Black Star Riders - London Review

I think that it is fair to say that I was not massively kind to Black Star Riders' recently-released fifth album Wrong Side of Paradise when I recently reviewed it here (which can be read here). I certainly do not hate the album, but it is easily their weakest release to date in my opinion, with it lacking many of the qualities of the band's Thin Lizzy-derived sound. There are some good songs on the album, but much of the material has yet to really do anything for me - which is a shame, as all four of the band's previous albums have become favourites to a greater or lesser extent over the years. When the album was announced last year, though, the band also announced a UK tour for 2023. Given that Black Star Riders debuted back in 2013 with All Hell Breaks Loose, the UK tour for Wrong Side of Paradise was also announced as the band's 10th anniversary celebration. In some ways I cannot quite believe that Black Star Riders are now 10, but given that they are now five albums deep I should not be so surprised. They have become real fixtures of the UK rock scene at a time when audiences have finally started to give younger talent a chance - and could almost be described as spearheading the movement, despite coming from a much more prestigious background. What made the band's 2023 UK tour all the more interesting, too, was the fact that former members Scott Gorham (guitar/vocals) and Jimmy DeGrasso (drums) would be re-joining the band for the run. DeGrasso left Black Star Riders in 2017, so has been out of the loop for a while - but Gorham only left in 2021 during the COVID-19 pandemic. Given that that this 2023 tour was the band's first since 2019, it is therefore the first run of dates that Black Star Riders have played since Gorham left - save for a couple of stand-alone shows late last year which also featured Gorham and DeGrasso as something of a pre-tour warm up. Whilst the tour certainly coincides with the band's 10th anniversary, I feel that it could more accurately be referred to as Gorham's farewell tour. Given that he stepped away from the band during the pandemic, he never really got the chance to say goodbye to the fans - an opportunity which was possible on this 2023 tour. Having DeGrasso back as well made the shows feel extra special - although it does mean that Wrong Side of Paradise's drummer Zak St. John is yet to actually play live with the band. With both founding frontman Ricky Warwick and long-time bassist Robbie Crane joining Gorham and DeGrasso, too, this tour almost featured the whole of the classic Black Star Riders line-up - with Wayward Sons' Sam Wood (guitar/vocals) the only new face, who joined the band last year. I knew I had to make the tour, and the date that worked the best for me was a Sunday night in London at the O2 Shepherd's Bush Empire. I have been to the Empire many times, but it had been a few years since my last visit - and it was great to see the place pretty busy throughout the night. As much of a draw that Black Star Riders clearly were, they ensured that tickets were shifted by bringing along two great support bands.

45 minutes or so after the doors opened the venue was pretty full, which was good as it meant that Phil Campbell and the Bastard Sons received a pretty strong reaction from the off. The band formed by former Motörhead guitarist Phil Campbell have been touring around the UK pretty regularly over the past few years, so I would not be surprised if many in attendance were already familiar with them. Those around me down at the front generally seemed to be fans, and the atmosphere during the band's 40 or so minute set was great. Despite being a man down, the four-piece version of the band stormed through a handful of tracks from their two studio albums - as well as a few Motörhead songs. Two newer songs opened the show, with the anthemic We're the Bastards seeing frontman Joel Peters prowling the stage and raising his middle finger aloft - whilst the somewhat bluesier Bite My Tongue showcased a great riff from Phil, who was handling all of the guitar parts in the absence of Todd Campbell. Tyla Campbell (bass guitar/vocals) and Dane Campbell (drums) made more noise to cover for the lack of the second guitar, though, and the set overall had a rawer feel to it than usual - but it worked well. The faster-paced Going to Brazil soon saw plenty of movement down at the front, but the real highlight was the mid-set rendition of the later Motörhead classic Born to Raise Hell - which saw former Hanoi Rocks frontman Michael Monroe (more on him later) join the band on stage. He duetted with Peters and added some harmonica throughout. Monroe's appearance was not the only guest spot of the night, and, being the last night of the tour, the show certainly had a party vibe throughout. Monroe's appearance exemplified this, and it gave the band a further lift - allowing their last few songs to rock even harder. Three songs from 2018's The Age of Absurdity then followed, with Get on Your Knees seeing Peters encouraging the crowd to sing loudly for him - whilst the groovy, riff-heavy Freak Show ended up being a personal favourite as always. Sadly there was not too much time left by this point, but the slower-paced Dark Days arguably upped the heaviness further with its snaking, bluesy riffing - before the obligatory rendition of the proto-speed metal classic Ace of Spades brought the high-energy set to a close. The setlist was:

We're the Bastards

Bite My Tongue

Going to Brazil [Motörhead cover]

High Rule

Born to Raise Hell [Motörhead cover w/ Michael Monroe]

Get on Your Knees

Freak Show

Dark Days

Ace of Spaces [Motörhead cover]

Following Monroe's guest appearance with Phil Campbell and the Bastard Sons, 20 so or minutes following the latter's set finishing he hit the stage with his band for another high-energy 40 minute set. I have been a fan of Monroe's for a number of years, but sadly I have not had that many opportunities to see him live. As such, this was my fourth time seeing him, and third as a support act - but it was probably also the best set that I have seen from him so far. The set was somewhat split into two, with newer material from his excellent recent solo albums coming first, before he then stepped back in time to play a few songs from his previous bands. His band has been pretty stable in recent years, too, and they were tight as anything despite the organised chaos which Monroe tends to cause. He very much represents the stereotype of a rockstar, and he oozed charisma from the moment he stepped onto the stage. Most of Monroe's songs are pretty short, so the first part of the set was very much a quick-fire round of recent anthems. One Man Gang got the set off to a punky start, whilst two songs from his most recent album followed. For me, the title track I Live too Fast to Die Young was the pick of the early bunch, but the true early highlight for me was a raucous rendition of '78 from 2011's Sensory Overdrive. The 2011 release remains my favourite of Monroe's recent albums, and it was great to hear it represented in the set with one of its standout cuts. Ballad of the Lower East Side brought this portion of the set to a close, before the pace was somewhat slowed thanks to a rendition of the Hanoi Rocks power ballad Don't You Ever Leave Me. More older songs followed, with the hard-driving punk of Demolition 23.'s Nothin's Alright really getting the crowd going. Despite all three of the bands receiving strong reactions throughout, I felt that, at times, the crowd was at their loudest during Monroe's set. Down the front at least, there was a lot of movement and singing - and I feel that Monroe basically had everyone in the room enchanted at this point. He was as active as ever on stage, too. He did not climb any lighting rigs this time, but he got down in the crowd a few times, and generally threw himself around like a man half his age. It was fitting, then, given how much energy he had whipped up at this point, that a couple of Hanoi Rocks classics followed Nothin's Alright. Both Motorvatin' and Malibu Beach Nightmare, the latter of which featured Monroe on the saxophone, rocked the crowd further - and this burst of energy culminated in a great rendition of the older solo number Dead, Jail or Rock 'n' Roll. This also proved to be a bit of a band showcase, with both Rich Jones (guitar/vocals) and Steve Conte (guitar/vocals) getting the chance to solo - before spiky version of Creedence Clearwater Revival's Up Around the Bend brought Monroe's set to a scintillating close. The setlist was:

One Man Gang

I Live too Fast to Die Young

Murder the Summer of Love

'78

Ballad of the Lower East Side

Don't You Ever Leave Me [Hanoi Rocks material]

Nothin's Alright [Demolition 23. material]

Motorvatin' [Hanoi Rocks material]

Malibu Beach Nightmare [Hanoi Rocks material]

Dead, Jail or Rock 'n' Roll

Up Around the Bend [Credence Clearwater Revival cover]

It was only another 20 or so minutes after Monroe's set that the lights went down again and Black Star Riders took to the stage. During the first new numbers the band performed as a four-piece, without Gorham, and largely played material from the latest album - with a couple of older ones thrown in. Despite my ambivalence to the new album, the songs which the band chose to play live were generally what I consider to be the best cuts. The hard-hitting Pay Dirt opened things up, with Warwick looking as cool as ever behind the microphone. He may not be the most flamboyant of frontmen, but he has a simmering charisma which always holds the attention of a room. The band rocked behind him, too, with Wood impressing. I had seen him previously with Wayward Sons, but he already seems at home in Black Star Riders despite only being a handful of shows deep into his tenure. He nailed the folky guitar melodies that Black Star Riders are built on perfectly, whilst also soloing with real flash. The early part of the set felt like a showcase for him - and it is clear that he and Warwick have already struck up a strong chemistry. From the duelling guitar leads of Another State of the Grace to the fast-paced and punky When the Night Comes In, the four-piece version of the band rocked hard. The only pause for breath was the slower-paced Riding Out the Storm, but this was short-lived as Wrong Side of Paradise and the band's hard rocking cover of Crazy Horses whipped up plenty of energy. The latter saw Crane take some of the lead vocals, with Wood replacing the theremin of the original song with some screaming slide guitar. Following Crazy Horses, Gorham was introduced and he remained on stage with the band for the rest of the night. His presence certainly upped the energy levels further, and from this point on the set was basically a greatest hits of Black Star Riders' past. All Hell Breaks Loose and the snarling Bloodshot opened Gorham's account, but he really made his mark on the folky Soldierstown. The song has always been a great twin-guitar showcase, and it saw Gorham and Wood teaming up to nail the main melodies - whilst Crane really belted out the backing vocals.

A couple of old Thin Lizzy favourites were also included, and Phil Campbell joined the band for a rendition of the boogie-based Don't Believe a Word - before the pace was slowed again with Blindsided, arguably the band's best ballad. By this point of the night it really was favourite after favourite. It is easy to forget how good the first couple of Black Star Riders albums are - but the point was made with a ripping rendition of The Killer Instinct, which again was filled with plenty of trademark Gorham leads. It was also great to hear Before the War again, which I do not think I had seen the band do since their first tour back in 2013. The hard-hitting song was perfect for the mood of the night, though, before the pace was upped with Testify or Say Goodbye and Tonight the Moonlight Let Me Down - the latter of which saw Monroe duetting with Warwick, although sadly the former did not reprise his saxophone solo from the original album version of the song. Sadly the curfew was looming by this point, but the band still crammed in a few more classics. The folk vibes from earlier were returned to with the epic Kingdom of the Lost, which featured plenty of singing from the crowd during the choruses, as did the Thin Lizzy-esque Bound for Glory. Thin Lizzy themselves were then referenced one last time with a powerful version of Jailbreak, featuring a great solo from Wood, before the evening drew to a close with the heroic Finest Hour - which also saw plenty of singing. The curfew had been reached by this point, so there was time for no more - but the band finished on a real high. The setlist was:

Pay Dirt

Another State of Grace

Better Than Saturday Night

When the Night Comes In

Riding Out the Storm

Wrong Side of Paradise

Crazy Horses [The Osmonds cover]

All Hell Breaks Loose

Bloodshot

Soldierstown

Don't Believe a Word [Thin Lizzy cover w/ Phil Campbell]

Blindsided

The Killer Instinct

Before the War

Testify or Say Goodbye

Tonight the Moonlight Let Me Down [w/ Michael Monroe]

Kingdom of the Lost

Bound for Glory

Jailbreak [Thin Lizzy cover]

Finest Hour

Overall, this was one of those shows which shone due to how strong the overall bill was. All three bands were excellent, so seeing them all in one night made a special evening. They were all bands that I had seen multiple times before, but given the overall quality of the performances I was certainly not disappointed to add to my tallies. It was bittersweet, though, knowing that the show was likely Gorham's last with Black Star Riders. Given my reaction to the latest album, I am not sure what the future holds for the band without him - but I was impressed with Wood throughout. Future shows will not be the same without Gorham's distinct guitar tone, but he likely wants to take it easy now at 71. I will look forward to the band's new chapter, then, and I also look forward to seeing all three of the bands live again at some point in the future.

Xandria's 'The Wonders Still Awaiting' - Album Review

As I mentioned during my recent review of Twilight Force's fourth album At the Heart of Wintervale (which can be read here), over the past few months I have been getting back into power and symphonic metal again in quite a big way. I never truly left the genres behind, but I certainly listened to them far less than I used to. Seeing Freedom Call, Nightwish, Epica, and Tarja live in recent months helped change that, but I also think it was naturally time for a revisit. They were some of my first metal loves after all, and with so many new power and symphonic metal releases due out over the next few months the time seemed right. At the Heart of Wintervale got 2023's power metal offering off to a good start, but today we turn to symphonic metal - and the eighth album from Austria's long-standing exponents of the genre Xandria. There is some nice symmetry to the fact that the latest Xandria album comes exactly 20 years after the band debuted back in 2003 with Kill the Sun - but The Wonders Still Awaiting sees Xandria looking and sounding very different. I am not hugely familiar with the band's early work, but my understanding is that Xandria's first few albums have more of a gothic vibe - bringing bands like The Gathering to mind. The first Xandria album that I heard, though, was 2012's Neverworld's End - which was their first album to shift towards the more bombastic sound that the band have become known for in recent years. It was the first without original frontwoman Lisa Middelhauve, and it saw the band borrowing quite blatantly from the early Nightwish template. Following more line-up changes, 2014's Sacrificium and 2017's Theater of Dimensions (which I reviewed here), both of which featured dynamic frontwoman Dianne van Giersbergen, further developed the band's more symphonic sound - with the latter even throwing in some more progressive moments. Theater of Dimensions sounded like the album which the band had been working towards since Neverworld's End - but any momentum was soon halted as van Giersbergen left the band in what seemed to be pretty unpleasant circumstances. The band did play some shows over the next couple of years with Aeva Maurelle filling in, but things seemed to fizzle out towards the end of 2018 - with one last show coming in 2019. The band announced their rebirth last year, though, with the release of a few singles leading up to The Wonders Still Awaiting dropping earlier in the month. Rebirth seems to be the correct term to use, too, as the Xandria of 2023 is almost an entirely new band. Only guitarist and principal songwriter Marco Heubaum returns from any of Xandira's previous incarnations, and he is joined by frontwoman Ambre Vourvahis, guitarist Rob Klawonn (Ally the Fiddle), bassist Tim Schwarz, and drummer Dimitrio Gatsios. Vourvahis has a poppier voice than any of the previous singers, but she still has the power to suit the band's bombastic sound - as well as, surprisingly, also being able to growl. This latest album is perhaps not as progressive as Theater of Dimensions, but it still retains the bombast of the band's recent work - whilst also upping the heaviness in places thanks to a bigger focus on riffing and Vourvahis' harsh vocals.

To get my main criticism out of the way, though, The Wonders Still Awaiting is too long. This has been a common problem with many albums in the CD era, but at just under 75 minutes Xandria could have exercised a little more restraint. There is nothing here that jumps out as being poor quality, but a more concise album would have likely hir harder. Despite this, though, there is a lot to like here. The album opens with the epic Two Worlds, a song which introduces the new Xandria line-up and sound well. It allows the band's trademark bombast to shine, building slowly from some gentle strings - before the guitars of Heubaum and Klawonn kick in. The opening guitar moments are weighty, showcasing the increased heaviness, but the song on the whole is pretty dynamic. Vourvahis is soon introduced, her verse vocals sitting against a chiming keyboard backing. Her voice, despite being quite smooth, has a warmth to it that suits the music. Her melodies during the verses have a playfulness to them, but this is fairly short-lived as the song soon becomes more of a straight ahead rocker. It builds nicely towards its chorus, which ups the heaviness again thanks to Gatsios' fast double bass drumming. Vourvahis approaches the chorus in a strident way, and it is a hooky moment thanks to her expressive delivery and the fast-paced approach. Elsewhere in the song, focus is placed on the band's riffing. There is a lot more focus on guitar-led passages than is sometimes common in symphonic metal, and there are some weighty instrumental sections here that include crushing riffs - whilst a short harsh vocal-led section continues this trend. Vourvahis' harsh vocals are generally used sparingly, but they do add a different edge to the band's sound - contrasting nicely with her more traditional approach used elsewhere. Reborn follows, which is the song that predictably re-launched the band last year. It is less sprawling than the album's opening number, but there is still plenty of the aforementioned heaviness. The riffing throughout is pretty high in the mix, whilst the strings and choirs take on a much more gothic tone - creating a surprising amount of darkness in what is essentially a hooky single. As always, Heubaum is also responsible for the album's keyboards - and his twinkling melodies create a bed for Vourvahis' vocals during the verses, which also feature a surprisingly prominent bass presence. Schwarz's bass adds depth, but generally the keyboards lead the way, whilst the guitars kick back in for the very Epica-like chorus. The approach to choirs during the chorus is very Epica-esque, and there are also similarities between the way Vourvahis sings and Simone Simons' more recent singing style. Reborn is poppier, though, but the influence is still there - giving the hooks a bit of an edge. There is room for a short guitar solo, too, although it is not clear who performs it. I note that the album's booklet also credits Malek Ben Arbia (Myrath) for 'additional lead guitars', so with three players to choose from the solo has to go uncredited here - as is the case throughout.

Another of 2022's singles follows in the form of You Will Never Be Our God. It opens in heavy fashion, with some harsh vocals and dark-sounding guitar patterns, but the song soon morphs into another up-tempo bombastic track filled with hooks. It features the vocals of Ralf Scheepers (Gamma Ray; Primal Fear), but saying he is used sparingly is an understatement - and I am not sure I would have noticed his presence if he was not credited. You can hear him during the choruses sometimes, but he never really gets a chance to shine. I am not sure what Scheepers really brings to the piece, which is a shame as it would be been fun hearing a proper duet between him and Vourvahis. Despite this, though, the song is still fun. It is perhaps less of a stand-out than the opening two numbers, but the chorus is another hooky moment - and the amount of harsh vocals does make the song distinct from Xandria's past. There is another fun guitar solo, too, showcasing the band's bigger approach to the instrument overall. Up next is the album's title track, which is a much floatier song - with the heaviness of the opening three songs reined in somewhat. It feels like the band have turned back the clock somewhat - with a much more keyboard-heavy sound and Vourvahis' vocals placed right at the front of the mix. The guitars take much more of a back seat, but the occasional lead guitar moment ensures there is some variation throughout - and there is still the odd slab of a riff to be found, although these moments are largely used for effect. The keyboards and strings generally drive everything here, but the lighter sheen is welcome following three heavier pieces. Ghosts then gets back to the album's trademark more fast-paced and heavier tones - but again still manages to include plenty of big melodies. There is a lot of Nightwish's bombast here, the stronger focus on guitar playing certainly sets the song apart from the legendary Finnish band - as does the sweeter approach to vocals generally, although, again, there is a brief passage that features harsh vocals. The faster riffing throughout, though, is still countered by lots of strings and soaring choral sections - so the lightness of the title track is not fully lost. The song is a great mix of sounds, then, with a good balance between heaviness and melody. The chorus is another soaring moment that brings the best out of Vourvahis - and it is one of the songs that stood out from the off thanks to its punch and hooks. Your Stories I'll Remember is the first real change of pace here, and it opens slowly with some delicate piano melodies. Vourvahis soon starts to sing gently against the piano, and there are also a few folky overtones thanks to some subtle uillean pipe melodies courtesy of Johannes Schiefner. Symphonic metal has often included folk elements, and this song is a great example of how the two sounds can sit together. Vourvahis' gentle voice is perfect for the song, but there are still heavier moments - such as the chorus which features more of a guitar presence. My favourite moment, though, is likely a great instrumental mid section which features some soaring violin melodies from Ally Storch (Haggard; Folkearth; Ally the Fiddle). These moments help to enforce the band's ballad-esque tendencies - and the folky touches add an earthy quality to the album that otherwise would not exist.

My Curse Is My Redemption gets back onto the heavier path again following the previous ballad, and the song is quite similar arrangement-wise to the album's opening few tracks. Generally it rocks pretty hard, but there are also quieter moments. It opens with some mid-paced riffing, creating a staccato rhythm thanks to Gatsios' double bass grooves, whilst the verses are a bit slower-paced - focusing more on keyboards and vocal melodies. Much of the rest of the song is quite heavy, though. The choruses are full-sounding, with some big, crunching chords pushing everything forward, whilst the soaring strings and choirs are never too far away to plug a gap - there is a lot going on throughout despite what seems on the surface like a relatively simple song. The arrangement is full and bold, and it makes the track another memorable moment. Illusion Is Their Name follows, and ups the heaviness again still further. It is one of the fastest and most venomous pieces here, and the guitar riffing is really pushed to the fore. Some of the riffing here would not sound out of place on a melodic death metal album, and Gatsios' drumming is suitably fast to account for that. The strings ensure that the song still feels at home on a symphonic metal album, but I really like how the band go for the throat here. The heavier moments throughout the album are often some of my favourites, and it is great to see the band further tweaking their sound here. There are also lots of harsh vocals throughout. The pre-choruses are packed with them, and there is a great harsh vocal-led bridge section later - which then explodes into a lengthy shredded guitar solo. Due to the no-holds-barred approach taken throughout, Illusion Is Their Name is one of my favourite cuts here. I would love to see the band develop this side of their sound further going forward - as the heaviness suits the new line-up, adding a touch of bands like Arch Enemy to their established sound. Paradise reins it back in, though, and returns to a more gentle sound. There is still plenty of weight throughout, but the song features a lot more keyboards - with Storch again returning to add her stringed instruments to the mix in a prominent way. The song is not exactly a ballad, but it certainly sees the pace slowed - and the song overall feels much more sweeping. The chorus has a cinematic approach thanks to the huge string backing - whilst the verses have an atypical sound due to some chiming clean guitar melodies. Another lengthy guitar solo is included here, too, and it builds on the emotional tug of the melodies throughout - pulling everything together nicely. Mirror of Time opens with a riff that recalls the heaviness of Illusion Is Their Name. It is not quite as consistently heavy, but the song is still an overall highlight. There is still quite a bit of heaviness throughout thanks to some great harsh vocals and a stronger emphasis on guitar leads - as well as another excellent bridge section which really embraces its Gothenburg influences. The best part of the song, for me, though, is the chorus. It is one of the hookiest here, and it really stood out from the off. It is surprisingly heavy despite its hooks, and again it demonstrates why I would love to see the band push this side of their sound more going forward as it could really become what helps set them apart from the crowd.

Scars slows things down once again, and, at first, seems like it could be the most stripped back song on the album overall. This does not turn out to be the case, but the slow opening does help to build a mood. The piano and strings set the tone early on, which Vourvahis once again sings over delicately, but this serenity does not last too long - as the guitars soon crash in and the song becomes another cinematic symphonic rocker. There are heavier songs here, but there is still a surprising amount of harsh vocals throughout. They are generally used to add depth, but their inclusion works well in my opinion - whilst the focus is still on a more melody-driven, symphonic approach, with another big chorus that the rest of the song is basically hung from. The Maiden and the Child picks up the pace again, and the bombastic song harks back to the album's opening few numbers - as well as the last couple of albums. It is a much more traditional-sounding symphonic metal song at its core - although the driving rhythms throughout give it plenty of punch. Like many of the album's best moments, it is the guitars that really drive everything. There are plenty of strings and choral moments here, but they are mixed into the background somewhat - which instead allows the guitars to shine. The riffing tends to be somewhat busier than is typical of the genre, but that has often been the band's approach throughout this album. It is not as heavy as some of the more melodic death metal-influenced moments here, despite a great harsh vocal-led bridge, but the heaviness still works in the band's favour - and it is a great overall mix of all of the album's key sounds. It could arguably be the song here that brings everything together in the most complete way, and it is another favourite. The album then comes to a close with its longest song, the nine minute-plus Astèria. The song is not significantly different from anything else here - but the length does allow for some of the ideas to be fleshed out somewhat more. Some of the more progressive ideas from the previous album also resurface, but this song is certainly not as technical as the material from Theater of Dimensions. The core sound here is retained, but there is more scope here - as well as more of a focus on atmosphere, with a few slower sections that feature contemplative strings before the next heavier section kicks in. Harsh vocals are used to add injections of extra heaviness, whilst there is another lengthy guitar solo to once again showcase the band's focus on the instrument here. Given the more progressive approach taken, there are a few more Epica comparisons that can be made, but that is not a bad thing in my opinion. There is enough of the album's core sound to ensure that the song is not just an Epica rip-off - and the vocals throughout still have a great pop sensibility despite the knottier and heavier arrangement. It ends the album in strong fashion, bringing everything together, and it is a song that helps to firmly establish this new era of Xandria. This album needs to be seen as a fresh start for the band - and arguably the beginning of their third era. Whilst it builds on the last few albums, it also feels like something new, with an approach to heaviness that was not present before. I would love to see the band explore this heaviness further going forward but, despite its length, The Wonders Still Awaiting is a winner for me - considering that I perhaps was not expecting too much given the turmoil that the band went through over the past few years.

The album was released on 3rd February 2023 via Napalm Records. Below is the band's promotional video for Reborn.

Uriah Heep's 'Chaos & Colour' - Album Review

Last year, following a two year delay courtesy of the COVID-19 pandemic, I travelled up to Birmingham's Symphony Hall to celebrate the 50th anniversary of the legendary British hard rockers Uriah Heep. Formed in London in 1969, the band released their debut album ...Very 'Eavy ...Very 'Umble in 1970 - and went on to release a number of genre-defining albums over the next few years. 1971's Look At Yourself and 1972's Demons and Wizards are particular standouts in the early Uriah Heep catalogue - and, for me, the band's importance to the development of hard rock and heavy metal cannot be understated. Led Zeppelin, Deep Purple, and Black Sabbath often get all of the credit, but, in my eyes, Uriah Heep are just as important. Whilst the aforementioned bands also flirted with more progressive arrangements and songwriting, Uriah Heep were arguably the most progressive of the lot - with the flamboyance and pseudo-operatic vocal delivery of their original frontman David Byron arguably setting the standard for what would follow. Unlike the other aforementioned bands, too, Uriah Heep have essentially been active since 1969. Whilst they went on a brief hiatus in the early 1980s, it was extremely short-lived - and the band have continued to roll on, with lots of musicians coming and going over the years. Whilst guitarist Mick Box is the only founding member of the band left, and has been for some time, Uriah Heep have continued to thrive. Following the release of Sonic Origami in 1998, though, Uriah Heep did not release another studio album for a decade. Long-time fans must have assumed that the band's creative days were behind them, but when 2008 rolled around and the stunning Wake the Sleeper was released it was clear that a new era of Uriah Heep was beginning. Wake the Sleeper was essentially my introduction to the band in 2009, and I have been a huge fan ever since. As much as I love the band's heyday, I often reach for Wake the Sleeper and the albums which have followed it - such is the quality within and the toughened take on their classic sound. The band's latest, and 25th, opus was released last month - and Chaos & Colour has continued to build on the good work of the past decade or so. It follows five years after the release of the band's last album Living the Dream (which I reviewed here), which made it into my Top 10 of 2018. Whilst Chaos & Colour does generally stick to the classic Uriah Heep sound, there are a few twists and turns along the way - and the band have seemed to further up the heaviness somewhat. Those trademark soaring choruses, vocal harmonies, wah-drenched guitar melodies, and roaring Hammond organ stabs all return - but a little extra heaviness is never a bad thing. I think that this could partly be down to the fact that Russell Gilbrook, the band's drummer since 2008, has contributed significantly to the songwriting this time around - penning four songs with his songwriting partner Simon Pinto. It is great to see Gilbrook stepping up in this way, and the album certainly benefits from his fresh take on the band's core sound.

Speaking of newer blood contributing to the songwriting, the album opens with Save Me Tonight - which was written by Dave Rimmer, the band's bassist since 2013, and journeyman singer Jeff Scott Soto (Yngwie Malmsteen's Rising Force; Talisman; Axel Rudi Pell; W.E.T.; Sons of Apollo). Living the Dream also opened with a Rimmer/Soto co-write, so it is fitting that Save Me Tonight kicks off Chaos & Colour with its fast-paced, heavy sound. There are some more longer-form pieces to be found later in the album, but Save Me Tonight is quite typical of the harder-edged Uriah Heep sound of recent years. Box's guitar riffing is crunchy, yet filled with plenty of kinetic energy, whilst the washings of Hammond from long-time keyboardist Phil Lanzon add that classic, retro touch. Gilbrook's drumming is hard-hitting, the verses having a strong mid-paced groove thanks to his playing, whilst the chorus sees the pace raised - with busier guitar riffing and an anthemic vocal from frontman Bernie Shaw. Shaw's voice has barely aged since he joined the band in 1986, and he sounds as good ever here. His voice powers through the chorus riffing - and he is only truly out of the spotlight during the mid-song instrumental section, which sees some great Hammond and guitar interplay between Lanzon and Box. The punchy track gets the album off to a great start, and it largely sets the tone for what is to follow. Silver Sunlight does not open quite as furiously, but the lumbering Hammond melodies and Box's bluesy guitar turnaround certainly brings plenty of weight. It is a song that has more of a deliberate pace, and instead has an old-school heaviness as a result. The verses creep along in a similar fashion to the song's opening, with Shaw delivering the vocals in a powerful version - whilst a darker chorus allows for plenty of vocal harmonies and an atmospheric keyboard presence. The chorus does see the pace being picked up somewhat, showcasing Gilbrook's impact on the band's sound, but in general the classic Uriah Heep sound is retained. There are moments when some more contemporary keyboard sounds are used to create an atmospheric depth - but Lanzon's Hammond is never too far away. Gilbrook's first songwriting contribution is Hail the Sunrise, and the hooky number reminds me somewhat of the underrated Sea of Light from 1995. The approach to melody throughout the song is similar to that album, and there do seem to be occasional nods back to the classic track Sunrise (unsurprising given the song's title). The song is not as atmospheric as the older track, but the verses have a similar Hammond organ feel throughout - albeit given a kick thanks to Gilbrook's hard-hitting drumming. Box's riffing throughout is weighty, but generally sticks to big rhythmic chords - with most of the motifs coming from the organ. Lanzon's playing is excellent throughout, but Box arguably later steals the show with a lengthy guitar solo - packed with a some meaty melodies and few examples of his classic approach to wah. Elsewhere, too, the chorus is one of the album's hookiest. The harmonies throughout soar, and Shaw's vocal instantly stick in the brain - making the piece a real winner.

Opening initially in slower fashion, Age of Changes showcases Lanzon's atmospheric keyboard playing early on before another barrelling riff kicks in - which is perfectly backed by some wordless vocal harmonies. This reliance on wordless vocal hooks is straight out of the playbook of the band's early days, and the approach still sounds fresh in 2023. It helps the song to stick in the brain, but in truth there is a lot else here that is memorable. Despite the slower intro, the song is another weighty mid-paced piece and it really builds towards its chorus. The verses are generally pretty typical of the album's core sound - but, for me, the chorus takes a slightly different path. It still sounds like classic Uriah Heep, but the way that Shaw's vocal melodies continue to evolve throughout the chorus give it an atypical sound. Even after hearing it a few times, I am still never quite sure where it is going to go - and it keeps me guessing every time that I hear it as a result. There is a freshness to the song overall, then, and it shows that the long-formed Box/Lanzon writing partnership still has a few cards to play. The lengthy instrumental section in the middle allows the two to duel and show off, too, which further adds to the overall excitement of the piece. Hurricane then ups the weightiness again, and the Gilbrook-penned song has only one aim: and that is to rock. The song is perhaps less refined and grand than some of the others here, but as a slab of headbanging hard rock Hurricane succeeds at its task. Box's guitar riffing throughout is chunky and relatively busy, whilst the Hammond accents at the end of each riff cycle add the overall icing on the cake. Rimmer's bass is also pretty high in the mix, and his snaking melodies help to drive the piece forward - whilst Gilbrook pounds his drums in submission. It is perhaps less hooky than some of the other songs here, but Shaw still delivers a memorable chorus, which some relatively dark-sounding vocal harmonies turn into something slightly out of the ordinary. One Nation, One Sun provides a change of pace, and is the first of a handful of somewhat longer songs here. It is over seven minutes long, and it opens slowly - with Lanzon switching his Hammond for a piano. Uriah Heep are characterised by their reliance on the organ, but they occasionally use piano sounds too - but having some more akin to a piano ballad is relatively rare. The song stands out from the off, then, with Shaw singing, full of character, against Lanzon's piano backing. Rimmer soon joins in, adding subtle, yet full-sounding, bass slides, his playing adding a counter to the melancholy of the piano, whilst Box holds off a little longer before adding some simple guitar chimes. The song continues on in such a manner for a short while, but soon Gilbrook's drums come in and the piece morphs into a more organic-sounding rocker - with some Led Zeppelin-esque guitar tones. The Hammond returns, though, to cement the classic Uriah Heep sound, and it is not long before Box launches into a considered guitar solo - which builds on some of the melodies and moods of Shaw's early vocal lines. The rest of the song generally continues on in this more organic, creeping way - but the overall atmosphere from early on remains. Shaw's vocals throughout are packed full of emotion, and the atmospheric take on the band's sound is a welcome addition to the album.

Golden Light returns to something more akin to the band's classic sound, with the song picking up the pace again somewhat and laying down a swinging groove - which Lanzon's Hammond swirls around. Box and Rimmer once again lay down a crunchy, hard rocking backing; with Lanzon generally leading the charge melodically throughout. His keyboard playing is pretty busy, with pulsing melodies constantly backing Shaw's strident vocals - all while Gilbrook conjures up plenty of swing. The real highlight of the song for me, though, is the chorus. There are lots of great ones on this album, but Golden Light's chorus has all the warmth of classic Uriah Heep. Shaw's vocal performance during the chorus really brings it to life, and the Hammond perfectly adds to the overall optimistic sound with some bright melodies. Box's guitar solo is memorable, too, as it sounds quite different from his usual style - with something of a neo-classical approach instead taken. He returns to his usual, more screaming, approach during the intro of You'll Never Be Alone, though, which builds up around some of his distorted, bluesy leads whilst the rest of the band crash around behind him. The song is another of the album's longer-form pieces, and there is quite a bit of variety throughout as a result. The intro somewhat sets the tone, but soon the band drop away to leave Lanzon once again alone with his piano - over which Shaw sings. The piano melodies are more jaunty this time, though, and the song is more of a hard rocker overall. The piano-led verses do build towards a heavier chorus - which explodes out of the relative sparseness of what has come before. The transition is a little jarring, but the chorus itself is fun and melodic so the sudden changes in pace are not a significant negative. This transition perhaps foreshadows what is to come later, too, as the band soon enter into something of a more progressive-sounding instrumental section. Box's guitar solo builds on the opening screaming leads to create something more chaotic and noisy, which is then countered by some majestic Hammond playing - which Gilbrook backs with some hard-hitting double bass drum patterns. It again feels a little different from the norm for the band, but the freshness is welcome - with the Hammond-led section in particular being a real overall highlight of the song. Fly Like an Eagle opens in typical Uriah Heep fashion, with barrelling organ and drum grooves, although a flashy, 1980s-esque synth melody does add a bit of an edge. This edge is fairly short-lived, though, as the track in general is a throwback to the band's classic sound - and is pretty typical of the shorter songs found on the band's other recent albums. It perhaps creeps a little more, though. Rimmer's bass is very prominent during the verses, which have a darkness to them thanks to the rumbling Hammond, whilst the chorus is more up-tempo, bright, and hooky. Shaw's vocals grab hold nicely here, with the hooks allowing the chorus to be another memorable moment, whilst  Lanzon leaves his Hammond behind later on to deliver a speedy synth solo instead.

The album's penultimate song, Freedom to Be Free, is also its longest. At just over eight minutes long, Freedom to Be Free is the most expansive piece here - and it is full of all of the classic Box/Lanzon songwriting hallmarks that have developed over the past few decades. Following a little more experimentation in the previous songs, Freedom to Be Free is instead very much a classic-sounding piece - with a progressive tinge infecting the band's rumbling hard rock sound. The balance between the guitars and the keyboards throughout is finely struck, and it never feels as if one is outdoing the other. This balance has been key throughout the band's history, and many of the best Uriah Heep songs focus on the interplay between the two instruments. That is very much also the case here, and the guitars drive everything - whilst the keyboards add a warm halo to everything. Much of the song really soars as a result, and it builds in a pleasing manner towards an eventual chorus - which again is packed full of warmth and some amazing Shaw vocals. That progressive influence is then showcased with a lengthy instrumental section - featuring some classic Box leads, but perhaps more notably a bass solo from Rimmer which is also very melodic. This is not typically heard in Uriah Heep's sound, but it works well - before a short piano break slows the pace momentarily. This allows for another hard-hitting riff to break the peace - leading into another vocal section, before everything comes full circle with a final reprise of the song's chorus and a great, string-led coda. This would have been a good way to close out the album, but there is time for one last boogie thanks to Closer to Your Dreams - which is so like the classic Easy Livin' that the comparisons have to be deliberate. The opening pulsing keyboard riff, with the shuffling drum groove, just feels like Easy Livin' for 2023, whilst the soaring wordless vocal-led chorus section is certainly just a throwback to all of the classics of Uriah Heep's past. Uriah Heep's sound has evolved over the years, but it still remains true to how the band started out. Closer to Your Dreams is packed full of deliberate references, though, so it feels much more overtly retro as a result. I think that the repurposing of the Easy Livin' groove works well, though, and the song is clearly meant to be a loving tribute to the band's past to round off an album which is largely familiar - but has also taken a few twists and turns along the way. It has the feel of a bit of a victory lap following the more epic and progressive previous number, but given how punchy the album is overall it feels fitting to end things on a more hard rocking note - and it seems to be a song that the band had a lot of fun with. In truth, though, they likely had fun with this whole album. There is a lot to love here, as well as more variety than perhaps would be expected. The classic Uriah Heep sound is very much on full display, but the occasional deviations and more progressive flourishes are welcome - and it is an album which I continue to enjoy more and more with each passing listen, which is often the sign of something eventually become a full-blown favourite.

The album was released on 27th January 2023 via Silver Lining Music. Below is the band's promotional video for Save Me Tonight.

Dream Theater - Birmingham Review

Considering that I saw Dream Theater last April at the OVO Arena in Wembley, I was not expecting to see the legendary American progressive metal band again so soon. Dream Theater are a prolific band when it comes to releasing new albums, so tend to only visit the UK once per album cycle, but, for whatever reason, 2021's A View from the Top of the World has been deemed worthy of a second run of European shows. Perhaps the notoriously busy band are trying to make up for lost time following a relative lack of live activity throughout 2020 and 2021, or perhaps they are trying to capitalise on the excellent reviews that their 2021 opus received upon its release. Either way, though, I was surprised when, at the back end of last year, the band announced a second run of European shows - which included a handful of UK dates. Considering that I had essentially just seen the band, I initially talked myself out of buying a ticket. Not much would be different I told myself, but then I saw a video online from John Petrucci (guitar/vocals) in which he said that the setlist on this European run would be different from the 2022 tour. This, as well as finding out that some of the tickets for the Birmingham show were very affordable indeed, was all that I needed to put a plan together. As previously hinted at, I opted for the Birmingham show - at the excellent Symphony Hall. With the exception of a 2017 show in Cardiff, all of my other Dream Theater live experiences have been in London. With the Birmingham show on a Saturday, though, as well as it being at the Symphony Hall, I opted this time to head to the Midlands rather than to London for my latest fix of Dream Theater live. I have been to the Symphony Hall a few times over the years, and every experience has been positive. It is one of the best venues in the country that I have been to for sound quality, and it is also a pleasant place to be - with comfortable seats throughout and great views from wherever you happen to find yourself. Given that I had bought one of the cheapest tickets, I was sat in the Grand Circle - the highest tier of seating. I had sat in that part of the venue before, though, so knew that the view would still be great despite the height. As was the case last year, too, the band opted to again bring a support band with them. This has been relatively rare in recent years, with the band opting for lengthy 'Evening with...'-type shows - but perhaps these three hour marathons were starting to take their toll. As much as I loved seeing the longer shows of the past, last year's two hour show was still excellent. Given that there was a support act, I expected a similar length set this time - and when I arrived at the venue it was clear from the details on the wall that was indeed to be the case. I got there around half an hour before the support, so took my seat and watched the hall fill up. I have certainly seen bigger crowds in the Symphony Hall, but the place was still pretty full - and the atmosphere was great throughout, with the crowd being well-behaved and attentive.

The Finnish power metal band Arion had been playing with Dream Theater on the whole European run, and the five-piece hit the stage at 7:30pm with a flurry of drums and riffing. I only really became aware of Arion when they were announced as the support for this tour, but I have enjoyed listening to their most recent couple of albums over the past month - so was looking forward to seeing what the band would be like live. They only had half an hour to play with, but they made it count with a powerful six-song set that showcased their fast-paced, old-school power metal sound. I say old-school, as the band are certainly more guitar-driven than some power metal bands. There were lots of keyboards throughout, too, courtesy of Arttu Vauhkonen, but on the whole the songs were driven by the guitars of principal songwriter Iivo Kaipainen. Kaipainen's riffing was powerful throughout, and each song also featured plenty of shredded soloing. There were some great keyboard melodies and solos, too, but the it was Kaipainen who impressed the most. I had wondered if Arion's simpler, more overtly-melodic sound might not go down so well with a prog crowd - but Arion received a strong reception from the off. In fairness, the band really worked hard to get everyone on board. Frontman Lassi Vääränen barely stood still throughout the band's set, and he certainly did his job well - as after a couple of songs the cheers from the crowd were pretty loud. It helped, too, that the sound for Arion was excellent. Thankfully they did not have to contend with trademark muddy support band sound, and everything was clear - from Vääränen's powerful vocals to Vauhkonen's keyboard flourishes. This demonstrated that there were more layers to the band's songs that it perhaps first seemed - particularly when it came to the interplay between the guitars and the keyboards. Arion could not be confused for a progressive metal band due to their short songs and reliance on huge choruses, but there was still a lot of technical ability on show when it came to the soloing in particular. As someone who loves a big chorus, though, the amount of hooks pleased me. Songs like the huge I'm Here to Save You really hit the spot, whilst other songs like Punish You showcased the band at their heaviest. I recognised all of the songs from my pre-gig listening, too, which shows that Arion are the sort of band that stick in the brain pretty quickly. The big single At the Break of Dawn, with the disembodied voice of Amaranthe's Elize Ryd duetting with Vääränen, closed the set - and it was easily the hookiest moment of the night. The band even managed to elicit something of a sing-a-long, which was nice to see, and the chorus hooks were swirling around my head during the interval that followed. A job well done for Arion, then, and I will certainly be paying them more attention going forward. The setlist was:

The End of the Fall

No One Stands in My Way

I'm Here to Save You

Punish You

Unforgivable

Bloodline

At the Break of Dawn

Following a 30 minute break, the lights went down and Dream Theater slowly took to the stage - launching into The Alien following a cinematic intro. There were similarities between this show and the one last year, with the opening two numbers mirrored the 2022 gig. I was pleased with how different the two sets were, though, and I thought that the one from last night's show was perhaps a little more balanced overall. I thought that the 2022 show was very much a showcase for the band's heavier side - whereas last night also included a few more overtly-melodic pieces. Both sets were great, though, and The Alien certainly got the show off to a heavy start - and there was still understandably a focus on the 2021 album throughout the night, albeit with a few different cuts being played this time. Given the excellence of the venue, too, the sound throughout was clear. Frontman James LaBrie was occasionally a bit low in the mix, but this was not a problem too often - and the singer often powered through the high-octane riffing of the band nicely, and he made his mark during the Grammy-winning The Alien. A busy drum intro from Mike Mangini then heralded the arrival of 6:00, with the off-kilter song once again impressing. It was a great drum showcase for Mangini, but there was also lots of strong organic keyboard playing from Jordan Rudess. He does not tend to use organ sounds that often, so the old-school sounding 6:00 provided something different. The first change in the setlist came with Sleeping Giant. The track has always been a favourite of mine from the latest album, so it was great to hear the song live. It opened slowly, but soon got going with a lot more big riffing from Petrucci - before the cinematic chorus proved to be another showcase for LaBrie. Despite only having seen the band last April, there were a number of the songs played that I was very happy to have the chance to hear live again. One was the epic Bridges in the Sky, which is a song that has grown on me a lot over the years. I have always liked it, but in recent times it has become a real favourite. From its organic opening, through its soaring chorus, to the excellent instrumental mid-section, the song is one of the band's best works in my opinion - and it unsurprisingly received a big cheer as it came to its tribal conclusion.

A few shorter pieces followed, with the hooky and AOR-influenced Caught in a Web impressing. I had not seen the band do that one for quite a few years, and the poppy track went down well following the lengthy opening cuts. This segued nicely into another newer track, Answering the Call - which has a somewhat more atmospheric sound than much of what had come before. Rudess' keyboards shone as a result - but there was still plenty of heavy riffing throughout. The biggest treat of the night, though, came next - with the band pulling the final three parts of the Six Degrees of Inner Turbulence suite out of the vault. One of the other parts of the suite was included last year, but this time a larger chunk was played. It all kicked off with the upbeat and acoustic-led Solitary Shell, which proved to be a big sing-a-long, before the final two sections added a heaviness as well as soaring strings to round out this trip back in time. Looking to keep the upbeat vibe going, Pull Me Under was then played. The band's sole 'hit' has never really been a setlist staple, at least in recent years, so it was fun to hear it - as again it encouraged everyone in the crowd to sing. It is a song with an anthemic quality to it, and it worked well to get everyone on their feet before the lengthy set-closing number that was to follow. As was the case last year, the set came to an end with the title track from the latest album. It is impressive song, and it was great to have the opportunity to hear it live again - as I cannot imagine it being wheeled out too often following this album cycle. There are lots of great moments in the song, but for me the atmospheric, murky mid-section is the bit that stood out the most last night - with LaBrie in particular shining during it. It brought the set to an epic close, and the band then left the stage to huge cheers. Following a couple of minutes, though, the opening guitar moments of The Count of Tuscany rang out around the venue. I have always loved the song, but it has really risen up the ranks of late - and it has become one of my very favourite Dream Theater songs. I was not complaining about getting another chance to hear it live, then, and every part of the lengthy track was performed perfectly. With the exception of that epic closing section, with its soaring strings and emotional vocals, it was Petrucci's Echoes-inspired mid-section that impressed the most last night. His playing oozed emotion, and it was a great coda to a fantastic set - with the ending of the song also including a little tease of Black Sabbath's self-titled song to pay tribute to the city's most famous metal band. The setlist was:

The Alien

6:00

Sleeping Giant

Bridges in the Sky

Caught in a Web

Answering the Call

Six Degrees of Inner Turbulence - Part VI: Solitary Shell

Six Degrees of Inner Turbulence - Part VII: About to Crash [Reprise]

Six Degrees of Inner Turbulence - Part VIII: Losing Time/Grand Finale

Pull Me Under

A View from the Top of the World

-

The Count of Tuscany/Black Sabbath [Black Sabbath cover]

Dream Theater shows are always a treat, and last night in Birmingham was no different. The band delivered as they always do, and it was great to hear a varied mix of material - including five songs which I had not seen the band do live before. I will never tire of seeing Dream Theater live, and I imagine that it will be a little while before they return to the UK again - having now visited twice within the space of a year. I imagine that when they return, though, that they will have a new album in tow - and it will be another night to remember.

Twilight Force's 'At the Heart of Wintervale' - Album Review

Whilst I never went off power and symphonic metal, it certainly has taken something of a back seat in recent years when it comes to my listening habits. The more bombastic and melodic side of metal was extremely important during my teenage years, but as my tastes expanded I have often gone long periods of time without getting my old power and symphonic metal CDs down from the shelves. This has not been the case of late, though, as over the last few months I have been listening to a lot more of that kind of music again. This has largely been driven by concerts, as I have seen Freedom Call, Nightwish, Epica, and Tarja all in the space of a few months, and going to the shows has certainly put me in the mood to listen to a lot more power and symphonic metal again. It seems, too, that I picked a good time to start revisiting the genres in a big way - as the early months of 2023 are packed with new melodic metal releases. Already released this year are new albums by Xandria and Delain, who will be covered here in due course, and it is not too long before Kamelot and Ad Infinitum also release their latest efforts. There is a lot on the horizon for fans of power and symphonic metal, then, and the first of my no doubt many reviews of melodic metal releases this year looks at the fourth release from the Swedish symphonic metal act Twilight Force. The band were formed back in 2011 and last released an album in 2019 - when they released the strong Dawn of the Dragonstar (which I reviewed here). Dawn of Dragonstar followed the rather naïve Tales of Ancient Prophecies from 2014 and the everything-including-the-kitchen-sink madness of Heroes of Mighty Magic (which I reviewed here) from 2016 - with the band's third album feeling like the culmination of what came before. Tales of Ancient Prophecies sounded like a symphonic metal band starting out, with a sound akin to a glorified demo and some awful spoken word sections, whilst Heroes of Mighty Magic saw the band somewhat realising their potential with a major label behind them - but perhaps without also knowing when less is more. Dawn of the Dragonstar was another step up from Heroes of Mighty Magic, with some of the eccentricities of the band's want, Rhapsody-esque, to tell a convoluted fantasy story through their music toned down a little. It was less weighed down by good intentions than Heroes of Mighty Magic, and the songs shone brighter as a result. Four years later, then, and Twilight Force are back with their fourth album At the Heart of Wintervale and also with a new drummer in Isak Olsson (who, like previous drummer Daniel Sjögren, is know as De'Azsh for story reasons). In many ways, At the Heart of Wintervale continues on the band's current run of somewhat toning things down. The album is still fast, bombastic, and packed with the band's trademark high-octane symphonic metal - but at a svelte 45 minutes it really flies by. There is no time for the band to over-indulge in such a time limit, so At the Heart of Wintervale is probably Twilight Force at their most concise - which is certainly no bad thing.

All of the songwriting and production improvements that were present on Dawn of the Dragonstar return here. It is as if the the band have really cemented their core sound now, and they kick the album off with a self-titled song as if to acknowledge this. Twilight Force, then, is typical of what is present throughout the rest of the album. It does not stand on ceremony, and the band's high-octane, neo-classical power metal is established from the off with De'Azsh introducing himself via some fast-paced double bass drumming and the shredded, yet musical, guitar leads of Lynd. Based on how the song opens, this speed sets the tone for the rest of the song. The pace never really lets up, with even the more spacious verses moving along at a fair lick, whilst the chorus returns to the Rhapsody-meets-Yngwie Malmsteen of the song's opening - building on it with the soaring vocals of Allyon and the busy strings of keyboardist Blackwald. Despite the pace, the vocal hooks really sink in. There are lots of strong vocal hooks throughout the album, but Twilight Force has one of the most immediate choruses here. Allyon dominates, but the choral approach adds depth - as the multiple voices perfectly weave with the strings and layers of synths to create a sound befitting of the band's epic tales. An impressive, neo-classical guitar solo allows Lynd a chance to shine - and anyone who was under the wrong impression of the band's technical prowess would be put right by his flashy leads. This vibe continues on throughout the album's title track, another explosive slab of over the top power metal which takes more of a symphonic approach. Blackwald's keyboards are more prominent here, leading the charge from the off with a souped-up folky melody, whilst the guitars are generally a bit crunchier - with Lynd teaming up with fellow guitarist Aerendir to lay down some tougher rhythms. The folky synth hooks clash nicely with the guitar riffing to create a surprisingly heavy sound, which Allyon uses to take a somewhat grittier direction vocally - although he soon returns to his smoother, soaring approach for another hook-laden chorus. This song is perhaps not quite as fast as the album's opening cut, but there is still plenty of speed throughout - with Lynd delivering more fretboard pyrotechnics. Dragonborn, slows the pace down a little again - and goes for a more upbeat, jaunty approach overall. The guitars feel somewhat less crunchy this time, with Blackwald's keyboards instead truly dominating. The opening keyboard melodies are extremely hooky, though, and they build on the folky feel of the previous song to create something that is both whimsical and melodically technical. There is certainly a big Rhapsody feel here, particularly along the lines of songs like The Village of Dwarves, but perhaps somewhat less heavy overall. The rhythm guitars and Born's bass add depth, but this is not a song that goes all out for heaviness. De'Azsh's drumming is much more restrained, too, and the song instead feels more like a simpler sing-a-long piece instead of something more bombastic - with another big chorus and a more melodic, restrained guitar solo.

Despite the album's shorter runtime, there are still a couple of longer-form pieces here. Highlands of the Elder Dragon is the first of the longer tracks - but the overall formula that has been heard up to this point on the album is largely intact. The song does open slowly, though, with some gentle piano - which builds up, and it soon joined by the first bit of narration on the album. The quality of the narration has certainly improved significantly since the band's debut album, and is not used as egregiously as it was on Heroes of Mighty Magic, so it's inclusion actually feels fitting on this song. It is fairly brief, and it opens things nicely - with the rest of the band then crashing in with another fast-paced riff. The song generally moves along pretty quickly, at least early on. The verses are quite speedy, with flashy guitar rhythms and dancing synths, whilst the chorus slows things down somewhat to allow for a more epic approach to take hold. Twilight Force have developed both their fast and more epic sides nicely over the years, and Highlands of the Elder Dragon showcases both. The chorus here is one of the album's biggest moments, with Allyon delivering a strong vocal performance against a backdrop of slower guitar chords, voluminous strings, and plenty more action from the choir. It is filled with a lot of hooks, too, and it is another memorable moment - utilising both melody and grandeur to make its mark. The song sticks to this verse-chorus formula early on, but it does start to take some twists and turns later. A brief, piano-led instrumental section allows the pace to be slowed somewhat, before a different vocal passage introduces something new. Dramatic instrumental breaks often allow for the keyboards to really swell, but they all build towards another explosive Lynd solo - which is one of the album's most impressive. It is pretty lengthy, and it allows him to really get his teeth into some meaty melodies - before the song returns to more familiar ground, reprising the verse-chorus structure from earlier to bring things full circle, with a little more narration included, too. The final rendition of the chorus is the biggest of the lot - and it feels like something of a victory lap after the more dynamic mid-section. Skyknights of Aldaria then returns to the more concise arrangements of the album's opening cuts, and opts for a more guitar-heavy sound throughout. The guitars are always present during Twilight Force's songs, of course, but, like with many power and symphonic metal acts, sometimes they take more of a backseat to allow the keyboards, strings, etc., to really shine. Skyknights of Aldaria is heavier, then, and the riffing throughout is tougher - with some extreme metal influences on display despite all the bombast. The strings keep things feeling epic, but there are quite a few moments where De'Azsh indulges in laying down some blast beats - coaxing the guitarists to keep up, and upping the overall heaviness as a result. There are still plenty of hooks, although the chorus is perhaps not as hooky as those which have come before. This is a song which revels more in its riffing and bombast than in ensuring that every hook is 100% infectious - and I think that the approach adds to the album overall, and allows for some variety.

Following the brief, acoustic interlude A Familiar Memory, which mixes acoustic guitars with wind instruments and some simple percussion to create a pleasing folky distraction, the album then crashes into Sunlight Knight - which returns to hooky territory in a big way. The soaring approach of the album's opening handful of songs, particularly the title track and Dragonborn, is returned to here - and the piece very much feels like a showcase for the talents of Allyon. He established himself nicely on Dawn of the Dragonstar, his first album with the band, but here he seems to have truly cemented himself. Sunlight Knight is all about his talents - and the song is based around another huge chorus, with some of the verses allowing him to unleash some impressive, high-pitched screams. There are musical hooks, too, such as some great intertwining guitar/keyboard leads that provide counters to the vocals, but generally this is very much a song for a the singers. Lynd does lay down couple of screaming guitar solos, with a strange Caribbean-influenced reggae section between them, which impress as always - but on the whole this is a song that is built to showcase its chorus, and it is unsurprising the vocal hooks here are some of the most infectious on the album. The album then comes to a close with The Last Crystal Bearer, the second of the two longer pieces here. In some ways, the song is very impressive, but it is also my least favourite of the 'proper' songs here. Lots of the band's trademark sounds are present, and when they play to their strengths the song shines, but it does also get bogged down by the band's storytelling. The narration does get a little on the full on-side here, although in fairness it is still not as egregious as it was in the past. Blackwald does much of it, and also does some of the vocals, too, alongside Kristin Starkey - who is actually a strong addition to the track with her dramatic, pseudo-operatic delivery a great contrast to Allyon's usual approach (when he can get a word in) and Blackwald's strange, semi-spoken delivery. There is certainly a lot of drama throughout, as well as some great heavier sections which generally feature Starkey, but it does heavily rely on some of the narrative tropes that I am generally not a huge fan of. It certainly does not ruin the album, and there is enough actual 'song' woven around the spoken sections to still make it feel like I am actually listening to an album as opposed to an audiobook. I would have preferred the album's closing track to have included more of a focus on soaring musicianship though - and it is missing a defining Lynd solo. There are a few moments of explosive guitar, but the lack of a centrepiece guitar moment in the song is a shame and I would have loved some real high-octane power metal shredding to close things out - as well as to balance out the narration somewhat. Despite this, though, the album for me is still a winner. The band's indulgences will always be there, but musically Twilight Force have matured significantly over the years - and some of the heavier moments are probably the toughest they have sounded. There is a lot to love here for fans of power and symphonic metal - and the short runtime allows it to be a very digestible release, something which the genre is not generally known for.

The album was released on 20th January 2023 via Nuclear Blast Records. Below is the band's promotional video for At the Heart of Wintervale.

Ten's 'Something Wicked This Way Comes' - Album Review

Following a four year break after the release of 2018's Illuminati, the British melodic rock act Ten returned last year with the solid and somewhat refreshing Here Be Monsters (which I reviewed here). Ten, and their founder, songwriter, and frontman Gary Hughes, have generally been pretty prolific over the years - and the four year gap between Illuminati and Here Be Monsters definitely felt somewhat out of character for a band who returned from a hiatus in 2011 and released six albums between 2011 and 2018. In truth, this might have been the reason for the gap between releases. Even a songwriter as prolific as Hughes likely hits a wall after a while - and it is also possible to have too much of a good thing. Whilst I enjoyed all of Ten's albums in that 2011 to 2018 run, there was not much to separate them. It is fair to say that Ten's sound is very much established at this point, and Hughes has generally done little to shake up the formula. One album might be slightly heavier, slightly more progressive, or slightly more bombastic than the last - but the band's core sound has essentially been in situ since they released their debut album X in 1996. As such, by the time Illuminati came out Ten fatigue was somewhat setting in. I did not end up reviewing the album (although I did briefly discuss it here) as I felt that there was little to say which I had not already said about any of their other recent albums. Perhaps Hughes felt somewhat similar, and it was probably wise to take a bit of a break before releasing something new - and it meant that when I listened to Here Be Monsters last year I approached the album with a freshness that had not been afforded to Illuminati. Whilst Here Be Monsters did not do anything significantly different from before, with Ten's core sound still very much intact, the break allowed me to really get into Here Be Monsters - and I spent quite a bit of time with the album during the first few months of last year. When Here Be Monsters was announced, though, it was also revealed that it would be the first of a pair of albums which were recorded at the same time. Clearly Hughes had lots of material on hand following the break between releases, so decided to record two albums. The second of the two came out last month, titled Something Wicked This Way Comes, just shy of a year after its predecessor. The two albums are not linked conceptually in any way, but as they both share the core Ten sound they are still linked in a loose sense. As it was recorded at the same time as Here Be Monsters, the same somewhat slimmed down version of the band appears here, with Hughes once again joined by lead guitarists Dann Rosingana and Steve Grocott, bassist Steve McKenna, and keyboardist Darrel Treece-Birch. The drums are again handled by Markus Kullmann (Voodoo Circle; Hartmann; Sinner) with Hughes also handling guitar duties alongside Rosingana and Grocott. Given my previous Ten-related burnout, I approached this latest album with trepidation - but thankfully the material here is strong enough to help the album standout, despite Here Be Monsters still feeling fresh.

The album opens with Looking for the Rose, which kicks off with a spooky quote from Shakespeare's Macbeth before the band kick in and the song becomes an urgent hard rocker with driving guitar riffing and a strident Hughes vocal. Whilst Ten could never be accused of being a metal band, they do occasionally turn up the heat and write a song that is on the faster and heavier side. Looking for the Rose is one such song, and the the band's pomp side is somewhat relegated to the background here to allow the guitars and a hard-hitting Kullmann drum performance to shine. Treece-Birch's keyboards are less prominent, although they still add a melodic ring around everything, with the guitar riffing shifting back and forth between speedy chugging and the occasional accented melody. Despite this focus on a heavier sound, though, the song itself is still filled with Ten's classic hooks. Hughes is unable to not write a hooky vocal melody, and the verses here have a great rhythm thanks to Hughes occasional deviations from the expected melody pattern - whilst the chorus sees the band's pomp side take on a bigger role. The hard-driving song is then complete with a busy, shredded guitar solo - and due to its overall energy it is the perfect album opener, setting the tone nicely for what is to come. Brave New Lie slows the pace somewhat, and goes more for a mid-paced hard rock approach - with an opening bluesy rock riff that would not have sounded out of place on an early Whitesnake album. Treece-Birch's organic keyboards back the guitars nicely, further reinforcing that 1970s/early 1980s blues rock vibe, whilst Hughes takes on a somewhat more sultry approach vocally. I think that Hughes shines the best during the band's more bombastic moments, but he can still pull off a more traditional hard rock performance - and the verses here are full of character thanks to his delivery. The chorus does not hit as hard as perhaps it could, as it does not do enough for me to elevate itself from the sound of the verses, but there are still enough hooks to be found to keep the song moving - whilst another strong guitar solo injects some further bluesy vibes. The Tidal Wave opens more slowly with Treece-Birch's rolling piano melodies, which build up slowly, setting the tone nicely, before the rest of the band join in. The song is certainly not as guitar-focused as the previous songs here, and the keyboards generally play a much more prominent role throughout. Magnum have always been a big influence on Ten's sound, and there is quite a lot of Magnum's classic approach to be found here. The guitars generally support the driving keyboards and this allows Hughes' voice to really shine. The vocal hooks throughout the track keep things interesting, and the bouncy chorus builds on many of the keyboard motifs to create something memorable and hooky. Ten songs have a tendency to be on the longer side, too, and The Tidal Wave is just over four minutes long - so has a welcome brevity that allows its hooks to shine.

Following a compilation of clips of politicians talking about wars breaking out, Parabellum returns to the heavier sounds of the album's opening couple of numbers. The song is one that showcases the band's occasional want to flirt with a more progressive sound and arrangement, and the opening moments feature a mix of soaring synth melodies, heavy guitar rhythms, and the occasional scream of slide guitar. Whilst not the busiest of arrangements, there is real bombast to be found throughout the song - and it is one of the songs here that best showcases Ten at their 'biggest'. Neither the guitars nor the keyboards truly dominate, as both instruments play a big role in making the song sound the way that it does, whilst Hughes' voices has that perfect balance between grit and melody which  makes his approach so perfect for Ten's dramatic sound. Despite the bombast, though, there is still a lushness to the production. Subtle vocal harmonies add depth throughout, whilst the lengthy guitar solo, which relies heavily on slide licks, feels classy - adding to the bombast. The title track follows, and it builds on the bombast from the previous song - despite slowly building towards it. The song is the longest cut here, at just over seven minutes, and is built around what is likely the album's most infectious chorus. The chorus has a certain jaunty feel throughout that makes it easy to latch onto - but before it is reached for the first time Hughes sings alone against a piano backing for a while, before the band gradually build the sound and explode into the chorus. Perhaps surprisingly, though, the guitars are not as big here as might be expected. The piano generally leads everything, even when the song gets rockier, and there is a strong bass presence from McKenna throughout. The guitars do make their presence felt with a lengthy solo section, though, which apes some of the chorus melodies to create a hooky musical journey. Following the lengthier title track, The Fire and the Rain returns to more of a concise arrangement - and places its hooks at the fore of everything. There are no big, stand-out riffs here, but a hooky guitar lead does form a bridge between sections of the song, with the focus generally being on the overall lushness of the sound and Hughes' vocals. Whilst Hughes is often the focus throughout the Ten catalogue, he does know when to step back to allow others to shine. This song is very vocally-driven, though, and, as such, his hooks drive everything. There are more interesting songs here, but for The Fire and the Rain's focus on simple hooks certainly allows it to stand out - and it is a good representation of Ten's simpler side after a couple of lengthier pieces. New Found Hope is more of a ballad, and it opens slowly with Treece-Birch's piano laying down a sombre melody - which Hughes starts to sing over. Whilst the song does grow from this point, it never truly strays from this opening mood. The piano is ever-present in the mix, and even later, more involved, verses still feature it in a big way - whilst the chorus is somewhat bigger sounding with added acoustic guitar for depth and a swinging drum beat. A gorgeous guitar solo later adds a lot to the piece, too, and elevates the album's only real ballad to new heights.

The Only Way Out opens with some strange, effects-heavy vocals, before a 1980s-esque keyboard melody kicks in - which gradually expands until the rest of the band crash in with staccato guitar stabs. This somewhat atypical rhythm then forms the basis of the verses, which have a strange stop-start vibe - with guitar stabs punctuating Hughes' upfront vocal lines. Despite sounding somewhat jarring at first, the arrangement falls into place over repeated listens - and the way that the verses subtly change throughout works well, and gives the feeling of the song gathering steam as it moves forward. The chorus is more typical in sound, though, and sees the return of the keyboard melody from the song's intro. This allows the chorus to have a big AOR-esque sound - and it definitely feels like a bit of a throwback to the heyday of 1980s melodic rock. This is no bad thing, though, as the chorus is extremely hooky as a result. There is another strong guitar solo here, too, which includes a few more high-octane screaming leads alongside some more melodic runs. When Darkness Comes is similar, but there is more urgency throughout. The staccato riffing of the previous song has been replaced by something more hard-driving, but it does not feel as heavy as the album's opening couple of numbers. There is a strong keyboard presence throughout, so the track instead has more of a pomp rock edge. Again there are shades of Magnum to be heard here, with Treece-Birch's piano essentially driving everything - and another great Hughes vocal bringing everything together. As is typical of much of the rest of the album, the chorus is another great moment. There are so many big chorus hooks on this album, and When Darkness Comes contains another - with the barrelling piano giving it a bit of an edge. This allows Hughes' voice to really soar, and the track is another feast of melody as a result. The album then comes to a close with The Greatest Show on Earth, which is not significantly dissimilar from the last couple of tracks - but its more deliberate pacing perhaps allows the band's pomp side to shine a little brighter. Treece-Birch's piano is once again the driving force here, although the guitars make themselves heard with the occasional screaming lead during the chorus - as well as a busy solo that comes later in the song, which features occasional moments of old-school harmonising. The song might not be as bombastic as some of the previous ones here, but the pomp vibes created by the strident piano melodies allow the song to stand out - and the slower pace gives it somewhat more gravitas, which is why I assume it was used to close out the album. There is a subtle darkness to the piece, too, with Hughes' voice being somewhat more sombre than usual, but this just enhances the overall mood - and the album comes to a strong close in my opinion with another guitar solo and brief piano coda. Overall, then, Something Wicked This Way Comes is another strong album from Ten in my opinion, and a good companion piece for Here Be Monsters following the previous break between releases. It does not add anything new to the Ten canon, but the melodies throughout are strong, and those who love Hughes' approach to epic, yet accessible, songwriting will find a lot to love here.

The album was released on 20th January 2023 via Frontiers Records. Below is the band's promotional video for The Tidal Wave.

Tarja - London Review

In some ways, this past weekend saw me turning back the clock. As can be seen in my previous post here, this past Saturday I saw Epica play an excellent show at the Roundhouse in London. I talked about how symphonic metal was an important genre for me in my teens, but what I did not say was that Epica was not the only reason for me being in London this past weekend - as on Sunday I took in another show, this time at the Electric Ballroom in Camden. The reason for heading back to Camden was to see arguably the original queen of the symphonic metal genre, Tarja Turunen, live for the first time since 2010. By the time I started listening to symphonic metal, Turunen had already been ousted from Nightwish - but I nevertheless devoured all of the band's early work, and I must have watched the End of an Era DVD most weeks for about a year. I also started to get into Turunen's solo work, which at this point only really consisted of 2007's My Winter Storm. I remember looking forward to the release of 2010's What Lies Beneath - and I saw Turunen and her band on the tour for that album at the Shepherd's Bush Empire. The show was a good one, but I soon fell of the Turunen bandwagon. I remember thinking that the show was enjoyable, but that Turunen herself was somewhat stoic and overly professional. The experience felt like a theatre show rather than a traditional gig, and I think I felt that perhaps her heart was not really in it - almost as if she was continuing with metal due to her association with Nightwish rather than because it was what she really wanted to do. She seemed to be playing a part somewhat, and I remember that there was little interaction with the audience - and I was also likely comparing it to the fantastic Nightwish show which I had seen the previous year, which was perhaps somewhat unfair. I did not immediately fall off the wagon, but by the time 2013's Colours in the Dark came out I had. That album did very little for me when it came out, and I essentially stopped following Turunen's solo career after shelving it. For some reason, though, I picked up her latest album, 2019's In the Raw, a couple of years ago - and was shocked at how much I enjoyed it. It could well be my favourite album of hers to date, so I went back and also picked up 2016's The Shadow Self and gave Colours in the Dark another go. I enjoyed this revisiting enough to pick up a ticket to her London show last year, which was then postponed. I think it had already been postponed at least once before that - but it ended up being this past Sunday which tied in nicely with Epica the previous night. The Electric Ballroom is also quite a decent venue in my opinion, and it was nice to return to the Camden venue after a few years. It is definitely a bit grungy for someone like Turunen, who I expect feels more at home in somewhere like the Shepherd's Bush Empire - but there was a decent crowd packed into the space throughout the night, which ensured that she received a warm welcome.

Before Turunen and her band took to the stage, the crowd was treated to 30 minute slots from two support acts. Up first, and after a false start where the band took to the stage to find that none of their equipment was working, were the UK-based metalcore act Beneath the Embers - and the hard-hitting, yet melodic, band impressed despite the technical issues and a somewhat muddy sound mix. They seemed like the odd-band-out sound-wise on the bill, but they did not let this get to them - and they riffed their way through a handful of songs from their 2022 debut album Condemned. Metalcore, arguably like symphonic metal, is a genre that has somewhat had its day - but Beneath the Embers harked back to the mid-2000s glory days of the sound, with hints of bands like Killswitch Engage to be found throughout. That being said, though, the band certainly sounded English rather than American. There was perhaps a little more of a hard rock swagger to some of their riffing - and the harsh vocals of frontman Lewis Rowland certainly felt weightier than some of the lightweight screamers of the metalcore heyday. As such, and despite the muddy sound, Beneath the Embers powered through their allotted 30 minutes. There were plenty of shredded solos from guitarist Clint Bredin throughout the set, and the riffing of Bredin and fellow guitarist Quentin Radburn allowed for some catchy, yet heavy, motifs. Rowland switched back and forth between harsh and clean vocals, with bassist Liam Gloster also chipping in vocally, and the mix was very much classic metalcore - often seeing heavier verses mixed in with a more anthemic, melodic chorus. Songs like single Set Me Free and the hard-hitting Drag You to the Grave showcased the band's core sound nicely, whilst the somewhat slower-paced Fade Away allowed for a more atmospheric and emotional approach. Whilst it is fair to say that Beneath the Embers are not really out there doing anything particularly original, their material contains plenty of hooks - and the band seemed really down to earth, particularly with how they dealt with equipment troubles. They are still in the early stages of being a band, but with such an attitude and a strong collection of songs I can see them making a dent in the UK metal scene going forward.

Following Beneath the Embers were the Italian power metal five-piece Temperance. They were a band that I was familiar with in name-only prior to this tour, so I was looking forward to giving them a proper go - and I enjoyed their set, which style-wise was more in keeping with the night's headline act. Led by Marco Pastorino (vocals/guitar), whom I saw fairly recently fronting Virtual Symmetry, the Temperance of the 2023 Tarja tour are something of a make-shift iteration of the band - due to two members quitting on the eve of the tour and vocalist Michele Guaitoli on duty with Visions of Atlantis. As such, Pastorino and bassist Luca Negro were joined by vocalists Gabriele Gozzi and Lina Victoria - alongside drummer Marco Sacchetto. With Pastorino also contributing lead vocals throughout, the triple lead vocal attack certainly brought Amaranthe to mind - but Temperance's sound is much more rooted in power and symphonic metal than the more pop-infused sounds of the Swedish band. There were no real harsh vocals, either, although Pastorino's voice certainly has more grit to it than the soaring cleans of Gozzi, but when it came to hooks the comparisons with Amaranthe were somewhat apt. Temperance's sound is quite straight forward, but that meant that hooks shone throughout their set. Like Beneath the Embers, though, Temperance had to battle with muddy sound during parts of the set - but thankfully the vocals were pretty audible. The background synths and such were very quiet, though, which made the band sound quite hollow at times - but the vocal hooks were generally sufficient to get the point across. Each of the songs played were based around a big chorus, and they were all choruses that pretty much stuck in the brain from the off. These hooks, combined with the big riffing and occasional solo from Pastorino, allowed for a classic-sounding set of melodic power metal - and it was great that the band were able to get such a strong make-shift line-up in place in time for the tour. Based on their performance, they are certainly a band that I need to investigate further. They seem like the sort of band that will be a fun listen when some hooky power metal is needed - and there is a lot to be liked about music like that.

It was only around 20 minutes following Temperance's set that the lights went down again and Turunen and her band took to stage - whereby the launched into the dramatic and film score-esque Serene from In the Raw. Despite coming out in 2019, this was the tour for In the Raw - so a number of its songs were present in the set. All of Turunen's five solo albums were represented, though, and there was even one look back to her past in Nightwish. She was joined by three of the same musicians who I saw her play with back in 2010, too, which was nice to see. Her band has often been pretty consistent throughout the years - and the five on stage were like a well-oiled unit, complementing Turunen's dramatic voice nicely. As for Turunen herself, she seem much more animated this time. She interacted with the crowd a lot, and seemed to be having a great time on the stage. It helped that the crowd were loud throughout the set, but she fed off this energy to deliver a great set. Following Serene, the heavier Demons in You allowed guitarist Alex Scholpp to riff away, whilst My Little Phoenix saw Turunen's classically-trained voice in full flight. An early highlight, though, was the vocally-complex Anteroom of Death. The abrasive metal of the early parts of the song perfectly clashed with the vocal-led mid-section - which saw Turunen, Scholpp, and Living Color's Doug Wimbish (bass guitar/vocals) replicating the intertwining vocals of the album version in a way that worked well on stage. It was a great example of the band's talents, before the riffy Diva and another new cut in Goodbye Stranger wowed the crowd. The latter in particular was a highlight, as Turunen left the stage for a while to allow everyone in her band a chance to solo. Wimbish stood out, really shredding on his bass, but it was also great to hear Max Lilja (cello) really let rip on his cello for a short while.

Turunen then returned for a lengthier and soaring Silent Masquerade before the clock was turned back quite a while as Nightwish's Wishmaster was wheeled out. It was great to hear the song live, as it is one of the oldies that I have never seen Nightwish do live - and Turunen looked like she was having fun revisiting it, whilst Scholpp sunk his teeth into the folky guitar melodies and solo. A moment of calm followed Wishmaster, as the band left Turunen alone on the stage with a piano - where she played a medley of a couple of the latest album's ballads, which culminated in a great version of You and I. The song soared thanks to the gentle piano and Turunen's voice, and it provided a brief moment of respite before the last few songs of the set. Undertaker and Tears in Rain returned to the hard rock of the bulk of the evening - but it was the main set-closing Victim of Ritual which was the next big highlight, and it ensured that the main set ended in style. A four-song encore followed, though, which was slightly delayed whilst an issue with Lilja's cello was fixed, and it contained a number of Turunen's most loved solo cuts. Innocence started the encore off, but it was I Walk Alone that really got the crowd going. It was possibly Turunen's best vocal showcase of the night, too, and it received a huge cheer as it came to a close. The heavier Dead Promises, with Scholpp handling the male vocal parts, and the hooky Until My Last Breath then saw the night come to an up-tempo close. Turunen seemed really pleased with the strong reception that she and the band received, and overall it was a joyous close to what had been a memorable night of music. The setlist was:

Serene

Demons in You

My Little Phoenix

Anteroom of Death

Diva

Goodbye Stranger

Silent Masquerade

Wishmaster [Nightwish material]

The Golden Chamber (Loputon Yö)/You and I

Undertaker

Tears in Rain

Victim of Ritual

-

Innocence

I Walk Alone

Dead Promises

Until My Last Breath

Considering that I fell off the Turunen wagon quite a while ago, it has been great revisiting her catalogue again recently - and I really enjoyed her show this past Sunday. She has come a long way as a solo artist since 2010, and she really rocked the Electric Ballroom with her band. I am certainly going to keep up with Turunen and her activities going forward, as I think that with In the Raw she has made her best solo album to date - and I am looking forward to seeing how she builds on it. I will also make the effort to see her live again next time she tours in the UK - and I am sure that doing so will, again, be very much worth it.