Bruce Springsteen's 'Western Stars' - Album Review

When it comes to great all-American singer-songwriters, there are few better than Bruce Springsteen. From his humble New Jersey beginnings and his folky 1973 debut album Greetings from Asbury Park, N.J., through stadium rock showmanship in the 1980s, to his more 'elder stateman-esque' modern status - Springsteen has remained a vital and relevant force in music. While he is more well known among the general public for his raw-sounding garage rock sound, featuring his ever-present backing band the E Street Band, fans of his will also know of his extensive catalogue of more introspective and stripped-back songwriting. While some of his sparser songs have ended up on some of his most well-known albums, often providing a chance of pace from the barrelling rock 'n' roll that Springsteen has built his career on, throughout the years he has released a number of albums that focus on this more stripped-back singer-songwriter approach. 1982's Nebraska was the first album that he released of his nature, with many of the songs featuring Springsteen alone - singing along with his guitar and keyboard backing. Nebraska was essentially a collection of demos, but it became his first true 'solo' album. The E Street Band, either alone or augmented with a number of other musicians, have played on the majority of Springsteen's albums over the years - and are a big part of his classic sound. Who can imagine Springsteen without Roy Bittan's piano backing him, or Steven Van Zandt's abrasive guitar rhythms? For the most part that is a hard thing to imagine, but occasionally Springsteen likes to step away from the big band confines and write songs for a much simpler arrangement. Recently, it seems that Springsteen has been revelling in simpler arrangements. His lengthy and award-winning Springsteen on Broadway show saw him perform night after night at the Walter Kerr Theatre in New York City - a show which featured Springsteen, a guitar, a piano, and his songs. It is clear that this run of shows has influenced his recent songwriting and was probably the driving force behind his latest studio album Western Stars, which was released last month. Western Stars is Springsteen's ninteenth studio album, and first album of all new material since 2012's Wrecking Ball which was a strong modern Springsteen album. 2014's High Hopes (which I reviewed here) was also very enjoyable, but was largely a collection of outtakes, re-recorded songs, and covers - which saw some loved songs finally find themselves a proper home. It was not a true follow up to Wrecking Ball however, and that is what Western Stars is - although stylistically the albums are very different. Wrecking Ball is quite a rocking album, whereas Western Stars is the latest of Springsteen's 'solo' albums - with his voice and lyrics pushed to the fore while lush, but fairly sparse, musical arrangements surround him.

The opening track Hitch Hikin' really personifies the album's sparse nature. Other songs here have a grander sound, but much of the album follows the blueprint that this starting number sets. Much of the song sees Springsteen singing along to a gentle keyboard and guitar backing - allowing his trademark lyrical delivery to shine. I prefer Springsteen when he turns everything up to eleven, but his voice really does suit this gentler type of songwriting. His voice really has not changed much over the years either, and his rough-around-the-edge style sounds as good now as it did in the 1970s. His knack for telling a good story has not diminished either, and this tale of different people who offer a hitch hiker a lift is the perfect opening piece for the album - all while a hypnotic keyboard and guitar melody swirl around his voice. The Wayfarer features a prominent acoustic guitar chug throughout, while former E Streeter David Sancious adds some gentle piano harmonies. As Springsteen sings, the song really starts to build around him. His guitar and Sancious' piano melodies are a constant force, but subtle strings, distant drums, and mournful horns all slowly join the fray to help the song grow beyond its humble beginnings. Many of the melodies here, particularly those played by the horn section towards the end of the piece, sound like classic Springsteen lines - and I can imagine this song fitting nicely into an E Street Band live set sometime in the future. Another 'fuller' piece in Tucson Train follows, which is one of the album's lead singles. Gunnar Olsen's hollow drumming drives the piece, while a catchy string melody provides a hook that acts as a bit of chorus. There is a bit more of a guitar presence here too, with country-esque electric guitar lines throughout that help to add additional melody while a tough acoustic rhythm forms something of a constant chug throughout. This song is one of the instant stand-out pieces here for me, and it is another song that I can see being played by the full band on Springsteen's future tours. The title track is up next, and returns to the sparser feel of the album's opening number. Springsteen gently strums his acoustic guitar while delivering the lyrics in his trademark half-mumbled ballad delivery. Pianist Matt Rollings adds occasional melodies throughout, and a very subtle string section adds depth, but mostly this is a piece that focuses on Springsteen's vocals and guitar. That is however until a grander mid-section takes over, with famed session drummer Matt Chamberlain introducing a beat for a dense horn section to let rip with some R 'n' B-esque melodies. Sleepy Joe's Café is the first true upbeat piece on the album, with recent E Street addition Charlie Giordano adding some jaunty accordion melodies throughout. This helps to cement that French café aesthetic, while some occasional bursts of organ add a bit of classic rock grandness. Many of the songs on the album are downer pieces, with minor keys and serious subject matter - but this is a joyful song that maintains its upbeat nature and allows Springsteen and the other musicians featured here to have a bit of fun.

Drive Fast (The Stuntman) returns to the downer feel that much of the album, with Springsteen singing atop some sombre piano melodies as the piece opens up. Like many of the songs here though it starts to build up as it moves forward, with Olsen adding a punchy drum pattern and Sancious laying down some subtle organ which helps to fill out the song in conjunction with the string section. There are occasional bursts of more of a rock feeling here and there, with Olsen ramping up the drums and the string section taking over with a soaring melody - but these moments are always short-lived, and soon drop back out to allow Springsteen to continue the story of the stuntman without much competition. Chasin' Wild Horses is a beautiful song that is probably one of my favourite pieces here, and shows Springsteen at his subtle best. Even his harder rock albums have featured songs like this throughout his career, but this is one of the best examples of his subtle, downer country vibe. His voice really suits songs like this, and his simple acoustic guitar melodies make it feel as if he is sat in the room with you - absent-mindedly strumming away. There are strings here too, and what sounds like some slide guitar parts with some odd effects on them, which help to bulk the song out - but mostly this is a simple piece that really allows Springsteen's voice and lyrically storytelling to shine - with a grand string-filled ending that helps bring the piece to a strong close. Sundown opens with a fairly dramatic guitar and piano piece, before Olsen comes in with a punchy drum beat that ensures the song moves along at a strong pace. It is one of the most involved pieces musically on the album, with lots of layers of sound going on - which at times ensures the piece feels quite different to the rest of the album. Springsteen also approaches the song quite differently from a vocal perspective, really letting rip at times that is a contrast from the more low-key approach taken elsewhere. At times here he almost sounds like a crooner from the 1950s, with the dramatic string arrangement and the punchy rhythms, Springsteen's rich voice shines in a way that it has not really done before - with the rough edges seemingly gone among the lush production and layers of instrumentation. Somewhere North of Nashville seems to be the antithesis of the grander previous number however, with Springsteen's voice once again showing his trademark rugged qualities, and a simple guitar and piano (the latter from Giordano) forming the basis of the song. It is an extremely short piece, at under two minutes in length, so it races by without ever making a true impact. It is a nice contrast to the epic previous number however, and gets the album back down to earth.

It also leads nicely into Stones, a downer rock track with a shuffling drum rhythm from Olsen and a dense string and horn arrangement that adds some European-esque melodies throughout, while hypnotic percussion mixes in nicely with the drums to create a strong rhythmic feel. This is another standout track for me, but the best part is some stunning violin playing from Luis Villalobos towards the end. The dramatic, mournful sound really fits in well against the dark backdrop - and his playing really cuts through the mix to add some additional melodies and excitement to a piece that otherwise revels in darkness. There Goes My Miracle has a bit of a 1950s pop vibe to it, with Springsteen once again channelling his inner crooner, all while singing some extremely catchy vocal melodies. This is not an album that really emphasises strong, catchy vocal melodies - instead opting to create strong atmospheres throughout. This song therefore stands out somewhat, as it is one that really focuses on the vocal melodies, with a soaring chorus that sees Springsteen really going for it vocally. It is easily the most memorable chorus here, and I would not be surprised if this song became a bit of a radio hit around the world due to its accessible and old-school feel. Hello Sunshine, the album's penultimate piece, has a shuffling percussive feel along with some staccato piano playing that forms the basis of the song melodically. Acoustic guitars are mixed into the background to help add to the rhythm, but it is the piano that really drives the song - along with Springsteen's voice that never really leaves as he fills many of the gaps between lyrics with humming that mixes in well with the strings that join the fray as things move forward. It leads nicely into the album's final number Moonlight Motel which is another slower piece with Springsteen's guitar forming the basis of the song, and Rollings once again adding some gentle piano. Even the strings that feature on many songs throughout the album are largely absent here, with subtle keyboards adding atmosphere in their place. In some ways then, the album ends as it started - and that is really focusing on Springsteen solely. Many of the songs here feature the talents of many excellent musicians, but this song - along with the album's opener - really seem to be putting Springsteen and his talents right in the centre. It works well, and the song is the perfect closing number for the album - as it reinforces the moods established throughout, and gives the man himself one last chance to show off his lyrical storytelling without the larger arrangements found elsewhere. Overall, Western Stars is another strong collection of songs from Springsteen that sees him building on the foundations of his Springsteen on Broadway run with thirteen lyrical pieces that feature tight, lush arrangements that augment his stories and vocals. It is a great relaxing listen and with a new full band album allegedly due out next year, Springsteen seems to be entering into a new period of creativity.

The album was released on 14th June 2019 via Columbia Records. Below is his promotional video for Tucson Train.

Death Angel's 'Humanicide' - Album Review

With many classic thrash acts now content to release albums at a leisurely pace, with the possible exception of Overkill who still churn them out on a regular basis, California's Death Angel have remained pretty prolific - especially since their 2001 reunion. The band's original run from 1982 to 1991 heralded three well-regarded thrash albums, but at the time Death Angel struggled to really find their place in the world. They were always a well-liked band, but they were famously extremely young at the time. It has been reported that teachers would travel with the band on tour to ensure that their school work would not suffer as a result of their extra-curricular activities. A bus crash on the tour to support 1990's Act III, their major label debut, which injured then-drummer Andy Galeon essentially led to the end of the band's original line-up - and put the band out of action for the rest of the 1990s. Since reuniting in 2001 however, Death Angel have been a potent force on the live circuit - and seem to have finally received the recognition that they always deserved. The type of thrash that Death Angel play is pretty pure, and is often uncompromising in its speed and heaviness. There are very few progressive touches or fusions with other genres to be found on the band's albums, with the band choosing instead to focus on razor sharp riffing, high-energy rhythms, and frontman Mark Osegueda's heroic vocals. Age has barely affected his voice and, of all the thrash singers from the 1980s that sill regularly tour, his is possibly the voice that sounds the best. He has a certain grit that is required for the genre, but still has enough of a traditional heavy metal delivery to nail the band's anthemic choruses - which are often influenced by the metal legends of the past. Osegueda and guitarist Rob Cavestany are the only two original members of Death Angel left in the band, but 2019 is actually the tenth anniversary of the band's current configuration. Rhythm guitarist Ted Aguilar has been with the band since their 2001 reunion, and both bassist Damien Sisson and drummer Will Carroll joined the band in 2009. 2019 also saw the release of the band's ninth studio album, Humanicide, which was released back in May to an expectant fanbase. The band's last album, The Evil Divide (which I reviewed here), was released back in 2016 and was generally well-received by the band's fans. I enjoyed the album a lot at the time, but I did not think it was as strong as 2013's The Dream Calls for Blood - which is quite possibly my favourite ever Death Angel album. Anyone who has followed Death Angel's recent work will know exactly what to expect from Humanicide, as it picks up exactly where The Evil Divide left off three years ago. I feel however that this latest effort is a stronger than the 2016 album, with a more concise and anthemic feel present throughout. It has once again been produced by Jason Suecof - someone who the band have been working with for a number of years now.

Humanicide is an album that rarely lets up, with the pace and energy fairly consistent throughout. It is fitting then, that the album's title track - which kicks things off - really embodies this spirit. The opening melodic guitar lead is very reminiscent of the classic metal bands that Death Angel grew up listening to, but when the song's main riff kicks in - the thrashing really starts. Osegueda's lengthy opening scream showcases the strength that he still has in his voice, before he launches into a fast-paced verse with Cavestany and Aguilar laying down tight, choppy rhythms for his low-pitched snarls. Despite a few mid-paced riffs thrown in here and there, this is a song that mostly maintains its fast pace. The verses are classic old school thrash, with plenty of double bass drumming and snarling vocals; with a multi-part chorus consisting of a short mid-paced headbanging section before exploding once again into higher speeds. When articles are published that discuss the best guitarists in the thrash genre, Cavestany is rarely mentioned. That is, of course, a travesty as he displays throughout this album - with this opening track containing a great shredded solo towards the end that is packed full of squealing notes. Divine Defector opens with a strong riff, that has a slight extreme metal feel at times with the odd burst of tremolo picking - but a melodic lead mixed into the background keeps the song firmly in the thrash territory. That being said, this is one of the most in-your-face songs here, with Carroll's drumming really taking no prisoners throughout with the occasional blast beat and endless double bass patterns to keep the song steaming ahead. The extreme speed is only matched by the song's heaviness, with Osegueda often employing a semi-harsh vocal technique, especially during the verses, to give things an evil sound. I like this blend of the band's traditional thrash sound with influences from modern extreme metal - and it suits the band's overall feel. The song is over almost as soon as it begins, and when it finishes it feels as if you have been hit with the sledgehammer! Aggressor opens with a chiming melodic clean guitar line, before taking off into yet another powerful riff that keeps the song moving throughout. Given how fast the previous two songs were however, this song displays a few chances of pace which help to keep things interesting. The verses are somewhat slower, relying on a strong groove which works nicely, before exploding into a gang-vocal heavy chorus that is extremely catchy. This song is probably more musically-diverse than the previous two numbers too, with an almost-atmospheric instrumental break part-way through that sees the heaviness drop away for a moment to leave a hypnotic Sisson bassline and some strange, distant guitar leads - before ramping back up to another tough riff and a shredded guitar solo. It is little touches like this that help keep the album feeling fresh, and this song is one of the stand-out cuts here as a result.

I Came for Blood is the album's main single, so as a result is a straight-up thrash number with a strong chorus and lots of memorable riffs. The song is fast-paced throughout, with verses that see Osegueda really spitting out the vocals with real venom; before an anthemic chorus displays the punk influence that always fed into early thrash. It is the sort of song that is sure to go down well live, with the chorus being latched onto by the crowd and helping Osegueda out with the gang vocal sections. After the more diverse previous number the song feels a little one-dimensional - but it is not a song that needs to be particularly complicated. It is a song that needs to just roar out of the gate with speed and power; and that is exactly what it does! Songs like this are what Death Angel have built their career on, and as a result it was the perfect choice for a single. Immortal Behated opens with some murky clean guitars and some pseudo-Eastern tinged melodies, before the mid-paced verse takes off with it's off-kilter rhythms and quirky groove. This is song that sounds quite different from everything else on the album, with drummer Carroll in particular turning in a stellar performance throughout. The verses here have a very different sound to the band's traditional thrash drive, and it is Carroll's beats and groove that gives them their strange, hypnotic feeling. The rest of the song is more typical of the band, with driving double bass drumming and heavier vocals; but it is never far away from returning to the more groove-orientated arrangement of the verses - which also backs Cavestany's solo. It is good to hear the band experimenting a little with this song, and it helps to give the album a mid-point change of pace; with a gentle piano outro also adding to this. Alive and Screaming returns to the band's more traditional sound however, and interestingly it is the first Death Angel song to be written by Aguilar. Cavestany has pretty much written all of the band's music since their reunion, but this time Aguilar was confident enough to show a song to the group, and it made the album! His opening riff is one of the catchiest on the album in my opinion, and this catchy feeling continues throughout the whole song. Like I Came for Blood this is a fairly basic song, and would have also worked as another single, but is just showcases the band's trademark thrash sound perfectly - with everyone turning in a strong performance. A catchy chorus makes the song memorable, and a couple of melodic guitar solos also help it to stick in the brain. Aguilar's first Death Angel composition is a strong one, and I hope we get to hear more from him on the band's future albums. The Pack is less fast than many of the songs here, and mostly stays around the mid-pace mark for most of its run time - creating strong grooves and using headbanging riffs throughout. This sounds more like a thrash tune from the 1990s, when speed was emphasised less and groove much more important. I feel that Death Angel excel more at the faster songs, but this song still hits the spot nicely. Again it is Carroll's drumming that helps to make the song what it is, with his heavy-handed approach really contributing to the grooves. He has been a faithful servant to Death Angel over the past ten years, and it is great to see him shining on many of this album's songs.

Ghost of Me features a guest in the form of Alexi Laiho (Children of Bodom; Sinergy) who lays down the main guitar solos; but elsewhere the song is more classic Death Angel. A few mid-paced riffs can be found here, but mostly this song ups the pace again and really drives forward with storming riffs and Osegueda screaming vocals. Laiho is one of the best modern shredders and makes his presence felt during the solo section - where he lays down another melodic feast of notes that includes some of his trademark neo-classical runs. He is a different guitarist to Cavestany, so it is interesting to a hear a Death Angel song with a different style of guitar solo. It fits in the song nicely however, and helps it to stand out somewhat as melodically it is not as interesting as many of the other numbers here. Revelation Song is another more mid-paced number, with riffing that seems to be influenced by traditional heavy metal acts rather than other thrashers. The chorus sounds a little like something from a long lost Ronnie James Dio-era Black Sabbath song, and sounds a little more epic than usual - which helps the song to stand out. Overall though, this piece just feels like a tribute to many of the band's heroes and it is fun to hear Death Angel playing in this more traditional style. I would be interested to hear more songs like this from the band in the future, and seeing them showcase more of their traditional heavy metal influences. Of Rats and Men is the album's closing number, and also showcases a slightly different feel while still sticking fairly close to the band's classic thrash sound. The opening seems the song building somewhat slowly around a strident beat, something which is often returns to. This gives the song a bit of a disjointed, staccato feeling - but it actually works surprisingly well. This is mixed in with more fluid moments, including one of the best riffs on the album in my opinion, which adds to that somewhat disjointed feeling. It feels as if the band has attempted to write something a bit more progressive here, but have not quite managed to pull it off successfully. Despite this, as I said, the song still manages to hang together quite well; and the disjointed clash of sounds sounds a bit like a style in its own right - which is good! It comes to an abrupt end, which is appropriate for a thrash album, which is sure the leave fans wanting more. Overall, Humanicide is another strong album from Death Angel that sticks closely to their established template while allowing for a few little deviations here and there. Fans of the band are sure to enjoy this, as well as anyone who enjoys old-fashioned thrash that does what it says on the tin.

The album was released on 31st May 2019 via Nuclear Blast Records. Below is the band's promotional video for I Came for Blood.

Gloryhammer's 'Legends from Beyond the Galactic Terrorvortex' - Album Review

There are probably two bands on the rise who have the potential to take the throne vacated by the Italian band Rhapsody of Fire when their line-up splintered in 2011 and various versions of the band were formed, disbanded, and reformed. One is Sweden's Twilight Force, who's third album is due out later in the year, and the second is the multi-national act Gloryhammer - founded by Alestorm's Christopher Bowes in 2010. Bowes is not known for taking himself too seriously, as the vast majority of Alestorm's catalogue displays, but in some ways Gloryhammer took his love of tongue-in-cheek bombastic metal to the next level. The band's 2013 debut album Tales from the Kingdom of Fife was something of an instant hit in the metal world. The songs were dramatic and melodic, the lyrics told tales of intergalactic wars with space wizards, and it was delivered with the air of fun of a band who were well aware of the joke. As much I as enjoy Rhapsody of Fire, I have always felt that they took themselves extremely seriously. Over the years the members of the band have matured, especially guitarist Luca Turilli who's recent output has been excellent and cinematic, but the band's classic albums - which told multi-part fantasy stories that spanned multiple albums - were as ludicrous as they were enjoyable. In many ways, Gloryhammer have pushed this formula even further - with the aim to create something which is equally as silly as it is genius at the forefront of their minds. Both their debut album and 2015's Space 1992: Rise of the Chaos Wizards were excellent symphonic power metal releases. With the exception of Bowes, the rest of the band were mostly unknown musicians when the band got together - but now are all extremely well-respected for their craft. Frontman Thomas Winkler, guitarist Paul Templing, bassist James Cartwright, and drummer Ben Turk; along with keyboardist Bowes; make a great team. Their collaborations have led to some of the most fun metal in recent years, and this has continued on with their third album Legends from Beyond the Galactic Terrorvortex, which was released in May. Those who enjoyed the first two albums will certainly know what to expect here, as Gloryhammer seem keen to stick to their tried and tested template. While the band may have originally set out to be a bit of a parody of bands like Rhapsody of Fire, it could be argued now that the band have gone far beyond parody and have actually become what they were originally sending up! So, with tongues once again firmly in cheek, it only seems fitting to delve into the space wars of the band's albums once more - and take a look at their latest opus which, conceptually and sound-wise, picks up where their 2015 effort left off.

The customary symphonic opener Into the Terrorvortex of Hor-Virliath is typical of the genre. It must be decreed somewhere that symphonic and power metal albums must open with a short instrumental piece to help 'set the tone', and Gloryhammer's third is no different. It is short and sweet, with a gloriously over-the-top spoken word section that leads into the first metal anthem of the album - The Siege of Dunkeld (In Hoots We Trust). The song opens up fast, with punchy, staccato drumming from Turk and soaring gothic choirs that really establish that old-school symphonic metal vibe. Winkler is a great singer, with a little more grit in his voice than many of his peers - something which allows Gloryhammer to feel a little heavier. The neo-classical guitar style that often fills these sort of albums is largely absent here, with Templing instead going for a tougher, riffier approach throughout. This suits Winkler's voice perfectly, and the screeching verses here are a perfect example. The song's chorus is unsurprisingly strong too, although perhaps not as soaring as some of the efforts that come later. The gang vocals are satisfyingly catchy however, and it is clear that the song will go down well live as a result. A short, shredded guitar solo showcases Templing's more traditional heavy metal approach to guitar playing, while Bowes' synths surround everything in a great halo of retro melody. Masters of the Galaxy is more of a mid-paced track, with some Judas Priest-esque guitar riffing and some excellent keyboard melodies early on that peel out of the speakers in a flurry notes. The song in general is strong, but the best part for me is the chorus. Is the first truly melodic feast of the album in my opinion, and sees Winkler use the smoother end of his voice for an almost AOR-esque delivery. This is a contrast to his verse lines, which often see him pushing himself to the higher end of his register for some jagged high notes, as well as some pseudo-harsh vocals to add a heaviness here and there. This is a song that really showcases Winkler's talents and diversity. Many of the other songs here allow the other members of the band to show off a little, but this is a tune that has clearly been written to force huge vocal melodies out of the speakers, and it certainly succeeds. The Land of Unicorns opens with a fast-paced guitar riff from Templing, augmented by some excellent keyboard stabs. In many ways the song sounds like it might have been leftover from an Alestorm writing sessions - if the spacey synths were replaced with fake accordions that is! Usually there is not that much crossover between Gloryhammer and Bowes' 'main' band, but this is a song that certainly sounds a little like Alestorm - especially the band's earlier work. The main riffs and verses have that folk metal feel, but the chorus is more akin to the band's traditional sound, with smooth vocal melodies and fantasy-inspired lyrics. I particularly like Templing's guitar solo here, as well as Bowes' keyboard solo, as they both are fast-paced by still packed full of memorable little licks and melodies - as opposed to just being a mess of notes.

Power of the Laser Dragon Fire is one of the faster songs here, with some driving double bass drumming from Turk from the off, and duelling guitar and keyboard leads to create a chaotic, yet melodic, intro. The pace never really lets up throughout the piece, with pacey verses following with Cartwright's bass dominating. The bass never really gets to shine generally on symphonic and power metal albums, so it is nice to hear Cartwright driving everything forward for a moment here. His moment in the spotlight is short-lived however, as it is not too long before crunchy guitar rhythms and dancing synths join the fray once again. The chorus is very similar to the previous song's one actually, with a similar rhythm and melody. There are plenty of excellent choruses throughout this album, but this couple are some of the weaker ones in my opinion. Nearly every other song on the album comes packed with an anthemic one however, so the band should be a let off having a couple of less-interesting ones! Legendary Enchanted Jetpack, which sounds like an item you could find in an online RPG, is another pacey number, with a keyboard-heavy intro and a galloped verse with some excellent higher vocals from Winkler. It is songs like this at which Gloryhammer really excel in my opinion. There is no restraint at all shown here, with Winkler going all out vocally and everything in the band really pulling out all the stops. The song's chorus is one of their best on the album in my opinion, with smooth vocal lines, catchy wordless sections, and a cinematic keyboard backing that really help it to shine. It is all made to sound to so effortless however, and as it floats out of the speakers you feel as if you are piloting the said jetpack! The band's self-titled song is up next, and this is clearly an anthem that they have been trying to write for a while. I can see this one being a setlist staple for the remainder of their career now, with the simple chorus made for a crowd to sing along to and a heavier overall feel that is sure to get a few heads nodding live. Templing's guitars really drive the piece, and it is great to hear them unleashed a little. While his playing is all over the album, he often has to compete with the keyboards - something which helps to cement the band's epic sound. This song is a little more stripped-back at times however, which allows his big riffs to really shine. A guitar and keyboard trade-off solo section towards the end is the icing on the cake, and shows that the band can compete with even of the top prog metal bands when it comes to flurries of notes. Hootsforce ups the cheese factor somewhat, with lots of poppy synths mixed in with tougher metal rhythms. The rhythm throughout has quite a strong groove, meaning this will be the band's new 'dancing' song. They have written songs like this before, and they always go down well live because they are made for movement. It helps that the song also has a strong chorus, but it is actually the little gang-vocal section following the main chorus that really grabs me. This part has some of my favourite keyboard melodies on the album, showcasing Bowes' talents on the synths. This is fun song, and one that is easy to latch on to - and I can already see those plastic swords and horned-helmets being waved aloft at the band's future shows!

Battle for Eternity feels like more of a mid-paced tune, despite some double bass drumming early on, and overall the song is somewhat more cinematic than the rest of the album. The verses have quite a spacey feel, with Winkler's voice often backed with just drums and synths - with the stringed instruments joining in towards the end as the choruses approaches to add some power. Jens Johansson (Yngwie Malsteen's Rising Force; Dio; Stratovarius; Rainbow) adds his talents to the song with an excellent keyboard solo part-way through. Bowes' keyboards are great throughout the album, but when it comes to power metal keyboards there are few better than Johansson and his CV speaks for himself. It is great to hear him contribute to a Gloryhammer album after the band supported Stratovarius a few years ago - meaning the two bands must have had fun on the road together. This aside however, the song is probably one of the least-interesting here. I do like the cinematic approach, but melodically the song is lacking compared to many of the others here in my opinion. The album's final song is the lengthy, multi-part The Fires of Ancient Cosmic Destiny. Gloryhammer, like Rhapsody of Fire before them, like to end their albums with a lengthier, more progressive piece and this one might be their best effort and that format so far. There are soaring melodic moments, heavier moments, and moments that help to further the album's overall concept with more of the silly voice overs that have featured throughout. The third portion of the song in my opinion is particularly strong, and almost feels like a stand-alone song in its own right. It opens with a jaunty riff, backed up with some excellent keyboard work, before things really take off with some soaring Winkler vocals and more over-the-top spoken word sections. As the song moves towards a close, things start to get more epic. The pace is slowed somewhat, and Winkler starts to employ a dramatic delivery - only for Turk to start to lay into his double bass drums as Templing starts a shredding solo. It is a song with many twists and turns, with little progressive touches that set it apart on a songwriting perspective with the rest of the album. It shows that the band can do epic pieces just as well as the veterans of the genre and, despite being something of a parody, are the worthy successors to Rhapsody of Fire. As the song fades out the listener is treated to the oh-so-familiar sound of the dial-up noise - something which I am not sure I really needed reminding of! Overall, Legends from Beyond the Galactic Terrorvortex is another strong effort from Gloryhammer, and one that cements them as a big hitter in the symphonic power metal world. While tongues are firmly in cheeks here, this is an album that is packed full of strong melodies, and will only help to raise the band's profile which is rising by the year.

The album was released on 31st May 2019 via Napalm Records. Below is the band's promotional video for Hootsforce.

Kiss - Birmingham Review

I think it is fair to say that Kiss are one of the biggest icons of the rock world. While they might not be the most musically-interesting of bands, their over-the-top live shows, catchy songwriting, and pretty consistent discography (a couple of clunkers aside) has earned them well-deserved living legend status. It was not too long after their humble 1973 beginnings that the band started to hit the big time - with 1975's monumental double live LP Alive! almost single-handedly changing the band's fortunes and becoming one of the best-loved live rock albums of all time. Kiss have rarely been anything other than huge ever since, even seemingly avoiding the 1990s slump that many rock bands found themselves in, and have influenced legions of bands that have followed in their wake. It seems that the end is nigh however as, after well over 40 years in the business, Kiss are - allegedly - calling it a day. This current tour, dubbed the End of the Road tour, is apparently going to be their last one. I find it hard to believe that Kiss will come to an end just yet however. In general I am quite dubious of 'final tours' etc. when it comes to big bands - as all too often they disappear for a couple of years, only to pop up again further down the line as if nothing had happened, leaving fans who had forked out for expensive tickets fairly miffed. I would not be surprised to see Kiss continue perform beyond the end of this final tour, but for now we must take them at their word! That means then, that the show in Birmingham that I attended two days ago will be the final time the band ever play in the birthplace of heavy metal. If that does turn out to be true, then those of us who packed out the large Arena Birmingham in the city centre certainly witnessed something special. I purchased tickets for the show as soon as they went on sale last November, and had been looking forward to it ever since. I had seen the band once previously, at the same venue back in 2017, but the band promised to pull out all of the stops this time. Kiss shows are always guaranteed to draw crowds, but the venue seemed a little busier this time around - with barely an empty seat to be seen and the standing area largely packed out. The merchandise was eye-wateringly expensive, so a t-shirt did not come home with me, but I took my seat towards the back of the hall and started to watch the place fill up.

Sadly however, 'pulling out all the stops' did not also extend to booking a decent support act - as for this tour Kiss have chosen performance painter David Garibaldi to open up their shows. I have been going to gigs for a good number of years now, and I am sure that many in the crowd have been going for far longer, but I can safely say that I have never seen a painter act as the support for a big-name rock band. I do not wish to belittle Garibaldi's talents, as he is clearly an extremely talented artist and it was interesting to see him work, but could Kiss honestly not find a suitable band to take out instead? Out of all of the bands in the world, did they not think that a single one was worthy of joining them on their final tour? Look at Mötley Crüe's final tour a few years ago - they took Alice Cooper on the road with them, someone they clearly were influenced by and respected a great deal. While there might not be an equivalent 'mentor' figure to join Kiss on their final trek, there must be at least one up-and-coming rock act that deserved the chance. I could have given them a list as high as a pair of their platform boots! Imagine being a young rock band starting to get a bit of attention, dreaming of supporting a band like Kiss - only to find out that the band have decided to take a painter on tour with them! I think the choice was very poor on Kiss' part, and they really should have made the effort to find a suitable support act. They should not fear being upstaged at their age, and the whole thing just stank of ego - especially when Garibaldi's final painting was one of Kiss! His 'set' was certainly met with bemusement by most in the crowd, and I do not think too many people were disappointed when he left the stage and the prospect of some actual live music edged a little closer.

That aside, the rest of the evening was - of course - excellent. Kiss are the masters of putting on a live show, and right from the off their set was one of power chords, choruses, and pyrotechnics. Opening with the stuttering riff of Detroit Rock City was a good move, as the band were lowered from the ceiling by small platforms as Paul Stanley (vocals/guitar) and Tommy Thayer (guitar/vocals) played the iconic opening. From here the crowd were then treated to over two hours of the band's hits, consummately played and with the big stage show to match. Early on the hits came thick and fast, with Gene Simmons (vocals/bass guitar) taking the lead early on for Deuce, and the newer anthem Say Yeah prompted a bit of a crowd sing-a-long. Much has been made of Stanley's voice throughout this tour, with accusations of lip syncing part of the set running rampant. I would not like to say for sure, but I certainly would not be surprised if there was some vocal 'help' going on at times. His voice certainly sounded better than on the tour two years ago and, while I do not think he was miming totally, there was probably some backing track wizardry going on! That being said, he is still a showman. Heaven's on Fire was an early display of his 1980s songwriting style, as was the sleazy Lick it Up, but it was actually the early Simmons numbers that really shone for me. The grinding War Machine really hit the spot, before Calling Dr. Love proved to be a real treat. Simmons' voice has not changed over the years, and seeing him prowl around the stage with his axe-bass was a real joy. The rest of the band was not going to allow themselves to be outshone however, and a powerful rendition of 100,000 Years saw drummer Eric Singer take a lengthy solo mid-way through the piece, something which recalled the classic Alive! album. Thayer also took a solo spot at the end of Cold Gin, which saw fireworks shooting out of his guitar to destroy the attacking flying saucers on the big screen behind him. The final portion of the set contained as many highlights as the early part, with a monstrous God of Thunder seeing Simmons steal the show, but the real highlight for me was the golden oldie Let Me Go, Rock 'n' Roll which was stretched out to feature solos and jamming from the band. It was a moment of pure rock excess in an extremely choreographed show and probably recalled the band's early club days somewhat, before a Kiss concert became all about the 'show'. Stanley then rode his zipline out to the small stage by the mixing desk (a stunt he has been pulling for years) for a couple of numbers, including a muscular Love Gun and the disco-influenced hit I Was Made for Lovin' You that unsurprisingly saw a lot of singing from the crowd. It was left to Black Diamond, and Singer's excellent vocals, to bring the main set to a close - but there was of course more to come. Singer was featured vocally again as he sat behind a piano to sing the ballad Beth (I say 'sat behind a piano' as if he was actually playing it I will eat my hat!), before the mega anthem Crazy Crazy Nights was lapped up by the huge crowd. It has one of the biggest choruses in the band's catalogue, and proved the perfect encore number. Unsurprisingly however Rock and Roll all Nite was the final sign-off for the evening, with Stanley smashing his guitar and Simmons and Thayer riding out into the crowd on moving platforms. It was an explosive end to a powerful evening of music, and one that is sure to live long in the memory. The setlist was:

Detroit Rock City
Shout it Out Loud
Deuce
Say Yeah
I Love it Loud
Heaven's on Fire
War Machine
Lick it Up
Calling Dr. Love
100,000 Years
Cold Gin
Guitar solo
Bass solo
God of Thunder
Psycho Circus
Let Me Go, Rock 'n' Roll
Love Gun
I Was Made for Lovin' You
Black Diamond
-
Beth
Crazy Crazy Nights
Rock and Roll all Nite

The lazy, lack of support band aside - the Kiss concert in Birmingham was a triumph. Kiss are always going to deliver on a theatrical perspective, and a varied setlist that contained quite a few songs that were not played two years ago ensured that most eras of the band were well-represented. If this is indeed the final time that I will see Kiss, then they certainly went out on a high - and I am glad that I had a couple of opportunities over the years to see them.

Diamond Head's 'The Coffin Train' - Album Review

The four years between forming in 1976 and releasing their debut album Lightning to the Nations in 1980, Stourbridge's Diamond Head really were rising stars in the British rock scene. Having battled through the punk explosion, the band's debut album - which essentially was a gloried demo released through a very small record label, the original version of which did not even have a proper album cover - was something of an instant hit in the hard rock and metal worlds, and helped to spur the burgeoning NWOBHM scene on with albums by the likes of Iron Maiden and Saxon also reaching appreciative audiences. On the whole, the NWOBHM was something of the hard rock world's reaction to punk. The kids who were forming these new heavy bands had clearly grown up on a healthy diet of Deep Purple, Black Sabbath, and Rainbow - but also injected some of the punk spirit and energy into their sounds. Arguably the biggest thing carried over from the punk scene however was the 'do it yourself' attitude. The early 1980s saw a lot of bands self-releasing their demos and singles - with many bands in the NWOBHM world burning brightly for a year or so, only to leave a rough four-track EP behind. The market was becoming well and truly saturated with new heavy bands as a result, so sadly only a few truly had any staying power. Iron Maiden and Saxon did, along with a handful of others, but by the mid-1980s many of the NWOBHM bands were finished - as American hair metal and AOR started to really dominate. Despite this however, Diamond Head were a big deal for a while. Lightning to the Nations was a real shot in the arm to the metal world, and the more-polished Borrowed Time from 1982 is arguably one of the best NWOBHM albums of all time. The classic rock and blues elements of the band's sound helped them to appeal to older fans too, while the more complex arrangements and heavy riffs made them champions of the new metal scene. Sadly however, the band's success was short-livid. 1983's Canterbury failed to truly live up to expectations, and the band fell apart not too long after, along with much of the scene. A short-lived reunion in the 1990s resulted in 1993's Death and Progress, but in truth nothing the band has put out since 1982 (including newer albums that various line-ups have put out since their permanent reunion in 2000) has managed to match up to those first two albums - until now that it is. May saw the release of The Coffin Train, the band's eighth studio album - and the second with frontman Rasmus Bom Andersen who joined Diamond Head in 2014. 2016's self-titled release (which I reviewed here) was an enjoyable release, but The Coffin Train feels like pure Diamond Head, and the album which should have been the sequel to Borrowed Time. The band's trademark sound of heavy riffs, slightly progressive arrangements, and strong melodies is on display perfectly here - and sees the whole band, led by founding guitarist Brian Tatler, rejuvenated. Four of the five that made Diamond Head have returned on The Coffin Train, with bassist Dean Ashton replacing Eddie Moohan.

The album opens with Belly of the Beast, a fast-paced old-school heavy metal track that recalls the band's early days. Diamond Head made their name with songs like this and, like It's Electric before it, Belly of the Beast is a call-to-arms that gets things underway here nicely. A strong riff from Tatler and fellow guitarist Andy Abberley drives the song forward, and the pace never really lets up - with long-time drummer Karl Wilcox propelling everything forward with a punchy beat. From the off it is clear just how much like classic Diamond Head this album sounds. The self-titled album from 2016 sounds like a warm-up in comparison to this release, and the stand-out performer throughout is Andersen. It is amazing just how much like the band's classic frontman Sean Harris he sounds, and he seems to be what the band have been missing since their 2000 reunion - with no disrespect meant to Nick Tart who did an admirable job fronting the band for a number of years. Andersen has also produced the album, and has made sure the production style sounds like the band's early days. There is a raw warmth to the album, and this fast-paced opener really showcases that style. A catchy chorus sees him let rip, but it is the energy of the piece that really hits home - and sets the tone for the rest of the album. The Messenger is more of a mid-paced track, with a catchy Tatler riff opening things up, before an extended instrumental intro sees plenty of soaring and flashy lead guitar work. Diamond Head always had more complex and interesting arrangements than many of their peers, and that is showcased here too. The intro is quite lengthy, before the song settles down into a groove-driven verse with some prominent bass playing from Ashton and an expressive vocal display from Andersen that sees him hit some pretty impressive high notes. After the fast-paced opening, this song acts as a contrast, with strong rhythms and hard-hitting grooves being the name of the game here. There is still room for a catchy chorus too, which is more of an extension of the verse than a true chorus, but it sees Andersen whipping up a memorable refrain that sticks in the brain. The album's title track opens in a more restrained fashion, with a gentle bassline and chiming clean guitar chords that form the basis of the opening sections. Andersen sings atop this with a little less gusto than usual, but it fits the quieter feeling of this opening portion. The song is one that ramps up as it moves along however, with heavier rhythm guitars joining the fray occasionally, culminating in a chorus that feels full and beefy without feeling like the song has ever really changed. This subtle growth is a big part of what makes the song enjoyable, as it has a smouldering power that creeps up on you without ever going all out with sledgehammer riffing or the usual heavy metal tropes. This is again reminiscent of some of the songs found on the band's early albums. As with many of the band's songs, there is an excellent guitar solo here towards the end. I assume that Tatler is to be thanked for it, but I know that Abberley also occasionally solos - but sadly the CD booklet does not specify who plays each solo! The effort here is a little slower than many of the speed-fests found elsewhere, but it fits in well with the mood of the piece, and is the icing on the cake.

Shades of Black opens with a lone Wilcox drum beat, before Tatler and Abberley launch into a slow, evil sounding riff that sounds nice and heavy. The riff has a certain Black Sabbath quality to it, but it is not used endlessly throughout the song, and is instead only brought out occasionally when the song needs a jolt of power. The verses are a little more low-key, with a strong bass presence and the guitars instead joining forces for a intricate little melody that forms the perfect basis for Andersen's somewhat Robert Plant-esque vocal delivery. As with many of the band's songs, there is something of a progressive influence here too - with Ashton often taking over with the bass for a beefy riff, before the guitarists take things in another direction with some off-kilter riffing or bursts of soaring lead work. It is these twists and turns that have always helped Diamond Head to stand out from the crowd. The two-part The Sleeper follows, with the short atmospheric prelude section - with its rousing spoken word delivery - leading into the song proper with its slow, melodic guitar and bass intro section. The gentle opening does not last long however, as one of Tatler's trademark riff soon kicks in - as Wilcox's percussive drumming and some soaring orchestral arrangements add subtle symphonic touches. After the rawer opening few songs, this song really sees the band ramping things up a notch and go all out for a more epic delivery. The orchestral arrangements, courtesy of Andersen - who is quite the multi-talented asset to this band, really add to the depth of the song, and help to augment Tatler's massive riffs with a certain grandness. Over the years the band have written a few of these lengthier songs, and this is one of the best representations of that sound - with murky slower sections sitting perfectly side-by-side with driving heavy metal riffing and shredding solos. I particularly like the last section of the song which sees the pace really increase with some excellent drumming from Wilcox. It brings everything to a head, with the orchestrations really upping in their dramatic quality before everything comes to a crashing, powerful close. Death by Design is a simpler track, and recalls the fast-paced style of Belly of the Beast from early in the album. This is a song made for being played live, with catchy guitar lead riffs, and a simple chorus which Andersen delivers with the controlled power that fans of the band will have come to expect by now. He really is the perfect frontman for the modern Diamond Head line-up, and he seems to be a big part of their recent rejuvenation and willingness to record new albums again. He always sings for the song, and when he lets rip it is because the song needs him to do so. He never showboats here, and instead just lets the songs speak for themselves. His catchy melodies here are a big part of what makes the song so fun to listen to - as this is a song that focuses more on the simple aspects rather than more-progressive arrangements.

Serrated Love is a little stranger than much else contained on the album, as it focuses a lot on Ashton's bass and the grooves that he can come up with rather than on big riffs. As a result the song feels different to the rest of the album, but helps to showcase Ashton's playing on his first album with the band. The verses mostly push the bass right to the front, and it is his playing and basslines that really drive the song. The guitars add colour here and there; and explode with power into the fuller choruses; but mostly this is Ashton's piece. This is the case however until about two-thirds of the way through when the song really changes and launches into a big, lengthy guitar solo that changes the tone of the whole song. The bass and rhythm guitars now chug out a simple melody, while the lead guitar dances atop with fluid melodies and licks. The change is slightly jarring, but the strength of the guitar solo makes up for the sudden change, and this only characterises the band's willingness to play with arrangements further - as does the gentle classical guitar outro. The Phoenix is a heavier mid-paced piece with a staccato, stabbing guitar riff that drives the piece and an expressive vocal performance throughout. Despite the simpler overtones, there is still quite a lot going on here. Acoustic guitars are mixed into the background of certain sections to give the song more depth, and Ashton's bass once again really cuts through the mix at times for that abrasive low-end sound. This is the only 'proper' song on the album not to be co-written by Tatler too, with the main riffs instead coming from Abberley. Considering Tatler is the only original member of Diamond Head left, it is unsurprising that he also drives the songwriting, but Abberley is a more than capable foil for him who also contributes the occasional solo and piece of songwriting to the band. I would not be surprised if at least one of the solos here was his, and it is great to see him stepping up here and taking the lead for a song. Until We Burn is the album's closing track, and it maintains the quality that has been set throughout with a slow-burning power that again channels the band's more progressive side. The orchestral arrangements are quite prominent again here, with the whole song constantly surrounded by a halo of strings. As a result the song does not feel as heavy as many of the other pieces here, but instead feels grander and more reflective as a result. Andersen's vocals are as good as ever, but for me it is the guitar playing that really stands out here, with lots of little lead breaks and solos throughout to really keep things interesting. Tatler, in my opinion, has always been one of the most underrated guitarists in metal - and he showcases here why he is held in such regard by bands like Metallica and Megadeth. His inventive playing makes the song what it is, and helps to draw the album to a complex, satisfying close. Overall, The Coffin Train is an excellent album from Diamond Head - and one that finally starts to rival their best work after a few false starts. Diamond Head are in the best place they have been for a number of years now, and it would be great to see them capitalise on this momentum somewhat as I think this is an album that many in the metal world would enjoy if they had a chance to hear it.

The album was released on 24th May 2019 via Silver Lining Music. Below is the band's promotional video for Death by Design.

Lynyrd Skynyrd - Birmingham Review

There are few bands that personify the southern rock genre more than Florida's Lynyrd Skynyrd. While there are many great bands, old and new, that play the country and blues-infused brand of boogie rock 'n' roll - Lynyrd Skynyrd are arguably the band that made the genre what it is today, and have amassed a long discography since their 1973 debut album which is packed full of classic songs. The five years between 1973 and 1977 (inclusive) was the band's heyday, and saw them release an album a year - all five of which are excellent and helped to make Lynyrd Skynyrd one of the best rock bands of the decade. Three days after the release of Street Survivors in 1977 however, the band's touring plane crashed - tragically killing two band members, one of their touring backing vocalists, and some of their crew and management. This horrific story is well-known, so does not need to be retold here, but it is safe to say that the event is one of the saddest occurrences in the history of rock music. Lynyrd Skynyrd went away for ten years, with the surviving members forming other bands, but in 1987 the band reformed for a tribute tour. I imagine the tour was intended to be a one-off, but 32 years later the band are still on the road! Gary Rossington (guitar) is the only original member left in the band now, with nearly all of the various members of the 1973-1977 line-ups now also sadly dead, but the current incarnation of Lynyrd Skynyrd is a powerful and well-oiled machine. The band's current nine-piece configuration has been touring since 2017 with the arrival of Keith Christopher (bass guitar), but many members of the current line-up have been a part of the Lynyrd Skynyrd story for a good number of years now. Frontman Johnny Van Zant, brother of the band's late original singer Ronnie, has been with the band since the 1987 reunion tour, and Rickey Medlocke (vocals/guitar) - a southern rock legend in his own right due to leading the band Blackfoot to lots of success during the 1970s and 1980s - has been handling much of the lead guitar since 1996. Rossington, Van Zant, and Medlocke have been leading Lynyrd Skynyrd for well over twenty years now; and it is their musicianship and charisma that has been a big factor in keeping the band going. It does seem that the band's time is coming to a close however, as the band's current lengthy world tour dubbed, appropriately, Last of the Street Survivors is supposedly their last major world trek. Whether this tour is indeed to be the end of the band or not remains to be seen - but I knew that I had to make the effort to get to a show. A show at the Resorts World Arena, at Birmingham's NEC complex, was the most viable option, so tickets were purchased as soon as they went on sale. While the band did not fill the large arena, as the back portion was curtained off, they still attracted a big crowd - which justified the choice of venue. The venue opened its doors at 5:30pm, and the opening band took to the stage at 7pm on the dot, which meant that a good portion of the large crowd was in situ by the time the music started.

Opening the show were the British rockers Massive Wagons, a band I had heard good things about but had never had the chance to properly check out. Despite only having the half an hour to play with, the Lancashire-based band set about winning the growing crowd around with their spicy brand of fast-paced rock 'n' roll that owed quite a lot of the harder end of Slade's sound. This was both a blessing and a curse; as on one hand the band's in-your-face hard rock style certainly whipped up some energy early on in the evening. The band treated it as their own show, with frontman Baz Mills racing around the stage to belt out the lyrics with glee. The flip side of this however was the fact that  all of the songs started to meld into one towards the end of the set - as there was very little variation to help set them apart. Bands of a similar style often suffer from this for me, and it is something that will probably stop me from fully enjoying Massive Wagons going forward. Their energy was undeniable however, and for a support band at an arena show they managed to elicit a pretty strong reaction from the crowd. Massive Wagons are a band that are starting to make a name for themselves, so I imagine it will not be long before they are headlining decent-sized tours in their own right. They are probably not a band that I will ever truly love, but I am glad that I have finally been able to see what all the fuss is about.

Filling the hour-long special guest slot were the legendary British rockers Status Quo - a band who are arguably bigger than Lynyrd Skynyrd here in the UK. I imagine that the Quo were added to the bill to help shift tickets in the larger venues, but whatever the reason for their inclusion I was not going to complain at another opportunity to see them. Considering that the band were allegedly putting down their electric guitars to focus on acoustic shows after their 2016/2017 tours (where I saw the band in Birmingham in the December of 2016), Status Quo were sounding as vital and bouncing as ever - and with a new album Backbone due out in a few months time, the band do not seem to be slowing down just yet. With only an hour on stage, the band ran through a set that largely consisted of some of their greatest hits - but threw in a couple of the new numbers to keep things interesting. The band's ever-present set-opener Caroline got things underway, before Francis Rossi (vocals/guitar) and John 'Rhino' Edwards (vocals/bass guitar) shared the vocals on the old Richard Supa tune Something 'bout You Baby I Like. In many ways, the band's set was similar to that of the 2016 show that I saw, with a big medley of early hits coming early on - but there was a change following this in the form of Mystery Song, sung passionately by new boy Richie Malone (vocals/guitar) in place of the late Rick Parfitt. I enjoyed the inclusion of the new tracks in the set, and both of them sounded very strong. Cut Me Some Slack in particular sounded like a future Quo classic, with Rossi's London-accented vocals sounding as strong as ever. The band's last couple of albums have been bloated and unmemorable in my opinion, so it is great to hear the latest incarnation of the band sounding something like their best again. I am looking forward to Backbone's release, and on the strength of Cut Me Some Slack and Liberty Lane it will be an enjoyable listen. By this point the set only had five more songs left, but they were all classics that got the crowd out of their seats. Their cover of In the Army Now prompted a bit of a sing-a-long, before four boogie classics saw the set come to a triumphant close. The band's only number 1 single Down Down whipped up a real storm, with Rossi showing off his bluesy guitar skills, before the somewhat more commercial Whatever You Want was led by Andy Bown (vocals/guitar/keyboards/harmonica) - who seemed to relish singing a song that he co-wrote with Parfitt. Bown then sat down at the piano to tinkled out the opening melody to Rockin' All Over the World - which was Quo's last hurrah on stage. It also got everyone in the venue singing along, and the cheer that run out around the Resorts World Arena as the band left the stage was a huge one. The setlist was:

Caroline
Something 'bout You Baby I Like [Richard Supa cover]
Rain
What You're Proposing/Down the Dustpipe/Wild Side of Life [Hank Thompson cover]/Railroad/Again and Again
Mystery Song
The Oriental
Cut Me Some Slack
Liberty Lane
In the Army Now [Bolland & Bolland cover]
Roll Over Lay Down
Down Down
Whatever You Want
Rockin' All Over the World [John Fogerty cover]

Some bands would have had trouble following such a high-energy set from Status Quo, but Lynyrd Skynyrd were clearly up for the challenge at hit the stage at just after 9:15pm with the tough main riff of Workin' for MCA - which certainly set the tone for the rest of the evening. For a band of Lynyrd Skynyrd's set-up - three guitars and a set of keyboards - the mix needs to be right and thankfully everything sounded great from the off. Peter 'Keys' Pisarczyk's piano had just the right amount of presence, with Rossington, Medlocke, and Mark 'Sparky' Matejka's (guitar/vocals) guitars all shining when they needed to. Medlocke's riff drove the opening number, but it was Matejka who took the first guitar solo of the night - and perfectly followed a barrage of barroom piano from Pisarczyk. All three guitarists had plenty of opportunity to solo throughout the night, as the band stormed through a 15 song set that was - largely - made up off classic 1970s tracks. The only newer number, Skynyrd Nation, came second and was sung as a duet between Van Zant and Medlocke. It was a shame that no more of the band's excellent recent releases were showcased live in Birmingham, but with the majority of fans probably only wanting to hear the classics I can understand why the setlist was somewhat conservative. With hits like What's Your Name and That Smell coming early on however, their choices were more than justified, and the country-boogie of I Know a Little saw quite a lot of movement from the crowd and lots of excellent guitar playing from Matejka. It was a bit of a shame however that the band seemed to have to try really hard to elicit a strong reaction from the crowd. Those down near the front were clearly really into the show, but the majority of those further back just seemed content to soak the evening up. Lynyrd Skynyrd's music requires participation and movement, so to see so many people wilfully not joining in was quite a sad thing. This is somewhat epidemic of arena shows however, but it clearly got to Van Zant occasionally - but he soldiered on professionally and continued to push the crowd for more.

The set's heavier moments did see stronger reactions however, with the shuffle rhythm of Saturday Night Special seeing a few heads banging, before The Ballad of Curtis Loew slowed everything down somewhat to give everyone a breather. Another big ballad in the form of Tuesday's Gone, with some excellent organ from Pisarczyk and lead guitar from Rossington, followed and was sung with real passion by Van Zant. I'm not sure that Van Zant has ever truly be given the respect he deserves, as he is understandably always in the shadow of his late brother, but this performance showed why he is a southern rock legend in his own right - and I hope he continues to produce new music after Lynyrd Skynyrd come to an end. The last portion of the show was largely bona fide classics, but an inclusion of the tough Don't Ask Me No Questions saw the band reach a little deeper into their catalogue. It was appreciated by the die-hards in the crowd, before the gentle Simple Man and a double-salvo of Gimme Three Steps and Call Me the Breeze received the sort of reactions that the band had been deserving since the off. A rousing Sweet Home Alabama brought the main set to a close, with the crowd taking over from Van Zant at one point to sing the legendary song. The band left the stage after it was over, and stayed backstage for a good few minutes while smoke filled the stage - before Pisarczyk took to the stage again to start playing the intro to Free Bird. It was the only song in the encore, but at around 15 minutes in length the song really blew the roof off the venue. From Rossington's iconic slide melody, through Van Zant's soulful vocals, to Medlocke and Matejka's lengthy and explosive outro solos - the song was a true triumph. The second verse saw Van Zant leave the stage as video footage of the late Ronnie was shown on the screen and audio of him singing the verse was played over the PA. The tribute worked well, and the aforementioned lengthy guitar solo that followed was one of the moments of the whole night. The band took their bows to large cheers after the song's conclusion and, despite often behaving in a rather reserved fashion, it was clear that the crowd had enjoyed their 90 minutes with Lynyrd Skynyrd. The setlist was:

Workin' for MCA
Skynyrd Nation
What's Your Name
That Smell
I Know a Little
The Needle and the Spoon
Saturday Night Special
The Ballad of Curtis Loew
Tuesday's Gone
Don't Ask Me No Questions
Simple Man
Gimme Three Steps
Call Me the Breeze [J.J. Cale cover]
Sweet Home Alabama
-
Free Bird

If this show is indeed to be Lynyrd Skynyrd's last in the UK, as the Birmingham show brought the European leg of this tour to an end, then it will be a great way for the band to go out. They sounded excellent throughout the evening, and the setlist showcased many of their best-known songs. The show could have been a little longer - many of the shows throughout this tour were - but what we got was excellent. I had seen the band once previously in 2012, so to see them again was excellent - and I hope that there is still a little left in the band (one more album maybe?) before their retirement!