I have always loved going to gigs in Nottingham - and it is a real shame that I do not get there very often these days. When I was living in Leicester for university I was often in Nottingham - particularly during my second and third years of study once a proper routine had been established. Many of those shows took place the famous Rock City - a venue which I probably would have said was my favourite at the time. I think that KK's Steel Mill in Wolverhampton has now overtaken Rock City, as it seems to be more versatile and I just seem to end up there much more regularly - but Rock City is still a nostalgic place for me. As such, for the first of my two nights in Nottingham catching gigs, it was good to return to the venue for the first time for a while. At first I did not think that I had been there since seeing Skid Row in 2019 - but I then remembered a 2022 Reckless Love gig that I attended. Still, it had been three years since last visiting a venue I once was at almost monthly - and it was good to get back to Nottingham for the first time since last summer's trip to catch Armored Saint at the Rescue Rooms. The reason for my trip to Nottingham this time, though, was to catch the Scottish hard rock/heavy metal act The Almighty on their latest short run of UK shows. Since reforming in 2023, The Almighty's brief winter tours have become a staple of my gigging calendar. I saw the band for the first time in 2023 in London - and again last year in Wolverhampton. Both the 2024 and 2025 tours were announced in 2023, just after the band's first successful run - which means that I had had this Nottingham ticket for just under two years. So good was that London show that I immediately bought tickets for both of the following tours - and The Almighty have gone from being a band I was casually into but likely preferred frontman Ricky Warwick in other bands to being an essential band that I listen to regularly. Given that they had not existed for many years, it has been a treat getting to see them live recently - and hopefully there will be more to come. At the time of writing, the band have no more headline dates announced. They will be playing with Iron Maiden at a big Knebworth show next summer and at the Maid of Stone Festival - but that is the only live activity which is currently public knowledge. I am not expecting too much, as the band's reunion has been quite deliberately low key - but they have still played a handful of other shows outside of these brief UK tours, including a couple of festival appearances alongside a trip to Japan. Warwick did finish Saturday's gig by saying 'See you all next year', which suggests that there is more to come apart from what is known about, but the band's loyal fans will just need to wait and see. A Saturday night at Rock City always means an early show, too. Doors were at 6pm and everything was done by 10pm. This was welcome on Saturday, as I had arrived in Nottingham much earlier than planned - due to most of the trains between Cardiff and Nottingham being cancelled due to CrossCountry's on-going incompetence. As such, I got to Nottingham just after 11am - and had a good wander around the various record shops before getting some food and checking into the hotel. After having a bit of a nap as the football scores came in, I felt ready for a night out in Nottingham - so walked through the buzzing city centre, with all its Christmas decorations up, ready for some excellent early 1990s metal.
The Almighty have brought decent support acts along for the ride on each of their reunion tours - and this time was no different. Tamworth's Wolfsbane were easily the best of the three, and the two bands go back to their respective early days - and, I think, had toured together before. I like Wolfsbane quite a lot, so I was looking forward to seeing them live. I had seen them before - but it had been a few years since I last saw them, and their 45 minute set was a great way to get the show underway. As was the case throughout the whole night, as is common at Rock City, the sound from the off was excellent. Wolfsbane did not have to battle through typical support act sound - and the band's fast-paced, punky metal shone through from the off. Despite having a short set, Wolfsbane managed to fit in 12 songs - with nearly all of their albums represented. There was no messing around from frontman Blaze Bayley and the band, then, although it did help that their songs are generally short, fast, and furious. Opening with the anthemic Steel, it was clear from the off that the band were not going to have to do a lot to get the crowd onside. Plenty in attendance were obviously Wolfsbane fans as well as Almighty fans - and Bayley had the opening song's chorus sang back at him from the off. Much of the set featured old classics, but a couple of newer songs were also played. The snappy Spit It Out was deployed early on, with no drop in energy levels apparent - whilst the aptly titled Rock City Nights was another new cut that the crowd were treated to. Given that the band have recently re-recorded their debut album, it was inevitable that a number of songs from it featured. The live favourites were held back for later - but deeper cuts like Fell Out of Heaven were certainly well-received - even if ever-presents from other albums like Loco and Temple of Rock were likely better received. No song played was poorly received, though, and Wolfsbane coasted on the energy from the crowd as a result. Even another newer cut in Smoke and Red Light was greeted like an old friend - with Bayley telling the story of how the band were formed, relatively locally, during such. The band's time on stage flew by, and it did not seem like long before their true anthem in Man Hunt was wheeled out - raising the energy levels higher than before. Everyone sang the song's punky chorus loudly, previewing later reactions, whilst it was left to Paint the Town Red to close out a powerful opening set from the four-piece. The setlist was:
Steel
Spit It Out
Fell Out of Heaven
All or Nothing
Rock City Nights
Loco
I Like It Hot
Temple of Rock
Smoke and Red Light
Kathy Wilson
Man Hunt
Paint the Town Red
Half an hour or so following Wolfsbane's strong set the lights went down again - heralding The Almighty taking the stage. The band are a very much a no-nonsense outfit, so there was little standing on ceremony. As such, the band's hard-driving metal sound was evident from the off - with the muscular Takin' Hold kicking off a 20-song set. As was the case last year, too, the band had shaken up the setlist again for this third tour. They still only drew from their first four albums, which has largely been the case since reuniting, but given the rarity of the band's shows these days I doubt that many would begrudge them largely sticking to old favourites. Despite this, though, the set did include four songs which I had not seen them do live before. One of these, Love Religion, came fairly early on - but for the most part the first third or so of the set was made up of true anthems. The shout-along Jonestown Mind was wheeled out early on, perhaps to capitalise on energy levels still running high from Wolfsbane's set - whilst songs like Over the Edge and Power showcased the band's mid-paced, riffy metal sound nicely. As has been the case since their reunion, too, the band's performance was tight and full of energy. I have seen Warwick in a number of bands now, but with The Almighty he always seems to be at his best. It is clear that this heavier music was his first love and his performances with the band always seem more intense than at his solo shows or with Black Star Riders. The rest of the band are no slouches, either, with Tantrum (guitar/vocals) filling the set with plenty of high-octane, yet bluesy, guitar solos - whilst bassist Floyd London, now sporting an impressive beard, always seems to perform as if his life depends on it. Drummer Stump Monroe is a hard-hitting powerhouse, too, and the off-kilter grooves on tracks like Addiction showcased his particular style nicely, shaking the venue walls. It was another song which was sung loudly by the crowd, too, as were later anthems such as Welcome to Defiance and Wrench. The middle part of the set included a couple of lesser-played songs, though, including Lifeblood and semi-ballad Out of Season - the latter of which had never been played live before this tour. These deeper cuts set up a final third of the set which was a bit more atmospheric and brooding - with both Bandaged Knees and Jesus Loves You...But I Don't both making appearances. There were still plenty of anthems featured here, though, including the more hard rocking Devil's Toy and the Thin Lizzy-esque riffing of Destroyed. Both saw plenty of singing from the crowd - whilst the die-hard, long-standing fans were rewarded by a rare outing of old b-side Thunderbird. The aforementioned Jesus Loves You...But I Don't acted as a strong penultimate number of the main set, with some strong soloing from Tantrum - but it was left to Wild & Wonderful to bring it to a close. As expected, there was a lot more singing during the song's big chorus - and as the crowd left the stage there was plenty of cheering for more. The band, of course, obliged, and a two-song encore followed. Another brooding ballad in the form of Little Lost Sometimes kicked this encore section off, with Warwick armed with his acoustic guitar, whilst the band's ever-present anthem Free 'n' Easy brought the rollocking set to a close - again, complete with more singing. The setlist was:
Takin' Hold
Jonestown Mind
Over the Edge
Love Religion
Power
Full Force Lovin' Machine
Addiction
Welcome to Defiance
Lifeblood
Out of Season
Wrench
Crank and Deceit
Bandaged Knees
Devil's Toy
Thunderbird
Destroyed
Jesus Loves You...But I Don't
Wild & Wonderful
-
Little Lost Sometimes
Free 'n' Easy
The Almighty's annual winter tours have become something I look forward to each year - so it seems strange that nothing else is currently planned. From what Warwick said from the stage, though, I would not be surprised if another run of shows was announced soon - as the band seem to be having fun each time they step on the stage, and their fans across the country seem to enjoy coming out night after night. Saturday in Nottingham was another sold out show for the band, as most of their reunion shows have been, so whilst there is demand I imagine the band will keep coming back.
As I am writing this, November is now over and I am back home from another lengthy weekend away taking in live music. Most of the weekend's fun took place in Nottingham, somewhere I had not been to for over a year, but it all started off in Wales - with a night at the Tramshed in Cardiff. November was quite busy - not as busy as October, but there was still a lot going on both locally and further afield. This past weekend feels like the last truly mammoth, multi-city weekend away of the year - although there are still two busy ones left before Christmas and 2026's already busy gig calendar takes over. Starting with Cardiff, then, it was nice to return to the Welsh capital for only the second time of the year. Considering that Cardiff is relatively close to home, it is not somewhere that I tend to go very often. I last visited the city back in January, when I saw Trivium and Bullet for My Valentine pack out the arena - but last night took me to the smaller Tramshed, a venue which is just on the outskirts of the main city centre. I had only been to the venue a couple of times before: once to see Y&T back in 2019 and again last year to see KK's Priest. It is a decent venue, but it has never been a favourite compared to other venues elsewhere of a similar size. Cardiff is not exactly brimming with great music venues, then, although I have always liked the arena there despite it being on the small side. It is a shame - but with Bristol so close, which has always been a great place for live music, it is easy to see why Cardiff lags behind somewhat. The reason for the trip to the city, then, was the Italian gothic metal five-piece Lacuna Coil. Despite being somewhat ahead of the curve when it came to that gothic/atmospheric metal sound fronted by both male and female vocalists, Lacuna Coil have never really grown to the size of many of their non-Italian peers. I feel like Lacuna Coil could have been huge and were teetering on the edge of becoming so in the mid-2000s, but their brief turn towards a more nu-metal and alternative rock sound likely put some of their original fans off - and the shift in tone did not catch on enough to really catapult them into the big leagues. That being said, though, Lacuna Coil have still managed to have a great career - and there are not many bands out there that genuinely sound like them, especially now. After floundering with their identity somewhat in the late 2000s and early 2010s, during the last decade or so the band have reinvented themselves as something of a heavier act, with groove metal riffing, gothic atmospherics, and the clean/harsh vocal double team of co-frontpersons Cristina Scabbia and Andrea Ferro. The band's last three albums are easily their best releases outside of their early heyday, too, with Sleepless Empire (which I reviewed here) their latest effort from earlier this year being another strong one. Despite having been a Lacuna Coil fan since around 2008, when I first saw them live with Bullet for My Valentine, they are not a band I have seen live too often. In fact, Friday night was only my third Lacuna Coil concert - and my first since 2019 when I caught them in Bristol. This was not for lack of interest, or opportunity, but for whatever reason the band's tours always fell during busy times. I was glad to be able to tie this latest Cardiff show into my Nottingham weekend, then, and it proved to be a good start to the long weekend. It was a cold walk down to the venue from where I was staying - but thankfully the potent showers which made their presence knows throughout the weekend held off during such.
The venue actually opened early, which is a rarity, but it was good to get in out of the cold. What was less good, though, was the over an hour wait before the support act started. This seems to be becoming more of an issue of late - and I would rather venues either opened later or shows finished earlier than have lengthy periods of waiting when inside. It is not as if it was easy for people to spend lots of money at the bar, either, as the Tramshed is one of those venues with no spare space. The best venues have space to move around at the rear and by the bars even when full - but the Tramshed is not such a venue. As such, most likely just felt penned in until Nonpoint took to the stage. Nonpoint have been around since the mid-1990s and were part of the original nu-metal scene. Nu-metal is one of the metal subgenres that I have the least amount of interest in, so I was not really looking forward to Nonpoint's set - but I actually ended up enjoying it more than I thought I would. It was certainly not a classic showing, nor will I be going out and buying all of the band's albums, but their 45 minutes on stage was not as objectionable as I thought it was going to be. The band did not seem as influenced by rap or hip-hop as some nu-metal bands are - nor were their riffs as mechanical. The riffs were certainly influenced by the core nu-metal sound, but the guitar tones and melodies felt a bit more typically metal - and the Dominican and Puerto Rican ancestry of some of the band members allowed for some Latina influences and the occasional Spanish lyric. These facets helped to set the band apart from the nu-metal crowd as a result - and there was quite a bit of energy throughout their set, with frontman Elias Soriano coming across as likeable and capable with a strong voice. As such, the band's choruses were generally on the stronger side - and, for a support act, they managed to conjure up quite a bit of energy. There were even a handful of guitar solos thrown in, a rarity in nu-metal, which also helped me to enjoy what they were doing. I could have done without the slightly leaden version of Phil Collins' In the Air Tonight, and I have generally never seen the mass appeal of that song in any case, but otherwise Nonpoint did their job and warmed the crowd up nicely for what was to come. Perhaps Nonpoint being on the bill in the first place is telling as to where Lacuna Coil see themselves in the metal scene - and they have probably always felt more at home with nu-metal bands than with acts like Nightwish or Epica.
It was around 30 minutes after Nonpoint's set that Lacuna Coil took to the stage. During the changeover I tried to find somewhere a bit better to stand - and ended up near the entrance doors much closer to the stage, which ended up being a good vantage point. When the lights went down and Lacuna Coil took to the stage, the next 90 minutes was filled with a 19-song set that was largely packed with newer anthems, including eight songs from the new album, alongside a handful of older songs. Sound-wise, the night was pretty good. The vocals and overall melodies were clear throughout, which was good, but the riffing was a little muddy. It was one of those mixes where the guitars and bass seemed to fill the same frequency range - so there was less definition than would be ideal. The driving drums, synth melodies, and vocal hooks were well-defined, though, and the crowd were onside from the off - ensuring that the show was blessed with a strong atmosphere. Despite songs from Sleepless Empire dominating the set, it was actually two songs from the band's previous album which kicked everything off - with Layers of Time and Reckless acting as a powerful one-two punch to get everything underway. Perhaps strangely, most of the new songs were held back to towards the end of the set. Hosting the Shadow was deployed early on, but otherwise it was older tunes which dominated here. Scabbia has always been known as a great singer, but I was really impressed throughout by Ferro. He was become a very powerful harsh vocalist in recent years, which Hosting the Shadow showcased, but even his older crooning in approach during Kill the Light sounded more powerful than it used to. The vocal balance between the two singers felt more finely struck, then, although some of the older tracks like the hooky Spellbound saw Scabbia dominate. Much of the set was riffy and full of grooves, as seems to be the band's current focus, but there were some more atmospheric songs, too. One of the overall highlights was Downfall, which allowed some some cleaner guitar melodies, atmospheric synths, and some of Scabbia's most emotive vocals. Lacuna Coil have never really been a guitar solo band, either, but Downfall was one of the songs in the set which allowed newish guitarist Daniele Salomone a chance to add some soaring melodic soloing. Much of the set felt heavy, though, with even some of the older tracks brought up to speed with the band's current sound. Heaven's a Lie was slower and heavier than it used to be - with Ferro adding some harsh vocals and the song turning into something a bit doomier overall. It allowed the gothic rock of the older tune to fit in nicely alongside new cuts like the slightly symphonic In Nomine Patris and a more rip-roaring Gravity. The main set then came to a close with the anthemic Nothing Stands in Our Way - during which Scabbia whipped up a bit of a sing-a-long. The whole crowd was singing along with the band - and it brought the main set to a powerful close. A four-song encore followed, and three of the songs included came from the new album. The heavier The Siege kicked the encore off, but it was perhaps the hooky, poppy I Wish You Were Dead which had everyone singing along. The song is likely to be a live favourite going forward, and for good reason, whilst Swamped was a rare older cut during the set's closing moments. Another new cut in Never Dawn brought the night to a close - and the good atmosphere soon spilled out onto the Cardiff streets as the crowd dispersed. The setlist was:
Layers of Time
Reckless
Hosting the Shadow
Kill the Light
Die & Rise
Spellbound
In the Mean Time
Intoxicated
Downfall
Heaven's a Lie
In Nomine Patris
Blood, Tears, Dust
Gravity
Oxygen
Nothing Stands in Our Way
-
The Siege
I Wish You Were Dead
Swamped
Never Dawn
Given that Lacuna Coil are not a band that I have seen live too often, it felt like a treat to catch the Italians live on Friday for the first time in six years. The band were on-point vocally and the large crowd managed to keep the early energy carrying on throughout the whole show. Despite not being a huge band, Lacuna Coil maintain an important place in the metal scene - and they showcased all of their power this past weekend.
I was only talking recently about how I do not generally write many EP reviews each year. I do not think that the EP as a format is that popular these days, outside of perhaps punk and extreme metal, but every so often one worth my time comes out - and today's piece covers a new one from the Florida-based metalcore act Trivium. I always feel that calling Trivium a metalcore act does them a bit of a disservice - but it is the scene that they are most associated with. It is true that both 2003's Ember to Inferno and, in particular, 2005's Ascendancy were pivotal to the development of the that scene in the early-to-mid 2000s - but since then the four-piece have branched out, channelling various influences from traditional heavy to thrash metal, and from progressive to extreme metal. In my view, Trivium's discography is interesting because most of their albums have a distinct flavour. From the 2003 debut to 2017's excellent The Sin and the Sentence (which I reviewed here), each album featured a subtle shift in tone which made it unique. Each album was identifiably Trivium - but the band never stood still, with each album pushing their sound in new and interesting ways. Since The Sin and the Sentence, though, this has happened far less. I read this as the band finding their true sound and the best balance of all of their influences on the 2017 release - with both 2020's What the Dead Men Say (which I reviewed here) and 2021's In the Court of the Dragon (which I also reviewed here) both largely continuing on its sound. As such I was, and remain, a little disappointed with What the Dead Men Say. It contains a number of strong songs, but I missed that trademark shift in sound - and it felt like a less interesting version of the previous album. I was never disappointed with In the Court of the Dragon, though, as the band upped the heaviness and dialled back in some progressive sounds despite largely sticking to the same formula. The 2021 release remains a favourite, then, and the lengthy post-pandemic tours throughout 2022 and 2023 which celebrated both releases put Trivium on top of the world once again. 2024 was a quiet year for the band - at least publicly. Behind the scenes, though, an epic world tour with Bullet for My Valentine was being planned - whilst the band converted an old aeroplane hanger into their own personal headquarters, rehearsal space, and recording studio. 2025 has been extremely busy in comparison, though. The first half of the year was taken up with the aforementioned tour with Bullet for My Valentine, before the Welsh band reneged on plans to tour beyond Europe and the US - leaving Trivium high and dry. Not one to give up, though, a busy European festival run followed - and as I write this the band are on yet another lengthy US tour. The band's eleventh studio album is due to be worked on and released next year - but given the relative lack of activity in 2024 and the changes in touring plans the band wanted to give the fans a taster of what is to come. The result is the three-track EP Struck Dead - which was also recorded to essentially test out their new studio. The three songs here are self-produced, which is not something the band have done before - although they did bring Josh Wilbur, who produced their last three albums, to mix them. It is not my understanding that these three songs will appear on the next album, making Struck Dead a stand-alone release - and the band's first new material in four years. It also ended up being the last release with long-time drummer Alex Bent - who left the band in October.
Despite containing only three songs, Struck Down is a venomous release. The sound of the last three albums is certainly retained - but there is a rawer edge to the production thanks to the influence of Ascendancy. Playing that album in full night after night clearly had an influence on these songs both in a production and a melodic sense - but, beyond that, the tracks also feel more progressive. There is a huge focus on rhythm throughout - and Bent has signed off on a high, as this EP features some of his best drumming on record. The EP opens with Bury Me with My Screams, a powerful song which certainly harks back to the sound of Ascendancy whilst sounding a lot more mature. Frontman Matt Heafy has spoken a lot about re-learning his harsh vocal style from that era - and it is perhaps this which most links the song to the past. Despite some of the more progressive vibes which occur throughout this EP, the opening riff here is a bit more straight forward - but it is immediately hooky. All three of these songs are extremely memorable, packed with strong choruses, and suitably heavy. The main guitar riffing, verse lyrics, and Heafy's throaty vocals instantly shine a light back on Ascendancy; whilst occasional harmony guitar melodies and thrashy drumming also fuel this overall feel. The melodic chorus feels like a modern Trivium product, though. It has a traditional heavy metal feel - and the anthemic nature of the vocal melodies and the NWOBHM-esque guitar lead in the background remind me a little of 2015's Silence in the Snow (which I reviewed here). As such, the song goes back and forth between raw metalcore/thrash and melodic traditional metal - whilst progressive flair is shown during some groovy breakdown and solo sections, which showcase rhythmic vibes which are going to be expanded upon later. The title track follows and instantly showcases that groovy approach. There is a little bit of a tech metal feel early on, with some strangely mechanical riffing from Heavy and Corey Beaulieu - but the fluid drumming of Bent ensures that the overall feeling never strays into true tech metal territory. The drumming throughout the verses here is spectacular - with fluid bass drum patterns mixed with percussive tom and cymbal work, which is atypical. Heafy lays down some slow-paced, guttural growls over these off-kilter verses, too, which only adds to the vibe - before another soaring chorus takes over. Heafy's clean vocals are as good as ever, although he does add some growls into the background, and the melodies really stick in the brain. Trivium choruses are generally great, and this one is no exception - but the song veers off in a number of directions later, including some thrashy solos and some progressive instrumental sections with intricate riffing. Everything hangs together, though, and I hope there is more of this to come. The longer Six Walls closes out the EP, and it opens up with some melancholic clean guitar melodies - setting a darker tone. A slow-moving drum beat is soon added behind them, and the song builds an atmosphere as a result - before a neck-snapping riff kicks in which Heafy immediately barks over. Some of the early riffing harks back to the band's metalcore days, albeit amped up, but there is plenty of old-school thrash fury here - with more than a little extreme metal intensity. The verses are heavy, then, but the chorus is once again very melodic. Led by clean vocals and a smooth guitar lead, it is another to stick in the brain - whilst a later snappy instrumental section sees Paolo Gregoletto's bass countering some tricky guitar leads. The back end of the song is much proggier, too, with plenty more off-kilter grooves, rhythms, and lengthy instrumental sections. If these three songs represent the direction which Trivium intend to go in the future, then their best album may be to come. These songs feel fresh, heavy, and hooky - and that is all I want from Trivium these days as they have shown they can easily cover many bases.
The album was released on 31st October 2025 via Roadrunner Records. Below is the band's promotional video for Bury Me with My Screams.
It is great to see the Welsh-based progressive rock act Karnataka so active in recent years. Karnataka's career has often consisted of bursts of creativity and activity followed by fallow periods, usually whilst the band rebuilds itself following line-up changes, but the current era may be busiest and most intense yet - potentially apart from the band's early days which I cannot speak of. Since launching the current line-up with a tour in 2022, which had been delayed for a while due to the pandemic, Karnataka have been very busy. The band's sixth album, and first of the current era, Requiem for a Dream (which I reviewed here) was released the following year - and three pretty lengthy UK tours, alongside some European headline shows and festival appearances, have followed to both promote the album and also to help to rebuild momentum following the lack of activity between the back end of 2017 and the 2022 relaunch. I have been lucky enough to catch each tour by the current line-up - as the band always seem to make a point of returning to The Wharf in Tavistock each year. The band have been playing at the venue on and off for years, going back to the original line-up, but it was not always a touring fixture. In recent years it has become such, though, and that means that, for four years in a row, I have been able to catch the band locally. I have had to travel to see the band in the past, with a couple of tips to London in recent memory, but having the band put on a local show in Devon each year is a real treat. The band's persistence seems to be paying off, too. Karnataka shows that I have been to in the past have rarely been what you would call 'full' in terms of turnout. An exception was a 2012 show in a tiny village hall in Lowdham, which I think was sold out, but otherwise, despite some decent turnouts, I have never felt the band's shows to be overly well-attended. It was only a couple of years ago that I stood in The Fleece in Bristol, and excellent venue and one which is usually busy, with around 20 other people to watch the band live. Unsurprisingly, Karnataka have not played in Bristol again since - and like many of their peers they now seem to stick to tried and tested venues, building their following across the country that way. The band's Tavistock shows have likely always made the trips down to the South West worthwhile - but last night attracted likely the largest crowd for the band I had seen at the venue. All of the seats were full, with the floor being around half full - alongside a smattering of people stood further back. It is great seeing the band's efforts paying dividends. For a band that has been around since the late 1990s, it must be disheartening to still be playing to quite small crowds at some shows - but given all of the significant line-up shifts and periods of inactivity that the band has gone through it is perhaps unsurprising that some fans have dropped off along the way or just lost touch with what the band are currently doing. It likely helps, too, that the band's line-up has been solid now for a couple of years. The last three tours, including this one, have featured the same five-piece line-up - and the current Karnataka line-up is very tight, and more than capable of delivering the newer material as well as songs from the past. Subtle setlist shake-ups each tour help, too, and with a new live album Requiem for a Night: Live in Zoetermeer hot off the press the current line-up has also now been immortalised live for all to see.
As is typical of the band's recent shows, there was no support act and the band played two sets with an interval. Whilst material from Requiem for a Dream still dominated the set, with five of the eight songs played, a good mix of older material was also included - including some songs which had not featured all that much live in the current era. There was even a rare cover included, and some recent setlist regulars were also rested, meaning that the show felt fresh despite the focus still being on the latest album. The show started off by looking to the past, though, and to 2010's The Gathering Light in particular. Songs from the album are generally included in the set, but the two that were featured this time had not been played live since the 2022 tour - with the lengthy The Serpent and the Sea and the funkier Your World kicking off the show. The former, in particular, has always been a personal favourite - so hearing it live again was a real treat. Much of the 2022 tour was undertaken without a keyboard player, so it was great hearing these songs back to full strength - with Rob Wilsher (keyboards) ensuring that the lush arrangements came across well live. From the opening keyboard melody of The Serpent and the Sea, it was clear that the set was going to be a powerful one. The sound mix was clear from the off - with the whole band in fine form. Frontwoman Sertari is able to cover the older material with ease - and she has long made The Gathering Light-era material her own. Her smooth voice felt powerful throughout the night, and the chorus of the opening number soon rang around the venue as the large crowd let it all wash over them. Your World allowed the rhythm section of founder Ian Jones (bass guitar) and newest face Jack Summerfield (drums) to whip up some funky grooves - with the upbeat and rhythmic track a welcome addition. Two new songs were included in the first set, with Say Goodbye Tomorrow up next - returning to the set following being left out last year. The smooth rocker is one that always seems to come alive more on stage than it does on the album. It may be my least favourite song on the album overall, but live it always feels more powerful - with Sertari delivering in spades. Another personal favourite was the return of Delicate Flame of Desire to the set. The album of the same name will likely always be my favourite by Karnataka, and a big reason why is its title track. It also saw Luke Machin (guitar) really come alive. Despite knowing him to be a great player, I was unsure at first whether he would be the right man for Karnataka - but over the past couple of years he has really grown into the band. He nailed the lyrical and plentiful lead guitar moments during the folky, soaring ballad. He really seems to get the core Karnataka approach now - but he still manages to include some of himself in the material with the occasional more shredded melody. His more metallic background was also allowed to shine during the heavier Forbidden Dreams - a song which has been rarely played since the last era of the band came to an end. It was great to hear the symphonic, punchy track live again - and it contrasted nicely with the lengthy and soaring Forgiven which followed. Forgiven feels like a modern Karnataka classic at this point - and it has been ever-present in the set since Sertari's first shows with the band. It is one that allows her to showcase some different sides of her voice, such as some classical-esque moments during the Latin mid-section - whilst it also contained plenty of big guitar solos for Machin. The first set then ended with a great version of Yes' Soon - with Machin's slide guitar melodies.
Following a 20 or so minute break - the band came back for the second set which was largely focused around new material. The opening number of the new album All Around the World kicked things off, which is another track that feels like a real Karnataka classic now. It is another lengthy piece, but it is packed full of melody from the off - with one of the biggest choruses on the new album. I am sure that plenty of those in attendance enjoyed singing along to the massive hooks - and it is another song which included some big guitar moments from Machin, with his solo during the song's mid-section being one of the shreddiest of the night. The more plaintive Sacrifice followed, which is another ever-present song in the set at the moment. It is another very memorable one melody-wise, but it has much more of an emotional weight throughout - and some of the symphonic moments of the song hark back to the band's previous era, whilst ensuring the the band's classic smoothness remains. Sertari always shines whenever she sings with the band, but Sacrifice often brings out one of her best performances of the night - and last night in Tavistock was no different. The only older song in the second set was the oldest of the night - harking back to 2000's The Storm. In contrast to the lengthy and atmospheric songs around it, Dreamer allowed for a shorter moment of fun. It always always been one of the catchiest and most upbeat songs in the band's catalogue - which largely sets it apart from their core sound. It often works as a good pallet cleanser live, then, and the shorter song was another which allowed the rhythm section a bit more space to do their thing - whilst Machin included some wah-drenched riffing. The main set then came to a close with the near 25 minute epic Requiem for a Dream - a song which has felt like the centrepiece of the band's sets since the new album came out. For me, it is a song which is still growing. It moves through so many different moods on its overall journey - but it covers a lot of typical Karnataka ground. Despite its length, though, it is not the most explosive when it comes to guitar playing. There are some short solos and lead-based moments, plus Machin does get a chance to use his slide later on in the piece, but it never really cuts loose as it sometimes feels it is about to - with the track being more about its overall atmosphere, mood, and the varied vocal performance of Sertari. Wilsher was busy throughout, too, with the track an atmospheric and symphonic feast. Plenty of different keyboard textures were on show throughout and it brought the main set to a powerful close - with the ending coda ringing around the venue as the band left the stage. Machin and Wilsher soon returned, though, with the former launching into a lengthy guitar solo which acted as an elongated intro to the night's final number. There were lots of emotional leads and shredded motifs on display - but the synths ensured that the solo spot morphed effortlessly into Heart of Stone, another song which had been out of the set for a few years. It is another old favourite of mine, and Sertari sang it perfectly - with the Marillion-esque closing few minutes feeling like a triumphant way in which to end the show. There were plenty of cheers as the band took their bows and it is clear that the Tavistock faithful found a lot to enjoy in the set which had just finished. The setlist was:
The Serpent and the Sea
Your World
Say Goodbye Tomorrow
Delicate Flame of Desire
Forbidden Dreams
Forgiven
Soon [Yes cover]
-
All Around the World
Sacrifice
Dreamer
Requiem for a Dream
-
Heart of Stone
Karnataka's trips to Tavistock are always welcome - but last night's was likely one of the best due to the larger turnout and a set which included some songs which had not been played live all that often in recent years. It felt well-balanced and showcased each era of the band nicely - whilst still paying a lot of attention to the new album. Jones indicated that next year would be a big year for the band touring-wise - so hopefully they will be back in Tavistock at some point. I imagine that the next album is being worked on, too, so maybe soon we will start to hear about what is next for the band.
After my many power metal-related blogs of late, it is time to return to something a bit more grounded and also to return to the UK - to Scotland to be more precise. I have largely found myself in mainland Europe recently given all of this power metal love, but something closer to home is now required. Each year I tend to cover a few albums which I did not expect to be writing about. Often these are from bands that are just not that prolific, or who have not really existed for a long time - and Rock Generation by Heavy Pettin somewhat falls into both camps. Heavy Pettin formed in Scotland back in 1981, and were somewhat a part of the NWOBHM movement. I say somewhat, as the fact that their debut album Lettin Loose came out in 1983 makes them latecomers in terms of that scene - and also because they were largely more of a melodic hard rock band than a true heavy metal band. This never stopped bands like Praying Mantis, Demon, and Saracen being seen as part of the NWOBHM movement, though, so I think that Heavy Pettin just about qualify - even if they generally sound a lot more polished and American than most of their peers. Queen's Brian May and Queen collaborator Mack produced Lettin Loose, which perhaps shows where Heavy Pettin's headspace was at the time - whilst 1985's Rock Ain't Dead looked and sounded more like a US hair metal record than anything from Saxon or Venom. In some ways, Heavy Pettin are likely the closest in vibe to Def Leppard from the original NWOBHM era, but the Sheffield band found more significantly more success, and by the time 1989's Big Bang had been released Heavy Pettin were essentially over. A couple of archive and compilation-type releases aside, the band was not heard from again until frontman Stephen Hayman and guitarist Gordon Bonnar resurrected it in 2017 with a new line-up. I saw them live in 2019 as part of a co-headline UK tour with Rock Goddess, and they impressed in a small Bristol venue which had attracted a fairly healthy crowd. At the time the band were talking about releasing new music, and an EP 4 Play dropped the following year. The four-track release was certainly decent, and it harked back to the melodic nature of the band's past, but the band never really kicked on from there. The last few years for Heavy Pettin, beyond the odd gig here and there, had seemed quite quiet, then, and I had wondered if they had quietly called it a day again, but behind the scenes they had been working on their fourth album - which culminated in Rock Generation dropping last month, 36 years after their last one. Line-up changes likely slowed the band's progress, though. Bonnar left the band a few years ago, and was replaced by Richie Dews (Dare), and bassist Jez Parry, who played on 4 Play, also left - with Dave Boyce (Samson; The Quireboys; Grand Slam) coming into replace him. As such, Hayman is now the only original, and really only long-time, member left. Returning from 4 Play, though, are guitarist Dave Aitken and drummer Mick Ivory - with the former taking the place of Bonnar as Hayman's main writing partner. In terms of sound, Rock Generation is noticeably heavier than the band's previous albums, in line with 4 Play, but the trademark melodic and slightly Americanised approach remains. Hayman's voice remains in good shape, with his melodic, slightly nasal, quality on display throughout, whilst him and Aitken have managed to write a number of songs which hark back to the past whilst allowing a more modern production job to add weight.
The album took a few listens to fully settle with me. I was a little disappointed at first, especially given how good the opening title track is, but it is an album that gets better with time - and there is a lot of good stuff here, even if the material is not as bright and upbeat as might be expected. As mentioned, though, the title track is great - and it kicks off the album in fine fashion. Paul McManus (Glasgow; Gun; La Paz) plays the drums on the opening song instead of Ivory for some reason - but otherwise the new-look Heavy Pettin showcase their weight here. Rain and thunder fill the speakers, before a slightly southern acoustic guitar melody breaks through - and the rest of the band soon crash in with some big guitar stabs. The band's heavier sound is on display from the off, then. These opening guitar and drum crashes herald the song's first verse, which mixes tough rhythm guitars with melodic clean guitar lines - over which Hayman sings. As mentioned previously, he sounds good throughout this album. He sounds older and more nasal - but his knack for a melody remains, and his voice still has a power to it. The verses are snappy and easy on the ear as a result, and in part thanks to the ever-present guitar chug, whilst the chorus takes things to the next level - harking back to the more anthemic basis of the band's core older sound. Gang vocals, plenty of harmonies, and some fists-in-the-air vocal melodies make the chorus one of the album's best - and it sticks in the brain after only a couple of listens. There is plenty of 1980s glitter to be found during the chorus, then, whilst the mix of melody and heaviness throughout the song ensures the album gets underway nicely. Faith Healer (Kill My Demons) opens with the tolling of bells and a brief spoken word section, before a groovy mid-paced riff kicks in - with the tolling bell acting as a nice accent as the riff cycles through. Whilst the last song featured a good mix of clean and distorted guitars, this song is much more riff and groove-focused throughout. The main riff is one that will really get heads moving live - and the verses are built around a slightly smoother version of it, which allows Hayman's snarling vocals to rise above it. There is a good amount of energy to the piece despite the mid-paced grooves - with Ivory's drumming feeling punchy. The chorus is another really strong effort, too, with Hayman going again for a more anthemic approach - whilst the band harmonise well with him to create some infectious hooks. A busy, shredded guitar solo later adds some more energy to the piece - and the groovy anthem is a personal favourite here. Brother Sister follows a similar pattern, with a similar groovy riff kicking the track off. The overall structure of the track is a bit different, though, with the repeated, elongated harmonised vocals delivering the song's title often surfacing throughout, expanding a chorus feel over big parts of the song, whilst the riffing is a little more sparse during the vocal-led moments. There are harder-driving moments, but there are also moments where hung chords back Hayman's voice - and the mix of riffing styles here does help the song to stand out from what has come before. A clean guitar-led bridge section also offers a brief change of pace - before it morphs into another shredded guitar solo.
Oblivion goes for a more overtly melodic feel, and the heaviness from the opening three songs is reined in somewhat - and the band harks back to their smoother 1980s sound here. Duetting with Hayman throughout is Roni Lee (Venus & The Razorblades), and her voice adds a bit of a smoothness to the verses - where she takes over during the second half of them to contrast nicely with Hayman. The two sing together during the bigger chorus, which harks back nicely to the 1980s, with plenty of big harmony vocals and some more emotive hooks. Musically, the song feels smoother and more spacious overall. A few bigger riffs are thrown in here and there, but generally there is much more of a clean guitar depth here - which helps to build on the more emotive vibe which the vocal arrangements are pushing. Whilst the song is not a ballad, as it feels too big and driving for such, it certainly channels some ballad-esque vibes at times - even if the overall package feels more melodic hard rock in scope. Mother Earth returns to a heavier feel, and the band really pick up the pace here. Much of the album up to this point has been largely mid-paced, but this song feels more energetic overall - with a snappy guitar rhythm which recalls 1980s John Sykes somewhat. The verses are powered by this juddering guitar pattern, then, which keeps everything moving - whilst Hayman snarls his way over the top of this heavier pattern. Still wanting to ensure a more melodic sheen, though, the chorus is another big one - with some of the biggest vocal arrangements on the album. The harmonies and gang vocals here are very powerful - but they sound very loud compared to the rest of the song, so much so that it makes Hayman's verse leads sound a bit too quiet. A better balance could have been struck, then, but the chorus is still a powerful effort which sticks in the brain. There is also a bit more guitar interplay between Aitken and Dews here, with some harmony guitar instrumental sections later on - before a shredded solo takes over. X-Rated feels like an attempt to conjure up a sleazy 1980s sound. Whilst Heavy Pettin always had an American influence, they never truly crossed over into sleazy territory - and this song also, just about, stays the right side of that line. There is clearly a big injection of hair metal here, though, with Hayman doing his best Vince Neil at times - whilst party gang vocals and a barrelling, bluesy guitar riff drive everything. In fact, there are guitar motifs here which remind me a bit of Poison's Nothin' But a Good Time - and that is certainly the overall vibe which is being sought here. The song feels a bit dated as a result, but the big, dumb chorus is very easy on the ear - and I can certainly see it going down well live. The song has grown on me as a result, and it does shed some of the modern heaviness heard elsewhere, which helps to shake things up. Bullets and Pills returns to something heavier and more akin to the album's core sound - although it does open a little slowly with some clean guitar melodies. Once the main, dry-sounding riff kicks in, though, the song generally sits on the groove it conjures up throughout - and there is quite a bit of energy here as a result. The opening clean guitar motif does return occasionally throughout to allow for a slightly dynamic feeling - but in the main the song is a simple, groovy hard rocker. The chorus does retain a little of the sleazy feel of the previous song, with similar harmony vocals and overall vibe, but the song is tougher thanks to the meatier riffing.
Line in the Sand also goes for a heavier sound, but there is also a murky, atmospheric feel here which has not really been present on the album up to this point. The mix of clean and distorted guitars returns from the opening song - but this is no anthem, with the track instead feeling a bit more expansive. The riffing feels heavier overall, and the clean guitar melodies have a fuzzy edge to them which creates a bit of a grungy backing. As such, the song sounds quite different to anything else here. Hayman's voice also has some effects on it during parts of the song, which gives him a menacing sound at times, whilst elsewhere the typical harmonies which are used throughout allow more of the band's core sound to shine through. There is certainly an attempt to feel a bit more modern here. I like how the band have generally straddled the line on this album between updating their sound and staying true to their roots - but this one is perhaps too modern sounding for the band, and the overall murk is a bit out of character with everything else. Live Ur Best Life, irritating title aside, is a bit more typical of the album's core sound. The overall heaviness generally is retained throughout thanks to the ever-present guitar riffing, but there are plenty of 1980s-inspired hooks here to allow the band's original era to shine through. It is not as sleazy as some of the other cuts here, but this is a song which is very clearly from a 1980s act - with the massive chorus harmonies and the bluesiness to much of the riffing showing this off throughout. After sounding a bit strange during the last song, too, Hayman is back to his usual self here. The higher-pitched, nasal approach that he tends to take is really well suited to songs such as this - and the chorus is another which has really grown on me over my repeated listens to the album since it dropped last month. The album then comes to a close with This Life, is quite similar overall to the previous song. As such, it very much showcases the album's core sound from the off - with a tough guitar riff and plenty of grit and energy throughout. Like much of the album, it is a mid-paced track with plenty of groove - and Hayman again sounds powerful throughout. In fact, there are parts of the song where he perhaps sounds his most powerful. The chorus has a real snarl to it which nicely suits his slightly aged voice - and he really soars above the harmony and gang vocals of the rest of the band here. It makes the chorus a strong moment to close the album out on, then, whilst the verses and big guitar solo section are full of power. The song does not really do anything different to what has been heard on the album up to this point, but it nicely distils the band's core sound down to a simple and memorable arrangement - and it works well as a closing statement thanks to the groove of the riffs and the strong chorus. Overall, then, Rock Generation is very much a welcome comeback from Heavy Pettin. It sounds different to what came before, but there is enough of the essence of the band's past to make the connection - and Hayman's voice is also distinctive enough to link the two eras. 4 Play hinted at what was to come but I feel the songwriting here is generally stronger, and the current Heavy Pettin line-up clearly have a lot more to offer. They are currently on tour in Europe with Uriah Heep, and will also kick off 2026 doing so - but I hope that there are some UK dates in the band's future - as I would like to see them live again and presenting some of the songs from this album alongside some old favourites.
The album was released on 24th October 2025 via Silver Lining Music. Below is the band's promotional video for Rock Generation.
Based on much of its recent content, this blog is in danger of turning into a place of power metal worship. Over the past few months all I seem to have been doing is reviewing new power metal releases and going to see power metal bands live. This is about to change, although a review of a Sabaton concert will be coming in December, but, as I have said elsewhere recently, I have really been enjoying this latest big power metal splurge. Sometimes it is okay to listen to music that is just fun - and that is often what power metal is. Despite my rekindled love of the genre, I doubt that I will be going back to any of the overly gimmicky and novelty acts any time soon - but even the most crafted power metal is still often extremely fun. Recent Sonata Arctica and Battle Beast concerts were very much joyous occasions, then, and it is the latter whom are the focus of today's piece. The reason I recently saw Battle Beast live in Bristol was because the Finnish six-piece recently released their seventh studio album Steelbound - their first since 2022's Circus of Doom (which I reviewed here). It is the band's fourth album with their current line-up, meaning that it is also their fourth since former guitarist and principle songwriter Anton Kabanen left the band in 2015. As such, the current Battle Beast era has now eclipsed the original era in terms of releases - with the band likely viewing Steelbound as their fourth album as they have essentially left their first three albums behind. For me, too, Steelbound feels like the album where everything has truly come together for the current incarnation of the band. For my money, they roared out of the gate in 2017 with Bringer of Pain (which I reviewed here), which is a top quality power metal album, but somewhat struggled with their identity on the two follow-ups. 2019's No More Hollywood Endings (which I reviewed here) felt like a band at a crossroads. They had essentially carried on from the Kabanen-era sound, albeit somewhat smoother, with Bringer of Pain - but No More Hollywood Endings toned down the overall heaviness quite a bit and attempted to lead with a poppier, more AOR-tinged sound. Battle Beast have always had AOR-esque moments, but No More Hollywood Endings felt a little limp - although I saw the band on its subsequent tour where the songs sounded much chunkier. Circus of Doom moved things back in a heavier direction - but it never felt like a fully assured album despite it containing some strong songs. Three years on, though, and it seems that Battle Beast have decided on the sort of band that they want to be - and that is essentially the band that they always were, and relaunched themselves as on Bringer of Pain. That is, for clarity, a crunchy, riffy power metal band with strong 1980s influences - focused on the soaring and powerful vocals of frontwoman Noora Louhimo. It is interesting, too, that the songwriting of bassist Eero Sipilä dominates this new album. He wrote songs for the previous three albums, but was largely a secondary songwriter - with the Björkroth brothers dominating. They still wrote a few songs here, but Sipilä has the highest number of credits this time - and if his input has helped the band to refocus their sound somewhat then I am all for his increased involvement going forward. The result is that Steelbound is easily the band's best album since Bringer of Pain - and it may, in time, eclipse the 2017 effort.
Most of the songs here are extremely memorable, and I heard all but two of them at the recent concert. It is clear, then, that the band feel strongly that this a high-quality release - and it did not take many listens for these songs to really sink in. Funnily enough, the album's opening song, The Burning Within, was one of the two songs not played on the recent tour. Generally opening songs are played live, but for whatever reason the band decided against doing so - which is a bit strange given its overall power. The main opening riff and synth patterns, aside from the shredded guitar solo section, sound quite similar to Nightwish's Dark Chest of Wonders, though, which may have played a part - but intro aside the song does not share any other similarities with Battle Beast's fellow Finns. The snappy riff sounds quite dry, but it is quite energetic - and the verses feel hooky, with Louhimo singing in a somewhat gritty manner whilst synth stabs add additional interest. There is a decent amount of chug to these relatively mid-paced verses, then, whilst the chorus speeds things up - with more of a powerful vocal, some double bass drumming, and a bigger synth pattern. The chorus is easy on the ear, and is the first of many really hooky moments here - whilst a smooth guitar solo carries on the more melodic tones, focusing on melody over speed. Here We Are opens with some summery synths, whilst a sweet guitar lead slowly fades in - and the sugary sound harks back somewhat to the softer side of No More Hollywood Endings. Despite the similarities, though, this song feels weightier. It helps that there is a bit of a disco groove added to the band's usual AOR flirtations - which is extremely evident during the verses. Drummer Pyry Vikki adds a metallic grounding behind some synthesised beats, whilst the keyboard playing of Janne Björkroth is very present - creating the main melodies. Driving basslines and Louhimo's smooth vocals bring the song to life, whilst the guitars feel a little more restrained. They do add some weight to the background, and do break into riff at times, but this is a much more beat-driven song - with no big guitar solo. The disco edge elevates the song from the sometimes limp sounds which were on No More Hollywood Endings - and the hooks overall feel stronger, too. The album's title track follows. With a name like Steelbound, I would have expected a fast-paced power metal anthem - but instead the track is one which channels some AOR-esque tendencies. The later chorus is tougher and much more power metal in nature, especially given the shredded guitar motif which heralds its arrival, but the verses feature piano melodies throughout, Louhimo's relatively smooth delivery, and some shuffling, groovy guitar riffs. The mix of styles works well, and these expansive verses really add a cinematic edge to the album. The harder-hitting chorus remains welcome, though, with expressive synth stabs and some grittier vocals. A lengthy guitar solo section adds a lot, too, with some smooth, legato runs alongside some shredding - before a strange bridge section sees some almost nu-metal tough-guy vocals from the whole band. This mix of sounds shows that the band are feeling confident at the moment - and the variety is welcome.
Moving to a much more cinematic and dramatic sound, Twilight Cabaret mines a somewhat vaudeville vibe - whilst Janne's keyboard playing drives everything. It builds on the groovy and expansive sound of songs like Russian Roulette but arguably adds a somewhat more progressive edge thanks to the complexity of some of the keyboard melodies and the interplay between Janne's old-school piano playing, the strings, and the shuffling guitar riffs. Like Here We Are, there are also some disco-esque elements here. Synth-driven beats fill the song, the regular drumming appropriately weighty, whilst the bass playing of Sipilä adds a funky edge. Despite all of this bombast, the song still feels tough. The guitars throughout add weight, whilst the chorus is a real mid-paced power metal winner with some powerful vocal melodies and plenty of pleasing melodrama. There is even a percussive break which includes what sounds like a mix of African and steel drums - which adds another twist to the track. Returning to something a bit more traditional in terms of power metal, Last Goodbye is a much more guitar-driven piece. Despite some synths opening things up - once the chugging riffs of Joona Björkroth and Juuso Soinio kick in the song feels heavier. Janne's synths generally sit more in the background this time. They do pop in at appropriate moments, but the programmed grooves and piano flourishes of the previous handful of songs are absent this time - with verses instead driven by heavier guitars and plenty of furious drum fills from Vikki. It is nice to hear the band let their hair down a bit here and present something much more metallic. It is still a very hooky song, with a smooth chorus which does see the keyboards kick back in for effect, but it shows that they do not need all of the tricks to craft a hooky song - and sometimes a faster-paced power metal track which sticks quite rigidly to a well-worn script is sufficient. The Long Road, which is a mid-album instrumental, follows. The band used it as their intro tape live - and then played a more band-orientated version of it as part of the encore. It is very much a symphonic piece, with stirring string arrangements and distant percussion - which gets louder and more dramatic as it moves on. It does act nicely as a mid-album break - although, given that this is a short album, one was not really needed. It does feel like quite an epic intro for Blood of Heroes which follows, though, which could well be my favourite song on the album. Blood of Heroes is the most Sabaton-esque song not written by Sabaton - and the epic, mid-paced power metal anthem ups the heaviness and drama quite considerably. The first verse is quite slow-burning, but elsewhere the guitar riffing and synth overtones feel huge - and there is certainly plenty of crunch here which reminds me of Sabaton. Louhimo is one of the most powerful singers in metal when she really goes for it - and this song sees her kicking things to the next level. She sounds great during the verses, but it is the chorus which sees her at her best - where she pushes herself to the limit with some gritty, screamed moments and plenty of character. A folky instrumental section later injects a bit of Thin Lizzy thanks to some big guitar and flute melodies - whilst the guitar solo which follows is also very melodic.
From the heaviest track to the most AOR-inspired, Angel of Midnight feels like another song which perfects the sound that the band were trying on No More Hollywood Endings. There are huge melodies here, alongside some choice synth flourishes and timeless harmonies, but the AOR vibes are boosted by a weightier overall presentation. The guitars still feel quite present despite the synths dominating - and the production throughout the song just feels bigger and more spacious than the flatter sound of No More Hollywood Endings. Again, too, minor disco elements are included to add some extra juice - whilst the guitar solo is right out of the 1980s thanks to the flashy shredded melodies utilised throughout. I am glad that the band managed to get this sound to work properly on this album - and the mix of it with some excellent power metal tracks is a big reason why this seventh release is such a winner. The album's penultimate number is Riders of the Storm, the only other song apart from the opening cut that was not played live on the tour. It is another mix of big power metal and disco - with the former winning out overall. There is plenty of riffing during the song's intro, whilst the pre-chorus and chorus sections are weighty thanks to the band's guitar presence. Parts of the verses are very synth-heavy, though. The bass playing is quite funky again, which creates a strong groove, whilst synth melodies and occasional guitar leads fill the song. One of the busiest guitar solos is also included, before a fun bridge section which essentially features the chorus melodies played on the piano. It is a decent chorus, but is a sea of really strong choruses perhaps it does feel a little weak. The song is probably my least favourite here, aside from the short instrumental piece, for that reason - as it is, overall, the least interesting of the proper songs on the album. The album then comes to a close with Watch the Sky Fall, a heavier piece which returns to a much more guitar-driven sound. The opening riff and shredded guitar motifs are high-octane and hark back to the band's heavier days - although the verses are once again somewhat stripped back to allow for pulsing basslines, synth flourishes, and some of the album's punchiest drumming to shine through. There is enough big guitar riffing elsewhere, though, to ensure that the song remains pretty weighty - and there are short lead breaks throughout, showcasing that this was one of the tracks here written by Joona. This is later expanded on with a lengthy guitar solo section which is easily the longest and most high-octane of the album. This is very much a song for guitarists, then, but it helps that there is another massive chorus here which worms its way in. The song was not a favourite at first, but it has grown on me quite a bit - and it ends the album with a bang thanks to this last big chorus and the greater focus on guitar firepower. As I mentioned earlier in this piece, I feel that Steelbound is easily the band's best album since Bringer of Pain. It is a melodic, confident, and upbeat album that really solidifies the core Battle Beast sound and could really be by no-one else. It may not be as heavy overall as some would like, but there remains plenty of weight and riffing here - whilst the choruses are some of the best and easiest on the ear of this year's power metal efforts. It is great to see the band sounding so vital - and I hope that this trend continues going forward.
The album was released on 17th October 2025 via Nuclear Blast Records. Below is the band's promotional video for Twilight Cabaret.
I think that it is fair to say that I am currently going through a big power metal phase. I recently enjoyed gigs from Sonata Arctica, Helloween, and Battle Beast - whilst Helloween's latest album Giants & Monsters (which I reviewed here) is likely to feature in my Albums of the Year list in due course. I have also started to delve into the catalogues of power metal bands that I had previously ignored, such as Elvenking and Bloodbound, and it has been great to reintegrate myself with the genre - whilst studiously avoiding the gimmicky and rote bands that somewhat drove me away in the first place. Whilst Helloween may be the most prestigious power metal band in the world - I think that it is fair to say that Sweden's Sabaton are currently the most popular. I first came across the band properly when I saw them on tour with DragonForce back in 2009 - but I did not start paying attention until a few years later when 2012's Carolus Rex was out. I saw the band in Wolverhampton on that tour and have been a big fan ever since. As such, I have seen them live a few more times since, ranging from the tiny Hub in Plymouth to the prestigious Wembley Arena in London, and have gone through many phases where I listened to their albums regularly. Over the past couple of years, though, I have barely given the band a thought. My general move away from power metal to an extent likely fuelled this in part, but I also felt that 2022's The War to End All Wars (which I reviewed here) was one of their weakest albums - and likely their weakest aside from 2007's Metalizer, which was actually recorded in 2002 before they truly got going. Sabaton certainly have a core sound, which over the years they have stuck to pretty rigidly, and The War to End All Wars, to me anyway, just felt like a rehashing of what had come before. There remain some strong songs on the album, but overall it fell flat for me. Releasing two albums in a row about World War I, following 2019's The Great War (which I reviewed here), likely did not help, either, as The War to End All Wars just felt like a poor man's version of the previous album. There are metal fans who are less kind to Sabaton, and consider that most of their more recent albums are poor - but I never took that view. With the exception of The War to End All Wars, the band's other more recent albums are some of my most-played in their catalogue - and I do like the Sabaton core sound even if they perhaps do stick too rigidly to a core formula at times and are prone to moments of self-plagiarism. I saw the band in London in 2023, too, and it fell over a weekend which was straddled by some trouble close to home - so I certainly did not enjoy it as much as I would have otherwise done. As such, since that show, I have not listened to Sabaton much at all - but when their eleventh album Legends dropped last month I was ready to jump back on board the Sabaton train. The album coming out during my general reappreciation of power metal helped, but Sabaton generally remained a favourite even when I was less interested in the genre - and, despite an unsure first listen, Legends has already surpassed The War to End All Wars and sits nicely with the few albums that preceded it. A varying, loose theme of songs around 'legendary' military figures helps the band to move away from World War I - and, as such, there is more variety here. It helps, too, that Legends just feels a bit heavier overall. The synths and big choruses are still here, of course, but the guitars feel a little meaner this time around - and there is quite a bit of energy throughout, which keeps me coming back. It is also the band's first album since 2016's The Last Stand (which I reviewed here) to feature guitarist Thobbe Englund as a full-time band member - who returned to the band last year following Tommy Johansson's departure.
After a couple of relatively slower weeks, which still included a couple of local shows and a trip to London, things are starting to pick up again from a gigging perspective. Last night in Bristol and a local show next weekend kickstart this next glut, but the following two long weekend periods contain three gigs each - with trips to Cardiff, Nottingham, and Bristol coming up, as well as another local night out. In fairness, with the exception of a trip to Wolverhampton just before Christmas, these two very busy weekends will essentially see 2025 come to a close as a gigging year - and, up to now, it has been another excellent one. Whilst I have ticket yet more bands off the list throughout the year, and have seen some spectacles, last night in Bristol I went to see an old faithful. Whilst there are some bands that I am happy to see once, or perhaps every few years, some bands I will try and catch on every tour. The NWOBHM band Saxon are one such act, and over the years I have seen them live quite a few times. I first saw them live in Falmouth back in 2011 - and since then I have seen them many more times all over the UK. Despite seeing the band regularly over the years, my last Saxon headline show came back in 2022 when I saw them at the excellent De Montfort Hall in Leicester. I did see the band last year, too, opening for Judas Priest - but the set was shorter than typical for Saxon - so when this latest headline tour was announced I picked up a ticket straight away. Bristol made the most sense given its proximity to home - and the refurbished Beacon is a great place to see bands live. Like the De Montfort Hall, too, it is one of those classic theatre-like venues that bands have been playing for years. Nearly every hard rock and metal tour in the 1970s and 1980s hit the Colston Hall as it was then and, unlike many of its contemporaries like the De Montfort Hall, it seems to remain a popular choice - especially since it reopened following a lengthy refurbishment. I hope the trend continues, as it has become a favourite venue of mine over the past year or so - and when classic acts like Saxon roll through it turns the clock back to the height of the NWOBHM movement when massive UK tours were the norm. This was especially the case last night, as Saxon's current UK tour is celebrating the 45th anniversary of their second, and most famous, album Wheels of Steel - one of two albums the band released in 1980. Considering how seminal Wheels of Steel is, many of its songs had not been featured in the band's setlists for years until this tour. Looking back at the Saxon shows I have been to, only the title track and 747 (Strangers in the Night) were played at every show - with Motorcycle Man also a regular inclusion. That meant that the other six songs from the nine-track album were new to me live. This is likely because Saxon have always been great at heavily featuring their latest album in their setlists, alongside shaking things up generally apart from a handful of staples. Even the big 40th anniversary show I saw in London, also in 2022, only featured the same three cuts despite the setlist largely focusing on 1980s classics. This current tour similarly focused on classics - a rarity for the band. With only three recent cuts in the setlists, this was very much a set for the old-school fan - so it should not have surprised anyone that the Beacon was packed out throughout with a loud crowd who were ready to relive their NWOBHM-era youth.
Wheels of Steel was not the only classic album that the crowd would hear in full, though, as opening the show was former Accept frontman Udo Dirkschneider and his band - who are currently celebrating the 40th anniversary of Accept's legendary fifth album Balls to the Wall. The fact that Balls to the Wall was actually released in 1983, making 2025 its 42nd anniversary should probably be overlooked - as getting an opportunity to hear such a statement album live in full is not something that comes around every day. With no backdrop or any kind of pomp, when the lights went down Dee Dammers (guitar/vocals) took to the stage - immediately launching into the mid-paced groovy riff of the album's title track. It must feel strange for Udo to open a show with a song which is generally reserved for the end - but the crowd was onside from the off as a result. With classic era Accept bassist Peter Baltes in tow, too, the presentation of the full album felt authentic - whilst the younger Dammers, Alen Brentini (guitar/vocals), and Udo's son Sven Dirkschneider (drums/vocals) formed a tight band around the two elder statesmen. Afforded around an hour, Udo and his band had plenty of time to play with - and their set included the full Balls to the Wall album alongside one other Accept favourite. The sound was pretty good from the off, even if Udo himself was a little low in the mix at times - but it was clear that his voice remains strong. His trademark rasp and occasional higher-pitched utterances sounded as good as ever - whilst the many excellent riffs of the album were served up nicely by Dammers and Brentini. Baltes' bass playing and songwriting was always key to Accept's success - and the opening of the grooving London Leatherboys showcased why. As was the case during the opening number, the second song's chorus was packed full of gang vocals from the band - which the crowd also helped out with. There were clearly plenty in attendance familiar with the album - and there was a strong atmosphere throughout Udo's set as a result. As is the case with Wheels of Steel, too, many of the songs on Balls to the Wall have not been regularly played live. As such, it was fun hearing more faster-paced tracks like Fight It Back - whilst Udo called Losing More Than You've Ever Had one of his favourites from the album. He seemed to be having a great time up on stage with his band - even acting as a support on this tour. Accept were never the biggest band here in the UK, hence their and Udo's limited trips here in recent years, but it was clear in the room that there was plenty of love for the music. Perhaps Udo will be persuaded to bring his solo band back for a tour of the UK in the not too distant future - and hearing anthems such as Turn Me On and the snappy Losers and Winners is always going to get the die-hards out for the evening. The format showcased that Accept's sound was always more diverse than perhaps it is often seen as being. The album's closing track Winter Dreams is a fairly delicate ballad which differed from the rollocking riffing found elsewhere - and it acted as a powerful penultimate number, with Udo delivering an emotive vocal and Dammers slowing down his usually speedy soloing style. The rest of the band, save for Sven, then briefly stepped off the stage - and the drummer led the crowd through a rendition of a familiar folk number, which of course led into the set's finale Fast as a Shark. There was plenty more singing from the crowd during this number - and around an hour on stage came to an end in a powerful manner. The setlist was (N.B. all of the songs below are Accept songs):
Balls to the Wall
London Leatherboys
Fight It Back
Head Over Heels
Losing More Than You've Ever Had
Love Child
Turn Me On
Losers and Winners
Guardian of the Night
Winter Dreams
Fast as a Shark
Around half an hour later, the lights went down again and the curtain which had been covering the stage dropped to reveal Saxon - who launched into the muscular Hell, Fire and Damnation right away. I have never been disappointed by Saxon live, and yesterday's show was no different. From the off, the band sounded powerful and as fired up as ever. Frontman Biff Byford was a little low in the mix early on, but this changed as the set progressed. Given his on-going cancer battle, he looked and sounded as good as ever. His voice retains the power of his youth, albeit with more grit now - whilst the rest of the band were as tight and high-octane as ever. I am not sure that I will ever quite get used to see Brian Tatler (guitar) on stage with Saxon, but he has formed a great guitar duo with fellow guitarist Doug Scarratt over the past couple of years - and the classic Saxon guitar sound remains very much intact with Tatler. The main set was split into two, with the first half containing a few newer songs alongside some classics - with Wheels of Steel following. Early on, then, the crowd were treated to plenty of big favourites. There were not too many surprises here - with anthems like Power and the Glory and Never Surrender sitting nicely alongside the thrashy newer number Sacrifice and the still brand-new Madame Guillotine, a creeping number led by Nibbs Carter (bass guitar/vocals). Perhaps the only slight curveball early on was the inclusion of Backs to the Wall from the band's 1979 debut album - largely in tribute to the band's first big tour with Motörhead which brought them to many cities, including Bristol, for the first time. Saxon crowds never let newer numbers dampen their enthusiasm, either, which is great. Sacrifice has been regularly played over the years, so was greeted like an old friend, but even Madame Guillotine kept the energy levels high - despite its creeping, classic rock-esque strut. Anyone needed a kick, though, would soon receive one in the form of Heavy Metal Thunder, which saw headbanging all around the venue - before the first part of the set came to a close with the somewhat more epic Dallas 1pm. Saxon often excel at mini-epics like this, with the song's subject matter and subtle bluesy vibes keeping a groove going. There was no break between the two halves of the set, but Byford spoke to the crowd briefly about the importance of Wheels of Steel - before the sound of motorcycles heralded the speedy Motorcycle Man. The first half of the set had been powerful, but Wheels of Steel in full took things to the never level. Many of the deeper cuts really shone, such as the boogie blues of Stand Up and Be Counted, but it was the evergreen classics 747 (Strangers in the Night) and the title track which got the crowd going the most - with both featuring sing-a-longs conducted by Byford. There was a danger that side two of the album could see the energy levels dropping, but that did not happen. A huge drum barrage from Nigel Glockler introduced the snappy and short Freeway Mad, whilst See the Light Shining felt like the precursor to those mini-epics I was talking about - which later albums would expand on. Byford rarely stopped to speak to the crowd during this portion of the night - but he did introduce a few songs in case anyone was not already familiar with the album. This seemed unnecessary, though, as everyone seemed onboard - with even the smoother Suzie Hold On not seeing a drop in energy levels, despite the song very much being the odd one out on the album. The raucous speed metal of Machine Gun saw the main set come to a fast-paced close, though, and the Bristol crowd could be heard chanting the band's name as they left the stage. A four-song encore followed, with four more classics making an appearance. Denim and Leather and the ode to Donington And the Bands Played On were both lapped up by the crowd, before some pulsing bass injected more bluesiness into the set via Strong Arm of the Law. The evening then came to a close with Princess of the Night, which kicked up the energy levels one last time - with the set overall being another triumph. The setlist was:
The Prophecy
Hell, Fire and Damnation
Power and the Glory
Sacrifice
Backs to the Wall
Never Surrender
Madame Guillotine
Heavy Metal Thunder
Dallas 1pm
Motorcycle Man
Stand Up and Be Counted
747 (Strangers in the Night) Wheels of Steel
Freeway Mad
See the Light Shining
Street Fighting Gang
Suzie Hold On
Machine Gun
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Denim and Leather
And the Bands Played On
Strong Arm of the Law
Princess of the Night
As I said earlier in this piece, Saxon never disappoint live. Whether playing a shorter set opening for a bigger band, supporting a new album with a setlist that reflects newer material, or playing tribute to a classic album from their past, the band always seem to get the memo. Their power never seems to waver, and they do not seem to be slowing up either. A new album is being worked on, which is likely due out next year, so that means that there is likely another Saxon tour due at some point in the near future - and I will certainly be there to witness what will be Saxon show number 10 for me.
