Saxon's 'Hell, Fire and Damnation' - Album Review

I think that it is fair to say that 2024 has got off to a great start. Whilst January is never the busiest month for new releases, those which have been served up so far have been excellent - with South of Salem knocking it out of the park again on their second album and Magnum delivering another album of classy hard rock in a manner which only they can. 'New' and 'old' has been represented well, then, but another veteran band have also treated their large fanbase to something new this month - with the British NWOBHM legends Saxon releasing their twenty-sixth studio album (including their two recent covers albums - which I have not heard) Hell, Fire and Damnation. Whilst their recent release cycle is not quite as prolific or as clockwork as Magnum's, Saxon have released more albums overall - and have essentially been putting out a new album every two or three years on average since releasing their self-titled debut album in 1979. Given how long the Saxon catalogue is, too, there is very little within it which I would actively class as filler. Like many metal bands, they flirted with some more hair and AOR-esque sounds in the late 1980s, but even those albums are mostly enjoyable - but in recent years Saxon have arguably been putting out some of their best ever work. Their early albums will always be heralded as classics due to their part in shaping the influential NWOBHM scene but, objectively, a lot of their recent releases are arguably better - at least from an overall sound and production perspective. The Saxon of today are much heavier than the Saxon of the early 1980s and it is great that a band who has been around for so many years consistently still puts out records of such quality - often sounding more energetic than bands half their age. There have been some line-up changes along the way, but Saxon have not generally picked out young guns to replace veteran members - generally sticking to their peer group age-wise to keep Saxon authentically rooted. This is pertinent, too, as Hell, Fire and Damnation is the first Saxon album in a while to feature a different line-up to the one before. The last Saxon line-up had been in place since 2005, when long-time drummer Nigel Glockler returned to the band - meaning that every album from 2007's The Inner Sanctum to 2023's More Inspirations featured the same line-up. This changes on Hell, Fire and Damnation as it is the first Saxon album ever to not feature founding guitarist Paul Quinn as a full-time member of the band. He contributes guitar solos to two of the songs, but he has now stepped back from Saxon's busy touring schedule - so has had limited involvement in this latest album. In his place, though, is Brian Tatler (Diamond Head) - a long-time friend of Saxon's and a NWOBHM legend in his own right. I have seen Diamond Head open for Saxon quite a few times in recent years, so the pairing certainly made sense. It is a shame to see Quinn step down, given that he was one of the band's founding members, but in Tatler Saxon have a fine replacement - and he has made his mark on this album with a few riffs and plenty of excellent solos. Quinn's departure leaves frontman Biff Byford as the only original member still standing - but with everyone else in the band, besides Tatler, having been around for many years at this point the change in personnel does not feel jarring.

It helps as well that the band's long-term producer Andy Sneap has once again worked with Saxon in the studio here - helping Hell, Fire and Damnation to sound as massive as ever. The album builds up to its first big riff, though, with the short intro piece The Prophecy kicking things off. A wall of gothic strings and choirs, and featuring a suitably dramatic and over-the-top voiceover from actor Brian Blessed, sets the scene nicely. The song segues into the album's title track, too, which is one of the standout cuts here. Like always, though, nearly every song here could realistically be classed as a such - but the majestic mid-paced rocker is a great representation of the Saxon sound. The crunching guitars of Tatler and Doug Scarratt set the tone nicely early on, building up in anthemic way around Glockler's drums - before the first of many excellent riffs kick in and the mid-paced song gets underway proper. Saxon are as good now as they always have been, though, largely in part to how great Byford still sounds. His voice has aged somewhat but, if anything, the grit that he has developed with age only makes him sound better - and he can still unleash the odd scream when necessary as can be heard near the beginning of this song. He has a knack for excellent choruses, too, and the effort here feels suitably anthemic - and the song is certain to become a live favourite on this year's tour. Subtle gang vocals give the chorus real weight, but the main refrain is packed full of Byford's classic melodies. There are plenty of other great choruses here but the stadium-ready quality of this effort makes it really stand out - and the excellent and lengthy guitar solo section, which is started by Scarratt and finished by Tatler, only elevates the song further. Saxon's sound has not significantly changed over the years, but occasionally they go for a sound which is slightly more 'epic' than usual - and the album's title track is a great example of such. Madame Guillotine is somewhat more typical, then. It opens with a great bass riff from Nibbs Carter, the groove from which the whole song is then based around, whilst some chiming guitar leads grow in stature around it. As mentioned, this is a very groove-heavy song - with the verses feeling clean and punchy. There is actually a bit of an AC/DC-esque simplicity to the verses, with the bass rumbling away behind the stripped back guitar riffing, whilst the chorus feels bigger and more produced. Subtle keyboards add depth, whilst Byford subtly harmonises with himself to create a more layered sound. Despite the simplicity, though, the song has light as well as shade - with Tatler's guitar solo slowing things down against some clean guitar melodies, before Scarratt takes over with something more typical. Saxon often like to speed things up, too, but Fire and Steel is the only thrash-adjacent song here. Glockler's fast-paced double bass drums drive everything, whilst the riffing and scorching guitar leads which open the track set the tone for next few minutes. Saxon's fast-paced songs tend to all be quite similar, but no-one quite cranks up the speed quite like them. Byford's gritty vocals help the track to pop, though, and the chorus is a great lesson in how to create something very effective out of some simple ingredients. It is also one of the two songs here to feature Quinn - who is the filling in the three guitarist solo sandwich part-way through.

For me, though, the album's best songs, along with the aforementioned title track, are the next four. The mid-paced, storytelling anthems represent the band at their best in my opinion - and There's Something in Roswell kicks off this suite. Like the title track, the song opens with some scene-setting guitar stabs before settling into an infectious groove based around some crunching guitar chugs. There are songs here which are more complicated riff-wise, but there are similarities here to Madame Guillotine in how relatively stripped back the overall arrangement is. Glockler's drumming is very simple, but the occasional flourish and the punch of his tone helps the song to tick, whilst again Byford is the centre of attention throughout. The verses are suitably gritty, but it is the chorus that stands out the most - with anthemic hooks and a buzzing guitar tone which helps to emphasis the extra-terrestrial nature of the song's lyrics. Probably my favourite song on the whole album, though, is the faster paced Kubla Khan and the Merchant of Venice. It is still fairly mid-paced overall, but there is much more energy here - with Glockler breaking out his double bass drum rolls much more. The pre-chorus and chorus are propelled by his fast footwork, but the song is also a bit more interesting from a guitar playing perspective. Whilst the simple chugging heard elsewhere can be very effective, I like the busier guitar patterns featured this time and the song just feels much riffier overall. Many of my favourite Saxon songs are busier from a guitar perspective and it is great to hear quite a bit more going on throughout this one - with Tatler's shredded solo bringing everything together nicely. Sound-wise, then, the song just perfectly sums up the modern Saxon sound. There is a heaviness here which was not always present on their classic albums but the approach to melody is the same - with the chorus being another which has already lodged itself in my brain. Pirates of the Airwaves, which features another brief cameo from Blessed in the intro, is another real favourite. It is another mid-paced track and, perhaps deliberately, there is a strong classic rock feel throughout. Given the song's lyrics dealing with the old phenomenon of pirate radio, this more old-school sound is fitting. The guitar tones used throughout the song, apart from during the chorus, feel like a bit of a hark back to the band's early albums. The verses feel a little bluesier than is typical guitar-wise, too, but this really works in my opinion. The heaviness kicks in during the chorus, though, which is as anthemic as ever. Due to this mid-paced groove and the anthemic chorus hooks I can see this song being another which becomes a big live favourite. It is the sort of chorus which can be easily sung by a crowd - and the rock and roll feel of the piece means that it will come alive on stage. The guitar solos are similarly bluesy, too, which is fitting.

The last of the real standouts for me is 1066 - a battle anthem which could be seen as a sequel to Saxons and Vikings, the song which Saxon collaborated with Amon Amarth on on the latter's latest album. It is another mid-paced track, but it feels much more metallic overall. The guitar tones are more typical of the band's modern sound here but Glockler's drumming and the huge bass presence of Carter just give the song more weight. It does a bit of everything which I tend to like about Saxon. The riffing throughout is excellent, there are some great metallic flourishes, and Byford's lyrics tell a great story. There is so much to like here and it also stands out due to it being the only song which Tatler solos on alone. Most of the songs feature solo trade-offs, but Tatler tackles this solo himself - with a lengthy flurry of notes which starts slowly before exploding into something more. The album's final two songs, whilst not quite as good as the four which preceded them, are still very enjoyable, though. Witches of Salem sounds a little like the title track to 1991's Solid Ball of Rock. There is a bit more of a rock and roll feel to the verses, with Byford's vocal melodies tapping into a somewhat folkier territory despite the big guitars behind him - but the chorus is suitably weighty, upping the heaviness. Despite their heavier sound in recent years, Saxon have never lost their original classic rock influences. Pretty much all of their recent albums have showcased it somewhat, but this album seems to have leaned on it a little more overall - despite there still being plenty of hard-driving metal anthems here to enjoy. The mid-paced song is still very muscular, though, with the chorus perhaps being one of the album's punchiest moments - even if melodically it does not hit as hard as some of the others here. The album's closing statement, then, is the faster Super Charger. Whilst not as thrashy as Fire and Steel, it nevertheless feels more energetic than the crunchier song which came before. It is one of those songs which is probably not quite as a fast and furious as it seems, though. Glockler rarely kicks things into overdrive, but this precise ride work helps the pre-chorus to really pop, with most of the speed coming from the knottier riffing. Perhaps the album could have benefitted from having one more out-and-out pacy number, but the shot of adrenaline that Super Charger provides, with its shout-along chorus and strong riffing, is certainly welcome. It is also the other song here to feature Quinn's guitar playing. He plays the last of the song's two solos, so it is perhaps fitting that one of the band's founders closes things out from a guitar solo perspective. It is unclear whether or not he will feature on the band's albums going forward - but having him here alongside Tatler on a couple of songs has acted as a nice transition. Overall, then, Hell, Fire and Damnation is another excellent album from Saxon. The band can essentially do no wrong and all of their recent releases have done a lot for me. There are stronger recent releases overall, but a handful of the songs here are likely to become some of my favourite Saxon songs in time - and I am already looking forward to hearing them live.

The album was released on 19th January 2024 via Silver Lining Music. Below is the band's promotional video for Hell, Fire and Damnation.

South of Salem's 'Death of the Party' - Album Review

One of my favourite discoveries of last year were the Bournemouth-based hard rockers South of Salem. I had seen their name on posters and mentioned in various reviews (particularly of festivals), but I was not truly familiar with them until March 2023 when I saw them open for W.A.S.P. at KK's Steel Mill in Wolverhampton. As much as I enjoyed W.A.S.P.'s predictable set, it was perhaps South of Salem whom I came away from the night more excited about. I purchased a copy of their 2020 debut album The Sinner Takes It All from the merch desk following the show, where it was signed by the band, and it soon become a firm favourite. I like a lot of the current crop of British hard rock bands, but quite a lot of them are very retro and overly bluesy - whilst South of Salem hark back to the British rock scene of my teenage years, when bands like Heaven's Basement, Glamour of the Kill, and Dear Superstar were some of the hottest new talents around. South of Salem stand out as there is a sleaziness and the occasional flirtation with a more metallic sound within their music - so much so that if The Sinner Takes It All had come out in 2011 it would have fit right in with the scene at the time. That being said, perhaps being different from the current crowd has helped South of Salem - as they are starting to make a bit of a name for themselves here in the UK. As soon as the W.A.S.P. tour was over they were back on the road with Wednesday 13, and I am sure that the success of both tours likely helped to solidfy the band's debut headline tour - which took place in October and November last year. Most of the shows sold out, and the Bristol show which I attended was an excellent night - showcasing just why South of Salem have been making waves despite the lack of any corporate infrastructure, label, or big-time management. They are a hard-working band in the old-fashioned sense and they have earnt every bit of their success so far. Releasing The Sinner Takes It All in 2020 likely did not help, either, but the band have been extremely busy in more recent times - and the album has certainly been given a fair shake as a result of their activities. As such, then, it was time for something new to capitalise on an extremely busy 2023 - and last week saw the release of the band's second album Death of the Party. A few of the songs were rolled out on the headline tour last year, but the release of the album marks another milestone in the band's history - and likely the biggest one yet. It also marks debut of the band's current line-up in the studio as there have been a couple of personnel changes since the release of The Sinner Takes It All. Guitarist Denis Sheriff (Consciously Dying) and drummer James Clarke (Metaprism) performed with the band for the first time in the studio here - joining frontman Joey Draper, guitarist Kodi Kasper, and bassist Dee Aldwell who all return from the debut. Sound-wise, for me, Death of the Party picks up largely where The Sinner Takes It All left off. Despite the personnel shift the band's core sound has not really changed significantly - with the writing duo of Draper and Kasper conjuring up another excellent slew of melodic hard rock songs with a metallic, sleazy, and gothic edge. Shimmering synths add depth where necessary, but in general the songs here are muscular and guitar-led - with plenty of choruses to ensure any future crowd will be drawn in.

If there is a point of difference between Death of the Party and the band's previous album it is perhaps that it is slightly heavier overall. The difference is not huge, but the riffing does feel somewhat weightier at times - which is exemplified throughout the opening cut Vultures. There is no slow build up here as the song kicks in right away with a driving riff, melodic guitar lead, and plenty of double bass drumming from Clarke. South of Salem have not morphed into a full-on metal band here, but the song feels a little crunchier overall - but Draper's trademark vocal hooks and the melodic approach to guitar leads from the previous album remain. The song's chorus is heavy like the intro, but the verses generally feel a little more restrained - with a simple guitar chug and a strong bass presence adding weight. Synths add a subtle depth, but the focus is, as ever, on Draper's vocals. The verses are generally sung in a somewhat lower register, giving them a slightly darker feel, before he lets rip a bit more during the chorus which is pretty hooky. There are better choruses on the album, but given the focus on heavier riffing the chorus hooks still stick in the brain after a couple of listens. The tough riffing gives the chorus a real kick, though, and the subtle use of guitar leads throughout act as additional harmonies to Draper's delivery. A lengthy guitar solo trade-off brings the best out of Kasper and Sheriff, too, and Vultures gets the album off to a strong start. For me, though, Static is better - and the next two songs are up there with the best that the debut album had to offer. The riffing here is more grinding, with some pinch harmonics adding a metallic edge, but there is a groovy approach taken - with snaking melodies and the occasional stop-start section which highlights Aldwell's bass nicely. As such, the verses feel pretty organic. The riffing is grounded and the tone from the bass only adds to the heaviness - but the chorus sees the sound open up with more a prominent synth backing, more guitar leads, and some poppier vocals from Draper. He is a very versatile vocalist who is perfect for the hybrid sound that South of Salem go for. He never sounds lightweight, but he can immediately wrap himself around a poppier hook - and the massive chorus here is a great representation of this ability. Static has one of the album's best choruses as a result, and another excellent solo section builds on the groovy riffing from the verses to lay down something slightly more bluesy. Another real favourite of mine here is Jet Black Eyes, which, more than ever, feels like the sound of the band's first album. Despite a crunching guitar rhythm throughout the song feels a little lighter than the opening two tracks - with more of an emphasis on guitar leads and harmonies throughout to accent Draper's vocals. Speaking of Draper, his verse delivery here is somewhat more restrained - and there are some subtle effects on his voice to make him sound a little distant. This works well, though, and it helps the chorus to really pop when he kicks in fully - and the more prominent keyboard use here again gives the chorus a huge sound. It is the sort of song which only needs one listen to fully appreciate as everything here is based around the big chorus hooks. Everything builds up to the chorus sound-wise, and I can see the track becoming a real live favourite as a result.

Stitch the Wound utilises some similar vocal effects as the previous song, but overall the piece feels much heavier. The opening guitar riff is more weighty than that of the previous song and this more metallic feel continues on throughout. The distant-sounding vocals have a different effect this time, too, and some subtle, ethereal vocal harmonies whip up a somewhat creepy vibe during the crunching verses. This allows the heavier guitar riffing to shine a bit more overall - and the band's slightly heavier sound on this album is showcased nicely here. The chorus is another strong one, too, and it takes the band's usual love of a good hook and places it against a somewhat heavier backing - despite the aforementioned creepy vibe being retained thanks to the synths. The guitar solo section doubles down on the heaviness, though, with a fast-paced shredded guitar performance set nicely against plenty of double bass drumming from Clarke. This heaviness continues throughout lead single Left for Dead, which focuses more on chunky riffing and a heavy feel than anything else the band have ever done. It actually took me a few listens to fully appreciate the song when it was first released last year, and I was not sure about it at first, but now it is another favourite thanks to its relentless feel riff-wise and subtler approach to the band's trademark melodies. At first the chorus did not grab me all that much, but that is not the case now. The guitar melodies mixed into the background really help it to pop, whilst Draper's grittier vocal delivery suits the heavier riffing. There is perhaps less light compared to shade here, but I have grown to like that about the song - and it is good to see the band shaking things up somewhat. Hellbound Heart moves away from this more overt heaviness somewhat and instead goes for something a bit more dynamic overall - and gives the synths which usually sit in the background more of a staring role. The song's opening, whilst still riffy, is characterised by a sparkling synth melody. This melody returns throughout the song to provide a solid hook. Some of the bands from the aforementioned rock scene of my teens started using synths in a big way towards the end, but South of Salem have not gone down that path yet - despite their prominence here (and later in the album). I like their inclusion here, though, and it helps the song to feel a bit different - as do the slower verses which feature clean guitar melodies and a more emotional Draper vocal. The chorus is more typical of the band's core sound, though, so it ticks a lot of different boxes for me. Bad Habits (Die Hard) returns to a heavier sound and the track has a bit of a sleazy edge - but it actually reminds me quite a bit of Glamour of the Kill. Some of Draper's vocal inflections during the chorus, which also features potent gang vocals, are very reminiscent of the missed York-based band - and the more metallic riffing and overall approach is also very similar. This song is probably the closest that South of Salem have come to that old sound, but hearing the song really reminded me why I fell for the band so hard when I saw them live last year. There is something nostalgic for me about them even though they are very much their own band - as there are points of difference, too. I am just glad there are still bands playing this sort of music and, given their trajectory, South of Salem could well end up being the best of the bunch.

The album's title track follows and it ups the pace somewhat - returning to the band's core sound in a big way. The hard-driving riffing certainly sets the tone from the off, but the song is one that manages to remain extremely hooky despite the pace and the crunching riffing. The chorus certainly harks back to the previous album, but the pace and reliance on more double bass drumming feels more rooted in this album - so it is a good mix of everything that has made the band great so far. The snappy chorus is one that is likely to become a real favourite of fans after a few listens - and I like the chanted vocal refrains which are used at the end of some chorus renditions. These have a somewhat creepy nursery rhyme feel, which is different for the band, and it helps the track to stand out further from the crowd. Penultimate cut A Life Worth Dying For is somewhat similar, but the track feels more mid-paced overall - despite the retention of the heavier riffing from the previous song. If anything, though, this song is a perfect representation of the album's core sound. The opening riffing is quite heavy with some busy drum fills to bulk it out, whilst the verses go for a slightly more stripped back, groove-based sound which build towards an expansive chorus that is poppier and given a sheen by a synth backing. By this point the band's sound is well-established, and there is not really anything particularly different about the song - but another excellent chorus helps it to stick in the brain. The band never fail to produce a strong chorus and this is another example of their craft - whilst a slow-burning, wordless vocal-led section briefly changes the tone slightly before another shredded guitar solo injects some pace into what is otherwise a pretty mid-paced and crunchy track. The album comes to a close with Villain, which does actually feel a bit different from the rest of the songs here - despite still sticking to the band's formula. When I first heard the song I was not sure that I liked it, and it is still probably my least favourite here, but I do like it quite a bit now - despite its more synth-heavy sound and a general lack of big riffing. There are some riffy moments here, but generally the synths dominate which means that the band's usual grit has had its edges rounded off. After a few listens, though, I do think that this works quite well. It still very much sounds like South of Salem, but I think that the band excel when they let the heaviness shine through. I really like how the band use synths generally, and I mentioned earlier how many of the older bands South of Salem remind me of tended to get more synth-heavy as they moved along, so hopefully Villain is more of an experiment or a point of difference rather than a sign of what is to come. Despite that, though, I have grown to like the song - as it gives the album a change of pace as it closes out and the chorus is still as memorable as ever. I listened to The Sinner Takes It All an awful lot last year and I can see myself listening to Death of a Party a huge amount this year. It is the sort of album that just goes down well thanks to the riffing and the massive choruses - and it is great to see that The Sinner Takes It All was not a fluke. I really think that South of Salem have what it takes to make a real name for themselves and this album will hopefully be the next step on that fulfilling journey.

The album was released on 19th January 2024 via Spider Party Records. Below is the band's promotional video for Jet Black Eyes.

Magnum's 'Here Comes the Rain' - Album Review

I have joked on this blog before about being able to set you watch by the release schedule of the British rock band Magnum. In recent years the band have been remarkably prolific and consistent; and have essentially released an album every other January for quite a while at this point. As such, then, January 2022 saw the release of the enjoyable The Monster Roars (which I reviewed here) and two years on Magnum fans the world over are currently celebrating the release of the band's twenty-third studio album Here Comes the Rain. So far, so typical - but of course Here Comes the Rain is not 'just' another Magnum album as, sadly, it is likely to be the band's final effort. This is due to the fact that Tony Clarkin, the band's founder, guitarist, and songwriter, died on 7th January aged 77 - five days before the album's release. As such, listening to Here Comes the Rain over the past week or so has been a strange experience. I am glad that the band did not delay the album's release as I am sure that Clarkin would have wanted the fans to hear an album which he had poured everything into - but it has certainly been hard for the band to promote the album under the circumstances. It is also poignant when considering that the digipack and box set editions of the album come with a full live performance from the band at KK's Steel Mill in Wolverhampton on 10th December 2022 - which was the last show that Clarkin ever performed. That show may well end up being Magnum's final show, too, as it seems hard to imagine them continuing on without Clarkin given that he had always been the band's driving force. Such matters are not really for me to speculate on, though, so I will turn my attention back to Here Comes the Rain - and celebrate Clarkin's last recorded work. Sound-wise, it follows the trend which the band have been essentially following since reuniting in 2001 - with a mix of driving gritty rockers, majestic mid-paced pieces, and lush ballads wrapped up in a sound which only Magnum, and Clarkin, can conjure up. No-one else quite sounds like Magnum, so the fact that they have rarely deviated from their core sound is not a problem for me. Despite their classic releases of the 1980s, plenty of the band's best work has come since the reunion - with 2007's Princess Alice and the Broken Arrow, 2016's Sacred Blood "Divine" Lies (which I reviewed here), and 2020's The Serpent Rings (which I also reviewed here) in particular standing out. Not all of the band's albums reach this level, including Here Comes the Rain, but Magnum have never released a bad one in my opinion - and Here Comes the Rain is as enjoyable as ever. It is also the band's shortest album for quite some time - clocking in at around 50 minutes. Most of the band's other recent albums have been around an hour in length, so the slightly shorter runtime here means that this album feels a bit more concise overall. All of the band's usual sounds are present here, though, so nothing has been sacrificed as a result.

As with all of Magnum's albums there are plenty of memorable songs here - but Here Comes the Rain opens with one its best, as Run into the Shadows ticks a lot of boxes on the Magnum bingo card. Opening with a hooky keyboard melody from Rick Benton, the track harks back to the 1980s a little, but the grit of the recent albums remain - and is evident when Clarkin's guitar riffing kicks in, and the track becomes a bouncy, mid-paced rocker. This bounce does hark back to the band's classic period, too, and it certainly feels like a song attempting to re-capture the sound of their more commercial peak. Lee Morris' punchy drumming helps this sound to permeate thanks to his ringing ride cymbal work during the chorus, whilst subtle vocal harmonies accentuate some of frontman Bob Catley's verse vocals - and they are also used in a more prominent way during the hooky chorus. It is the sort of song which really sticks in the brain after a single listen and it has remained a favourite for me since my first listen to the album. Clarkin's guitars add just enough weight, but this is a song which is largely driven by Benton's keyboards - from the opening melody, through the booming chorus piano, to the synth flourishes which make a later bridge section stand out. It is full of the band's trademark pomp rock sound, then, and it is a great mix of the band's more classic sound and their modern grit. The title track follows and slows the pace down - with the band opting to go for a more brooding sound. Magnum have lots of epic half-ballads in their catalogue and this is one of their latest efforts at such a sound. Benton's keyboards and strings give the song a huge feel, with the chorus taking on something of a symphonic rock sound thanks to the amount of strings backing Catley's statesmanlike vocals. Chugging acoustic guitars fill out the verses, whilst the subtle drumming of Morris and the pulsing bass of Dennis Ward create a bed for everything else. The verses are quite low key for Magnum, despite the dense keyboards, but this only allows the chorus to really soar - as the band kick in for the dramatic section, which is based around some of Catley's best vocal hooks on the album. Clarkin throws in a few subtle guitar leads here and there, but as usual his playing is understated - and this is a song which is based around Benton's arrangements and the vocals of Catley, who sounds as good as ever on this album despite his age. Some Kind of Treachery is similar, but overall it feels much brighter. It opens slowly, though, with Benton's piano backing Catley's gentle vocals. Magnum generally have a big sound, but Clarkin knows when his writing needs a simpler arrangement - and the verses here reflect such. Catley sounds great against the simple piano backing, but when Morris' drums kick in and build up to the chorus the song goes through the gears. Like the previous number, there is a big string arrangement during the chorus - but the song feels a bit more upbeat groove-wise. The darkness of the previous song's chorus is largely absent here and there is more of a theatricality thanks to Clarkin's crunchy guitar rhythms and the dancing string melodies. The song never really morphs into a true rocker, but again it sticks to that half-ballad sound that Magnum do so well - with an instrumental closing section building on the chorus' string arrangement to bring the piece to a dramatic end.

After the Silence is much more of a rocker, which is welcome given the two slower songs which preceded it. Subtle synths open things up, but Morris' drums are not too far away and as soon as he rolls in the keyboard flourishes and driving guitars turn the song into a powerful mid-paced rocker. As is often the case with Magnum, though, the song has quite a dynamic arrangement. The verses are a bit slower, with a programmed rhythm giving them a laid back feel - over which Benton's piano and Catley's vocals dance. This rhythm, though, keeps the song moving and stops it from sounding like another ballad - and when the chorus kicks in with the song's opening keyboard flourishes it is clear that the overall vibe of the piece is much more upbeat. The chorus is very hooky as a result, with Catley's melodies as anthemic as ever, whilst Benton's string arrangements again add a dramatic edge. It sounds like lots of Magnum songs we have heard before, but the infectious melodies and the strong chorus nevertheless make it another standout. Blue Tango takes on a different sound and is much more of a hard rocker throughout. Magnum have occasionally flirted with more of a boogie rock sound, particularly in the early days, and this song has shades of that - whilst also touching on Deep Purple's classic sound somewhat. Benton swaps his piano for an organ here, doubling up Clarkin's driving hard rock riff, whilst the punch of the rhythm section keeps the track moving. It is the grittiest song on the album up to this point and it lacks the band's usual dynamic approach - but it is fun hearing the band explore their heavier side somewhat, as it is not something which they do too often. The sound suits Catley's aging voice, too. He always turns in a good performance in the studio, but it is no secret that he is a bit rough around the edges these days. This song leans in on that, though, and his gritty delivery suits the harder rocking approach - with a fun chorus packed full of bouncy hooks. Benton even lays down a brief organ solo, too, and Clarkin closes things out with a pretty lengthy guitar solo - neither of which are typical Magnum tools. The Day He Lied returns to something more typical, with a string-filled intro soon giving way to another piano-driven verse. Arrangement-wise, the song is quite similar to the album's title track in my opinion, with a simple verse giving way to a dense, dark chorus packed with dramatic strings and another big vocal display from Catley. Given that it is so similar, though, it is perhaps less memorable overall. I feel that the title track did this sound better, although I do really like Benton's bridge-esque piano interlude here - which is more classically-influenced than is perhaps typical for the band. The Seventh Darkness returns to a rockier sound and it also includes a horn section - something which was utilised on the previous album, too. It worked quite well there and it works nicely here, too, and it helps the track to stand out. It is a pretty typical Magnum harder rock track, but the horn section (along with Benton's organ) help to accent the riffing of Clarkin and Ward nicely. The horns make a change from the strings, too, and they help to make the song sound both gritty and grand at the same time. Occasional guitar leads feature, too, but the centrepiece is a saxophone duel with Clarkin - which sees both trade lead lines back and forth in a pleasing manner.

Broken City opens with the sound of distant bombs, before a subtle string arrangement takes over and Catley begins singing over these simple swells. It is easily the most stripped back the album gets and it pushes Catley's voice right to the fore. As has been established, slower songs are not uncommon for Magnum - but this is the album's truest ballad. The strings and Catley dominate throughout, with the rest of the band never joining in - although a keyboard melody does kick in just before the chorus section, which is replaced by a piano passage to back Catley's vocal hooks. Despite this, though, there are changes throughout, as a bridge-like section sees the strings taking a darker, more pulsing turn. I keep expecting the rest of the band to join in, but the simple ballad works nicely as it is - and it is a great showcase of Catley's vocal talents. Following that, then, it is unsurprising that I Wanna Live feels much more upbeat. It is more of a rocker from the off, although it is certainly not as crunching as some of the heavier tracks here - with the lush sounds of the opening piece a touchstone here. Morris' percussive hi-hat grooves and Ward's busy bass playing help the track to stand out but, as usual, it is Benton's keyboards which give it its sparkle. The mix of dense piano chords and sparking synths keep the verses ticking, whilst the chorus is another burst of mid-paced hard rock energy with more driving piano melodies and plenty of big vocal harmonies bulking out Catley's hooks. Clarkin's guitar tends to take a backseat to provide a rhythmic boost and a touch of heaviness, but he does launch into a pretty lengthy guitar solo part way through. He does not solo as often as most guitarists would, and he is not always the most exciting of soloist, but his solo here is pretty fast-paced and it fits in nicely with the song's upbeat nature. It is another song which ticks a lot of big Magnum boxes and the lush arrangement brings out the best in everyone - with a keyboard-led closing section allowing Benton to travel back to the 1970s to ape some of the progressive rock players of the time. The album then comes to a close with Borderline, another mid-paced rocker which grows from a quiet, synth-based intro. It is not unusual for a Magnum album to end on a ballad, and the opening seconds give that impression, but the track has quite a bit of punch throughout. The staccato approach of Morris and Ward helps the song to stand out, giving it a strange groove, whilst the overall arrangement is much rawer than is typical. There are no real walls of strings here, with Benton's piano feeling much more organic - whilst Clarkin's guitar adds plenty of stabbing riffs, and a handful of bluesy guitar solo sections which are not hugely typical of his general approach. Given that, retrospectively, this song is likely to be Clarkin's last, this focus on his guitar riffing and soloing is fitting. The bluesy soloing adds to the song's more organic feel overall, too, although there is also a keyboard-led section which feels a bit grander overall thanks to the synth tones used. At the very end, though, Benton takes over - and his piano leads the song to a faded close. This is more typically Magnum than much of the rest of the song, but the change does not feel too jarring - and it works nicely to bring the album to a delicate end. Unless there are unreleased songs in the vaults, or demos which the rest of the band can finish off, Here Comes the Rain is almost certainly going to be Magnum's last stand - and it is a fitting way to cap off an excellent career. It revisits the band's classic sound one last time, with the performances and songwriting as good as ever. Enjoying the album feels like the best way to mourn Clarkin, too, and with the huge catalogue of songs he has left behind he will forever live on in the minds of the fans.

The album was released on 12th January 2024 via Steamhammer/SPV GmbH. Below is the band's promotional video for Blue Tango.

Music of 2023 - Part 2

2024 is currently in its infancy and there is no doubt a lot which will excite us this year music-wise. I already highlighted yesterday a few of the albums which I am looking forward to, but there are many others, too - and I also will be heading off to a number of excellent gigs. I like to start each year with a final look back to the previous one, though, so this post will detail my favourite albums and gigs of 2023. Putting together this list is hard every year, but 2023's list was harder than most. Some years there are two or three albums which really stand out, and the list essentially puts much of itself together, but for 2023, apart from my top pick, lots of albums could have realistically been included. 2023 saw the release of lots of great and very good albums - but there were relatively few stunners. A handful of stunners can make list-making an easy task but, apart from my number one, this list took lots of deliberation. When I look back at this list in the future I may well disagree with it, and it has already gone through some iterations, but I have decided to stick at this point - and below includes the 10 which I have settled on. When deciding which ones to include, I ultimately thought back to how many times I had likely played each album in 2023. Some albums just end up being played more than others for a number of reasons: length, mood, etc.; and where two albums were very close I ultimately went with the one I felt that I had played more. This is not always the most scientific method, but I think it worked well in this instance. I always like looking at the make-up of my list, too, genre-wise. 2023's list is dominated by a lot of harder rock acts, with metal and progressive music somewhat less represented. All three of my main genres have found a home in the list, though, so it was a good year for all of my main loves - even if from a genuine heaviness perspective the list is a little lacking. This surprises me somewhat as I have certainly been increasing my love of heavier music recently, but my listening to such has generally been to classics of the genre - and I did not reviewed a lot of really heavy albums in 2023. This may change in the future, but 2023 was clearly more of a hard rocking year. As always, too, my list only includes full-length albums of new material - with no live albums, compilations, or EPs allowed.

10) The Hayley Griffiths Band - Melanie

Some may see this as cheating as Melanie includes two old songs which Hayley Griffiths re-did with her current band - but they sound so different from their early incarnations that they feel like new songs. This is the reason I have put the album at the bottom of the list, though, despite having listened to it an awful lot in 2023 - but to be included at all is an achievement. Following the Secrets of Angels era of Karnataka coming to an end in 2017, Griffiths launched her current band in 2018 - and finally released her first rock solo album back in January. Those who liked the bombast of Secrets of Angels will find plenty more of that throughout Melanie, but there is less of a progressive and symphonic influence - with a more straight ahead and theatrical feel on show instead. Griffiths utilises every bit of her impressive vocal range here and the hooky songs could well represent the best of her as a rock singer to date. Her band is just as impressive, too, with two Karnataka alumni joining her (drummer Jimmy Pallagrosi also produced the album) - but perhaps the stand-out musician here is guitarist Mathieu Spaeter, whose tough riffing and fluid solos act as the perfect foil for Griffiths' exuberant vocal display. The future looks bright for the band and I hope that we hear more from this configuration going forward.

Listen to: Broken Lullaby, Melanie & Dust to Gold

9) The Gaslight Anthem - History Books

It can sometimes be hard for a band to return from a hiatus and deliver and album which capitalises on the excitement of an expectant fanbase - but I think that The Gaslight Anthem managed to do so with their sixth album. Their first album since a break and 2014's Get Hurt, History Books is easily the band's most mature release yet. Whilst not as raucous and punk-inspired as the albums which made the band famous, the heartland rock spirit is still alive and well here - with perhaps a larger dose of melancholy than usual. Frontman Brian Fallon brought some of the elements featured on his recent solo albums to this latest band effort - so History Books sounds a bit like the continuation of two discographies. Some may have wanted the band to rock a bit harder here, but I really like the more sombre approach taken. There is quite a bit of variety throughout the album as a result and it has really dominated my listening over the past couple of months. A couple of harder rock pieces show that the band can still turn it up when required and there is lots of tasteful lead guitar playing throughout from Alex Rosamilia, too, which further helps to give the album a real lift.

Listen to: History Books, Positive Charge & Michigan, 1975

8) Uriah Heep - Chaos & Colour

Another release from the early part of the year, Uriah Heep continue to go from strength to strength on Chaos & Colour. Following their ten year hiatus from recording, which came to an end with 2008's Wake the Sleeper, everything Uriah Heep have touched has turned to gold. Chaos & Colour is the fifth album in this latest run of releases and it picks up nicely where 2018's Living the Dream left off. Mixing the band's trademark Hammond-driven hard rock with modern production techniques and a heaviness which can border on old-school metal at times, Uriah Heep are easily the most vital of any of the first wave of genuine hard rock acts still putting out new albums. The big difference here, though, is that drummer Russell Gilbrook has stepped up as a songwriter. He has been in the band since 2008 and had never written for the band before - but here he wrote four songs along with his writing partner Simon Pinto. His tracks are all classic Uriah Heep-sounding efforts, too, so I am looking forward to hearing more from him on future albums. What also helps this album to stand out somewhat is the fact that it sounds more progressive than the band's other recent works. There are a few more longer pieces here and those songs really stretch out - with plenty of soloing from both Mick Box and Phil Lanzon. Long-time frontman Bernie Shaw sounds as good as ever vocally, too, and Chaos & Colour is another winner from the veteran British band.

Listen to: Save Me Tonight, Hail the Sunrise & Age of Changes

7) Rival Sons - Darkfighter & Lightbringer

This entry is very much a cheat - but it is my blog so I can bend the rules. I hate to include Rival Sons' two 2023 releases in one entry, essentially making this list a Top 11 - but the two albums are clearly companion pieces and are supposed to be enjoyed in the context of the other. As such, it seems fitting to put them together here. Despite having been casually into Rival Sons for a few years, 2023 was the year I finally grew to love them. I saw them live for the first time on my own terms and I listened to both of these two albums a lot. I am glad that the band decided not to release them as a double album or as one long album - as the two parts feel distinct enough to sit as complete albums but they share a number of themes and sounds which make them perfect bedfellows. Despite the short lengths of both albums, too, the songs here feel somewhat more progressive than has often been typical for the band. There are less anthemic hard rock pieces here, with the songwriting being pretty varied. There are some hard rocking moments, but generally these songs are much more layered, emotional, and atmospheric. The band's talents shine, though, with frontman Jay Buchanan showing again why he should be considered one of the very best in rock today; and guitarist Scott Holiday is one of blues' most distinctive players with his ever-present slide licks and his amp-destroying tone.

Listen to: Mirrors, Mercy & Mosaic

6) Delain - Dark Waters

Not all bands could survive losing four-fifths of their line-up, including their much-loved frontwoman, but Delain managed to bounce back from 2021's big split with a strong album in Dark Waters and a new line-up. Founding keyboardist and songwriter Martijn Westerholt is the only face left from the last album, but with a former guitarist and drummer back on board this current line-up of the band links back to the past nicely - whilst new frontwoman Diana Leah really sounds the part. The album's critics point out that it sounds quite by-the-numbers, which is a fair point to make, but that is what I expected from the band coming out of the gate with a drastically new line-up. Dark Waters is clearly an album made to say: 'Look, we can still do it!'; and I think that it excels in that regard. I do hope that the current line-up does give itself a bit more of an identity going forward, which I imagine will happen when Leah gets more involved with the songwriting. I get the impression that much of this album was written before the current line-up came together, so I do expect things to diversify in the future. I listened to this album a lot in 2023, though, despite its familiarity - as it contains plenty of hooky songs and all of the poppy symphonic metal flourishes that helped to make Delain one of the best examples of the genre.

Listen to: The Quest and the Curse, Queen of Shadow & Invictus

5) Extreme - Six

It is always hard to know what to expect from a band who have not released a new album for quite a while. Before 2023, Extreme had not released an album since 2008 - and that album, Saudades de Rock, has never really done all that much for me. I was hoping that Six would be more like it, though, and thankfully it was - with the album delivering a great mix of funky hard rock alongside a number of more heartfelt ballads. Extreme have always defied genre tags and Six continues to do so - but the sound throughout is fundamentally theirs. Why Gary Cherone is not more widely heralded as both a singer and a frontman continues to confuse me; and I have often said that Nuno Bettencourt is the best guitarist that I have ever seen live. Reactions to Bettencourt's solo is Rise dominated the rock press for a while earlier in the year, but he also came into his own as a vocalist here, too, duetting with Cherone on some of the album's slower moments. Despite the variety, though, Extreme's core hard rocking sound dominates - and Six is easily my favourite thing that Extreme have done since 1992's seminal III Sides to Every Story.

Listen to: Rise, #Rebel & Other Side of the Rainbow

4) Sylosis - A Sign of Things to Come

Perhaps the best news to come out of 2023 was the fact that the Reading-based metal band Sylosis are now Josh Middleton's priority again. Sylosis were a real favourite of mine throughout the first half of the 2010s, but they spent the second half largely inactive - and it looked as if they would never return. 2020 saw the release of Cycle of Suffering, which was received with plenty of excitement, but the pandemic essentially scuppered any plans that the band may have had to support it. With Middleton leaving his, likely relatively comfortable, gig with Architects, too, I have to assume that he really is fired up about Sylosis again - and A Sign of Things to Come finds the band leaner and meaner than ever. Whilst the album does lack some of the progressive touches which made the band stand out initially, it is clearly one that aims for greater things audience-wise. In truth, Sylosis' albums have gradually been reining in the progressive tendencies for some time now so A Sign of Things to Come feels like the next logical step rather than a drastic shift in style. There are still plenty of knotty riffs and interesting arrangements - but what stands out the most is the sheer amount of hooks here - both vocally and from the guitars. It is an album written with the stage in mind and I really hope that it launches the band to new heights.

Listen to: Deadwood, A Sign of Things to Come & Descent

3) Kamelot - The Awakening

I do not dislike any of Kamelot's albums, but were I to rank them I imagine that 2018's The Shadow Theory would find itself somewhere near the bottom. Despite a handful of standout tracks it felt less memorable than those which preceded it - I so was of the view that the band needed so shake things up on the follow up. Whilst not exactly that, The Awakening represents the current incarnation of the band much better than The Shadow Theory in my opinion. Sound-wise it sticks closely to the band's dense symphonic power metal template, but the songwriting feels fresher throughout. Frontman Tommy Karevik always delivers vocally, but here he seems more focused on delivering strong melodies than trying to set a moody tone, whilst the rest of the band up the levels of bombast again. Guitarist Thomas Youngblood returns to his more lead-based approach of yesteryear, opening many of the songs with hooky melodies rather than the gothic riffing of the last album, and the keyboards from Oliver Palotai are bright and full of character. I still think that 2012's Silverthorn is the best effort of the Karevik-era so far, but The Awakening is currently giving 2015's Haven a serious battle for second place - and I hope that 2024 sees the band return to the UK.

Listen to: Opus of the Night (Ghost Requiem), Bloodmoon & The Looking Glass

2) VV - Neon Noir

This pick is based purely on nostalgia, but I played Neon Noir, the debut solo album from former HIM leader Ville Valo, so many times in 2023 that I had to include it here. HIM were a favourite during my teenage years and they acted as a gateway to many heavier and more gothic things. I sadly never got to see the band live before they split up in 2017 so it was great to see Valo last year supporting Neon Noir. He launched his solo career with a three-track EP in 2020, but 2023 saw him return to the scene in a big way with the excellent Neon Noir and an extensive world tour. Often musicians want their solo albums to be different from the band with which they made their name - but Neon Noir is extremely familiar. If it had said HIM on the cover I do not think that anyone would have questioned it - and the album contains 12 songs of the poppy, gothic sound with which HIM rose to stardom in the mid-2000s. It is perhaps not as riffy as some of HIM's best work, but the overall vibe and the melodic approach is extremely similar - with Valo's rich, crooning vocals given even more space to breathe than ever. He sounds fantastic throughout and he also performed all of the album's instruments - revealing himself to be an excellent multi-instrumentalist, too. He has also hinted that the VV-era of his career will come to an end after a few more shows in 2024 - so, sadly, Neon Noir may end up being something of a one-off.

Listen to: Echolocate Your Love, Neon Noir & Vertigo Eyes

1) Karnataka - Requiem for a Dream

I try not to just put the new album from whichever UK-based prog band happened to have released one at the top of each list, but I listened to Karnataka's sixth album so much in 2023, despite its lengthy runtime, that not letting it occupy the top spot would not have felt right. I usually find Karnataka's albums to hit me pretty instantly, despite the longer songs, but this one took quite a while to grow. It is certainly not as bombastic as the band's other more recent albums and at times it feels like a real hark back to the early days - with a more atmospheric sound. There is less of a hard rock approach here, too, with big guitar moments taking a bit of a step back - save for a few excellent solos from new face Luke Machin. Perhaps the more understated arrangements stemmed from the fact that much of the album came from founder Ian Jones and new frontwoman Sertari. Requiem for a Dream is less of a 'band' effort than some of the albums of the past, with Jones responsible for much of what is heard outside of the main guitar moments and the drums. I imagine that this album may not have connected with all, especially those who wanted something a bit more bombastic and harder rocking in the vein of 2015's Secrets of Angels, but those who persevered will understand what a lush and emotional album Requiem for a Dream is - and for me it is a welcome return to some sounds which the band have not toyed with for a while.

Listen to: Sacrifice, The Night's Dance & Requiem for a Dream

Whilst the above 11 (sorry) albums make up some of 2023's best moments, as I alluded to earlier there were many other albums which could have found a home in the list. There are quite a few albums which, in reality, are just as good as some of those in the lower half of the list, so I tend to like to highlight a few other 'honourable mentions' which fell just short. I was really impressed with Dokken's Heaven Comes Down which was released in October. The band had not released an album since 2012, and Don Dokken's voice is famously not in good shape. I really liked the album, though. The vocals were surprisingly good throughout, but it was Jon Levin's guitar playing that really made the songs tick. If it ends up being the band's final album then it will be a good one to bow out on. I also gave Metallica's 72 Seasons quite a bit of love during the summer months. It is almost impossible to have a sensible conversation about Metallica these days, and I honestly believe that nothing the band could release at this point would please some, but I liked much of 2016's Hardwired...to Self-Destruct and I like much of 72 Seasons, too. It contains some of Kirk Hammett's best guitar solos in a while, in my opinion, and James Hetfield will always be a riff machine. Finally, I would like to highlight Seven by Winger - their first album since 2014. I have not listened to it as much as some of those other albums here, hence why it missed out, but it remains an impressive piece of work. Progressive-tinged songs sit alongside melodic rock anthems to create another excellent and diverse album from the band - and Reb Beach is on fire throughout from a guitar perspective. Moving onto gigs, I will now discuss my favourite five shows of the year. Despite splitting gigs into 'big' and 'small' categories previously, I have decided to once again stick with just picking five overall as I have done in my last two round ups. It is easier overall and, despite getting to many other excellent shows, the below are a good cross-section of the year.

5) Young Gun Silver Fox, Lafayette, 20/01/2023

The second show of the year ended up being one of the best, despite a severely-delayed train journey home the following day, as I got to see my biggest discovery of 2022, Young Gun Silver Fox, live for the first time. Few modern bands are out there playing yacht rock, and even fewer are doing with as much style as Young Gun Silver Fox - but the duo now have four albums of excellent music behind them and are expanding their live activities. I also saw the band again in September, which was arguably a better show due to the larger venue and an expanded horn section, but sometimes the first time is the best - and it was a real joy hearing many of the band's best songs live for the first time. Despite being joined by extra musicians live, the number of musicians on stage at a Young Gun Silver Fox show is still less than many of those old yacht rock shows would have involved - yet they manage to re-create the band's layered sound so well. The approach to vocal harmonies in particular is impressive, and the show was one of those where everyone in attendance was a huge fan - so there was a lot of singing from the off and an excellent atmosphere.

4) Black Stone Cherry, The Fleece, 05/10/2023

It is always good seeing a band in a smaller venue than is typical for them. Modern southern rockers Black Stone Cherry gave their UK fans that opportunity in 2023 with a tour consisting of small rooms - with the band revisiting some of the first venues they ever headlined in the UK to support the release of Screamin' at the Sky. With Black Stone Cherry generally able to fill large theatres and even arenas with the help of a strong bill, these tiny club shows sold out extremely quickly - and The Fleece was packed during the band's no-nonsense two hour set. Mixing fan favourites, songs from the new album, and a handful of deep cuts, the band really delivered. I have said here that I do not listen to the band anywhere near as much I used to, but the show really reminded me why I got into them all those years ago. It was my fourth time seeing the band, and it was easily the best both performance and sound wise. The Fleece always leads to a good night and the band's loud riffing filled the venue from the off. The crowd were really up for the show, too, with their singing actually drowning out the band on occasion. It was one of those nights where everything fell into place and it was just a good, old-fashioned night of rock and roll.

3) Iron Maiden, Motorpoint Arena, 03/07/2023

It seems strange to me that, considering how many concerts I have been to, I have only seen Iron Maiden live twice. I may not be obsessed with them in a way which some metalheads are, but they are nevertheless a band I like a lot - but I have passed on quite a few of their tours for various reasons. I saw them for the first time in 2017 and for the second time last year - and this latest show in Nottingham was the better of the two in my opinion. Mixing some of the material from 2021's Senjutsu and 1986's Somewhere in Time made for an interesting setlist which ended up including a number of songs not played live prior to the tour - as well as some not played live for a number of years. Iron Maiden fans can be critical of the band's setlists sometimes being on the safe side, but I do not think that this complaint can be made this time - with tracks like Caught Somewhere in Time and Stranger in a Strange Land returning after lengthy absences and Alexander the Great finally making it to the stage. Throw in some of the stronger new cuts and a performance of a personal favourite in The Prisoner - and I think that it is fair to say that the band treated their fans in a big way.

2) The Almighty, O2 Forum, 02/12/2023

It looked unlikely that The Almighty would ever reunite. With Ricky Warwick busy with Black Star Riders and a solo career, combined with the fact that only fairly recently he said that he had not spoken to some of the other band members for years, it seemed that their fans were out of luck. That was, though, until earlier in 2023 when they announced three reunion shows. All three ended up selling out, so there was still clearly a lot of love for the band - and the rowdy atmosphere within the O2 Forum in Kentish Town as soon as the band kicked off their set with Resurrection Mutha signalled that the night was going to be a special one. The band barely paused for breath for the next two hours, either, and delivered a set full of fan favourites which had not been heard live since the late 2000s. They played everything that the capacity crowd realistically wanted to hear and each song was greeted as warmly as the one before it - culminating in a huge sing-a-long to Wild & Wonderful. I had been a casual fan for a number of years, but this show made me a true fan. The Almighty are a band made for the stage so it is great that they returned - and they have already announced similar three-show runs for later this year and in 2025 also. I, unsurprisingly, already have tickets for both years.

1) Bruce Springsteen and the E Street Band, Villa Park, 16/06/2023

I have often said that Bruce Springsteen's Wembley Stadium show in 2016 is the best concert that I have been to. There are a couple of others which could be considered such, too, but Springsteen is always in contention - so I was really pleased to get to see him for the second time in 2023. Despite being in his 70s now, he still rocked Villa Park in Birmingham for three hours - and played a setlist which was more curated than his usual more random approach. This meant that there were less surprises, but the show felt nicely structured - and included a great mix of stuff, from bona fide classics to lesser-played favourites. I loved hearing a few songs from 2020's excellent Letter to You live and the Birmingham crowd was also treated to a tour debut of The River. Perhaps surprisingly, though, the overall highlight of the set for me was a lengthy and rousing version of Kitty's Back. With a horn section backing The E Street Band on this tour, parts of the set took on an R&B flavour - and it was Kitty's Back which perhaps benefitted from this treatment the most, with Charlie Giordano also delivering an excellent organ solo. Other highlights included a raucous Mary's Place, Nils Lofgren's solo during Because the Night, and a majestic rendition of Thunder Road to close out the main set - before a hit-packed encore had everyone in the stadium on their feet. I thought it might be the last time that I got to see him live, but with tickets secured for Cardiff in May there is at least one more night with The Boss still to be had.