Dirty Honey - Nottingham Review

I cannot remember a January that was as busy gig-wise as this January has been. Usually the gigging calendar does not kick off in a big way so soon - but this month has been a busy one for me, and this past weekend I went to my fourth show. Interestingly, too, it was the fourth to sell out. I go to many busy concerts, but few that are genuinely sold out. The fact that all four of this month's shows sold out well in advance was certainly a good thing to see - especially with how precarious the live music business remains. Seeing both long-established and up-and-coming bands pack out venues in four different places shows that things may somewhat be looking up. It is best to take each show as it comes, though, and the occasion to celebrate this weekend past was the visit of US hard rockers Dirty Honey to Nottingham. Dirty Honey formed back in 2017, and have been making quite a name for themselves over the past few years - releasing their debut EP in 2019 and their first album in 2021. Although there had been some gentle buzz around the band here in the UK for a while, and I think I started listening to the EP in 2020, both the EP and the album were unavailable physically here until the two were released in a handy double CD pack last year to coincide with Dirty Honey's first live appearances in Europe - which saw them supporting Rival Sons. Sadly I could not make any of the shows on the Rival Sons tour, but by all accounts Dirty Honey went down well in the UK and the rest of Europe - so much so that a couple of months ago the band announced their first European headline tour, which kicked off with a healthy run of UK shows. By this point I had picked up the aforementioned double CD set, so was familiar with the band's debut album as well as their EP, and knew that I had to make the effort to see them - especially having missed the Rival Sons tour. Nottingham on a Saturday night seemed like the most sensible option, and tickets were booked as soon as they went on sale. This is generally how I operate, but it is rare that doing so is actually necessary. A couple of days later, though, the Nottingham show at The Bodega sold out - to the disappointment of many. I was glad that I was on the ball, otherwise I would have almost certainly missed out. All of the rest of the UK shows sold out pretty quickly, too, with some even being upgraded to bigger rooms. I have no doubt that Dirty Honey's show would have been moved to the Rescue Rooms had it not already been in use that night - but for selfish reasons I am glad that it was not, as seeing a hot young band in a small, packed room always makes for a memorable experience. I had not been to The Bodega before, and it reminded me a little of a smaller version of an old Leicester venue called Sub91 - being upstairs with the small stage pushed into a corner. Being sold out, the place was absolutely rammed throughout - with Nottingham doing its reputation as a city that loves its music proud.

Before Dirty Honey took to the stage, the packed venue was treated to half an hour or so of indie rock from the Welsh four-piece Himalayas. I was not familiar with the band prior to this past weekend, but I think that they did quite an admirable job opening the evening - even if I did not think that they were all that compatible with Dirty Honey's sound. Dirty Honey definitely take their inspiration from 1970s and 1980s classic rock, whilst Himalayas have a much more modern sound - with dryer guitar tones, post-punk vocal overtones, and a fuzzy/psychedelic edge. That being said, though, Himalayas generally went down pretty well with the crowd. Despite having an indie edge to their sound, the band's songs were generally pretty riff-driven - which allowed for some surprisingly heavy headbanging moments that occasionally reminded me a bit of Nine Inch Nail's more guitar-driven material. There was little genuine lead guitar to be found, but there was plenty of fuzz. One of the guitarists tended to focus more on creating textures and atmospheres whilst the other riffed away - and the combination worked quite well, with the bass high in the mix to really propel everything forward. As such, and despite the band's songs all being pretty short (most were under three minutes in length), there was a surprising amount going on in each song - which made the band's set remain interesting and fly by. I cannot say that Himalaya's music would be the sort of thing that I would choose to listen to in my own time, but the band still impressed - and generally went over well with the crowd. Perhaps the mix of throwback classic rock and more modern indie is a better match than I initially gave it credit for - and this tour is probably a good way for Himalayas to get themselves in front of crowds who might not be obvious candidates for being fans of their music - and that can only be a good thing, especially as the band generally received a strong reception throughout. They had to battle a pretty rough sound mix during the first couple of numbers, too, but came through it to deliver an interesting and impressive set packed with strong riffs and a distinct atmosphere.

Dirty Honey may not have much of a back catalogue to draw from yet, but that did not stop them from taking the roof off The Bodega - and the capacity crowd did not mind either. When the band took to the stage at approx. 20:45, the crowd was treated to 75 minutes of excellent blues-based hard rock - with a set consisting of nearly every song that the band have released up to this point, a couple of covers, and even a new song written for album number two. The strutting, mid-paced Gypsy kicked things off, with the song's rolling riff flowing out of guitarist John Notto - before the stage was very much owned by frontman Marc LaBelle. Clearly taking a lot of influence from Steven Tyler, LaBelle is very much the epitome of a rock frontman. He struck all the right poses throughout the set, and sounded fantastic vocally. This is not to take anything away from the rest of the band, but LaBelle's captivating presence is a big reason why Dirty Honey are currently soaring. He hogged the spotlight throughout, but Notto also had his fair share of screentime - particularly as the set went on. He was a little low in the mix at first, but after a while his guitar was nice and loud - cutting through the snaking rhythm section of bassist Justin Smolian and new drummer Jaydon Bean. Notto might not be as much of a shape-thrower as LaBelle, but he very much has the makings of a modern rock guitar hero. His solos were packed with bluesy phrasing and emotion throughout the night, whilst his riffing ranged from the up-tempo hard rock of Heartbreaker and the moodier tones of Scars.

It is hard to pick out highlights as the band are yet to release a bad song in my opinion, but the groovy Tied Up was definitely one of the earlier standouts - with Smolian's bass driving everything thanks to his lyrical playing, whilst LaBelle screamed the chorus with real venom. Given the Tyler reference, it was unsurprising that the band chose to tackle an Aerosmith song - with a strutting version of Last Child coming about half way through the night. It might not be one of the band's biggest songs, but Dirty Honey did it justice - with Notto adding his own spin on the dirty guitar heroics of Joe Perry and songwriter Brad Whitford. The gorgeous Down the Road then showcased the band's more emotional side, with a heartfelt LaBelle vocal which soon gave way to some of Notto's most aching lead playing of the night - making the track another highlight. In contrast, the fast-paced Ride On, the new number, certainly made me look forward to the band's next album. The high-octane rocker is possibly the most energetic Dirty Honey tune yet, and it really got the crowd moving before a hard rocking version of Prince's Let's Go Crazy showcased the band's slightly funky side. By this point, though, there was not much time left. Newer bands without big catalogues should leave you wanting more, and that is just what Dirty Honey did. The chiming California Dreamin' saw LaBelle climbing on top of the speaker, whilst Another Last Time was the final slower, bluesier moment of the night - with some more aching Notto leads. It was then left to the EP's two big singles to close the night. Notto teased the intro to When I'm Gone with some great soloing and riffing, which the crowd then sang back at the band loudly - whilst Rolling 7s, with its huge chorus, brought the night to a powerful, 1980s-drenched close. The setlist was:

Gypsy

Break You

Heartbreaker

The Wire

Scars

Tied Up

Last Child [Aerosmith cover]

No Warning

Down the Road

Ride On

Let's Go Crazy [Prince and the Revolution cover]

California Dreamin'

Another Last Time

When I'm Gone

Rolling 7s

Despite the set being on the short side, which is expected when seeing newer bands, Dirty Honey really knocked it out of the park on Saturday in Nottingham. Given the on-going success of this European tour, I very much doubt that next time the band visit the UK they will be playing in rooms the size of The Bodega again - and I would not be surprised to see them fill the Rescue Rooms or maybe even pull a decent-sized crowd at Rock City next time they return to Nottingham. Dirty Honey are certainly a band who are on the up - and I just hope that they are able to capitalise on their current success and momentum by putting out a great second album in due course and then hitting the road even harder. I will be there when they do.

The Hayley Griffiths Band's 'Melanie' - Album Review

It is often a sad time when established band line-ups come to an end. The Welsh progressive rock act Karnataka are certainly no stranger to line-up changes, having effectively had to rebuild itself from the ground up three times, but sometimes good things can come from such upheaval. With Karnataka's fourth era underway, following a successful tour throughout 2022, 2023 seems to be the year when some key faces from the band's third era strike out on their own. Despite having been a fan of Karnataka since around the time that 2010's The Gathering Light was released, I first saw the band live in 2012 - on the first tour of what I am calling the band's third era. As such, this third era, fronted by Hayley Griffiths, always felt like 'my' Karnataka. I love everything that the band has ever done, but having first seen them with Griffiths I naturally gravitated towards her era, at least for a while, and it makes her sole album with Karnataka, 2015's Secrets of Angels (which I reviewed here), a special one for me. I saw Karnataka five times during the Griffiths era, which was launched proper in 2012 when I first saw them and came to an end in 2017, and each show is memorable for different reasons. I was, of course, sad when the Griffiths era came to an end, especially as it seemed like there was some bad blood involved in the split, but I am a fan of enough bands with fluctuating line-ups to recognise that often good things can come from such splits. I saw the new iteration of Karnataka live last year, and the band's legacy is in safe hands, and Griffiths recently released her first solo album of original material since 2010's Silver Screen - the first with her self-titled band. I saw The Hayley Griffiths Band's second ever show in Bilston in 2018 when they shared the stage with Mostly Autumn, and I have been looking forward to something new from them ever since. It has taken Griffiths and her band a little while to get something together, but the release of Melanie, their first studio album together, has been worth the wait. Consisting of seven new songs and three singles which had previously been released over the past few years, Melanie is a great statement of intent and is very different from the poppy and atmospheric Silver Screens. There are definitely similarities here to Secrets of Angels, but Melanie is more of a driving hard rock record in my opinion - with more emphasis on theatricality and less focus on more involved progressive arrangements. The band is made up of two Karnataka alumni in keyboardist Çağrı Tozluoğlu and drummer Jimmy Pallagrosi, alongside guitarist Mathieu Spaeter and bassist Jordan Brown - although Brown seems to have since departed the band to be replaced by George Price. With a new album of Celtic songs, Far From Here, a sequel to 2011's Celtic Rose, released on the same day as Melanie, too, it seems that Griffiths wants to continue down a diverse musical path - but Melanie is very much a rock album, which is pretty riffy and dramatic in places.

Whilst I think that Melanie is a strong album from start to finish, it very much puts its best foot forward. The first two songs are probably the strongest cuts here in my opinion, and it shows what Griffiths and her band are truly capable of. Broken Lullaby kicks things off with dramatic gothic overtones - not too dissimilar from the heavier end of Secrets of Angels, with songs like Forbidden Dreams springing to mind. Tozluoğlu, who co-wrote the track, dominates early on with his symphonic keyboard melodies, whilst the driving riffing of Spaeter and the double kick drumming of Pallagrosi helps to add a metal edge to the piece. I am glad that Griffiths has doubled down on the heaviness of the 'band' side of her musical personality here - and her dramatic, crystal clear voice sounds great against the backdrop of crunching chords and dancing strings. Fans of Secrets of Angels will certainly feel at home here, but also those who love the riffy and more guitar-heavy end of symphonic metal will also find a lot to love in Broken Lullaby. It helps that the track is held together by one of the album's most soaring choruses. It is one that has been in my brain since the off, with twinkling keyboard melodies adding a counter to the tougher riffing - whilst Griffiths soars vocally. Throw in a great back-and-forth instrumental section, featuring a melodic guitar solo from Spaeter before Tozluoğlu launches into a shredded keyboard solo, and Broken Lullaby is very much a song that roars out of the gate. Last Goodbye is similarly dramatic, although the heaviness is toned down somewhat to allow for a bit more of a light and shade approach. The opening is filled with riffing and swirling strings, but when Griffiths starts to sing the band pretty much drop away - leaving her alone with Tozluoğlu's keyboards. The verses are quite low key, then, but the song does build towards its chorus - which sees the rest of the band kick back in for a harder hitting take on something that would not sound out of place in a West End musical. Spaeter's guitars crunch their way through the hooky chorus, whilst Brown is featured in later, more expansive, verses thanks to some off-beat, lyrical playing that jostles for position against the drums in a fun way. An emotionally-charged Spaeter solo helps to take the song to the next level - and the album opens with a dramatic one-two punch as a result. The album's lead single and title track follows, and it returns to the tougher sound of Broken Lullaby - but the symphonic side of the band is toned down to focus more on big guitar riffing and grooves. Tozluoğlu's keyboards constantly add depth, though, but this is very much a guitar-driven piece - which is unsurprising since it was co-written by Spaeter and Brown. The riffing is pretty metallic throughout, whilst Brown's fluid bass playing contributes to the hooky, groove-based nature of the piece. Pallagrosi also shines, with some busy drumming that recalls many of the great prog drummers - but there are still plenty of hooks for Griffiths to enjoy, such as another big chorus that also sticks in the brain from the off. She takes a tougher vocal path here and does not soar as much, but this suits the song's groovy nature - and it shows a different side of her as a result.

Perfect Lie has more of a ballad-esque feel at times, with the symphonic trappings of the first couple of songs returning and plenty of focus on Tozluoğlu's piano melodies. A cinematic, guitar-filled intro sets the tone, but it is not too long before the band drops out and Griffiths is left alone with Tozluoğlu's piano. Her gentle voice shimmers against the simple backdrop, and it might be the song here that best showcases her pure singing ability. She is quite exposed during parts of the song, and she steals all of the attention - even if the band do kick back in for the heavier chorus. This chorus soars, too, and the song does get somewhat heavier as it moves along - with co-writer Spaeter later launching into a furious solo that features lots of knotty, shredded leads. As such, the song has a very dynamic arrangement that moves between simple ballad-esque melodies and all-out prog metal - and it is all the better for it. Made My Bed reins the heaviness in again, and opens with some rhythmic, around-the-kit drumming from Pallagrosi - which the rest of the band soon start to layer their parts atop. Tozluoğlu's piano adds the main melodic hook, whilst Brown's bass contributes additional grooves which allow Griffith's vocals to float effortlessly atop the surprisingly busy cacophony below. Spaeter's guitar playing generally takes a backseat here, adding colour here and there - but this is very much a piece that focuses on the depth of the excellent production (courtesy of Pallagrosi throughout) and the shimmering vocals of Griffiths. Given that there has been a lot of riffing throughout the album up to this point, this more laid back and open song provides a welcome change of pace. Little Star then really doubles down on the theatricality that has been present throughout a few of the songs here. From memory, Griffiths did some musical theatre before making the transition into the rock world - and Little Star is very much full of that sort of vibe, albeit suitably rocked up to fit in with the rest of the songs here. It opens with a stripped back version of the chorus, which features Griffiths alone with a synth-driven background - before the song then morphs into a mid-paced rocker that is driven by Brown's bass and more of a melodic guitar approach that leaves big riffing behind for a more lead-based style. The chorus is probably my favourite part of the song, as it is backed by some organic organ stabs and has a great vocal hook - but Spaeter also makes his presence felt with a restrained, yet melodically-pleasing guitar solo. The final 'new' song here is Dust to Gold, which features the vocal talents of prog drummer-turned-singer Nick D'Virgilio (Spock's Beard; Big Big Train). The dramatic, hard-driving piece is a great way to close out the Melanie suite (for want of a better term), and it pulls together many of the ideas used throughout the songs that came previously. The organ stabs from the previous song return, and are used more extensively here, which helps the song to have something of a strong classic rock strut throughout, whilst other sections see the return of Tozluoğlu's orchestrations for added drama. The song is probably the most overtly-progressive piece here, too, as it moves through a number of sections. D'Virgilio's talents are saved for the song's final third, which sees the song move through murkier waters - dropping much of the classic rock vibes and going for a more atmospheric approach. Griffiths and D'Virgilio trade vocal lines throughout this section before the two join forces for a final reprise of the song's bright, uplifting chorus.

The album's final three songs are listed as bonus tracks, but to me they feel like part of the album - and Melanie would be very short without them. All three of the songs have been 'out there' for a while, but it is great to have them find a home here. Two of the songs are band remakes of songs from Silver Screen, whilst one was Griffith's first release upon leaving Karnataka. Separated by Glass is the first of the two remakes, and the full band version of the song has so much more punch than the original. In truth, Silver Screen is probably too much of a pop album for me - but the songwriting was strong throughout. Upon hearing how good Separated by Glass sounds with a full band backing, I would not be opposed to a full remake of Silver Screen - it is a song reborn. The heaviness of Spaeter's guitar playing throughout gives the song real weight, and the chorus, backed by Tozluoğlu's strings, soars like it never did before. This new version turns what was an atmospheric pop track into something that fits in with the rest of this new band's sound. It is rounded off by another excellent guitar solo from Spaeter, which adds a lot more melody to a song that is already full of hooks and drama. Aurora follows, which was Griffith's first single released after leaving Karnataka. I remember it being quite new when I saw her and the band with Mostly Autumn, but it was recorded before the band came together - meaning that only Pallagrosi is featured here. Another former Kanataka member in guitarist Enrico Pinna adds his talents here, whilst the keyboards from Jean Prat tend to drive everything. It was not written by Griffiths, but the overall sound fits in nicely with the rest of the album - although it is perhaps missing the great chemistry and knotty playing that has characterised the rest of the album. That being said, though, the chorus is still great - and the moments which feature Griffith alone with Prat's piano melodies showcase her voice in a pure manner. Pinna's brief guitar solo shines, too, and it is always great to hear the Italian guitarist let rip - as there are few better when it comes to emotional and lyrical playing. The album then closes with Haunted, another Silver Screen remake, which again improves upon the original version of the song in my opinion. The song was recorded early on the life of the band, so it features guitarist Jim Clark in place of Spaeter - who I remember from the Bilston gig. Like much of the rest of the album, the song is pretty riffy. Clark's guitars tend to drive everything, but Tozluoğlu's orchestrations add some gothic melodrama - with the chorus again packed full of hooks. Clark's guitar solo showcases his talents nicely, with a tone more cutting than is generally present throughout the album, whilst you can hear throughout this rearrangement of the song how the band are finding their feet as a heavier outfit. Despite enjoying these three singles, and it is great that they are included here, I think that the band has improved over time - and it is the new material that shines the brightest in my opinion. I had been looking forward to hearing what Griffiths and the band had been working on for quite a while, and I am happy to say that Melanie does not disappoint. I am a big fan of this album, and it is one that I am going to be listening to a lot over the coming months - plus I am also looking forward to catching her on tour later in the year.

The album was released on 20th January 2023 via Posh & Rock. Below is the band's promotional video for Melanie.

VV's 'Neon Noir' - Album Review

I think it is fair to say that no-one has ever aped the Finnish band HIM when it comes to creating gothic-infused rock music with hints of metal and pop. The five-piece were emo before emo was a thing, and mixed genuine metal influences with accessible, hooky song structures to create a body of work that stood apart. For those around the same age as me who listen to heavier music, flirting with HIM was likely a right of passage - even if they were soon discarded for tougher sounds. I never discarded the band, though, and they were a big part of my musical development - as hearing the band's tough riffs mixed with poppy synths and irresistible vocal hooks made a big impression. Whilst HIM were a tight band, the focus of the media was always on the enigmatic Ville Valo - the band's frontman and principal songwriter. He was very much a gothic pin-up throughout the 2000s, and much of HIM's success can be laid at his feet. This is not to take anything away from the rest of the band, particularly guitarist Mikko Lindström, but Valo very much made the band tick. He wrote the vast majority of the band's catalogue alone, and his impressive vocal range and sultry stage presence are what people think of when they picture the band in their head. It was a sad day, then, when the band called it a day in 2017. I think Valo felt that the band had run its course and wanted to go out on a high, so the band folded at the end of 2017 following a very successful farewell tour. The band had not released an album since 2013, when Tears on Tape (which I reviewed here) came out, and I got the impression that Valo had perhaps lost enthusiasm for the grind somewhat. Tears on Tape is a fun album, but it is far from HIM's best work - and looking back it was probably wise for the band to call it day before stagnating significantly. Since 2017, then, Valo has largely been quiet. The odd interview with him surfaced where he said that he would put out some new music at some point - and this came true in 2020 when he quietly released the three-track EP Gothica Fennica, Vol. 1 (which I briefly discussed here) under the VV moniker. The EP was instantly-recognisable as Valo's work, and the three songs could have all come from any of the more recent HIM albums. Valo gave no clues as to what was to follow, though, and I assumed that he would release more EPs given the name of his 2020 release - but last year he announced his comeback proper, and revealed that his debut solo album Neon Noir would be released in 2023. It ended up being my first new release of the year, chronologically anyway, and I have been enjoying it a lot over the last couple of weeks. The three songs from the EP appear here alongside nine others, and the album basically picks up where HIM left off. There is little to distinguish HIM and VV, although Neon Noir is very much a true solo album as Valo played all of the instruments throughout. It is perhaps not as heavy as some of HIM's toughest work, but the melodies, lyrical themes, and overall atmosphere showcases the Valo that we all know and love.

There is a lot of strong material to be found here, but the album opens with perhaps its best cut. Echolocate Your Love is the perfect way to open the album, as the sounds throughout are instantly familiar - and the chorus is one of the album's hookiest. The opening synth melody, which resurfaces throughout the rest of the song, is extremely memorable, sticking in the brain from the off, whilst the guitar rhythms are just crunchy enough to create a strong atmosphere. Given that this is very much Valo's album, the focus is always on his voice. There is little musical showboating here, although there is a short instrumental break based around a doomy riff and a scratchy solo, with the focus being on Valo's soaring vocal hooks. His voice sounds as good as ever here, and it is like nothing has changed since 2013. The melodies are still sweet, and the lyrics are still packed with strange metaphors, juxtapositions, and a darkly romantic bent - ensuring that the album can sit side-by-side with any of HIM's older albums with ease. Echolocate Your Love could have been a HIM song, so as a mainstream reintroduction of Valo to a larger audience it works really well. Run Away from the Sun follows, and it is the first of the three songs that were released back in 2020. I thought that the EP perfectly showcased the three main sides of Valo's writing - with Run Away from the Sun representing the floating, whimsical, ballad-esque side. There is little heavy guitar here, although it does surface during the chorus, but in general the song really chimes throughout with synth textures and gentle guitar melodies - which allows Valo to croon atop this sonic tapestry with his sultry, slightly high-pitched vocals. I tend to prefer Valo when he is operating in slightly heavier territories, but these more whimsical pieces are a  big part of his identity, and the slower-burning track, despite its strong hooks, allows the pace to slow somewhat following the poppy album opener. The album's title track then returns to a sound more akin to the opening cut, although it ups both the heaviness and the overall organic nature of the sound. The guitar riffing throughout is more pronounced, so much so that certain sections of the track are relatively heavy, whilst the verses feel more grounded thanks to liberal use of acoustic guitar to add warmth. There is less of a focus on synths here, although they add a melodic halo to the heavier chorus, and it is great to see much more made of the guitar. The riffing is not as doomy as the heaviest pieces of HIM's past, but there is a darkness created by the crunchy guitars - and the acoustic guitar, which at times sounds quite distant, is a great contrast.

Lead single Loveletting reins the heaviness back again, but the acoustic guitars are retained - with the subtle verses backed by some melancholic picking, before the hooky chorus is fleshed out by full-bodied strumming. As such, the acoustic guitar seems to dominate - but the keyboards also return to play a big part. They chime throughout the chorus, adding more melodies, whilst the atmospheric verses take on an edge thanks to some cold-sounding synth patches. Given that the song was released as a single, it is one of the simplest pieces here. It is a decent song, but for me there are stronger pieces on the album - but its hooks are easy on the ear and it really showcases Valo's voice, so it worked perfectly to reintroduce him. The Foreverlost is a much darker sounding piece, and the pace overall is upped too - creating a much more urgent atmosphere. Many of the songs here are quite laid back, and do not tend to race towards their conclusion, but The Foreverlost is faster. This means that there are moments of heaviness here, too, and the occasional big riff helps to give the album a kick up the backside following the simplistic single, but in general the grooves and drums propel everything forward - with more acoustic guitar filling in the blanks. Due to the pace, and the emphasis on strong grooves, there are moments of the song which feel quite danceable. There is a strong bass presence throughout, and I can see the song going down well live as a result. There is a driving energy throughout which is made for the stage, and the moments that do feature bigger, heavier riffs are sure to really burst with energy live. As much as I like the album's overall vibe, this moment of pace is welcome - and it helps to create a dynamic feel throughout. Baby Lacrimarium strips all of the pace away, though, as the song returns to a ballad-esque territory akin to Run Away from the Sun. Run Away from the Sun is a strong effort, but for me Baby Lacrimarium is the best example of Valo's ballad writing on the album. Big acoustic guitar chords dominate the song, and the vocal melodies throughout are some of Valo's most piercing on the album. There is little else in the mix to compete with him, and as such the song is a real showcase of his enduring vocal talents. I think it helps that there is a strong pop edge to everything about the song. It is not as floating as Run Away from the Sun, with more emphasis on hooks than creating a big atmosphere. Poppy ballads are what Valo really excels at in my opinion - and the song is a winner thanks to the melodies throughout.

Salute the Sanguine then ups the pace somewhat, and the older EP track acts as a good mid-album injection of energy. The song is a snappy harder rock piece, with crunching guitar rhythms throughout and a catchy keyboard hook that boosts the chorus - making it a real earworm. In many ways, the song might be the most HIM-like piece here. In truth, every song here is HIM-like - but the arrangement is much more typical in the way guitars and keyboards are balanced. As such, it is likely to be another winner live, with its big chorus and classic interplay between the crunchy riffing and the chiming keyboards. It is another song on the simpler side of things, but it ticks all of the right boxes for me - and it really harks back to Valo's past in a big way. In Trenodia is another ballad-esque piece, but this time the format is approached from a much darker place. The final third of the album is generally quite dark sounding, and In Trenodia is a good introduction to that sound. There is not as much riffing here as is to come, but the chorus is certainly quite weighty - which contrasts nicely with the synths and piano that tend to dominate elsewhere. Some busy drum loops also contrast with the slower melodies that sit atop them, and it is these contrasts that make the song interesting. Overall, the pace is slow and the track is a ballad, but those loops and the occasional riffy backing just add enough of a point of difference to create a unique sound. Heartful of Ghosts continues the descent into darkness - and the piece is another slower track, but this time it is packed full of true gothic drama. The drums and percussion are slow, and the atmosphere is boosted by swells of keyboard and the pulsing bass presence. The pace never really picks up at all, and Valo sings in a distant, whimsical manner that sometimes dips into the lower end of his register - his voice sometimes not fully cutting through the mix of synths, bass, and acoustic guitar. This mixing choice works well, though, as it helps the strange, gothic vibe of the piece to become solidified - and the moments where his voice is very much placed at the front of the mix feel much bigger as a result.

The final of the three EP songs, Saturnine Saturnalia, then continues the gothic vibes of Heartful of Ghosts - but this time approaches the sound from a much doomier place. Whilst HIM were generally quite poppy, they could be heavy at times - and the slow, doomy main riff of Saturnine Saturnalia very much showcases a strong Black Sabbath influence - and the song lumbers along as a result. Acoustic guitars and keyboards once again flesh out the verses, but a big riff injection is never too far away - and every time one crashes in it makes the song sound huge. My favourite HIM album is 2007's Venus Doom due to how riffy it is, and this song could have sat on that album quite comfortably in my opinion. I wish there were more songs on this album that showcased the heavier side of Valo's songwriting, but Saturnine Saturnalia is certainly a good example of it - and the heartfelt, mournful chorus is another real earworm for me. The ending section is great, too, with a barrelling riff that morphs into an atmospheric keyboard fade-out. The short, organic-sounding Zener Solitaire, which essentially acts as an intro to the album's closing number, is the penultimate song here. It starts out as a gentle, piano-led piece - but it builds up as it moves along, with stronger keyboard textures adding melodic layers whilst acoustic guitars add warmth. Valo's wordless vocals can be heard throughout, but it is essentially an instrumental piece - which nicely segues into the closing Vertigo Eyes, another personal highlight. It opens with a soaring melodic hook, but the song on the whole is quite downbeat - despite a big overall sound. It has a similar vibe to Saturnine Saturnalia, but without the big riffing (until the end) and with more pop hooks. The mournful chorus really hits hard for me, and Valo's gorgeous vocal hooks are perhaps some of his best vocal moments on the album. There is real emotion in his delivery, and it perfectly suits the bed of acoustic guitar and piano that sits beneath him - whilst subtle, crunching guitars add depth. A tortured solo allows for a brief moment of musical indulgence, but generally the song is a showcase of Valo's vocal and writing talents - and its mournful nature and heavier ending, which sees the return of some Sabbath-esque riffing, makes it the perfect way to close out the album. Neon Noir is then, on the whole, a great reintroduction to Valo - and a great first statement as a solo artist. Whilst it is very close in style to HIM, I think that just shows that Valo was HIM - and I doubt that anyone will be complaining too much considering how HIM have been missed by their large fanbase. It is great to have the master of love metal back in business, and I can see this album being well-received by all who enjoy gothic and melancholic music.

The album was released on 13th January 2023 via Heartagram Records. Below is Valo's promotional video for Loveletting.

Kris Barras Band - Tavistock Review

Following a rather fraught journey home from London this past Saturday, which culminated in me getting home around three hours late thanks to the railway between Plymouth and Totnes being closed due an incident, I only had around half an hour to sort myself out before dashing out again. Despite being very late home, my trip to London had been worth it - due to an excellent performance from Young Gun Silver Fox at the Lafayette near King's Cross station. This past weekend was a two gig affair, though, and I was soon on the road again - but this time I made the relatively short trip north of Plymouth, to the Dartmoor town of Tavistock and to the ever-reliable Wharf. I would think that The Wharf is the venue which I have visited the most over the years, and it is certainly somewhere that punches above its weight for both its size and location. A good night is pretty much guaranteed there, and one was had this past Saturday - when I made my first trip of hopefully many to the venue in 2023. The occasion was the opening night of the Kris Barras Band's latest UK tour - which is extensive and covers pretty much every inch of the country - and a night with Barras and his band is always guaranteed to be a memorable one. Despite him being fairly local (he is from Torquay), I only started listening to his work properly a couple of years ago - and become a 'proper' fan after seeing him open for Black Stone Cherry in Exeter. I returned to Exeter to see him again last March, when he kicked off last year's extensive UK tour with a memorable couple of nights at The Phoenix. He seems to like to launch his tours with fairly local shows, and his fans can always be relied upon to turn out in force. Barras is pretty popular across the UK nowadays, but he probably remains the most popular in the South West - so much sh that Saturday's show at The Wharf sold out quite far in advance. Despite having seen both Uriah Heep and Yes pack out The Wharf, I am not sure that I have been to something at the venue that was officially sold out. This is a testament to both Barras' ever-growing popularity as well as his hardcore fanbase here in the South West - and I knew that the show would be another special one as a result. Prior to Saturday I had seen Barras and his band three times, as I also saw him opening for Thunder in London last year, but I think as far as energy and atmosphere goes this most recent outing was the most powerful yet. There are perhaps a couple of reasons for this but the sold out Tavistock crowd certainly played their part. Unusually for The Wharf, too, there was a support act - so after squeezing into the local Wetherspoons, which was extremely busy and packed full of people wearing rock shirts, for a burger I took my place to enjoy the powerful evening of music that followed.

Before Barras' powerful set, the crowd was treated to a hard-hitting set from the bluesy hard rock band Kira Mac - who impressed throughout their 40 or so minute set. Fronted by the charismatic Rhiannon Hill, Kira Mac do not play a brand of hard rock which is particularly original - but the great riffs of Joe Worrall (guitar/vocals) and Alex Novakovic (guitar/vocals) ensured that the band sounded tight and powerful throughout, whilst Hill herself impressed with some extremely soulful vocals. They were a band that I warmed to quite a bit as their set went on too as, at first, I was not that taken with them. Lots of modern hard rock bands follow the same formula for me, but as the set progressed it was clear that Kira Mac were not just sticking to the script. Nothing significantly broke the mould, but the band seemed to have more in the tank than some of their peers - and in Hill they have a commanding presence up front, with a powerful voice to match. Her voice is somewhat lower in register than is perhaps typical, but this allowed her to inject a lot of soul and blues touches into the songs - and allowed the riffing to be on the heavier side. There was little coming up for air during the band's set, either, as pretty much every song played was heavy and hard-driving. They all tended to have a hooky chorus, too, with tracks like Hell Fire and Holy Water and Hit Me Again standing out due to their melodic nature. It was not just Hill that impressed, either, as both Worrall and Novakovic soloed throughout - and there was plenty of kick and groove from the rhythm section, too, particularly during the southern rock-influenced Mississippi Swinging. This track was possibly my favourite of all of the songs that the band played, and it showcased something a little bit different riff and groove-wise - demonstrating that the band are not just about the meat and potatoes of modern hard rock. The set-ending One Way Ticket was another winner, too, and by the time it came to an end I was pretty much onboard with what Kira Mac were doing. They mentioned during the set that they could be coming back to The Wharf later in the year, and on the strength of their set on Saturday I would be keen to see them again. They seemed to sell quite a lot of merch after their set, too, which is good to see - showing that they won over quite a few in the crowd.

Despite Kira Mac's strong showing, it was the Kris Barras Band that everyone was there to see. 20 or so minutes following Kira Mac's set, the lights went down and Barras' band took to the stage and started playing around with a riff - during which Barras joined them and started soloing. As was the case on last year's tour, this opening jam proved to be an extended intro to the fan-favourite Hail Mary - one of Barras' signature tunes which has become a live staple over the years. Whilst it has traditionally been his closing cut, I think the song works well as an opener - as the big chorus gets everyone going from the off, and there was lots of singing from the crowd during the hard-hitting blues rock piece. As was also the case last year, the band then transitioned into the heavy Dead Horses - which was one of eight songs from last year's excellent Death Valley Paradise to feature. Despite opening in a similar manner, the set was quite different from last year's tour. Clearly buoyed by the success of his latest album, Barras chose to feature more of it this time - and generally focus on the heavier side of his output. Dead Horses certainly set the tone, and the chiming and slightly more cinematic These Voices then provided a more expansive sound - but still plenty of singing. Barras then explained that many of the older songs in the set had been toughened up somewhat to fit in with the vibe of the latest album, and this was demonstrated by a hard-hitting rendition of Heart on Your Sleeve - with tougher riffing replacing the bluesier edge of the original. It also showcased the tightness of the current incarnation of the Kris Barras Band - which was impressive given that it was new bassist Frazer Kerslake's first show with the band, joining Josiah Manning (guitar/vocals) and Billy Hammett (drums). No less than four newer songs then followed, with the quieter Wake Me When It's Over opening with some gentle soloing from Barras, whilst the barrelling Hostage and Chaos perfectly showcased Barras' recent direction. Devil You Know then saw Barras abandoning his guitar and taking a ride on the shoulders of someone to do a tour of the crowd - whilst Manning got a chance to shine with a shredded solo of his own. The final moment of respite then came in the form of the poignant Watching Over Me, dedicated to Barras' late father, which soared as it always does. Whilst Barras generally shredded throughout the other songs, this was a moment that allowed him to pair it back somewhat and go for something more bluesy - which gave the crowd a little break before the final few numbers. A cover of Led Zeppelin's Rock and Roll, which also included part of Kansas' Carry On Wayward Son, was then used as a vehicle for soloing - with both Manning and Kerslake soloing aplenty throughout. In truth I would have preferred another of Barras' own songs, but it was a fun cover, and it set the stage for the closing one-two punch of Who Needs Enemies and the rousing My Parade - which featured the most singing of the night, and Barras once again in the crowd to conduct the sing-a-long. My Parade brought the main set to a close, but there was time for one more - and a hard-hitting rendition of the older Ignite (Light It Up) allowed everyone one last chance to rock before the band took their bows. The setlist was:

Hail Mary

Dead Horses

These Voices

Heart on Your Sleeve

Wake Me When It's Over

Hostage

Chaos

Devil You Know

Watching Over Me

Rock and Roll [Led Zeppelin cover]/Carry On Wayward Son [Kansas cover]

Who Needs Enemies

My Parade

-

Ignite (Light It Up)

As I said previously, a night with the Kris Barras Band is always a memorable one - and Saturday in Tavistock was no different. After the success of his last tour, I imagine that this current, lengthy one will also be a big success. It is great seeing someone from the South West really making it here in the UK, and I can only see him getting bigger if his current trajectory continues. I came away from the show with a new t-shirt, too, which is always good - and I am already looking forward to when I will next be able to see him and his band live again.

Young Gun Silver Fox - London Review

Probably my favourite musical discovery of last year was the retro yacht rock duo Young Gun Silver Fox. I have been developing a love of many of the genre's 1970s and 1980s classics over the past few years, and Young Gun Silver Fox were recommended to me by someone in a #nowlistening-esque Facebook group after seeing that I had posted a number of albums by the likes of The Doobie Brothers, Daryl Hall & John Oates, and Christopher Cross. I had thought that yacht rock was generally something confined to the past, but one listen to Canyons, Young Gun Silver Fox's third album from 2020, showed me that there was at least one band keeping the genre alive and well in the 21st century. I picked up the band's other albums as quickly as I could, and pre-ordered their fourth album Ticket to Shangri-La - which was released back in October. As I devoured the band's catalogue so quickly, it is likely that Young Gun Silver Fox were one of my most-listened artists in 2022 - and 2023 has certainly started off in a similar fashion, as this past Friday I headed up to London to catch the band live for the first time. I get the impression that both of Young Gun Silver Fox's main men, Andy Platts (vocals/keyboards) and Shawn Lee (guitar/percussion/vocals), see the duo as something of a side project - or at least one of the many projects which they have on the go - so extensive touring is not generally on their radar. 2023 does promise to be quite busy for the band on the live front, though. They recently announced their first ever run of US shows, but the year kicked off with a short UK tour - which launched two days ago in London. The venue of choice was the Lafayette - a new venue for me, which opened in 2020 as part of some redevelopment behind King's Cross station. Being primarily a hard rock and metal fan, the Lafayette was a far cry from many of the London venues which I regularly visit. It was one of the nicest venues that I have ever been to, with posh food and drinks on sale, and everything just seemed so clean and well looked after - which is generally not the case! In fairness, the venue is only a couple of years old taking the pandemic into account, but even so - and I was impressed with the place. Looking at its website, though, I very much doubt that I will be returning there any time soon. Unsurprisingly, no hard rock or metal bands are currently booked to appear at the venue - and I very much doubt that any will in the future. That is just not the vibe that the venue is going for - but it was great to experience the place at least once. I also looked rather out of place at the show, too, with my long hair, cowboy boots, and Mercyful Fate t-shirt. I am clearly at the fringe of Young Gun Silver Fox's fanbase - but that is fine, and it is good to enjoy music that falls outside of one's typical comfort zone. I did not feel out of place, though, as everyone was just there to have a great time - and as such the atmosphere was excellent throughout the night.

Before Young Gun Silver Fox's set, though, the growing crowd - which was officially sold out - was treated to half an hour or so of acoustic music from the duo Ederlezi. Consisting of Hannah Nicholson (vocals), whom I saw around a decade or so ago playing a few shows with Mostly Autumn, and David Page (vocals/guitar), whom would later also resurface as Young Gun Silver Fox's bassist, Ederlezi's music was generally quite simple - but the vocal interplay between the two gave the impression of a fuller sound. Those who know me well will know that I am not generally a fan of earnest acoustic singer-songwriter types, but, for me, Ederlezi had a bit more about them than is typical. I think that the vocal interplay was a big part of it, as, whilst Nicholson certainly took the lead, Page's harmonies and occasional lead vocals helped to add quite a bit of depth to what could have otherwise been quite a bland set. In truth, though, Ederlezi are not the sort of thing that I would listen to myself - but the fact that I can still say positive things about their set shows that they are genuinely a good act. I have sat through quite a few singer-songwriter sets over the years and have generally been bored, but I was not bored at all throughout Ederlezi's set. There was always something interesting about the songwriting or the vocal arrangement to enjoy - and it was nice to see them get a strong reception from the crowd, although, in truth, the rest of the crowd was more likely to be receptive to their music than I was. Ederlezi did not overstay their welcome, either, and 30 or so minutes of their music was certainly a pleasant way to spend my time waiting for the main event. It was also nice to see what Nicholson is up to these days, given her brief association with one of my all-time favourite bands.

As there was not much to clear following Ederlezi's sparse set, Young Gun Silver Fox hit the stage around 20 minutes later. Whilst the band are essentially a duo in the studio, the live version of Young Gun Silver Fox is a larger beast. For this show at least, Platts and Lee were joined by Page, drummer Adrian Meehan, and the two-man horn section of Graeme Blevins (saxophone/flute) and Mike Davis (trumpet). The six musicians did a great job of bringing the band's layered music to life on stage, and what struck me from the off was how clear the sound was throughout the venue. The Lafayette has clearly been designed well, but also the sound engineer certainly knew what they were doing - as every subtle backing vocal and horn stab was perfectly audible. This was the case from the word go, too, and this meant that the band roared straight out of the blocks. All four of Young Gun Silver Fox's albums were featured in the set, but focus was rightly placed on Ticket to Shangri-La - although 2018's AM Waves also featured heavily. The show opened as the latest album does, with Still Got It Goin' On, with Platts' keyboard stabs and the snaking harder rock riffing of Lee, before full-blown yacht rock territory was established with Kids - whilst Blevins brought Boz Scaggs' Lowdown to mind during the chorus with his spiky flute lines. Also Scaggs-esque, the smooth West Side Jet was an early highlight, though. I was amazed throughout just how well Lee and Page harmonised well with Platts. Given some of the big vocal arrangements found on the albums, I did wonder if the live show would suffer somewhat in that regard. The harmonies were great, though, and Midnight in Richmond perfectly showed them off - and was probably my favourite song of the first portion of the set thanks to its hooky chorus and perfect groove.

Another early winner, too, was the unashamed pop of Rolling Back - one of the highlights of the latest album. Many of the hooks in Young Gun Silver Fox's songs are on the subtle side, but Rolling Back just goes all-out - and I imagine that it will be a setlist staple going forward. Around the mid-point of the set, another big stand-out for me was the stripped down arrangement of Sierra Nights. It was sparser than its album counterpart, with Meehan on the congas and Lee on the acoustic guitar, but it worked really well - and segued nicely into the ultra-hooky Mojo Rising with its infectious chorus and perfect smoothness. Whilst the crowd were on-side from the off, by this point everyone in the room was in raptures. Perhaps the most impressive number of the night elevated the raptures further, and that was Simple Imagination - which was stretched out to include lots of soloing from the horn section. Blevins' saxophone solo was excellent, and Davis also impressed with a lengthy trumpet spot. It was the only real moment of the set that saw the band genuinely cutting loose, and it worked really well to allow everyone to work up a sweat before the final few numbers. It was the final three songs of the set that then impressed the most, though. The pulsing Underdog, with Platts' off-kilter chorus keyboards, the laid back and funky Lenny, and the slightly harder rocking Lolita brought the main set to a triumphant close - with Lenny in particularly being one of my favourites of the night overall thanks to its excellent chorus. The 10pm curfew had almost been reached at this point, but the band still managed to squeeze in a two-song encore. The new Tip of the Flame was given its first live airing, which went down the storm, but it was the old favourite Kingston Boogie that really brought the house down - and ensured everyone went home happy with its earworm of a chorus ringing around the venue as everyone filed out afterwards. The setlist was:

Still Got It Goin' On

Kids

West Side Jet

Midnight in Richmond

Long Distance Love Affair

Rolling Back

You Can Feel It

Sierra Nights

Mojo Rising

Baby Girl

Simple Imagination

Long Way Back

Love Guarantee

Underdog

Lenny

Lolita

-

Tip of the Flame

Kingston Boogie

Considering that I have been into the band for less than a year, and the fact that they do not play live too often, it was great getting to see Young Gun Silver Fox live for the first time on Friday. Seeing a band live always helps me get into them even more, and I can only see my already large appreciation for Young Gun Silver Fox growing following this excellent gig. The setlist was pretty much perfect for me, containing nearly all of my favourite songs, and the musicianship on the stage throughout was stellar. Lee's occasional guitar solos were tasteful, whilst the explosive horn section added a great edge to all of the songs of which they were a part. Young Gun Silver Fox are definitely now of those bands whom I will be seeing whenever I get the opportunity to do so - and I am already looking forward to my next opportunity, whenever that will be.

Trivium - Birmingham Review

It is always amazing how quickly the first gig of each new year rolls around. There is a generally a few weeks around the Christmas period when the live music industry generally goes to sleep, but this past Friday I headed up to Birmingham for my first night away of 2023. Despite it only being around a month ago that I saw Spike launch his new Quireboys in London, the gap between that raucous night in Islington and Friday's antics seemed longer. In truth, it was nice to have a quiet few weeks after a manic November and December, but I am always keen to get back to gig-going - and 2023 promised to get started with a bang. I actually have three more gigs coming up in January, which could make it my busiest January ever, but I doubt that any of the others this month will be as intense as what I just took in - when the US metal act Trivium brought their latest European tour to Birmingham's O2 Academy. Like many shows that I have been to over the past year or so, this gig was originally supposed to take place at the end of 2021 - but it was postponed as big European treks were still hard to undertake at that time, despite live music essentially being 'back to normal' here in the UK. The wait to see Trivium turned out to be a long one, too, at over 12 months, but I was certain that it would be worth it. Around the time that the 2021 gig was supposed to take place, too, the band released their tenth studio album In the Court of the Dragon. This meant that the rescheduled tour would essentially be showcasing two albums - as 2020's What the Dead Men Say had not been toured either, with Trivium's last run of UK shows coming in 2018. 2023's run of UK shows, then, would be the band's first in five years - and was appropriately dubbed the Deadmen and Dragons tour after their 2020 and 2021 releases. It was a tour that I snapped tickets up for immediately, too. Despite being a big Trivium fan, I have not actually seen them live that many times. Prior to Friday, I had only seen them live three times - most recently back in 2017 when the band were at the tail end of the Silence in the Snow touring cycle. Trivium are one of those bands that I have just been unlucky with live - as often when they announce a UK tour it clashes with some existing plans of mine. I would have loved to have seen them live more often, as they are good at changing up the setlist and playing different songs, so getting the chance to see them for a fourth time was not to be missed - especially following the excellent In the Court of the Dragon. It seems that many others thought the same, too, as pretty much all of the UK shows sold out in advance. This is, of course, great for the band - although the O2 Academy in Birmingham is, in my opinion, not very well designed and struggles to cope with capacity crowds. This would rear its head later during Trivium's set, leading to some uncomfortable moments - which was not helped by the behaviour of a few who seemed to want to cause unnecessary headaches for those around them.

More on that later, but first it is time to talk about the evening's opening act. The UK leg of this tour saw Trivium joined by two bands - and up first was UK's own Malevolence, who seem to have really broken through into the metal consciousness over the past couple of years. I passed up seeing them at last year's Bloodstock Open Air as I was quite tired following Mercyful Fate's excellent set, so I was looking forward to checking them out properly this time - particularly as I have been enjoying Malicious Intent, their third album which was released last year. As soon as the band hit the stage, it was clear that their set was not going to be a typical opening fare. There were a lot of Malevolence fans in attendance, and the place was already pretty much full by the time the lights went down. Given how well Malicious Intent has been received, I expected the band to get a strong reception - but there were times when you would be forgiven for thinking that Malevolence were headlining the night. They created a strong energy from the first riff, and it never let up - even during their mid-set ballad. Much of the material, unsurprisingly, came from Malicious Intent, with the short title track opening things up before the band segued into Life Sentence, with its groove-based riffing and the throat-shredding vocals of frontman Alex Taylor. What was also great was the fact that the band did not suffer at all from typical opening band sound. Malevolence's sound was crystal clear throughout their set, with Taylor's vocals nice and loud in the mix - whilst the lead playing of Josh Baines (guitar/vocals) cut through the grooves. This meant that the Alice in Chains-esque opening of Still Waters Run Deep sounded huge, and the riffing that followed throughout the older Self Supremacy really filled the venue. This song also featured probably the largest circle pit of the entire night. There was plenty of moshing during Trivium's set, but this specific pit was huge - and it is rare to see an opening band getting such a reception. It is likely that Malevolence will not be filling such slots for much longer, and on Friday's performance a promotion would be deserved. The gentle Higher Place, sung by Konan Hall (vocals/guitar), then showcased the band's diversity and provided a change of pace. It would have been easy for the band to have played quite a one-dimensional set, but Higher Place showed that they can do things differently - although they did soon return to their typical sound with Remain Unbeaten and the anthemic Keep Your Distance. It was left to the catchy On Broken Glass to bring the set to a close, with Hall's chorus filling the venue whilst Taylor spat out the verses with real venom. It was one of the strongest opening sets that I had seen for sometime, and Malevolence are clearly a band tipped for bigger things. The setlist was:

Malicious Intent

Life Sentence

Still Waters Run Deep

Self Supremacy

Higher Place

Remain Unbeaten

Keep Your Distance

On Broken Glass

Half an hour or so later the tour's special guests took to stage - following an effective atmospheric build up which included the lights dimming very slowly over the course of a couple of minutes just before their set started. Whilst the I had been aware of the German band Heaven Shall Burn for quite a few years, I had not really listened to them much at all prior to the lead up to the show. I picked up a few of their albums, but none of them really did all that much for me - so I was looking forward to seeing how they would come across live. Unfortunately, though, my reaction to the band live was similar to that of hearing their albums. For a band who are often described as a melodic death metal band their sound is not all that melodic (at least in the traditional Gothenburg sense), and it did not help that they were not blessed with the same clarity of sound which Malevolence had enjoyed. As such, frontman Marcus Bischoff's vocals were often quite buried in the mix - and there was little definition between the two guitarists, meaning that much of the nuances of the band's music was lost. I think it is fair to say, too, that they were not welcomed as enthusiastically as Malevolence had been. The crowd certainly welcomed Heaven Shall Burn warmly, but there was significantly less moshing during their set - and the cheers were quieter overall. Despite their prominence, Heaven Shall Burn are not a band that have ever really made much of a dent here in the UK. Looking at setlist.fm, their last visit to the UK came back in 2014 - when they toured with a bunch of deathcore bands. In truth, some of Heaven Shall Burn's songs are probably closer to deathcore than traditional melodic death metal - which possibly explains the somewhat muted reaction to their set. The fact that their appearance at this year's Bloodstock in August will be their first UK festival appearance in their nearly 30 year history also suggests their lack of presence here - so the fact that they were afforded a full hour slot on this tour, at least during the UK shows, seems strange. That being said, there were still some strong moments throughout their set. I liked the mechanical Übermacht, which included some great bass playing from Eric Bischoff, and the more anthemic Voice of the Voiceless proved that the band can put together a powerful chorus when they want to. For me, the best moments of the set were when the band's guitarists played lead breaks. Not enough of the band's songs are based around strong guitar leads for me, but when they are used they significantly improve the song which they are a part of. Perhaps the highlight of the whole set was the band's great cover of the old Edge of Sanity track Black Tears - and, sadly, the fact that a cover was the highlight is likely quite revealing.

It was another half an hour or so after Heaven Shall Burn's set before Trivium kicked off, and this is when the venue's poor design really started to become noticeable. The actual floor area itself is large, but only the portion directly in front of the stage has an open view - as the venue's balcony is very low, wide, and covers three sides of the room. As such, anyone stood under the balcony is not going to be able to see the stage properly - and it is likely that the sound would also be poorer. This meant that during the changeover between Heaven Shall Burn and Trivium more people than could easily fit in the open space were constantly trying to push their way into the square in the middle of the venue. This lead to some quite unpleasant situations, with tempers of those around me near the back fraying - and a fight even broke out just after Trivium started. I remember similar things happening at another sold out show I attended at the venue around ten years ago, and the O2 Academy in Birmingham is one that is a significantly more pleasant place to be when it is not sold out and there is more room to move around - particular at the back of the room. As such, for the whole of Trivium's set there were people pushing and shoving trying to get in and out of the middle square - which got tedious pretty quickly, and those around me were clearly getting pretty annoyed. I resolved not to let it effect my night, but it was hard not to get distracted sometimes - especially during the fight! The amount of people in the room was clearly causing issues down near the front, too, as the band had to stop playing twice during the set to allow hurt fans to safely exit the throng and receive medical attention. All of that being said, though, Trivium were excellent. As mentioned above, the band are good at switching up the setlist night after night - which means that what they are going to play is often a mystery. If I had a criticism it would be that I would have liked to have heard more songs from the two newest albums, given the name of the tour, but the 90 minute setlist was still great - and showcased nine of their ten albums. 2005's Ascendancy was the most represented, with four cuts from it played, and the show got underway with two of them. The album's opening number Rain got things off to a great start, and despite all the pushing and shoving the atmosphere was great from the off. Despite the few out to annoy those around them, everyone else was there to have a great time - and the singing from the crowd was so loud that sometimes it even drowned out the band. This was the case during Rain's chorus, but it was arguably more so during Like Light to the Flies which followed. The song has always been a real crowd favourite, and the chorus shook the venue - before the great guitar solo section allowed both Corey Beaulieu (vocals/guitar) and Matt Heafy (vocals/guitar) to shred.

Whilst Heafy is the band's frontman, as has been the case for a number of years now Beaulieu handled some of the main harsh vocals throughout the set - with him and Heafy often teaming up for some great call-and-response vocal sections. This was the case during the title track of 2017's The Sin and the Sentence, which followed, and the powerful song brought the set into something more akin to the present day after starting back in 2005. It was great to hear the song live as I missed the tour for The Sin and the Sentence, and its more progressive arrangement came across well live. Another early highlight in Down from the Sky was then played, which really got the crowd going. The song is another real fan-favourite, and the chorus was sung back at the band very loudly - although it had to be briefly stopped to allow someone to receive medical attention, which did stem the flow somewhat. Even the newer songs received similar levels of love. Like a Sword Over Damocles also had its chorus sung loudly, before the band took a bit of a break from lengthier pieces to break out the shorter, punchier Strife. The song is one that I would not include if I was picking the setlist, but I always enjoy hearing it live - and the simpler riffing and overall vibe allowed the band to really rock out before heading back into knottier territory with the newer A Crisis of Revelation. I would have included a different song from the latest album, but the progressive, thrashy piece really came alive on stage. The latest album really upped both the progressive and thrash sides of the band's sound again, and A Crisis of Revelation really showcases this - and Heafy's harsh vocals throughout were extremely potent. Paolo Gregoletto (bass guitar/vocals) also got to shine with a shredded bass solo. Heafy then paid tribute to the excellence of Malevolence by having Baines join them for a run through of the oldie The Deceived, with Baines taking the solo, before more progressive riffing in the form of Catastrophist impressed the crowd - after it had to be restarted due to another injury. It was great that the set highlighted the band's more complex songwriting a lot, but a handful of simpler songs were welcome additions. Both the fist-to-the-face of To the Rats and the relatively slow-burning Until the World Goes Cold helped to level things out somewhat - but both only acted as a brief simplification before the mighty Shogun was wheeled out. The band have not played it live too often over the years, but have been making a feature of it on this tour. It was great to hear the 11 minute-plus song live, and it was easily the most progressive moment of the night. There was lots of soloing and changes of pace throughout, and the cheer when it came to an end was extremely loud. Whilst the band did not properly leave the stage and come back again, the intro to In Waves felt like an encore break - and the set's final two numbers had the vibe of such. The groove-based In Waves really rocked the room, with everyone headbanging to the rhythm of the infectious main riff, but it was perhaps the closing Pull Harder on the Strings of Your Martyr that sent the place the wildest. There was a lot of moshing during the final number, and the hooky chorus was once again sung extremely loudly - bring the night to a triumphant end. The setlist was:

The End of Everything

Rain

Like Light to the Flies

The Sin and the Sentence

Down from the Sky

Like a Sword Over Damocles

Strife

A Crisis of Revelation

The Deceived [w/ Josh Baines]

Catastrophist

To the Rats

Until the World Goes Cold

Shogun

Capsizing the Sea

In Waves

Pull Harder on the Strings of Your Martyr

Despite the issues mentioned previously with the crowd and the venue, Trivium's Birmingham show was a great way to kick off 2023. Trivium are a band that always deliver live, and it disappoints me that there were so many of their tours in the past that I could not make for various reasons. Still, it was great to catch them again on this latest run, and the setlist included a number of songs that I had not seen them do live before. The band always go down well in the UK, so I doubt it will be too long before they return again - and I shall make every effort to make it when they do.

Music of 2022 - Part 2

With 2023 now underway, it is time for me to wrap up the last bit of 2022-related business on this blog and run through my Albums of the Year. As is the case every year, putting together this list was a difficult task. I have been drafting it over the past week or so and, outside the top few places, the order and the albums included have changed quite a few times. 2022 was been another very good year for new music, and there are lots of albums that deserved to be included in my list. As is often the case, too, a couple of albums that I really expected to be included ended up just missing out - but following some thought I am now happy with my list. I am always careful to not just include an album because of how much I love the band or because of the band's overall status. I really try and focus on my overall enjoyment of each album, and rank them accordingly. This can often lead to a couple of interesting inclusions - and there are certainly a few technically 'better' albums that missed out on being included this time, but this is because there were a few albums that I just had so much fun with over the course of 2022. Sometimes that is just as important as making an artistic statement and being objectively 'better' - so a couple of albums people might expect to see included here have missed out this time. That being said, though, my real favourite bands will often rise to the top, bias or no bias, so those albums nearing the top of my list should not really surprise anyone who knows me well. Despite my biases, though, these albums all deserve their positioning in my opinion. As with all lists, I am sure that I will look back at it in a few years and think that it should have been different - but as it stands the below represents what I consider to be the best releases of 2022. Clearly I have not heard everything released in 2022, and there are likely a large amount of great albums that I am yet to discover. Reading other similar lists at this time of year is always interesting, as you realise what you missed out on over the course of the year - but one person can only listen to so much. As always, too, the list below only includes full-length studio albums of new material - so no EPs, live albums, compilations, or covers albums were eligible for inclusion.

10) Saxon - Carpe Diem

Propping up the rest of the list is the latest slab of excellence from NWOBHM veterans Saxon. With the exception of a slightly dodgy patch towards the end of the 1980s, Saxon have rarely released anything that is not great - and their twenty-fourth album Carpe Diem continues that excellent run of form. Many reviews have hailed this album as Saxon's best for years, but comments like that just make me wonder where those reviewers have been hiding in recent years. Carpe Diem is not the band's best for years because everything else that the band have put out recently has also been great - and Carpe Diem just continues on that trend. Now in his 70s frontman Biff Byford sounds as good as ever vocally, whilst the heavier sound that the modern Saxon have curated since the mid 1990s still sounds fresh and hard-hitting. The crystal clear production from Andy Sneap allows all five band members to shine, but as always it is the guitar duo of Paul Quinn and Doug Scarratt who drive everything with their massive riffs and numerous shredded solos. There is a lot to love here, but Saxon fans of course already know that - and those new to the band could do worse than starting at album number 24.

Listen to: Carpe Diem (Seize the Day), Age of Steam & Living on the Limit

9) Reckless Love - Turborider

In my opening paragraph I discussed the 'fun factor' - and that sometimes albums get included in this list due to the sheer joy that they have brought me over the past year. The fifth album from the Finnish hair metal revival act Reckless Love is one such album, and I have listened to it incessantly since it dropped back in March. Following a five year gap since releasing InVader in 2016, Reckless Love roared back into life this year with Turborider - an album that, more than anything the band had done previously, embraced their love of all things synth-driven and poppy. Reckless Love have always been on of the poppiest of the newer hair metal acts, but Turborider doubles down on this, and is actually quite different from much of what they had done previously. Pepe's big guitar riffs are not as prominent as they once were, although he still shines throughout the album, whilst big synths and driving pop beats keep each song ticking. Despite the modern production sheen, the album is very much still rooted in the music of the 1980s - with frontman Olli Herman showcasing his knack for a big melody, with the spotlight shone on him more than ever here. Some might find the album to saccharine, but I love it - and it more than deserves to be included in this list.

Listen to: Turborider, Eyes of a Maniac & For the Love of Good Times

8) Amorphis - Halo

The general consensus seems to be that Amorphis' fourteenth album Halo is not quite as strong as the few that preceded it. I would generally agree with that assessment, but the Finnish prog/doom/gothic metal band are another act that rarely disappoints - and Halo is still an excellent representation of their melting pot sound. One thing that stands out from the off is that it seems to be much heavier than the band's other recent releases. Amorphis have always been a heavy band, of course, but recently the focus has been shifted more towards the more melancholic - and huge choruses driven by frontman Tomi Joutsen's clean vocals. Halo retains this, but the riffing is much more in-your-face this time, with Santeri Kallio's keyboards taking a little more of a backseat - and Joutsen often favouring his deep growls over his soaring cleans. The shift in sound is not drastic, though, and there are still plenty of hooks to be found throughout - but Halo is an album for a bit of a different mood which is why it seems to stand out from the band's other recent works. I have still listened to it an awful lot this year, though, and Amorphis remain one of the most consistent and unique modern metal bands.

Listen to: On the Dark Waters, The Moon & Seven Roads Come Together

7) Cats in Space - Kickstart the Sun

After debuting on 2020's excellent Atlantis, 'new' Cats in Space frontman Damien Edwards has taken the band to the next level on their fifth album Kickstart the Sun. Whilst I am yet to make my mind up on whether the album is Cats in Space's best overall, it is easily their most ambitious work to date and it feels like a landmark release - and possibly the album with which all of their subsequent work will be held up against. The band's trademark throwback 1970s glam rock sound is very much intact, but many of the songs here see the six-piece exploring some different sounds. A few of the songs have a slight progressive edge to them, which has resulted in some longer and more complex pieces than is typical for the band - whilst others channel the band's love of big hooks and over-the-top arrangements in ways similar to those found on their previous albums. In Edwards, bandleader and principal songwriter Greg Hart has found a true foil - and they seem to have development a strong writing partnership on this album which will only benefit the band going forward. Edwards' flamboyance and dynamic vocal performances has allowed Hart to push himself as a songwriter and arranger here - and the rest of the band have all stepped up to the plate too to create an album that brims with confidence.

Listen to: King of Stars, Teenage Millionaires & Bootleg Bandoleros

6) Dare - Road to Eden

Dare's eighth studio album was one that was not included on the initial draft of this list, but having given it some thought I felt that it deserved to take the place of an album by a much more well-known band. I enjoyed the other album a lot, but I had perhaps included it due to the name-recognition of the band in question and the fact that it was said-band's first album in quite a few years. Not including Road to Eden would have done Dare a disservice, though, as this is another album that I have had a huge amount of fun with over the last year. I also saw the band live three times, which certainly helped the album rise to the top, but the songcraft throughout the and the fantastic performances of both main man Darren Wharton and long-time guitarist Vinny Burns helped each of the album's 10 songs to shine. Road to Eden does not significantly shake up the formula of Dare's other recent albums, particularly that found on 2016's excellent Sacred Ground, but it does feel a little tougher-sounding overall - with more than a few nods back to the band's first couple of big-label albums. The smoothness and huskiness that the band have become known for in more recent years is retained, though, and Road to Eden feels like a great fusion of Dare's various eras as a result.

Listen to: Born in the Storm, Cradle to the Grave & Grace

5) Threshold - Dividing Lines

With Threshold's last three albums being my Albums of the Year in 2012 and 2017, and claiming second spot in 2014 - the fact that Dividing Lines, the band's twelfth album, 'only' sits at number five might seem like a bit of a drop-off. This is certainly not the case, though, as Dividing Lines is still very much classic Threshold in sound and style - but it only came out a month ago, meaning that I have not had as much time with it as many of the other albums included here. If it came out earlier in the year I have no doubt that it would have climbed further up the list, but, as it stands, fifth is still a very respectable position to end up in given the amount of other excellent albums that I could have included here. Threshold are one of those bands that have become extremely dependable over the years, with each new album continuing the band's long-established sound and delivering more tightly-crafted progressive metal anthems. Dividing Lines does feel heavier than the band's last few albums, though, and there is a murkiness here that harks back to some of Threshold's earlier releases. It also seems to be the album where returning frontman Glynn Morgan has truly made his mark. Most of 2017's Legends of the Shires was written and recorded before he re-joined the band, but on Dividing Lines he has made significant songwriting contributions - which compliment the writing of driving forces Karl Groom and 

Richard West to create a memorable album that mixes darkness and melody perfectly.

Listen to: Hall of Echoes, Let It Burn & Complex

4) Ghost - Impera

If 2018 and 2019 were the years where I finally understood the Swedish band Ghost, then 2022 was the year that made me truly love them. As can be seen below they blew me away when I saw them live back in April, but before that they had already released one of my favourite releases of the year in the form of their fifth album Impera. Impera fully embraces the 1980s pop metal sound that reared its head on 2018's Prequelle, but in a much more complete and impressive way. Looking back, Prequelle now feels a bit like a glorified EP experimenting with a poppier sound - whereas Impera has built on the success of the last album's singles and created something special. It is easily my favourite Ghost album yet, as pretty much every song is packed full of huge hooks and tight musicianship that harks back to many of the great albums of the 1980s which bandleader Tobias Forge has so clearly been influenced by. Most of the Blue Öyster Cult/The Doors-esque spookiness from the band's first couple of albums is absent now - although there are still a few moments on the album that up the heaviness and overall creepy atmosphere somewhat, before the next big chorus crashes in. Despite the obvious influences that fuel Impera, though, no-one else really sounds like Ghost - and Impera is the album that will likely make them festival headliners going forward.

Listen to: Spillways, Call Me Little Sunshine & Watcher in the Sky

3) Queensrÿche - Digital Noise Alliance

Since their 2012 rebirth thanks to frontman Todd La Torre being brought into the band, a new Queensrÿche album is always likely to find itself near the top of any yearly list of mine. Queensrÿche and Condition Hüman were my Albums of the Year in 2013 and 2015 respectively, whilst The Verdict came in at number three in 2019. It is fitting, then, that Digital Noise Alliance, the fourth Queensrÿche album of the La Torre era, also finds itself at number three in this list - and if it had come out earlier in the year than October it could well have found itself being placed higher. It does not do anything significantly different to the band's other recent albums - but at times it feels heavier and more in-your-face. I put this down to the drumming of Casey Grillo, who made his debut in the studio with the band here, who's excellent performance really propels the powerful progressive metal songs contained within. His fast-paced base allows the riffing of guitarists Michael Wilton and the returning Mike Stone to shine - and the trademark dual guitar leads and solo trade-offs between the two helps to further cement the classic Queensrÿche sound. This heavy base, combined with La Torre's interesting and dynamic vocal hooks, helps Digital Noise Alliance to be another high point in the lengthy Queensrÿche discography - and at this point I would not expect any less.

Listen to: In Extremis, Lost in Sorrow & Behind the Walls

2) Journey - Freedom

Considering how much I loved Eclipse, Journey's last album from 2011, I was very much hoping that some of the magic that made it such a personal favourite would be repurposed on its eventual follow up. Considering all of the legal drama that has surrounded the band over the past few years, and, indeed, continues to do so, and the fact that only guitarist Neal Schon seemed to actually want to write new material, the fact that Journey's fifteenth studio album Freedom is so good really is a miracle. I get the impression that keyboardists Jonathan Cain's contributions to the album had to essentially be forced out of him, and I doubt that I would be writing this if the COVID-19 pandemic did not happen, but Schon and Cain (despite their very clear and public differences) should be be proud of the 15 songs that make up Freedom. It is easily the band's most diverse album to date, and mixes huge AOR anthems with songs that hark back to the early days of the band - as well as an occasional rawer, bluesier sound which is something quite new for Journey. It is probably drummer and producer Narada Michael Walden that should get most of the credit for the album actually coming out, though, as I get the impression that he stitched Schon and Cain's ideas into songs - and his jazzy background probably contributed significantly to the album's diversity. Even the length of the album has not deterred me listening to it incessantly throughout the year, and if it turns out to be Journey's final album then it is a good way to go out.

Listen to: You Got the Best of Me, Live to Love Again & Beautiful as You Are

1) Marillion - An Hour Before It's Dark

As the British progressive rock act Marillion are one of my all-time favourite bands, the fact that their latest album An Hour Before It's Dark tops this list should surprise precisely no-one. In fairness, Fuck Everyone and Run 'only' came in at number two in 2016, but this year there has been nothing that has impressed or moved me as much as Marillion's latest opus. Marillion have been finding quite a lot of mainstream recognition and success again over the past decade or so, but I think that Fuck Everyone and Run really cemented that - and the formula of that album, lengthier, multi-part songs sitting around a few bite-sized pieces, was re-purposed here. Four long songs and two shorter pieces come together to create a diverse and sonically dense album - complete with frontman Steve Hogarth's typically whimsical and caustic lyrics and plenty of soaring melodies from guitarist Steve Rothery. Like so many albums of late, the COVID-19 pandemic is referenced throughout, but there are also some strong politically-charged moments here too - building on many of themes and anger that permeated Fuck Everyone and Run. An Hour Before It's Dark feels more concise overall, though, which perhaps makes it something of an easier listen. It is under an hour long for one, which is rarity for modern Marillion, and the overall sound is generally quite consistent - with emphasis given to keyboardist Mark Kelly's sweeping strings and soundscapes. It is an album that I will continue to get a lot of joy out of over the years to come, and it thoroughly deserves its top spot here.

Listen to: Be Hard on Yourself, The Crow and the Nightingale & Care

Whilst the above wraps up my coverage of 2022's albums, as always there were many other albums that could have been included in the above list. The album by a well-known band that I made reference to a few times above was The Zealot Gene by Jethro Tull. It was included in my original list, but it ended up making way for Dare's Road to Eden. The Zealot Gene is great though, especially considering the length of time between it and its predecessor - but it is not one I have revisited as much as some of those above. Another worth contender was Chicago XXXVIII: Born for This Moment which, along with Journey's Freedom, ensured that the summer months were packed with melodic rock. I ultimately decided not to include it, though, as it does run out of steam somewhat as it moves along - but the first half of the album contains some of 2022's best pop rock songs. The final honourable mention here goes to Lamb of God's Omens, which I also wanted to include. There is not much in my list that is significantly heavy this year, and Omens was one that I listened to quite a lot over the last few months. I will now move onto my favourite gigs of the year which, like last year, I am going to present in a simple top five format. I toyed with bringing back the 'small' and 'big' lists from previous years, but that never really made a lot of sense so I have just picked my five favourites of 2022 and listed them below. I went to so many gigs this year that picking only five was hard, but I am happy the the ones below are a great representation of my gigging year.

5) Whitesnake/Foreigner, Utilita Arena, 22/05/2022

I generally do not believe it when bands say that they are on their farewell tour, but I would be surprised at this point if I ever saw Whitesnake again. Considering that frontman David Coverdale had to cancel the last few dates of the European tour and the whole of the US tour due to illness, I have a feeling that Whitesnake are indeed done now - so I was happy that I got to see one of my all-time favourite bands live one last time. Coverdale's voice has not been what it was for a while, but he can still put on a great arena rock show - and the modern incarnation of Whitesnake is a powerhouse rock band that gives all of the band's classic songs a real kick up the backside. This Birmingham show was very much a greatest hits set, which in fairness I had not really seen Whitesnake do before, so it was fun singing along to all of those timeless classic rock staples one last time - especially after having first enjoyed a barnstorming opening set from Sweden's Europe, who, in truth, were objectively the band of the night, and a professional set from what passes these days as Foreigner. The UK tour was billed as a co-headline tour, but it very much felt like Whitesnake's night - and it was great that so many came out to bid farewell to Coverdale.

4) Dream Theater, OVO Arena, 23/04/2022

I have seen Dream Theater a number of times now, and each occasion has been special. They tend to vary up the setlist quite significantly between each tour, and they are also good at highlighting new material when new albums are released. The shows in 2022 helped to promote 2021's A View from the the Top of the World, and the songs from that album featured heavily in the London show I went to back in April. The lengthy title track was a highlight, but it was great to hear a number of other older songs which I had not heard the band do live before - including the snappy 6:00 and the epic Bridges in the Sky. The much-maligned James LaBrie was in fine voice vocally throughout, whilst the rest of the band were up to their usual high standards. Seeing guitarist John Petrucci and keyboardist Jordan Rudess play their complex solos so effortlessly never fails to impress, and the large crowd that was gathered in Wembley were held in raptures throughout. The overall highlight for me was the stunning encore rendition of the dynamic The Count of Tuscany - which ranged from fast-paced heavy riffing to that stunningly atmospheric mid-section.

3) Marillion, Eventim Apollo, 30/09/2022

Opening a show with a complete performance of your latest album is a brave move for any band, but Marillion are not really a band to stand on ceremony - and hitting the large crowd with a stunning full performance of An Hour Before It's Dark was certainly the right move. Whilst it is not a concept album, the album has a certain flow to it that means that it works well when played live in full - and I doubt that many who turned out complained about the way that the set was structured. All of the songs came across really well live, but it was perhaps the closing suite of Care that came alive the most - particularly during Steve Rothery's soaring central guitar solo. A few older songs followed, and they felt like something of a victory lap. It was great to hear the creeping Somewhere Else live, whilst regulars like Afraid of Sunlight and The Great Escape sounded as good as ever. Ending the night with a rousing, sing-a-long heavy rendition of oldie Sugar Mice was a good move, too, as it provided a relatively upbeat ending to what had largely been a pretty atmospheric show. It has been great being able to see Marillion live so many times in recent years, and 2022's show was another excellent addition to the collection.

2) Saxon, De Montfort Hall, 25/11/2022

I saw Saxon live twice in 2022. In many ways their big anniversary show in London back in January was more of a spectacle, but as far as setlist and performance goes the recent Leicester show was, in my opinion, better. I actually prefer it when Saxon are forward-looking, and the London show was a rare greatest hits set from the band. The Leicester show focused on 2022's Carpe Diem, though, and included six of the album's songs alongside plenty of classics and a handful of older deeper cuts. Saxon have always been the masters of putting together a varied set, and the large Leicester crowd lapped it all up. Those of us down near the front sang along to every song in the set, and the band sounded loud and powerful - and had more energy than many bands half their age. It also great to return to the De Montfort Hall after a number of years. It is one of those venues that everyone used to play at back in the 1970s and 1980s but is sadly rather neglected now. Saxon packed it out, though, and the NWOBHM legends continue to show why they are one of the best live metal bands on the circuit today.

1) Ghost, Resorts World Arena, 15/04/2022

When it came to 2022's best gig, though, only Ghost's masterful performance in Birmingham back at Easter could take the crown. If Ghost are not headlining Download at some point in the next few years, then whoever books the bands for the festival has really dropped the ball - as when it comes to new stadium rock/metal then there is no-one better than Ghost. This year's UK tour was their second at arena level here, but the stage show and spectacle was greater this time compared to their 2019 run. With many of the best songs from Impera played, alongside all the classic tunes from their previous albums, the setlist was lengthy and packed full of hooks - whilst Tobias Forge and his large backing band delivered a larger-than-life show that was more than suited for the big room that they were filling. Whilst there are many out there that still dismiss Ghost, there are many more who love everything that the band are about - and they have managed to retain a strong sense of fun throughout everything that they do, even whilst delivering such a live spectacle. In my view, Ghost are only going to get bigger - and perhaps it will not be too long before the stadiums of the UK beckon the Swedish rockers.