South of Salem - London Review

In a way, the two gigs I got to this past week illustrate the differing fortunes which smaller, newer UK bands can face. On Thursday I saw The Fallen State on what could end up being their final tour, as the band have made clear that this tour is very much a 'use it or lose it' situation, whereas on Friday I headed up to London to see South of Salem at a packed out Underworld in Camden - as part of a headline run supporting last year's charting release Death of the Party (which I reviewed here) which included many sold out shows. One band has clearly caught on in a big way whereas one has not, despite The Fallen State seemingly having a lot of momentum when their debut album dropped in 2019, and it is not always easy to tell why one band succeeds and another does not. In truth, and South of Salem very much aside, I tend to find that it is the bands I find the least interesting in the current British rock scene which seem succeed. Those Damn Crows, a band I saw opening for The Quireboys back in 2018 and did not think much of, have just announced a headline show in a 4000 capacity venue here in Plymouth - and they are not the only comparable example. In fairness, Those Damn Crows have basically had a whole career since that 2018 show and have no doubt grown as a band, so I intend to give them another go, but I would not have guessed in 2018 that they would go on to have that sort of career trajectory. South of Salem, if their current momentum continues, could have something of a similar trajectory - and if they do it would be very much deserved. They are one of the exceptions which proves my rule - as they are currently getting a lot of attention and they are a band that I have loved since I first saw them back in 2023 opening for W.A.S.P. in Wolverhampton. As much as I always enjoy seeing W.A.S.P. live, I came away from the show more excited about South of Salem - and, before Friday, I had seen them live twice more. Their headline show in Bristol in 2023 is one that really sticks in the brain, and I also saw them last year in Torquay opening for the Kris Barras Band. South of Salem are a band with quite a cross-genre appeal. Metalheads, older rock fans, and gothic music fans alike all find something to enjoy in South of Salem's hooky, riffy music - and that is a big part of why they seem to really be catching on. The reason I really like South of Salem, though, is that they remind me of the British rock scene of the late 2000s/early 2010s when bands like Heaven's Basement and Glamour of the Kill seemed on the verge of bigger things. South of Salem would have sat nicely on a bill with any of those bands - so it is nice to see them doing well now as they are very different from the rest of the current British rock scene, which is made of bands which are either very bluesy or full of American post-grunge influence. I will keep seeing them as long as they keep touring - so getting to a show on this headline tour was a no-brainer. Bristol would have made more sense, but London worked out better in terms of work commitments - and the Underworld is generally a good place to catch bands.

The venue opened at 6pm and everything was over by 10pm. I quite like nights like this in London, especially as I was not staying that close to the venue, and when I got to the venue just before it opened there was already quite a long queue forming. The show was sold out, and the heat in the room made this very apparent as the evening went on, but thankfully the evening was a snappy one in terms of changeovers so, despite the doors opening a little late, the show flew by. The two support bands on this tour were both very different - so the evening was also extremely varied. Up first were In Search of Sun, a funky hard rock/metal act that certainly felt like the late 1990s/early 2000s reborn. There were strong doses of both pop-punk and nu-metal in their sound, but there were also some more traditional hard rock and metal influences, too, and the band's half an hour on stage certainly warmed the crowd up for what was to come. The venue was not too hot yet, so there was quite a bit of energy in the room as the band took to the stage. In Search of Sun were full of energy for the next 30 or so minutes, then, and there were clearly quite a few in attendance who were already fans. There was a bit of singing to be heard from the crowd during some of the choruses - and the band had a likeable stage presence and energy which drew more people in. In truth, the band were not really my thing - but it was hard not to get swept up in the energy of their music. The riffing from the two guitarists kept the tracks feeling pretty bouncy throughout the band's set - whilst frontman Adam Leader really helped to get the crowd going with his big personality and strong vocal presence. His voice was sometimes a bit low in the mix, which was a shame, but generally the mix was pretty good - and the band impressed despite them not really being my thing. I cannot see me listening to them in my own time, but as a live act they were a strong addition to the bill - and they kicked the evening off in fine fashion, adding some unadulterated fun to the proceedings.

High Parasite, who followed, were very different. Fronted by seemingly AWOL My Dying Bride frontman Aaron Stainthorpe, a real legend in the British metal scene, the five-piece gothic metal band were easily the heaviest thing on the bill. Whilst High Parasite are not exactly a million miles away from Stainthorpe's day job sound-wise, the band's album reminds me more of mid-period Paradise Lost with the addition of harsh vocals - so for the next 40 or so minutes the underworld was filled melodic gothic/doom metal with the dual vocals Stainthorpe and Tombs (vocals/bass guitar) - alongside the melodic guitar leads of Jonny Hunter. I listened to the band's debut album Forever We Burn a few times before the show, but it did not really stick with me. I like a lot of the ingredients, but the songwriting was not really connecting. Despite this, though, I enjoyed seeing the band live - so I intend to persevere with the album. Whilst the band somewhat stuck out on a bill of what was generally more up-tempo hard rock, High Parasite still garnered a strong reaction. There were plenty of High Parasite shirts on display throughout the venue - and the band gave it their all despite being crammed towards the front of the stage. It must be strange for Stainthorpe to be playing somewhere like the Underworld and not evening headlining. He did not seem to mind the less than salubrious surroundings, though, and the band looked like they were having a great time despite the gloom of their sound - with Stainthorpe being witty between the songs and the rest of the band throwing plenty of great rock and roll shapes. I recognised many of the songs played, which suggests that the album stuck with me more than I thought, with the opening cut Parasite being a strong first impression - whilst later tracks Concentric Nightmares and Hate Springs Eternal saw plenty of headbanging from the large crowd. Stainthorpe was in fine voice throughout, mixing harsh and baritone clean vocals, whilst Tombs added some occasional more melodic clean vocals - all whilst being the most active musician on the stage in his face paint. The band's performance and demeanour added a lightness to what could have been a very downbeat set given the slower grooves of their doomy material - but a number of the choruses stuck, as did the plentiful lead guitar moments. The heaviness and atmosphere were a great addition to the night, though, and it was a treat to see Stainthorpe live given his standing in the metal world. The band ended on a high with the title track of their debut album, with plentiful vocal melodies from Tombs, and it seems that, currently at least, this band is where Stainthorpe's heart lies - so it will be interesting to see how they progress from here.

Following two very different support acts, which had both been well received, South of Salem were ready to take things to the next level. Despite the extreme heat in the room by this point, which definitely effected the energy levels of the crowd, the band delivered a strong set which showcased why they are one of the most exciting prospects on the scene currently. The show was the final night of the tour, too, so spirits were high - and from the opening drum barrage of Let Us Prey it was clear that the band meant business. Whilst the set was generally dedicated to Death of the Party, the first few numbers took in both the past and the future. Let Us Prey always works well as an opener, and the band were joined on stage by two cheerleaders who would resurface occasionally throughout the set. The gang vocals during the chorus were handled well by the crowd, too, and frontman Joey Draper did not have to do much to get anyone on side. The band's newly-released cover of Savage Garden's To the Moon and Back came up next, which saw plenty of singing despite it only being a few weeks old, whilst the smooth hooks of Pretty Little Nightmare also impressed early on. It is clear that the band are not wanting to rest on their laurels, either, as this tour has also seen the debut of a new song - which I assume will end up on album number three at some point. The song in question, Fallout, may well be the band's heaviest yet - at least in terms of riffing. The chorus was easy to latch onto, and packed with the band's usual hooks, but the rest of the song felt more metallic overall - and I would certainly be keen for the band to explore some heavier territories in the future. It has made me look forward to what will come - but then it was time to turn our attentions back to last year, as the rest of the main set was made up of a full performance of Death of the Party. The debut might still be slightly stronger overall, but Death of the Party is fantastic - as the opening trio of Vultures, Static, and Jet Black Eyes proved. The latter two are two of the band's best songs, and both were sung loudly by the crowd. I had seen a number of the songs done live before, either before it dropped or on that tour with Kris Barras, but there were a few which I had not. Stitch the Wound was one that was new to me in a live setting, with the riffy track really working well live. Two of the main highlights come later in the album, though, with the sleazy Bad Habits (Die Hard) again seeing plenty of singing thanks to its Glamour of the Kill-esque hooks - whilst the title track is a real party anthem which again saw the cheerleaders joining the band to perform some dance routines. Following a brief drum solo from James Clarke, the last two songs of the set were then delivered - with A Life Worth Dying For really coming alive on stage. The set came to a close with Villain, which I think is the weakest song on the album - but it nevertheless came across well live, and the band took a brief step off stage following the song's conclusion. Despite the crowd being vocal throughout the show, the cheers to bring the band back for an encore were pretty weak. I imagine the heat was catching up with everyone by this point - but the band still came back anyway. The slow-burn of Demons Are Forever kicked off the two-song encore - before their signature anthem Cold Day in Hell brought the night to a close, with plenty more singing despite the heat. The setlist was:

Let Us Prey

To the Moon and Back [Savage Garden cover]

Pretty Little Nightmare

Fallout

Vultures

Static

Jet Black Eyes

Stitch the Wound

Left for Dead

Hellbound Heart

Bad Habits (Die Hard)

Death of the Party

Drum Solo

A Life Worth Dying For

Villains

-

Demons Are Forever

Cold Day in Hell

Despite the heat, South of Salem delivered another excellent set in London which showcased why they are really climbing the ranks when it comes to newer British rock bands. A sold out Underworld is always a good achievement for an unsigned band - and many of the other shows on the tour also sold out. I would imagine that the next time the band come around as a headline act they will be playing bigger venues again - and it will be very much deserved. The new song played has got me looking forward to the future, too, and I am sure that I will be there again when South of Salem next tour.

The Fallen State - Plymouth Review

Over the past few years it has basically been a given that if The Fallen State are on tour then they will be visiting Plymouth as part of it. Whilst The Fallen State are not from Plymouth, they are a Devon-based band so have been playing in the city since their early days. Currently, though, the band seem to be at something of a crossroads. Following a hiatus which essentially lasted all of 2024, The Fallen State are currently back and on tour - but they have been open with the fact that it could well be their final tour. I get the impression that whether or not the band carry on beyond this tour will depend on how well the tour does financially. Life for a small, unsigned band is harder than ever - and I have followed so many over the years which have just fallen by the wayside. Balancing full-time work, a family life, and being part of a touring band is not easy - and so often the band can become a financial and emotional burden which is, sadly, no longer sustainable. I get the impression that The Fallen State are teetering on that balance. They want to carry on, but that may no longer be possible - and I have seen this tour been described as something of a 'use it or lose it' situation. It has been refreshing, if sad, of late to see a few bands lay out the realities of existing in the current climate. Vega's Nick Workman recently put out a video giving an update relating to the band's current lack of activity, and also somewhat called out the fans for not supporting their last couple of tours. Too many fans seem to think there will always be a next time, or seem unwilling to travel pretty short distances to see a band live that they supposedly really like - and I agreed with everything Workman said, despite it likely being hard to take for some. Whilst it is not always easy to go to gigs, and life certainly can get in the way, I have always found the UK's attitude to travelling to be extremely poor - especially given how relatively small the country is. Some will not even drive an hour to the nearest city, instead complaining online that a band is not playing in their small town - and I feel for all bands when they have to constantly fend of such complaints. The Fallen State have not been as blunt as Workman - but they have strongly hinted that this tour needs to succeed for the band to live past it. Whether that message will get through or not remains to be seen - but the band cannot have done more to promote the tour and make the situation clear. The tour is pretty extensive, too, covering much of the UK - so there are plenty of opportunities for people to get out and see the band for what could be the last time. This tour also sees the return of the band's original frontman Ben Stenning - who last performed with them back in 2019. His replacement, Adam Methven, has stuck around, too, making The Fallen State a six-piece for the first time. Drummer Rich Walker, who sat out of the band's 2023 tour, is also back - meaning that all of the band's core members over the years are back for this big celebration of their career to this point.

After my pontification relating to the UK in general being poor at 'making the effort' - I made the herculean walk from my flat to The Junction in Plymouth, which takes all of about five minutes, on Thursday evening, reaching the venue just in time to catch the first support act. In truth, a gig I can walk to is a rarity, and anyone who reads this blog will know that I regularly 'make the effort', travelling all over the country, to see bands. Opening the show, and playing for around 30 minutes, were the Austrian three-piece Psycho Village. Seemingly without a drummer, Walker played drums for the band wearing some sort of fox mask - but sadly the band's slightly industrial, synthy rock did very little for me. Whilst there were a few decent choruses throughout the set, and some of the industrial grooves were hooky, I just did not find the band very compelling. I did not think that the singer had a particularly great voice for starters, and I also did not like just how much the band were relying on a click track. I am not a neanderthal when it comes to these things - but the singer barely touched his guitar during some of the songs, and there was so much 'help' going on vocally, too, that the set just did not feel all that authentic. When most of what I am hearing is not live then I soon start to loose interest. The band have clearly toured with a lot of other bands, though, as nearly all of their songs included a guest vocal from someone which, you guessed it, magically came through the speakers as the band was playing. It did not help that the singers were all from bands that I am not interested in (Hed PE for example) - but it also just felt like name dropping after a while, as I would say that around two-thirds of the set featured some kind of guest appearance. I have seen worse, but Psycho Village are very much not for me - and I was quite glad that they only had 30 minutes to play with.

Thankfully, what followed was much better. I was not really looking forward to watching Liberty Lies, as I had seen them twice before and had not enjoyed them either time - but this time I was pretty much hooked from the off. In fairness it was in 2017 that I last saw them, so the band have likely evolved quite a bit since then, but they were different from what I remember. I remember them being more metallic, with something of a clunky nu-metal sound, but this time they just seemed like a sleek, modern hard rock band with the occasional more metallic moment. I also remember not thinking much of frontman Shaun Richards - but he was the star of the show this time. His voice really powered through during the band's 45 minutes on stage - and there were a number of massive choruses which really stood out during the set. Whilst I had not been following the band over the years, I was under the impression that they did not really exist anymore - so I was surprised to see them added to this tour. Richards did say that it was their last tour, though, so perhaps The Fallen State convinced them to saddle up one last time as they had played together quite a few times over the years - and the band received a strong reception throughout with plenty in attendance knowing their songs. It was Adam Stevens (drums/vocals) who filled in for Walker on The Fallen State's 2023 tour, too, so there is clearly a strong bond between the two bands - and Liberty Lies' bass player was not available for all of the dates on this tour so members of The Fallen State stepped in. Clearly I was not familiar with any of the band's material, but some of it made a strong impression. The opening cut Someone Else was a great way to kick things off with its soaring chorus, but it was perhaps a later ballad Day in the Sun which stood out the most. Having not expected much, Richards showcased what a great singer he is during that emotional number - with Josh Pritchett (guitar/vocals) then delivering a massive guitar solo. Most of the set rocked pretty hard, though, and the band is another with a strong post-grunge sound which has really permeated the British rock scene in recent years - albeit with perhaps a bit more of an old-school approach to lead guitar which I appreciated. Their 45 minute set flew by, with Are You Listening? bringing the band's time on stage to a close. I picked up a copy of 2019's It's the Hope That Kills You on the way out later - as my view on the band was completely changed by this set. It is a shame that I finally came around as the band is coming to an end - but such things happen sometimes, and I am glad to have had my view changed.

Following one last changeover, and seemingly some technical issues relating to the video screen at the back of the stage, the lights went down and the new-look The Fallen State took to the stage - immediately launching into the old single Hope in Revival. Setlist-wise, with the exception of the encore, the songs played were the same as those played on the 2023 tour. It would have been nice if the setlist had been shaken up somewhat - but given that many of the main fan-favourites were included I doubt that many were complaining, and the decent-sized Plymouth crowd responded to the songs played with plenty of singing. The band's last couple of shows at The Junction have been a bit hit and miss sound-wise, but this one was better overall. Sometimes the vocal balance was not quite right, but generally everything else shone through. It was the band's first show with Stenning back in the fold, and he seemed to be finding his feet a bit early on. It had been a while since he had sung these songs live - but by the half way mark he seemed more like his old self, even if his overall look did not quite suit the band's vibe these days. The longer hair and the more typical rock attire from the past were gone - but he still had a strong stage presence once he had felt his way back into the set, and he worked well with Methven throughout the night. The harmonies between the two, particularly during the choruses, were strong - and the way the vocals were split up ensured that both had plenty of time to shine and the new arrangements did not feel gimmicky. Apart from this obvious change vocally, the band just powered through their set as would be expected. There were some early crowd interaction during the chorus of the anthemic Sinner - whilst the more low key Sons of Avarice was a highlight as it always is. The dark ballad always really shines live, and it generally becomes a showcase for Jon Price (guitar) due to it including one of his biggest guitar solos. The Fallen State fans have clearly heard Methven sing the old songs a lot by this point, but it was interesting hearing Stenning tackle the newer material - and the heavier tracks like Standing Tall and Knives sounded powerful with the two singers duetting. The latter was one of the highlights of the set for me, with another following fairly soon after in the form of Lost Cause. The fast-paced, almost metallic, track is one that has always come across well live - and its big chorus filled the venue as the band rocked out. The last part of the set was generally filled with anthems and the atmosphere continued to be strong. American Made is a song which could have been something of a hit, but sadly was not, with its strong chorus and slightly mournful atmosphere - but perhaps the big highlight of this last section was the riffy Burn It to the Ground, before which Stenning and Methven encouraged plenty of singing. The main set then came to a close with the soaring ballad Nova, a track definitely should have been a hit - and is the closest thing the band have to a signature song. Everyone was singing along by this point, and it brought an hour or so of music to a close nicely. Following a brief step to the side, though, the band came back for one more - with the oldie You Want It pulled out of the vaults. The fast track also saw plenty of singing from the crowd and it was a great end to what had been a powerful set of hard rock from a great band on the current scene. The setlist was:

Hope in Revival

Sinner

Sons of Avarice

For My Sorrow

Standing Tall

Knives

Mirror

Lost Cause

Torn

American Made

River

Burn It to the Ground

Nova

-

You Want It

If this tour is to be The Fallen State's last, then they are likely to go out on a high. Getting Stenning and Walker back meant that all of the band's key faces were present - and the setlist covered all of their releases nicely. I really hope, though, that this tour is not the end. The British rock scene needs bands like The Fallen State to thrive - and if people want to keep seeing new bands coming through then they need to support them. Hopefully enough people turn up to the band's shows over the next couple of weeks to make them consider that carrying on is worth it - but if not then the band being put to rest cannot come as a surprise. I have managed to see the band seven times over the years, and I always enjoyed doing so - and hopefully, one day, that number will be eight.

Ricky Warwick's 'Blood Ties' - Album Review

The last few years have been pretty busy and exciting for the Northern Irish singer, songwriter, and guitarist Ricky Warwick. He is someone who generally seems to keep himself busy, but even by his standards the past couple of years have been pretty hectic. The big news in Warwick's world was the reunion of his first big band The Almighty in 2023. Whilst their touring activities have not exactly been extensive, the reunion is one of the most exciting in recent times. The Almighty was a band that I never thought I would get the chance to see - and now I have seen them live twice and will see them again for a third time in November. They played a few shows in Japan earlier in the year, too, and are also playing a festival in the summer - so the band's activity seems to slowly be increasing. Whether they will ever be back as a full-time, hard-touring band remains to be seen - but just having The Almighty back is a reason to celebrate. 2023 was also busy in so far as it was the last time that Warwick released an album. The fifth album from Black Star Riders, Wrong Side of Paradise (which I reviewed here), dropped early in 2023 - and the band followed it up with a tour celebrating their 10th anniversary, which ended up feeling like something of a swansong. Whilst Scott Gorham played with the band on the tour, he had actually left prior to Wrong Side of Paradise being recorded. Without Gorham or Damon Johnson, who left in 2018, Wrong Side of Paradise was a let down - and I feel like at least one of those two guitarists has to be present to made the band truly tick. Only Warwick now remains from the band's founding as a Thin Lizzy spin-off - and without that link back to Thin Lizzy I am not sure that Black Star Riders have much of a purpose. The tour was great, but the album was disappointing - and it is telling that, bar a couple of festival appearances, Black Star Riders has essentially been dormant ever since. Getting The Almighty back together likely took up a lot of Warwick's time, though, but he has also been maintaining a pretty busy solo career throughout all of this - having last released a solo album back in 2021. When Life Was Hard and Fast (which I reviewed here) was certainly an enjoyable slab of melodic and folky heartland rock, and its tour in 2022 was great. Unless Black Star Riders can regroup with at least one of Warwick's key collaborators in that band then I would prefer him to operate as a solo act going forward. It is a shame, but perhaps Black Star Riders have just come to their natural end - with Wrong Side of Paradise comfortably weaker in my opinion than When Life Was Hard and Fast. I have different expectations when it comes to both projects, but if he is not going to write with Gorham nor Johnson then I would rather him operate as a solo act - particularly given his strong songwriting partnership with Keith Nelson (Buckcherry), which fuels his newly-released seventh solo album Blood Ties and also dominated the 2021 release. Warwick and Nelson are essentially responsible for everything here, with the latter playing most of the bass, keyboards, and drums, but there are a few guests throughout who add plenty of sparkle.

Blood Ties very much picks up where When Life Was Hard and Fast left off. Warwick's songwriting style is pretty well entrenched at this point - and this is a short album that gets in and gets out. There are a good mix of harder rock tracks, more plaintive moments, and that folky punk sound that Warwick likes to employ occasionally to ensure there is some variety, though, and the album gets off to a strong start with Angels of Desolation. Opening with a brash guitar riff, topped by a fluid lead, the track is that great mix of up-tempo hard rock and smooth melodies which characterises Warwick's songwriting. Nothing here ever reaches the intensity of The Almighty, but there is still plenty of meat here - with a Bruce Springsteen-esque rhythm guitar tone and the bright guitar leads worming their way into the brain after a couple of listens. Chugging verses packed with pulsing bass playing and laid back distorted guitars are the perfect backing for Warwick's storytelling vocal style - whilst the chorus has some subtle vocal harmonies, which build up over an slightly anthemic wordless melody which also stick in the brain. The song is not exactly a fists-in-the-air rocker - but there is a great sense of melody throughout, with enough crunch to add a hard rock flourish. Rise and Grind features the guitar prowess of Charlie Starr (Blackberry Smoke) throughout. Starr's appearance does not mean that the song suddenly takes a southern or a country rock path - with the hard rock song rooted very firmly in Warwick's core sound. There is perhaps more of a traditional bluesy approach, with less of the folkiness of his typical delivery, and the song does crunch a little more. Warwick has always made strong use of lead guitar playing throughout this songwriting, but Starr is all over this song - his wah-drenched accents during the verses packing a punch whilst bluesy leads during the chorus and the opening riff really elevate the track. A strong chorus, with a hypnotic core hook, further draws the listener in - before a bona fide guitar solo sees Starr let rip. The solo could have been longer in truth - but there is enough here to ensure that the track is a strong effort. Lead single Don't Leave Me in the Dark is less of a hard rocker - and instead goes for more of a cinematic heartland rock vibe with more of a keyboard presence. There are tough Tom Petty vibes throughout, with ringing and brash clean guitar melodies, and the aforementioned keyboards, provided here by session king Steve Ferlazzo, sound big and bright. Lita Ford (The Runaways) duets with Warwick here - her smooth and melodic voice contrasting nicely with Warwick's slightly rougher delivery. The chorus is another strong one - but perhaps the overall highlight of the track is a strong bridge section later on which features both singers harmonising well, before lots of big guitar leads add further hooks.

The somewhat folky The Crickets Stayed in Clovis shows that Warwick can still write songs that have a Black Star Riders vibe and have them feel at home on his solo albums - which is even more reason, in my opinion, why Black Star Riders should fold without Gorham and Johnson. The guitar leads here have strong Thin Lizzy feels throughout, with the opening folky lead paired with an up-tempo rock backing really channelling the songwriting of Phil Lynott nicely. Hearing songs like this make it obvious why Warwick was brought into Thin Lizzy in the first place - and the years of singing Lynott's songs has clearly rubbed off. The folky melodies throughout, both from the vocals and the guitars, are very easy on the ear - and the track is another with a strong chorus. The whole song is an earworm in truth - and it is a real sing-a-long number that is sure to go down well live. Don't Sell Your Soul to Fall in Love is the first of two songs here to feature Billy Duffy (The Cult) on guitars. After the generally hard rocking nature of the album up to this point, Don't Sell Your Soul to Fall in Love feels a little more reined in. A later chorus feels tougher, with striking power chords stabbing away behind Warwick's strident vocals, but the opening and the verses are smoother overall. This is another song with a bit more of a keyboard presence, which creates a bit of an atmospheric feeling, but generally the clean guitars and simple drumming provide a folk rock beat over which Warwick croons in a slightly more restrained manner than usual. Duffy later makes his presence count with a piercing guitar solo - which is perfectly suited to the vibe of the song. The solo section builds from the heavier chorus, but the solo itself is suitably restrained and does not really cut loose - instead building on the song's more precise nature overall. Dead and Gone opens with a gruff spoken word poem, which nicely sets the tone for the slightly more raucous hard rock track which is to follow. The drumming feels punchy from the off, over which Warwick lays down some brash and distorted guitar chords - somehow tapping into the punk side of his playing despite the track generally being pretty mid-paced. The later chorus is a bit smoother, with subtle vocal harmonies and cleaner guitar tones, so the song is somewhat the reverse of the previous one. This time, the verses are a tougher part of the track - and they build on nicely from the staccato drumming of the opening with some busy bass playing and gruff vocals. The Hell of Me and You also features Duffy, and the track opens with a really gnarly riff which sounds like a slight reworking of Guns N' Roses' You Could Be Mine. The guitar tones have that old Guns N' Roses bite, likely thanks to Duffy's additions, but despite this sleazier opening the track is very typical of Warwick's songwriting overall. Despite some slashing, bluesy guitar leads which scream in and out of existence, the album's core sound is retained. There is plenty of energy throughout, though. The chorus is catchy despite its simplicity, building from the opening riff, whilst Duffy really lets his hair down here. Warwick sings really well as always, but this really feels like Duffy's showcase. His guitar leads are essentially ever-present - and he sounds busier than he has done with The Cult for many years. The song is an album highlight as a result.

Crocodile Tears is another slightly folky rock piece - although there is plenty of crunch throughout. Warwick has done acoustic/mostly acoustic albums in the past, but that is not what this album is - so the folkier pieces are instead presented in a harder rock format, relying on hooky guitar lines to bring folky melodies to life and Warwick's storytelling lyrical approach. This is a song, though, which is essentially all about its chorus. The verses are pretty one-note, with a simple rock chug and Warwick's voice, whereas the chorus is packed full of excellent lead guitar playing and simple vocal harmonies. It is another very hooky piece as a result, with the chorus sticking in the brain from the off, and following a number of guest spots Nelson really lets rip during the solo section. Wishing Your Life Away opens with a punky drum groove, and this no-nonsense attitude essentially sets the tone for everything else to follow. This is another straight ahead rocker, with a punk edge, but it feels a bit more energetic overall. This is the song here which comes closest to the sound of The Almighty - and if it was given a bit more of a boost by the other members of the band it could work well in that canon. Presented the way it is, though, that folk/punk edge that Warwick often likes to feature really shines through - and it feels a bit deliberately pulled back at times so that it does not sound much heavier than everything else here. It would have been nice had the song really been cranked up, especially as Nelson lays down another busy solo, but there is a certain smoothness and folky edge to all of Warwick's solo work - so I can see why he sometimes pulls back to allow a more consistent sound to develop from song to song. The album then comes to a close with The Town That Didn't Stare, a track which does not really do anything different compared to what has come before - but packs a nice punch as a closing number. It is not a song which stood out to me from the off, and on my initial listens to the album I actually thought that it ended on a weak note - with the final two songs not really doing much for me. Whilst I do think that this is a front-loaded album, with much of the best material featured early on, the later pieces have grown on me quite a bit - and the staccato rock of The Town That Didn't Stare now feels stronger. The chorus stands out thanks to the staccato call-and-response style that it employs and it gives the song a strident feel as the album comes to a close. Nothing here ever truly diverges from Warwick's long established path at this point, but I generally feel like his formula is a memorable one. Perhaps his best work has come in other bands where he collaborates with other songwriters, but as a solo artist his work always delivers memorable and heartfelt material that sticks to a core sound. Despite some clear influences, his work is always his own - and Blood Ties is another very solid solo album which follows on from the last couple of rockier affairs he has put out under his own name. He will be taking the album on tour later in the year and I am looking forward to hearing some of these songs live - alongside classics from the back catalogue.

The album was released on 14th March 2025 via Earache Records. Below is Warwick's promotional video for Don't Leave Me in the Dark.