Malevolence's 'Where Only the Truth Is Spoken' - Album Review

It feels like quite a while since I last reviewed something heavy. It seems like most of my reviews of late have covered more traditional hard rock, melodic, and progressive acts than all-out metal. There is quite a lot of metal I am looking forward to later in the year, so expect more heaviness to come, but coming along today to redress the balance and inject some riffs back into this blog is the Sheffield-based five-piece Malevolence - a band that are, perhaps, the UK metal scene's ultimate rising stars. They can trace their history back to 2010, and released their debut album Reign of Suffering in 2013, but I feel like over the past five years the band's stature has significantly increased. Their first decade seemed like a bit of a slow-burn, but the release of EP The Other Side in 2020 and, particularly, third album Malicious Intent (which I briefly discussed here) in 2022 brought Malevolence into the light in a more significant way. I was certainly not aware of the band before 2022 - and I remember picking up Malicious Intent a little while after it came out following the many positive reviews of it I had read - alongside the fact that I would be seeing them open for Trivium in January 2023. I would not say that I was hooked on the band from the off, but in the months leading up to the gig I warmed to Malevolence. Their mix of old-school metalcore, hardcore, and 1990s sludgy groove metal started to click, despite me not being the biggest fan of the latter two, and it helped that the songwriting was tight, with two distinct and powerful vocalists shaking up established formulas - as well as the band's willingness to throw in plenty of huge guitar melodies and solos. Malevolence's sound really is a mix of lots of different types of metal, then, which I think is what makes them stand out and likely why they have become so popular - but it also helps that they are a venomous live act. They really owned the stage opening for Trivium - and I saw them again as a headline act later the same year with Sylosis in tow. Sylosis were largely the reason I bought a ticket, but I knew that I would enjoy Malevolence again and it was impressive seeing the band command quite a large and sold out room with apparent ease. They are headlining the O2 Academy in Brixton later this year, so Malevolence's star has only risen further since, and it helps that this has come alongside the release of their fourth studio album Where Only the Truth Is Spoken - their first since Malicious Intent. Malicious Intent felt like a step up from what had come before, and it was also the band's first release on a major label, and Where Only the Truth Is Spoken feels similarly such. Working with Josh Wilbur, who has produced bands like Gojira, Lamb of God, and Trivium, feels like a big achievement for the band - and there is also a guest appearance here from Randy Blythe (Lamb of God). This would all count for little, though, if the songs and the performances were not top notch - but they are. The first half of the album in particular is excellent, with endless riffs, anthemic choruses, and solos filling all of the songs - with the band's craft having been honed by keeping the same line-up for the past 15 years. Frontman Alex Taylor, guitarists Josh Baines and Konan Hall (the latter of whom also doubles up as a secondary vocalist), bassist Wilkie Robinson, and drummer Charlie Thorpe are as tight as anything at this point - and Where Only the Truth Is Spoken, despite some big name 'help', feels like an album honed through years of touring and camaraderie.

The last album opened with a short, sludgy track which set quite a nasty tone from the off, but this album opens in a more typical fashion - with the powerful Blood to the Leech kicking things off nicely. The first six songs here represent some of Malevolence's best work to date. This is not to belittle the second half of the album, but the first half is particularly strong - and Blood to the Leech is a fine opening statement. Plentiful snare rolls and a fast-paced riff kick things off, with the opening instrumental moments of the song soon morphing into a more groovy and hard-driving section - with a good balance of more straight ahead beats and plenty of double bass drumming. The main riff mixes great groovy patterns with a hardcore attitude, whilst the rest of the song moves back and forth between mid-paced power and thrash-adjacent speed. Taylor is a hugely powerful harsh vocalist. He may not be the most diverse of singers, but his tone and diction is great - and he works well above the snapping riffing and drumming of this mix of thrash and sludge, with the chorus in particular sounding powerful thanks to some gang vocals from the rest of the band. Despite not featuring any clean vocals or lead guitar moments, which does set this song apart from many of the band's others, the mix of riffing styles and speeds allows for a dynamic approach. A brief spoken word section then segues into Trenches - a real groove/hardcore effort which largely stays in a more mid-paced lane, sticking its chest out with real attitude. Taylor dominates during the intro, spitting out the opening vocals against staccato riffing and drumming - whilst the darker verses which follow feature more prominent bass playing, with more reined in guitars, to allow for a little light and shade, despite the heavy tone remaining. Hall's roaring clean vocals add a lot to the later chorus. He does not sing as much here as he sometimes does, but he backs Taylor's growls nicely - and the chorus sticks in the brain as a result thanks to this vocal approach and a more old-school metal riff. A brief guitar solo also adds a lot. If It's All the Same to You really harks back to the previous album, and it is one of the album's biggest anthems. It feels as if the band has focused a lot more on anthemic songwriting in recent years - and this song is another example of such. The opening mid-paced riff is an immediate ear-worm, and one sure to open up pits live, whilst a great mix of thrashy verses and a slower chorus with more of a clean vocal presence really is Malevolence 101 at this point. After a couple more riffy songs, too, there is a lot more lead guitar here. Baines throws in some bluesy and effects-heavy leads following the first chorus, only adding to the melodic nature of the piece following Hall's gritty chorus vocals, and some of the riffy moments feature leads over the top of them. A hardcore breakdown later adds further grooves - and I can see this song becoming a real fan-favourite.

Counterfeit opens with distant riffing and vocals, with the band fading into view as Taylor bellows the song's title - only for another big mid-paced riff to kick in. There is definitely a strong Lamb of God influence to what Malevolence do, despite the hardcore edge, and this riff feels somewhat influenced by that band - despite the drumming not being as intricate. This is not to take anything away from Thorpe, who puts on a great show throughout the album, it is more to note the different vibe between the two bands - although there is a pre-chorus moment which does feature some more intricate drumming as if to prove me wrong! Despite lots of mid-paced riffing here, this is a song which feels pacier overall. It is certainly at the higher end of mid-paced, and Baines' guitar solo is set to a backdrop of real thrash, with the speed allowing for some more technical riffing and some slightly higher-pitched vocals from Hall than is typical. Salt the Wound is more of a change of pace, with the song showcasing much more light and shade. It has ballad-like tendencies, and has vibes of Higher Place from the last album - but this is a heavier track overall in my opinion. Still, clean guitar melodies and slow-burning drumming kick things off, with Hall taking the lead vocally during the verses. His deep, rumbling voice is able to carry quite a bit of emotion, and he suits the murky clean guitar backing here - before the band take things up a notch during a groovy, mid-paced chorus which ups the heaviness and sees Taylor take over. Bluesy guitar interludes add to the atmospheric nature of the piece early on - but once the riffing takes over properly after the second chorus it is very much business as usual for the rest of the song, with mid-paced grooves building on the early murk, even if Hall sings more than would be typical. So Help Me God is another song which is very typical of the modern Malevolence sound - insofar as it is a song which was clearly written to be an anthem. Despite this, it feels thrashier than some of the band's other anthems, which means that the verses really barrel along at pace, but this pace only helps the song to feel memorable overall. Occasional slower, groovier moments take over, but generally the track steams along - although the hooky chorus is somewhat more mid-paced, with Hall's vocals more overtly melodic than is typical. I am not sure the band have done a chorus quite so melodic before, but it works well - and the thrashy pace and riffing elsewhere help to maintain the overall heaviness. Imperfect Picture opens with some percussive drumming and a slow-building riff, which soon morphs into a simplified Lamb of God-style groovy opening - with the rest of the song generally sticking to a similar pace, despite a murkier overall vibe. Hall's vocals are generally reserved for chorus hooks or ballad-like moments - but he sings quite a bit of the song, with his clean vocals over the heavier verse riffs giving the song a grungy feel. Taylor's harsh vocals weave in and out, but the clean vocals tend to dominate - and that gives the song a different vibe. Due to this murky feel, with effects-heavy guitars in places, the song never feels as heavy as is typical for the band - with the grungy feeling making the song stand out. I have to say it is not a song that has really stuck with me, but I appreciate the intent to try something new.

Heavens Shake returns to something more riff-driven, although the opening moments and later chorus do feel a bit different from the band's typical sound, The riffing is a bit more slow-burning despite it retaining the band's heaviness, but there are some quite prominent synths which add a slight coldness. The intro and chorus repeat this vibe throughout, whereas the verses are more typical with groovy, headbanging riffs and Taylor's staccato, barked vocals giving strong hardcore vibes. Lead guitar moments are quite plentiful, too, with a shredded lead acting as a hooky pre-chorus - whilst a later solo builds on these. Hall and Taylor join forces for the chorus, battling against the synths, whilst a slow hardcore breakdown throws things back to the band's early days. This song shows the band's mix of styles nicely, and is one which really opens up after repeated listens. In Spite features Blythe and, following a couple more slightly experimental tracks, Malevolence return to their core sound here. The track is a venomous, mid-paced anthem with numerous big riffs and plenty of knotty lead guitar interludes. Slightly faster verses and a headbanging, groovy chorus are packed with the band's usual attitude - with Hall adding some clean hooks to the sweeping chorus, and Taylor's barks elsewhere powerfully rise above the mix of thrash-adjacent riffing and hardcore grooves. Blythe is added later in the piece, initially adding moody spoken word before be gradually morphs into his distinct growl over a building and groove-laden bridge section. Demonstration of Pain is also a fairly typical Malevolence track at this point, although it is another which plays with pace quite a bit. Parts of the song are quite thrashy, with instrumental riff-led moments upping the pace and allowing for some brief moments of shredding, whilst the vocal-led sections tend to slow the pace somewhat - with the verses in particular taking on a sludgy groove. The chorus is more typical and mid-paced, with a subtle anthemic quality, and I like how the song constantly plays with pace - which is built on again later during a bridge section which slows things down further and introduces some death metal-adjacent riffing briefly. The album then comes to a close with With Dirt from My Grave, which opens with some thrashy riffing - that tends to characterise the song throughout. This is one of the fastest overall songs here, and it leaves the band's usual groovy approach behind for the most part. The chorus feels somewhat groovy, with strong anthemic vocal hooks, but it is still pacier than would be typical - whilst Thorpe's ride-led drumming is perfect for the pace of the track. This is another song which has grown on me quite a bit - with the chorus hooks now shining through, and the energy levels being upped a welcome closing statement. Baines' guitar solo is excellent, too, and the fast song is a powerful way to close out the album. With some strong, anthemic statements and a few moments of experimentation, Where Only the Truth Is Spoken is a powerful effort from Malevolence. It builds on the more straight ahead Malicious Intent, showcasing perhaps a little more variety, whilst ensuring that the good work established in the past remains intact. It might not feel as immediate but the album rewards those repeat listens - and Malevolence are certainly deserving of all the love coming their way.

The album was released on 20th June 2025 via Nuclear Blast Records. Below is the band's promotional video for If It's All the Same to You.

A-Z's 'A2Z²' - Album Review

Whilst the US progressive metal act Fates Warning have never officially split up, it seems to be received wisdom that they are essentially done. Following the release of the band's last album Long Day Good Night (which I reviewed here) in 2020, Fates Warning have been quiet. They have not toured since the pandemic, meaning that nothing from Long Day Good Night has ever been played live, and it was hinted at in some interviews around the time of the album's release that it could well be the band's last - and so far that seems to have been true. I think I recall frontman Ray Alder essentially confirming that the band was done, at least as a live act, sometime after Long Day Good Night's release. This was sad news, but all things have to come to an end at some point - and Fates Warning never really received the fame they deserved compared to many of their peers. The band seemed destined to play small clubs forever, despite some early success, and this must become tiring after a while despite Fates Warning generally being well received and respected in the prog metal world. I can understand why Alder and founding guitarist Jim Matheos quietly put the band to bed - but I think that it is fair to say that neither have been quiet in terms of new music over the past few years. Matheos has been busy with his melodic hard rock project Kings of Mercia, with FM's Steve Overland, which have released two enjoyable albums - and he even teamed up with Alder last year for an atmospheric and sparse album under the name North Sea Echoes (which I have not heard). Alder, on the other hand, has released two solo albums (although the first one came out in 2019, before Fates Warning's last album) and has joined forces with former Fates Warning drummer Mark Zonder in the supergroup A-Z. Zonder was the drummer of Fates Warning from 1988 to 2005 - so contributed to some of the band's best albums including the lush, commercial Parallels from 1991 and the dense, conceptual A Pleasant Shade of Gray from 1997. Zonder has also played in heavier bands such as Warlord and Spirits of Fire - so he is well-known in the metal world and commands plenty of respect. A-Z's self titled debut album (which I reviewed here) was released in 2022 and it was one that I enjoyed quite a bit at the time - but have not returned to much of late. It was unclear at the time whether or not the album would be a one-off or whether A-Z would morph into a more long-term project. The band have not played live since the album came out, which is typical of all of these post-Fates Warning projects, but clearly it was felt that there was chemistry following the first album - as three years on A-Z are back with their second album A2Z². Sound-wise, this latest album is similar to the first one - insofar as it is a song-based, melodic progressive metal album that is not especially intricate with some classic hard rock overtones. There are shades of the more overtly melodic end of Fates Warning's early 1990s songwriting - with similarities to Alder's two solo albums also present. This latest album is certainly more of the same, but the songwriting remains strong - and I have been enjoying its 10 songs over the past month or so.

Returning from the first album to join Alder and Zonder is bassist Philip Bynoe - but the rest of the band this time are new, with A-Z expanding to a six-piece. Replacing guitarist Joop Wolters are Simone Mularoni (DGM; Empyrios; Lalu) and Nick van Dyk (Redemption; Fool's Game), meaning that this album sees Alder and van Dyk reunited following the many years they spent together in Redemption, and replacing Vivien Lalu on keyboards is veteran musician Jimmy Waldo (New England; Alcatrazz; Blackthorne; Graham Bonnet Band; Warlord). As with the last album, A2Z² is a collaborative effort from a songwriting perspective - but the line-up changes have not significantly altered the band's core sound. Alder and Zonder drive the project, though, so those mid-period Fates Warning comparisons are inevitable - and the opening track Fire Away sets the band's stall out from the off. A cinematic guitar chord progression, behind which Zonder introduces himself with some big drum fills, opens the mid-paced track - and from the off the band's focus on melody is apparent from the off. Alder, who has aged more gracefully than some of his peers, really delivers on the vocal front throughout. His warm and melodic delivery suits the song's mid-paced and wide scope - whilst the two guitarists allow for proper rhythm and lead definition. Subtle guitar leads are present throughout much of the song - with the chorus in particular growing in stature when you notice the guitar melodies behind Alder's vocals. A slightly crunchier bridge section later showcases a bit of a heavier approach, with big power chords and Zonder's punchy drumming, whilst a shredded guitar solo injects some prog metal flamboyance. I get the impression that much of the lead work here is from Mularoni, and his soloing is fast-paced but tasteful. Running in Place segues in from the ending of the previous song, but the band pick up the pace somewhat here initially - with a more pronounced guitar riff and some double bass drumming from Zonder. Despite this heaviness, which resurfaces throughout the song, the track feels a bit more dynamic overall. The verses are generally more slow-burning, with percussive drumming, guitar and bass melodies playing off each other, and subtle keyboards, whilst the pre-chorus and chorus are more akin to the song's opening moments - with heavier drumming and a more intense vocal performance. A short guitar solo is included early on, too, whilst a bridge section later on diverts into AOR territory with subtle vocal harmonies and more of a keyboard presence. A second (and third) guitar solo later feels more stretched out and cinematic - and the song overall is a good example of the band pushing themselves somewhat. Nothing Is Over also opens with some big guitar moments, but this time a hooky refrain draws the listener in from the off - with some of Zonder's drum fills recalling the 1980s. This track feels tougher overall, and there are some strong 1980s prog metal vibes throughout - with plenty of knotty little guitar melodies during the instrumental moments and the occasional burst of Hammond organ. A smooth chorus adds plenty of melodies, bringing out the best of Alder, whereas the verses are much punchier thanks to some hard-hitting drumming and the organ's pulse. There certainly strong Fates Warning vibes here, but the chorus also leads into some of those AOR vibes from the last song - with another big guitar solo for good measure.

A Wordless Prison reins in much of the mid-paced rock vibe which has dominated the album up to this point, at least first, instead opening with subtle percussion and swirling synths. Once Alder starts to sing, Waldo adds some ringing piano whilst the guitarists come in with some clean melodies. As is typical of Alder's work, though, the atmospheric song has a dense feeling. There is nothing light and airy here, with the song feeling weighed down by its atmosphere - which is fitting given that the piece does not end up being a ballad. It seems at first like it could be - but it is not long before the band crash in and the track morphs back into the band's core sound, with crunchy riffing and punchy drumming creating a tougher mid-paced rock sound. The verses buzz thanks to this metallic guitar tone, whilst the chorus feels a bit more anthemic thanks to another subtle guitar lead sitting beneath Alder's soaring vocals. He may not have the biggest range these days, but his tone and emotional approach to singing keeps him sounding fresh - and he can switch between a grittier, heavier approach and something more anthemic with ease. This song is the best of both, then, with the atmospheric intro a bonus in showcasing his diverse singing approach. Reaching Out returns more to the core sound of the rest of the album from the off - with a barrelling guitar riff nicely accented by some more prominent keyboards. This is not an especially keyboard-heavy album, particularly given the two guitarists present, but they do shine through occasionally - and the opening part of this song is one of those moments. Some of the riffy moments throughout are embellished nicely by the keyboards, but generally this is a pretty typical A-Z song at this point - with some more shades of AOR during a hooky chorus and guitar playing which is generally memorable despite a lack of typical prog bombast. I would have liked the keyboards to take on a bit more of a prominent role at times - but that has never really been Alder's style, with more of a tapestry approach often taken. The Remedy opens with a bit of a drum barrage, before a hooky little guitar motif takes over - whilst a drum groove and a similarly interesting chord progression backs it. Whilst the track is another mid-paced piece, the grooves from the intro remain throughout. This gives the song a unique rhythm compared to many of the other songs here - with Bynoe shining during the slightly funky and hard-driving verses. A hooky and smoother chorus, with some effects-heavy guitars in the background, are more akin to everything else here, but the mix of these hooks and the pulsing verses makes for a strong combination. I Am Numb picks up the pace somewhat, building on some of the heavier moments of last track to create something which is also somewhat groovy - but also hard rocking. The song is not exactly thrash pace, but compared to much of the album it feels faster - with up-tempo shuffling drumming keeping the song moving whilst snappy prog metal riffs pack the verses full of melody. Alder sings in his slightly gritter manner during much of the song, too, which helps the overall vibe, even if the chorus is as smooth and hooky as ever.

Opening with some piano melodies and strings, This Chaotic Symphony feels quite different to much of the rest of the album. It is certainly a much more atmospheric piece than many of the rockers here - and it channels some strong prog vibes throughout. As was the case with A Wordless Prison, too, the song is not a ballad - but it starts out slowly, building over the first couple of minutes until the band kick in proper. The keyboards and clean guitars set the atmospheric early tone, and the classic Alder vibe is once again intact - with his emotional vocals rising above the slow-burning intro, and filling the rest of the song with grit. There have been cinematic moments on the album up to this point, but this song builds on all of them - and really leans into the prog songwriting talents of those involved. Instrumentally the song is more intricate than is typical, too, with harmony guitar leads, a big guitar solo, and even a synth solo from Waldo allowing for a powerful and fairly lengthy instrumental section - whilst another memorable chorus ties everything together with some more excellent Alder vocals. Opening with some punchy guitar riffing and some Hammond accents, Learning to Fly returns to the album's core sound following the more expansive previous track. Following the prog instrumentation and scope of the last track, Learning to Fly feels a little rudimentary in comparison, but it is still a strong song with hooky melodies - and some of the individual guitar leads here are some of the album's most memorable. Occasional heavier guitar riffs and the aforementioned organ inclusion do help the track to stand out - but generally this another pretty smooth hard rocker, although the guitar solo, which builds on those aforementioned leads, may be one of the album's best thanks to its hooks. The album then comes to a close with Now I Walk Away, which opens with some pulsing synths and gets going once some murky clean guitars join in and Alder starts to sing. That dense semi-ballad approach from the other slower sections on the album returns here, but this song feels more ballad-like than the others. A more band-orientated chorus sees some heaviness and fuller arrangements, but generally this is much more of a slow-burner with atmospheric keyboards and murky guitar melodies. Alder sounds great here and, even more than usual, this song really feels like a vehicle for his voice. His voice is full of character, and the more atmospheric approach lets him pour plenty of emotion into the album as it comes to a close. Another lengthy guitar solo is excellent, too, and it builds on many of the emotions which Alder injects into the piece. It is a solo which gets busier as it moves along, which suits the song's more dynamic approach of slower verses and a heavier chorus - and it is fitting that one last guitar solo is included given that they have generally been highlights of the album. Overall, then, A2Z² is a very enjoyable follow up to the band's debut album - with the line-up changes not having much of an impact on the band building on their established sound. There is very much a template here which is generally stuck too, but the occasional deviations showcase the band members' prog backgrounds nicely - and there is a lot to like here from both a prog metal and a more typical hard rock perspective thanks to some big guitar solos and some melodic choruses.

The album was released on 6th June 2025 via Metal Blade Records. Below is the band's promotional video for Nothing Is Over.

Katatonia's 'Nightmares as Extensions of the Waking State' - Album Review

Given my love of progressive metal and the fact that I generally enjoy a lot of gothic metal, it seems strange that the Swedish band Katatonia is not one that I have paid much attention to over the years. My first real exposure to the band was 2012's Dead End Kings, which I picked up a little while after it came out following the constant good reviews the album was getting in prog circles. It seemed to be one of those albums that stuck with a few prog-loving friends for a long time - and I somewhat enjoyed it when I finally picked it up, feeling that some of the songs were somewhat reminiscent of what Anathema were doing at the time but with more of a gothic edge. It did not stick with me, though, and it is only over the past year or so that I started to make more of an effort with the band - following picking up 2023's Sky Void of Stars quite cheaply. I have since heard some of the band's other more recent albums, alongside fan-favourite Viva Emptiness from 2003, but I would certainly not consider myself an expert. There is still much to explore, including the death/doom era which kicked off the Katatonia story in the early 1990s, but I have started to gain something of an appreciation for the band - despite them currently falling into that quite cold end of the prog metal scene that I tend to struggle with. I have never really liked Porcupine Tree that much beyond a handful of songs, and all of the bands which followed in their wake such as Leprous and Karnivool have never done much for me, either. Katatonia's more recent work certainly has shades of that sound, but there is enough of their gothic and doom metal past to keep me interested - and I have found quite a bit to like in the band's catalogue and I am sure that I will find more to like as I keep exploring. A new album was always going to be the thing that helped me find a real way in, though, so when Nightmares as Extensions of the Waking State dropped last month I picked it up on release. The band's thirteenth album, Nightmares as Extensions of the Waking State is actually quite a key album in the band's history - as it is the first without founding guitarist, and sometime bassist, Anders Nyström. Katatonia members have come and gone over the years, but frontman Jonas Renkse and Nyström were the ever-present duo keeping the band going. Earlier this year, though, Nyström announced that he had left the band due to his unhappiness with the recent musical direction that Renkse was pushing. Even as a casual Katatonia fan, this departure did not come as a shock. Nyström had not contributed to the last couple of albums from a songwriting perspective, and his contributions before that had been declining for a while. I think he wanted to pursue heavier music again, and this clearly not something which Renkse wanted. Given the recent departure of guitarist Roger Öjersson, too, this new album features two new guitarists in the form of Nico Elgstrand (Terra Firma; Entombed; Entombed A.D.) and Sebastian Svalland (In Mourning; Pain) - both of whom have played live with the band on and off over the past few years. Funnily enough, though, Nightmares as Extensions of the Waking State is a little heavier compared to the last few Katatonia albums - with a few more riffy and lead guitar moments than has become average. The overall style is very similar, though, with Renkse writing everything and delivering another slab of sombre, gothic-tinged, and atmospheric prog metal.

Bassist since 2009 Niklas Sandin and drummer since 2015 Daniel Moilanen complete the current Katatonia line-up, with Renkse handling the keyboards. That heavier feeling is present from the very opening seconds of Thrice, as a tough riff opens the album, but the feeling is short-lived - and melodic clean guitar melodies soon take over, with Renkse adding his mournful vocals over this guitar and synth backing. Renkse may not have the biggest range, but he has always managed to inject plenty of emotion into his delivery. As such, he really suits this sombre approach - and he delivers again throughout this album. The clean guitars and this sombre vocal approach characterises the song's verses, but the heaviness from the intro does return - with the chorus being pretty intense in the context of the band's recent sound. Soaring lead guitar moments sit atop heavy riffing as the chorus is approached - whilst the drum sound really punches through whilst retaining an organic feel that is not always present in metal. Renkse does not really change his vocal style against these heavier sections. There is not much grit to his delivery, but the smoothness and mournfulness works well against the crunchy and gothic guitars - similar to how the guitar leads are used elsewhere. Later portions of the song retain a heaviness, too, with a groove-laden riff-led section forming a strong instrumental break - whilst stark synths add subtle leads and depth. It is perhaps the heavier chorus which brings the best out of the band, though, and the song comes to a hard stop following its final reprise. The Liquid Eye also opens with a slight crash of heaviness, but it is less pronounced than Thrice's opening - with percussive drumming and prominent bass playing forming the basis of a smooth verse, over which clean guitar melodies and Renkse's voice shine. Whilst the last song revisited some of the band's past heaviness, this track overall feels more akin to their more recent approach. There is still a dynamic approach taken, though, with the big drumming bulking out the verses nicely - whilst the chorus is a little more hard rocking with some subtle guitar leads and crunchier chords. It feels more cinematic than heavy, though, and the song is not as a driving as the previous one - but Renkse's voice soars atop this cinematic chorus, and there is another heavier section which also features a melodic and emotional guitar solo. Wind of No Change is a bit more of a driving rocker, at least in the context of Katatonia's mournful approach, and it opens with some strident bass playing - over which some choral vocals and a mid-paced mechanical guitar riff soon add some weight. The verses remain melancholy, although Moilanen's drumming feels busy and the bass is high in the mix, but the choral vocal depth from the intro gives the song a different feel - and it returns during a gothic-tinged chorus. The drumming during this chorus is slow-burning yet heavy, whilst guitar crunch and busy leads flesh things out - with Renkse adding his mournful voice against the choral majesty. Dense piano later forms the basis of a bridge section, which leads into a spacey guitar solo - with the track overall being a good mix of gothic melodrama and atmospheric prog.

Lilac opens with some quite mechanical riffing. It does not sound especially heavy, but there is a certain groove which is sat upon early which helps to set it apart from what has been heard up to this point. That being said, though, arrangement-wise the song is quite typical of the pattern of the album. This opening riffing injects some weight and groove, but the verses are generally quite slow-burning. There is clean guitar depth and synths, but there is also a little of the intro's crunch retained, with snaking guitar melodies sitting behind Renkse's voice. A more expanded version of the mechanical intro is later repurposed to create the chorus - although the riffing feels a bit busier and more typically metal here. Guitar leads are sometimes used to add melody instead of the vocals - but generally Renkse sings against this riffy backdrop, his smooth melodies a nice counter to the groovy riffing. Temporal opens with some chiming clean guitar melodies, which soon morph into a cinematic bed of crunchy guitars and synths - culminating in a soaring guitar lead. It is the most sweeping song intro here yet. It lacks some of the heaviness of the general song openings here, but it feels big thanks to the guitar melodies. These melodies are later repurposed during the chorus, which also feels cinematic thanks to a similar overall crunch and Renkse's vocal melodies, but the verses are some of the most sombre on the album in my opinion. The drumming sets a mournful beat thanks to Moilanen's slow pace, whilst the guitars are not busy at all - with dense synths filling in all the gaps. These verses help the chorus to really pop when it kicks in - and the song also has one of the longest and busiest guitar solos on the album up to this point, which even indulges in some brief moments of shredding. The song then crashes to a bit of a close and Departure Trails takes over with its mix of clean guitar and piano melodies. There is no heaviness to kick this one off, with this intro easily morphing into a similar-sounding verse which is set apart from the rest of the album by the piano. It sounds like an electric piano from the 1970s, which gives the song a real rooting in the prog rock world - which is later reinforced by some Mellotron-esque keyboards adding a shimmering halo. There is no riffing at all here really, with clean guitar melodies and leads weaving in and around these various retro-sounding keyboards as Renkse adds his sombre vocals over the top of this intricate mix. The rhythm section ground everything, but there is little weight here overall - and this is a true ballad with a strong prog vibe and a spacey guitar solo. Warden actually opens in a similar manner, with no heaviness and some stark guitar melodies - but the prog keyboards are largely absent this time, with Sandin's bass instead taking on a more prominent role. Hypnotic clean guitar melodies and the rumbling bass form the basis of the track, whilst Moilanen adds some intricate drum grooves, over which Renkse sings in his inimitable manner. Unlike the previous song, though, the chorus feels much weightier - with it picking up the pace and going for a much more metallic feel with crunchier guitars, even if the clean guitar melodies can still be heard in the background. The song is a bit more dynamic than the previous one, then, although is generally retains a more atmospheric sound - which is exemplified by a handful of guitar breaks featuring delicate melodies.

The Light Which I Bleed opens with some discordant guitar melodies, which sit somewhere between clean and distorted to create a strange sound. Moilanen's drumming here is quite different from the norm, too, with his busy hi-hat work giving parts of the song a shuffling feel - which again adds to this overall strange sound. There is something quite unsettling throughout the whole song and it does not really sound like anything else here despite a pretty typical arrangement being followed. The verses are slower and more stripped back and the chorus feels weightier, which is typical of the rest of the album, but the discordant nature gives the piece an edge - and there are later moments which feel quite symphonic, with some of the synths used here adding a grandness to parts of the track. This is how the ending of the song is characterised, and it does feel heavier than the norm, but overall the song is more restrained - which allows that strange vibe to permeate. The penultimate number Efter Solen is sung in Swedish - and it opens with Renkse at the piano and singing the opening lyrics alone against rumbling chords and subtle synths. This sparse vibe continues for quite a significant period of time and it is a while before anything changes. The piano and synths create quite a dense bed over time, though, and there are what sound like some programmed percussive noises at times - which fade in gradually and are easily missed unless listening closely. A strange programmed drum beat later joins in, and it reminds me of those initial comparisons to Anathema I had - as the programming really reminds me of the Anathema song Distant Satellites. The electronics slowly grow in stature as the song progresses from here, too, with more synths and strange beats giving depth to Renkse's emotional vocals and piano. It does not really sound like anyone else was involved in this track - but as a piece of gothic and downbeat electronica it works well to provide a different vibe. The album then comes to a close with In the Event Of, which returns to the album's core sound of a mix of heaviness and melancholy. The second half of the album is certainly less heavy than the first - so the opening riff and driving drumbeat which opens In the Event Of comes as a bit of a shock after the ballads and electronica which came before. The song is typical of the album's core sound, though, with slow-burning verses and a more cinematic chorus which builds on the opening riffs. Crunchy riffs and powerful drumming give Renkse's voice a strong bed during the chorus, whilst a stark guitar lead adds a countermelody, but the verses are typically low-key with plenty of synths and gothic overtones. A slow-burning guitar solo later adds some additional melancholy and melody to the piece - and it is nice that the album returns to its core sound to close things out, going slightly bigger again after a few smaller and more experimental pieces. It ends the album well, with Renkse even pushing himself a bit vocally during the last moments of the piece. Nightmares as Extensions of the Waking State is the first Katatonia album that I have truly digested, and each listen has improved my opinion on it. I like the slightly heavier feel in places compared to the band's other recent work, and the two new guitar players have acquitted themselves well here. It is very much modern Katatonia in style, though, and that core gothic and atmospheric sound feels fresh thanks to the riffing elsewhere.

The album was released on 6th June 2025 via Napalm Records. Below is the band's promotional video for Lilac.

Inglorious' 'V' - Album Review

I have been talking quite a bit on this blog of late about British rock bands. New releases from Absolva and Pythia have both been featured recently, whilst recent concert reviews include pieces on more established acts like Cradle of Filth and Mostly Autumn. With a lot of the music I like coming from abroad, it is always good to remember that the UK still produces a lot of great bands in the rock genre. It may not be the powerhouse that it was in the 1960s and 1970s, but the UK punches above its weight I would think - and one such recent UK act which has seen some success is Inglorious. Having formed back in 2014, later releasing their self-titled debut album in 2016 (which I reviewed here), Inglorious are now just over 10 years old - and I think that it is fair to say that the band's career to date has been eventful. Three albums and plenty of touring filled 2016 to 2019 - and this busy period certainly seemed to take its toll on the band as, by the time 2019's Ride to Nowhere (which I briefly discussed here) rolled around, three of the line-up that recorded it had left in what transpired to be a messy split. The rock world is no stranger to messy splits, but Inglorious' seemed particularly nasty - and frontman Nathan James spent an ill-advised amount of time online publicly airing the band's dirty laundry. I liked Inglorious from the off, but I am on record here thinking that they were somewhat overrated early on - and the split and its fallout actually put me off the band for a while. I eventually got Ride to Nowhere, though, and found it be a record which was starting to justify the hype - and I saw the tour in Exeter later in 2019 by which time a new line-up had been put together. Only James and drummer Phil Beaver remained - and this line-up later wrote and recorded 2021's We Will Ride (which I reviewed here), an album I listened to a lot when it came out. I saw the band live again later in 2021, this time in Plymouth, and the second era of the band seemed to be a fruitful one - with covers album Heroine and live album Live at the Phoenix MMXXI also products of this line-up. Following another tour in 2022, though, the band entered a period of hiatus. It was unclear what led to this break, but thankfully this time any dirty laundry was kept unaired. Following some time away, though, last year James announced that he was working on new Inglorious material - and that founding bassist Colin Parkinson, one of those who had left in the lead up to Ride to Nowhere dropping, would be returning. Parkinson was always one of the band's main songwriters during the sessions for the first three albums - but these new sessions would see him and James collaborate exclusively, with the results being the band's fifth album V which dropped last month. V marks the start of the third era of Inglorious, too, with only James and Parkinson returning from previous iterations of the band. Guitarist Richard Shaw (NG26; Cradle of Filth) and drummer Henry Rogers (Final Conflict; DeeExpus; Touchstone; Mostly Autumn) were announced to be completing the line-up earlier this year - making Inglorious a four-piece for the first time in their history and V the band's first album without Beaver.

As well as being James' main songwriting partner here, Parkinson also seems to have been the main man in the studio. Alongside his usual bass playing, he is also credited with electric and acoustic guitars, keyboards, and percussion - as well as producing the album. I would imagine that he is responsible for much of what is heard here, then, with Shaw perhaps coming in for the solos. Engineer Tony Draper is also responsible for some additional keyboards, as he has been in the past, as well as mixing the album. V is very much an Inglorious album in terms of sound, though, despite a few more modern-sounding touches - with the current line-up immediately feeling cohesive. A synthy drone opens the album, with Testify getting going proper once Parkinson's big bass riff kicks in - which is then doubled by the guitar to create a bluesy hard rock feel very typical of the band's past work. Subtle Hammond organ washes are used to add depth, but Inglorious have always been a guitar-led band - and the big riffing which kicks things off is full of character, which is reprised throughout the snaking verses. James has always had a great voice, packed with blues and soul, and he puts on another great performance throughout this album. The verses see him singing in his lower register, with plenty of gritty power, whilst the soaring chorus sees him pushing himself a bit more - opening up his range and delivering some David Coverdale-esque moments. The chorus hooks are memorable, too, and it is one that is sure to get stuck in the brain thanks to some smooth melodies and plenty of wordless vocal refrains. A melodic and high-octane guitar solo comes later in the song, too, as do a couple of slightly poppy vocal bridges which add a twist to the band's usual formula. Eat You Alive opens with James' voice with plenty of effects on it swirling into view, before another fast-paced hard rock riff kicks in - with the track being another bluesy piece in the band's typical style. Whilst the song's main riff is utilised throughout the verses, these verses do not feel as riffy as those from the previous song - with more of a bass groove and noisy guitar effects backing James - whilst the vocal effects from the intro are later repurposed to create a pre-chorus, which gives way to another hooky chorus backed with organ. These vocal-led sections allow for brief breaks in the driving hard rock of the rest of the song - with both the verses and the chorus moving along at a fair pace. The guitar solo section is another faster moment, too, with some shredded leads adding to the song's overall pace and weight. Devil Inside continues the vibe of the opening two numbers to some extent, but the sound utilised throughout is a bit more metallic overall. The guitar tones used this time, alongside some more chugging riffs, feel more old-school metal than bluesy hard rock - and the prominence of Parkinson's bass, which also sounds pretty gritty, only enhances this vibe. I cannot recall an Inglorious song in the past which has sounded quite so metallic - and I like the slight shift in tone. The change is not night and day, but this is certainly not a throwback classic rock piece as is typical for the band - with some strange guitar melodies and synths utilised occasionally over the top of the more slab like guitar and bass riffing. Rogers' drumming is a bit more intense, too, but James sounds as good as ever - injecting some soul over the top of this heavier base.

Say What You Wanna Say returns to something a bit more typical for the band, though, despite a faster pace being retained. The opening riff reminds me of the bluesy hard rock acts of the 1980s such as Badlands, whilst the prominent bass playing and busy drumming help to give the song real depth. Despite this familiarity, though, there are a few tweaks to help keep things fresh. The opening section of each verse sees James delivering the lyrics in a spoken word-esque manner - with some subtle synths and effects on his voice giving these sections a unique feel. They feel a little jarring at first, but they have grown on me - and later parts of the verses are sung more typically. What really gives the song a boost, though, is its chorus - which is a real winner. It is one of the album's hookiest moments - with James' soaring vocal melodies showcasing why he is held in such high regard as a vocalist. Organ and layers of backing vocals help to bulk out the chorus, too, and the song is a good mix of old and new. Believe is the album's only real ballad, with the slow-burning piece welcome following four pretty intense hard rockers. Delicate acoustic guitar melodies open the song, over which James sings in a much more low key and soulful manner than he generally operates in. He injects plenty of emotion into the song, particularly during these stripped back early moments, and things slowly build around him. Bass guitar and percussion are added to the mix as the chorus is approached - which is when the band kick in proper and the track becomes somewhat more hard rocking. The chorus is not as hard rocking as what has come before, but it is still packed full of power compared to the rest of the track - with some intricate guitar melodies backing James' emotional vocals. The band have written strong ballads before, and this is another one. Returning to something more of a modern sound, and something a bit different for the band, Stand goes for a funky alternative rock sound - with Parkinson's bass playing the key driving force throughout. Big guitar chords and Rogers' groovy drumming flesh things out and help the song tick - but the bass playing is what drives this track, with the verses in particular featuring little else. James' vocals also return to that spoken word-type delivery from earlier - albeit with more of a melodic approach. The verses are quite stark compared to the band's usual sound, then, although the chorus is much more typical with more of a guitar presence and James' more high-octane delivery. The grooves and the funky approach really help the song to come alive, though, and it has grown on me quite a bit despite being a bit unsure at first - especially as I can see it working really well live. In Your Eyes is another slightly heavier piece - with the guitar and bass tones of Devil Inside repurposed here. The song does not feel as metallic as that previous song, though, but there is certainly a bit of a heaviness to some of the riffing here - with the bass once again adding plenty of grit thanks to its powerful tone. Snappy verses feature this bass tone heavily, but it is James which steals the show - his playful vocal melodies sticking in the brain easily. Another big chorus really brings the song together, too, with a smoother overall approach thanks to the groove of the drumming offsetting the toughness of elsewhere.

Silent opens slowly, with some delicate acoustic guitar melodies - but any thoughts that the song is going to be another ballad are soon banished when another big bluesy riff kicks in. The track is more dynamic and mid-paced than much of the album, though. The verses are more slow-burning, with soulful vocals and more prominent bass playing - whilst the chorus channels the more epic side of early Whitesnake thanks to James' excellent vocal performance and the wall-of-sound approach taken production-wise. As such, there is plenty of light and shade here. Inglorious do operate in this manner from time to time, but arrangement-wise they are not always the most interesting band. This is one song that plays with the arrangement a bit more, though, with the slower verses, the heavier chorus, and a more cinematic bridge section all coming together to create something melodic and quite varied. Returning to something more typical, End of the Road is another muscular hard rocker - with a bit of a juddering guitar riff driving everything, whilst the bass, yet again, is high in the mix. The pace is a bit slower than many of the other tracks here - but the mid-paced feel allows the riffing to really shine, with the bluesy sound of Badlands once again somewhat referenced. I really like the mix of the strange grooves of the main riff and the more snaking and smoother feel of the song's chorus - which is another real winner thanks to James' big vocal melodies. He has a knack for writing strong choruses and this is another big one - with some really heartfelt and powerful vocals which showcase him at his best. It is a chorus which sticks in the brain from the off. The song also contains what is likely the best guitar solo on the album. My main criticism of this album is the lack of lots of big guitar moments. The riffing is strong throughout, but I would have liked more soloing and lead playing - but the lack of such is likely the result of Shaw probably not being that involved in the album creatively. The solo here is great, though, and it makes the song really stand out as a result. The album then comes to a close with Power of Truth - another more dynamic piece which opens slowly. Again, it gives the impression of being a ballad early on. The acoustic guitar opening does last for quite a while, too, over which James adds his emotional vocals - but soon the song kicks into a much higher gear with one of the album's best riffs and some off-kilter, percussive drumming. It is a song which certainly feels bigger and more epic than many of the others here - which means that it feels like a true album closer. The main riff is great, with the chorus later going for a sweeping, cinematic feel rather than something more overtly hooky. It is a song which grows as a result, but it is a powerful album closer - with the return to the plaintive acoustic intro as the song fades out feeling fitting. Overall, then, and four years on from We Will Ride, Inglorious have returned with a strong new album and a new line-up. Shaw and James seem to have fitted in well, despite their metal and progressive rock backgrounds respectively, whilst James and Parkinson have written a number of strong songs to add to those from the past. My complaint regarding the lack of big lead guitar moments aside, I really like the sound and approach taken here - and there are a number of memorable songs here which will enhance Inglorious' setlist going forward.

The album was released on 6th June 2025 via Frontiers Records. Below is the band's promotional video for Testify.

The Doobie Brothers - Birmingham Review

With Lynyrd Skynyrd behind me, and the memories of another excellent show burnt into my brain, it was time to look forward to one of my most anticipated shows of the year and the second night of my latest trip to Birmingham - a relatively rare UK appearance from the California-based rockers The Doobie Brothers. I have been lucky over the course of my life that I have been able to see the vast majority of my favourite bands live. There are some that have not existed for years, so I have not been able to see those bands for obvious reasons, but there are others that do not visit the UK all that regularly. Whilst The Doobie Brothers have visited the UK more than a handful of times before, both during their original 1970s heyday and more recently, with the exception of last year they had not performed in the UK since 2017 - when they undertook a brief UK tour around an appearance in London with Steely Dan. Before that, they last toured the UK properly in 2010 in support of the World Gone Crazy album - so UK appearances by the band have been relatively infrequent of late. Given that I only started listening to them properly in 2019, too, there had not been any opportunities to see the band live since. This changed last year, when they replaced Steely Dan as the opening act of the Eagles' run of shows at the Co-op Arena in Manchester. I had seen the Eagles before so, despite also liking Steely Dan, I did not get a ticket for any of the shows - and by the time Steely Dan dropped off the bill to be replaced by The Doobie Brothers the travel and accommodation prices were out of my reach, despite there being a few tickets left at some of the shows. It would have been a great double bill, but I just had to hope that the band would enjoy their return to the UK to schedule some shows of their own - and, thankfully, earlier this year those eventual headline shows were announced. Built around an appearance in Hyde Park with Jeff Lynne's ELO, which ended up being cancelled due to Lynne being ill, the band's tour hit a few key UK cities - and they were booked in large arenas which seemed ambitious given their relatively lack of activity here in recent years. Originally at the Utilita Arena, but moved to the BP Pulse Live a couple of weeks ahead of the show for unknown reasons, as was the case with Lynyrd Skynyrd the previous day and Toto earlier in the year, when I got to the venue I saw that it was set up to be made to look smaller - with the stage much closer to the back than usual. The turnout was somewhat similar to Lynyrd Skynyrd's, too, with quite a few empty seats at the back of the room, but the overall vibe seemed a bit stronger than it had been for Lynyrd Skynyrd - with those in attendance keen to have a good time. There was good reason for this, too, with the band hot on the heels of their latest, excellent, album Walk This Road (which I reviewed here) - and with all three of the band's key singer-songwriters from over the years on stage: Tom Johnston (vocals/guitar), Patrick Simmons (vocals/guitar), and Michael McDonald (vocals/keyboards/mandolin); the crowd knew that they were about to witness a tour-de-force of the band's impressive catalogue.

With no support act and the band hitting the stage at 8pm, everything was done and dusted by about 9:45pm. Given the need to get a train back to Birmingham from the NEC complex after the show, this early finish was welcome - and the band crammed plenty of music into their 100 or so minutes on stage. With the band taking the stage once some jazz which had been filling the venue finished, they immediately launched into their version of the Motown-era piece Take Me in Your Arms (Rock Me a Little While) - with vocals shared between long-time touring bassist John Cowan, Johnston, and McDonald. Despite being a cover, the song is a Doobie Brothers classic - and the feel-good driving guitar chords from Johnston, boogie piano from McDonald, and the grooves from both Ed Toth (drums) and Marc Quiñones (percussion/vocals) gave the fast-moving song real zip. The shared vocal approach worked well, too, and the harmonies were tight - even if the backing vocals were a bit low in the mix during the first few numbers. Apart from this, though, the sound was generally very good. The percussion was audible, giving the band their trademark groove, whilst the separation between the guitars and the keyboards meant that everyone shined - particularly during the brief solo spots. The band did not jam extensively, but they did change up the arrangements somewhat - and stretched some songs out longer than they were originally. The McDonald-led Here to Love You felt rockier live, with the track turning into a bluesier piano-led piece rather than the synthy yacht rock of the original. This change helped the song to feel more organic and in-keeping with the band's original sound - but perhaps the first big highlight was an extended Dependin' on You, with Simmons taking the lead. The groovy rock of the original remained, but there was plenty of soloing throughout. Simmons, Johnston, and long-time band member John McFee (guitar/violin/harmonica/vocals) all soloed - as did touring saxophonist Marc Russo. Russo really impressed throughout the night, adding saxophone to plenty of songs which did not originally feature the instrument - and his many solos and countermelodies really enhanced the overall evening. Whilst most of the material played was culled from the band's 1970s albums, four songs from the new album were played. I was really pleased to hear so many of the new songs performed, as veteran bands often have a habit of largely ignoring their new albums, and the title track was thrown at the crowd early. The bluesy stomp is a great addition to the band's canon - with McDonald, Johnston, and Simmons all singing. Simmons sang more of the song live, in the absence of Mavis Staples, and this arrangement is likely how the song should have always sounded. The new material, and each reference the band made to the album, received a warm reception from the crowd - so it was nice to see the new material being well received. The biggest cheers were reserved for some of the big favourites, though, with Johnston showcasing he still has a great voice during a rousing version of Rockin' Down the Highway early on.

With three lead singers, each had a few opportunities to shine. Having McDonald back in the band gives Johnston and Simmons a breather at times, and It Keeps You Runnin' was one such example. McDonald still sounds good, even if he cannot reach those high notes anymore and changes some of the vocal melodies to suit his aging voice, with the mid-paced soulful rocker continuing on many of the grooves already laid down. It was nice to see Johnston playing some of these songs which he did not have much to do with in the past, too, and he occasionally even soloed during these late 1970s numbers whilst also helping out with the backing vocals. At times I did wonder if there was a little 'help' going on from a backing vocal perspective, but with six voices on the stage these moments seemed limited. The middle of the set was largely dominated by newer cuts - with Johnston's breezy Call Me and McDonald's Learn to Let Go straddling the evergreen Minute by Minute which received one of the biggest receptions of the night. The song is yacht rock 101 in many ways, and it was one of the highlights of this middle portion of the set - with McDonald sounding close to his prime during the smooth, snaking tune. Perhaps the best of the new songs, though, was Simmons' Angels & Mercy. It is a track which stood out on the album from the off, and live it sounded great, too, with Simmons' busy bluegrass guitar playing and melodic voice driving the track - whilst McFee added a lot of violin and resonator guitar melodies for depth. Simmons' guitar solo and the closing guitar/violin duel was one of the evening's best instrumental sections - and it showcased, along with a few other guitar solos during the evening, what McFee adds to the band. The last third of the set was largely reserved for rockier numbers - with the driving hard rock of Without You seeing the whole band harmonising together to support Johnston. This vibe was continued on throughout their rendition of the old gospel tune Jesus Is Just Alright, with Quiñones' conga playing really adding a lot to the driving shuffle of the piece. The vocal talent of the band really shone through here, too. The only relatively lower key moment during this part of the show was What a Fool Believes, although the piano-led pop tune received a huge reception - with McDonald delivering the lead vocal in his inimitable style. It was then turned over to Johnston to finish off the main set, with the one-two punch of Long Train Runnin' and China Grove a great double salvo. The former in particular was stretched out with plenty of saxophone additions, a harmonica solo from McFee, and lots of guitar soloing. It showed the band at their loose best - whilst the driving riff of China Grove was the closest the band ever got to genuine hard rock. A three-song encore followed, though, with Simmons' country piece Black Water opening this part of the show - with McFee again on violin, McDonald on mandolin, and the whole band harmonising nicely. McDonald and Russo then performed a saxophone-led version of Amazing Grace as an extended intro to the piano-led Takin' It to the Streets - with McDonald sounding excellent vocally and the band adding plenty of harmonies and heft. It was left to Johnston to close things out once again, though, with the final number being Listen to the Music - which had everyone up on their feet and singing along to the band's signature piece. It was a great way to end an excellent evening of music, and the band took their bows to plenty of appreciation from the crowd. The setlist was:

Take Me in Your Arms (Rock Me a Little While) [Kim Weston cover]

Here to Love You

Dependin' on You

Walk This Road

Rockin' Down the Highway

It Keeps You Runnin'

Call Me

Minute by Minute

Learn to Let Go

Angels & Mercy

Without You

Jesus Is Just Alright [The Art Reynolds Singers cover]

What a Fool Believes [Kenny Loggins cover]

Long Train Runnin'

China Grove

-

Black Water

Amazing Grace [Traditional Christian hymn]/Takin' It to the Streets

Listen to the Music

Given that I had been a big Doobie Brothers fan since 2019, they had become something of a bucket list band for me. I had hoped to one day see them live, but I was growing less confident of doing so - so I was really pleased when this current tour was announced earlier in the year. The band put on a great show filled with most of their famous songs - alongside a nice selection of songs from their new album. They were tight, sounded strong vocally, and bantered a bit with the crowd which is always nice to see - and I was pleased to finally get the chance to hear many of these songs live and add the band to the vast list of those that I have been lucky enough to see live over the years.

Lynyrd Skynyrd - Birmingham Review

With trips to Torquay and Tavistock last week, July had already been fairly busy for live music - and that was before a trip up to Birmingham over the past couple of days which took in two concerts from long-standing, legendary bands from the US classic rock scene. Tomorrow's review will cover my first ever concert by The Doobie Brothers, hot on the heels of their latest album dropping, but today's piece focuses instead on the southern rock genre - with one of the founders of the sound and one of its best current exponents joining forces for an excellent show at the city's Utilita Arena. When discussing southern rock, perhaps there is no greater band that is synonymous with the sound than Florida's Lynyrd Skynyrd. Whilst The Allman Brothers Band may have been the first band to be called southern rock, they always covered more ground with their jazz and blues backgrounds - whereas Lynyrd Skynyrd solidified the true southern rock sound and the genre only exploded following their popularity throughout the 1970s. All of the southern rock bands to follow owed something to Lynyrd Skynyrd and they remain the genre's kings even today. The Lynyrd Skynyrd of today, though, is very different from the band of the 1970s. Everyone knows the tragic story of the 1977 plane crash, which took the lives of both frontman Ronnie Van Zant and guitarist Steve Gaines, but the band's history has been laced with tragedy over the years - to the point now where no-one from the classic era remains. Founding guitarist Gary Rossington had been keeping the band going since their 1987 reunion tour, to commemorate the 10 year anniversary of the plane crash, originally with other classic members who have all since died along way, until he himself died in 2023. I had assumed that the band would end following Rossington's passing, given that he was the only true link back to the 1970s band line-ups, but current frontman since 1987 Johnny Van Zant and guitarist since 1996 Rickey Medlocke, a southern rock legend in his own right thanks to his work with Blackfoot, have kept the band going - continuing to pay tribute to the many former band members who have since died. Medlocke has links back to the 1970s, having been in early versions of Lynyrd Skynyrd before their 1973 debut album was released, so there remains some legitimacy - and many of the current musicians in the band have been around for a number of years at this point. I had told myself that I was no longer interested in seeing Lynyrd Skynyrd live following Rossington's death, but when their latest UK tour was announced earlier in the year it did not take me too long to change my mind. It helped that Blackberry Smoke, a band I like a lot, were going to be opening for them - but I still also knew that the show would be a good one. It had been six years since I had last seen the band live, too, following a 2019 show with Status Quo - and it would be my third time seeing them overall. The Birmingham show made the most sense - so I headed up the UK's second city on Wednesday afternoon, ready for a night of southern rock.

I have been to the Utilita Arena quite a lot recently, having seen both Ghost and Iron Maiden already there this year. I think that it is fair to say, though, that both of those bands drew much larger crowds than Lynyrd Skynyrd - with the venue set up to make it look quite a bit smaller than it generally is, and even with those changes there were still quite a few empty seats towards the back. Still, a number likely in the low thousands were also up for a night of southern rock - and most were in place by 7:30pm when Blackberry Smoke kicked off their hour-long set. This was my fifth time seeing Blackberry Smoke live, and the country-tinged southern rockers always really deliver live - even if I sometimes find their albums to be a bit hit and miss. I was looking froward to seeing them again, and they did not disappoint - delivering an 11-song set which elicited a decent reaction from the crowd. Opening with the country strains of Workin' for a Workin' Man, the band seemed to want to hit the ground running. In general, it was a pretty up-tempo set - with plenty of riffing from the band's three guitarists and the keyboard playing of Brandon Still was high in the mix to allow his piano and organ to shine. Perhaps wanting to cram as much music as they could into their hour slot, the band did not jam as much as they often do. Frontman Charlie Starr still delivered plenty of melodic guitar solos, with fellow guitarist Benji Shanks also laying down some tasteful slide licks, but generally there seemed to be an urgency to the band's set - with the short yet rocking Hammer and the Nail, the feel-good Good One Comin' On, and the relatively more plaintive Pretty Little Lie all coming thick and fast early on. Despite this, though, Starr still made sure to talk to the crowd fairly regularly, coming across as his usual jovial self, and the fun side of the band was later shown through the funky Hey Delilah, which included some big vocal harmonies, and the slightly brasher Let It Burn. These songs all flew by, despite some soloing, but the band did allow themselves to stretch out during the set's centrepiece track Sleeping Dogs. This song often acts as a mid-set wig out, and I have seen the band segue into various different tracks during it. This time, they included a portion of the traditional folk song Midnight Special, made famous by Creedence Clearwater Revival, before rounding back to Sleeping Dogs' raucous chorus. There were clearly a few in who were fans of the band, but most around me did not seem that familiar with them. Blackberry Smoke certainly received a warm reception, though, and the lengthy workout around Sleeping Dogs likely helped. By this point there was not a huge amount of time left, but a couple more quicker numbers were run through before the band's signature ballad One Horse Town was the only real slower moment of the set. It elicited a little bit of a sing-a-long with those in the know - before the band's ever-present closing number Ain't Much Left of Me was wheeled out to bring the hour to an end. It opened with as snippet of Little Feat's Willin' before a portion of Led Zeppelin's When the Levee Breaks was also included during it - meaning that the set ended on a relatively lengthy jam with some rootsy energy. The setlist was:

Workin' for a Workin' Man

Hammer and the Nail

Good One Comin' On

Pretty Little Lie

Hey Delilah

Let It Burn

Sleeping Dogs/Midnight Special [Traditional American folk song]

Old Scarecrow

Run Away from It All

One Horse Town

Willin' [Little Feat cover]/Ain't Much Left of Me/When the Levee Breaks [Led Zeppelin cover]

Following a 30 minute changeover, the lights went down a short film detailing the early history of Lynyrd Skynyrd was played on the big screen. The band filed on as this played, and once it concluded they launched into their perennial set-opener Workin' for MCA. The mid-paced and riffy rocker has always been a great way to kick off a show - and from the off the band sounded tight and powerful. The first couple of numbers were perhaps a little boomy sound-wise, but these initial niggles were soon brushed off - and the mix was generally clear to allow the nuances of the band's sound to shine. Medlocke and Mark Matejka (guitar/vocals) traded solos during the barrelling rocker, showcasing their guitar firepower, whilst latest guitar recruit Damon Johnson, whom I had previously seen in both Thin Lizzy and Black Star Riders, largely stuck to rhythm early on. Johnny remains a powerful and commanding frontman, too, and he has lost none of his voice in his near 40 year stint filling in for his departed brother. The band had 90 minutes to play with, and what essentially followed, with one exception, was a fan-favourite and hit-filled setlist. My main complaint with Lynyrd Skynyrd in recent years is their unwillingness to really shake up the setlist - but I understand why they do not. Whilst I might care about the band's more recent work, 90% of those in attendance likely did not - and this was very much a set to please the masses. This was clear when three songs from 1977's Street Survivors were played as something as a suite, with the boogie blues of What's Your Name, complete with lots of barroom piano from keyboard player Peter Keys, the more plaintive and slightly progressive That Smell, and the upbeat bluegrass/rock mash-up of I Know a Little all going down well. That Smell always showcases the slightly more complex side of the band's songwriting - whilst Matejka in particular impressed during the high-octane leads of I Know a Little. Another highlight early on was a great rendition of the shuffling Saturday Night Special, a groovy tune which is another which showcases that the band have always been great musicians. Southern rock often has a feel-good and simplistic feel, but Lynyrd Skynyrd have always had interesting and intricate arrangements - with the chugging riff and off-kilter chorus of Saturday Night Special a good example of such. Perhaps the real highlight for die-hard fans, though, was a mid-set inclusion of the deeper cut Cry for the Bad Man. This is not a song that has been played all that often in more recent years, so I really enjoyed hearing the moody semi-ballad - which Johnny owned vocally. Despite the time constraints, too, Johnny made plenty of effort to speak to the crowd - but I felt that he was not getting the reception he would have liked. I sometimes find crowds at all-seated classic rock shows a bit unresponsive - which was a shame in this case as the band's music deserves energy. This did not knock them back, though, with Medlocke taking the lead on The Needle and the Spoon being another highlight - before Tuesday's Gone was dedicated by Rossington. Johnson started to solo a bit more as the set progressed, with this one and Simple Man featuring him a bit more. He seems to fit nicely in the band, complimenting Medlocke and Matejka nicely, and he also led the way during the riffy Gimme Three Steps. The main set was coming to an end by this point, but an extended workout during Call Me the Breeze and the ever-present Sweet Home Alabama ensured that the crowd were on their feet by the end. Following a brief break, the band came back out for the obligatory rendition of Free Bird - but the lengthy track always really comes alive on stage. Johnny always sings it well, and Johnson's slide guitar playing captured Rossington's spirit nicely. It was left to Medlocke to close things out, though, and his gargantuan solo brought the curtain down on another excellent set from the legendary band. The setlist was:

Workin' for MCA

What's Your Name

That Smell

I Know a Little

Saturday Night Special

Down South Jukin'

Gimme Back My Bullets

Cry for the Bad Man

The Needle and the Spoon

Tuesday's Gone

Simple Man

Gimme Three Steps

Call Me the Breeze [J.J. Cale cover]

Sweet Home Alabama

-

Free Bird

Despite having no members left from the band's 1970s classic era, Lynyrd Skynyrd remain a fantastic live act and their Birmingham show this past Wednesday was very enjoyable. There has been a long lineage through the years which keeps the band feeling legitimate - with many of those on stage having been a part of the band for a long time at this point. Clearly there is still an appetite for the band live, even if the turnout and the crowd itself was a little on the disappointing side (touring at the same time as The Doobie Brothers likely will not have helped), and hearing those classic songs live again after a few years was a lot of fun.

The Doobie Brothers' 'Walk This Road' - Album Review

Over the past few years, the California-based rockers The Doobie Brothers have risen up the ranks and have become one of my favourite bands. They were a band I was familiar with in name-only for years, and had even picked up a few of their LPs cheaply, but in 2019 I saw a documentary about yacht rock which prompted me to finally give them a go. Given the nature of the documentary it focused on the Michael McDonald era of the band, but I think the first album I heard was 1973's The Captain and Me. I was basically hooked from the off, and the band's third album remains a real favourite - but I love the vast majority of what they have put out over the years, with much of the stuff released since their peak being enjoyable. Sadly, though, in more recent years, the band have not been as focused on releasing new music. They have remained a busy touring act over the years, but they clearly lost interest in writing new material for a while. This all changed in 2021, though, when the band released Liberté (which I reviewed here) - which was their first album of original material in 11 years, following 2010's World Gone Crazy. Given that my love of the band was still quite fresh at that point, Liberté seemed like a real event. It capped off my Doobie Brothers fandom, giving me something new to digest having had my fill of the band's excellent catalogue over the previous couple of years. I listened to Liberté a lot as a result, and I even included it in my Albums of the Year list in 2021. It is still an album which I play quite regularly, even though it is no classic, but I found it to be a feel-good album which dropped just things were getting better following the pandemic - so I associate it with that positive time. I was just happy to have something new from the band - and I hoped that it would not be the last that we heard from them. Thankfully, then, four years on from Liberté, The Doobie Brothers have struck again - having released Walk This Road last month. The key difference between Liberté and Walk This Road is that the latter is the first to feature McDonald as a full-time members of the band since 1980's One Step Closer. He has contributed to a few other albums as a guest, including the country-tinged re-recordings release Southbound from 2014, but Walk This Road is the first album he has contributed to properly in over 40 years. It is the first album that all three of the band's main singer-songwriters: Tom Johnston, Patrick Simmons, and McDonald; have properly contributed to since 1976's Takin' It to the Streets - and even on that album Johnston already had one foot out of the door so his contributions were limited. It is also the first time that all four of the current official members of the band, including instrumentalist John McFee, have made an album together. As such, Walk This Road is quite a historic release - and it seems to have received quite a lot of attention as a result. Format-wise, though, Walk This Road is similar to Liberté. Once again, John Shanks has produced the album - and he contributed to it significantly from both a songwriting and performance perspective. Each song was essentially written by one of the band members with Shanks - with each singer then supported by some of the other band members and a vast cast of notable session players, including names like bassist Pino Palladino, keyboard player Jeff Babko, and drummer Victor Indrizzo.

As such, not all of the band members are featured on every song. McFee, for example, only plays on four songs - but The Doobie Brothers sound is very much intact as was the case on the previous album. Despite Shanks seemingly responsible for the dumbing down of Bon Jovi over the years, he seems to work well with The Doobie Brothers - and my previous concerns over his involvement waned once I heard Liberté. With McDonald back, there is a bit more of the band's yacht rock side on show this time - but each element of their classic sound is very much represented here, with Johnston, Simmons, and McDonald all bringing their unique talents to the album. Of the 10 songs here, each singer essentially leads on three songs - with the opening title track featuring all three sharing the lead vocal duties. A shuffling drum groove and McFee's slide guitar opens up the McDonald-penned piece - and the groovy piece really harks back to the rockier of his previous contributions to the band mixed with the band's earlier drive. His voice might be a bit deeper than it once was, but he remains a strong and soulful singer - and he drives the first verse with his smoky vocals and boogie piano playing. A simple chorus is filled with the band's typical harmonies, horn swells, and more of McFee's excellent slide playing - before Johnston sings the second verse, sounding as strong as ever. McFee may not feature heavily throughout this album, but his slide playing during this song is great - and he throws in a bit of a solo following the second chorus. Strangely, though, gospel singer Mavis Staples also adds her voice to the song, singing the third verse. She sounds great, particularly as a foil to McDonald - but it means that Simmons' role feels diminished and he does not contribute as much as the other two. The song is great overall, though, and I can see it becoming a real hit with the fanbase thanks to its hooks and grooves. If Simmons did not make his mark during the first track, then his fast-paced country rocker Angel & Mercy showcases him at his best. His busy guitar lines and husky voice brings the smooth rocker to life - whilst McDonald adds his trademark backing vocals and Hammond organ throughout. This is another track with a lot of contributions from McFee - from his opening violin melodies, through some bluesy harmonica, to some mandolin additions. His various instruments ensure that the country-esque side of the band is on show - alongside Simmons' bluegrass guitar style which really drives everything. Simmons' later guitar solo is excellent, and packed full of melody, and the closing instrumental section which sees Simmons and McFee trading guitar and violin melodies back and forth is full of organic energy. The first Johnston-penned track here is Call Me - which is a laid back rocker which is typical of his style. Electric and acoustic guitar chords create a big sound, whilst occasional bluesy leads add colour - and the slightly brash vocal style of Johnston adds an edge. Like the opening song, too, there is a horn section employed on this piece - with regular touring saxophone player Marc Russo included this time. Apart from the guitar chug, the horn embellishments, and the occasional organ swell from Babko, there is little to complicate the arrangement - and the song feels like a Johnston classic from the 1970s. It is an organic rocker with a decent energy and a smooth vibe - with a snappy chorus providing a strong hook and Johnston laying down a tasty guitar solo.

Despite writing the title track, Learn to Let Go feels like McDonald really settling into his classic sound. This is very much him at his yacht rock best, with the song based around a tight drum groove which recalls the style of the late Jeff Porcaro and a mix of subtle electric piano drive and swirling synths. Simmons' electric guitar provides a subtle picked melody, but this is very much a keyboard-driven piece - whilst the bass playing of session king Sean Hurley adds a lot of depth. McDonald's voice oozes soul here. He might not be able to reach the highs of the past, but his deeper tones remain - and he still possesses all of the class on which he built his reputation. His vocal melodies are classic McDonald - with the chorus packed full of smooth hooks and harmony vocal counterpoints, embellished by Johnston. Simmons lays down a laid back and melodic guitar solo, too, and the track is very much a reminder of 1978's Minute by Minute in style. State of Grace is Simmons' second contribution, and his love of country music is very much on show here - with the track being an acoustic-based ballad. Gentle acoustic guitars and his distinctive voice drive the track, whilst a shuffling drum groove and plenty of keyboards fill in all the gaps. Melodic nuggets are thrown in by McFee - with his pedal steel getting quite a workout on this track. His playing is not as cutting as it was during the title track, but the pedal steel is used in a more atmospheric manner than his previous slide guitar efforts - gently rising through the warm keyboard and acoustic guitar bed. There are certainly stronger songs here, but a Simmons ballad is to be expected on each Doobie Brothers release - and this is a good example of such, with the atmospheric feel also showcasing the band's late 1970s sound at the same time. Here to Stay shines the spotlight back on Johnston, with the track being pretty similar overall to Call Me - insofar as it is an organic rocker with more of a strong guitar presence, thanks to some harmony guitar leads, and more of a straight ahead harder rock drum beat. The opening vocal harmonies, which see Johnston, Simmons, and McDonald join forces, showcase the remaining vocal power of the band - but this song is Johnston at his best overall, with his powerful voice rising above the more cutting guitars and the organic keyboards which back him up. The greater focus on keyboards and vocal harmonies, though, give this song a more cinematic feel than is often the case with Johnston's songwriting - and the song feels pretty big overall. This works well in my opinion - but Johnston still finds room for a melodic guitar solo. The Kind That Lasts is another McDonald piece - with the track being another slightly more rocking number compared to his more famous yacht rock style. There are shades of pieces like It Keeps You Runnin' throughout the track, but it is more organic and bluesy overall - with Shanks adding some subtle slide guitar and spiky blues riffing this time, whilst McDonald drives everything with his barroom piano playing and organ embellishments. McDonald has sometimes excelled at this type of song, though, and this is another pretty strong effort - with some excellent guitar playing throughout from Shanks and lots of varied keyboard playing from McDonald himself. There are strong rock grooves which keep the song feeling fresh - whilst McDonald's vocals are full of character despite him feeling bluesier than usual here.

New Orleans is Johnston's last contribution, but the track is another classic of his style. All of his contributions to this album are upbeat and pretty rocking - and this track is no different, despite McDonald adding some accordion at times and Babko's prominent piano playing. Johnston's guitar playing still drives the song, though, and he unleashes a few leads throughout - including a couple of pretty incendiary bluesy solos later on. There are moments where it sounds like this song is about to slow down, and turn into something swampier, but these moments are short lived - with the piece overall being another rocker with a strong drum groove and plenty of guitar firepower given the context of the album. Credit also needs to go to Sharlotte Gibson for her soulful counterpoint and harmony vocals during the closing moments of the song - where she backs Johnston nicely and adds plenty of power of her own. McDonald's last contribution to the album is Speed of Pain, another classic yacht rocker which is driven by his keyboard playing and soulful vocals. Whilst this song has grown on me quite a bit, and the chorus is masterful thanks to some organ additions and vocal melodies which are a bit different from the norm, I do not really like the programmed drums here. Indrizzo, who does a great job throughout the album, plays on part of the song - but early on the programmed drums are off-putting as they sound fake and tinny. I just wish real drums had been used throughout - and when the song gets going it sounds much better as a result. There are also some great instrumental moments which feature piano melodies and plenty of other keyboards for depth - so this, plus the emotional chorus, makes the song a strong effort. It just loses a point due to those twee programmed drums. The album then comes to a close with Simmons' Lahaina, a song which has been floating around online since 2023 - as it was released as a single to raise money for the victims of the Hawaii wildfires of the same year. Hawaii resident Mick Fleetwood (John Mayall & the Bluesbreakers; Fleetwood Mac) drums on the song in place of Indrizzo - whilst Hawaii-based musicians Jake Shimabukuro and Henry Kapono add ukulele and backing vocals respectively. Overall, the song is a typical Simmons smoother track - with lots of busy acoustic guitars, a slightly cinematic arrangement thanks to some dense vocal and keyboard layers, and an emotional bent. Simmons sounds great here, his voice perfectly suited to the piece, whilst McDonald adds plenty of backing vocals as well as a keyboard-led instrumental mid-section. McFee adds some resonator guitar melodies towards the end of the piece, too, and the album ends on an emotional and plaintive note - with Simmons' voice and the keyboard playing of McDonald seeing things close out smoothly. Despite its relatively short length, which I generally welcome in an era of overlong albums, Walk This Road is packed with variety thanks to the three songwriting and vocal styles of the core band members. All of the sides of The Doobie Brothers are represented here, from rockier pieces, through country and bluegrass, to the smoother yacht rock vibes of the late 1970s - with the authenticity which the band has always showcased very much on display. I liked Liberté a lot, but this album feels stronger - and it is easily their best album since 1989's Cycles, showcasing that the band have a late-career highlight on their hands with this latest release.

The album was released on 6th June 2025 via Rhino Entertainment Company. Below is the band's promotional video for Angels & Mercy.

Mostly Autumn - Tavistock Review

Given the sheer amount of music that I enjoy, it is hard to pin down my true favourite band. I tend to either say Mostly Autumn or Marillion if someone asks but, given that last night I saw them live for the 49th time, I think that the former really has to be the correct answer. They were the first proper band I saw live back in 2006 - and they essentially kick-started my true love of rock music and the gig-going lifestyle that I now lead. In more recent years I have not seen the band live as often as I used to, largely as they just do not play anywhere near as many shows as they once did, but I have still seen them live at least once a year since 2006 - with the exception, for obvious reasons, of 2020. I have always been lucky that one of the venues which they return to every year is The Wharf in Tavistock. This was the venue where I first saw them back in 2006 - and they have played there essentially every year ever since. Occasionally they used to play in Penzance and Exeter either instead of or as well as in Tavistock - but Tavistock has really become their South West venue of choice and they have generally been well-received there, with their crowds in recent years having swelled again following a few years where they seemed to drop off a little. Last night's show was also particularly interesting as it was the first time I had seen the band since they released their latest album Seawater (which I reviewed here) earlier in the year. It is always great to see which songs from a new album will make the setlist - and I was really hoping for quite a setlist shake up. Last year's shows featured a strong transitional set, bringing back a few old favourites which had not been played live for a number of years and seeing some of the newer ones which had featured regularly over the past few years given rests. In some ways, prior to last year, the band's set had not changed that significantly since White Rainbow (which I reviewed here) was released back in 2019. Many of the songs played from the 2019 album did not stay in the set for that long, particularly given that the band lost a whole year of touring, and by the time the 2021 dates rolled around Graveyard Star (which I reviewed here) was out. The Graveyard Star material suffered a similar fate, with early shows following the album's release featuring a healthy number of new songs before a number of them fell by the wayside. It is a shame that both White Rainbow and Graveyard Star suffered this fate - meaning that 2017's Sight of Day (which I reviewed here) was the band's last album that really seemed to feature heavily live. The 2017 album was even played in full at select shows - so it was a real shame that many of the great songs from both White Rainbow and Graveyard Star only featured live a handful of times or were never played live at all. Given that Seawater is another excellent album from the band, I was hoping that lots of the songs would feature live - and some of the setlists I had seen from shows earlier in the year gave me hope of such. I was really ready for a trip to Tavistock, then, which took place on a very hot evening. The venue was pretty warm throughout the show, then, particularly given the healthy turnout - and perhaps not helped by the admittedly excellent curry I had eaten beforehand.

Thankfully, once the lights went down and the sounds of nature filled the PA, it was clear that my wish was going to be granted. The band opted to open with the lengthy Let's Take a Walk, Seawater's opening track, and the joyous tune really set the tone for the night to follow. The slow-build of the song's opening was played over the PA as the band took to the stage, with Bryan Josh (vocals/guitar) singing the opening lyrics alone against this backing - with the rest of the band crashing in in a big way once a big drum fill heralded the change of pace. I really like how the song worked as an opener. The initial slow-burn helped to set a calm tone - and once the band launched into the folky hard rocker proper the typical Mostly Autumn sound was apparent, with frontwoman Olivia Sparnenn-Josh laying down plenty of vocal harmonies and multi-instrumentalist Angela Gordon adding some flute to a later section. What followed was a further 19 songs over the course of two sets which could well have made up my favourite Mostly Autumn setlist for a few years. In total, eight songs from Seawater were featured (seven from the main album and one from the special edition), a few old favourites were reinstated, and a handful of songs which needed a rest were dropped. It was a set which brought the best out of everyone, too, with Gordon in particular playing a lot of flute - and Josh seemed to sing more than usual which was welcome. My only real criticism of the night was that Sparnenn-Josh was quite low in the mix at times, which was apparent during second number Winter Dreaming, but this did improve somewhat as the set progressed. Regardless, the organic hard rock of Winter Dreaming sounded great live, with Iain Jennings (keyboards) laying down a big Hammond organ solo during it - before this harder rocking vibe was continued via Deep in Borrowdale. This was a song which had not featured for a few years, so it was great to hear it live again. It was one that used to feature a lot, so I was glad when it was dropped - but having not heard it much in recent times it was a treat to hear it again. Josh's driving riff and gritty vocals filled the room - whilst Sparnenn-Josh's big chorus shone, as did the folky mid-section with some playful flute melodies. Keeping the folky theme going, the plaintive intro to Western Skies also featured more flute, before Jennings' symphonic keyboards transformed the song into the cinematic rocker that it is. Gordon was also featured heavily during the folky Why Do We Remember All the Rain - a song which is a real hark back to the band's early days. Her whistle melodies and the acoustic guitar of Chris Johnson (vocals/guitar) set a warm tone throughout - with Sparnenn-Josh singing delicately as the song unfolded. The closing instrumental section was full of organic bombast, too, and this then gave way to the epic Future Is a Child - possibly my favourite song from the new album. The mix of the downbeat verses and the up-tempo chorus made for a spectacle - before Gordon once again added some gorgeous flute melodies to lead into one of Josh's best guitar solos of the night. It is the band's modern take on Evergreen, and it deserves to be in the set for years to come. Johnson's Silver Glass and a reinvigorated The Night Sky then brought the first set to a close - with the closing flute/guitar solo section of the Pink Floyd-esque latter being another overall highlight.

Following a break, during which it was good to get some fresh air, the band returned to the stage and the familiar drum machine and synths of Distant Train filled the venue. The classic instrumental piece had been absent from the set for quite a few years, so it was great to hear it live again, with more excellent flute and some symphonic keyboards from Jennings. Transitioning into Answer the Question then brought back memories of Mostly Autumn gigs past - with the chugging rocker seeing both Josh and Sparnenn-Josh singing before Jennings closed things out with an excellent piano-led section. This duo was an old-school opening to the show's second half, but the next four songs all came from Seawater - so it was great to be hit by so much new material at once. This suite of new songs covered a lot of ground, too, from the melancholic, atmospheric rock of My Home to the soaring power ballad If Only for a Day which was a real showcase for the vocal power of Sparnenn-Josh. Perhaps the overall highlight of this segment of the show, though, was the excellent When We Ran. Slightly shorter live than on the album, due to the opening section not being played, the synth-driven rocker worked really well - and it already feels like a piece which is at home in the set. Josh's reflective lyrics and the gorgeous vocal harmonies of Sparnenn-Josh brought the song to life - and it is one of the songs on the new album which continues to grow on me. It turned out to be a real barnstormer of a live track with lots more Josh soloing and another closing folky instrumental section. The rest of the set was largely made of regulars from the past few years - but they were all songs that I do not mind sticking around. The main songs which I thought needed a rest have generally been dropped - with some of my personal favourites remaining. The emotional Back in These Arms, Graveyard Star's only representative in the set, worked well following the ballad If Only for a Day - whilst the poppy rock of Into the Stars was a brief moment of upbeat respite following a number of quite emotionally-charged pieces. I will always enjoy hearing Johnson's excellent Changing Lives, too, with the alt-rocker giving the set a different flavour briefly - and the closing section featured a fair bit of singing from the crowd. As has often been the case in recent years, too, it was left to the gargantuan White Rainbow to close out the set - with the multi-part piece still impressing as a live number. From the swirling keyboards of the song's intro, Josh's organic initial vocal-led section, the more symphonic section which introduces Sparnenn-Josh, and finally the acoustic-led, upbeat closing section, the piece represents everything which is great about Mostly Autumn - and the band left the stage following it closing to large cheers. It was 11pm by this point, but a curfew at The Wharf has never been strictly enforced - so the band came back out for two further songs. The ever-present Heroes Never Die kicked off the encore section, with Josh's vocals and guitar solo as heartfelt as always, before Sparnenn-Josh took over for the big ballad Tonight - another song which has been welcomed back over the past year or so. Josh introduced the band during the song, too, and it brought another fantastic evening of live music in Tavistock to a close. The setlist was:

Let's Take a Walk

Winter Dreaming

Deep in Borrowdale

Western Skies

Why Do We Remember All the Rain

Future Is a Child

Silver Glass

The Night Sky

-

Distant Train

Answer the Question

My Home

Be Something

When We Ran

If Only for a Day

Back in These Arms

Into the Stars

Changing Lives

White Rainbow

-

Heroes Never Die

Tonight

I was really hoping for a big setlist shake up at this show, and I got it. It was great to hear so many of the new songs live for the first time - and there were also a few old treats included again which I had not heard for a while. I always enjoy a Mostly Autumn show, whatever they choose to play, but the setlist felt really well-structured and fresh last night - with Seawater certainly an album ripe for plundering live. Despite the heat in the room I think that the band and the crowd had a great time - and I am already looking forward to seeing the band live again, which will be my 50th Mostly Autumn show.