums have meant the core sound has always been there. Tonight, I thought there was a real intensity about the band, particularly in the early part of the set. Perhaps it was the first night of the tour, perhaps it was the choice of setlist, particularly the inclusion of “Pride” but there was an intensity coming from the stage. I thought that was a really good thing. Tonight, it was a mature performance from established, confident rockers. I’m not a great lover of the epithet “national treasure” but if Scotland has a list of them, Gun certainly deserves to be on it. Once again, they rocked; once again they delivered for the knowledgeable and expectant audience in front of them.

It wasn’t over though, after a quick break Jools and Dante were back for an acoustic version of that most Gun of Gun songs – “Taking on the World”. After watching the rugby earlier “I swear they’ll never break me/I swear they’ll never take me/Taking on the world, couldn’t have been more fitting.

The full five piece were back for a rousing “Shame on You” before they reminded us that we still had to fight for our right to party! That Beastie Boys cover that is now planted as closer to pretty much every Gun set and it’s a perfect fit.

We left the venue and put our empty, reasonably priced beer cans, in the bin and headed to the car. For me, Gun is a gift that keeps on giving. If you have tickets for this tour, you’ll not be disappointed. I am already looking forward to the next time I see this band of Scottish troubadours take the stage. Treasures indeed.

Lives – 'Let Them Eat Cake'

Mon, 25 Nov 2024 18:22:26 GMT

Let Them Eat Cake is the debut from LiVES, founded by Peter Chisholm, formerly of The Sea. If you’re a fan of punchy British modern rock inspired by the likes of Arctic Monkeys, Queens of the Stone Age or White Stripes, LiVES is the perfect new band for you!

Opener Cancelled starts hard with a pummelling drums and dropped tuned guitars. Despite the title feeling a little cliched, considering the liberality of it’s use in socio-political sphere, the message of the song feels anything but. Actual rebellion in 2024? I thought that was forbidden! Lyrics documenting the unsettling rise of censorship, defamation, divisive ideologies, toxic social media and modern-day McCarthyism ring an unsettlingly relatable sentiment, and when combined with the band’s massive sound, it sends shivers down your spine – and this is just the first song!

Come Together follows, with the band rolling from strength to strength. Peter’s powerful lyrics really hit hard as he screams about therapy and depression. The emotion behind his voice resonates hard, with the soft backing vocals in the chorus adding to this further. The basslines in the verses add a layer of funk before the drums and guitars drive up the power into the chorus. Third song Is This What You Want? Change the album’s dynamic again, with fuzzy overdriven guitars and groove laden drumming guaranteed to have you swinging from side to side, before an unexpected tempo increase slams you straight into the chorus.

What A Way lays on a heavy Alice in Chains vibe, with the vocals and accompanying riff in the verses adding flavours of Artic Monkeys and Chilli Peppers to the recipe. For a song lasting less than two and a half minutes, it still manages to hypnotise, with a huge layer of voices over the powerful, crunching groove suspending the listener in place throughout. Title track Let Them Eat Cake continues this trend with a headbanging riff and pulsing rhythm but implements a more retro sound reminiscent of the later Beatles albums and early to mid-70s Led Zeppelin. The whole album is filled with a massive plethora of influence, only comparable to it’s awesome volumatic presence and sound. Let Them Eat Cake is so unique in many ways that there is bound to be a flavour in the recipe for almost every consumer!

Is this what you want?

Tempo change in chorus

Melodic falsetto vocals

Octaver on guitar solo?

DeWolff - Muscle Shoals

Sun, 24 Nov 2024 18:17:52 GMT

There’s no prizes for guessing where DeWolff recorded tenth studio album “Muscle Shoals”. Splitting their time between the celebrated FAME and Muscle Shoals Sound Studios, it’s a dream come true for a band who truly value authenticity. If you’re unfamiliar with the Dutch trio, cast your mind back to a time when the Hammond organ was all the rage, when flared trousers and questionable moustaches were considered the height of cool and you’ll be on the right track. “Muscle Shoals” finds the brothers van de Poel and pianist Robin Piso getting particularly soulful and funky, the spirit of Alabama seeping through their own psychedelic rock and roll.

“Muscle Shoals” is an album that feels pleasingly laid back, as if making music this good is somehow effortless. Eschewing the crushing riffs and heavy bluster of modern rock, DeWolff favour a relaxed pace, and an elegant sound that is often absorbing in its restraint. Opener “In Love” is woozy and dreamlike, capturing the euphoria of new romance whilst throwing the listener off guard with lyrics about infidelity. Recently released as a single, “Natural Woman” really grooves, the sound of clicked fingers preceding a chorus that finds a hook in its fuzzed up riff. It’s snappy, concise and begs you to listen again.

“Out on the Town” emerges gently, and progresses with a rumbling tension that you might feel in a bar like the one described by the track. There’s a lovely doubling of the guitar and Hammond organ that feels both sophisticated and retro, familiar to fans of Deep Purple or Uriah Heep, but seriously under utilised in these modern times. “Let’s Stay Together” is an emotional ballad, delivered by Pablo van de Poel with a real sense of yearning. It’s a track that aches with sadness, a lament to a relationship that has hit difficult times, Pablo’s guitar seemingly weeping in sympathy.

DeWolff arguably hit a real hot streak somewhere around the album’s mid-point. “Ophelia” kicks up the energy, Piso’s Hammond in a starring role, the frantic pace a real jolt. The funky “Truce” is positively buoyant, throwing in some brass in the latter half, it’s a proper feel-good track anchored by Luka van de Poel’s solid drumming. “Hard to Make a Buck” comes in swinging and never lets up, a strangely jubilant ode to the all too familiar struggle to make ends meet. It’s probably the catchiest track here, the refrain coming back for more, giving you no time to forget. Piano is all over “Book of Life”, which is just joyful, appropriately transitioning through various moods in its six minutes and showcasing Pablo’s vocals at their most soulful.

“Winner (When it Comes to Losing)” could perhaps best be described as slinky, marked by a sense of intrigue that seduces. And though “Only Fools and Horses” is also in no rush, it’s more bouncy, playful and encourages you to move with the lilting bass that underpins the track. “Snowbird” is epic in length and execution, veering almost into prog territory with its sprawling digressions that are consistently captivating. Changing things up again, “Ships in the Night” is initially reminiscent of the finest yacht rock, blissful harmonies convening over gentle instrumentation, singer-songwriter Dylan LeBlanc lending his voice to this beautiful ballad.

Closing to the sound of cicadas, apparently an authentic sound of Alabama, there's a sense that DeWolff have captured something special here. And I don't just mean the first time that two cicada broods have emerged at the same time since 1803 (though apparently that's true!). You think they don’t make them like this any more, until DeWolff show you they still do. Get ‘Muscle Shoals’ on your Christmas list today.

Big Country - SWG3, Glasgow 21st November 2024

Sat, 23 Nov 2024 10:37:03 GMT

So when one of Scotland’s top bands of the last 40 years ask one of the team if they want to cover the full day with them at a gig, what did you expect them to say….hell yes !! Well our Mike was afforded that honour thanks to his 35 year friendship with leader and founding member Bruce Watson. They even shared the same management company back in the late 80’s such is the connection. So off he popped to what is the Glasgow show on the Steeltown 40th anniversary show, a show that was sold out.

So some of you will know about the recent turmoil and departures in the band which during the gig Bruce referred to and this version of the band is somewhat new. After last singer Simon Hough left the band in the lurch they turned to Tommie Paxton who fronts excellent BC tribute band Restless Natives to fill the gap and see out the remainder of the tour. Now if you ever wanted a Stuart Adamson sound alike then Tommie is your man. A man who has studied the dear departed Adamson in fine detail and who faithfully reproduces his trademark guitar and vocal abilities down to an almost perfect art. Another couple of new additions to the band joining the Watson duo of Bruce and son Jamie are drummer Reece Dobbin and bass player Chris Stones, who also plays with Restless Natives. Some of you will know Stonesey as he used to scribble for Rockfiend and he was Mike’s right hand man in Too Late To Atone for the last 10 years. So it’s a fairly new band tonight….what’s in store then?

Well fear not people as tonight’s rendition of Steeltown and other BC classics is nothing short of magnificent. It’s tight, it’s punchy and even though some of the band are newcomers you would never tell the difference between the original band and now, hell it’s punchy, tight and from the ears of this reviewer it’s probably the best the band have sounded in years. The new blood in the band seems to have ignited the fire in the belly of Watson senior and you can tell this in his demeanour on stage. Everyone on stage is having a ball in the ferocious heat of the venue.

As the night moves on the band hit their biggest hits with Look Away, In A Big Country, Fields of Fire, Wonderland etc….you know the score. A band who has sold well over 5 million albums and has a fan base like no other are on fire tonight and it’s bloody good to see. We don’t have a lot of internationally acclaimed bands hailing from Scotland but tonight we are witnessing one of the best and on this form they are rightly one of the best.

So after tonight’s impressive display the band have a few weeks of gigs left before a homecoming show in Dunfermline on 21st December. Having witnessed a few BC gigs over the years this was one of the best ones since the passing of Adamson. Maybe it’s the young blood who grew up listening to their hometown heroes that have given the band a kick in the balls and elevated it to what it now is…a great rock band playing great songs. If you get a chance to catch any of the last shows on this tour and are remotely interested the go, you really won’t be disappointed. And you don’t need to wear tartan !

SISTERS DOLL – UNITED

Sat, 23 Nov 2024 09:42:18 GMT

When you state on your band bio that your sound is for fans of Kiss, Motley Crue and Van Halen you better damn well have the cojones, charisma and craft to back it up. Let me tell you right now, if this single is anything to go by these four firebrands from Australia tick all three boxes, then promptly burn them to the ground.

Opening with a monstrous riff and a groove so deep it should come with a palaeontologist we are immediately in stadium anthem territory. The pre chorus (yes the lost art of the pre chorus!) has a hook that would skewer the most stubborn of hearts and the chorus is instantly embedded in your subconscious. Add in a thunderous rhythm section that lays the groundwork for and absolute ripper of a solo and you have four minutes of melodic hard rock gold.

Bringing their unique brand of antipodean anarchy to the UK next year via way of the Monsters of Rock Cruise in America, Sisters Doll are ready to go global. The album releases 24th January 2025 and you’ll get a full review here on Rockfiend before it drops.

Welcome to the dollhouse…bring your scars.

Jason Isbell & the 400 Unit / S.G. Goodman - Usher Hall Edinburgh, Scotland 20th November 2024

Sat, 23 Nov 2024 09:32:34 GMT

It used to be that everything I thought I knew about the American South came from The Dukes of Hazzard, Lynyrd Skynyrd, Ken Burns: The Civil War and College Gameday. Since then, I have gained a whole new perspective from the songs and lyrics of Jason Isbell. His beautifully crafted modern short stories set to music are full of depth and meaning and tell tales of love, loss, hard times, triumph and disaster. His musical tales chronicle the lives of ordinary southern folks as they navigate the slippery tightrope of life, or in one case, fall off a ladder while taking a piss and subsequently get taken down by opioids, bad luck and a list of bad decisions. In his own way, Isbell’s lyrical alchemy does for the former Confederacy’s under-belly what Steinbeck did for California and the Dust Bowl; a Hillbilly Hemingway, a veritable Poet Laureate of the trailer parks and a modern-day Bob Dylan of the so-called “Dirty South”.

On this night, Jason and the 400 Unit had brought a slice of Americana and Southern Gothic goodness to Scotland’s capital city of Edinburgh; specifically, the magnificent Usher Hall - a solid-stone, acoustically-perfect building opened in 1914, which stands literally in the shadow of Edinburgh Castle at certain times of the day, although on this day there was no sun to cast that shadow and it was -2° at show time.

Singer-songwriter, S.G. Goodman is the opening act on this tour and she kept a warm jacket on throughout her 30-minute performance. She’s from Kentucky and coincidentally her fellow Kentuckians Black Stone Cherry were playing on the same night along the motorway in Glasgow. It took me one song to get tuned in, but thereafter I enjoyed her solo guitar performance and plaintive vocals, starting with ‘Supertramp’ and including a fine version of John Prine’s ‘All the Best’. S.G. peppered her set with sardonic wit and humour. Apparently, she had enjoyed her day in Edinburgh apart from the weather; “Why did it have to be so cold? Y’all not got global warming over here”? S.G declared her own climate change mission was to warm up the crowd, “either by pissing you off or making you sad, so that when Jason comes it’s a relief!” She definitely went for the latter with her final song; apparently a new one, and possibly a work-in-progress, called ‘I’m in Love’, but somehow even that came with a melancholy undertone. She did her job and won a few new friends though. No-one was pissed off and the 2,200 people in the crowd were definitely toastie-ready for their audience with southern rock royalty by the time the six members of the band came on to start a 2-hour masterclass of a set.

Naturally, it was straight into the drama with a haunting but hard-rocking rendition of ‘Save the World’ – one of eight songs from the Grammy-winning album ‘Weathervanes’ that featured on the night. There had been a blast of Thin Lizzy in the pre-gig background tape and with star-in-his-own-right Sadler Vaden standing stage right, Jason had someone to join him in twin-guitar harmonies and trade savagely-perfect solos with not a single note wasted. It probably is “only” about 24-hours from Tulsa to Edinburgh but if there was ever any doubt that a Scottish audience would “get” Jason’s version of the American Dream, that was blown away by the crowd’s word-perfect backing vocals for the shit-faced Shakesperean tragedy of ‘King of Oklahoma’ - already a stone-cold classic and a highlight of the recent ‘Live at The Ryman, Volume 2’ recording - and the respect paid to the touch and feel of Isbell’s vocals and guitar playing.

With a lengthy back catalogue to honour, there was inevitably a fair bit of song rotation in the set over the course of a lengthy tour. Dispensing with any covers, early prime-cuts included ‘Last of My Kind’, ‘Stockholm’ the touching ‘Flying Over Water’ and a reverential singalong on ‘Alabama Pines’. The wild card in Edinburgh was the poetically devastating word-craft of ‘Elephant’ – a spine-tingling performance by just Jason and Denny deBorja that was observed in rapt silence, other than light lip-biting and a trace of partly-stifled sobbing from some folks in my vicinity.

When chatting on-stage, Jason recalled his first visit to our country at 22-years-old with the Drive-By Truckers and chose to celebrate that with a rendition of Decoration Day. He seemed genuinely pleased to be back in town and had spent some time in the afternoon walking around the ancient cobbled streets, declaring it to have been “a god-damn good day” and by the big smile on his face he really looked like he meant it.

With nearly two thousand years of history, Edinburgh has its fair share of ghost stories but it’s not a ghost town. ‘Overseas’ provided yet another beautiful gut punch – such a fantastic guitar tone and beautifully-crafted lyric but the part about the waiter brings me to my knees every single time and the emotional onslaught continued with ‘If We Were Vampires’. As a gentleman of a certain age in my 38th year of marriage, the emotions of that song are not necessarily ones I want to contemplate in a room full of strangers but it was yet another example of Jason Isbell going to “that place” in the dark canyons of the mind where “the dealers and the dancers” and a woman with a ‘Death Wish’ also reside, and that song was another welcome inclusion.

Scottish folks are not traditionally known for celebrating sobriety, but we cheered at the appropriate part in the devastating yet deeply profound ‘Cover Me Up’. I think it was because Jason Isbell is one of those previously vulnerable heart-on-the-sleeve performers, like Beth Hart, that digs into the hole in their soul and dredges up their demons every night for our entertainment, but we don’t know what damage that routinely inflicts and sustains and we genuinely care for the artist’s well-being, especially one who’s band is named for an Alabama psych ward. Tonight, you just knew everything was going to be alright. Jason looked leaner, stronger and more self-confident than ever, cutting a fine figure in black t-shirt, jacket and jeans, flashing that film star smile, singing beautifully, hitting the strings like The Devil just went down to Georgia and clearly enjoying his band.

And what a band. ‘Miles’ is another song that has quickly become an indispensable fan-favourite. I’ve read Jason refer to it as being reminiscent of Neil Young and Wings (“the band The Beatles could have been”), starting with scratchy Crazy Horse guitars and a “Shakey” vocal, before morphing through a McCartney or even Harrison-esque elegiac section into a full-on jam band onslaught with the twin-drummers, bass, keys, guitars and vocal building up to a harmonic crescendo and a virtuoso wall of sound. Stirring stuff.

After the benediction of an encore featuring ’24 Frames’, the Grammy Award-winning ‘Cast Iron Skillett’ and a triumphant finale of ‘This Ain’t It Baby’ that got very Allmansy at the end, it was time to head home in the cold and, with the heightened emotions of the evening mellowing into warm reminiscences, oh baby, it was truly a night to remember.

Elles Bailey/Demi Marriner/Ida Mae - Cabaret Voltaire, Edinburgh 15th November 2024

Mon, 18 Nov 2024 18:07:12 GMT

“Ballad of a Broken Dream” is a great song - one of the best on Elles’ sparkling new album ‘Beneath the Neon Glow’ and she played it as the third song on the set-list for the Edinburgh leg of her tour. It’s a sad tale of a “never-was” musician but addressed sympathetically and with a light and jaunty spring in the music that saves it from being a stereotypical “Debbie Downer” blues lament. Having just released the best album of her career and one of the best of its kind this year, Elles Bailey is a long way from sharing the fate of the guy in her song but her lyrical empathy with the protagonist seems typical of her approach to life and her relationship with her musical friends and fans.

This gig at the tiny Cabaret Voltaire in Edinburgh wasn’t even on the original tour schedule apparently, but things got moved around to facilitate a second Scottish gig, with Elles due in Glasgow the next day. That meant a hot, sweaty night, not much room on stage for the performers and a set-constricting curfew at 10PM. With three acts on the bill that could have been tricky but Elles is running this tour like one of those old-school revues from the 1960s or 1970s with all of the artists working together and she made sure she looked after her mates.

That started with Elles coming out to introduce her friend and fellow hat-wearer Demi Marriner as the opening turn of the night. Other headliners might have dumped the third act in the circumstances but Elles gave her pal and band-mate full support along with a plea / warning to the crowd for good behaviour and no talking over the songs, which the already near-capacity audience were happy to comply with – there was never really any doubt though, because the room was full of “real” fans and proper music aficionados, not gobby plastic bar-flies.

Wee Demi is an absolutely charming singer-songwriter with a disarming manner, a lovely voice and a bag-full of finely-crafted songs to share, so she had no problems winning friends in this audience. With only time for a 4-song, 15-minute “speed dating” set, Demi dispensed with most of the chat, other than teasing a squirrel story to go with the song ‘One Way Conversation’ from her album ‘The Things We Didn’t Say’. The follow-up album ‘Things I Said’ is in the works and she featured recent single ‘Repeat Refrain’ and the next one ‘Need to Know’, which is due at the end of November. Both are country / americana in style and showcase Demi’s intelligent word-play and exquisite voice to good effect – this little lady can certainly hold a note. Obviously, she is playing solo and acoustic tonight but she also has a band and her material is very worthy of further attention. We would see her again shortly.

After a very quick turnaround, Elles popped back out again to introduce Ida Mae and give them a ringing personal endorsement. To be clear, this is not Oda Mae from the film ‘Ghost’. Ida Mae is actually a husband-and-wife duo, Chris Turpin and Stephanie Jean Ward, who met at Bath University, formed the band Kill it Kid who had a song of the same name and subsequently moved to Nashville.

Apparently, some Americans have compared them visually to Kurt Cobain and Jennifer Aniston - they are a great-looking couple but I think someone must have been on the moonshine! They moved back to the UK during Covid but had toured extensively in the US, covering 46 states and opening for some genuine legends like Willie Nelson. Over there, their sound was once described as “bluegrass grunge” and that’s not as daft as it sounds. As you would expect, they have great chemistry and harmonise wonderfully on delicate but earnest melodies that stretch their voices to the very edge of their range on some beautiful and atmospheric songs from their catalogue of three albums. They use a steely sounding guitar, acoustic guitar, kick box, tambourine and shaker to accompany the vocals and create an ethereal soundscape. Their music is undoubtedly good but will divide opinion. If you like it, you will probably actually love it, but it won’t be to everyone’s taste. I believe that was the case in Edinburgh where they were very well received and absolutely everyone respected their ability and paid attention throughout.

They didn’t introduce many of the songs by name but they did highlight ‘Detroit or Buffalo’ – an obscure and under-appreciated gem from 1973 by Barbara Keith that struck a chord with their own road trip experiences. I went home and checked out the original featuring Lowell George and Sneaky Pete and it is awesome. They had a few more “road” songs, one apparently inspired by Dr Feelgood, in a set that lasted around 30 minutes. If I interpreted the between-song chat correctly, I believe Stephanie may be expecting the couple’s second child, so they will be off the road for a bit. They were not able to hang around for long after their set as they had their toddler waiting for them at the Holiday Inn. I bet their lullabies are absolutely amazing!

Prior to the doors opening, there was a long queue outside the venue that stretched back up the hill and it actually looked like everyone might be waiting for Happy Hour at the sauna a few doors along. It was as hot as a sauna inside the concert venue too and Elles Bailey provided the happy ending with a wonderful set, albeit with about 3 songs lopped off to meet curfew requirements. It was a tight squeeze getting all the band onstage and tight is the word to describe their performance, with a real team-effort mentality and everyone given the best opportunity to shine, but with each player supporting the communal effort rather than indulging in extended “look-at-me” soloing.

Once-upon-a-time, Elles might have been categorized as “just” a blues singer based on her smoky vocals but, especially on the new record, she’s plopped soul, pop, country and americana into her cauldron to come up with a divine blend of genres and a sunny delight to enjoy live. ‘Beneath the Neon Glow’ is a definite career-highlight to date, so quite rightly, she plays every song from the album, starting with Joe Wilkins sliding ‘Enjoy the Ride’ into the opening slot, followed by the big-hearted pop of ‘Leave a Light On’, the afore-mentioned ‘Ballad of a Broken Dream’ with Demi singing her wee heart out on backing vocals, plus the nostalgic ‘1972’ and absolutely nobody was shouting out for old ones, even though Elles has got some corkers in her locker.

Elles was really genuine, interactive and chatty all night and even allowed the audience to choose one of the songs from a list of four options. There had been an online vote before the show but she went to the clapometer on the night anyway and the winner was John Prine’s ‘Angel from Montgomery’. Graciously, Elles did say that she didn’t mind that we had chosen the only cover version option over three of her originals and I don’t think she was faking it. The result was predictably spell-binding. Elles smoked it and Demi testified on a verse too before Jonny Henderson “took it to church” on the piano. The last time I heard this song live was at Red Rocks, Colorado a couple of years ago when Susan Tedeschi reduced me to tears, so this was another special moment for everyone present, but perhaps especially for me.

They might not be traditional old-school blues, but songs like ‘Silhouette in a Sunset’ and ‘Let it Burn’ have soul-touching qualities and real emotional heft. Elles seems to be all about lifting others up and sharing the spotlight and she always acknowledged other contributors and her co-writers. For ‘Let it Burn’ that was Katey Brooks and it was an absolute gift for Elles to be able to finish writing it with her, even if she did ruefully reflect later that “maybe we should have given it to Adele”! I can see what she means but I’m kind of glad she didn’t all the same.

A full-on Soul explosion breaks out on ‘If This is Love’ and some folks might even have been dancing even if there was only enough room for a hand jive, although somehow Elles found a lane through the crowd, carving a path like Sir Mark Cavendish in a sprint finish to the back of the room while belting out ‘Riding Out the Storm’. For the faked “encores” (there was nowhere to go), Elles opted for the 10th and final track from ‘BTNG’ - the topical weepie ‘Turn Off the News’ which was enjoyed, if that is the right word, in rapt silence. Fortunately, the antidote was to hand with the joyous romp of the Tom Petty-referencing ‘Sunshine City’ from ‘Shining in the Half Light’ and everyone went home very happy indeed.

I left the gig feeling dehydrated, sweaty, exhilarated, entertained and joyful. A post-gig pint and a shower sorted the first two and the good feelings stayed with me for the rest of the weekend, so thanks to Elles and her friends for bringing their show to our town and I hope we will see them again on a stage that is a better fit for their talents.

Lion Rock Fest - Hardline/Tyketto/Treat/The Night Flight Orchestra/Perfect Plan/Hackers/Jaded Heart - Palacio de Exposiciones y Congresso de Leon Leon, Spain 9th November 2024

Sun, 17 Nov 2024 20:30:52 GMT

There are some fabulous three-day AOR events around Europe, including the revamped Firefest, Malmo Melodic and Hamburg’s Indoor Summer, but Lion Fest in the Spanish city of Leon goes for the big one by putting on a quite magnificent melodic rock line-up in just one single evening. For the second edition of the show in 2024, that included Hardline, Tyketto, Treat, The Night Flight Orchestra, Perfect Plan, Jaded Heart and the surprise package of the show Hackers, in a quite unbelievably strong session, the quality of which has surely never been equalled in a single evening?

Hardline were rightly viewed as one of the obvious headliners but, surprisingly, it was them who took the opening slot on the main stage at 18:45. The calculated gamble certainly paid off, as a large crowd, estimated at around 2,400, turned up early and found themselves getting worked up into a frenzy by a typically bombastic performance from Johnny Gioelli and the band, who threw ‘Fuel to the Fire’ as their opener on the high stage, which was almost, but not quite, as high as the one at the legendary Glasgow Apollo. The magnificent ‘Everything’ is a great song and it came over especially well here with a crystal-clear sound that allows Alessandro Del Vecchio to shine and be heard on keyboards and backing vocals. That’s followed up by ‘Dr Love’ and the bulk of the set still comes from the legendary ‘Double Eclipse’ album, so not dissimilar to the classic ‘Live at The Gods Festival 2002’ CD.

Putting Johnny Gioelli on this stage in front of a committed, passionate and knowledgeable Spanish crowd is like giving an excitable puppy a shot of methamphetamine. He was in hyperactive and excitable form throughout, interacting with the audience and his band-mates in goofy and hilarious fashion. His unrequited love for the luscious Anna Portulapi and the resulting Will & Grace style on-stage banter between them was particularly comical. Anna was on great form, bumping and grinding away on the bass with that charming smile on her face throughout; in fact, the whole band were clearly enjoying themselves and that infectious energy was replicated by a very responsive crowd.

The slightly under-stated Luca Princiotta was an absolute star on guitar with some really great fret-work and AdV is also a massive part of the band’s sound, not least on the hugely impressive ‘Fever Dreams’ from ‘Danger Zone’ where he handles the key change with class and quality. Bless him, Johnny has definitely still got it, and so has ‘Hot Cherie’ which still scrubs up very nicely. Johnny leads into that with some snippets from Phil Collins’ hit ‘In the Air Tonight’ and at that point, it really did feel like I had been waiting for this moment for all my life. It was a magnificent set that will live long in the memory, but how do you follow that?

Lion Fest is staged in a large, modern exhibition centre, right beside the new railway station which makes travel to the event easy. As you enter the venue, and after obtaining your wristband, there is a large area for food and drink, with plenty of tables and chairs to sit in and excellent toilet facilities. The two stages are set up opposite each other in the main hall and there is no gap between sets. When one band is finished, you simply turn around and move closer to the opposite stage where the next band are already ready to go. In this instance, the honour of opening the smaller second stage fell to veteran German / Swedish band Jaded Heart. In a hyper-melodic line-up, they were something of an outlier with their heavier and more powerful sound, in fact, they were the only four-piece band of the night and the only act which did not rely on prominent and extensive use of keyboards and vocal harmonies.

My wife and I had enjoyed a very pleasant afternoon in the lion city of Leon (there are lion statues everywhere), and it had been a bit of a rush to get into the venue in time for Hardline, so we took this opportunity to buy an event t-shirt, exchange cash for “Lion tokens” and grab some food. There were several bars available too, so the lines were comparatively small, but we did not try the Kalimotxo – a local speciality which blends red wine with Coca-Cola. Things might have got messy. That meant that I could hear Jaded Heart but I only got to see them towards the end of their set. Michael Muller on bass is the only remaining original member but the tall and impressive singer Johan Fahlberg has been around for a while, as he reminded us when performing ‘Tomorrow Comes’ from the 2005 album ‘Helluva Time’, which was apparently the first song he sang with the band. They also went back to that album for their cover of Anastacia’s ‘Paid My Dues’ but with 14 albums to choose from, they had no difficulty in building a quality set. Interestingly, Johnny Dee was behind the kit for Jaded Heart, pulling a double-shift as he later appeared with Tyketto on the main stage. Overall, I was pleased to see the band for the first time but they did have to fight for attention sandwiched between Hardline and Treat.

I have been fortunate to have seen and enjoyed the two biggest names on the bill (Hardline and Tyketto) before, but the presence of three magnificent Swedish bands that I may never have the chance to see in Scotland was a massive reason for choosing to travel from Edinburgh to Northern Spain. Treat’s initial breakthrough in the 1980s largely passed me by but I became a big fan in 2010 after hearing their mid-career genre-defining opus ‘Coup de Grace’. They opened with ‘Skies of Mongolia’ from that album and it sounded great before they raised the bar even higher with the magnificent ‘Papertiger, also from ‘Coup’. It is still Robert Emlund on vocals and he does a great job, supported by strong backing vocals. Robert’s stage manner is good and peppered with Coverdale-isms but he does not have Johnny Gioelli’s manic energy, so the band rely on the quality of their songs, which are very good indeed. They draw heavily on their 1980’s catalogue but include ‘Freudian Slip’ and ‘Home of the Brave’ from their outstanding 2022 album ‘The Endgame’, a late career highlight and it would have been good to hear even more from that. But of course, it’s the ‘Coup de Grace’ songs that rule. Could any song be more appropriate for Lion Fest than ‘Roar’? And when they played the euphoric anthem ‘We Own the Night’ it really felt as if we actually did. A treat indeed.

In a line-up so stacked with great established bands, who would have thought that the band who stole my heart on the night would be a little old AOR band from Gran Canaria? Hackers were the only performers I had not heard of prior to the gig but a quick You Tube search revealed a trio of absolutely superb songs sung in their native language that reeled me in, so much so that we made our way to the barrier in front of the second stage just as Treat were starting their last number, which was actually interrupted by a brief power outage.

Hackers are experienced and very competent musicians who cut their teeth in covers bands before uniting to create some sensational original melodic rock. They released their second album late last year and opened their set with its superb title track ‘El Poder de Una Cancion’ (‘The Power of a Song’). In an era where the airwaves have become saturated with identikit copy & paste AOR, it was a refreshing change for my Scottish ears to hear something better and more original and it did not matter that I could not fully understand the lyrics – that didn’t stop me enjoying ‘Money Heist’ (‘La Case De Papel’) on Netflix. Can you imagine Survivor with Enrique Iglesias on vocals? Well, they were like that but better. The actual singer is Victor Guardia. He is very good with a great melodic rock voice and a sultry and brooding presence, while my wife informed me that he bears a passing resemblance to Negan, the charming psycho from The Walking Dead played by Jeffrey Dean Morgan. His band mates were equally good, including Elvis Pescossa, whose shimmering keyboards and backing vocals added a lot and Fran Alonso, who reminded me a little of Bernie Marsden and fired off some spectacularly good melodic rock guitar solos. Highlights included the pulsating and swaggering ‘Respirar Rock & Roll’ (Breathe Rock & Roll) which helped the band attract strong support from a large crowd that had gathered at the bottom end of the hall.

Spanish is a sexy sounding language which lends itself very well to pure AOR themes. My Rockfiend colleague “La Balada Poderosa de Casanova de Ayrshire” would be able to use Hackers’ entire catalogue in his infamous “seduction playlist”, not least the sublime and gorgeous power ballad ‘Mi Dulce Condena’ (‘My Sweet Sentence’ according to Google Translate). Sadly, disaster struck just after the triumphant parping keyboard sound of ‘Si Te Vas’ (‘If You Leave’) started as the power went out on the second stage for the second time in their set. Efforts to restore power came too late to allow the band to finish their show, to the great frustration of the band and their audience. There were no further problems after that but it was a sad way to finish a performance that I was thoroughly enjoying. Since returning home, I have now purchased the band’s latest album and will keep an eye on their Facebook page in the hope that I can combine a sunshine break on Gran Canaria with one of the band’s local shows. They have already sold many CDs throughout Europe and as far away as Japan, so I would encourage like-minded fans in the UK and USA to check them out. Hackers would also be an excellent addition to any melodic rock festival and there is also a strong push for the band to be invited back to Leon in 2025 to have another go. Fantastico.

The day after the festival, I spotted Danny Vaughn in Madrid’s Atocha train station. Recognisable by his long grey hair, he looked like just another quiet unassuming guy making his way through the crowd pulling a wheelie-case. But on stage at Lion Rock the night before, he was like a man possessed; bounding around with passion and enthusiasm, and with that fantastic and undimmed voice bringing life to his band’s proud history and back catalogue. There was a real end of term spirit to Tyketto in what was their final performance of the year and their first show in Spain for at least eight years, which undoubtedly helped draw the crowds to Leon. I believe Danny has lived in Spain for a number of years now, so he was able to converse naturally with the crowd in their native tongue, even correcting their pronunciation; as he said, it’s “Tie-ketto” not “Tih-ketto”. I found the Spanish audience to be generally a bit younger and cooler than that which I am used to back home and they were fully engaged throughout. Other than one French-sounding voice, I did not detect any other “foreign” accents and I am not aware of any other UK folks having made the journey – a real shame and folks don’t know what they’re missing. It wasn’t just Danny who was bringing the energy. Johnny Dee was back on the drum kit for his second set of the night with Wayne Briggs deputising on bass. As ever, Ged Rylands was a massive part of the sound, just like Alessandro Del Vecchio for Hardline, with pivotal keyboards and backing vocals and Harry Scott Elliott was really kicking it on guitar. Folks from the UK have known Harry since he was a wee laddie in Kane’d so it has been a real joy to see him and his partner Chez Kane breaking into the big time and looking like they really belong there. The Tyketto set was a total triumph with ‘Wings’ and ‘Burning Down Inside’ as obvious highlights before it all climaxed in an orgy of joy and communal singing for ‘Forever Young’ to conclude what was definitely one of the best sets of the night.

There was a hairy and excitable man introducing all the acts on the main stage and he did a great job of firing up the crowd, although his Speedy Gonzalez delivery was beyond my rudimentary Spanish – to be honest, I was only making out the occasional “vamos”, “ariba” and “porfavor” plus the band names! I believe the gentleman may have been Jason Cenados of Mariskal Rock radio and he made his way down to the second stage, along with virtually of the remaining crowd, to introduce Sweden’s Perfect Plan. At this point, the festival was actually running slightly ahead of schedule but it was still after midnight, in line with the later hours for dinner and socialising traditionally enjoyed by Spanish folks, but there were a few older rockers heading out the door after a long evening of rocking and partying. Perfect Plan have released some of the best new melodic rock albums of the past few years, so I was intrigued to see what they could do live. I was not disappointed. This was the band’s first visit to Spain and they were clearly pleased to be here, with guitarist Rolf Nordstrom in particular taking it all in with a big smile on his face. ’Time for a Miracle’ was a strong start and all eyes and ears were on Kent Hilli and his impressive vocals. Kent used to be a semi-pro footballer. Scottish readers might picture him as a hipster Murdo MacLeod but he’s got the bangs of Beckham, a twinkle in his eye like Sven Goran Eriksson and the voice of a young Lou Gramm. ‘Bad City Woman’ got people moving, as did ‘What About Love’ before they threw in a tribute to the sublime Jimi Jamison with a rendition of Survivor’s ‘Didn’t Know it was Love’ that took me right back to Nottingham and Firefest in 2011. I started the set at the front but the time had come for me to take a step back, park my old arse and enjoy a seat for a bit. This year, the organizers had arranged for some bleacher-style seating at the sides of the hall so I was able to find a spot and still enjoy the show as the band powered on through ‘Fighting to Win’ and ‘Better Walk Alone’ before they wrapped it all up with their already classic song ‘In and Out of Love’. Perfect Plan are definitely not just a studio-only band and I would love to see them live again soon.

The honour of closing the festival fell to everyone’s favourite airline cabin crew-themed aeromantic melodic rock dance band, The Night Flight Orchestra. It was fun watching all eight of them assemble on stage; more hair than the Bee Gees, a bass player in white trousers, two splendid backing vocalists dressed as risqué cabin attendants complete with drinks trolley, and Bjorn “Speed” Strid resplendent in flying beret and silver cape – it was like waking up from a bad dream and finding grunge had never happened! The triumphant parping and shimmering keyboards introduced the opening number ‘Midnight Flyer’ and then it was straight into ‘Sometimes the World Ain’t Enough’, like a Bond theme performed by ABBA on acid, that really got the audience moving and shaking. The Orchestra really have a distinctive and likeable style that makes it impossible for even old people to stand still. An early highlight was their performance of ‘Divinyls’ which was so good that when I think about it, I touch myself. Bjorn addressed the crowd with “good morning, Spain” and that just reminded me that it was 01:25 before they even started their set. Some in the crowd still had the energy for a dance-off to ‘Burn for Me’ and ‘Gemini’ but after the big throbbing power ballad ‘Something Mysterious’ the spring had left my step and it was time for me to bail out. I wish I had saved more energy as the Night Flight Orchestra are a thrilling and unique live experience and they certainly know how to get a party going – I believe there was even a conga later on. They have a new album ‘Give Us the Moon’ due out in January which I am sure will be sensational and the accompanying ‘Moon Over Europe’ tour in February will hit some of the continent’s great capital cities including London, Paris, Budapest, Vienna, Prague and Berlin, but sadly not Edinburgh this time.

I thoroughly enjoyed my trip to Lion Rock and I would absolutely recommend it to anyone. The set-up in Leon was very conducive to a good time with comfortable seating, room to move, expansive concessions stalls and bars and clean bathrooms, plus excellent sound and visuals. The one-day event was perfect for me, with a quite unbelievably good line-up of talent in a single session, and all for 50 Euros; even the t-shirts were only 20 Euros on the night. My wife and I made a round-trip out of it with a very enjoyable three days in Madrid and Toledo. Leon is very well-connected thanks to the efficient Alta Velocita high speed trains which brought us up from Madrid on the day of the gig in about two hours. It is on the line which runs through Valladolid, Oviedo and Gijon and was easy to navigate. We booked reserved seats in advance through Trainline in the UK before we left, with tickets available from around 4-6 weeks before travel. Leon is a very pleasant, small and ancient city with a fine cathedral and many other attractions. Even though it was November, we enjoyed a bit of sunshine, tapas and wine outdoors in a small square near the old City Hall and there were many bars packed with thirsty rock fans in the Barrio Humedos area. With Madrid being accessible from pretty much everywhere, a trip to Lion Rock really is a realistic opportunity for any devout lover of top-quality soft rock.

At last year’s inaugural event, the festival attracted H.E.A.T, Eclipse, Crazy Lixx and Gotthard. I think this year’s line-up will be hard to beat, but I will look forward to seeing what the organizers, Arttstik-k Producciones, come up with, but for now, muchos gracias for Lion Rock 2024.

The Dualers /The Downsetters - O2 Academy, Glasgow 9th November 2024

Sun, 10 Nov 2024 19:46:31 GMT

Phone photos by Richie Adams

As I hit the M8 on Saturday night and pointed west I was looking forward to something a little different for me. A night of full on, old skool Ska, you know, the kind that just makes you smile and think of happy times. Saturday was The Dualers.

So, a wee bit of background. The Dualers hail from south of the Thames in London and began life when brothers Si and Tyber started busking in the late 90’s. By 2010 the duo has expanded a bit, numbers wise, and were starting to make a few waves on the music scene. Si decided to go solo but brother Tyber remained with the band and expanded it into a stage filling, nine piece. That’s one of the things I’ve always loved about ska bands, they are not afraid to load the stage and mix up the music input.

Their first recorded offering was very much a homegrown effort, they set up their own label and produced the single “Kiss on the Lips” which they sold through local record stores. Never underestimate the power and popularity of a quality busker – the disc sold well, and they made it to No 22 on in the midweek charts.

Following being picked up by a bigger label, the band had a second hit “Truly, Madley, Deeply” which brought more Top 40 success. A double figure amount of albums, some live offerings and a handful of singles later, I am off to see them at a sold out show at Glasgow’s O2 Academy.

I was in the venue just after 7 o’clock. The place was already filling up and the punters down the front were being egged on by DJ Ska n Mash; an Essex based Geezer sporting a kilt and clearly loving being in Glasgow. Turns out, he was born in Pollockshaws but left for gold paved streets when he was 4.

He did a fantastic job spinning ska and reggae hits to warm up the crowd and set the groove; he certainly gave this Rockfiend a laugh when he introduced UB40’s ‘One in Ten’ by telling the crowd “If you don’t sing the first line, hells angels will rush in and take you to a rock gig…and you don’t want that”. As someone who goes to a few rock gigs, it would be great to see an equivalent DJ warming up the crowd. Ska n Mash did a brilliant job.

Just on 8 o’clock the first band of the night appeared, The Downsetters. This seven piece, ska band hail from Ipswich. They had come a long way for their 35 minutes are were obviously planning to make the absolute most of their time.

It took a couple of songs before The Downsetters had the crowd jumping on demand but when they got them, they had them for the rest of the set. A frontman who kept the ska groove going throughout and a keyboard player who just danced, whether he was playing or not, made them a great watch and listen. It turns out their guitarist was Scottish, and how did we learn that? By listening to him sing a crowd-pleasing version of The Proclaimers “I’m On My Way”. The Downsetters will be welcome here again.

Just on 9:15 the main event arrived and eight of the nine piece band started to play an upbeat, ska instrumental before, main man, Tyber made his entrance. Like guitarist Pete, Tyber was resplendent in a kilt, and few things help connect with a Scottish audience more than a English band wearing kilts!

The first thing that really struck me about Tyber was how good a singer he was. His range was huge and his vocal just hit the sweet spot for the music they were playing. And great music it was too. The ska was front and centre from the get-go and the band were clearly loving it as much as the crowd. The horns in ska and reggae bands are always a great favourite of mine and the three pieces of brass at the back of the stage on Saturday really gave the night a lift. No more so than the trumpet solo in “Amelia”.

The crowd were loving it. There was that constant bobbing sway thing going on across the audience that only really happens at ska shows, the only downside for the crowd was a lack of space to get that full-on ska dancing going!

As the band got to the business end of the set there was no shortage of toe tappers. “Dancing Till the Sun Comes Up” from 2019’s ‘Palm Trees and 80 Degrees’ album was a stick out.

This week has been a challenging one. We recently lost a friend and rocker whose funeral I had been to the day before this gig. When The Dualers banged into the celebration that is “It's a Wonderful Life” I thought of our friend Gordy and smiled as a tear ran down my cheek. That’s music, it can take you through so many emotions and often it manages to strike several right at the same time. Gordy would have enjoyed tonight and, I have no doubt, loved the vibe.

“What a Bangarang” kept the lift going and during “Kiss on the Lips” the band stood in a single line across the stage. Simply looking impressive.

By the time “Red Light” was played the crowd were all in and a ska’d up version of “Sweet Caroline” brough the set to a fantastic end.

Time was tight and the band were off stage for less than a minute before Tyber and Pete reappeared to play a striped back, duo version, of one of the greatest songs ever written, certainly in my view. “Redemption Song” was a highlight of the night for me.

The rest of the band appeared and gave us that Toots and Maytals classic “Monkey Man”. I loved it and, like a number of the crowd who had already moved to the door, thought the night was all over. Oh no. This was an English band, in kilts, in Scotland who had loved their night. We got one extra – a fully ska’d up version of Loch Lomond. Not the last go at the wedding reception version but a well thought out and practiced song with a reggae vibe. It was brilliant, it was a nice touch and the crowd certainly appreciated it.

The house lights came on and just like that, an excellent night was over. The Dualers will be back next November. On tonight’s evidence, it would be good to book a ticket as soon as they hit the box office, that will be a gig that will sell out and sell out quickly.

This was a night of many things. It was a night of old skool ska, based around an ever present upbeat. It was a night of dance and sway. It was a night of mellow grooves and quality musicianship. Most of all it was a night of smiles. This was a ska gig, the whole point of ska, in my view, is to celebrate life, celebrate different cultures and different styles of music; all brought together in a great big, happy melting pot of rhythm.

Tonight, was a night of connection and music. As I pointed the car east, I simply found myself smiling. The music was upbeat, the groove was upbeat, the music was upbeat and my smile was upbeat. Do you know what; that is a combo you just cannae beat. Music just has that effect and The Dualers brought that out in bucketloads for their sold out house tonight.

Bryan Adams Live At The Royal Albert Hall 2024

Sun, 10 Nov 2024 09:47:16 GMT

There’s a school of thought that sees Bryan Adams as unhip, the butt of a lyrical pun in other people’s songs, the ‘groover from Vancouver,’ and/or the housewife’s choice (because of ONE song!).

None of the above is an accurate description though.

Thankfully, there is a vast army of people who see beyond these tired descriptions. They understand and love Bryan as one of the most gifted and talented songwriters of our time.

This box set is a love letter to those who have stuck with him, it highlights three albums that neatly show Bryan Adams career from eighties star to nineties superstar and finally landing on where he is today. Inside this box is a cornucopia of delights for his fans. You get three CDs, one for each night, a Blu-Ray disc that has each performance on it, and a 32-page photo book. For this review, I watched the Blu-Ray but CDs have the same tracks on them.

The first thing to say is that the concert footage is stunning. The visuals, shot by the award winning filmmaker Dick Carruthers are stunning. The film is crisp, and the roaming cameras capture the bands performance and the audience’s response beautifully. The sound is clear and makes you feel you’re right there; guitars are bright and the drum boom. Bryan’s vocals ride on top of the mix, and there is a real presence to whole thing that draws you in and makes the viewer feel present at the performance in a way many other concert films fail to.

This set is all about the music. There’s no fancy lighting, minimalist staging, no giant TV screens, and the band are dressed in all black. I hope they had a good laundry service or multiple versions of their stage gears though as they appeared to be dressed the same for each night! The stage is open, and the audience is sat all around it. There are mics set up in various positions so that Bryan could move around the stage and deliver his vocals facing various parts of the crowd.

Most people will dive right into the ‘Reckless’ set and fittingly it is first up on the Blu-Ray and disc one in the accompanying CD set.

Setting the agenda for each of the nights the band play the songs in the order that best suits a live show.

‘One night love affair’ kicks things off in fine style. Immediately you can notice the great sound mix. Stereo for these previews but the Blu-Ray includes a 5:1 surround mix and Dolby Atmos mix that will truly bring the occasion to life, I’m sure. Bryan Adams sound like he’s in great voice, and the band give him a solid delivery to get the show rolling. Already the crowd are up and clapping along. Keith Scott drops in a nice guitar solo after which the band stops to let crowd enjoy a singalong with Bryan.

There’s no easing up on the audience as the band drive on with a rocking version of ‘Somebody.’ For a song that the band must have lost count of the number of times they’ve played it’s great to see the enthusiasm and plain delight they have while performing it. That’s something that will continue to be visible over all three nights and having seen Bryan Adams live on numerous occasions I really feel the current version of the BADAMSBAND is the best one there’s been.

A delightful surprise for the crowd, though no let up in the pace, the next song up is ‘Reckless.’ The song never actually made the album and vey rarely gets a live outing. Still, it didn’t throw the audience for long, and they are soon singing along to it. Big thumbs up to Keith Scott on this as he contributes some searing guitar work on his trusty Fender.

If the crowd thought that the band was going to ease up on them, they were very wrong. Next to tear things up was ‘Run to You.’ Delivered a little faster than the album version, the crowd lapped it up.

And somehow the band manage to raise the tempo up again. Even the disguised start didn’t fool the die hard fans and it wasn’t long before the Bryan’s know twiddling turned into ‘Kids Wanna Rock.’ As soon as Bryan started waxing about his first real six string the crowd are up for it all over again. In fact, they were so up for it there were times during the song that they drowned Bryan out.

Finally taking their foot of the gas the band gently takes the crowd to ‘Heaven.’ The crowd respond by holding their mobiles up and raising their voices. The band and the crowd share in a full throated singalong to one of Bryan’s absolute classics.

Bryan now stands alone, a single spotlight picking him out on stage. Alone with his acoustic guitar, all in black, skintight top and loose fitting jeans, black and white high tops (might be Cons) he cuts a striking figure, perhaps most reminiscent of a street racer about to take on the next challenger in a 1950’s rock n roll flick. It’s all quite American Graffiti. Bryan takes a moment and then delivers a gorgeous take on ‘Let Me Down Easy,’ another album outtake.

The band are back for ‘She’s Only Happy When She’s Dancing,’ complete with a shout out to Bryan’s co-writer, Jim Vallance, who’s in the house this evening. Vallance was co-writer on all the ‘Reckless’ tracks so it’s fitting that Bryan acknowledges him and that he is present for this performance. The song gets a good reception from the crowd, and we are up and running towards the sets climax.

The end of the set isn’t for the faint hearted as the band fire into ‘It's Only Love.’ Delivered by Bryan alone with him singing Tina Turner’s part as well as his own. It’s a straight take until midway through when Keith Scott launches himself into a masterful guitar solo. It’s little wonder that Bryan refers to Keith as his secret weapon when introducing him to the crowd.

From there it’s on to a hard rocking take on ‘Long Gone.’ Pat Steward drives the song along with his drumming, and Solomon Walker’s bass throbs along emitting low sounds into the mix.

The band deliver ‘Ain't Gonna Cry’ in a souped up flying take. Keith Scott takes the opportunity to gurn and mock cry his way through the track, falling to his knees and then onto his back while never missing a note. Needless to say, the crowd lap it up.

Of course, the set ends with ‘Summer of ’69,’ the song that was never a hit in the UK despite several releases over the years yet has still become one of the most recognised of Bryan Adams songs. It’s a song that you can’t help but grin when it comes on and judging from this performance neither can the band. The crowd rise to the occasion too. They sing along at raise the roof volume much to Bryan and the band’s delight.

And that’s it for the first set.

The second performance/disc in the set is ’18 ‘til I die.’ The 1996 album gets a near complete rendition, though, again, not in album order. The only song that wasn’t performed was ‘Black Pearl.’

It’s a set of sometimes jarring musical contrasts, which is a reflection on the album itself. The reorganising off the tracks for this performance tries to smooth these out. The band come racing out the traps with the title track. It’s a rowdy and raw performance with Keith Scott playing to the crowd. When we cut to the audience it’s clear to see that they are up for it as the dance and scream the lyrics back towards the stage. ‘Do to You’ promptly follows edging the hard rock aside with a touch of blues funk.

The band get a little bit of a breather as things slow down for ‘A Night to Rember.’ Bryan’s vocals are perfect for this kind of mid-tempo AOR ballad, rasping out his romantic intentions for the evening. The band give the track a full warm sound and it’s clear the audience are as into this as they are the rockers as another full participation singalong ensues.

Let’s be honest, ‘(I Wanna Be) Your Underwear may be the most ridiculous lyric Bryan Adams has ever written. And yet, it works, and the crowd love it. The tempo is lifted, and the song has a nice funky undercurrent courtesy of Solomon Walker on bass and Pat Steward on drums.

Things slow back down again for ‘Star.’ I’ve always felt that there’s something a little melancholy about this track but there’s hope in the chorus. Nice vocal delivery from Bryan and then we’re taken back up again with a lively rendition of ‘It Ain't A Party...If You Can't Come 'Round’ and tight acoustic take on ‘You're Still Beautiful To Me.’ The classic love song should have been a bigger hit. For this performance, the song’s second verse has been rewritten to be about the Royal Albert Hall and the fans.

Picking up a Spanish guitar Keith Scott picks out ‘I'll Always Be Right There’ with some deft finger work. Just Bryan and Keith up for this one and it gives the song an extra layer of intimacy.

Raucous and noisy as a footie song should be ‘We're Gonna Win’ is delivered with all the spit and rage of a punk song and even gets some of the crowd pogoing. Bryan abandons his guitar and prowls the lip of the stage mic in hand while Keith Scott gives his already battered Fender a good seeing too. Both are clearly having a lot of fun with this song.

The fast slow pendulum continues with ‘I Think About You.’ To be fair the band deserved a slow down after ‘We’re Gonna Win.’ And then the tempo lifts back up once more as the band swagger into ‘The Only Thing That Looks Good On Me Is You.’ This is stone cold classic Bryan Adams. Played with a Stones like feel with Pat Steward holding the beat and getting to solo a bit through the middle and another impressive performance from Solomon Walker on bass.

The ’18 ‘til I Die’ set concludes with another power ballad. ‘Have You Ever Really Loved A Woman’ finds Keith Scott back on on Spanish guitar though this time the whole band performs on the song.

With lots of declarations of love for the audience the band leaves the stage.

Bryan Adams third night album was ‘So Happy It Hurts’ his most recent album from 2022. Like the performance of ’18 ‘til I Die’ the Bryan shuffles the pack, playing the songs in a different order to how they sit on the album. There were no songs left out this time though.

The set unsurprisingly kicks off with ‘Kick Ass.’ I was a little disappointed that the production didn’t use the John Cleese intro while the band took to the stage. It’s a little bit ragged but total rock n roll start. The crowd are well up for it and the energy level is apparent even through the TV screen. ‘On The Road’ follows promptly. The story of a rock n roll life viewed from the perspective of a man who’s seen it all. I thought that there might be a falling off in the enthusiasm of the audience for this recent slice of Bryan but that would be far from the truth. As the cameras find the crowd to be in fine voice as the heartily sing along to these recent songs.

One thing that is clear even two songs in is that live these songs have way more impact than they did on the album. They’re much livelier and more filled out with the band performance compared to the album, which Bryan recorded on his own during the pandemic.

‘Just About Gone’ was always one of the standout tracks on this album. Live it’s even better.

The pace drops a little for the love song ‘Let's Do This.’ With the full band delivery here it takes on an almost country swing and that carries over into ‘Just Like Me, Just Like You.’ It’s another song that works well live and has a nice mid paced strum to it.

‘I've Been Looking For You’ is one of those rockabilly type tunes that Bryan has become so good at (see ‘Back to You,’ ‘You Belong To Me,’ and ‘Brand New Day’ for further examples). The band’s enjoyment at playing this is writ large all over their faces. There’s some nice upright bass playing from Solomon Walker here too. Once again, the audience show their love for Bryan’s work by belting out the lyrics along with the band.

Bryan springs a surprise on the audience here. For ‘Never Gonna Rain’ he brings out the London Community Gospel Choir to add their vocals to the song. It’s a highlight of the evening and the crowd are lapping it up. Not one to look a gift horse in the mouth Bryan asks the crown if the choir should hang around for another song. It’s no surprise that it’s a resounding ‘yes!’ and so they do. They add their vocals to ‘You Lift Me Up’ and it lifts the song from a good ballad to one that gives you chills. If I had to choose, I’d say that this suits the LCGC much better.

There’s a hint of reggae styling given to the verses of ‘Always Have, Always Will’ in the bass and guitar work. Bryan gets to have some fun with the crowd as they indulge in some call and response singing.

By sharp contrast ‘I Ain't Worth Shit Without You’ has a grungy rockabilly feel to it live. The band grin and gurn there way through it and look like they are relishing playing something a bit harder. As the song closes the crowd are looking up and we see the only piece of showmanship over the three nights as an inflatable car powered by four drones starts to glide around the Royal Albert Hall. Adorned with the title track of the album over its sides, it comes as no surprise that the next song is ‘So Happy It Hurts.’ Not only is it the title track but it’s further proof that Bryan’s ability to write a cracking tune is still as strong as ever as this rates high up on my list of favourite Bryan Adams songs.

Finally, the set reaches its climax with the elegantly beautiful ‘These Are The Moments That Make Up My Life.’ With Keith Scott and Pat Steward off stage it’s left for Bryan and keyboard player Gary Breit to close out the set. As befits this type of song the venue is awash in the light of held aloft mobile phones. It’s a quite moment of contemplation to close the set with fitting lyrics looking back over what makes a life worth living.

In general, I am not a fan of ‘live’ recordings in any format. It always feels kind of flat to me and the engagement you feel with the artist at a good gig is lacking. However, this set bucks the trend and delivers all that you would want from a live set. I found myself totally engaged with the performances, singing along, and tapping my feet. The whole thing works here because the band are experts in their tasks. Keith Scott especially deserves an extra mention because of his superb guitar playing and his crowd pleasing and show stealing antics while he solos. The other thing he does is take the pressure of Bryan Adams and allows Adams to step back from time to time, engage with the audience and get a kick out of his guitarist’s antics. This complete set is the perfect reminder that not only has Bryan Adams written songs that soundtracked the eighties but that he continues to do so and that he puts on a damn fine live show.

Often depicted as an eighties icon who came and went in that time Bryan Adams continues to be a major artist and a bit of a polymath. As well as continuing to make excellent records and adding to his catalogue he’s a sought after portrait photographer, has written music for movies, and collaborated on the music for the stage version of ‘Pretty Woman.’ How many of the more feted bands who’ve come and go over the time between these albums would love to still be able as adored as Mr Adams is and to still be able to sell out arenas tour after tour.

Christmas is coming and this box set would make the perfect gift for any Bryan Adams fan.

Bryan Adams Live At The Royal Albert Hall 2024 Box Set is released on 15th November 2024.

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