Last in Line's 'II' - Album Review

Reunions are an ever-present occurrence in the rock and metal worlds. Bands who have been around for a number of years, who have often had lots of defined 'eras' in their careers with band members coming and going, are often tempted to recapture some of their glory years by reforming old line-ups and striking out - sometimes - with renewed energy. There have been lots of big successes, and many big failures, that can be written about in great detail - but the truth is that some just lead to something more middle of the road. While not a true 'reunion' as described here, the American metal act Last in Line can certainly fall into the category. Formed in 2012 by three of the four original line-up of the legendary Dio, Last in Line started out as purely a live entity. Guitarist Vivian Campbell (Sweet Savage; Dio; Whitesnake; Shadow King; Def Leppard; Thin Lizzy), bassist Jimmy Bain (Rainbow; Wild Horses; Dio), and drummer Vinny Appice (Black Sabbath; Dio; Heaven & Hell; Kill Devil Hill) were all key cogs in the early success of the Dio band. Formed in 1982 by Ronnie James Dio after he left Black Sabbath, Dio would go on to release some bona fide classic albums throughout the 1980s - some of which remain heavy metal staples to this day. While Dio was undeniably the driving force behind his own self-titled band, the band's early years was more a collective than it would become. Campbell and Bain in particular contributed hugely to the songwriting of those early classic albums, and even Appice had a lot to do with the sound and style of those early releases. Dio took more and more control over his band as time went on, which led to Campbell leaving in 1986 and the classic era of Dio was over. Bain and Appice stuck around for a while, and lots of the other Dio releases that came out in later years were packed full of great songs, but nothing ever topped those early albums. Last in Line was born as a result of Campbell, Bain, and Appice wanting to play those old songs live again, so they recruited singer Andrew Freeman (Hurricane; Lynch Mob) to handle the vocals. The live shows went down well, so the release of new music was inevitable. 2016 saw the release of Heavy Crown (which I reviewed here), a solid album that I enjoyed at the time but it was never going to set the world on fire. Sadly however, Bain passed away a month or so before the album's release - leaving only two of the original trio remaining. As a final studio album by a veteran musician, Heavy Crown is a strong effort. There are memorable songs to be found on the album, despite a fairly weak production. Three years on, and the band have now released their second original offering II. Journeyman bassist Phil Soussan (Wildlife; Ozzy Osbourne; Billy Idol; Beggars & Thieves) joined the band for the Heavy Crown live shows and has remained in the band for II. I was interested to see where Last in Line would go for their second album, but sadly I have to say that I am quite disappointed with the results. The production is still quite weak, once again courtesy of Dio alumnus Jeff Pilson (Dokken; McAuley Schenker Group; Dio; Foreigner), and the songwriting well seems to have run dry. There are a handful of memorable songs here, but unfortunately much of this album just passes by without making much of an impact at all.

The album opens with an atmospheric intro, which is reminiscent of the openings to many of Dio's classic slower numbers. The doomy keyboards create a strong feeling, but sadly they do not set the tone for the album. As with Heavy Crown, the use of keyboards is limited throughout the album which in my opinion contributes to the weak production. Many of the songs here could do with the depth that keyboards give, and it is a shame that the intro piece is one of the only parts of the album to make good use of them. That being said, the opening song proper - Blackout the Sun - is a strong effort. It leads on from the intro nicely, and sees Campbell laying down a muscular riff earlier with help from Appice's leaden drumming. While certainly no Dio, Freeman has proved himself as a capable frontman and a strong singer. He is able to inject some soul into his delivery when required, with the verses here benefiting from that. The song is missing a great chorus however, with a repetitive hook being used instead. It does work to an extent, but a proper chorus would have been better - especially given the song's mid-paced feeling. The highlight here though is Campbell's first solo of the album, which is a tasteful display of restraint - showcasing lots of subtle phrasing that befits the song's speed. Landslide is similar, and is another enjoyable song that picks up the pace a little and allows Soussan's bass more prominence in the mix. He drives the verses with a pulsing rhythm, while Campbell's guitar adds colour with effects-heavy chords. Unfortunately the chorus here is also not great, with things slowing down for another fairly repetitive hook. That being said, Campbell's little guitar melodies during the choruses are great, and add a little touch of the blues to the song. Despite lacking a killer chorus, this is still a memorable song and one that manages to create a bit of an atmosphere. Gods and Tyrants, after a clean guitar intro and a riff that really could be with being properly cranked up, moves forward into a somewhat bluesy, bass-heavy verse that feels a little limp. This song does at least attempt a chorus, and features a mean shredded solo from Campbell that certainly recalls the style that he employed on those Dio albums in the early 1980s, but my main issue with the song is how it sounds. This should be a much heavier song than it is, with a crunching production than it is - but sadly it sounds as if the song has been recorded through old 1950s amplifiers with no effects added. This song should roar out the speakers, but it does not. This is a common problem across the album, and Year of the Gun just exemplifies this further. The song has a great build up, with Appice's drums creating tension and pace, but the guitar tones are so flat and the atmosphere just is not there! It is a real shame, as the song has a nice pace to it and the riffs are quite strong, they are just held back by the weak production. Freeman delivers a great vocal here, including a particularly impressive long, rough note just before the main solo, but the lack of big harmonies and melodies just means his efforts never truly catch on.

Give Up the Ghost is better however and features a strong groove throughout, and a dirtier overall tone. Campbell's guitar actually has some bite to it, and his riff that drives the song really brings back memories of some of those tough early Dio tracks like Straight Through the Heart. There is a slight blues overtone still, but it works in the context of the song as Campbell grinds out the groove and Appice's booming drumming really pours through the speakers. After two flatter songs, it is great to hear Last in Line sounding mean and fired up. Campbell's solo is great also, with some early 1980s squeals thrown in for good measure to further add to the song's retro feel. This is easily one of the best songs here, and could be the direction the band should focus on going forward. The Unknown opens with a muted little guitar melody, but this soon gives way to a slower verse featuring lots of long, strummed guitar chords and a somewhat strange-sounding lead vocal. Freeman sounds fine, but some of the harmony vocals seem a little off-key which gives the song an amateurish sound - which is a shame. After the album started to find its feet somewhat with Give Up the Ghost, The Unknown undoes that hard work. A couple of riffs here are strong, especially the one that leads into the main chorus - but overall this song is a bit of a trudge that suffers from the same flat production issues as described earlier, but now with added weak vocals. It is a song that probably could sound pretty good if it was recorded in a different way, but sadly as it is it makes little impact. Sword from the Stone opens with a strong Campbell riff, hamstrung as usual by the production, but it makes an impact none-the-less. This is another strong mid-paced track, and would sound better in the hands of a different producer, but it is still another enjoyable song. The chorus attempts to recapture some of the epic nature of the lengthier Dio tracks of old, and the chopping riffing helps to further that feeling. It is the album's longest song, at just over six minutes in length, so it is fitting that it should recapture that sound. It is no Egypt (The Chains are On), but it is still a strong effort. My point about the keyboards stands here though. This is a song that needs that big, doomy backing to further its atmosphere, but sadly that is lacking. The guitars do help to extent, but some swirling synths would have really helped overall. Electrified is the only really fast effort here, so it stands out as a result and does make an impact. Again, it does not compare to those Dio numbers of the past, but it has a strong energy of its own. Much of this album is very one-paced so this song comes along to give II a much-needed shot of energy. The chorus is pretty good, and unsurprisingly Campbell launches into a fast, shredded solo part-way through that allows him to showcase his skills. He does not get too many opportunities to really shred during his day job with Def Leppard, so it is nice to see that he has not lost any of his old skills.

Love and War opens with another strong riff, and overall this is another enjoyable piece. It returns to the mid-paced nature of the album, but sees a heavy blues feel employed that fits the Last in Line sound well. The guitar tone is a bit meatier here, and this helps the song to pack more of a punch. Anyone who has followed Appice's career will know that he is a hard-hitting drummer, and that style is on display perfectly here. His heavy-hitting beat fits in nicely with the heavier riff, and helps to make the song one of the album's more memorable offerings. It has a pretty solid chorus too. While the melodies could be a little catchier, Freeman does well and injects some soul into the proceedings. False Flag has a heavier overall feel, and opens with Soussan's powerful bassline that really grinds its way out of the speakers. Freeman's spookier vocals sound great too, which is something that is not heard anywhere else on the album, and when the album picks up the pace it has some real power behind it. Many of the songs on this album are pretty one-dimensional, and do not really challenge the listener, but this one features a more dynamic arrangement. The slower sections and the pacier moments sit well together, and help to create a more well-rounded song that allows everyone more of a chance to show off. I would like to see more songs like this going forward from Last in Line, as it is infinitely more interesting than many of the offerings here. The album comes to a close with The Light, another mid-paced piece that seems to attempt at that 'epic album closer' sound, but never quite pulls it off. There are some decent riffs here, and a bit more atmosphere in places, but overall it sounds very similar to much of the album. The chorus is one of the better ones however, and does feature some melodies that stick in the head. As a result, the song does work as an album closer, but I do not think the song is quite as epic as the band think it is. It is a bit of a showcase for Campbell however, who has a couple of quite lengthy solos during the song. He is a great guitarist, so it is a always a treat to hear him play. His closing effort is excellent, and allows the song - and album - to fade out on a high. Overall, as discussed, II is a bit of a frustrating listen. There are some strong songs here, but there are too many that are too one-paced with nothing to distinguish them from the others. The production lets the album down too. I am a fan of Pilson as a songwriter and musician, but I am not convinced by him as a producer. This is a flat-sounding album, and I feel the band should work with someone else next time to allow them to make an album that befits the songs. Many of these songs would sound better with a meatier production. II is not essential listening for anyone other than die-hard Campbell fans. His playing throughout is strong, but the songwriting is not consistent enough to appeal to the casual listener.

The album was released on 22nd February 2019 via Frontiers Records. Below is the band's promotional video for Blackout the Sun.

Kamelot - Birmingham Review

After ignoring the UK for pretty much the entire Haven touring cycle, the American prog/power metal forerunners Kamelot seem to be making up for lost ground recently. A prominent slot at last year's Bloodstock Open Air was quickly followed up by a headline appearance in London, and both of these shows were excellent. The band spent nearly the whole of last year on the road supporting their most recent album The Shadow Theory, so I had not expected to be seeing the band again for a little while. Towards the end of last year however, the band announced another short run of European headline shows, which ended with three UK dates. One was a small Welsh metal festival, but the other two were stand-alone headline shows in Manchester and Birmingham. With the exception of occasional festival appearances, Kamelot have not played a headline show outside of London for probably around ten years so it was great to see them finally venturing out of the capital again. They are certainly one of the more popular melodic metal acts currently touring, so their decision to constantly under-represent themselves in the UK was a strange one. Manchester and Birmingham are not exactly wild-card choices either, but their inclusion on the tour was certainly a welcome one. While not a problem for me, there are lots of people who do not enjoy travelling to, and staying in, London so I would not be surprised if a few fans who had not managed to catch the band live for a while bought tickets to these two shows. Being a Friday, I opted for the Birmingham show. While I do not seem to visit Birmingham as often as I used to, I always enjoy visiting the country's second-biggest city. When I was at University in Leicester I would often visit Birmingham, so it is always nice to return. The venue chosen was the O2 Academy 2, a venue which I had only been to twice in the past - and both of those times were to see Iced Earth. The venue does not hold many good memories for me, and in fact the second occasion in 2014 was memorable for all the wrong reasons. Despite both of their support bands sounding fine, Iced Earth had possibly the worst live sound mix for a big 'name' band that I have ever heard. As a result, lots of the fans were unsurprisingly unhappy and the band knew it - which just led to a rather lacklustre evening all round. I was not really looking forward to returning to the venue fearing something similar would happen this time too, but thankfully that was not to be the case as all three bands sounded pretty good and the sound was nice and clear all night.

With the doors opening at 6pm, and the first support band taking to the stage only around half an hour later, the venue seemed a little sparsely-packed at first - but those who had turned up early were treated to an excellent seven-song set from Austria's Visions of Atlantis who opened the evening. Despite having been around for the best part of two decades, I only really started to listen to Visions of Atlantis recently. They are a band who have always seemed to have trouble keeping their line-up together and momentum going, and have suffered more than their share of false starts in their career. Thomas Caser (drums) is the band's only constant member, and the current line-up is mostly made up of new faces. Of note however is co-frontwoman Clémentine Delauney, who is quite well known in the power and symphonic metal scenes, who has fronted Visions of Atlantis for around five years and was the star of last year's album The Deep & the Dark. Of the band's seven-song set, five tracks came from this latest album, with the other two coming from 2011's Delta. The Deep & the Dark is the only album of theirs that I really know, so it was great to hear so many of those songs live. The title track got things off to a great start, and the heavier Words of War hit the spot later with co-frontman Michele Guaitoli taking a larger share of the vocals. There was no debate that Delauney was the real star of the show however, and she showcased her excellent voice on the slower The Last Home to great effect. It was a bit of a shame however that so much of this song relied on backing tracks. Visions of Atlantis do not have a live keyboard player anymore, so piano ballads mostly rely on pre-recorded keyboards. Despite the strong vocals, this was certainly the set's low point, but things picked up with the epic older Memento which showcased some more operatic vocal styles and a more progressive approach. Christian Douscha (guitar) had a bit of a chance to show off here, before the set's last number Return to Lemuria picked up the pace once more for a true piece of power metal bombast. The crowd had grown throughout the band's set, and it seems that most had enjoyed what Visions of Atlantis had to offer as they received a big cheer as they left the stage. The setlist was:

The Deep & the Dark
New Dawn
Words of War
Book of Nature
The Last Home
Memento
Return to Lemuria

Sweden's Evergrey were up next, a band with considerable pedigree in their own right. The progressive metal five-piece had longer on stage than Visions of Atlantis, and made the time count with an eight-song set that focused on their recent material. I had seen the band a couple of times before, but this was the best showing yet with a really strong setlist and a clear live sound that brought out the best of the band's dense, atmospheric sound. They opened with two songs from The Atlantic, the album they released earlier this year, which really helped to set the tone for the next fifty minutes or so. Rikard Zander (keyboards/vocals) was high in the mix, which helped to keep the band's sound nice and atmospheric, and Tom Englund (vocals/guitar) really was in fine voice. It is his vocal delivery that helps set Evergrey apart from other progressive metal acts, with his emotional delivery really bleeding through live. The band have upped the heaviness somewhat recently, with allowed Englund and Henrik Danhage (guitar/vocals) to really crank out some doomy riffs. The latter in particular really impressed, and peeled off shredded solo after shredded solo throughout the night - easily taking the crown of guitarist of the evening. I was down near the front for the entire evening, and there were clearly quite a lot of Evergrey fans around me. There was plenty of us belting out the slow chorus to Distance, and the new single Weightless was a real early highlight. It is one of the band's more overtly-catchy pieces, and it worked really well in a live setting. Another highlight was the crushing semi-ballad All I Have, with the Gojira-esque riff really getting some heads moving down near the front, before everything fades away for the mournful, light chorus. It is a great representation of the modern Evergrey sound, before A Touch of Blessing gave us a reminder of their older sound with twin guitar leads and a less suffocating sound. It was the only older number featured in the set, which shows that Evergrey really want to present where they are now rather than where they were. Since this particular line-up of the band got together in 2014, they have been on a real run and it shows. It is a shame that they still need to mostly play second fiddle over here in the UK, as I would love to see one of their own headline shows. A Touch of Blessing would have been a great ending, but the closing number was King of Errors, one of my very favourite Evergrey pieces. It has a fantastic chorus which was sung by a lot of us down at the front, and it allowed Danhage one last chance to solo. By this point the venue was full, and nearly everyone was on board with what Evergrey were doing. They received a great reception from the crowd, and I hope this reaction will encourage the band to book some UK headline shows soon! The setlist was:

A Silent Arc
Weightless
Distance
Passing Through
My Allied Ocean
All I Have
A Touch of Blessing
King of Errors

Seeing Kamelot for the third time in less than twelve months was a real treat. It is only usually bands like Mostly Autumn and The Quireboys that I get to see with that kind of regularity, so it was nice to get another chance to see Kamelot so quickly after their London show back in October. As with the two shows last year, the night opened with Phantom Divine (Shadow Empire), the lead single from their latest album. While The Shadow Theory is certainly not one of the band's best albums, it has a few standout tracks and Phantom Divine (Shadow Empire) is one of them, It is a great set opener too, and gives the whole band a chance to rock from the off. Frontman Tommy Karevik took to the stage in a hood to perform the moody verses, before exploding into the big chorus with ease. Touring vocalist Lauren Hart also took to stage during the song and performed some great growls during the song, and helped Karevik to fire up the crowd early on. As with the show in October, the setlist was largely focused around the band's more recent albums, although a few songs - such as following number Rule the World - that were from the pre-Karevik era of the band. The only disappointing thing about this show was that the band had not really changed the setlist much between the two European tours. A couple of songs were played in Birmingham that were not played last year, but on the whole it was the same. In my opinion, songs like Rule the World, The Great Pandemonium, and March of Mephisto - while all great songs - have been played to death now. For a band with such a rich back catalogue, it is a shame that they seem to rely so heavily on a handful of standards. That is why the newer material stood out the most for me, with tracks like Veil of Elysium and the excellent new Vespertine (My Crimson Bride) - one of the songs not played last year - standing out the most. I also liked the slightly re-arranged version of End of Innocence that was played. It started off with Karevik accompanied only by Oliver Palotai's piano for the first verse and chorus, before the rest of the band came in from then on. It worked well, and was a nice twist on a song which has never been a particular favourite. Another highlight was the older Center of the Universe which has always been a favourite. The band do not really go in for that straight ahead power metal sound so much these days, so it felt like a real throwback. Karevik took the chance to hit some higher notes, and bandleader Thomas Youngblood (guitar/vocals) impressed with a shredded solo. Palotai and new drummer Alex Landenburg then got a chance to show off with short keyboard/drum play-off, before the band exploded back in with Sacrimony (Angel of Afterlife) - another favourite. Hart and Clémentine Delauney added the female vocals, although the latter's microphone did not seem to be really working so sadly she was only really heard towards the end. Amnesiac and a rousing version of Forever, which featured lots of crowd interaction, then brought the main set to a close. The band were running out of time by this point, so instead of leaving the stage for an encore just launched straight into Liar Liar (Wasteland Monarchy). The heavy song has become a real fan favourite in recent years and gave everyone a chance to rock out one last time. It brought a great, high-energy show to a close and the capacity crowd certainly went away happy. The setlist was:

Phantom Divine (Shadow Empire)
Rule the World
Insomnia
The Great Pandemonium
When the Lights Are Down
Veil of Elysium
End of Innocence
Vespertine (My Crimson Bride)
March of Mephisto
Center of the Universe
Keyboard and Drum solos
Manus Dei
Sacrimony (Angel of Afterlife) [w/ Clémentine Delauney]
Amnesiac
Forever
Liar Liar (Wasteland Monarchy)
Ministrium (Shadow Key)

Despite my qualms with the setlist, it was great to see Kamelot again so soon and, performance-wise, this was probably the best of the recent shows of theirs that I have seen. The live sound mix was great, and the whole band seemed really up for the show. Pulling a good-sized UK crowd outside of London certainly seemed to please the band too, and I hope that they consider other UK cities in future when planning European tours. After the show, both Evergrey and Visions of Atlantis were hanging around near the merch desk so I managed to get my copies of The Atlantic and The Deep & the Dark signed - which was an added bonus!

Dream Theater's 'Distance Over Time' - Album Review

When considering progressive metal, there is arguably no band more important than Dream Theater when it comes to forwarding the genre and helping to maintain it's popularity. Since 1985 Dream Theater, or Majesty as they were known then, have continually been at the forefront of the genre. They took what bands like Queensrÿche and Fates Warning had done before them and made it big business. Nearly 35 years on, Dream Theater a real world force. In a UK context, with which metal has often had a rocky relationship, Dream Theater are a big deal. Their tours often take in large theatres (and sometimes arenas) and their albums often reach respectable chart positions. There are few metal bands outside those who are either genuine living legends or those who have successfully broken into the mainstream who enjoy this kind of success in the UK - making Dream Theater some what of an anomaly. The band are certainly not household names, but have amassed an army of fans over here. As a result, the release of a new Dream Theater album is often an exciting prospect. Unlike many bands who have been in the business for well over three decades, Dream Theater have kept up a regular release schedule. Especially in recent years the band have released a new album every two or three years which, along with often drastically shaking up their setlists from tour to tour, has helped to keep the band's loyal - but notoriously vocal fanbase (mostly) satisfied. This remains true in 2019 as, despite releasing an epic two-disc rock opera in 2016, last month the band unleashed their fourteenth studio album, titled Distance Over Time, into the world. It is often thought that, in some cases anyway, that a band's recent studio album is in many ways a reaction to their previous effort. With Distance Over Time that certainly seems to be the case. The short run time, compared to the band's usual CD-filling lengths in any case, and the more direct approach to songwriting certainly feels like the antithesis to The Astonishing (which I reviewed here) - the aforementioned epic rock opera. Dream Theater's work often divides their fanbase, but The Astonishing certainly seems to be their most divisive work to date. Clocking in at well over two hours in length, The Astonishing is mammoth task to sit through for even the band's most hardcore fans. I really like the album, and in fact included it in my 2016 Albums of the Year list, but I can understand why some did not enjoy the more 'musical theatre' approach taken by guitarist John Petrucci and keyboardist Jordan Rudess on it. The Astonishing was clearly a labour of love for Petrucci, who was assisted by Rudess musically, but Distance Over Time returns to a more band-orientated approach with all five members once again contributing to the songwriting. The somewhat mixed reaction to The Astonishing has almost certainly contributed to the heavier, more in-your-face sound employed throughout Distance Over Time, and the album showcases a leaner Dream Theater and one that is not afraid keep things relatively simple.

A chiming, moody guitar melody opens the album, but it is not long before lead single Untethered Angel showcases its power with a muscular Petrucci guitar riff and a simple - but hard hitting - drumming display from Mike Mangini. Dream Theater are always a relatively heavy band, but this album seems to once again showcase that side of the band's sound. As a result there are a lot of comparisons that can be drawn between this album and 2003's Train of Thought, but I think that overall the sense of melody is much strong here. By Dream Theater standards, this opening number is fairly simple. A bass-heavy verse allows frontman James LaBrie's vocals to breathe a little, despite being somewhat obscured by some strange effects, with everything ramping up for an anthemic chorus. Fresh from probably his best ever vocal display on The Astonishing, LaBrie once again sounds excellent throughout the album. The chorus here is a fairly typical Dream Theater fare, but it is packed full of strong melodies. Rudess' keyboards create a dense backing, and the riffs generally take a backseat to allow the vocal melodies to flourish. Not wanting to be outdone however, both Petrucci and Rudess are given chances to show off in a lengthy instrumental section that includes some impressive shredded guitar lines and some retro synths. The band are known for their instrumental prowess, and there is still plenty of that on display throughout the album for those who enjoy the virtuosity. Paralyzed is an even simpler song, and opens with an almost Pantera-like riff that soon explodes into a solid mid-paced rocker that is packed full of of strong grooves and heavy overtones. Dream Theater have often been criticised in the past for burying John Myung's bass in the mix, but this is a not a critique that can be levelled at this album. Myung is audible and powerful throughout this album, and his low-end rumble really adds heaviness to the piece, and is a great counter to Rudess' subtle piano lines that stops the song from becoming a pure metal assault. This is a definitely a piece for the headbangers however, despite a strong performance from LaBrie. I can imagine this is a song that will soon make itself at home in the band's live set, and will allow everyone to let themselves go for around four minutes before the ban return to 'business as usual'. Fall into the Light is a more progressive piece that opens with a fairly basic guitar riff, but the rhythms and drum patterns than continually change underneath it really help to bring the best out of the motif. Despite the heavier opening, the verses scale things back a little with some pulsing keyboards and a more 'honest' vocal display from LeBrie without all the effects. In many ways, this seven minute long song feels like everything the band are good at crammed into a short space of time. The choruses are slower, and dominated by some big ringing piano chords, and there is a choppy instrumental section with some more excellent keyboard section. The highlight of the song for me is the Metallica-esque breakdown about two thirds of the way through. If you imagine the slower part in the middle of Master of Puppets then you will not be far out style-wise, and this gentler section has much the same effect here. It is a great piece of calm in what is otherwise, largely, a hard-driving album.

Barstool Warrior opens with one of the bands Rush-inspired riffs, and the piece slowly builds around the hypnotic guitar part with keyboards and percussive drums adding both melody and weight. It contains one of the most typical 'Dream Theater' intros of the album, with chaotic flurries of notes sitting side-by-side with gorgeous soaring guitar leads to create that powerful and technical sound that the band have become known for over the years. Despite this progressive heaviness, much of the song is actually fair lightweight. The verses feature a simpler version of the opening riff, but mixed into the background to allow the vocals to stand out, and the choruses have that more 'epic' feel with LaBrie delivering an excellent vocal display. In fact the style of the song is very similar to much of what was found on The Astonishing, but with the heavier, more progressive intro which should please those who found the band's previous album somewhat one-dimensional. Room 137 is another shorter, heavier piece but is significant in the sense that is features the first set of lyrics written for the band by Mangini. The lyric writing has been fairly evenly spread out on this album, which is good to see and I am glad that Mangini has finally had the chance to contribute. Despite the heaviness, this is often not a particular fast piece. The verses certainly have a certain pace to them, but the rest of the song slows things down with an-almost Black Sabbath feel. The doomy riffs, backed up by Rudess' atmospheric keyboards, really add to the album's overall heaviness. As a result it feels quite unlike anything else on the album, and adds another dimension to what is already a surprisingly varied collection of songs. S2N brings back more of a progressive vibe, and opens with a great bass riff from Myung that soon morphs into an all-out aural assault with Mangini laying into his kit. The chorus might be my favourite of the album, and again slows things down a little to allow LaBrie to inject some real emotion into the piece. The melodies are extremely catchy, which is in great contrast to the rest of the song as moments of virtuousic shredding often come out left-field to dazzle the listener. The combination of soaring melodies and the technical wizardry has served the band well throughout the years and does so again here. The song is one of my favourites on the album and it includes some of the most draw-dropping instrumental passages also. Myung really plays out of his skin here, and he also co-wrote the songs lyrics making this one of his real all-round showcase pieces. At Wit's End is the album's longest song at just over nine minutes in length, so unsurprisingly shows the band at their most progressive. The intro is full of the chaotic instrumental runs that the band has become known for, while the verses is slower and heavier to allow the vocals to shine. Despite the more progressive tendencies here, there is still plenty of melodies to enjoy and the overall pace of the piece is good with Mangini often laying into his double bass drums. This is another song that really does have a bit of everything, with strong grooves rearing their heads occasionally and some excellent power metal keyboard soloing adding some 1980s neo-classics feelings. This is a contrast to the beautiful piano section that comes later on in the song, meaning that this piece really allows Rudess to showcase all the different sides to his playing.

Out of Reach is the album's ballad, and is typical of the ballads the band have written in the past. LaBrie employs his 'breathy' vocals throughout to aid the overall floaty feeling of the piece, and the gorgeous guitar/keyboard combination that forms the musical basis of the song is truly wonderful. Over the years many people have criticised Dream Theater for being too emotionless, which in my opinion could not be further from the truth. Songs like this are packed full of emotion, and LaBrie is a singer who is able to convey those feelings with ease. It is not just LaBrie however that contributes on this front, as Petrucci's guitar playing is often straight out of the David Gilmour songbook here with a fabulous less-is-more approach. A slow, soaring solo early on in the song might be one of the best guitar moments on the album, and shows that he can do emotional and gorgeous as well as technical and impressive. It is a lovely song that allows everyone to take a breather after the lengthy At Wit's End, and to get their strength back before the equally lengthy Pale Blue Dot. This is the last song on the standard edition of the album, and features some fast double bass drumming in the early moments before Rudess' dancing keyboards join the fray for some progressive melodies. This song is probably slightly heavier overall than At Wit's End, providing a bit of a difference between the album's two more epic pieces. There are some really grinding, heavy riffs here - but Rudess is never too far away with some retro synths and keyboards to add some of his technically impressive but smile-inducing playing. That being said, his keyboards can really add to the heaviness too, adding a discordant counterpoint to Petrucci's guitar stabs to create an unsettling sound at times. There is some evidence of this during the heavy chorus, although the orchestral backing really helps to make everything sound that bit bigger. LaBrie sounds at his most sinister here too, which harks back to the Train of Thought album quite a lot. It is a powerful song, and one that rounds out the album perfectly with heavy overtones and great performances all around. I do not usually include bonus tracks in my reviews, but the bonus number Viper King is so good that I cannot not mentioned it here! It sounds like Deep Purple on speed, with a great driving keyboard riff and a simpler overall feel that often sees the instruments drop out to allow LaBrie's voice to shine. This is a very bluesy classic rock thing to do, and the band's love of all of those old bands is really on display here. Even the lyrics, which are apparently about a car, seem to recall Deep Purple's Highway Star a little - further hammering home those classic rock influences. While Pale Blue Dot is the album's true ending, this is a fun song that really should not be missed. If your version of the album does not have it, download the MP3 from Amazon! Overall, Distance Over Time is another excellent album from Dream Theater that sees them shedding some of their overblown tenancies to focus more on the melodies and riffs. Many will see this album as a bit of a return to form after The Astonishing, but for me it is more like business is usual and I am glad to see the band still firing on all cylinders.

The album was released on 22nd February 2019 via InsideOut Music. Below is the band's promotional video for Untethered Angel.

Avantasia's 'Moonglow' - Album Review

When it comes to overblown, yet seriously melodic, metal music, Germany's Tobias Sammet is easily one of the songwriters of the genre. He released his first album, Edguy's demo/debut album Savage Poetry, in 1995 and has been cranking out album after album of accessible, yet impressive, heavy metal ever since. Edguy has always been his 'band', but in 2001 he released an album called The Metal Opera under the name Avantasia. While still seen as a bit of a 'project', Avantasia seems to now be Sammet's main focus - and has been for probably the past 5 or 6 years. From the fairly humble beginnings on The Metal Opera, and its 2002 sequel, Avantasia has grown into a monster. Sammet remains the only true member of the group, and its songwriter, but over the years many of metal's biggest names have lent their talents to the albums. Each album features multiple singers, who often take on characters in Sammet's stories, with musicians often also contributing additional guitar solos etc. This ever-changing roster of singers has helped to keep Avantasia interesting, despite the fact the songs largely stick to the same formula from album to album, and has allowed Sammet to write parts that would not sit well on your average Edguy album. The last Avantasia album, Ghostlights (which I reviewed here), was released back in 2016 and was my Album of the Year. In retrospect I think Marillion's Fuck Everyone and Run should probably have been given that accolade, but nevertheless Ghostlights is a fantastic album. It contains a few of my favourite Sammet compositions to date, so naturally I was looking forward to his follow-up. I had rather hoped that a full-blown Edguy album would be his next priority, but a handful of new tracks on a compilation album was sadly all that we would get! It would seem that Edguy is well and truly on the back-burner these days, with Sammet pouring all of his attention into Avantasia. With this in mind, we move on to Moonglow - the latest Avantasia opus. It was released last month, and it is the eighth album that Sammet has released under the Avantasia name - not bad for a side project! Many of the usual Avantasia faces have returned here, including producer Sascha Paeth on guitar duties and Michael 'Miro' Rodenberg tackling the keyboards. Edguy drummer Felix Bohnke once again mans the drum kit, and the cast of vocalists is made up of some familiar faces as well as some new ones. I have written on this blog many times that Sammet is one of the most consistent songwriters in metal today. While that statement still holds true, I feel that Ghostlights is the first Sammet release for a while that I have been a little disappointed with. This is not a bad album by any means, and there are still quite a lot of strong songs here, but I do not think that it holds together as well as the last two Avantasia efforts or the last Edguy album. All the ingredients are certainly here, but overall it feels somewhat less inspired. It has grown on me a fair bit over repeated listens, but it is not quite up to Sammet's high standards.

The album opens with the lengthy Ghost in the Moon. Usually Avantasia's longer songs allow Sammet to make use of plenty of the vocal talent on offer, but this number sees him singing the whole song alone. It opens with a rolling piano melody, with Sammet's gentle vocals crooning atop it, but it is not long before things ramp up with an epic choral backing, soaring guitar leads, and Bohnke's heavy drumming to add some drama. Ghostlights opened in Steinman-esque fashion, and that influence is clear once again here. Miro's piano is ever-present throughout the song, and the big choir helps to boost Sammet's voice where necessary. There is plenty of drama and bombast to be found here, and the chorus - as is usual with Sammet's songwriting - is packed full of memorable melodies. It is the first real highlight of the album, and helps the lengthy number to retain interest from the off. It would have been good to hear some of the other vocalists contribute to the song, but Sammet is more than man enough for the task. Book of Shallows introduces some of the album's vocalists, with Avantasia debuts handed to Hansi Kürsch (Blind Guardian; Demons & Wizards) and Mille Petrozza (Kreator) - who both make their mark on the song. It opens with a dark-sounding guitar lead, and Bohnke soon takes off into a furious double bass drum pattern that really sets the tone for the piece. It is one of the heaviest Avantasia tunes to date, which is fitting given Kürsch's soaring contributions and the gritty delivery of Ronnie Atkins (Pretty Maids; Nordic Union) during the choruses. As much as I like Atkins, I feel his vocal contributions throughout this album are somewhat overshadowed by others'. In fairness though, throughout this song he has to compete with Kürsch and Jørn Lande (Ark; Masterplan) - which is certainly no easy task! Petrozza's fairly small contribution is also effective, with a pseudo-thrash section added in towards the end of the song for his characteristic bark. It sounds a little silly in the context of the bombastic power metal album, but it does add some heaviness. The melodies throughout the song are not up to the band's usual standards, but the performances help it to still stand out. The simpler title track follows, and sees Sammet duetting with Candice Night (Blackmore's Night). The song is a short and sweet piece of pop metal with a sugary chorus and a lack of any of the bombast that generally graces Avantasia numbers. This is not a bad thing however, as it allows the catchy melodies to shine, and Night in particular makes the song her own. The chorus is sure to stick with anyone after they hear it, and it is great to hear a woman singing an Avantasia song that is not the token ballad!

The Raven Child feels like the centre piece of the album, and once again features Kürsch and Lande in prominent vocal roles. It starts slowly, with Kürsch and Sammet duetting over a fairly gentle and folky backdrop, but after a couple of minutes a dramatic riff and orchestral combo kicks in to bring some real power. From this point on the song alternatives between hard rocking sections and folkier moments reminiscent of the intro to great effect. Many of the classic Avantasia tropes are present here, with Kürsch in particular really hamming it up for that dramatic power metal effect. Trademark Sammet choruses are in somewhat short supply on this album (they are mostly front-loaded), but this song has one of the album's best. It is a lengthy, two-part chorus that is one of my favourite moments on the album. The melodies just hit the spot perfectly, with the little folky bridge that joins the two parts feeling jaunty. There is also a blistering instrumental section that includes guitar solos from both Paeth and Oliver Hartmann (At Vance). My only criticism of the song is that, at over 11 minutes, it is too long. There is certainly some fat that could have been trimmed without sacrificing any quality, and it is that that stops this from being one of the all-time great Avantasia epics. Starlight is almost the opposite. It is a short track, but adds almost nothing to the album. Sammet and Atkins share the vocals, but sadly the pair are unable to conjure up any truly memorable moments. Musically the song is quite flat, with a fairly tame symphonic rock riff, and a chorus that would sound alright on a third division power metal album but Sammet is capable of much better. It is songs like this that let Moonglow down somewhat, but it is only a short piece so does not take up too much listening time! In contrast, Invincible is a strong despite it's short length. Geoff Tate (Queensrÿche; Operation: Mindcrime) handles most of the vocals here, and the moody piano-led piece is perfect for his current vocal talents. After many years giving poor performances, Tate seems to have upped his game recently and his efforts on this album are excellent. He injects lots of emotion into this piece, and it becomes a surprising mid-album highlight. It certainly does not sound like a typical Avantasia song, but the creeping darkness is a welcome addition to the overall mood. Tate and Sammet team up again on Alchemy which is more the band's typical fare, with a driving heavy riff and a swirling synths. Tate delivers a dynamic vocal performance that sees him sounding somewhat like his old self as Sammet provides more of a supporting role. The song's chorus is not as bombastic as is usual for the band, but has a bit of darkness about it that works well. This allows Tate's voice to shine, and the whole song really benefits from his performance. It also contains a great guitar solo from Paeth. This album is not peppered with solos, but this is one that stands out, making Alchemy one of the best overall offerings here.

Sadly the rest of the album fails to really live up to the already-established best moments. The fairly lengthy The Piper at the Gates of Dawn is certainly not bad, but the bombast is never fully matched by soaring melodies. Eric Martin (Mr. Big) and Bob Catley (Magnum; Hard Rain) are introduced here, but neither really get the chance to make their mark with Sammet and Lande dominating. Lande in particular stands out here with his foghorn voice, and the passable chorus is mostly Sammet's domain. This is a bit of a strange song, because it is not a bad effort at all - but when compared to nearly everything else released on the past two Avantasia albums it falls flat. It is also another song that could probably do with having a minute of so shaved from its run time. Lavender is the album's standard Magnum-esque pseudo ballad that allows Catley to have his star turn on the album, so it sounds eerily familiar to nearly every other Avantasia song that he has featured on previously. That being said, I always enjoy hearing Catley singing and Sammet does know how to write to get the best out of his voice. The Sammet/Catley combination always works well, and this song definitely seems to rock a little hard than their usual collaborations. The chorus here is particularly strong, and it is probably the last genuinely powerful moment on the album. If Catley ever does another solo album, I would love Sammet to write it for him as I think the results would be something quite special! The last original song on the album is Requiem for a Dream, a faster power metal number featuring Michael Kiske (Helloween; Place Vendome; Unisonic). It sounds like old-school Avantasia, with Kiske's voice sounding as smooth and clean as ever and Paeth laying down a few lightning-fast guitar leads to keep things interesting. Melodically the song is not as strong as it could be, but the chorus is enjoyable with Kiske pulling out all of the stops. He and Sammet have always made a great singing team, and their voices often blend together perfectly during the song - it is just a shame that the melodies are not as bombastic and overblown as they probably should be for the last original song on the album. To close the album, Sammet decided to record a cover of Michael Sambello's Maniac (as also covered by Firewind) with the help of Martin. At first I assumed this was a bonus track, but it is actually included in the album's main track listing so is considered part of the album! The song is a catchy number, but the cover feels a lot flatter than it should. Firewind's version was full of energy and did the song justice, but considering how over-the-top Sammet's work usually is I was expecting much better. It means the albums closes on a bit of a low note, which is shame. Most versions of the album finish with Maniac, but some versions include the short bonus track Heart which might win the award for the most boring Avantasia song yet, so avoid that one if your version has it! Overall, Moonglow is an album filled with highs and lows. There are some genuinely excellent songs throughout, and some excellent vocal performances, but the album runs out of steam about two thirds of the way through. Sammet has been so consistent up to this point so the disappointing parts of this album came as a bit of shock. Fans will still want to pick it up as it contains a few real highlights, but new fans should start elsewhere!

The album was released on 15th February 2019 via Nuclear Blast Records. Below is the band's promotional video for Moonglow.

Tyketto - Nottingham Review

New York's Tyketto are one of those bands who missed the boat. Their excellent debut album Don't Come Easy was released in 1991, by which time the star of melodic rock and AOR was certainly falling. It was still a bit of a hit for the band, but had it been released around five years earlier it probably would have been huge! Despite Don't Come Easy's success, Tyketto soon found themselves without a record deal and a second album recorded that looked destined to be shelved. Many things conspired against Tyketto's success, and by the time their second album Strength in Numbers was finally released in 1994 - the mainstream really was not interested. By this point alternative rock and grunge were the big game in town, and melodic rock was just no longer fashionable. This was a shame as Strength in Numbers is an excellent album. While not as instantly-memorable as the polished Don't Come Easy, Strength in Numbers saw the band rocking a little harder while still retaining their sense of melody. Bluesy rockers and acoustic ballads sat alongside AOR-esque anthems to make a well-rounded album. A year later however Danny Vaughn (vocals/guitar/harmonica/percussion) left the band and, despite carrying on with future Journey vocalist Steve Augeri, the 'classic' era of Tyketto was over. Fast forward a number of years however and Vaughn and Tyketto are very much back together, and have been for a while, and the band are enjoying plenty of popularity - especially with the rock fans of the UK. The band tour here fairly regularly and their shows are often well-attended - which is great to see considering their somewhat troubled early career. 2019 marks the 25th anniversary of the Strength in Numbers album, so the band decided to mark this occasion a run of UK shows that would focus the album played in full alongside other Tyketto classics. I missed the equivalent tour for Don't Come Easy a few years ago, so wanted to make up for it this time. The easiest show for me to make was the one in Nottingham's Rescue Rooms, a great smaller venue which I have been to many times over the years. Nottingham rock crowds are always great, and I always enjoy visiting the city. The show actually sold out a good couple of months before the date too, so I knew the atmosphere would be excellent.

Before Tyketto's set, the growing crowd was treated to 40 or so minutes from the Welsh melodic rock act Kane'd - a band I had heard of previously, but had never checked out. Fronted by three sisters, the seven-piece band had a very accessible and melodic sound. Having three quite similar singers did seem a little excessive, but it did allow for some big harmonies throughout their set - especially during the choruses which were often pretty anthemic. While not a heavy band, there was certainly a hint of melodic metal in Kane'd's sound too, with Harry Elliot (guitar) playing a few intricate metal-esque riffs and shredded solos throughout their set. Despite this, musically Kane'd were pretty simple. These are not technically progressive songs, but provide a catchy backdrop for the girls' vocal interplay. Structurally the songs were all pretty much the same, with the singers taking turns to sing each verse and all three joining forces to sing the choruses. By the end of their set things were starting to become a little predictable, but there was a lot of energy coming from the stage that it was hard not to get on board with what Kane'd were doing. It is clear that their formula works for them, and with many of the songs being built around big hooks that were easy to digest. Despite things getting samey towards the end, I enjoyed Kane'd time on the stage, and I certainly would not be averse to seeing them again.

After a fairly quick changeover, Tyketto took to the stage at 8pm to a swirling backdrop and immediately launched into Inherit the Wind, a strong riff-based track that allowed Chris Green (guitar/vocals) to get stuck in right from off. I had wondered whether the band would play Strength in Numbers in order or not, and they opted to mix the songs up. The main set contained most of the album with a few other goodies, with the encore containing the rest. Being a Saturday night, many in the crowd were really up for the show, and the atmosphere was electric as soon as the band took to the stage. Many of the songs played were not setlist regulars, but that did not seem to deter anyone. The crowd had clearly done their Strength in Numbers homework, and each song was greeted as warmly as the next. Meet Me in the Night, which was up next, was an early highlight and saw Vaughn really belting out the chorus as the rest of the band harmonised with him. The sound in the Rescue Rooms was excellent throughout the night, meaning that the band could be heard perfectly. Ged Ryland's (keyboards/vocals) shone when they were supposed to, and the bass from ex-Rainbow man Greg Smith added just the right of weight. It really helped bring the songs to life, and ballads like The End of the Summer Days especially sounded great with Vaughn's acoustic guitar adding depth. One of the real surprises of the night was the addition of Wait Forever to the set. The song is a Strength in Numbers era B-Side that I was not familiar with and had never been played live prior to this tour. It was a simple, melodic song but it felt at home in the set with its decent chorus and big Green riff. It was great to hear an old Tyketto song that I was not familiar with, and this was followed up by a re-arranged version of Wings - one of the band's most-known songs. The girls from Kane'd joined the band to perform backing vocals, and the song was re-arranged into an almost-pop/country style not unlike something that Bob Seger might come up with. It was nice to hear the song re-arranged, but I think I would have rather just heard the band play the song normally. It is one of their best songs after all, but it was fun to hear this new version. The rest of the set, with the exception of the closing number, was more Strength in Numbers material with Write Your Name in the Sky really standing out. The song has a lovely chorus, and it was great to hear it live. The end of the set saw many more well-known songs wheeled out, with Rescue Me, Strength in Numbers, and Forever Young bringing the main set to a close. These three songs saw some of the biggest crowd reactions of the night, with Forever Young often seeing the band drowned out by the singing crowd. A three-song encore followed, with the short ballad The Last Sunset segueing into the newer song Reach which was greeted as warmly as many of the older classics. It was left to the ballad Standing Alone, which appeared on both Don't Come Easy and Strength in Numbers for some reason, to close out the night. It gave everyone one last chance to sing, and brought a triumphant night to a close. The setlist was:

Inherit the Wind
Meet Me in the Night
All Over Me
Catch My Fall
The End of the Summer Days
Wait Forever
Wings [w/ Steph, Stacey, and Chez Kane]
Ain't That Love
Write Your Name in the Sky
Why Do You Cry?
Rescue Me
Strength in Numbers
Forever Young
-
The Last Sunset
Reach
Standing Alone

This was my third time seeing Tyketto live and it was a treat as always. The band are currently recording this whole tour with the intention of putting out a live version of Strength in Numbers in the future, so I shall be looking forward to that. I hope a couple of the tracks from Nottingham will make it onto the CD!

FM/Dare - Reading Review

After teaming up for a short run of UK shows last year, the UK-based melodic rock bands FM and Dare clearly enjoyed themselves so much that they decided to do it all over again! I saw the bands' tour last year, at the O2 Shepherd's Bush Empire in London, and it was an excellent evening of music. The two bands are very well-matched, with a crossover in fanbase, so doing co-headline shows certainly makes sense. I am a big fan of well-matched co-headline tours, as it allows bands to branch out a little, play larger venues, and share touring costs with other acts. These sort of tours also provide good value for money for the gig-goer, and that is probably why many of the co-headline tours that I have been to have been well-attended. This time around, the FM/Dare tour took in a few UK venues as well as a few venues in Spain - but I opted for the fairly un-exotic location of Reading. Despite having visited the town a few times previously, this was the first time that I had been to a gig there. The city's main small venue seems to be Sub89, an upstairs venue that looks as if it might be a dive but actually is pretty good. It was a decent-sized room with a long bar, good toilets, and a stage suitable for the venue of it's size. It also had a lovely big PA, which helped the two bands sound great throughout the evening. The sound was actually really good, with both FM and Dare having crisp, clear sound all night that had a great balance between all the instruments and the vocals. As I walked towards the venue I saw that there was already a large queue assembled, so I joined it. I had wondered what the turnout would be like in a place like Reading, but it turned out there were plenty of locals who fancied an evening of AOR. With no London shows for either bands on the horizon, I am sure there were a few who made the short trip out of the Capital too! Reading does not seem to get too lucky on the gigging front, which is shame as the town seems well-equipped to handled the smaller acts. It is certainly somewhere that I will keep more in mind going forward when it comes to planning trips away!

On the last FM/Dare tour there was an opening act, but there was not this time around. This meant that 20 minutes after the doors opened, Dare took to the stage and played through 70 minutes of their subtle melodic rock right off the bat. Luckily most people had turned up early and, despite taking a few numbers to really draw people in, Dare received a strong reception from the good-sized crowd. The setlist that frontman Darren Wharton and co. played was very similar to that which was played last year, with the first half containing the band's more recent, Celtic-tinged material and the second showcasing the band's hard rocking earlier albums. Five songs from 2016's excellent Sacred Ground got the night off to a great start, with Home getting things underway and the soaring Days of Summer impressing early on. Days of Summer is one of my favourite Dare tracks, so getting to hear it live again was a real treat. It is probably the song on Sacred Ground that is closest to the band's early work, and saw plenty of soloing from Vinny Burns (guitar/vocals). Wharton was suffering from quite a nasty cold, so was visibly struggling with some of the vocals, but he soldiered on through like the professional that he is and still put on an emotionally-charged vocal display. Songs like I'll Hear You Pray really showcase his voice the best, and the big washes of keyboards from Marc Roberts (keyboards/vocals) helped to create the band's big, dense sound. Where Darkness Ends was the only song played that was not featured in last year's set, and it was great to hear the creeping song live. It also marked the end of the first half of the set, with the hard rock of Wings of Fire taking over soon after with a big Burns riff and plenty of pulsing hard rock bass from Nigel Clutterbuck (bass guitar/vocals). As great as the first half of the show was, it was the latter portion that really seemed to excite the crowd. We Don't Need a Reason saw a big sing-a-long with the crowd, and Into the Fire allowed Roberts to launch into a brilliantly retro synth riff. One of the highlights of last year's London show, King of Spades, was also a highlight hear. The ballad is a beautiful one, and once again it was dedicated to the late Phil Lynott. A portion of Róisín Dubh (Black Rose): A Rock Legend was again included by Burns during his extended solo section during the song, and many in the crowd really appreciated the gesture. It was left to, as always, Return the Heart to close things up and by this point nearly everyone in the venue was fully on board with what Dare were doing. They received a big cheer as they left the stage, and left FM with a hard act to follow (once again!). The setlist was:

Home
Until
Days of Summer
I'll Hear You Pray
Every Time We Say Goodbye
Sea of Roses
Where Darkness Ends
Wings of Fire
We Don't Need a Reason
Abandon
Into the Fire
The Raindance
King of Spades/Róisín Dubh (Black Rose): A Rock Legend [Thin Lizzy cover]

Return the Heart

Not daunted by the challenge, FM took to the stage half an hour after Dare finished and ran through a 90 minute set with ease that was greeted with glee by everyone in attendance. While not vastly different from the set the band played last year either, the songs were mixed up a little to keep the running order fresh and a few recent editions keeping their places. The new number Black Magic once again opened proceeding, with Steve Overland (vocals/guitar) leading the big wordless vocal intro early on, before the band went into the big hits Bad Luck and That Girl early on. It was strange to hear these songs played so early in the night, but it really helped to get the party atmosphere established early on. Bad Luck in particular saw lots of singing, with the whole band - who had recently gone through a traumatic theft in Spain - breaking into big grins. The band clearly wanted to just have a great time, and proceeded to wheel out favourite after favourite, with the synth-led Let Love be the Leader providing another early highlight as Jem Davis (keyboards/vocals) attacking his bank of keyboards with glee. There were a couple of songs played that did not feature last year, with the old B-side Dangerous getting a somewhat rare outing, and the old album track Face to Face being brought out for another similarly-rare appearance. The former was a song that I was not familiar with, but I loved it from the off. It has the sort of chorus that you can easily get into, and I shall now have to track down a slab of 7" vinyl that has it on! I was also pleased that the smooth AOR of The Dream That Died had retained its place in the set and enjoyed hearing it live again. There are lots of underrated songs on the Tough it Out album, and that is one of them. Another is Does it Feel Like Love that got another showing after Jim Kirkpatrick's (guitar/vocals) guitar showcase Metropolis and the somewhat-funky Over You. With so many of the band's usual closing songs already featuring, it was left to I Belong to the Night to get the final portion of the show underway. It is probably my favourite FM song of all time, so it was great to hear it pushed back to the end of the show and away from it's usual early spot. It worked well, and led nicely into Tough it Out to provide a strong one-two punch to bring the set to a near close. That honour however was left to the new number Killed by Love, meaning the set was bookended by numbers from last year's album. This worked well, and there were clearly many who knew the latest album as nearly everyone helped Overland out with the vocals. The band left with big smiled on their faces, but it was not long before Davis took to the stage again and started to play the ballad Story of My Life. The gentle song worked well to ease the band back into the encore section, before everyone in attendance wished drummer Pete Jupp a happy birthday, who was celebrating his 60th birthday! This heightened the party atmosphere further, and meant that the final two numbers of Someday and Other Side of Midnight rocked that little bit harder! It was a great end to a great night, and another stellar showing from FM. The setlist was:

Black Magic

Bad Luck

That Girl

Life is a Highway

Let Love be the Leader

Closer to Heaven

Dangerous

Face to Face

The Dream That Died

Metropolis

Over You

Does it Feel Like Love

I Belong to the Night

Tough it Out

Killed by Love

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Story of My Life

Someday

Other Side of Midnight

Despite being very similar to a show that I went to last year, this March evening in Reading was an excellent display of melodic rock from two of the best that Britain has to offer. Both FM and Dare tend to play a select amount of shows a year, so it is always worth catching them when you have the chance. I will be seeing FM again next month with The Quireboys, and I hope there will also be more opportunities to catch Dare in the future.