I seem to be going to a lot of farewell tours at the moment. Given that many of the bands I like started life in the 1960s, 1970s, and 1980s, this is perhaps unsurprising, but we are certainly at something of a musical turning point. It will not be long before none of the legendary rock bands from the past still exist, at least in any meaningful form, and those from the newer generations will have to really step up. It was only last week that I saw Uriah Heep on their farewell tour - and on Wednesday I headed back to Bristol, and back to the tarted-up Beacon, to catch Fish on his farewell tour, dubbed the Road to the Isles tour as, following its conclusion, he will be moving to a small Scottish island and properly retiring. Farewell tours have almost become a bit of a running joke in the music industry given how many bands return after a few years away - but, I think, with Fish I believe him. Since leaving Marillion in 1988, he has maintained a successful solo career - but I think it is fair to say that there have been peaks and troughs throughout, and keeping his head above water has often come at a quite significant cost (both literally and figuratively). Given that he has essentially done everything himself since a few years into his solo career, it is impressive that he has managed to maintain such a high profile. He has always managed to punch above his weight in many ways, then, despite some wilderness years and slight identity crises in terms of musical direction, and he has often managed to conduct himself with great dignity despite the many rocks in the road which came from trying to have champagne presentations on lemonade resources and staffing. He should be applauded, then, and since seeing him live for the first time in Tavistock back in 2008 I have been a big fan. Including Wednesday night in Bristol, I managed to see him live 12 times - counting the two nights of the Leamington Spa convention in 2012 as two separate gigs. This included the aforementioned convention, which was an excellent weekend, acoustic evenings in strange venues, loud nights in small clubs, and Marillion-centric shows in larger clubs. All the shows have been memorable, with the convention in particular standing out, but Wednesday in Bristol may end up, in time, being seen as the best of the bunch. Following a lengthy European trek last year, this current UK leg of the tour mark Fish's last ever shows - and he is playing some of the biggest venues he has played for quite a while. The Beacon is a grand venue, so is fitting for Fish and his farewell tour - so it was great to see it largely full despite quite a few shows being included on the tour. Not every seat in the top tier where I sat was full, but it was busy - and the atmosphere throughout was excellent, with Fish in good spirits and the crowd ready to sing and engage in some typical Fishy banter.
Wish no support act and the doors opening at 7pm, there was a bit of a wait before the music started at 8pm. The place slowly filled up, though, so when the lights went down and strains of Rossini's La Gazza Ladra started to fill the venue there was a real buzz in the room - and Fish's band slowly took to the stage as the classical intro gave way to the opening keyboard drone of Vigil. For the next approximately two hours and 20 minutes, the Bristol crowd was treated to a powerful tour of Fish's career - focusing on his best-known solo albums and fan-favourite deep cuts, alongside a smattering of Marillion. Fish's live band has changed a lot over the years, but many of the same few faces have come and gone throughout - and the band for this final tour was almost a who's who of Fish collaborators throughout the years. Three of his main songwriting partners from throughout his career: Robin Boult (guitar), Steve Vantsis (bass guitar/vocals), and Mickey Simmonds (keyboards/vocals); made up the core of the band, which was rounded out by long-time drummer Gavin Griffiths and semi-regular collaborator Elisabeth Troy Antwi on backing vocals. It was a relatively all-star affair, then, and the comradery between the six was clear throughout - wish Fish and Simmonds in particular engaging in plenty of banter between themselves and with the crowd. Vigil ensured a measured start, though, and Fish walked on stage to huge cheers as Simmonds' keyboards swirled around - with the lengthy epic kicking things off nicely. Fish's voice has certainly deteriorated over the years, but a few relatively quiet years has certainly helped it. I last saw him live in 2021, and he sounded the best that he had for years then - and this past Wednesday was no different. He cannot hit the high notes anymore, but his delivery and charisma remains unique - and he oozed the lyrics to both Vigil and the following snappy groove of Credo with all of his years of experience. The setlist has been changing slightly throughout this farewell tour, but the core of it has remained intact. It very much has a flow to it, then, and it ticks off a lot of big-hitters from throughout Fish's career. The harder rock of early single Big Wedge saw the band kicking things to the next level following the relatively slow-burn of the opening two numbers, with Boult laying into his guitar, whilst the rawer folk rock stomp of A Feast of Consequences showcased some of his more recent work. Nothing from his most recent album was played, but that material was showcased back in 2021 and the last tour before the pandemic which focused on Marillion's Clutching at Straws, and this was a night for some different vibes.
Bristol was treated to snarling version of the muscular Long Cold Day, which stood out given the lush arrangements seen elsewhere, whilst a personal favourite in Shadowplay has been a fixture of the tour - and it was a treat to finally get to hear it live. I have always felt the song to be a hark back to Marillion in some ways - with Simmonds' upbeat piano melodies and a tight groove elsewhere. Fish took plenty of opportunities to talk to the crowd - and his banter and jokes are as much a part of the show as the music. A humorous story about unexpectedly receiving his pension added a lot to the vibe of the evening (i.e. getting older), but generally Fish was just his usual self - with a few hecklers down at the front getting involved in the banter to keep him amused. Another standout moment of the set was Just Good Friends (Close), which Fish sang as a duet with Antwi. I thought that Antwi added a lot to the set, her vocals helping Fish out on many occasions - and the duet was her moment to shine, her bluesy voice contrasting well with Fish's well-worn delivery. The next two songs then really allowed Boult to shine. Fish's solo work is not always that packed with solo opportunities for his band members - but Cliché has always been one for the guitarists. Boult nailed the soaring leads throughout the emotional ballad - and he also delivered during a punchy version of Incubus, the only Marillion number in the main set. This was preceded by Fish starting to introduce another song, before being reminded what was next, which was another humorous moment - but following a powerful Incubus the crowd were treated to the song he was trying to introduce: the lengthy, six-part epic Plague of Ghosts. This was another song I had not seen him do live before, at least in full, and it was great hearing the complex piece. It has never been a personal favourite, but it is one of those legendary deeper cuts in his catalogue that many really love - and it showcased all sides of his songwriting, from groovy hard rock, to folky ballads, and even some spoken word. It acted as the main set's closing number - and the crowd kept singing the final vocal refrain long after the band had left the stage. A five-song encore followed, though, in two parts, with Fish and Simmonds returning alone for the delicate piano ballad A Gentleman's Excuse Me, which hit the spot as it always does, before the rest of the band returned for a suite of songs from Marillion's Misplaced Childhood - including the big singles Kayleigh and Lavender. As expected, there was plenty of singing during these Marillion numbers - but perhaps the biggest sing-a-long was left to the final encore. After another brief step to the side of the stage, the band were back and Fish led everyone through a rousing rendition of his signature anthem The Company - which was a perfect way to cap off an excellent evening. The setlist was:
Vigil
Credo
Big Wedge
Long Cold Day
Shadowplay
A Feast of Consequences
Just Good Friends (Close)
Cliché
Incubus [Marillion material]
Plague of Ghosts - Part I: Old Haunts
Plague of Ghosts - Part II: Digging Deep
Plague of Ghosts - Part III: Chocolate Frogs
Plague of Ghosts - Part IV: Waving at Stars
Plague of Ghosts - Part V: Raingods Dancing
Plague of Ghosts - Part VI: Wake-Up Call (Make It Happen)
-
A Gentleman's Excuse Me
Kayleigh [Marillion material]
Lavender [Marillion material]
Heart of Lothian [Marillion material]
-
The Company
In a way it is hard to imagine that it is nearly all over. As Fish stated on stage, he is Fish for another two weeks - and then it all really will be over. I have been lucky to have had the chance to see him live quite a few times over the years - and all of the shows I managed to get to were memorable for the right reasons, even if there were some bumps in the road along the way. Wednesday night in Bristol was up there with the best, too, and Fish will bow out on a high with this excellent tour - and he deserves this last curtain call before walking off into the sunset.
Following a lengthy long weekend of live music, where I took in four concerts in four days in three cities, I am finally back home. I do sometimes wonder if I am getting a bit too old for these lengthy treks away, as they do take it out of me, but I always look back on them fondly - and they are generally a pretty cost-effective way of seeing multiple bands. Getting in and out of the South West is often where much of the expense lies, with inter-city train travel generally relatively more reasonably priced, so it makes both financial and annual leave sense to try and group gigs together where I can. Much of the past weekend was spent in London, but yesterday I travelled up from the UK's capital to its unofficial second city of Birmingham - where I was planning to spend a night at BP Pulse Live, which is the latest ridiculous sponsorship name of the concert arena which is part of the NEC complex outside of the city itself. I recently saw Toto deliver what will likely be seen as one of the gigs of 2025 in a much reduced capacity and relatively intimate version of the venue - but last night the venue was back to full capacity as the Texas-based metal legends Pantera were rolling into town on their first European tour since reforming in 2022. They did play at last year's iterations of Download Festival, so the run of UK shows included at the end of the wider European tour were not their first since reforming - but they were their first headline gigs here since the early 2000s. I have to admit from the outset that I have only ever really been a casual Pantera fan - and that remains the case. They arguably were the band to kick-start a new metal scene in the 1990s, following the implosion of the glam metal and the stagnation of the thrash scenes - with their groovy riffs, blues influence, and trappings of extreme metal helping to essentially create the groove metal scene and arguably the later nu metal scene, too. Pantera can trace their history back to 1981, and were releasing albums in the 1980s, but it was a drastic sound and image change on 1990's Cowboys from Hell that launched the Pantera we know today - and it remains a landmark release in heavy metal history. The aggressive, yet melodic, vocals of frontman Phil Anselmo and the instantly-recognisable riffs of the late Dimebag Darrell essentially created a new form of metal - and the late Vinnie Paul basically set the standard for how metal drums would sound going forward. Pantera burnt out in acrimonious fashion in 2003 following plenty of success during the 1990s - and following Dimebag's murder in 2004 and Vinnie's death in 2018 a reunion always looked unlikely (even before Vinnie's death a reunion was unlikely due to ill-feeling between him and Anselmo). This changed in 2022, though, when Anselmo and bassist Rex Brown announced that they were putting Pantera back together and go on tour as a tribute to the late Abbott brothers - with Zakk Wylde (guitar/vocals) and Charlie Benante (drums) filling in for them. Whilst there was a lot of excitement, there was also a fair amount of scepticism and cynicism following the announcement - so when the European tour was announced I decided to see for myself. Pantera were not a band I ever thought I would see live - so passing up an opportunity to do did not really cross my mind.
I got the venue and was in my seat about half an hour before the music started. I had opted to stay in the on-site Premier Inn this time, rather than in Birmingham itself like usual, but the 'on-site' hotel turned out to be quite a significant walk away - in a very pedestrian unfriendly part of the wider site. I ended up having to walk through the backlot of the NEC itself, where I definitely was not supposed to be, to get to my hotel and back to the venue. I made this walk three times within the space of a few hours, in the rain, so that was not ideal. I did find a more legitimate, but even longer, route back this morning - but that involved walking through the NEC itself so may not have been possible late at night. I will just stay in Birmingham again as normal in the future and play train roulette. Anyway, and more relevant to the gig, the opening act were Australia's King Parrot - who played a thrashy take on grindcore which, predictably, did very little for me. Despite my recent more in-depth foray into extreme metal, particularly death metal, grindcore has never done it for me. I had a few friends in my teenage years who were into it, and there was a relatively thriving local scene here around the same time, so it is certainly something which I have been exposed to over the years - but it never rubbed off on me. I find it borderline unlistenable for the most part, but King Parrot were at least on the more palatable side thanks to their strong thrash influence which meant that there were some decent riffs thrown in alongside the abrasive punk-inspired chaos which generally made up their set. Frontman Youngy did not really indulge in those pig-like squeals which were popular in the late 2000s, either, but his screams and general delivery were still hard on the ears. There was much better to come, but King Parrot only had about 30 minutes on stage so thankfully I was not subjected to them for too long. Despite their importance in metal history, Pantera are considered a pretty mainstream act these days - so a band like King Parrot was likely to struggle to get people on board, but they seemed to do a reasonable job with a few mosh pits opening up down at the front during their short set.
I was on much more familiar ground with Power Trip - another Texan band who acted as the night's main support. I first came across them in advance of the 2018 iteration of Bloodstock Open Air, as they were on the Main Stage bill, so I picked up 2017's Nightmare Logic in advance of seeing them. The thrash band connected with me pretty quickly, and their set was one of the festival's most memorable. They pulled a big crowd for early in the day and everyone thought that the band was destined for greatness - only for their talismanic frontman Riley Gale to die in 2020. The band seemed to be over, but in 2023 they slowly started to resurface, with new frontman Seth Gilmore, so I was excited to catch up with them again on this tour. Whilst Gale was a big part of the band's appeal, I still found them to be an exciting live act. Gilmore might not be as maniacal as Gale was, but his slightly more assured performance and slightly gritter voice worked well for me - and I am glad that the band have found someone which has allowed them to carry on. Much of the set was culled from Nightmare Logic, with the fast-paced Soul Sacrifice kicking things off. The band's anthem has always been Executioner's Tax (Swing of the Axe), though, and that song really kicked the set into the next gear - with plenty of headbanging going on during the mid-paced riffing and the chorus gang vocals reverberated around the arena. Gilmore spoke well to the crowd, and got everyone excited for the rest of the set, whilst the shredding from Blake Ibanez (guitar/vocals) added a touch of class to the band's raw, punky take on thrash. Power Trip have always been a band in a few camps, but they tick a lot of the thrash boxes for me despite a strong punk influence - and there were enough crunchy riffs throughout the set to keep any metalhead satisfied. Much of the set was fast-paced, too, with newer single Hornet's Nest feeling pretty venomous - before a mash-up of Drown and Crucifixation was dedicated to Gale. Considering that Power Trip seemed dead and buried until a couple of years ago, they seemed really happy about being on such a big tour. Waiting Around to Die was dedicated to Pantera as a thank you for letting them hop on board - but it was left to the title track of 2013's Manifest Decimation to round out a snappy 40 or so minutes of music. Hopefully the success of this tour will spur the band on to write a new album - as the world is sorely due a follow up to Nightmare Logic. The setlist was:
Soul Sacrifice
Executioner's Tax (Swing of the Axe)
Firing Squad
Hornet's Nest
Nightmare Logic
Drown/Crucifixation
Waiting Around to Die
Manifest Decimation
A curtain covered the stage whilst Pantera's gear was uncovered and checked - but it did not feel that long before the lights went down and a video showing lots of footage of the Abbott brothers was shown on the big screens. These shows are meant as a tribute to them, which Anselmo later reiterated, and when the curtain dropped and the band launched into A New Level with real venom. Wylde managed to capture Dimebag's style nicely, whilst injecting a little of his own bluesiness into the songs, and Anselmo impressed vocally. He is clearly not the singer he was in the 1990s, and I felt he did struggle a bit with A New Level - but from the second song onwards he sounded assured and pretty powerful. The crowd did a lot of heavy lifting, too, with each chorus belted back at the band from the floor - with Mouth for War and Strength Beyond Strength which followed also benefitting from the same treatment. Anselmo talked to the crowd quite a bit between the songs, which was nice, and I did get the vibe that the sentiment around the reunion was genuine. I am not sure that big names like Wylde and Benante would take so much time away from their own bands to participate if it was not - and a whole new generation of fans has now had the chance to hear many of these legendary 1990s anthems live. The band only played for around 90 minutes, so could not play everything that the die-hards would have wanted them to, but they managed to throw in a few extra riffs here and there as teases within other songs - such as how the massive sing-a-long I'm Broken ended with a portion of By Demons Be Driven. The band mostly stuck to groove metal staples culled from 1992's Vulgar Display of Power and 1994's Far Beyond Driven - but they did dip into all five of their major label releases. A frantic take on Suicide Note - Part II showcased the band's more extreme metal side - which really came to the fore on the caustic The Great Southern Trendkill from 1996. It really pushed Anselmo's current vocal capabilities but he still sounded decent - and 5 Minutes Alone then saw the band return to more familiar ground. There was a bit of a lull in vibe to kick off the set's final third - as two slower numbers in This Love and Floods were played. The latter was Wylde's big showcase moment, and he took an extended solo during the song - whilst more footage of the Abbott brothers was shown on the screens. This felt like the set's emotional climax - and everything which followed was a victory lap of classics. Walk then brought arguably the biggest reception from the crowd, before another mash-up saw Domination and Hollow getting an airing. The main set then came to an end with the band's signature anthem Cowboys from Hell - which was another to feature a lot of singing from the crowd. The main riff really filled the room and there was a lot of movement down on the floor - before the band left the stage briefly to loud cheers. A two-song encore followed, though, and following a tease of Mountain's Mississippi Queen the band launched into the thrashy Fucking Hostile. That could have been it, but they decided to break out a relative deep cut in Revolution Is My Name to close out the night. The song had not been played on the European tour up to this point, so it was a treat for the Birmingham fans to enjoy before the band took their bows. The setlist was:
I might only be a casual Pantera fan, but I had a great time with the band in Birmingham last night. It was great to have a chance to see them live, as I never thought that I would, and I came away with a new appreciation for the band's music and legacy. It is unclear how long this reunion will last for, especially as it does not look like any new music is coming and Wylde and Benante will likely want to get back to their day jobs, but it seems to have been a great ride so far - and I am sure that many were grateful for the chance to hear these legendary songs live again.
These long weekends of gigging really take it out of you. It is amazing what a couple of days of trains, a poor diet, and unfamiliar sleep surroundings can do - but over the years I have been on many weekends away like this so am somewhat used to it. Despite that, though, even following a quiet day yesterday I was not really in the right headspace at first to trek across London to Kentish Town to catch Green Lung live at the O2 Forum. I had not really done much with my day, hoping to rest and catch up on some TV, but I was still feeling a bit rough by the time I had to leave. I did half consider bailing on the show and saving my energy for tonight's final night out of the weekend - but I persisted and soon found myself in the queue outside the O2 Forum. Green Lung are probably not a band I would have travelled to London to see were it not for the other plans around it. I am fairly new to them, having first started listening to them when This Heathen Land (which I reviewed here) dropped in 2023, but I gave that album a positive review at the time and still enjoy it quite a bit. Nothing else that the band have done has grabbed me in quite the same way, though. In truth, I have not heard 2019's Woodland Rites as it is very hard to track down here in the UK - but 2021's Black Harvest never felt as strong as This Heathen Land. Despite this, though, I wanted to see essentially what all the fuss was about. Green Lung are one of those bands who have really shot up in popularity over the past couple of years - to the point where they can pack out the O2 Forum. I am not sure if the show was officially sold out or not, but it was extremely busy throughout the night, especially down on the floor, so it is clear that Green Lung are really on the rise. I wanted to catch them in this somewhat transition period, then, as there is a chance that, if the current trajectory continues, they could soon be onto bigger venues than the O2 Forum - which for a new UK doom band would be quite an achievement. I have been to the O2 Forum many times over the years, but it had been a while since my last visit. As I was not 100% feeling up for the show, I decided to stand near the back - but after a while I remembered why I stopped doing this in the past. The venue is good when you are stood down in the pit - but the views and vibes from near the back are not great. I managed to find a pretty decent spot for Gren Lung themselves but for the support acts I struggled to really see and hear properly over those at the back who were there to talk and not there to enjoy the music. There was also someone nearby who was smoking weed on and off during the show, which is always annoying when there is no escape from it. I realise that I am sounding pretty miserable during this introductory paragraph - but there are good things to come. Not all gig experiences are great from start to finish - but it is frustrating when others do not think of those around them.
The opening band did not do much to change my mood, either. The Virginia-based four-piece Satan's Satyrs were the first band of the three-band bill, and their fuzzy, bluesy, doom music did little for me. I should probably state that I am not the biggest doom fan - especially at the bluesy/stoner end of the scene. I like epic doom and death/doom, but the weed-fuelled blues that makes up a lot of doom does little for me - so I was likely always on to a loser with Satan's Satyrs. Green Lung have bits of that in their locker, but they have much more of a traditional heavy metal base overall which appeals to me - were as Satan's Satyrs do not. A lazy sound mix likely did not help, but in some ways I feel that they are a band who probably like to sound messy. Their guitar tones were so fuzzy that it was almost indiscernible what was being played at times - and Clayton Burgess' (vocals/bass guitar) voice was pretty weak and strained, so there was no way it was going to rise above the pounding drums and two guitars with deliberately obnoxious tones. There are plenty of newer bands like Satan's Satyrs who seem to want to go for this overly retro sound which never really existed back in the 1970s. They all want to be Black Sabbath or similar, but those bands never sounded so messy - and Tony Iommi's guitar tone was always great. Retro sounds can certainly be taken too far. There are bands who do it well, and Green Lung is generally one of them, but in my opinion Satan's Satyrs are not one. They only had half an hour on stage and I am not sure I can remember one riff or vocal hook from any of their songs. Perhaps there were some songs there to be heard, but drowning them in awful guitar tones in an attempt to ape the 1970s is rarely a good idea.
The Oregon-based four-piece Unto Others were the evening's special guests - and they upped the quality quite significantly. I had seen the band twice before, opening for both Arch Enemy and Carcass, and have since picked up a couple of their albums - but, as is the case with Green Lung's early work, not everything they have released is that accessible here in the UK. Whilst I knew some of the songs played, then, there were large chunks of the set which I was not familiar with. I was looking forward to seeing the band again, who I think are actually headlining some of the shows on this European tour if they are bigger than Green Lung in the relevant territory, and they put on another strong show. Unfortunately, though, they played during the portion of the night where I found myself stood in the worst place. It was quite hard to move to somewhere better at the time, and the group of people directly in front of me would not stop loudly talking and laughing throughout the band's set - and occasionally they would push past to go back, yet again, to the bar. Thankfully I managed to move and I found a better place for Green Lung's set, but Unto Others were diminished by those around me. The band still played well, and did not seem to suffer from any sound issues, but they were hard to hear at times due to all the talking so I was not really in the right frame of mind to enjoy them. They played some of the hookier songs from last year's strong Never, Neverland (which I talked about briefly here), including the opener Butterfly and the hypnotic Suicide Today, as well as plenty of other songs from their other albums and EPs. Frontman Gabriel Franco's voice sounded as deep and strong as ever, and the guitar interplay between him and fellow guitarist Sebastian Silva made for some of the set's more exciting moments. The band's take on gothic rock is a pretty unique one, too, and I like what they do with the sound. Nothing sounds too contrived or ripped off from other goth bands - and each time I have now seen them live they have impressed. The situation yesterday did hamper my enjoyment of them, though, so previous experiences are likely to be more memorable in a positive way than this one.
During the changeover whilst people were moving around, and a few likely left who had only turned up to see Unto Others, I managed to find a much better spot to watch the rest of the show from. I was still at the back but I was slightly away from the main throng - so had a good view of the stage when the lights went down and Green Lung took to the stage. I had not been in the best of moods up to this point, but a couple of songs into Green Lung's set that changed - and I was glad that I had made the effort and not bailed on the night. I might not be familiar with all of Green Lung's work, but it did not really matter. The set consisted of essentially all of This Heathen Land and a few songs from Black Harvest - with only a handful coming from their debut. Those early ones which were played, though, were very easy to latch onto - and I had a great time from the off. Woodland Rites from the first album kicked things off, but the set really got going with the barrelling opening riff of Mountain Throne. The band's mix of early Black Sabbath, early Uriah Heep, and early Ghost really shone during this song - with Scott Black (guitar) really laying into his Gibson SG whilst John Wright (keyboards/percussion) added lashings of abrasive Hammond organ. For the next 90 or so minutes, then, Green Lung showcased why they are rising up the ranks. Great stage presence and a powerful sound mix helped to bring the songs to life - whilst frontman Tom Templar covered every inch of the stage and came across as down-to-earth whilst addressing the crowd. For me, the band are at their best when they are going all-out. As such, cuts like Reaper's Scythe in particular was an early highlight - but the band like to slow things down somewhat. Oceans of Time is probably my least favourite cut on the latest album, but live it really came across well. It showcased a bit more of a progressive side of the band's writing, with more intricate arrangements and keyboard textures - and it led into a more downbeat part of the set with slower, folkier songs like Song of the Stones and May Queen. The band were joined by a backing vocal trio called The Oosettes from this part of the show onward - and the three ladies also added some folky instruments to the former. They generally added vocals to all of the other songs in the set, too, which added some depth - and they created a vocal-only intro for the heavy The Forest Church which worked well and gave the song a different spin live. The rest of the main set was largely packed full of anthems, then, with the fast-paced Hunters in the Sky containing one of the evening's best choruses, which was duly sang loudly by the crowd (who were really into Green Lung), and a similar vibe continued during the slightly spookier Maxine (Witch Queen). It was left to another slightly longer and doomier piece Graveyard Sun to see the main set out, then, which was another track which came across better live than it does on record. It was a fitting end to what had been over an hour of music at this point, and the crowd really cheered for more as the band left the stage. There was plenty more to come, though, with a four-song encore kicking off with the related pieces The Harrowing and Old Gods, with the ladies again adding a lot to the former - before the band's fast-paced anthem Let the Devil In saw plenty of singing from the packed venue. I would have left it there personally, but there was one more - with the slow-paced One for Sorrow seeing things out. I am not sure the dirge was the best choice as a closer but we should not complain about more - and I doubt that most did. The setlist was:
Woodland Rites
Mountain Throne
Templar Dawn
The Ancient Ways
Reaper's Scythe
Oceans of Time
Song of the Stones
May Queen
The Forest Church
Hunters in the Sky
Maxine (Witch Queen)
Graveyard Sun
-
The Harrowing
Old Gods
Let the Devil In
One for Sorrow
Despite not enjoying the opening act and struggling to enjoy Unto Others due to not feeling 100% and those around me, Green Lung's excellent performance made the trip out worth it. They are very much a band deserving of the hype they are getting - and it is great to see a retro-sounding band out there doing things properly and actually sounding good. They seem to be going from strength to strength - and with a new album due to be recorded fairly soon I hope that this upward trajectory can continue.
I am now half way through my big weekend away and I am planning to have a fairly quiet day in London today before heading out again for another night of live music. Later on I will travelling across from Acton to Kentish Town for Green Lung and Unto Others' show at the O2 Forum - but for now I need to write about last night's trip to the Eventim Apollo in Hammersmith. Following a rather uneventful train journey across from Bristol, and a quick trip to a Notting Hill record shop, I checked into my Acton Travelodge ready for what promised to be another great night. The reason for the trip was Marilyn Manson - someone I have liked since my teenage years but had never seen live before. I am not quite sure why I did not see him back then, but I am assuming that a sensible opportunity to do so did not present itself, but in recent years it always seemed like he had dropped off in terms of quality when it came to his performances. I actually think that his albums throughout the 2010s were generally pretty good, but the reports from his live shows were often less than positive - and judging from some of the footage I have seen over the years it is hard to disagree. As such, I was quite content with not seeing him live - but when his tour with Five Finger Death Punch in America kicked off last year the reviews were flooding in regarding how good he was again. Whilst not exactly a return to his late 1990s/early 2000s best, there was certainly the sense that Manson had got his mojo, and his voice, back. Following years of being overweight and struggling to sound powerful, Manson was once again looking like his old lanky self - and sounding strong despite his voice still showing natural signs of age. At the time I was not necessarily expecting a European tour to follow, but it was not long before a new album was announced and some European tour dates were booked which included a handful of UK shows. If I was to see him live, then, I felt that this was the best chance to do so. Following his enforced break from touring due to a myriad of legal issues, some of which do not seem to be resolved as of yet, this tour felt like something of a comeback for him. He was hungry and somewhat had something to prove again - so I felt as if those lacklustre shows of the past would not be what Europe were treated to - particularly if he carried over his form from that US tour last year. It also helped that his latest album, One Assassination Under God - Chapter 1 (which I reviewed here), was also very strong - which later validated my decision to pick up a ticket for the tour. As I said, though, I do not think that his recorded output significantly saw a drop off in quality - but I do think that One Assassination Under God - Chapter 1 felt a little more inspired than perhaps his last album, and the shades of 1998's Mechanical Animals were particularly welcome. Of the few shows UK announced, the one in London made the most sense. The Eventim Apollo is always a great place to see bands - and it also fitted in alongside some other plans I had.
The venue opened at 7pm, but by the time I had got to the front of the long, snaking queue and inside it was probably around 7:20pm. Nothing started until 8pm, so there was not too long to wait, and the sold out venue soon filled up. There was only support act, the French rockers The Blackmordia, and their half an hour set flew by but never really made much of an impact. In truth I did have to spend some of it answering a call of nature - but the synth-driven glam rockers felt a little lightweight opening up for Manson despite some good ideas and a few decent choruses. The main issue the band came up against, though, was the sound. Sadly, the lead singer's voice was generally very low in the mix - which meant that the choruses, which generally sounded decent, did not have much of a chance to hit home. He did not have the most powerful of voices, either, instead having more of a poppy tone which perhaps did not help. The crowd did not really seem all that interested, either. The last song of the set saw a little bit of interaction in terms of phone lights being held aloft - but the cheers between each song were muted at best, and The Blackmordia failed to generate any sort of significant reaction. I somewhat felt sorry for them, as they seem like they could be quite an interesting band with a strong mix of 1970s-esque glam rock and synth driven pop rock - but neither side of their sound really was able to shine through last night. In truth, they were probably the wrong band for this tour. Whilst Manson has never fully been associated with the metal scene, he is nevertheless a generally pretty heavy artist - so something heavier would have likely worked better. There were a few chunky riffs in The Blackmordia's set, but nothing approaching Manson levels of heaviness - and I think that sadly quite a few people were bored. In the right context and with a better sound mix they might be a band that can excel and impress - but they did not leave much of an impression last night despite having some interesting ideas.
Around half an hour following The Blackmordia's set the lights went down again and Manson and his band took their places on the stage behind a curtain - which dropped during the opening bass strains of opener Nod if You Understand. For his first UK headline show since 2017, Manson struck a fine balance between new material and old favourites. Over half of the new album was featured throughout the night, which was a wise move in my opinion, but plenty of classic tracks were also included. Generally, much of the set was pretty heavy, too, although there were a few slower, more atmospheric moments. The first three songs were all up-tempo, though, with the riff-heavy Disposable Teens and the groovy Angel with the Scabbed Wings following the aforementioned opener. Manson's band for this tour features some old returning faces and some new names, with Tyler Bates (guitar/vocals) and Gil Sharone (drums) back in the fold and Reba Myers (guitar/vocals) and Piggy D. (bass guitar/vocals) coming on board. The band were tight and allowed Manson to shine, with D. in particular standing out. The bass has always been a huge part of Manson's sound, possibly more important than the guitars at times, and he nailed all of the classic grooves whilst Bates and Myers riffed away and laid down atmospheric and discordant leads. Torniquet proved to be an early chance for some atmosphere to be injected into the evening - with Manson's classic croon filling the venue. Vocally, I thought he sounded strong for the most part. Whilst not exactly back to his best, he sounded strong and confident throughout, with even the big screams sounding venomous, whilst between songs he chatted with the crowd more than I expected him to. He seemed very happy to be back out on the road and the crowd was really into the show from the off - singing along to all the songs played, old and new. It was the old favourites that really struck a chord, though, with This Is the New Shit and mOBSCENE both coming about half way through the set to really kick things into the next gear. The amount of jumping and movement down at the front for the latter was impressive to see from my vantage point near the back - but the pulsing Meet Me in Purgatory earlier on had still gone down well. The latter portion of the main set was a bit more subdued and groovy, with tracks like Great Big White World and As Sick as the Secrets Within showcasing a creepier, more atmospheric sound, whilst the glam rock stomp of The Dope Show was full of D.'s bass and Manson's snarled, sarcastic vocals. This atmospheric sound was continued on with his famous cover of Sweet Dreams (Are Made of This) before the main set came to a close with the riff-heavy and anthemic The Beautiful People. The main set was a bit shorter than average, but that seems to be typical of Manson's approach, but he came back for two one-song encores before the night was done. The title track from the latest album proved to be a real winner, and maybe the best of the new songs live, before the soaring ballad Coma White saw the evening come to a close. The setlist was:
Nod if You Understand
Disposable Teens
Angel with the Scabbed Wings
Torniquet
Meet Me in Purgatory
This Is the New Shit
Death Is Not a Costume
mOBSCENE
Great Big White World
The Dope Show
As Sick as the Secrets Within
Sweet Dreams (Are Made of This) [Eurythmics cover]
The Beautiful People
-
One Assassination Under God
-
Coma White
Despite all the positive vibes leading up to the show, I still was not sure how things would turn out. Manson has not really been known for his live shows for some time now, so it could have been a disappointment - but I really enjoyed my time at the Eventim Apollo last night. Manson put on a powerful show and the atmosphere in the room was excellent. Seeing him feels like a big tick off the list of those artists I have not seen live - and it is good to have a positive experience of him rather than having seen him previously and likely coming away disappointed.
I am not
sure that I can remember a start to a calendar year being so busy when it comes
to gigging. Generally, I find the spring and autumn to be the busiest times of
the year - but following my first show of the year in January things have barely let up. In truth, both March and April are
much quieter, before May gets busy again, but January and February 2025 have
been packed full of gigs. I had a rare weekend at home last weekend, even
though much of Saturday morning was taken up with travelling back from Bristol,
but I am now in the midst of what is likely to be my busiest gigging weekend of
the whole year - as I am taking in four gigs in four days in three cities. As I
write this I am currently in London, having travelled up from Bristol this
morning, and am looking forward to seeing Marilyn Manson for the first time
shortly, but this post is about last night's excellent show in Bristol - where
I saw Uriah Heep rock a packed Beacon at the start of their long goodbye. Dubbed
The Magician's Farewell, the band's current tour is stated to be their
last extensive globe-trotting affair. The band have not ruled out festival
appearances and the odd shorter jaunt following the conclusion of this lengthy
trek, which is likely to take two or three years, but in terms of an
all-encompassing and traditional tour this appears to be it. Given that the
band formed back in 1969, though, this want to slow down is not a surprise.
Considering all of the talk surrounding Black Sabbath's recently-announced
farewell show, and how much an ailing Ozzy Osbourne will be able to contribute,
the fact that Uriah Heep can even contemplate such a lengthy tour is
impressive. Admittedly, only Mick Box (guitar/vocals) remains from the band's
founding - but some of the 'newer' members are not exactly young so it is great
that much of the world will get at least one last chance to see Uriah Heep
live. Since I first saw the band at the 2009 iteration of the Cambridge Rock
Festival, I have been a big fan. Including last night, I have now
seen them live nine times - and each night has been memorable. Whether it was
the most recent show, where I saw them deliver a short set opening for
Judas Priest last year, or the most memorable show, a lengthy set in 2022
belatedly celebrating the band's 50th anniversary, Uriah Heep always
deliver. It helps that the current line-up is long-solidified now, with newest
member Dave Rimmer (bass guitar/vocals) having been in the band since 2013, and
also that they have stayed creative - putting out a number of strong albums
this century. I was always going to get to a farewell tour, then, and luckily
the Bristol show slotted in nicely alongside other pre-existing plans. It
was also my first visit to the Beacon since its lengthy closure and re-brand -
and only my second ever visit to the once-legendary venue. When I went in 2018 I thought it looked very tired, but last night it was clear that a lot was done
during its closure - and given that I will be visiting the venue a few more
times in the near future this facelift is a welcome one.
There was
plenty of good stuff to come before Uriah Heep's set, though, as the crowd were treated to a couple of support acts before things got underway. The
crowd was pretty large, too, and even when Tyketto took to the stage at
7:15pm there was already a healthy number of people in. I have seen Tyketto
many times, and they are always a great live band. I have travelled all over
the country to see them previously, so seeing them open for another band I like
relatively close to home was something of a treat. I had previously seen them
in Bristol, on board the Thekla back in 2017, a gig which frontman Danny Vaughn
referenced from the stage, so it was nice to see them on a bigger stage - even
if they only had a limited time allotted to them. They managed to make a strong
impression during their seven-song set, though, and all of the power of Tyketto
as a live band shone through despite the crowd not always seeming that
receptive. The set was largely made up of anthems from the past, but the newer Reach
kicked things off, with Vaughn armed with his acoustic guitar for the smoother
verses as Ged Rylands (keyboards/vocals) laid down a big synth hook. Tyketto
have weathered many storms in terms of line-up changes, with Vaughn the only
original left standing, but the current line-up is as good as any from the past
- with Harry Scott Elliott (guitar) nailing all of the key riffs and solos. This was evident during an early double-salvo of Wings and Rescue
Me, which upped the tempo following the mid-paced smoothness of Reach
- and, with the exception of one song, the band generally rocked pretty hard.
Johnny Dee (drums/vocals) has also slotted in nicely over the last couple of
years, and the returning Chris Childs (bass guitar/vocals) just meshes
everything together with his years of experience. He even got to show off
during a pretty shreddy bass solo during Lay Your Body Down - but before
this Vaughn managed to whip up a bit of a sing-a-long during the muscular and
bluesy Strength in Numbers. Despite the crowd being a bit on the
stand-offish side at times, both of these songs did attract a bit of singing
during the chorus - but given how upbeat and easy on the ear Tyketto are it was
a shame that more did not join in. The band still rocked, though, but did
slow it down one song from the end with the gorgeous ballad Standing Alone
- which is generally the centre piece of any Tyketto show. Vaughn always
sings the song with real emotion and last night was no different - and Elliott
later nailed the distinctive and flowing solo to take things to the next level.
Sadly there was only time for one more at this point, but Forever Young
always works well as a set-closing anthem - with the mid-paced rocker's huge
chorus soon filling the venue thanks to Vaughn's voice which has lost little of
its power over the years. The band certainly got the evening off to a flying
start, but there was still plenty more to come. The setlist was:
Reach
Wings
Rescue
Me
Strength
in Numbers
Lay Your
Body Down
Standing
Alone
Forever
Young
Following a
brief changeover, the lights went down again and the four members of the
Canadian hard rockers April Wine took to the stage. Whilst I am not hugely
familiar with them, I have heard some of their late 1970s/early 1980s
albums and enjoyed them - but I would not say that I went into this set with
huge expectations. April Wine are now one of a growing numbers of older bands
with no original members - although Brian Greenway (vocals/guitar) has been in
the band since 1977 and was therefore part of their classic era. Their founder and driving force Myles Goodwyn died in 2023, but Greenway has kept
things going with Marc Parent (vocals/guitar) taking Goodwyn's place. As such, Parent was largely the focal point of the evening - and his bluesy guitar
playing and strong voice helped bring I Like to Rock to life (which, of
course, featured on the official Monsters of Rock LP following the
band's appearance at the first ever Monsters of Rock in 1980). April Wine
seemingly had a brief love affair with the UK back in 1980 and 1981, but this
current tour marks their first return to these shores since. Only Greenway
remains from those days, but the meat and potatoes rockers still delivered
an enjoyable set - even if they lacked the flair and star power of Tyketto.
Tyketto are often hard to follow, as H.E.A.T found out last summer at Chepstow
Castle, but April Wine had enough straight forward riffs and decent choruses to
make it work. I knew some of the songs played, with I Like to Rock
working well an opener - but during the set we also got to hear snappy tracks
like Crash and Burn and the more expansive Before the Dawn, which
was sung by Greenway. He sang a couple of tracks, but generally Parent did the
singing - with anthems like Big City Girls certainly enjoyable. Greenway
did much of the talking between the songs, though, and he made reference to the
band's long absence from the UK. The band even played the same venue back in
1981, so the night must have held some nostalgia, but like Tyketto the band
were generally only afforded a polite reception. Things did pick up somewhat as
the set went on, though, with minor hit Just Between You and Me seeing a
bit more of a reaction - as did the harder rocking Sign of the Gypsy Queen
which morphed into a bit of a wig out with both Parent and Greenway soloing. It
was left to the bluesy hard rock of Roller to see thing out, then, and
it capped off what had been an enjoyable set. April Wine were not a band I was
desperate to see, but I am glad I have had the opportunity to given their lack of
recent visits to the UK - and I will need to revisit those few albums of theirs
I have and delve a little deeper into their vast catalogue.
Following a slightly longer changeover, Uriah Heep hit the stage at just after 9:15pm and for the next 90 or so minutes rocked the house with a set that largely consisted of their best-known songs. The more expansive set from a few years ago, which featured a lengthy acoustic portion to kick things off, was filled with deeper cuts - but the setlist for this tour feels like a celebration of the band's best work throughout the years. A couple of deeper cuts were included, alongside some newer material, but generally the set was a sing-a-long affair based in their 1970s heyday. Despite this, though, three newer songs kicked things off - with Rimmer's two compositions for the band, Grazed by Heaven and Save Me Tonight, opening the set in furious fashion. There were slower moments during the evening, but generally Uriah Heep's set was a high-octane one - with plenty of wah-drenched soloing from Box and roaring Hammond organ from Phil Lanzon (keyboards/vocals). The sound mix was generally pretty good, too, although frontman Bernie Shaw was occasionally a little low in the balance - but he still sounded as powerful as ever, with the band's trademark harmonies bring the bombastic 2008 anthem Overload to life. The track is one of my favourite recent cuts so it was great to hear it live again - and it capped off this opening salvo of recent material perfectly. Bar a couple of other new songs, though, the rest of the evening was very much rooted in the past. A rare outing for the lengthy and progressive Shadows of Grief was up next, with spooky vocal harmonies and a lengthy instrumental mid-section which saw the band really giving it their all. The crowd had not exactly covered themselves in glory during either support band, but the atmosphere throughout was still decent. Uriah Heep received a warm reception throughout the show - but the sing-a-longs were a bit poor, with Stealin' not raising the roof as it should. Seated shows often sap away at an atmosphere and whilst some did stand there were plenty of others rooted to their seats not joining in. This was a shame, and is often the case when seeing legacy bands, but there was enough singing to let the band know that there was a crowd out there. The remaining newer songs, Hurricane and Hail the Sunrise, both felt at home in a set full of classics - and a later juxtaposition of the acoustic-based The Wizard and the party anthem Sweet Lorraine showcased both sides of the band's diverse sound. The rollocking Free 'n' Easy also showed the band's likely influence on the NWOBHM movement which would follow a few short years after the song's 1977 release - but the set was then turned over to one of the two big epics played: the deeper cut The Magician's Birthday. I had not seen the song done live before, and it was a progressive rock epic - with Box taking a lengthy solo in the middle accompanied only by drummer Russell Gilbrook. There was not too much time left at this point, but a hard-hitting take on the proto-metal of Gypsy and the lengthy July Morning, with plenty of Hammond from Lanzon, saw the main set come to a close. Following a brief step off stage, though, the band were back for a two-song encore. The cinematic and harmony-filled Sunrise was up first, before the band's signature track Easy Livin' brought the curtain down on another great night of live music. The setlist was:
Grazed by Heaven
Save Me Tonight
Overload
Shadows of Grief
Stealin'
Hurricane
The Wizard
Sweet Lorraine
Hail the Sunrise
Free 'n' Easy
The Magician's Birthday
Gypsy
July Morning
-
Sunrise
Easy Livin'
Given that this UK tour is the start of the band's wider farewell tour, I may have just seen Uriah Heep live for the last time. Hopefully they will be back, as they have not ruled out further UK shows, short tours, and festival appearances - but given the age of the band it makes sense for them to start winding down whilst they can still deliver a world-wide tour with the power they are known for. If last night was it then they certainly went out on a high - and I am glad that I got to see the band quite a few times over the years.
I think that it is fair to say that one of the biggest pieces of news in 2023, at least in the heavy metal world, was Mike Portnoy returning to the American progressive metal legends Dream Theater following a 13 year absence. Portnoy helped to found the band in 1985, and became one of their main driving forces alongside fellow founder and guitarist John Petrucci, but the drummer left rather dramatically in 2010 - citing a want to pursue other projects and burnout from constant Dream Theater-related activity. It later transpired that he had wanted the band to take something of a break, but the other four members did not agree with this idea - so Portnoy left and spent the next 13 years working with a diverse selection of bands and projects including Avenged Sevenfold, Transatlantic, and Sons of Apollo. Mike Mangini was brought in to replace Portnoy, and Dream Theater essentially carried on as normal - releasing a further five albums. I first starting listening to Dream Theater in around 2008, which means that 2009's Black Clouds & Silver Linings, the last album before Portnoy's departure, was one of my first Dream Theater albums. As such, I do not think I appreciated at the time how big a change this was for the band. I have since realised that they did well to navigate the change as well as they did, but at the time I was just keen for more Dream Theater - and I saw the band live for the first time in 2011 (with Mangini) and absolutely loved A Dramatic Turn of Events when it dropped later the same year. My Dream Theater fandom never wavered, then, and I have continued to love everything the band have released since. Even 2016's mammoth concept album The Astonishing (which I reviewed here), which is much maligned, is something I return to every so often - and I enjoyed seeing the band each time they returned to the UK. Clearly my Dream Theater knowledge is much greater now, though, so when Portnoy announced his return I realised just how big this news would be. Whilst Dream Theater remained a big band without him, I definitely started to notice a bit of a stagnation in terms of turnout at their live shows - and I know that not everyone shares my view on the overall quality of the Mangini era albums. Portnoy returning was clearly big business for all involved, then, and last year's tour of Europe saw the band playing larger venues than they had done for a while. It is clear that Portnoy's return brought some lapsed fans back on board - which is both a shame and understandable. Those lapsed fans missed out on some strong years, and contributed to that stagnation, but Portnoy was always more than just the band's drummer - and seeing them live with him last year in London made it clear how much of a boost he gives them. Mangini could never hope to replicate that natural understanding formed over years of friendship, despite likely being the better player, and it seems that the decision to bring Portnoy back was the right one. Could they recapture the magic in the studio again, though? That was the big question - and it was answered earlier this month when Parasomnia, the band's sixteenth album, was released. The band's first since 2021's A View from the Top of the World (which I reviewed here), Parasomnia certainly has a lot weighing on it - so does it live up to the expectations?
In my opinion, yes. It should be reiterated, though, that I liked the Mangini era, plus I never thought that the first Portnoy era significantly dropped off in quality. Essentially, then, I like every Dream Theater album - so I had no hopes that Parasomnia would be some magical return to form. I just wanted it to be more of the Dream Theater I love - and Parasomnia certainly is that. I must admit, though, that it is a treat to hear Portnoy's drumming on another Dream Theater album. His drum sound is so distinct and his style is instantly recognisable - so there is something of a nostalgia about Parasomnia. It is easily the heaviest album the band have done since he was last in the band, too, with shades of 2003's Train of Thought, 2007's Systematic Chaos, and the aforementioned Black Clouds & Silver Linings present throughout. There remains some of the smoothness of their most recent releases, too, so Parasomnia still feels like a natural continuation despite the twinge of nostalgia. The album opens in relatively rare fashion, though, with an instrumental piece. The band have done this before, but they do not often have scene-setters on their albums - which is essentially what In the Arms of Morpheus is. In true Dream Theater style, though, it is no brief intro - and is instead a weighty and riffy full-bodied instrumental which re-introduces that heaviness from the mid-2000s. It takes a little while to get going, though, with atmospheric sounds such as traffic and footsteps setting a realistic tone - before a distant piano melody is heard. There is a loose concept running throughout the album relating to sleep disorders, so the ticking and the eventual brash alarm clock help to create this vibe - with the latter accompanying the first big riff of the album. By this point the piano has faded away, following a creepy twist, and Petrucci crashes in with a muscular mid-paced riff - which Portnoy backs up with some busy tom fills and a bass drum pattern which is reminiscent of A Nightmare to Remember. There is something overture-esque about the piece, though, and it moves through a few different riffs before Jordan Rudess' keyboards take on a more prominent role - adding growling organ before he launches into a lengthy synth solo, the first real instrumental workout of the album. This then morphs into a melodic guitar solo, over a much more expansive and lighter backing. This solo really shines, in classic Petrucci fashion, and it carries the latter portion of the album opener to new heights - perfectly setting the tone for some of the more cinematic moments to follow.
The next big riff marks the transition into Night Terror - the album's first song proper. This song was released before the reunion tour kicked off last year, and was featured in the setlist, so the fans are familiar with it by now. Its slow-burning opening is slightly doomy and more mid-paced than much of the song, with hanging riffs and lengthy drum fills - but the song kicks off proper once Petrucci's riffing speeds up to create a headbanging pattern. This riff forms the basis of the verse, with a simplified version sitting behind frontman James LaBrie's voice - whilst Rudess again utilises some organ for depth. LaBrie sounds great throughout the album. He might not have the range he used to but his tone is still intact - and the later chorus is a real earworm thanks to his melodies, Rudess' busy piano, and Portnoy's distinctive backing vocals. As is typical of the band, though, the song takes many twists and turns. An off-kilter version of the main riff later takes over for a different verse arrangement, which allows Portnoy to throw in a few interesting grooves - and there is a really groovy riff which kicks in after the second chorus which sees the band change tack immediately. This riff feels like it could have come from one of the band's more recent albums - and it is great to see the overall sound still reflecting their recent work. Parasomnia is not a pure throwback, then, but I think when it comes to the approach to drum fills it is. Portnoy loves to throw in chaotic and lengthy drum fills - and that is very much evident during the song's lengthy solo section, which is packed with some of Petrucci's fastest shredding, Rudess' excellent synth work, and a later bluesy guitar solo which showcases something a bit different. All of these sections are filled with intense drum fills - and it is very much clear that Portnoy is back just by listening to this part of the song. The discordant opening to A Broken Man also feels very Portnoy. He was often behind many of the band's heaviest moments in the past, and the intense riffing and drumming during the opening seconds of this second vocal-led piece do not sound like they could have sat on the last few albums. Despite this opening, though, the song as a whole probably reins in some of the more overt heaviness of the previous track - and actually, ironically, ends up sounding like something from the recent albums. The lengthy instrumental intro feels a bit more cinematic overall following the chaos subsiding, with strings and subtle keyboards backing Petrucci's riffing-come-melodic playing which dominates early on. LaBrie gets to really showcase some of his vocal power and diversity on this track, too. The less intense arrangement gives him plenty of space in the mix to breathe - and the verses feature a mix of more melodic singing and a more urgent delivery which sees his range being pushed. The chorus here is not as strong as it could be melodically, particularly following the previous earworm and some which are to follow, but the song has grown on me quite a bit despite it being one of my least favourites at first. The cinematic approach is welcome, showcasing that this is not just an all-out metal album, and the later solo section is one of the most bombastic on the album - with Rudess delivering a great organ solo and the band then moving through some different vaudeville-esque grooves.
Dead Asleep is the album's second longest song and one of two that breaches the 10 minute mark. Its opening returns to the ambient noises from the album's intro - before some distant piano melodies and what sounds like a mournful violin fade in, creating an unsettling tone. This vibe continues on for a minute or so, but it is not long before Petrucci takes over with another big riff - which is thunderous, mid-paced, and one of the heaviest on the album. Parts of the album may feel faster and more chaotic, but the opening riff to Dead Asleep is pure heavy metal goodness - and there is nothing to really spice it up groove-wise as nothing is needed. The song moves onto other vibes as it progresses, but this Black Sabbath-esque opening is a big nod in the direction of their metal fans - before Petrucci changes tack entirely and launches into another lengthy, floaty guitar solo against a spacey backdrop. This sees the band turn and nod to their prog fans - and this track is one that scratches both itches. It retains plenty of weight, with the verses featuring a repurposed version of the intro riff, Deep Purple-esque organ, and LaBrie's gritty vocals - before piano joins the fray for a pretty memorable chorus which sees LaBrie sounding a little smoother and aided by some subtle harmonies. Those who prefer something a little more retro-sounding will love a later instrumental section, which sees Petrucci soloing without a rhythm guitar backing. John Myung's bass playing really shines here, as he backs Petrucci's 1970s-esque fluid leads - and there is also some more organ from Rudess to add depth. This raw instrumental section feels different from many of the other solos here which tend to sit against big riffs - and normal service soon resumes once Rudess starts to lay down a busy and flashy keyboard solo with another big riff in the background. This instrumental section is pretty lengthy, though, with both Petrucci and Rudess really stretching out - but no time appears to have passed before LaBrie returns with another reprise of the song's chorus and the track then closes out on a lengthy riff-led workout which takes on a slightly gothic edge. Midnight Messiah is easily the heaviest song here, despite the piano-led intro and the haunting clean guitar melodies which open things up. It might take a little while to build fully to the heaviness, but an early spiky riff and some discordant passages create some tension - before a groovy and driving riff takes over the song never looks back. This is Dream Theater showcasing their Metallica influence during some of the muscular passages here - and LaBrie also goes for a gritter approach throughout. The song could have easily sat on Train of Thought and it rarely lets up. There is some piano added to the pre-chorus which does add a lighter touch, but the riffing still remains - and the chorus ups the pace and goes all-out for a thrash approach. This is one of the fastest and most potent sections on the whole album - and LaBrie delivers Portnoy's lyrics with real venom. He has not sounded this snarling on a Dream Theater album for quite some time, and the chorus is one of the album's best and most memorable moments. Funnily enough the later soloing is not as high-octane as it could have been - but the grooves remain and there is still plenty of melodic shredding. Due to its energy and thrashy riffing, this song is sure to become a real live favourite going forward.
Following the true metal of Midnight Messiah, the album then follows its heaviest cut with its mellowest. The brief, atmospheric Are We Dreaming? essentially acts as an extended intro for the song which follows - and the interlude again returns to some of those real-world noises from before. Chiming clocktower bells add to the album's overall themes, before some dense horn-like synths, which could have come from a Roger Waters album, create this low-key soundscape as whispering creeps around the edges of the speakers. Once Petrucci's clean guitars join in, though, Bend the Clock starts - and the album's ballad gets underway. Dream Theater have often written great ballads in the past and Bend the Clock is no different. In fact, this is likely their best ballad for quite some time - and it is an overall album highlight for a number of reasons. The main reason, though, is LaBrie and his fantastic vocal performance. His performances are always under so much scrutiny, and he has come in for quite a lot of unfair criticism over the years for just getting older - but there is no-one else out there who could sing Bend the Clock with the emotion and control that he does. The first verse and chorus are quite low key, and are filled with that breathy, floaty vocal style which characterises his ballad delivery - but the track does grow in stature as it moves along which necessitates a more full-bodied delivery. By the time the second chorus is reached, then, LaBrie is singing in a different way - and the second chorus hits with a different sort of power. It helps that the vocal hooks during the chorus are real earworms. It is easily the best chorus on the album overall, behind the thrash snappiness of Midnight Messiah, and it is a truly classic Dream Theater moment - which is later built on by Petrucci's heroic guitar solo which is packed full of melody. He solos a couple of times during the song, but the main one is my favourite due to its real focus on melody - with the second one being much lengthier and acts, David Gilmour-esque, as a closing motif.
The album then comes to a close with the 19 minute-plus epic The Shadow Man Incident - which does not stand on ceremony and opens with a memorable mid-paced riff which repeats whilst it is subtly changed and different drum accents are utilised. Marching drums then take over, and Rudess creates a few different soundscapes - but the song then really feels like it gets going with a snappier riff that follows and another lengthy, cinematic guitar solo. Despite the song's length, many of the vocal-led sections throughout are actually quite low key. It is a few minutes before LaBrie starts to sing, but following three big riffs and a lengthy solo the heaviness drops away and LaBrie once again utilises that breathy vocal delivery during a slow-burning verse filled with atmospheric guitars and occasionally creepy, effects-heavy vocal additions. Unlike many of the band's epics, though, this one feels like it evolves more organically. It is not as bombastic as many longer Dream Theater cuts, then, which gives the song a slow-burning feel - but this makes it interesting in my opinion. Given how heavy much of this album is, and how the song starts, the plentiful slower moments, spoken word interjections, and more plaintive overall feel work well - and the chorus which reappears a few times throughout is a rare moment of urgency in a song which feels more interwoven and expansive than ever. It is not a song which reveals all at first, then, but over repeated listens I feel that I have a good handle on it - despite it remaining the song here I am the least familiar with. Despite what I have said, though, it is not a 19 minute ballad. There is noticeably a lot of atmosphere here but there are still heavy moments. The instrumental moments really stretch out, too, with one around the 11 minute mark seeing plenty of guitar and keyboard back and forth before Portnoy lays into his double bass pedals and the heaviness returns with some high-octane shredding. In fact, this instrumental section is easily the album's longest and its most progressive expression - and by the time LaBrie returns to sing an expansive last few lines the song is almost over. This last vocal section perfectly caps off the song's themes, though - and it is left to Petrucci to close things out definitively with one last soaring solo, coming full circle with atmospheric noises and an alarm clock the last things heard. To circle back around, then, for me Parasomnia very much lives up my expectations. It looks to the past and the present, fusing some the band's older heaviness with their more recent approach - and the songwriting is tight despite the lengthy arrangements. Some of the band's best choruses for a while are here and the riffing throughout is some of Petrucci's heaviest to date. Portnoy sounds great back in the saddle, too, and it is clear that this era of the band is just getting started - so I imagine there is only more to follow.
The album was released on 7th February 2025 via InsideOut Music. Below is the band's promotional video for Night Terror.
Following a quiet weekend after two on the road, last night it was time, once again, for gigging. It kicked off what will be rather a chaotic second half of February, which includes five more gigs before the month is out, and, so far, it is my busiest period of the year. It will likely be a very tiring, but entertaining, couple of weeks, then, but last night's show was a one-off - a night in Bristol with the Seattle-based progressive metal legends Queensrÿche. Whilst it was my seventh time seeing the band overall, it was my first Queensrÿche concert since 2019. I saw the band twice in 2019, firstly at Bloodstock Open Air, where they put on a stellar performance in the special guest spot, blowing away the Scorpions, and secondly in Manchester towards the end of the year where they disappointed somewhat due to illness to frontman Todd La Torre and a much truncated setlist compared to the rest of the tour which omitted many of the deeper cuts and newer material I was really looking forward to hearing. The show was still enjoyable, but La Torre was clearly struggling - so it paled in comparison to Queensrÿche shows of the past. Following the pandemic it took the band quite a long time to book some European shows. They have been very busy, releasing Digital Noise Alliance (which I reviewed here) back in 2022, and touring throughout America heavily - sometimes opening for Judas Priest - but for a while it seemed that they had forgotten about Europe. It was frustrating seeing US tour after US tour get announced and Europe seemingly ignored, as the band had always been pretty regular visitors in the past, but last summer what European Queensrÿche fans had long been waiting for happened - as a fairly lengthy European tour was announced, which included a few UK shows. Of the shows announced, Bristol on a Friday night made the most sense. I had not seen the band in Bristol before, so it was nice to not have to travel as far as I sometimes have in the past - and it was also an opportunity to return to The Marble Factory, a venue I had not been to for a few years. Rather than tour in support of Digital Noise Alliance, though, the band decided to bring their on-going The Origins Tour to Europe, which has seen the band playing both their self-titled EP from 1982 and debut album The Warning from 1984 live in full. For a long-time Queensrÿche fan this was certainly an exciting prospect, as I had not seen the band do too many of the songs from both releases live before. A few of them were brought back for the show I caught in 2013, my first time seeing the band live with La Torre, but generally since then only a couple of real staples have been played live. This was very much not a tour for the casual, then, but the band's earlier, heavier material has often been held in high regard - so there were likely plenty of fans who were really up for it. Following a morning's work, then, I got the train to Bristol and, following dinner in Wetherspoons and a brief stop over at my hotel, made the semi-familiar walk through a less salubrious part of Bristol to The Marble Factory.
At first it looked as if the turnout was going to be pretty poor, but this was likely due to the 6pm doors. Due to the venue operating as a night club, there was a 10pm curfew - meaning that the evening's sole support act, Night Demon, hit the stage at 7pm. By the time they started their set, though, there was a pretty healthy crowd in - and the final turnout was decent. I recently saw Night Demon opening for, and then later forming half of, Cirith Ungol in London. I enjoyed the band's set that night, so I was looking forward to seeing them again, but I think I actually enjoyed them more this second time. The setlist was exactly the same, but the sound mix was better overall - and the larger stage allowed the band to make better use of the space and really rock out. The crowd seemed pretty into them overall, too, and there was plenty of energy coming from the stage despite how cold it was in the venue. Kicking off with the title track of 2023's Outsider (which I reviewed here), the band really went for it from the off. They might not be the most original band, as they very much are NWOBHM worship, but their songwriting is generally pretty strong - and Jarvis Leatherby (vocals/bass guitar) has a strong voice and commanding stage presence. Armand John Anthony (guitar/vocals) is a very capable player, too, and his riffing generally drove the 10-song set. I generally think that the band excel when they just go for it. Songs like Screams in the Night and Dawn Rider early on were packed with anthemic chorus hooks and headbanging riffs which the crowd latched onto - and the punchy drumming of Brian Wilson kept the band moving. I am a bit less convinced by the band when they try a more atmospheric sound, but I feel that those songs came across much better live this time. The clear sound mix helped, and it really showcased how much Leatherby was doing with his bass during these songs - as often he was leading things with some fluid and melodic playing. This was apparent during a mid-section of the set which featured slower tracks like Beyond the Grave and The Wrath, both from Outsider - showcasing the slightly more progressive and conceptual sound the band went for on their last album. The band picked up the pace again towards the end, though, and really went for it during the home straight with some galloping old-school metal anthems. Welcome to the Night was one such cut, but as was the case last time it was the two closing songs from the band's self-titled EP which impressed the most - with the melodic The Chalice and their self-titled track bringing a powerful and high-energy set to a close. The setlist was:
Prelude
Outsider
Screams in the Night
Escape from Beyond
Dawn Rider
The Howling Man
Beyond the Grave
The Wrath
Welcome to the Night
The Chalice
Night Demon
The lights soon went down again and the members of Queensrÿche took to the stage - opening with the high-octane Queen of the Reich. I think the band have played the song live each time I have seen them since La Torre joined - but the power metal anthem always works particularly well as an opener, and it was clear from the opening big scream that La Torre was really up for the show. He was struggling through illness when I last saw them, and at some other shows he had adopted a rougher approach, but he was really back to his best last night and he was easily the star of the show. He never once pulled out of a big scream and he worked the crowd well. It took the crowd a few numbers to get fully on board - but the atmosphere was strong in no time, which was likely helped by the band barely coming up for air. The four songs from the EP were rattled out one after the other - with Blinded and the dense ballad The Lady Wore Black really standing out as songs I had not seen the band do live before. This was also my first time seeing the band with Mike Stone (guitar/vocals) - who re-joined in 2021 after previously being in the band between 2003 and 2008. He was perhaps not as flashy as his predecessor, with Michael Wilton (guitar) taking back some of the solos, but he was tight none-the-less and often teamed up well with Wilton for the set's many harmony guitar solos. The EP portion of the set was soon over, then, and the rest of it was then dedicated to The Warning - with the melodic title track opening this part of the night. The Warning has become a real favourite of mine over the years. Queensrÿche would rarely be as heavy nor as primal again following its release. They became better songwriters and experimented more with production techniques - but in terms of pure metal power The Warning is hard to beat, as anthemic tracks like En Force and the rarely played Deliverance showed. Wilton seemed particularly keen to be playing the latter again, since it was one of his compositions on the album, but the whole band seemed fired up. Even the laid back Eddie Jackson (bass guitar/vocals) seemed more animated than usual - and he was often singing along even when he was not harmonising with La Torre. Drummer Casey Grillo also deserves a shoutout for perfectly recreating all of the off-kilter drum fills which helped Queensrÿche to stand out early on - with snappy pieces like NM 156 really benefitting from his drumming. La Torre took an opportunity to talk with the crowd half way through, outlining the reason for the tour - and also conducting a bit of a sing-a-long during the intro of Take Hold of the Flame. By this point everyone was on board, too, seeing deep cuts like Before the Storm and Child of Fire hit home, with the latter being a particular standout - before the lengthy Roads to Madness rounded out the main set. This song showcased that Queensrÿche were progressive from the off and it was a great way to end the main set. Following some cheers the band came back out for a four-song encore of songs from other albums. It seems the encores are being changed up a little each night - and Bristol was treated to four fan-favourites which kicked off with Walk in the Shadows. Empire allowed La Torre to introduce the band during the instrumental mid-section before Wilton's big solo, whilst the industrial Screaming in Digital saw Stone solo. The night came to an end with a rousing Eyes of a Stranger, which always works well as a full stop - and the band took their bows to plenty of cheers. The setlist was:
Queen of the Reich
Nightrider
Blinded
The Lady Wore Black
Warning
En Force
Deliverance
No Sanctuary
NM 156
Take Hold of the Flame
Before the Storm
Child of Fire
Roads to Madness
-
Walk in the Shadows
Empire
Screaming in Digital
Eyes of a Stranger
I have always enjoyed seeing Queensrÿche live, with even the Manchester show in 2019 being enjoyable, but in terms of setlist and performance this show was one of the best. It was likely not quite as special as that first show with La Torre in Nottingham back in 2013, but it was up there in terms of vibe and how the band seemed really up for it. It was nice to see the band in Bristol, too, and hopefully it will not be another five-plus years before the band return to the UK.
It is strange to think that, before last month, it had been well over two years since Björn 'Speed' Strid released an album. As the frontman of both Soilwork and The Night Flight Orchestra, as well as a few other less active projects, for a few years it seemed like something new from him was dropping yearly. Since Soilwork's last album, 2022's Övergivenheten (which I reviewed here), Strid has been fairly quiet on the new music front. Both bands have toured in that time, but such lengthy runs of productivity tend to run their course - so a bit of a break from writing and recording likely allowed Strid to recharge. The other reason for the gap, though, is much more sad - and that is the death of David Andersson not long after Övergivenheten's release. Andersson had been Strid's right hand man in both Soilwork and The Night Flight Orchestra for a number of years, the latter since the start, and he also had become the lead songwriter for both bands. Strid, and others, chipped in, but Andersson essentially drove both bands creatively since 2012 - which is when The Night Flight Orchestra released their debut album Internal Affairs (his first album with Soilwork, the epic double The Living Infinite, followed a year later). I imagine that Strid was not sure where to take things following Andersson's death. Soilwork has always been his band, and existed long before Andersson came aboard, but The Night Flight Orchestra always felt like Andersson's baby - so I imagine that most would have understood if Strid decided to put the band to bed following Andersson's death. The band decided to carry on, though, bringing Rasmus Ehrnborn (Soilwork) in to replace Andersson - keeping things in the family. Andersson had rarely toured with either band in recent years, with Ehrnborn having filled in for him live at The Night Flight Orchestra's shows previously - so having him join the band full-time made sense. Andersson's songwriting prowess was always going to be hard to replace, though, as he seemed to be extremely prolific and consistent - but Strid and the rest of the band seem to have stepped up on that front and last month their first post-Andersson album Give Us the Moon dropped - their seventh overall and their first since 2021's Aeromantic II (which I reviewed here). Strid has written plenty of big songs for the band before, but he has become the main songwriter on this album for the first time really - ably assisted by a Ehrnborn and guitarist Sebastian Forslund. Forslund has been something of a secondary songwriter for the band for a number of years, but on this album he has really stepped up - collaborating with Strid on a handful of songs and even writing alone. Sound-wise, too, the band's trademark sound is ever-present. The band's usual mix of AOR, pomp, and yacht rock is very much present and correct - and there is perhaps even more of a Toto vibe than ever during portions of the album. The album also marks the debut of backing singer Åsa Lundman in the studio with the band - who replaced Anna-Mia Bonde in 2022.
Laying heavily into the band's flying theme, the short spoken intro Final Call (Intro) recreates an airport announcement, calling the band to their flight, before the first song proper Stratus kicks in. One of two tracks co-written by Erhnborn, the band's new lead guitarist makes his presence felt from the off - although it is perhaps keyboard player John Lönnmyr who shines the brightest at first. His flashy opening keyboard melody and later Survivor-esque synth pulses really drive the song - although the guitar crunch of Erhnborn and Forslund give the track plenty of weight. The Night Flight Orchestra never forget to rock out despite their re-creation of 1980s melodic rock - and this track showcases the band's harder rock credentials at times. The riffing is always crunchy, despite the keyboard presence, whilst the bass of Sharlee D'Angelo really underpins everything. What always makes the band's songs stand out, though, are Strid's vocal melodies. The verses here are catchy, with a stop-start feel and some big drum fills from Jonas Källsbäck, whilst the chorus has more of an urgency and some soulful Toto-esque melodies - with Lundman and fellow backing singer Anna Brygård adding plenty of depth behind Strid. Erhnborn makes his mark with a fluid and hooky guitar solo, which sits nicely atop some pulsing electric piano, and it is safe to say that the band's core sound is very much present and correct. Lead single Shooting Velvet follows - which is a very poppy track from Strid. It is one of a few songs here which showcases a bit of a disco edge - something which the band have often flirted with before. The song somewhat feels like this album's take on Divinyls - albeit a little tougher overall. The keyboards drive everything, a warm synth lead the main hook, whilst the verses feature Nile Rodgers-esque clean guitar chords and rhythms. The chorus is similar, albeit a bit rockier overall - and it is one of those choruses which really benefits from an unexpected melodic twist towards the end to elevate it further. A busy, harmony guitar solo is later thrown in, too, and the track is one which is sure to stick in the brain from the off. Like the Beating of a Heart is notable in the sense that it is the only song here written by Andersson. Whether there are others which will feature on other albums or whether this will end up being his last song for the band remains to be seen - but it is nice to have something by him on this album. It is a slightly moodier song than is sometimes typical for the band, but there is a strong percussive underpinning - with Forslund adding his congas to Källsbäck's drum groove. The song is still very memorable, and the chorus feels a bit more explosive than the rest of the song, but it is not as bombastic as the band can often be - which gives it a relatively downbeat feel. The band have done songs like this before, though, and I like the space in the mix which allows D'Angelo's bass to sound massive - whilst keyboard flourishes and the backing vocals give the track a hint of class.
Melbourne, May I? is the first of four songs here which Forslund contributed to (although he is also credited for the album's intro). As mentioned earlier, he has often been something of a secondary songwriter for the band, keeping things varied, and he has stepped up here to contribute some more in Andersson's absence. His writing in the past has generally shown the band taking a slightly different direction, and that is certainly true of some of his later efforts, but Melbourne, May I? is very much typical The Night Flight Orchestra thanks to its driving synth hooks and hard rock grounding. It picks up the pace following the more downbeat previous song - going instead for a snappier overall feel, particularly during the chorus. Generally the band, and melodic rock acts in general, tend to slow down for choruses, to allow the vocal hooks to really breathe, but this song accelerates during the chorus - with fast-paced vocal melodies from Strid and lots of body added by the ladies. Strid unleashes one of his high-pitched screams to lead into a later instrumental section, which features plenty of soloing from the keyboards and the guitars. Miraculous is the second track here co-written by Erhnborn - and it is another very classic-sounding track for the band, showing that he has already bedded in nicely. As with his previous writing effort, the main musical hook comes from the keyboards - but the guitar riffing throughout the intro is very snaking and groovy. Whilst the verses are a bit more stripped back, with a synth backing and the bass forming a smooth backing for Strid's voice, the instrumental sections and the chorus feel much bigger - with pulsing electric piano melodies cutting through whilst the aforementioned snaking riffing adds a slight heaviness. The chorus is another with some pretty snappy vocal hooks, too, and it manages to stick in the brain despite the mix feeling pretty busy during these parts of the song. Spacey keyboard melodies and guitar harmonies fill a later instrumental section - and the song ends proving that Erhnborn was the right choice to replace Andersson. Strid then returns to the spotlight with the power ballad Paloma. Given the type of music that The Night Flight Orchestra play, and the era they clearly love so much, power ballads are a surprising rarity on their albums. Given the metal backgrounds of many of those involved in the band perhaps this should not be such a big surprise, but nevertheless I would have expected to have heard more of them by now. Paloma is a great addition to the band's catalogue, though, with a mournful synth hook leading the initial verse - before the song explodes into a powerful chorus which is led nicely by Strid's rich vocals. Even though the song feels like a ballad, it still rocks pretty hard - and Källsbäck's drumming during the chorus even creates a disco feel. It is another track with a bit of a downbeat feel, though, and it is a welcome change of pace from much of the bombast and pomp found elsewhere on the album.
Changing things up somewhat, though, is Forslund's Cosmic Tide. It is the first song he has written for the band alone - and it certainly feels quite different when compared to the band's usual sound. It feels a bit more progressive overall and there is something of a psychedelic feel throughout thanks to some ever-present electric piano melodies, busy guitar rhythms, and a percussive feel due to some relatively complex drumming for a pop-centric piece. I have always felt that Toto are likely the band's biggest influence and this song certainly channels some of Toto's more bonkers pieces - with a massive chorus that cuts through the slight chaos found elsewhere to really hook the listener in. This song has been a real grower for me. I saw the band play the song live a couple of weeks ago, and it did not really hit home then as there is a lot going on throughout - but having heard the album a number of times now I feel that I get it, and the slightly jazzy guitar solo is the icing on the cake of what is something new and fresh-sounding for the band. Returning to something more typical, then, the album's title track is an anthemic mid-paced piece which is not as rocking as some of the band's songs - instead feeling somewhat more atmospheric and groovy overall. D'Angelo's bass is ever-present in the mix, with the verses really leaping out of the speakers thanks to his rumbling playing, whilst Källsbäck's drumming does a lot of the heavy lifting thanks to the groove in his playing. Lots of the song is actually pretty spacious in terms of the mix. The synths generally create a warmth throughout, despite the occasional melody, whilst the guitars take more of a backseat - only really kicking in in a big way during the chorus and to lay down the occasional lead. The solo section reinforces this overall feel, too. The guitar solo is very much a slow-burner, with some Pink Floyd-esque guitar tones on display - whilst the spacey synths also take on more of a role during this section, too. A Paris Point of View picks up the pace again, following the hooky but more mid-paced title track, and it also goes for a slightly quirky vibe. This is another Forslund-penned piece, so this slight point of difference should not be a surprise. The chorus is very much classic The Night Flight Orchestra, though, with a faster overall pace and plenty of disco-esque vibes - but the verses and main musical hooks feel a little staccato and out there, with a bit of a Supertramp feel to some of the grooves as well as the zany grandness of Dream Police-era Cheap Trick. It is another song which has really grown on me since first hearing it. I think that this is often the case with Forslund's songs, and I imagine if I looked back at the band's other albums I would agree, but he has a way of wrapping his melodies up in slightly quirky and different arrangements - whilst writing songs which still very much sit within the band's core sound. He is a great asset for a band like this as without the variety things could get stale.
He also co-wrote Runaways, his last contribution to the album, but this song is very much typical of the band's core sound - and it boasts one of the album's best choruses in my opinion. I have to say, though, the opening spoken word bit it pretty cheesy, and I could do without it, but once the song proper gets going it reveals itself to bit a staccato and groovy mid-paced rocker - which is very much Toto in style, particularly the verses and the pre-chorus pomp. The driving, off-kilter piano is very much out of the David Paich songbook - but the chorus feels a little different, with more prominent guitars and Survivor-esque melodies. The chorus really reminds me of another song, though, but I just cannot work out which one. The overall melody is very similar to something I know that I know well - but at the time of writing I have not been able to work it out. I am sure that it will hit me at some point - but this does not take anything away from the bombast and heroic melodies that chorus lays down. The guitar solo even manages to ape the feel of the chorus somehow. The instrumental sections are strange, too, as there is one which feels very atmospheric - before the aforementioned solo kicks in and adds plenty of groove. Another of the album's lead singles is up next, with the penultimate track being the up-tempo and disco-inspired Way to Spend the Night. Whilst some of the songs here have gone for a slightly more complex overall approach, this song feels like one which was written just to be packed full of melodies - and like many melodic rock classics of the past it really feels like a vehicle for its chorus. The pulsing synths and bass create that disco feel, with the guitars generally feeling less prominent this time, and the ladies contribute a lot throughout with their backing vocals and harmonies. This is very much a song which is all about its chorus, then, and luckily it is another of the album's best. It has a great carefree pop feel throughout - and it sticks in the brain after only a couple of listens. There is a flashy synth solo later, which is a lot of fun, but musically this song is less interesting than most of the others here - with the track's aim of being a catchy single achieved thanks to the chorus. The album then comes to a close with the slightly longer Stewardess, Empress, Hot Mess (and the Captain of Pain) - which is really the only song here that has not really grabbed me yet. It opens in a subtle manner, with some gentle piano melodies - but the song soon morphs into a pretty typical one for the band. Its longer arrangement does allow it to stretch out somewhat - but for me it is lacking some of the big hooks the band is known for. It is a song that I enjoy whilst it is playing, but none of the melodies really stick with me when it finishes. Every other song here is built around a big chorus, but this one lacks the standout melodies which come elsewhere - and the longer arrangement does give it the feeling sometimes of being a few different ideas stitched together without a coherent hook to pull everything together. There is nothing to dislike about the song, but compared to everything else here it is easily the album's weakest moment. It is a shame, as they clearly were trying to end on a more epic tune - but they left out the killer chorus which would have made it such. Despite this blip, though, Give Us the Moon remains a stellar album. The band have navigated losing Andersson really well - and have managed to carry on his sound throughout the album's 13 tracks, creating many excellent memories throughout. It certainly stacks up with the best of the past - and hopefully this band can continue writing anthems for many more years to come.
The album was released on 31st January 2025 via Napalm Records. Below is the band's promotional video for Shooting Velvet.
