Saxon - London Review

Whilst many of the gigs that I have been to over the past six months or so had originally been postponed because of the COVID-19 pandemic, Saxon's show in London this past weekend was actually supposed to happen pre-pandemic. It was originally scheduled for October 2019, but frontman Biff Byford's suffering of a heart attack led to it being moved to March 2020 - and the rest, as they say, is history. Thankfully, Byford recovered relatively quickly - but the band's 40th anniversary shows had to be put on hold. The shows were then postponed a number of other times, and I actually returned my ticket at one point as one of the dates clashed with other pre-existing plans - only to re-buy it when the gig was moved once again. The band did play a few festivals last year, but it was this past weekend when the band returned to their 40th anniversary celebrations (now 43rd anniversary) with a couple of high-profile UK dates. Large venues in both Manchester and London were booked, with a third show in Glasgow falling to Holyrood's endless desire to be seen as being that bit tougher on COVID-19 than England. Despite this cancellation, I am sure that Saxon were excited about getting back into UK venues again - especially as the venues chosen were some of the biggest that the band had headlined in the country for quite some time. Prior to Saturday, I had seen Saxon live a handful of times but the venues played were generally small theatres or clubs. This time, however, the venue was the Eventim Apollo, otherwise known as the Hammersmith Odeon - a venue which the band used to regularly headline back in the 1980s. I think that it is fair to say that the band's stock has risen again over the past decade or so - and I am clearly not the only person to think so, as the show was sold out. It helped, too, that the band decided to make an event of these 40th anniversary shows. Not only were the band promising a big stage show, including their much-loved but reclusive eagle stage prop, but they also packed the evening out with a host of great support bands. Uriah Heep, themselves celebrating their 50th anniversary, acted as the evening's special guests - with Diamond Head and Girlschool opening things up. Originally the Swiss rockers Krokus were supposed to be the special guests, but they have since retired. I would have been interested in seeing Krokus live, but I was never going to complain about Uriah Heep replacing them. I am a big Uriah Heep fan, and have seen the band live a few times over the years. An evening with them and Saxon promised to be an excellent one - with Diamond Head and Girlschool adding to the overall experience nicely.

Given the amount of music to get through, the venue opened at 5pm and Diamond Head kicked things off at 6pm. Both Diamond Head and Girlschool only had 30 minutes on stage each - so both only had time for a handful of songs. It was not that long ago that I saw Diamond Head come roaring out of lockdown with a stunning set at Plymouth's Junction in August last year, so I was looking forward to seeing them again. Despite a slightly muddy sound mix, which actually affected all of the evening's acts apart from Saxon, Diamond Head impressed - with the current line-up once again doing justice to the band's classic material, as well as showcasing their own efforts. It was two of the newer songs that opened up the set too, with the old-school mid-paced rumble of Bones and the dynamic The Messenger impressing the gathering crowd. It was clear that there were quite a few Diamond Head fans in attendance, but even those around me who did not seem to be familiar with much of the band's work seemed to be impressed. Rasmus Bom Andersen is a great frontman, who covered every inch of the stage, while guitarist Brian Tatler is a true NWOBHM legend. He has lost none of his guitar potency over the years, and it was great seeing him peel off a number of great solos. Despite the newer songs impressing, I think that it is fair to say that it was the classic material that really got the crowd going. The fast-paced pseudo-thrash of Lightning to the Nations and Helpless certainly upped the energy around the Odeon - and there was a fair bit of audible singing during the later. The snappy Sweet and Innocent sat between the two, showing off the band's more commercial side, but it was a set-closing rendition of the mammoth Am I Evil? that proved to be the highlight of the set. It was the evening's first big sing-a-long of the night, and Andersen certainly put the crowd through their paces - who dutifully obliged. Tatler soloed like a demon too, and the classic song was a great was to raise the bar and challenge those who followed to up their game. The setlist was:

Bones

The Messenger

Lightning to the Nations

Sweet and Innocent

Helpless

Am I Evil?

Sadly, Girlschool were not able to raise the bar further - although this was certainly not their fault. Of the four bands on the bill, they were the one that I was the least familiar with - and the only band that I had not seen live previously. I was looking forward to finally catching the legendary NWOBHM stalwarts, but I think that it is fair to say that their performance was not a vintage one. This was largely down to the poor sound that they suffered from (their sound was easily the worst of the night), which was probably due to the fact that they had had to set their gear up very quickly. Why them and Diamond Head did not share gear I do not know, but it took three or four songs for the band to get going - largely because they could not really hear each other. When you only have 30 minutes to play with, three or four songs is a good chunk of the set however - and much of the set sounded quite loose and raw. There was still fun to be had, however. The opening cut, Demolition Boys was packed full of energy - and it is clear that Kim McAuliffe (vocals/guitar) still has a great, raspy voice. She may be the band's only lead singer these days, but she fronts the band well. Another song that impressed me was Guilty of Sin, from the band's latest album of the same name. It had something of a punk vibe, as much of Girlschool's material does, but the chorus was very memorable - and it showed that the band have kept the faith over the years. As the set rolled on, however, it became clear that Girlschool's songwriting has little variety in it. This is not necessarily a band thing, but when you are largely unfamiliar with what you are hearing this can mean that everything blends into one - especially with poor sound. That being said, though, the band did elicit a reaction throughout. Their rendition of Motörhead's Bomber certainly went down well, and there was quite a lot of singing going on around me, and a set-closing version of Emergency, arguably their signature tune, ended things on a high. It was not a set to judge Girlschool by, but I am glad that I have finally seen the band live. They are a band that I need to explore further, however, and hopefully one day I can catch them again under more favourable circumstances.

Being the evening's special guests, the legendary Uriah Heep were afforded 50 minutes on stage. The band certainly deserve an opportunity to headline the Odeon again too, but they still seemed happy to be helping out their friends in Saxon and being further down the bill. Their set was one packed full of powerful moments, but it was certainly one for the initiated. The setlist was essentially a condensed version of the set that the band have been playing since 2018 - with the tough Grazed by Heaven kicking things off. Uriah Heep generally showcase a lot of new material in their sets these days, but this time they largely focused on the classics. As such, Grazed by Heaven, with its barrelling Mick Box (guitar/vocals) riff, was the only new number played. The band then turned the clock back to 1982 for the AOR-tinged Too Scared to Run, with the rest of the set coming from their early 1970s heyday. Grazed by Heaven and Too Scared to Run proved to be a great opening one-two punch. Frontman Bernie Shaw was on fine vocal form throughout, despite being quite low in the mix at times, and drummer Russell Gilbrook put in a performance that showed why the band has become more powerful since he joined in 2007. A floor-shaking rendition of Gypsy soon followed, as Phil Lanzon's (keyboards/vocals) Hammond rumbled through the venue. Hearing a Hammond live is always a treat, and Lanzon's busy playing is always a highlight of any Uriah Heep set. His playing drove Gypsy, and the band's multi-part vocal harmonies sounded as tight and as full as always. For me, however, the band took a bit of a misstep after this powerful opening trilogy. Given that the band were playing in a supporting capacity, I am not sure that playing both an elongated version of Look at Yourself; complete with guitar, keyboard, bass, and drum solos; and the epic July Morning was wise. Look at Yourself is a punchy rocker, but in recent years the band have been stretching it out with lots of soloing and jamming. This might work at their own shows, but I do not think that it was a wise inclusion this time. I could sense attention wandering around me, and if I was picking the setlist I would not have played Look at Yourself - and instead included a couple of other punchy rockers before allowing the epic July Morning to truly shine and act as a vehicle for some additional soloing. July Morning was, of course, excellent - but by the time it finished there was only time for a couple more. More rumbling Hammond introduced the soaring Sunrise, a song that always goes down well live. A few of those around me who had been somewhat bored by the longer songs seemed to get back on the wagon with Sunrise, and it was another song that really showcased the band's talent for vocal harmonies. The harmonies are always a big part of any Uriah Heep gig, and even with a slightly muddy sound mix they still shone through. It was left to the fast-paced Easy Livin' to bring the band's 50 minutes on stage to a close - and it certainly helped to whip up some last minute energy before Saxon's headline set. Those of us who were already into Uriah Heep certainly enjoyed their time on stage, but I do feel that it might not have done much for the uninitiated - which is a shame. The setlist was:

Grazed by Heaven

Too Scared to Run

Gypsy

Look at Yourself

July Morning

Sunrise

Easy Livin'

I had seen Saxon a number of times before Saturday but I think that it is fair to say that, as far as spectacle goes at least, this Odeon show was the best. As mentioned before, it is the largest venue that I have seen the band in - and they really went all-out from a stage show perspective. Two lions flanked the stage, with the drum kit in the middle surrounded by big steps and a huge screen. The crowning glory was of course the band's legendary eagle prop - which constantly hung above the band, and moved around as the show progressed. It is also the only Saxon show that I have seen that focused on the band's classic material. Saxon, to their credit, often play a lot of newer material in their sets - but given the 40th anniversary nature of this show it was very much a greatest hits affair, with a few deeper cuts thrown in. It was also packed full of energy. There were no ballads or real slower numbers played, with the setlist instead packed full of fast-paced NWOBHM anthems. It was fitting, then, that Motorcycle Man kicked everything off - and it was clear that the band were really up for show. Byford sounded great despite his relatively recent health scares, and the rest of the band were also on fine form - with Nibbs Carter (bass guitar/vocals) in particular catching the eye with his endless shape-throwing and headbanging. Battering Ram, one of the few newer tracks included, was next, but it was an early rendition of Wheels of Steel that was possibly the evening's first true highlight. The song generally comes the near the end of a Saxon set, so playing it so early was a bit of a risk - but it really got everyone singing along. The crowd were in fine voice throughout, and there was even quite a lot of moshing going on down at the front near where I was stood. This clearly annoyed quite a few people, including me at times, but it was great to see a band like Saxon whipping up such a reaction. The fast-paced They Played Rock and Roll only fuelled the moshers, but the pace did slow down a little after this with the mid-paced anthems Strong Arm of the Law and Denim and Leather. The latter in particular was a real highlight thanks to Carter's strong bass presence and the muscular guitar riffing of both Paul Quinn and Doug Scarratt. Byford even donned a denim jacket thrown to him from the crowd, and there was plenty more singing to be heard from everyone. It was also great to hear the band revisit a song from their self-titled debut album, with Backs to the Wall being wheeled out for a rare appearance. The band's debut album is seen as one of the weaker albums in their catalogue, but it has some strong moments - with Backs to the Wall being one of them. It went down well with the crowd, with the fast-paced nature of the track again encouraging the moshers.

The lights went down after Backs to the Wall and some synths filled the speakers - which heralded the arrival of a setlist centrepiece performance of The Eagle Has Landed. The slow riff is one of my favourite Saxon guitar moments, and it was one that saw much headbanging from the sold out crowd. It was also the song which, unsurprisingly, made the most use of the eagle prop. It moved from its position above to band to down in front of Nigel Glocker's drum kit - and it acted as a powerful backdrop as the band played through the brooding number. This was one of the night's only slower moments, but the overall heaviness was not lost - as the doomy riffing proved. Never Surrender upped the pace again, but a mid-set highlight came in the form of a medley of two deeper cuts from the 1990s. A mash-up of Dogs of War and Solid Ball of Rock worked well, with the latter being stretched out somewhat to include soloing and some banter from Byford. Despite the evening mainly being about the band's greatest hits, it was nice to hear a few deeper cuts included. I had not heard Dogs of War played live before, and the mid-paced stomper was a welcome addition to the set - as was Dallas 1pm which had not been played the night previously in Manchester. The band added it in at the last minute after fielding questions as to why it had been left out the night before, but the real highlight for me came next with And the Bands Played On. The band's ode to the old Monsters of Rock festivals has always been one of my favourite Saxon songs, and it is one that always goes down well live. It was no different at the Odeon, with its soaring guitar leads and relatively simple arrangement whipping up the crowd. By this point the end of the main set was approaching, and it was left to three fast songs to finish things up. Power and the Glory has never been one of my favourite Saxon songs, but the version played at the Odeon was extremely powerful. The twin guitar harmonies were tight as anything, and Glocker's fast-paced double bass drumming pushed everything along. Heavy Metal Thunder then brought the main set to a powerful close, and the moshers really enjoyed it. It has always been a great live song for Saxon, and it has become one of their main anthems over the years. Everyone was again singing along during the choruses, and the band received a huge cheer as they left the stage. It was not long before they came back, however, and they treated the crowd to a three-song encore filled with more favourites. The majestic Crusader kicked off this encore section, but it was 747 (Strangers in the Night) which I enjoyed the most. The song has always been a favourite Saxon cut of mine, and the version played at the Odeon was especially powerful - with the eagle prog 'flying' in a similar manner to the plane described in the song's lyrics. Quinn's fast-paced guitar intro then introduced the evening's final song, Princess of the Night, which was the perfect song to round out an evening of Saxon's greatest hits. It gave the capacity crowd one last chance to sing along with the band - and Byford and co. looked really happy as they took their bows. It was a triumphant celebration of the band's recent anniversary, and a show that all will remember for a long time. The setlist was:

Motorcycle Man

Battering Ram

Wheels of Steel

They Played Rock and Roll

Strong Arm of the Law

Denim and Leather

Thunderbolt

Backs to the Wall

The Eagles Has Landed

Never Surrender

Dogs of War/Solid Ball of Rock

Dallas 1pm

And the Bands Played On

To Hell and Back Again

Power and the Glory

Heavy Metal Thunder

-

Crusader

747 (Strangers in the Night)

Princess of the Night

Saxon always put on a great show, but this was something special from the 'show' side of things. I think that I have enjoyed the band's actual performance more at other shows, but as far as stagecraft and putting on a show goes, Saturday night at the Odeon wins hands down. Byford also announced on stage that the show was being recorded for a live album, so hopefully the recording is of a good enough quality to one day release - as it will certainly be a good 40th anniversary souvenir. Saxon are certainly not resting on their laurels, however, and have a new album, Carpe Diem, being released at the end of this week. They also recently released the dates for a November UK tour too, so all being well it will not be long before I see Saxon live again.

Odin Dragonfly's 'Sirens' - Album Review

It is always a treat when an act that has essentially been dormant for quite some time release something new. Being a musician, especially when being such is not a full-time pursuit, is never easy - and finding the time to write and record new music around a day job and family life can be a struggle. This becomes all the more true when said musician has a number of projects on the go. Side projects are just that, something to enjoy when focus is diverted away from a main project. I think that it is fair to say that the British folk duo Odin Dragonfly was formed with being a side project in mind. Odin Dragonfly is made up of two singers, songwriters, and multi-instrumentalists: Heather Findlay and Angela Gordon; and was formed in the mid-2000s when both were members of the British progressive rock act Mostly Autumn. By the time Odin Dragonfly had been formed, Mostly Autumn had already found their feet. They had established themselves as one of the nation's best underground progressive rock acts, a position which they continue to hold today. While Findlay fronted the band at the time and contributed significantly to the songwriting, Mostly Autumn has always been Bryan Josh's baby. Having struck up a firm friendship with bandmate Gordon, I assume that Odin Dragonfly was formed by the pair to allow them to have something that was more their own - as well as to play music that was much more folky and delicate than Mostly Autumn's wall-of-sound approach. The pair made a few live appearances around this time and released their debut album Offerings in 2007. Offerings was popular with the Mostly Autumn fanbase, and it is an album that I return to relatively often. It is much lighter in tone than much of the music that I usually listen to, but it was great to hear Findlay's recognisable songwriting style forced through a sparser filter. It was also great to hear Gordon's songwriting efforts, with many of her songs being up there in quality with Findlay's. Gordon has never really contributed to Mostly Autumn from a songwriting perspective, so Offerings opened my eyes to her wider talents. Gordon left Mostly Autumn later in 2007, however, due to the birth of her daughter, and not much was heard from Odin Dragonfly for a number of years. Findlay left Mostly Autumn herself three years later, and has been plugging away at a solo career ever since - occasionally with Gordon in tow. Gordon has also been back in the Mostly Autumn fold since 2015, and as she has become more musically active again it felt like a second Odin Dragonfly album was inevitable at some point, but the question was always when? Both Findlay and Gordon had hinted at one over the years, but earlier this month the duo's second effort Sirens was finally released. Those of us who pre-ordered the album directly from the duo have had it since late last year, but it has now been released officially. Listening to Sirens, it feels as if no time has passed since Offerings. The duo's sparse, but melodic, brand of folk is still perfectly intact - and the songwriting from both Findlay and Gordon is as strong ever.

The album starts with the atmospheric instrumental piece The Dimming. As with Offerings, the songs throughout Sirens are arranged relatively simply - with the main instruments throughout being Findlay's acoustic guitar alongside Gordon's piano and/or flute. Findlay contributes some additional wind instruments and percussion throughout, but the guitar, piano, and flute dominate. The Dimming is one of the few pieces that breaks from this tradition however, as it goes for a more natural sound - with the sounds of water and what sounds like a subtle keyboard drone filling the speakers. Findlay and Gordon add some wordless vocal harmonies atop this atmospheric backing, and the track perfectly helps to set the scene for what is to come thanks to its slow-burning, atmospheric vibes. Across the Sea, penned by Gordon, starts the album proper, however, with delicate piano melodies taking over from the intro's drone. While each song on the album is principally sung by either Findlay or Gordon, vocal harmonies are a big part of Odin Dragonfly's sound. They really add a lot of depth, especially given the generally sparse instrumentation throughout, and the two ladies' voices have always worked so well together. Across the Sea is dominated by Gordon, however. Her floaty vocal delivery sits perfectly across her sombre piano melodies, with Findlay's guitar chords generally just adding depth. That being said, however, a brief instrumental section towards the end makes more of the guitar's presence - and Findlay's voice helps to enhance the beautiful chorus perfectly. Circling Ravens is more upbeat, and features Findlay's sweet voice throughout. It is a song that really reminds me of the style that the duo cultivated on Offerings, with the jaunty folk vibe only enhanced by Gordon's main flute hook. Findlay dominates, with her prominent guitar chords and familiar voice, but the flute refrain helps to add some additional melody - while Gordon's piano also adds depth. This overall sound is probably the side of Odin Dragonfly that I like the most. The duo excel at ballads too, but these more upbeat folky tracks never fail to bring a smile to my face. Circling Ravens is a real album highlight as a result for me, and it is a song that I can see myself returning to a lot. Driving shines the spotlight back onto Gordon. While the song is relatively more upbeat than Across the Sea, which was rather sparse and sombre, Driving is still quite downbeat. The song's lyrics pack an emotional punch, and it sees Gordon singing in a much more full-bodied manner - which differs from the floatier approach taken throughout Across the Sea. Her piano again dominates, but Findlay's guitar and harmony vocals are more prominent this time - which helps to contribute to the song's bigger sound. Occasional whistle lines add welcome melodic instrumental breaks too - and the song is another highlight as a result.

Don't Wait too Long is another relatively jaunty piece, built around a catchy flute hook that again recalls the sound that was present throughout Offerings. Despite the song being written and sung by Gordon, it is Findlay that actually supplies the main musical backing. Much of the song is built around her upbeat guitar chords, without the piano that bulks out many of Siren's songs. This makes the song stand out, as many of Gordon's compositions are generally very piano-driven. It is nice to hear sing against an acoustic guitar backing, however, and of course Findlay is always on hand to provide some harmonies. Gordon instead makes her musical contributions felt through her flute and there are many flute breaks throughout the track - including a lengthy one towards the end that allows her a chance to stretch out somewhat. Come Right to Me is very typical of Findlay's songwriting, and those who are familiar with her work will instantly feel at home listening to the relatively upbeat piece. Big guitar chords drive the song, with Gordon's musical contributions being relatively limited this time around. There is some piano adding depth, but it is mixed into the background - so much so that often the track is purely about the guitar and the two ladies' harmonies. The song is pretty short, and I like how it ends - with a radio fade-out effort that makes the song crackle as it comes to a low key close. Four & Twenty Moons is one of Gordon's, and it is a song that she has had knocking around for quite some time. I seem to remember it being played at the Mostly Autumn Convention back in 2007, and she also dusted it off in 2016 for a rare recent Odin Dragonfly live outing at that year's Cambridge Rock Festival. The song is something of a piano-led sea shanty, with a great rhythm throughout thanks to Gordon's busy piano playing and some relatively aggressive guitar strumming from Findlay. I remember enjoying the song a lot in 2016, and I am glad that it has finally found a home here. It is a great example of Gordon's songwriting style in my opinion, and some of the album's best vocal interplay is found throughout - with some of the closing vocal harmonies including some great high notes from both. Beneath Your Armour is more of a ballad, something which Findlay has always excelled at. It is a song that also reminds me of the Offerings sound, but the side of the album which stripped away the overall jauntiness and went for a more sombre sound - like Magnolia Half-Moon. It also reminds me of some of the older, more acoustic-based songs that Findlay wrote for Mostly Autumn, with The Eyes of the Forest in particular coming to mind. Gordon's piano adds depth, but this is a song that really focuses on Findlay and her excellent vocal performance. Findlay's delivery is extremely varied throughout - with the early portion of the song being sung in quite a low register, but she ramps up the power as things move along. The song is very familiar sounding, however, which makes it another album highlight for me as it allows Findlay to revisit a writing style that she has not really tackled for a while.

Fall from the Stars is the album's final solo composition from Gordon, and it returns very much to the vibe that kicked off the album during Across the Sea. The song is a ballad-esque piece with rumbling piano melodies and a floaty vocal that acts as something of a contrast to the rest of the song. Guitar chords add depth, but this is a song that is all about the piano. The melodies throughout are excellent, but the song's overall highlight for me is the instrumental section that allows Gordon an opportunity to play something of a piano solo. It is not the most exuberant instrumental section, but Gordon builds on the song's main melodies perfectly - and it showcases her talents as a pianist nicely. She is generally known as a flautist, but she has always been an excellent keyboard and piano player too - as Fall from the Stars showcases. The album's final three songs are all co-written by the duo, with Rise & Fall kicking off this more collaborative closing trilogy. Despite this, however, Rise & Fall is very much in the classic Findlay mould. She takes the lead vocally throughout, and as such the vocal melodies and inflections are very typical of her usual approach. Gordon adds plenty of harmonies and some excellent piano depth throughout, but this is a song that belongs to Findlay. Gordon does temporarily steal the spotlight with a gorgeous flute section, however, but this is relatively short-lived as Findlay's excellent vocal delivery rightly dominates. Gulls, the album's longest song, returns to the natural sounds of The Dimming. Bird sounds can be heard during the song, but it is a piece that is more typical in sound to the rest of the album than its atmospheric intro. It is a real slow-burner, however, with the initial bird song initially only punctuated by a gentle acoustic guitar melody. Findlay again dominates vocally, but much of the song is sung in tandem - with Gordon ever-present adding harmonies. Some of the chord changes throughout the song really remind me of those early Mostly Autumn albums, with those slightly sharp changes that the band often used to great effect throughout the late 1990s and early 2000s. Findlay was of course a big part of that era of the band, so the style sounds natural here - especially when Gordon's flute is added to the mix during the song's occasional instrumental breaks. The album comes to a close with the gorgeous ballad Diamond Soul. Some of the songs here took a few listens to fully appreciate, but Diamond Soul was one that jumped out at me from the off - and it remains a favourite. It opens with Gordon's piano, which Findlay soon starts to sing over. The guitar adds depth, but in the main the song is a piano ballad - and it is nice to hear Findlay singing against the piano backing, as the album's other piano-led pieces have been sung by Gordon. Gordon adds her voice to the simple chorus to help add to its emotional pull, but this is another song that showcases Findlay's vocal talents perfectly. She has always had a real warmth to her voice, and Diamond Soul demonstrates this - all while bringing the album to a lovely close. It also ends the album much how it started, with a relatively sombre ballad. This highlights the overall diversity of Sirens too which, despite its relative simplicity, is a pretty diverse album. It was certainly worth the wait, and I am glad that Findlay and Gordon once again decided to team up to deliver another album of excellent folk compositions that perfectly compliment Offerings from 15 years ago.

The album was released on 21st January 2022 via Black Sand Records. Below is the duo's promotional lyric video for Driving.

Magnum's 'The Monster Roars' - Album Review

You can almost set you watch by the release schedule of the British melodic rockers Magnum. The five-piece have been very prolific over the years, having released their debut album Kingdom of Madness in 1978, but recent years have often seen the band doubling down on this prolific nature. Despite a break between 1995 and 2001, which saw frontman Bob Catley and guitarist Tony Clarkin operate under the name Hard Rain, Magnum have essentially been 'at it' since 1978. There have rarely been long gaps between new releases, and the band are seasoned road dogs - often touring heavily throughout the UK and the rest of Europe. They are a much-loved band as a result, and they are a band that I have been listening to for a number of years. It was probably a combination of hearing both 2007's Princes Alice and the Broken Arrow and 1985's classic On a Storyteller's Night not long after the former's release that turned me on to Magnum, and I have never really looked back. I think it helps that, alongside a busy release schedule, the quality of the band's output has generally remained high. There are no Magnum albums that I dislike (although I should note that this point that the one Magnum album that I am still yet to hear is 2002's Breath of Life, which is generally considered to be relatively poor), although of course some are better than others. Magnum are a band which I can listen to at any time really too, and they can sometimes be seen as the musical equivalent of comfort food - due to their unwavering and satisfying sound. I generally put Magnum albums in one of two categories, however: 'excellent' and 'solidly enjoyable'. Some Magnum albums really excel, whereas others are not quite as good but still good listens nonetheless. The band's last album, 2020's The Serpent Rings (which I reviewed here), very much falls into the former category, and the album is one of my favourites of Magnum's recent run. It was the debut of the band's current line-up, and it really returned to the pomp sound of the band's heyday in a big way - with some of the band's modern grittiness dialled back. 2018's Lost on the Road to Eternity (which I also reviewed here), however, is definitely a resident of the latter category. It contains some great songs, but it runs out of steam about two-thirds of the way through. Magnum's post-reunion discography is generally about a 50/50 split between the two camps, which is not bad given the band's large output. A couple of weeks ago this discography was added to, as the band released their twenty second studio album The Monster Roars. This new album is the second by the band's current line-up, and it is their first release for a while not to feature a Rodney Matthews album cover. Matthews' work is such a part of Magnum's identity that the few albums not to feature his art look out of place in the catalogue. The Monster Roars' artwork is rather strange and unsettling too, but luckily the music within is very much what we have come to expect from the band.

For me, The Monster Roars falls into my second category, but there is still an awful lot to like here. It reminds me quite a bit of 2009's Into the Valley of the Moonking with its mix of relatively restrained pomp and gritty hard rock. The title track opens the album in a slow fashion. Rick Benton's swirling keyboards and stark piano melodies are the first things heard, but it is not long before Catley starts to sing atop them. The first verse is very laid back as a result, and it eases the listener into the album - before Clarkin's guitar crashes in to herald the arrival of the first chorus. Clarkin's tone is beefy here, and his riffing throughout the song is typical of what is to come. He has never been the most inventive of soloists either, but his lengthy effort after the second chorus - which is backed up a great upbeat groove from bassist Dennis Ward and drummer Lee Morris - is full of melody. By the time the song comes to an end it is a very different beast from how it first appeared, and the album's hard rocking tones are very much established - although some keyboard flair from Benton in the closing minute or so adds some grandness to the piece. Remember is next, and the song is another highlight - largely due to its infectious chorus and endless hooks. The song is very typical of the sound that the band has been following since their early 2000s reunion, but I really like how it opens - piano-led again, but with some great Clarkin guitar leads. The song then builds throughout the verse, with Morris' staccato drumming and Catley's smoky vocals dominating, before it explodes into what is the album's best chorus. Catley's vocal hooks are full of his trademark warmth, and he sounds as good as ever delivering Clarkin's lyrics. Instead of a guitar solo this time we are treated to an upbeat instrumental section that features some inventive bass playing from Ward early on, but soon transitions into one of soaring keyboard swells and piercing piano. Establishing an early theme, All You Believe In also opens with Benton's piano - but this time Clarkin's guitar kicks in much sooner, and the track overall feels weightier as a result. The interplay between the guitar and the piano works well, however, with the two often providing counter-melodies for each other - with neither instrument truly dominating. Catley sings above this interplay well, his vocal power allowing him to soar above this cacophony. The chorus is another typical Magnum moment, with mid-paced grandeur and subtle symphonic swells replacing the verses' general weight. I Won't Let You Down breaks the piano theme, and instead leads with Clarkin's guitar from the off - with a choppy, rhythmic riff dominating the verses. The song is one of the album's shortest cuts, and is therefore pretty straight forward in terms of arrangement. I do like how Ward's bass plays against the guitars during the verses, however, as it gives them some character - and Benton's keyboards join the fray in a big way during the choruses to add some atmospheric depth.

The Present Not the Past is the album's first somewhat slower piece, and it reins in the general guitar toughness of the opening songs - at least at first. The song's early moments give the impression that it will be a ballad but, despite starting slowly, the song is generally another trademark Magnum mid-paced rocker. The verses are quite low key, however, with acoustic guitar chords and Benton's piano providing the backdrop for Catley's voice - while the the rhythm section add a sombre beat. The pre-chorus and chorus see the sound fill out, though. Clarkin adds a groovy little riff to the pre-chorus that injects some energy to the track, while the chorus itself sounds huge - with layers of harmony vocals and ringing piano chords. A symphonic bridge section adds some extra instrumental flair late on, too - giving the song an overall well-rounded feel. No Steppin' Stones, which is one of the album's singles along with I Won't Let You Down, is an upbeat AOR-esque rocker - although the addition of a horn section helps it to stand out. Magnum have worked with horn sections before, but it is not something that they have done too often. Aside from Clarkin's hard-hitting guitar rhythms, it is actually the horn section that dominates. They constantly add little licks here and there, and there are extended sections which see them take the lead. It might mean that the song is hard to pull off live as a result, but the melodies played by the horn section are not generally that different from those that the band would have used keyboards for in the 1980s - so maybe Benton can replicate them on stage. The song would certainly go down well live too, as it has a great upbeat vibe and another strong chorus that brings the best out of Catley's voice. That Freedom Word opens relatively slowly, and again gives the impression that it is going to be a ballad. Much like The Present Not the Past, however, the song is not very ballad-like in general - although it does shift back and forth between slower passages and those which are much heavier. Benton's keyboard work throughout is quite atmospheric, which is helped by some aching bends from Clarkin, but perhaps the best moments of the song are when Clarkin is operating at full tilt - with a razor sharp guitar tone that really cuts through the mix. Your Blood is Violence, which is the album's longest song at just under seven minutes, opens with some uncharacteristically funky keyboard sounds - but Clarkin's guitar soon joins in which suddenly makes them sound more like Magnum. He might not be the flashiest guitar player, but he has such a recognisable style and sound that he can make anything sound like Magnum with his rhythm playing, even funky organ! Due to Benton's organ, the song has a great groove throughout, and it is another highlight for me thanks to this 1970s-esque sound and another powerful Catley vocal. It also helps that song contains another excellent chorus. Most Magnum songs have decent choruses, but there always a handful of real winners of every album. Your Blood is Violence is one of this album's best efforts on that front, thanks to Catley's gritty vocal melodies and a tough overall attitude that shines through Clarkin's playing.

Walk the Silent Hours is another slower piece, but this one remains so throughout - so has a ballad-esque vibe as a result. Benton's keyboards dominate the track, and whether he is delivering shimmering strings or piano melodies he excels. It is still a shame that Magnum and former keyboard player Mark Stanway parted ways after so many years together, but throughout this album (and the previous two) Benton has proved to be a perfect replacement. Walk the Silent Hours is almost a showcase piece for him, as all of the other instrumentalists generally hold back. The song's chorus does get bulked out by Clarkin's guitar, but much of the song is very much led by Benton. There are few genuine ballads here, which means that Walk the Silent Hours proves to be a pleasant change of pace. The Day After the Night Before is much more upbeat, however - and the track is probably one of the hardest rockers here, at least during the parts that see the band operating at full tilt. Like many of the songs here, it shifts back and forth between atmospheric sections and hard rock moments. The chorus here is another winner, and this is partly due to its hard-driving attitude. Clarkin's guitar is full of venom, but the melodic flourishes added by Benton (who later impresses with a short retro keyboard solo that could have sat on an early Rainbow album) add some of that classic Magnum pomp. Catley sings the chorus in his typical powerful manner too, although there are layers of harmonies to back him up - which only helps the chorus to sound even bigger. The song is another highlight as a result, and a great harder rocking addition to the album. Come Holy Men, another strong cut, opens with a slightly strange sounding melody - which I am not sure comes from Clarkin or Benton. It might be a guitar/keyboard combination, but either way it sounds a little different for Magnum. It works well, however, and as soon as Catley starts to sing the song, unsurprisingly, sounds like Magnum. Despite this strange riff, the rest of the song is very typical of the album - and indeed the band's wider canon. Another great chorus is packed full of classic Magnum hooks, and the song is very familiar overall despite the opening riff. The album comes to a close with the slower, yet epic-sounding, Can't Buy Yourself a Heaven which is typical of Magnum album closers of late. It has plenty of big piano lines throughout, and there is also something of a theatrical feel thanks to Catley's dramatic vocal approach. This is particularly evident during the song's verses, which have a punchy feel thanks to Benton's piano approach, while the choruses are more typical with plenty of band's trademark grandeur. Clarkin also takes the opportunity to include a pretty lengthy guitar solo, which is full of bluesy melodies. There are not a tonne of guitar solos here, but the last track certainly benefitted from the inclusion of one - and it fits in with the overall dramatic and epic feel of the song. In truth the album as a whole is pretty dramatic and epic too, but fans of the band should expect this by now. The Monster Roars does not add anything new to the Magnum sound, but no-one was expecting it to. What it is though is another very solid album that contains a handful of standout tracks. The melodies are riffing sound as good as ever, and while it might not be as good overall as The Serpent Rings it is certainly another enjoyable release.

The album was released on 14th January 2022 via Steamhammer/SPV GmbH. Below is the band's promotional lyric video for No Steppin' Stones.

The Quireboys - Birmingham Review

Whilst I managed to cross off seeing a number of my regular favourite live acts last year following the UK's re-opening following the COVID-19 lockdowns, one band that I did not manage to catch were The Quireboys. Whilst the band's frontman, Spike, kicked off 2021 as a gigging year back in May with an acoustic show, seeing the band eluded me last year. This did not bother me too much, however, as I knew that I would be seeing them in January 2022 - as quite a few months ago I bought a ticket to see the band at the O2 Institute 2 in Birmingham. Due to a couple of other gigs being cancelled, The Quireboys' Birmingham show ended up being my first gig of 2022. For a few years in a row I ended the year with an acoustic set from the band, so it was great to actually kick things off with The Quireboys for once - although this time in full-on hard rock mode. I always enjoy a trip to Birmingham too. Being the birthplace of heavy metal, rock shows in the city are always great. The O2 Institute in Digbeth might not be the best venue in the city, but its second room is actually pretty decent. I think I prefer it to the main room upstairs, which can sometimes suffer from muddy sound, but it is not a venue that I have been to that often. Before seeing Phil Campbell and the Bastard Sons there last year, it had probably been 8 or 9 years since my last visit to the O2 Institute 2. It is certainly a venue that I would not mind visiting more often, however, as the hall is a decent space for mid-sized acts - and the sound is generally pretty good. As such, the room was well-suited to The Quireboys. The band are not huge, but they remain a popular live act and their shows are generally big draws. The Birmingham show was no different, and by the time the band hit the stage at around 8:15pm the room was pretty full. On the band's current tour, The Quireboys are celebrating the 30th anniversary of their debut album A Bit of What You Fancy. 2022 is actually the album's 32nd anniversary, but this tour was supposed to take place in 2020 so we will forgive the band's tardiness in celebrating this milestone! The idea for this tour came from the band's 2019 35th anniversary show in London, which featured every song from A Bit of What You Fancy during the evening. That format has been carried forward into this tour, shining a light on what is easily the band's biggest album.

Before The Quireboys' set, however, the growing crowd was treated to a short, but sweet, set from blues guitarist Troy Redfern. Backed by Keira Kenworthy (bass guitar/vocals) and Finn McAuley (drums), Redfern impressed. He only had around half an hour to play with, but he made his time on stage count - and he demonstrated what a great guitar player he is. Those who know me well will know that the blues is not often my favourite genre of music, but Redfern's take on the genre was full of classic rock strut. He is certainly not a exponent of 'man in pub blues', and I really enjoyed what Redfern was doing while he was on stage. There were a lot of good solos during the set, but the show was not just a vehicle for lead work. Most of the songs had plenty of great riffs in them too, and I really felt that Redfern's songwriting was tight. Something that often puts me off when it comes to the blues is that sometimes the songs are literally just vehicles for solos. The blues that I like is built on solid songwriting, and I felt that the songs that Redfern played were well-crafted with memorable riffs and choruses. Even the songs that featured him tearing up a resonator guitar with his slide were great, and they included some of the craziest slide playing that I had seen live for quite some time. From reading Redfern's PR stuff following the set, it seems that he is known primarily as a slide player - which does not surprise me. His riff work is great too, though - and it is clear that Redfern is the complete package. He did lose a few points at the end, however, by closing with a version of Voodoo Child (Slight Return). I say that in jest, but there is a bit of a running joke between me and some friends regarding how many blues bands we have seen covering that song over the years. Usually the versions are pretty average, but in fairness Redfern's rendition was great. I would have rather heard another original track, however, but the Jimi Hendrix track certainly went down well with the crowd.

The Quireboys have become one of my favourite live bands over the years, and this gig in Birmingham was my 20th time seeing them. While the band's recent special London shows will always be some of my favourite Quireboys gigs, I have enjoyed every Quireboys show that I have attended. This Birmingham show was no different, and it is clear that the enforced COVID-19 downtime has not affected the band's live power. Playing A Bit of What You Fancy in full is always going to be a crowd-pleaser too, even if the concept is not exactly novel for the band - as around 75% of the album is already ever-present in the band's typical setlist. The show opened with a newer song, however, with the raw blues of I Love This Dirty Town kicking things off. From Guy Griffin's (guitar/vocals) opening riff, the song set the tone for the evening - and Spike was in fine voice throughout, despite sometimes being a bit low in the mix. With the exception of I Love This Dirty Town, the band's main set was made up of every song (with the exception of one) from A Bit of What You Fancy. This meant that the make-up of the set was classic after classic, and everyone down near the front with me sang along to every word throughout. The barroom stomp of Misled caused the first of many sing-a-longs of the night, as well as featuring some excellent piano playing from Keith Weir, but it was Man on the Loose that really impressed early on. Considering what a great hard rocking track it is, it has always surprised me that the song was one of the few from A Bit of What You Fancy that is not a setlist staple. The riff is a real killer moment in the band's canon, and I hope that the band keep the song in the set going forward - in the place of one of the other standards. A couple of genuine hits and a fan-favourite followed. Hey You was featured strangely early in the set, but it conjured up another big sing-a-long - as did the piano-led There She Goes Again with its huge chorus and pseudo-southern rock strut.

Whippin' Boy, which also has a bit of a bluesy southern rock vibe at times, created a lot of groove too - with Weir again impressing with his ominous piano lines. The next portion of the set featured a number of the band's quieter songs, with the folky Roses & Rings and the soaring power ballad I Don't Love You Anymore, which has gained recent popularity from being included in the HBO series Peacemaker, adding some emotional weight to the set. Spike sung the latter in particular with real passion, and it allowed both Paul Guerin (guitar/vocals) and Griffin a chance to solo. The country-infused Sweet Mary Ann and a rare outing for the piano-led Take Me Home continued the lighter tone; but the heaviness was soon about to kick back in with a set-closing rendition of 7 O'Clock - the band's signature tune. I have heard the song so many times over the years, but it always hits the spot live - and the song was another huge sing-a-long, with the whole room helping Spike out with the barroom chorus. The band left the stage following 7 O'Clock, but came back after a couple of minutes to play an elongated encore with some 'other' songs - as well as one last cut from A Bit of What You Fancy. The beautiful Mona Lisa Smiled, which is always a highlight, was as good as ever - but it was a great version of Original Black Eyed Son which I enjoyed the most. The song is one of my favourite recent Quireboys track, and it has such a great strut - as well as a big band feel thanks to a horn section (which Weir covered on the keyboards). The raw blues of This is Rock 'n' Roll followed, with a great solo as always from Guerin within, and the evening came to an end with a barnstorming rendition of Sex Party - which was stretched out to include lots more soloing and band introductions. It was the perfect end to set that focused on nostalgia, and I am sure that the healthy crowd went home happy. The setlist was:

I Love This Dirty Town

Misled

Man on the Loose

Hey You

There She Goes Again

Whippin' Boy

Long Time Comin'

Roses & Rings

I Don't Love You Anymore

Sweet Mary Ann

Take Me Home

7 O'Clock

-

Mona Lisa Smiled

Original Black Eyed Son

This is Rock 'n' Roll

Sex Party

It was great to finally catch The Quireboys live again, as it had been over two years since I had last seen the band live - which was a powerful half an hour support slot with Skid Row in Nottingham as part of a great four-band bill. The Quireboys are always better when they are topping the bill, however, and their crowds are always packed full of dedicated fans who know all the words to all of the songs. Most importantly, however, their shows are always a lot of fun - and this Birmingham gig was no different. I bought myself a new Quireboys shirt on the way out, and I also picked up a copy of Redfern's latest album The Fire Cosmic too, which I am looking forward to getting to grips with in due course.

Music of 2021 - Part 2

2022 has now officially started, so as is tradition on this blog I will now detail my Top 10 Albums of 2021. I have been doing this for a number of years now, and putting each year's list together is never an easy task. 2021, like most years, was another excellent year for new music. I listened to a large number of great new albums this year, but this year's list was probably one of the easiest to put together. While there were a lot of albums that could have been included here, 2021 really saw the cream rise to the top - at least for me. I remember agonising over 2020's list for hours, and looking back at it now there are quite a few albums that I would probably change. I remember never really being happy with 2020's list even as I was writing it, but that is not something that I can say about the list that you are about to read. 2020 was packed full of 8/10 albums, with there being probably another 15 or so that could have easily been in the list, but 2021 has had a lot more obvious stand outs. It was only really the bottom few places that I had to really think about this year - as the majority of the placings had been pretty nailed-on for months. 2019 was similar, and it is years like this that I tend to look back on fondly - as they are often years where the top two or three albums in the list really become all-time favourites for me. I have no doubt that the upper echelons of the below list will take on that status over time, with 2021 being yet another fantastic year for new music. 2022 is also shaping up to be another great year, and there are a number of new albums that I am already looking forward to, but now is the time for reflection. The ten albums below deserve special mention, and they are all albums that I have listened to an awful lot this year. There are some that I was certainly not expecting to include in the list, but each album is here on merit. There are lots of other albums that I liked a lot this year, and there are some that I would have loved to include, but for me the albums below represent the best of 2021. As usual, only full-length studio albums of new material were eligible for inclusion - meaning that no compilations, live albums, or EPs were considered.

10) The Doobie Brothers - Liberté

I have only really been a fan of The Doobie Brothers for the last couple of years, and looking forward to a new album from the veteran band really capped off my fandom. Given that the band had seemingly stopped writing new music, I was not expecting a new album to be released any time soon - which meant that when Liberté was announced earlier this year I was pretty surprised. Despite the album being pretty hard to get hold of here in the UK, at least in physical form, The Doobie Brothers' fourteenth studio album is one that I have been listening to a lot over the past couple of months. It is certainly not as hard rocking as many of the band's albums, but it covers all the various faces of the band throughout its twelve songs - with both Tom Johnston and Patrick Simmons on great form vocally throughout. Credit must also go to producer John Shanks, who co-wrote every song here and made significant musical contributions to the album, who's involvement I was wary about. He guided the band well, however, and Liberté is a great mix of rock, country, folk, and blues - as all of the band's best albums are.

Listen to: Oh Mexico, Better Days & Easy

9) Illuminae - Dark Horizons

Ian Jones, the Welsh multi-instrumentalist and songwriter, has been involved in a number of projects of late. He has spearheaded Karnataka through all of their various line-ups since the band was formed back in 1997, and he was recently part of Chasing the Monsoon. Illuminae is his latest project, and it is a collaboration between himself and Polish singer Agnieszka Swita. Dark Horizons is the result of this collaboration, and it is both familiar and full of new ideas. There are some songs here that sound very much like the sort of material that Jones has been writing for Karnataka of late, but there are some other vibes here too - particularly some darker, more gothic rock tones that bring the best out to Swita's voice. As is common with Jones' songwriting, however, there is plenty of prog to be found. There are a handful of longer tracks here, as well as the inclusion of a number of well-known prog musicians throughout - including Luke Machin, Craig Blundell, and even Steve Hackett. Dark Horizons is easily the heaviest and darkest album that Jones has been a part of yet, and I will be interested to see if any of these sounds make it onto the upcoming sixth Karnataka album - which is currently in production.

Listen to: The Lighthouse, Blood On Your Hands & Sanctuary

8) Silver Lake by Esa Holopainen - Silver Lake by Esa Holopainen

Amorphis' lead guitarist Esa Holopainen decided to use the COVID-19 downtime productively. He decided to revisit a number of songs that he had written over the years which he felt would not be right for Amorphis, and re-work some of them to create his first solo album. Silver Lake by Esa Holopainen, the messy name for both the project and the album, was the result of this trawl through the vaults. While the album is generally lighter in tone than Amorphis, Holopainen's songwriting style and knack for a great melody shine through. There is a lot of great guitar playing too, but this is not an album full of shredding at all - as Holopainen always plays for the song, and each song here is perfectly crafted to be packed full of melody. It helps too that Holopainen drafted in a number of great singers to bring these songs to life. Sometimes albums of this nature can feel a bit a disjoined as a result of the multiple singer approach, but Silver Lake by Esa Holopainen still manages to feel like a cohesive whole - largely thanks to Holopainen's instantly recognisable guitar style. Fantastic performances from singers such as Jonas Renkse, Björn 'Speed' Strid, and Anneke van Giersbergen just add to the majesty of the album; and I hope that Holopainen finds time for another solo album in the future.

Listen to: Storm, Promising Sun & Fading Moon

7) Helloween - Helloween

Over the past few years, Helloween have become the poster child for how to do a reunion properly. Instead of trying to divide the fanbase, or turn back the clock, the band have instead created a hybrid line-up that includes most of the band's classic members from throughout the years. While this initially seemed like a bit of a nostalgia trip, and an excuse for a lengthy world tour, the current line-up of Helloween also wanted to make their mark on the band's discography - and result was their self-titled album which was released back in June. While the album generally sticks to the modern Helloween sound, the inclusion of both Kai Hansen and Michael Kiske throughout ensures that a number of the band's old-school sounds are also included. The revelation, however, is the rapport that has struck up between Kiske and long-time frontman Andi Deris over the past few years. Many frontmen would not like to share to spotlight, but both Kiske and Deris have embraced the shared spotlight concept and have really run with it. It worked well on tour, and it works just as well throughout Helloween. Some songs are dominated by one singer, while others are sung as a more typical duet - with everyone getting plenty of time in the spotlight. It is an album that every power metal fan should love, and it is one that I have returned to a lot this year.

Listen to: Out for the Glory, Robot King & Skyfall

6) Dream Theater - A View from the Top of the World

Dream Theater are one of those bands that have been so consistent for so long (I even liked 2016's divisive rock opera The Astonishing) that it is easy to become a bit blasé about them. I assumed that A View from the Top of the World, the band's fifteenth studio album, would be great, so I did not listen to it that much in the month or so after its release. Admittedly it came out during a busy time of the year for new music, so my attention had to be shared around, but I was a bit guilty at first of not giving A View from the Top of the World the time it deserved. I enjoyed it from the off but, as is common with Dream Theater's albums, it took a few listens to fully appreciate. It continues with the punchy sound that the band forged on 2019's Distance Over Time, but also incorporates a lot more prog this time too. A View from the Top of the World is a long album, and it contains a number of epic-length pieces within. The weighty and clear production of Distance Over Time has been retained, however, and the album is one of the band's best sounding as a result. It is also their heaviest for quite some time. There are no ballads or slower songs here, with the band instead focusing once again on the metal side of their songwriting. There are tonnes of great riffs from John Petrucci throughout the album, but despite the heaviness there are a lot of great hooks too - and James LaBrie sounds great throughout vocally. A View from the Top of the World is packed full of all the classic Dream Theater tropes, and the band sound as vital as ever throughout.

Listen to: The Alien, Transcending Time & Awaken the Master

5) Yes - The Quest

I was not expecting to include a Yes album in this list, but The Quest impressed me from the off. It is a big step up from 2014's mixed Heaven & Earth, and it returns to some of the magic that made 2011's Fly From Here a great modern Yes album. The Quest feels like a mix of the two albums, with the busy instrumentation of the latter mixed with the laid back vibes of the former. Jon Davison is well entrenched as the band's singer now, and he shines throughout The Quest. He manages to channel enough Jon Anderson-isms to make the album sound like Yes, but he is very much his own man - and his voice carries the album's eight songs perfectly. What sets The Quest apart from Heaven & Earth however is how much more inventive the instrumentation throughout is. Both guitarist Steve Howe and keyboard player Geoff Downes shine, with the instrumental section during The Ice Bridge really harking back to the band's early output with some jazz-inspired shredding and leads. The album might not be an all-time classic, and some of Howe's harmony vocals leave something to be desired, but to hear Yes sound this inspired so deep into their career is very heart-warming. Many had written them off after Heaven & Earth, and for a while it seemed that the band had written themselves off too. The Quest has still received mixed reviews, but personally I really like it. I have listened to it a lot since it came out in early October, and I can see myself continuing this trend into the new year.

Listen to: The Ice Bridge, Leave Well Alone & A Living Island

4) Trivium - In the Court of the Dragon

I was a bit disappointed with Trivium's 2020 release What the Dead Men Say. It is essentially their first album that steadfastly continued on the sound of the album that preceded it, and it felt like off-cuts of 2017's excellent The Sin and the Sentence. In the Court of the Dragon, however, feels like the album that What the Dead Man Say should have been. Coming only 18 months or so after the band's ninth album, In the Court of the Dragon still continues on the sound established on The Sin and the Sentence, but it manages to create its own identity too. If anything, In the Court of the Dragon ups the heaviness - and there are a lot of songs here that rely heavily on Matt Heafy's harsh vocals. I think that it is fair to say that clean vocals have dominated Trivium's sound in recent years, but In the Court of the Dragon shines the spotlight on Heafy's screams again - with the title track in particular sounding like something that could have appeared on 2005's Ascendancy, albeit more mature and assured. The album also feels more progressive than What the Dead Men Say too. The band's 2020 release seemed to try and condense the sound of The Sin and the Sentence, but Trivium have always been at their best when they have allowed their experimental side to shine. There are a few song here that push the boat out from a progressive perspective - as well as a couple of songs that try something new, including a Nevermore-esque thrash number that comes towards the end of the album.

Listen to: In the Court of the Dragon, Feast of Fire & The Shadow of the Abattoir

3) Epica - Ωmega

Like Dream Theater, Epica are one of those dependable bands who are almost guaranteed to strike gold with each album. Epica have never really disappointed, but the run that they have been on of late is impressive even by their high standards. It is hard to say for sure, as so many of the band's albums are great, but Ωmega could well be my favourite Epica album to date. Everything that makes the band great is included within Ωmega's lengthy songs - with the band's mix of progressive, symphonic, and death metal sounding as good as ever. Both Simone Simons and Mark Jansen knock it out of the park vocally here, but the songwriting is some of the band's tightest and most satisfying yet. Even the longer songs never drag, and more time is given over to instrumental virtuosity here than ever - with both guitarist Issac Delahaye and keyboard player Coen Janssen soloing and impressing throughout. Epica are one of those bands that seem to get better with age, and even though their overall formula never really changes the band never sound tired. There is so much life to be found throughout Ωmega, and it is just a shame that the touring cycle for the album has been disrupted. That could of course be said for any of the albums on this list, but I really feel that Ωmega deserves to be appreciated in a live setting. Epica have always been an incredible live band, and I can only imagine how powerful the material from this album will sound by the time the band are able to tour it.

Listen to: Abyss of Time - Countdown to Singularity, Code of Life & Kingdom of Heaven - Part III: The Antediluvian Universe

2) Mostly Autumn - Graveyard Star

The release of a new Mostly Autumn album is always something of an event for me, and it is always highly likely that an album of theirs will end up in my Albums of the Year list. 2019's White Rainbow topped that year's list, and in truth a case could have been made for Graveyard Star topping the tree this year too. When it came down to it, however, there was one album that impressed me just that little bit more than Mostly Autumn's fourteenth studio album. This should take nothing away from Graveyard Star, however, which is a stunning release that carries on the band's recent trend of releasing quality albums. It is a very relatable album too, as it is something of a concept album that deals with the COVID-19 pandemic - or at least the pandemic through Bryan Josh's eyes. As always, Graveyard Star is a very open and honest album. It does not shy away from the darkness, but there is also plenty of light to be found - especially as the album wends its way to its closing third. It was an album that took quite a few listens to fully appreciate. Parts of the album were some of the darkest that the band have ever written, but ultimately the emotional vocals of both Josh and Olivia Sparnenn-Josh eventually made everything make sense. Graveyard Star is also a great guitar album, and Josh has packed the album full of his trademark soaring guitar leads and solos - and in time the album is likely to be viewed as one of the band's defining achievements thanks to its relatable subject matter and heartfelt performances.

Listen to: The Harder That You Hurt, Razor Blade & Turn Around Slowly

1) Todd La Torre - Rejoice in the Suffering

Ultimately, the album that impressed me the most this year was Rejoice in the Suffering - the debut solo album from Queensrÿche's Todd La Torre. Some of the albums on this list are probably objectively better than Rejoice in the Suffering, but I have been returning to La Torre's album regularly since its February release - which shows that this is an album with real staying power. Many of the songs here have become earworms throughout the year too, and it is great to see La Torre spreading his wings as both a singer and as a songwriter here. There are moments here that sound a bit like Queensrÿche's recent albums, but on the whole Rejoice in the Suffering is much heavier. There are strong groove and thrash metal influences throughout the album, but on the whole the songs here are great, riff-based traditional heavy metal - with La Torre's melodic voice (and excellent drumming performance) driving the album. Despite much of La Torre's vocal performance throughout the album sounding familiar, I really like the way he has diversified his talents here. There are moments on the album that make use of harsh vocals, as well as a much thrashier delivery that would not fit in with Queensrÿche's classic sound. In many ways, Rejoice in the Suffering is almost the perfect solo album. It builds on La Torre's day job without just sounding like another Queensrÿche album - and it shows La Torre in a bit of a new light at times, while also reaffirming everything that us fans already thought about him. A new Queensrÿche album is currently in production, which will no doubt be great, but I do hope that La Torre finds time at some point in the future to continue the heavier sound of Rejoice in the Suffering.

Listen to: Pretenders, Rejoice in the Suffering & Vanguards of the Dawn Wall

While the above wraps up my Albums of the Year coverage of 2021, I would also like to throw out a couple of other albums that could have made the cut. I would have loved to include Styx's Crash of the Crown, despite it not being quite as good as 2017's The Mission for me, as well as The Darkness' Motorheart - which is probably their best album for a number of years. Another album that I listened to a lot this year was Blackberry Smoke's You Hear Georgia, which felt like something of a return to form following a couple of albums that failed to excite in the way that the band had done previously. I have also decided to resurrect my Gigs of the Year list this year too. Having only attended six gigs in 2020 it seemed like a pointless exercise, but I made it to 25 this year so it seemed like a good idea to shine a light on some of the best nights out of the year. Rather than splitting them into 'big' and 'small' gigs this year, I have just decided to list my Top 5. This is because most of the gigs that I went to in 2021 were generally on the smaller side - rather than arena-type outings. Most of the gigs that I went to in 2021 were great, however, so picking a Top 5 was very hard.

5) Michael Schenker Group, KK's Steel Mill, 30/10/2021

Michael Schenker returned to the Michael Schenker Group (MSG) name for his January release Immortal, and the German guitar legend managed to pull off a short UK headline tour in October with his new-look MSG line-up. Fronted by Ronnie Romero, the five-piece put on a great show in Wolverhampton - with a setlist that was packed full of songs from throughout Schenker's career. A few songs from Immortal made the cut, and there were a few other newer numbers from the recent Michael Schenker Fest albums included too. A number of classic MSG songs had everyone singing along, but perhaps the best portion of the set was a lengthy closing suite that was packed full of old UFO classics. The new MSG line-up sounded great despite having only worked together for a short time, and Schenker himself was really on fire from a guitar playing perspective.

4) The Darkness, Great Hall, 29/11/2021

I had not seen The Darkness live for a number of years, and it was great catching up with the band again after so long. With a great new album, Motorheart, in tow The Darkness rolled into Exeter ready to have a great time. With lots of new songs in the set, as well as a lot of old favourites, The Darkness impressed a large crowd with their good-time brand of hard rock. The Darkness are always much rawer and heavier live than they are on their albums, and the Exeter show was a hard-hitting display from the experienced band. The great thing about a show from The Darkness, though, is remembering just how much fun they are. Justin Hawkins is one of the best modern rock frontmen, and he was on great form throughout the show in Exeter. He really whipped up the crowd throughout the evening, and the rest of the band really fed off this energy. It was one of the best shows of the year purely from a fun perspective, and it was great to see the band again after a few years.

3) Steve Hackett, Plymouth Pavilions, 12/10/2021

It took me long enough to get into Genesis, but over the past year or so I have finally become quite a big fan of the legendary progressive rock band - at least the albums which Steve Hackett performed on. He has become very active as a live act over the past few years, and has often dedicated parts of each of his sets to some Genesis classics. His 2021 tour celebrated Genesis' classic live album 1977 Seconds Out, with Hackett and his great band performing the whole album. The Plymouth show attracted a pretty healthy crowd, and every song that Hackett and co. performed went down really well. The show started with a short set of some of Hackett's solo material, but the main event was of course Seconds Out - which was performed perfectly by Hackett and his band. Hackett was of course the star of the show, with his many excellent guitar solos, but credit should also go to Nad Sylvan for his soaring and dynamic vocal performance - which captured the spirits of both Peter Gabriel and Phil Collins perfectly.

2) Mostly Autumn, The Robin 2, 28/11/2021

Mostly Autumn shows are always events, and it was great to see the band live again after a two and a half year break. Usually I would see Mostly Autumn two or three times a year at least, but the pandemic has of course changed that recently - so heading up to Bilston to see the band again for the first time since May 2019 certainly felt special. The band did not get to play many shows this year, so they made sure that each one counted. With Graveyard Star only a few months old too, the band elected play a good chunk of it live. Seven of the album's songs were played during the evening's first half, before a couple of older favourites brought the band to a mid-set break. The second half of the evening was filled with older songs, but a good number from 2019's White Rainbow were also retained - as the touring cycle for that album was heavily disrupted by the pandemic. While there were a couple of moments in the set where it was clear that the band were a little rusty, no-one in attendance cared. The band still sounded as powerful and as emotionally-charged as ever, and I really hope that they get to take this show on the road throughout 2022 - as the current setlist really packs a punch thanks to the stellar new material and the choice cuts from throughout the band's history.

1) Marillion, Symphony Hall, 21/11/2021

Another band who's shows are always events is Marillion, and the British progressive rock band managed to pull of a large, successful UK tour despite all of the potential pitfalls of doing so. The band's loyal fanbase helped them out too, by essentially becoming the band's insurance policy should the tour need to be cancelled, and the band went on the road with the clear intention of just having a great time. With no new material to promote, although a song from the band's upcoming album was debuted, Marillion instead decided just to play something of a greatest hits set. The setlist changed subtly from night to night, but all of the songs chosen were real crowd-pleasers, which felt right after the gloom of the past couple of years. All of the shows were a huge success for the band, and the Birmingham show which I attended was no different. The Symphony Hall was packed out, and the band sounded amazing throughout their two hours on stage. The performance was certainly one of the most energetic that I have seen them put on, and frontman Steve Hogarth was all over the stage throughout the gig. A few technical gremlins and moments of rustiness could not put a dampener on the evening, either, and Marillion put on the best performance of the year for me thanks to their energy and love of being back on stage.