H.E.A.T's 'Welcome to the Future' - Album Review

Given that there is no shortage of new AOR and melodic rock bands these days, largely thanks to Frontiers Records pumping out new releases of varying quality left, right, and centre, to rise to the top of the modern AOR scene a band really needs to stand out. Despite some exceptions, the Frontiers family can often be quite forgettable - so it is not a surprise that one of the best modern AOR bands is not on the Italian label, with Sweden's H.E.A.T being one of the current premier examples of the genre. Despite this, though, it took me a while to get into them. I started listening to them in the early 2010s, and I really enjoyed 2012's Address the Nation when it dropped - but after that I stopped listening to the band for some reason, and did not start again until I saw them opening for The Quireboys in 2018. I had picked up the band's first two albums around the same time as Address the Nation, but they had not received much play time, and in the lead up to that 2018 show I went back and picked up everything I had missed out on - and sat there wondering why I had not bothered to properly keep up with their activities following Address the Nation. I saw them again a few months later, this time opening for Skid Row, and by that point I was a full-on fan. They have since become one of my favourite AOR bands of the modern age and 2020's excellent H.E.A.T II (which I reviewed here) was one of my favourite albums of that year - and it was a constant companion during the pandemic years. I was meant to see H.E.A.T live in 2020, but clearly that did not happen - with the show eventually taking place in 2022. By this point, though, H.E.A.T looked rather different - with original frontman Kenny Leckremo having replaced his original and long-time replacement Erik Grönwall in the aftermath of H.E.A.T II dropping. Leckremo re-introduced himself to the band's fanbase on 2022's Force Majeure (which I reviewed here) - a strong release but one which has not really stuck me with outside of a few standout cuts. H.E.A.T II was so strong that it was always going to be hard for the band to follow it up - and Force Majeure felt like an album where the band were re-establishing themselves with Leckremo and feeling out a route forward. The standout cuts are live staples for a reason, but the deeper tracks are less interesting - so I was interested to see in which direction they would go on their next album. This become clear last month, then, when the band's eighth album, and fourth with Leckremo, Welcome to the Future dropped. If Force Majeure saw the band setting out at a canter following the line-up change, then Welcome to the Future finds the band sprinting. From first hearing the advance singles Disaster and Bad Time for Love, the latter of which I heard for the first time live back in January where the band put on a career-best performance in London, I had a feeling that the upcoming album could be a real winner - and I was right. Welcome to the Future sees the band doubling down on some of the harder-hitting moments of their past - and going for a much tougher overall sound despite losing none of their core melodic heart.

Despite great performances from all, this album belongs to Leckremo. I had, wrongly, assumed he was more of a smoother singer, perhaps lacking some of Grönwall's grit, but this album proves otherwise - and a recent tour as one of the singers of Avantasia also showcased his heavier side. This album really rocks, then, and sees the band largely operating in a high-octane manner and conjuring up plenty of energy. The aforementioned singles kick things off, ensuring that the album opens with a powerful one-two punch of hard-hitting AOR energy. The fast-paced Disaster, though, still showcases plenty of melodic rock majesty - with a sparkling synth intro from Jona Tee taking the listener back to the 1980s before the rest of the band crash in and the song rockets off. Tee's keyboard playing is still very much a focus throughout this album despite the harder-edged sound opted for - and the interplay between it and Dave Dalone's guitar is a big part of what makes this album exciting. Dalone's guitar playing throughout this song is busy and tough-sounding - with an early section seeing the synths drop away to focus on the riffing briefly to reveal a more metallic edge to the band's sound. The faster pace of the bulk of the song is reserved for the instrumental sections and an anthemic chorus - filled with gang vocals and a fists-in-the-air vibe - whilst the verses are a bit more restrained, going for more of a mid-paced feel that retains plenty of crunch. Dalone's guitar solo is filled with memorable phrases, too, with a good mixture of shredded runs and more melodic leads - and the song overall is a great opening statement. Bad Time for Love opens with a brief tease of its chorus, before Leckremo immediately launches into the first verse. There is no standing on ceremony here, with the more mid-paced and overtly AOR track reining in some of the metallic edge of the previous cut - although it is no less exciting. The song is a real soaring anthem, showcasing a great vocal range from Leckremo - with a smoother approach opted for during the verses before he really cuts loose during the chorus. The chorus could be the album's best thanks to the hooky melodies and the weight from the rhythm section behind him - whilst Tee's synths create a more cinematic edge throughout. It is the sort of song that is likely to become a live staple over the years to come - and it actually harks back to the band's first couple of albums somewhat whilst upping the heaviness a little thanks to Dalone's guitar crunch.

Running to You was another pre-release single, and it is another strong effort - meaning that the album's opening trilogy really hits the mark. It sits somewhat between the previous two songs vibe-wise - as it is more upbeat than the previous song but not as tough as the opening number. There is an infectious pace throughout, though, and it feels pretty hard-hitting as a result. Dalone's guitar riffing bulks out the verses nicely, and I like how Tee's keyboards initially take a backseat before becoming busier as the verses progress. As is typical for H.E.A.T, too, the chorus is a winner. It might not be as strong as Bad Time for Love's, but the faster pace means that the snappy hooks really lodge in the brain - and it is another that sticks after only a couple of listens. H.E.A.T have been writing songs like this for years but the formula does not feel old - and the short run time of both this number and the previous one means there is little fat to discard. Call My Name opens in a slower manner, with some aching guitar leads sitting atop a bed of warm synths. Leckremo then starts to sing over this sparse backing, creating a bit of a cinematic intro, and it seems as if the song is going to be a ballad - but instead the track morphs into a smooth, mid-paced AOR treat which reins in some of the toughness which has been seen up to this point to create something which reminds me of Inside Information-era Foreigner. The guitar playing is less in-your-face here, with the aching leads and subtle rhythms dominating, whilst the keyboards swirl around to create a main point of focus - and the bass playing of Jimmy Jay acts as a prominent grounding. The song is quite a bit more synth-driven than is typical, then, but it works well here - particularly following three tougher and more high-octane pieces. The smooth and laid back chorus hits in a different manner than the others here, but it is one that has grown on me a lot - and the song showcases that side of Leckremo which I, wrongly, assumed was his bread and butter given his older vocal performances. In Disguise is the first of two songs here written by Jay - whose songwriting contributions tend to showcase a more widescreen and majestic side of the band. I think his second contribution here is the stronger of the two - but In Disguise showcases his style nicely, and it builds somewhat on the vibe of the previous song. Dalone's guitar is used more sparingly here, with his stop-start riffing during the verses allowing the bass and keyboards to create a smooth sound - only for the riffing to then punctuate each of Leckremo's vocal lines. It is unsurprising that the bass really drives everything, but flashy synth hooks and a fluid, slow-burning guitar solo add to the song's sweeping nature perfectly - whilst the the percussive chorus, with round-the-kit drumming from Don Crash, features layers of harmony vocals and some slow-burning melodies.

The End returns to a more hard rocking feel following a couple of more reined-in pieces - although it is not explosive as how the album opened. The pulsing synths throughout are some of the most overtly AOR keyboard moments on the album - but there is still plenty of guitar weight here thanks to some buzzing riffing during the mid-paced verses and some snappy leads utilised elsewhere. The chorus is a bit different, too, with stop-start drumming and riffing allowing the pulsing synths and Leckremo's vocals to shine - before it culminates in some of Dalone's smoothest lead playing behind Leckremo's vamping. It is a bit of a different sort of song for the band, then, despite some classic AOR tropes being on display. Rock Bottom ups the muscle again further - and the track is a powerful mid-paced hard rocker which displays a much bluesier overall approach. Dalone's guitar drives everything, despite a few flashy synth flourishes throughout, so there is a much more traditional classic hard rock vibe here - with a knotty riff which continues to resurface throughout the verses, whilst the occasional shredded lead is also utilised. Leckremo sounds powerful, too, his voice showcasing some real grit during these bluesy verses - before the whole band back him during a foot-stomping chorus which is full of hooky wordless vocal melodies and more big riffing. Children of the Storm is Jay's second writing contribution - so again it showcases his typical style. Opening with cinematic synths, the track then gets going proper with a fairly urgent-sounding verse - which sees Leckremo singing with power against a pulsing synth and bass backing. Again, the guitars are a bit more in the background here to allow the grounding bass and shimmering keyboards to shine - but there are some excellent controlled guitar leads during parts of the song, and there is a crunchy backing to the chorus to add some additional weight. Despite the song being pretty pacy, it does not feel as crunchy as the other more rocking numbers here - which is often a feature of Jay's songwriting. He often adds a point of difference with his contributions which I like - and this tune is no different despite another strong chorus very much channelling the core H.E.A.T sound. Losing Game returns to something much riffier - with Dalone stepping out from the shadows to lay down some more bluesy riffs, although this time the synths are just as prominent. The battle for supremacy between the guitars and the synths helps to make this track one of the highlights of the latter part of the album - and it is a song which takes a few unexpected twists. I really like how the chorus is actually not all that high-octane. It does not explode out of the speakers, but instead it just builds on the grooves of the rest of the song - with Leckremo opting for a smoother approach, so again there are Foreigner vibes thanks to the subtle vocal harmonies and synths which persist. A synth solo also helps to add to this vibe - and the song is a great mix of tough riffing and warmth which works well.

Paradise Lost is a bit more of a typical AOR number - with sparkling synths throughout and an anthemic feel which is helped by Survivor-esque keyboard stabs and enough guitars to add weight but not enough to create a metallic edge. The issue I have with the song, though, is that the chorus just sounds so familiar. The vocal melodies and keyboard patterns are very much AOR 101. H.E.A.T certainly lean into the tropes at times, but generally they keep them interesting - whereas this chorus is a bit predictable and given how the song builds up I was hoping for something a bit stronger. The song is not a bad effort, but given the strengths elsewhere it is one of the weaker cuts here for me. Tear It Down (R.N.R.R) opens slowly, with some clean guitar melodies, but the song soon morphs into another pretty tough mid-paced rocker - with big guitar chords being held behind Leckremo's verse vocals whilst a synth melody dances away in the background. Despite these synths, though, the song overall is one of the tougher efforts here. The guitars are very prominent throughout, and Jay's bass is also pretty high in the mix, whilst some organ is utilised at times to add depth - which contrasts nicely with the synths. The chorus is also one of the heavier moments here, with an almost Accept-like stomp at times thanks to Crash's drumming and the grittier approach to vocal melodies from Leckremo. It is a bit of a different song for the band, then, but a shredded guitar solo and plenty of anthemic hooks keep it grounded - and I like these heavier experiments from the band. The album then comes to a close with We Will Not Forget - a mid-paced anthemic rocker with Thin Lizzy-esque guitar melodies which builds towards its chorus. The opening moments are quite bombastic, with the aforementioned guitar melodies creating a high-octane folk feel, and this is later reprised during a strident chorus - but the verses are more slow-burning with pulsing synths and some gentler vocals from Leckremo as the rhythm section create a tight groove. Despite its strong hooks, it was not a song which stood out to me at first - but over repeated listens it has done, largely thanks to Dalone's varied guitar playing throughout, including a lengthy solo, and the chorus which is a bit of a sleeper. It ends the album well and, in truth, there is very little here which does not hit the spot in one way or another. Following the band regrouping on the last album, Welcome to the Future sees the current line-up are assured of their direction going forward. It is an exciting album with plenty of faster-paced pieces - but there is still plenty of anthemic and more restrained moments to ensure variety over the 45 minutes or so of music here. H.E.A.T rarely disappoint and this album certainly does not - and I can see this being one of the year's best melodic rock releases.

The album was released on 25th April 2025 via earMusic. Below is the band's promotional video for Disaster.

Michael Monroe - Bristol Review

The last couple of weeks have felt like a bit of a slog, even for a seasoned gig-goer like me. I do not regret it, of course, as each of the six gigs I have been to during the past three weeks has been great - but the many hours spent on trains and in hotels has started to catch up with me, and being such a bit-part player at work for an extended period is never ideal. I am actually looking forward to a quiet couple of weeks before a busy week in June which will see me catching Savatage live for the first time - but it is now time to reflect on the last of what May had to offer and, Bruce Springsteen aside, it was likely the best of the month. The reason for yesterday's trip to Bristol was to catch Michael Monroe live on his latest UK tour - on board the Thekla which is a venue that always seems to generate a great atmosphere. I had seen Monroe and his band live a few times over the years, but last night was my first time seeing them headline. I had been wanting to get to one of his headline shows ever since I first got into him back in 2011, but his tours always seem to clash with other plans or just fall at inconvenient times. I got into him in advance of seeing him at the 2011 iteration of the High Voltage Festival in London - and since then I have also seen him opening for Alice Cooper, Guns N' Roses, and Black Star Riders. Even as a support act, Monroe always delivers. He has been doing his thing for years at this point, with Hanoi Rocks having formed back in 1979 and Monroe being active in music ever since. Whilst Hanoi Rocks have their place in music history, particularly for their influence on the hair metal movement of the 1980s, I would argue that Monroe's best work has come more recently - particularly since re-launching his solo career proper with his current band after Hanoi Rocks broke up for good in 2009. With guitarist Steve Conte, bassist Sami Yaffi, and drummer Karl Rockfist having been on board since this rebirth - it is only the second guitarist slot which has changed, although Rich Jones has filled it since 2014. Monroe's current band has been together for 11 years at this point, then, and is responsible for his last three albums - although the two which came before are also seen as part of the set, and make up a five-album run which is as good as anything he has done in the past. In truth, I tend to prefer his solo work to those classic Hanoi Rocks albums from the 1980s - and the sole Demolition 23. album from 1994 is also a bit of a lost classic of the genre. I was pleased, then, when the dates for his latest UK tour were announced and there was a Bristol show I could make easily. I had considered seeing him in London last year as it would have tied into other plans, but I ended up deciding not to - so I was lucky that this more extensive tour was announced. The Thekla was a good choice for him, too. I have never been to a bad gig there, and the quirky nature of the venue suited the upbeat and relentless energy of Monroe and his band. I had not been there for about a year, so it was good to return, and it was also great to see a strong turnout on a Wednesday night for the glam/punk icon.

Before Monroe took to the stage, though, the growing crowd was treated to a powerful set from CJ Wildheart and his band. I have been a Wildhearts fan for a while, but it was not until last year when I started to take notice of CJ as solo artist - and it was his announcement of a gig in Plymouth which prompted me to check him out properly. I enjoyed the albums of his I heard and the gig was excellent - so I was looking forward to catching him live again despite not having gotten around to picking up his latest album Slots. Half of the new album featured throughout his 45 minute set, but the fact that I did not know the songs did not matter - as they, as is the case with much of CJ's catalogue, were the sort of songs which stick with you quickly. He is not a writer of complex and especially layered material, but that is not what his fans want, and his knack for a big riff and a hooky chorus has not dulled over the years. Three tracks from the latest album opened things up, with the angsty Beg kicking things off - whilst the single The Baddest Girl in the World particularly stood out thanks to its big chorus and pop-punk energy. CJ and his band had very little room to move on the stage, with drummer Craig Mackay's drumkit sat to the side facing the band - with Mackay himself looking at danger at toppling backwards off the stage at points. CJ's usual sardonic humour regarding the situation, and touring more generally, was very much in place, though, and there were plenty of CJ and Wildhearts shirts on display in the crowd - meaning that he had to do little to evoke a decent reaction. Despite this, though, the atmosphere definitely rose as his set went on. The new songs certainly went down well, but detours through his previous bands The Jellys and Honeycrack certainly delighted the older fans in the room. The anthemic Go Away from the latter was a mid-set highlight - although I also really enjoyed the slightly more low key You Got the Best Part of Me from Slots which was a slight moment of respite in what was generally a high-energy set. With limited time to play with, there was little standing on ceremony, too, and perhaps knowing that The Wildhearts is what he is most known for he opted to close his set with three anthems from that band - and two of them were more 'well known' than the songs from the band's canon he tends to play as a solo artist. As a support act you sometimes need to give the people what they want, though, with Stormy in the North, Karma in the South hitting the spot before the fan-favourite I Wanna Go Where the People Go saw CJ trading vocals with guitarist Dean McCreadie. An anthemic O.C.D closed things out - and I think it is fair to say that CJ's set was great. I am looking forward to seeing live again later in the year with Ricky Warwick. The setlist was:

Beg

Another Big Mistake

The Baddest Girl in the World

Lemonade Girl [The Jellys material]

Go Away [Honeycrack material]

Coma

You Got the Best Part of Me

Sitting at Home [Honeycrack material]

Stormy in the North, Karma in the South [The Wildhearts material]

I Wanna Go Where the People Go [The Wildhearts material]

O.C.D [The Wildhearts material]

Following what seemed like a pretty speedy changeover considering how much gear needed to be cleared from the stage, the lights went down and Monroe and his band took over - and for the next 90 minutes they really rocked the boat. It is almost as if Monroe agrees with me that his recent material is some of his best work, as newer cuts really dominated the first two-thirds of the set - with older numbers from his previous bands and some covers coming later on. He did turn the clock back as things got underway, though, opening with the evergreen Dead, Jail or Rock 'n' Roll from one of his older solo albums. The song is usually used to close out his shows, but it worked really well an opener - with Jones peeling off the big riff to huge cheers, and the large crowd later shouted the chorus back at the band. It was also one of the songs which featured quite a lot of harmonica playing from Monroe. His bluesy additions to some of the songs, alongside the occasional burst of saxophone, always ensure a touch of class is entrenched in the scrappy punk of his core sound - but generally he leapt around the stage and interacted with the crowd, despite the band all appearing quite cramped on the stage. The recent favourites came thick and fast early on, then, with anthems like I Live Too Fast to Die Young, TNT Diet, and a particularly rip-roaring Last Train to Tokyo set the crowd alight during the early part of the set. There was quite a lot of focus on 2013's Horns and Halos, with five songs culled from it, but there was generally a good mix of material throughout - and when Yaffa laid into the iconic bass intro of Motorvatin' the old-schoolers in the crowd went wild. Vibe-wise, this was one of the best atmospheres of the year so far. It helped that the band sounded clear, with every nuance cutting through, but each song was greeted like an old friend - and everyone around me sang along to every word. Even the occasional slower number like Man with No Eyes and Stained Glass Heart did not dampen the mood. These little moments of respite were welcome, and showcased a different side of Monroe's songwriting - showing that not everything he does is three-chord punk. There was plenty of hard-driving rock to be enjoyed, though, with Old King's Road and the bouncy Trick of the Wrist, complete with saxophone, also being highlights. It was left to his current era anthem Ballad of the Lower East Side to round out the two-thirds of the set largely dedicated to solo material - and the singing from the crowd was louder than ever, whilst Conte laid down a melodic guitar solo. Hanoi Rocks and Demolition 23. songs followed, with the semi-ballad Don't You Ever Leave Me providing another brief break - but it was the duo of Nothin's Alright and Hammersmith Palais which really hit the spot for me. There was a humorous moment during the former as Conte's guitar briefly stopped working and he proceeded to sing his guitar part whilst the issue was being fixed - this is a band that just rolls with the punches. More saxophone was then included throughout Malibu Beach Nightmare before the main set came to a close with Hanoi Rocks' rendition of Up Around the Bend. Huge cheers brought them back out for a couple more following a brief change of clothes, though, and Monroe sat behind the drums for the first number - a rendition of the punk classic Blitzkrieg Bop, which the rest of the band sung whilst he bashed away. A lengthy version of another punk classic I Wanna Be Loved closed the whole night out, though, with lots of jamming, big guitar solos, and lots of banter. It was a suitably trashy end to the night - and the cheers as the show came to an end were loud. The setlist was:

Dead, Jail or Rock 'n' Roll

I Live Too Fast to Die Young

TNT Diet

Eighteen Angels

Last Train to Tokyo

Motorvatin' [Hanoi Rocks material]

Young Drunks & Old Alcoholics

Man with No Eyes

Soul Surrender

Stained Glass Heart

Old King's Road

Trick of the Wrist

'78

Ballad of the Lower East Side

Don't You Ever Leave Me [Hanoi Rocks material]

Nothin's Alright [Demolition 23. material]

Hammersmith Palais [Demolition 23. material]

Malibu Beach Nightmare [Hanoi Rocks material]

Up Around the Bend [Creedence Clearwater Revival cover]

-

Blitzkrieg Bop [Ramones cover]

I Wanna Be Loved [The Heartbreakers cover]

Seeing Monroe and his band last night will likely end up being one of 2025's most memorable gigs. I am glad that I finally got to see him as a headline act following missing out on so many previous tours - and he also showcased that great vibes can still be created by bands who largely focus on newer material. Everyone enjoyed the classics of course, but the newer material, which dominated, was received just as well. Monroe's energy and stage presence has not faded at all over the years - and he remains one of the great frontmen of an era that produced so many.

Tortured Demon - Plymouth Review

It has been great getting to The Junction here in Plymouth a few times over the past couple of months. The city has long had a dearth of decent live music venues, but the glorified pub on Mutley Plain certainly punches above its weight - and there are worse places to have a short walk away. I always tell myself that I am going to visit the venue more, just to check out some complete unknowns, but it never quite seems to happen - as my gigging calendar always fills up with trips away and, with working full time, some rest time is, sadly, a necessity. Despite only getting back from a trip to London to catch the excellent Blue Öyster Cult earlier yesterday afternoon, a few hours later I was walking up to The Junction - which was quite a contrast to the packed-out London Palladium of Sunday night. Over the past couple of months, I have already made that walk twice - to catch both The Fallen State and Marisa and the Moths both put on strong showings to decent-sized and appreciative crowds. Last night's visitors were all the more heavy, though, with the Manchester-based thrash/metalcore act Tortured Demon returning for round two following a successful Plymouth debut last November. Tortured Demon are an example of a band I discovered because of The Junction - and it was the announcement of their November show there last year which brought them to my attention. I decided to check them out and liked what I heard - so I was soon the owner of both 2021's In Desperation's Grip and 2023's Rise of the Lifeless, which are both very strong and assured releases given the age of the musicians involved. The latter in particular is very strong and this band have real potential to make waves within the British metal scene should their current trajectory continue. Their November show in Plymouth last year was also memorable due to its strong atmosphere. The turnout was pretty healthy and the energy in the room was intense. The moshing was endless throughout the evening, with microphone stands and monitors constantly getting knocked over, and even the band seemed a little shocked at how hard many in the crowd were going - despite likely playing to bigger crowds elsewhere on their tour. It is unclear whether the band's debut full headline tour was a success or not - but one must assume so to an extent as, despite seemingly having a bit of a quieter year this year to presumably work on album number three, a short tour was announced over the Spring Bank Holiday weekend which included a return to Plymouth. The must have enjoyed themselves here so much last time that they decided to return - and I was more than happy to make the short walk up the road to catch them live again. The band were also promising a different setlist this time, including more material from In Desperation's Grip given that the sessions to create the album are five years old at this point - which is crazy considering that Jacob Parkinson (vocals/guitar) is still only 19!

Before Tortured Demon's set, though, the crowd was treated to support slots from two fairly local bands. The turnout was not quite as a good as last time, and it actually diminished as the night went on - suggesting that some where there just for the support acts. This was a shame, but there was still a reasonable and active crowd which stuck around until the end - and considering that the show was on a Monday it was probably a relative success. Opening the show were the Exeter-based hardcore band Apathy UK. I call Apathy UK a hardcore act, but in reality their sound was all over the place. They looked like a hardcore band, though, and included some hardcore material in their set, particularly towards the end, but they also had a bit more of an extreme metal side - with the occasional progressive and sludgy tendency. In fact, the set seemed like sets from two different bands stitched together. The first few songs were lengthier, featuring lots of bit stuck together with more technical riffing, lengthy guitar solos, and the occasional more atmospheric moment. There was generally a sludgy, more dissonant sound during this part of the set - although the vocals were generally strong and throaty throughout. Some of the songs really meandered, though, and could have done with some editing - but there were strong moments which shone through, with the odd riff and guitar solo showing real promise. The second half of the set was much punchier, though, with hardcore riffing and shorter pieces which felt more aggressive and less progressive. These songs were perhaps less interesting arrangement-wise, but they felt more assured in terms of groove and delivery - and I would suggest that the band shone a little more as a whole during these punchier numbers. As such, then, Apathy UK seem to be a band unsure of where they want to go. The contrasting styles was very apparent and it would be wise for them to pick a lane and stay in it. There is certainly some talent there, though.

Up next were Yeovil's Unburier - a technical death metal band I saw last year opening for Crypta. I really enjoyed their set last year, but this time I did not find them to be as compelling. It looks like the band have recently had a drummer change and, as a result, they did not seem as tight this time. I am sure that new drummer Kim Hughes will lock in properly in due course, and he did not especially seem to be lacking so I am not putting it all on him - I just felt that overall the machine-like precision I remember from last time was not there this time. It takes a while for line-up changes to bed in, even for the existing members, so the band is likely still feeling their way through the change - particularly given how complex their material is. I was looking forward to seeing the band again, but sadly they just did not have the same effect as last time. I remember the live sound mix being particularly good last time, too, which helped - so overall this performance was just a bit lacking compared to what came before. The riffing and soloing was still as impressive, but it just did not hit me as powerfully as it did last time. I also noted that Unburier received less of a strong reaction than Apathy UK - and perhaps the drop in energy levels was part of my issue with the set. The crowd went wild for Apathy UK, who perhaps received the strongest reaction of the evening in truth, but toned it down for Unburier. In fairness, the band's more progressive vibe merits a less intense reaction - but it was nevertheless noticeable. One thing I did notice from a positive perspective, though, was just how great a bass player Stan Mitchell is. His playing was higher in the mix this time and his riffing and occasional more melodic line was really obvious. He had no problem at all keeping up with the two guitarists - and in a genre where bass is often buried and perhaps lacks definition, it was great to see some great progressive playing from Mitchell. His fretless bass had a great tone, too, which helped.

Tortured Demon then took to the stage following what seemed like quite a long changeover, and looking back the changeovers between each band did not seem as slick as they surprisingly often are at The Junction, and were greeted by a decent but noticeably depleted crowd. There was still plenty of moshing and movement from those left, though, which ensured a decent atmosphere - and the band still seemed happy with the reception, particularly noting that it was a Monday night. With six songs coming from each album, alongside last year's stand-alone single, the 13-song set was a powerful one that filled just over an hour. Newer material tended to bookend the night, with the middle reserved for older cuts. It was great to hear some different tracks this time compared to last time - but the opening duo of Conflict of Interest and Virtual Death are familiar live staples by this point. Both have strong choruses, which Jacob nailed with his strong harsh vocals - whilst his brother Joe Parkinson (drums) really let it rip behind his large drumkit. Tortured Demon seem to have recently undergone a line-up change of their own, with new bassist Joel Bayley now on board, but they were as tight as they were before. The band do seem to have had a lot of line-up changes already, though, which is expected when starting out but it would be good to see things settle down as they progress - as multiple line-up changes can often be disruptive and stall any building momentum. Rory Marsland-Smith (guitar) is well entrenched in the band at this point, though, with the recent single Nothing Left to Say showcasing what he brings to the table - with his melodic sensibilities often the counter to Jacob's more intense shredding. Given that more older material was played, though, Jacob soloed more than he did last time - with the lengthy The Invasion and the big gang vocals of Cold Blood being some highlights from the first album to get an airing. Jacob noted that he was around 14 when most of these songs were written, so it amazing how far this band have come at such a young age. There is a huge amount of potential here to be capitalised on - and I am really looking forward to hearing their third album and the direction it takes. Whilst I think the band have improved since their debut, though, it was still great to hear some of those songs live - with A Knee to the Face of Corruption and the debut's title track really showcasing that early promise and standing up to the newer cuts. I perhaps enjoyed the last few moments of the set the most, though, with the anthemic Global Threat and the more progressive The Damage Is Done showcasing the best of Tortured Demon so far. The melodic and fists-in-the-air vibes of the second album's title track rounded everything out - and those who stuck it out certainly went home happy. The setlist was:

Conflict of Interest

Virtual Death

Nothing Left to Say

Disfavour

The Invasion

Cold Blood

Oppressed

My Terror

A Knee to the Face of Corruption

Global Threat

In Desperation's Grip

The Damage Is Done

An Empire Condemned

Rise of the Lifeless

Whilst last November's show might have been better in terms of turnout and atmosphere, I think that last night was better in terms of performance. The varied setlist was welcome and the band seemed really tight - with a better overall sound mix helping the riffing, soloing, and vocals all to shine. Whilst the band do not have too many other shows planned this year, album number three should be being worked on - and I am hoping that they will return to Plymouth again when it drops.

Blue Öyster Cult - London Review

This month has been absolutely crazy in terms of gigs - and there are still two more to go before May finishes. Despite what many seem to think, on the surface at least, live music in the UK is thriving - and I think that I am on course to break my previous record in terms of gigs attended this year. The next few months are somewhat slower, but I still have quite a bit planned, but up to this point things have been crazy - with February and May being particularly hectic. This is demonstrated in the fact that, last night, I went to my 24th gig of 2025 so far - and I returned to London only a week or so after last leaving. I have been up and back to Manchester since then, too, and will be heading to Bristol on Wednesday. I am actually looking forward to a handful of quiet weekends before a fairly busy week in June which takes me to London and Birmingham kicks off - but I am sure that by then I will be well-rested and ready to tackle yet more live music. Turning back to last night, though, the reason for the bank holiday trip to London was to catch the rock legends Blue Öyster Cult at the London Palladium - which kicked off a relatively brief European tour. I had seen the band once before, but that was in 2019 - and it was at the gig which I became a proper fan. I had been a casual Blue Öyster Cult fan for a few years at that point, and decided to catch the band on their 2019 UK tour to 'tick them off' so to speak - but the I enjoyed the show far more than I was expecting to, and I have become a much bigger fan since. I had tickets to see them with Deep Purple a few years ago, too, but that tour was delayed due to the pandemic - and by the time the tour actually happened the dates were not convenient for me and I got my ticket refunded. It is a shame, as that double bill would have likely been excellent, but it was inevitable that I would end up missing out on some things during that period - especially given that basically everyone was touring at the same time in 2021 and 2022. As such, then, prior to last night I had only seen the band live once before - so when they announced this lone London date last year I picked up a ticket immediately. Whilst Blue Öyster Cult have been semi-regular visitors to the UK over the years, they are not a band with a clockwork European touring schedule - and as is the case with so many bands of a similar vintage a 'next time' is never a guarantee. Like so many bands from the 1970s, too, Blue Öyster Cult seem to have undergone something of a resurgence of late - at least here. When I last saw them, I remember seeing tour shirts being worn from UK tours from the 2000s where the band were playing very small venues - but I saw them pack out the Eventim Apollo. The Palladium is smaller than the Apollo, and the Apollo show was part of a proper UK tour, but the Palladium is a prestigious venue that perhaps the band wanted to play - and if the show was not sold out then it was very close to being so. The upcoming European tour is not that long, either, and I do get the impression that the band are very slowly winding things down given their age. That being said, though, they did actually play a show at the pretty small Islington Assembly Hall the night before the Palladium show under their original name Soft White Underbelly - as something of a tour warm-up. I am not sure why I did not go to both shows, but for London-based Blue Öyster Cult fans the double-bill was a real treat - and with two different setlists played a lot of the band's lengthy catalogue was on show over the weekend.

This was my third visit to the Palladium and, despite its legendary status, it is not somewhere that I am a huge fan of. I enjoyed sitting in the Stalls on my first visit - but sitting the the Golden Circle is not as much fun, largely as there is so little legroom. My seat last night was much better than the one I had in the front row of the Golden Circle when I saw Lindsey Buckingham in 2022, though, where I felt very uncomfortable - but it was still hard to sit in the seat last night, and I am not even especially tall. Notwithstanding this, though, the view from my seat was excellent - and the sound throughout the night was also largely very clear. Before Blue Öyster Cult's set, though, the large crowd was treated to half an hour from blues rockers When Rivers Meet - a band that are certainly rising stars here in the UK at the moment. Both times I have seen Blue Öyster Cult live now they have had bluesy bands supporting them, which seems odd to me, but I enjoyed When Rivers Meet's time on stage even if their very organic and retro slide-driven blues is not really my thing. I had seen them before, when Grace Bond (vocals/mandolin) and Aaron Bond (vocals/guitar) supported King King as a duo a few years ago, but since then they seem to have risen up the ranks somewhat - and they are pretty popular here now. My views on their set last night were very similar to how I felt when I saw them previously - which is that they are very good at what they do but after a while all the songs start to sound very similar. They sounded more powerful and less overly retro with a full band behind them, though, but the ever-present slide and a very soulful approach to vocal melodies does mean that their overall sound is quite limiting. Grace is certainly a great singer, and she really strutted around the stage with ease, and Aaron can deliver some excellent slide riffs - but I just wish that there was a bit more variety in what they do. The use of slide mandolin was interesting, though, with Grace adding some melodic leads over the grungy guitar riffing on occasion, and some of the choruses were pretty hooky - but the overall stomping grooves started to wear thin after a while, at least for me. This is a band that is doing well for themselves, though, so they are clearly striking a chord with some. It is great to see a new UK band doing well, and I am sure that their newly-released album will be a success, but they are not really for me - even if I am glad to have now seen them in a full-band setting so that I could properly experience their sound.

It was not long to wait before the lights went down again and the five current members Blue Öyster Cult took to the stage. There was little standing on ceremony throughout, and for the next couple of hours the veteran band delivered a career-spanning set which included a number of crowd-favourites, newer numbers, and the odd deeper cut - with each track received a strong reception from the large crowd. Opening with the boogie blues of Dr. Music, the set got off to a rocking start. The one complaint I had with the sound was that Eric Bloom's (vocals/guitar/keyboards/percussion) voice was a bit low in the mix at times - but otherwise the sound was raw and powerful. In truth, Bloom's voice is not what it was - even compared to 2019. His scratchy vocals have always been a big part of the band's sound, but he sounded a little weak throughout the show - which I had expected to be fair. He is 80 now, so he did the best he could, and on some songs he sounded better than others - and in truth it was just great seeing him up there in seemingly good health and having a great time. Buck Dharma's (vocals/guitar) voice has fared a little better, and generally sounded strong - and he stepped up to the microphone for Before the Kiss, a Redcap which came in second. When Career of Evil followed it up, though, I was a little concerned that I was about to see the exact same setlist as in 2019. Blue Öyster Cult are generally very good at mixing things up night to night, though, so after the identical opening three numbers the show diverted off in a number of different directions - and I actually ended up hearing a lot of different songs this time. Some early highlights included Golden Age of Leather, with the whole band harmonising well during the a cappella intro, and the tough That Was Me from the band's latest proper album. Bloom actually sounded pretty powerful throughout the riffy garage rock anthem - and the set was well-paced to allow him and Dharma around the same amount of vocal time each.

The first real anthem of the night then came in the form of Burnin' for You, with the duelling lead guitars of Dharma and Richie Castellano (vocals/guitar/keyboards) bringing a huge cheer from the receptive crowd - before the quirky chorus was sung back at the band with real gusto. In fact, a couple more of Dharma's 1980s poppy singles where wheeled out at this show, with both Shooting Shark and Dancin' in the Ruins being dusted off - with the latter in particular seeing plenty of movement even up in the cheap seats. Bloom made sure to make his presence felt, though, during the riffy E.T.I. (Extra Terrestrial Intelligence) and Castellano also got in on the act during the oldie Hot Rails to Hell. As was the case during the 2019 show, Castellano impressed. He handled most of the keyboards during the show, but also regularly stepped out with his guitar - and he took a few solos during the night to support Dharma. He is a great singer and writer, too, as Tainted Blood later showcased - which he owned vocally and also delivered a big guitar solo during. Perhaps the overall highlight of the show, though, was a relatively rare outing of Astronomy. The song is a fan-favourite but is not played live all that often these days - so the proggy piece was welcomed with open arms, and it became a real workout for Dharma towards the end as he delivered a searing guitar solo. The final two songs of the main set are ever-presents of any Blue Öyster Cult set, though, with the rumbling hard rock of Godzilla and the melancholic anthem (Don't Fear) The Reaper receiving, unsurprisingly, some of the biggest cheers of the night - with the latter being introduced with a lengthy guitar solo from Dharma. The band took their bows after it, but thunderous clapping and cheers brought them back for three more songs - and the first song of the encore saw them really dip into the vaults for a rare outing of the poppy and strange Teen Archer. The garage rock vibes of Harvester of Eyes then saw the band back on more familiar territory, though, with Bloom delivering a strong vocal, before everything came to a close with a lengthy version of Cities on Flame with Rock and Roll - with Bloom again singing and plenty of soloing from both Dharma and Castellano. It was a powerful end to two varied hours of music - and the large crowd certainly went away happy. The setlist was:

Dr. Music

Before the Kiss, a Redcap

Career of Evil

Golden Age of Leather

That Was Me

Burnin' for You

Cagey Cretins

Shooting Shark

E.T.I. (Extra Terrestrial Intelligence)

Hot Rails to Hell

Dancin' in the Ruins

Astronomy

Tainted Blood

Flaming Telepaths

Godzilla

Guitar Solo

(Don't Fear) The Reaper

-

Teen Archer

Harvester of Eyes

Cities on Flame with Rock and Roll

Despite Bloom showing his age, which is to be expected and, in fairness, he is still a great character and presence on stage, Blue Öyster Cult really delivered last night at the Palladium. The show in 2019 might have been a bit better overall in terms of power and performance - but the setlist last night was excellent and it was great hearing so many different songs live. It was a real mix of vibes throughout and the band delivered in a historic venue. It is hard to know if there will be other chances to see Blue Öyster Cult live or not - but of not then I am glad that I got to see them twice.

Ghost's 'Skeletá' - Album Review

I think that it is fair to say that Sweden's Ghost are currently one of the biggest rock and metal bands in the world. In an era which is slowly seeing the old guard fade away, and those less in the know decrying the lack of festival headliners of the future, Ghost stand out as one the premier acts to take over from those which have been treading the boards for decades at this point - following an organic rise from occult obscurity when they released Opus Eponymous in 2010 to being genuine world-beaters 15 years later. Bands that burst onto the scene with a lot of hype often lack the staying power of the genuine greats, but Ghost's profile grew gradually and sustainably with each album and tour - and a recent sell-out arena tour of the UK shows that it cannot be all that long before stadiums and some of the most prestigious festival headline slots follow. Ghost have been arena fillers here in the UK for a while - with 2018's Prequelle (which I reviewed here) transitioning the band sound-wise into the arena rock juggernauts that they are now. Some decry the lack of 'metal' in their current sound, but Ghost were never especially heavy - with even their early occult rock feeling more 1970s in tone thanks to the prolific use of dense, retro keyboards and fuzzy guitar effects. They started to sleek-up prior to Prequelle, too, but the band's fourth album certainly introduced some strong 1980s stadium rock vibes - something which 2022's Impera (which I reviewed here) doubled down on. It is no secret that songs from Prequelle and Impera have tended to dominate the band's setlists in more recent times - although it should be noted that Ghost have always loved a big hook, with some of the cuts from prior to Prequelle being just as anthemic and hooky. I will probably lose metal points for this, but I have generally thought that Ghost have improved over time - and, for me, the best Ghost is the most stadium-ready. This is my love of 1980s stadium rock and AOR talking - and Ghost main-man Tobias Forge knows how to channel this energy, wrap it up in a slightly spooky blanket, and throw in some old-school Kiss-style theatrics. Three years on from Impera, then, Ghost are back with their sixth album Skeletá. I was assuming that Forge would come up with more material in the vein of Impera, and keep the gravy train rolling down the tracks - which is essentially what he has done, although there is perhaps a little more looking to the band's past here than was present on the last couple of albums. Skeletá is still very much an album which sounds very 1980s in tone - and there are plenty of AOR hooks and big choruses here to satisfy those who, like me, have enjoyed Ghost's transition. There are a few moments, though, which feel a little darker and less flashy - and these somewhat hark back to what came before. Essentially the album is the natural continuation from Impera, but there is also a respect of the band's origins - which I was perhaps not expecting in quite the same way. As always, it is hard to know exactly who contributed to this album besides Forge - but, as was the case with the last album, Fredrik Åkesson (Talisman; Krux; Opeth) is credited with supplying the lead guitar on a number of tracks.

Whilst most Ghost albums open with a short instrumental, Skeletá decides instead to just crack on - although the opening moments of Peacefield do somewhat replicate the feeling of a scene-setter. Choirboy vocals and gentle synths create a pseudo-religious feel as the song opens up - with the synths transitioning into organ as the vocal layers increase, which soon climax as a melodic guitar line takes over. This guitar lead later forms the basis of the song's main riff, but Forge sings over this initial simplified version as a drum beat kicks in - and the first verse and chorus rendition are more stripped back. This allows the vocal melodies to really shine. Forge might not be the best singer, but his voice is perfect for Ghost - and I do think that he has grown into a stronger vocalist over the years. He feels a bit more 'bodied' here - and he ramps up the power following the first chorus which is when the rest of the band kick in a big way and the song morphs into a powerful mid-paced rocker. I like the way the later verses and chorus renditions build on their initial, sparser siblings - and the overall arrangement of the song, from the choral intro to a soaring, melodic guitar solo, showcases Forge's clever songwriting tricks. The guitar riffing is tough, but retains plenty of melodic qualities, and the use of synths throughout enhances everything - with spacey sounds used as the song progresses. It helps that every melody is well-tuned to lodge in the brain, too, and the song opens the album perfectly. Single Lachryma is somewhat similar in that it is a mid-paced rocker, with the opening synth melody being a real 1980s throwback, but the riffing here feels a little heavier - and there is a strong bass presence throughout the verses which is quite a classic Ghost trope at this point. Whilst the opening synth melody and the sugary chorus, which is one of the hookiest on the album, certainly follow the vibes of the last couple of albums - the slightly heavier verses and the overall production hark back to the sound of 2015's Meliora somewhat for me. The guitar tones are a bit crunchier and the way that the drums really snap through the mix give the song that old-school feel - but the chorus, with its hypnotic synth line and gorgeous vocal harmonies, returns to the new-school, as does the fluid guitar solo which could have sat on Whitesnake's 1987. Lead single Satanized is another which channels some older vibes - and when I first heard it I did wonder if this latest Ghost record would look to the past somewhat. Again, the bass is very prominent in the mix - and it drives everything from the off, whilst mournful harmony guitar leads set a spooky early tone. The bass forms the basis of the verses, too, with buzzing rhythm guitars dropping in and out whilst the punchy drumming locks in perfectly. The synths are less flashy here, too, and instead retreat into the background - creating a dense and spooky tone. There are also strong Meliora vibes throughout this whole song - with even the chorus feeling like the overall style of that album. It is full of hooks, but they are not as blatant and AOR-esque this time - which means that it is a chorus which sinks in after a couple of listens. There is quite a bit of restraint throughout the whole song arrangement-wise, then, with even the guitar solo being a slow-burner - but it is another winner due to a plethora of hooks and a great overall atmosphere.

Whilst I like this album a lot, I am not sure that it is quite as strong as the last two - and perhaps one of the reasons why is Guiding Lights, a ballad which drops in following the opening three excellent songs and never really seems to get going. I am not sure that ballads have ever really been Forge's forte, and quite a few of his previous efforts do not do a huge amount for me, and this one is no different. It feels quite bland overall, despite a decent chorus, and in a way it surprises me that Forge has never really managed to nail ballads. He has been able to include most other arena rock trope in his songwriting successfully - but the perfect power ballad seems to elude him, and the sluggish Guiding Lights certainly is not it. I do like the chorus, but the rest of the song does not have much going for it. De Profundis Borealis gets the album back on track, though, despite it opening slowly with some distant piano melodies, and, of all the tracks so far, this is the biggest hark back to the band's older albums. There are strong Meliora and even 2013's Infestissumam vibes throughout - with the track having a darker feel that lacks many of the stadium rock tropes of the band's last two albums. Forge's vocal delivery has a darker edge to it, returning to a style he used to utilise more, and the keyboards throughout are less synth-heavy and instead make use of retro sounds. Hammond organ can often be heard throughout the track, whilst other 1970s progressive rock keyboard textures are thrown in elsewhere - all while faster, crunchier guitar riffs recreate some of those garage rock-esque vibes of the band's past. Iron Maiden-esque guitar melodies are thrown in occasionally, too, and there are some particularly potent ones during the chorus - which is a bit more off-kilter than is typical for modern Ghost, returning to some of the quirks of their past with hooks that take a few listens to fully appreciate. Cenotaph also opens with a synth melody, over which some restrained rhythm guitar chugs soon start to play over - which then becomes the bed for Forge's vocals. It is a song which builds slowly and the overall vibe it creates is something a bit different for the band. It is a song which is quite hard to describe. Whilst it does have a chorus, it is not a booming stadium rock-ready chorus. There are hooks throughout, but it never seems to climax with its chorus as the best Ghost songs do - although there are some fun guitar riffs throughout the chorus which do help it to stand out somewhat. It is one of those songs which never really changes its groove or rhythm throughout - so it has a hypnotic effect rather than an anthemic one. A strong guitar and keyboard solo section allows for a bit of a change, though, and I like the song for its different vibe. Missilia Amori is therefore the first song since Satanized to have a massive chorus - and it returns to the feel of Peacefield in my opinion, with a similar overall groove and the main riff feels like a heavier version of that song's effort. Arrangement-wise, the song feels perhaps less interesting than some of the others here - but it is clearly a song written to showcase its chorus. The staccato and soaring nature of the chorus reminds me somewhat of Watcher in the Sky from the last album - and the overall pace and arrangement is somewhat similar. Each time the chorus rolls around it demands to be shouted to the sky - whilst the guitar solo is more high-octane than is typical for Ghost, which helps the song have a stronger heavy metal feel.

Marks of the Evil One ups the pace somewhat and retains that heavy metal feel thanks to its driving bassline, crunchy guitar rhythms, and a darker tone thanks to some dense keyboard arrangements. Forge once again uses that slightly gruffer vocal delivery which he used more in the past here - and it gives the song a bit of a old-school feel, but overall this track does not feel like it could have sat on one of the older albums like some of the others here. Sound-wise the sound is more akin to the heavier moments on the last couple of albums - but perhaps taken a little further to allow for a more urgent feel. The guitar tone here reminds me of bands like Ratt and Dokken quite a bit - and the overall vibe of the song is not that far away from the latter, particularly when a stratospheric guitar solo takes over which is full of some neo-classical melodies and lots of fluid legato runs. The chorus is quite different to anything the band have done before and the use of subtle gang vocals at times is what helps to set the song apart. The song has grown on me a lot since I first heard it - and it has become a real favourite here thanks to its urgency. Umbra is pretty typical of the band's most recent work - so it should come as no surprise that it is an upbeat hook-fest which is one of the best songs here. It starts slowly with some synths, but once the crunchy guitar riff kicks in, with its cowbell backing, the track starts to build. The use of cowbell throughout, alongside some more percussive drumming during the verses, gives the song a unique groove - and I really like how it builds towards the chorus. The chorus is typical modern Ghost, with explosive melodies, snappy riffing, and tight harmonies; but the verses are a bit darker, with Forge using different vocal styles throughout - and they shift over the course of their run, with keyboards playing a bigger part as the chorus approaches. The arrangements are tight and interesting, then, but perhaps the best part of the song is the instrumental mid-section. I saw the band play this song live before the album came out - and this instrumental section was one of the highlights of the night. It is a proper progressive rock wig out with effects-heavy guitar soloing and old-school keyboard melodies - with the culminating guitar and keyboard unison runs full of character. The album then comes to a close with the slower Excelsis. I have already said that I do not feel that Forge is at his best when writing ballads, but this one goes for a more atmospheric vibe - which I think tends to work more effectively. There are shades of Life Eternal here, and Excelsis does a similar job on this album that Life Eternal did on Prequelle. Closing an album with a slower track does not always work that well in my opinion, but Excelsis has grown on me somewhat - and I think it works much better to showcase the slower side of Ghost than Guiding Lights does. It helps that the atmospheric keyboards are as varied as they are - and Forge actually delivers a pretty emotional vocal performance. Emotional is not really a word I would generally use to describe his singing - but this track does feel somewhat heartfelt, and a similarly emotional guitar solo helps to add further textures. Having lived with the album for a month or so now, I do feel that this ending note is stronger than I did at first - and overall I think it is a strong release. There is only one song that does not really do that much for me - and I like that there are some different vibes here that hark back to the older albums and showcase something new. It is not as immediate as the previous two, which is why I currently do not feel that it is as strong, but something tells me my opinion might change as the songs continue to grow - and Ghost continue to impress with their strong songwriting and tight arrangements.

The album was released on 25th April 2025 via Loma Vista Recordings. Below is the band's promotional video for Lachryma.

Eluveitie's 'Ànv' - Album Review

I have often had something of a strained relationship with folk metal. The more 'organic' end of the genre, for want of a better term, tends to be so serious and ethnic that I just bounce off it - whereas the more power metal-influenced end can often be over the top and gimmicky. I used to enjoy some of the bands that fall somewhat in the later category, but I have largely gone off most of them over the years as they began to plough evermore parody-esque furrows - to the extent that folk metal on the whole is not something that I consume very much of at all these days. The one fairly regular exception to that rule is the Swiss band Eluveitie - whom I first came across properly back in 2012 when they opened for Sabaton. Sound-wise, Eluveitie sit very much at the more organic end of the folk metal spectrum - but they do not feel as po-faced nor as dense as many of the much more intense and inaccessible folk metal acts currently doing the rounds. Despite very much rooting their sound in the folk music of their native Switzerland, Eluveitie never forget to include plenty of big hooks in their songs - and their melodic death metal base is much more my thing than the black metal or even post-metal jumping off point that many other folk metal bands use. Still, it took me a few years to fully appreciate Eluveitie. I definitely enjoyed that 2012 set, but it was not until I saw them again, this time with Epica, in 2015 that their sound seemed to really click - and by the time I saw them again in 2019 they pretty much blew Lacuna Coil off stage. I enjoy the band's albums, but it is perhaps live where they truly shine. Playing with little reliance on synths or backing tracks, Eluveitie replicate the vast majority of their folky sounds live - meaning that each concert is a treat for the senses as violins, hurdy-gurdies, and razor-sharp guitar riffs all battle for space. The band's albums are still great, of course, and this piece is dedicated to their newly-released ninth studio album Ànv - which dropped at the end of April. It is the band's first album in six years, following the excellent Ategnatos (which I reviewed here) from 2019. Despite being into the band before 2019, Ategnatos was the first Eluveitie album I covered here - as it was the first one I picked up on release. It was also the band's first metal release in five years - with Evocation II: Pantheon from 2017 being more of a stripped back acoustic release. There has been no such acoustic stop-gap this time, though, meaning that Ànv has somewhat been a long time coming. It is the band's shortest album at just over 40 minutes long - but it lacks none of the band's usual diversity. Heavy, Gothenburg-adjacent anthems sit nicely side-by-side with more organic ballads and mid-paced rockers - with the duelling vocals of founder Chrigel Glanzmann and Fabienne Erni working as well as ever. As is common with Eluveitie, Ànv features a somewhat new-look version of the band - as it is the first to feature violinist Lea-Sophie Fischer. It also turns out to be the last with multi-instrumentalist Matteo Sisti, who left the band earlier this year, and it is the band's first without a full-time hurdy-gurdy player - with former members Michalina Malisz and Annie Riediger both playing the instrument throughout.

I do not think that this album is as strong as Ategnatos, which may well be my favourite Eluveitie album, but it is still enjoyable - and it is interesting to see how the band has condensed their usually sprawling sound down into a more bite-sized release. It does not feel as epic as Ategnatos nor the more overt concept albums which came before it - but as an exercise in songwriting Ànv still contains many gems. As is often the case with the band's albums, Ànv opens with the instrumental scene-setter Emerge - which builds over a minute or so of swirling violin and whistle melodies and tough rhythm guitars. It is perhaps less organic than how the band often open their albums, but it is fitting considering the more svelte approach generally taken here - and a big drum barrage from Alain Ackermann then heralds the transition into Taranoías. The opening cut is very much classic Eluveitie, then, with a fast-paced thrashy riff setting the tempo - whilst the folk instruments provide the main melodic hooks. Guitarists Rafael Salzmann and Jonas Wolf are as busy as ever riff-wise, with Ackermann adding some blast beats on occasion - particularly during the break-neck verses which feature the deep growls of Glanzmann. This album seems to a feature Erni quite a bit more overall, too, and she takes over during a slower and more melodic chorus. The growls are still there, albeit in the background for weight, but Erni's sweet voice creates a soaring chorus that differs from the aggressive nature of the verses - whilst a brief instrumental section later on showcases some more folky melodies. The Prodigal Ones is similar overall, but the pace feels a bit more deliberate. Eluveitie have a certain anthemic side which comes out on occasion, and this is a song which channels that feeling quite considerably. The folky melodies are less jig-like, with Fischer and Sisti instead going for smoother and lyrical melodies which sit nicely against the more controlled guitar barrage - with the verses feeling more stop-start behind Glanzmann's vocals and Kay Brem's bass feeling more present. Erni again sings during the chorus, in a call-and-response manner with Glanzmann - and the slightly more restrained pace allows for the folky instrumentation to shine when the vocals are absent, with mournful hurdy-gurdy having more of a presence overall. A brief, shredded guitar solo adds some traditional metal to the mix - and it injects a moment of speed in what is otherwise a hooky, strident number that is likely to become a live favourite. The ethereal title track follows, which features Erni singing in reconstructed Gaulish - something which the band have often done in the past. It is a short piece overall, with very little arrangement to speak of. It is more reminiscent of some of the pieces on the band's more acoustic-based albums - but there is not even an acoustic instrument to be heard, with Erni instead singing against some choral vocals and what sounds like mournful strings. It is not a band piece at all, and sounds like something from a film soundtrack, but it helps to cement the band's earthy tone - particularly following two pretty riffy pieces.

This riffy sound is immediately returned to, though, during the fast-paced Premonition - which is very much a classic-sounding Eluveitie piece. The riffing is very thrashy and Gothenburg-esque here, with busy double bass drumming and interlocking rhythm guitars - over which Glanzmann sings with real venom. I do not think that he gets talked about enough as a vocalist. He is one of my favourite harsh vocalists due to his clarity, but is rarely brought up when the topic is discussed. Perhaps not being part of a bona fide death metal band harms his 'cred' - but for me he is one of the best, and this thrashy track showcases why. There are plenty of folky additions, but they are not as persistent as they sometimes can be. The violins and whistles fade in and out, adding bursts of melody and jot when needed - and stepping back to allow the vocals to shine during much of the piece. They add weight to the anthemic chorus, though, with Glanzmann also sings this time - with Erni's vocals limited to a brief bridge before another high-octane guitar solo, which is also reprised during the song's closing section. Awen is a folkier piece overall, reining in some of the excess heaviness and focusing more on Erni's vocals. It is still a metal track, as crunching riffing backs everything, but the folk instruments feel a lot more important this time. Slow-burning hurdy-gurdy melodies form the basis of the main hook, as well as the chorus, whilst epic-sounding violin lines join the fray when required - adding a real hint of class. Occasional harsh vocal lines accent the heaviness during parts of the chorus - but in general this song allows Erni to shine. She sings the verses with a warmth before letting rip more during the chorus - where she utilises a higher pitch typical of the genre. A jig-like instrumental section later throws in some whistle hooks, too, and the track is overall melodic feast. Anamcara is an acoustic guitar-based number which is based around spoken word. Busy classical-adjacent guitar melodies form the main backing to the spoken word, although mournful violin melodies are also thrown in the mix - with the backing feeling more grand as it moves along, particularly when Erni uses her voice like an instrument to add further depth. It feels like a mid-album break from the heaviness - but this peace is broken immediately by The Harvest, another thrashy anthem which puts Glanzmann back in the spotlight. The warmth of the previous two songs is banished, then, and the classic Eluveitie sound is restored - albeit with more of a focus on interlocking guitar melodies. The riffing here feels a bit more knotty than usual, with the drumming being suitably acrobatic to suit the flying pinch harmonics and occasional more lead-based approach - all whilst the folk instruments create a darker backing. There are some typical folky melodies, including another high-octane jig-like instrumental mid-section, but generally here the violin adds slow-burning and gothic overtones to the piece. The tone is a bit different from the norm, then, with Erni adding some delicate harp to a slower moment later on, but the song still feels classically Eluveitie - with Glanzmann being the sole vocalist this time to really allow the heaviness to permeate.

Memories of Innocence is an all-out folk instrumental. There is no metal here, with an acoustic guitar backing the playground for violins, whistles, and the hurdy-gurdy to throw fast-paced and hooky melodies around - sometimes together and sometimes alone. The drumming is replaced by more organic percussion, too, and the piece does not feel like something which has come from a metal band at all. The band have done things like this before, but these brief instrumentals are always welcome - as they reinforce their cultural roots away from all things heavy. All Is One somewhat builds from the previous track, with a plaintive whistle melody forming the initial basis of the song over strings. The song is a stripped back ballad which again recalls their more acoustic-based albums at times despite some heaviness kicking in during the chorus - with Erni singing throughout and including quite a lot of her harp playing during the verses. The first verse is very sparse, with little backing her, but later verses have a drumbeat behind them alongside other folky melodies - whilst the chorus feels weightier thanks to the rest of the band joining in. The guitars add quite a bit of depth during the chorus, but there is no real riffing to speak of, and there are a couple of moments with some quite bluesy guitar leads - which is something a bit different for the band overall. The penultimate song Aeon of the Crescent Moon returns to a more typical sound - with the band crashing in from the off and Glanzmann once again dominating vocally, even if he adopts a semi-whispered approach during parts of the verses. This is another more mid-paced heavy track, though, which lacks the thrashy approach of the album's heaviest moments - which allows for a pretty anthemic vibe. The guitar riffing is more strident, then, despite the melodic death metal vibes retained - whilst hurdy-gurdy strains are generally more obvious here, particularly early on and during the more varied first verse. Erni adds the odd line here and there, and uses her voice like an instrument during the chorus, but overall this is Glanzmann's song - and he adds his anthemic style to the chorus which is another of the album's more memorable hooks. Thanks to its strident nature it is another song which could well become a live favourite - and another busy instrumental mid-section adds further interest. The album then comes to a close with the strange The Prophecy - another piece sung all in Gaulish. Adrienne Cowan (Seven Spires; Light & Shade; FirstBourne; Winds of Plague; Sascha Paeth's Master of Ceremony) adds her vocal talents to the song - although her contributions are not all that obvious. I think she adds some of the throatier harsh vocals which double Glanzmann during parts of the track - but before the metal kicks in the song builds slowly with Erni's wordless vocals and some mournful strings. Once the band crash in, though, the song is a surprisingly doomy and slow-moving piece - with Glanzmann belting the lyrics in a heroic manner over sludgy riffing and, as the song progresses, epic folk melodies. The violin, whistles, and hurdy-gurdy all fuse together as the song moves forward to create a sweeping, cinematic topper to the harsh riffing - whilst Erni's vocals from the intro return as the song starts to climax, further adding to this epic tapestry. Whilst this album might not be as epic as some of the band's past efforts, the svelte runtime allows for the diversity to really shine through - and I think that the band have succeeded at creating a more restrained version of their usual approach to create something more bite-sized and everyday. I can see myself giving this album a lot of attention due to that fact - and the many memorable anthems here are sure to please the band's fans the world over.

The album was released on 25th April 2025 via Nuclear Blast Records. Below is the band's promotional video for The Prodigal Ones.

Bruce Springsteen and the E Street Band - Manchester Review

Both of the previous times I saw Bruce Springsteen and the E Street Band live, I thought that I could be doing so for the last time. Following seeing what still ranks as one of the best gigs that I have ever been to at Wembley Stadium in 2016, I really hoped that I would be able to see Springsteen live again. Following taking some time out of touring the world to undertake his Springsteen on Broadway residency, and then the enforced break due to the pandemic, Springsteen finally returned to the UK again in 2023 - and I headed up to Birmingham's Villa Park to catch him and his legendary backing band live for the second time. There were rumours that Springsteen was essentially on his farewell tour - so I left Villa Park thinking that there was a strong chance that I would not see him live again. That was, though, until a few months later when some more shows were announced for 2024 - and I quickly snapped up a ticket to the show at Cardiff's Principality Stadium. Both the 2023 and 2024 shows were excellent, even if Springsteen is a little more reserved these days due to his age, and they rank up there among some of the very best live experiences of my life - even if that Wembley night will likely never be topped. Walking back to my Cardiff hotel in May last year, I again assumed that was it. There is only so long that he can keep delivering the mammoth shows he has become known for - and at 75 now I thought that he might start to take it easy. Late last year, though, another run of European shows was announced - and it took me very little time to decide to try and get a ticket for a fourth time. The options were Manchester and Liverpool, but the former seemed the best in terms of logistics - and the fact that the city's shows were at the new Co-op Live indoor arena rather than at a massive football stadium made Manchester extra appealing. I thought that it would be interesting to see Springsteen in a 'smaller' venue than he usually plays - so I got a ticket for what ended up being the last night of a three-show run at the Co-op Live which would open the tour. The last few months have been filled with excitement for the show, then, and I was also looking forward to returning to Manchester for the first time since 2019. Due to its distance from home, it is not somewhere that I visit regularly - and this trip was only my third solo trip there for music reasons. I experienced what is now the AO Arena back in 2015 and 2019 took me to the Club Academy - so I was looking forward to seeing what the Co-op Live had to offer, since it is now quite possibly the country's premier indoor arena. I remember reading all of the news articles about its rocky opening month or so - but since then things have settled down and it is starting to get a good reputation. I certainly thought that it was a good venue - with even my 'cheap' seat having a good view of the stage, and I felt closer to the action than I would at the O2 Arena in London which is comparable size-wise. It seems to be a really well-designed space, then, and the sound throughout the show was excellent, too.

True to form, too, I was sat at the back of the room - although not in the very last row as has often been the case with previous Springsteen shows. As always there was a real buzz in the room during the lead-up to the show - and when the lights went down and the musicians all took to the stage the place erupted. This current tour, dubbed Land of Hope and Dreams after song of the same name, finds Springsteen angry about the current direction of America - so the setlist was much more downbeat overall compared to the last couple of years' tours. He was also much more vocal in between songs, calling out Donald Trump and his government on a regular basis - setting the tone before the music even started as the band defiantly kicked into the upbeat No Surrender. I had seen Springsteen open with the track before, but following his opening speech it felt like a true anthem - and he remains in fine voice despite his age. I have wondered each time that I have seen him recently whether this will be the show to somewhat disappoint - but last night was another really special one. It might not have been as long as his shows have often been - but he still played for nearly three hours, and the 26 songs played included a number I had not seen him do live before. Despite this bouncy opening, the early part of the set generally was quite restrained. Soozie Tyrell's (guitar/violin/percussion/vocals) violin saw plenty of action, then, with the tour's namesake Land of Hope and Dreams setting the tone for much of what was to follow early on before the folk rock stomp of Death to My Hometown saw Jake Clemons (saxophone/percussion/vocals) put down his saxophone and prowl the stage with a big bass drum. In truth, this was probably not a show for the casual fan. Whilst there were plenty of hits towards the end, this show felt different to the crowd-pleasers of the last couple of years. Springsteen still has plenty to say after all these years - and clearly the current political situation has spurred him on to do so. Given that this tour was his third in as many years, the vibe shift was welcome - and I enjoyed hearing a lot of different songs and seeing a slightly different side to the E Street Band at times. When Nils Lofgren (guitar/lap steel/banjo/vocals) later laid into the heavy opening riff of Seeds the energy levels did rise somewhat, though, with the tough hard rocker easily being the crunchiest moment of the night. This feeling was short lived, though, as some plaintive piano from Roy Bittan (keyboards) soon introduced the ballad Something in the Night - and the brasher, slower rock of the newer Rainmaker was pointedly directly at Trump. Perhaps knowing that the casuals would be struggling by this point, a bone was then thrown out in the form of The Promised Land - but this was a brief respite from the mire as a fairly rare outing of Reason to Believe returned to the downbeat vibe. Steven Van Zandt (guitar/mandolin/vocals) opened the song on the guitar, over which Springsteen sung - and the duo kept going even when Van Zandt broke a string. The rest of the band did join in after a while - but the magic was established early on, and the following rendition of The River saw plenty of singing from the crowd during the moments when Springsteen held out the microphone.

My favourite part of the night came around half way through, though, with the introduction of Youngstown. I had never taken much notice of the song before, but last night it really came alive - with Springsteen singing the heartfelt lyrics backed by Tyrell's violin and Charlie Giordano's (keyboards/accordion) accordion. It was one of the most powerful moments of the night, with Lofgren finishing it off with a busy guitar solo, and the transition into the tougher Murder Incorporated made for an excellent one-two punch. The latter morphed into a bit of a jam and allowed for some individual moments - with Giordano taking an organ solo before Van Zandt and Springsteen duelled with their guitars as it came to a close. This was the high point of the night for me, but there was still plenty more excellence to come. The melancholic duo of Long Walk Home and House of a Thousand Guitars, the latter played solo by Springsteen, returned to the evening's more downbeat vibe - which culminated in an excellent rendition of My City of Ruins. Springsteen gave his longest speech before the song started, and the track acted as both the culmination of the messages and vibes of the night up to that point - as well as a moment of hope for a better future. The song has often symbolised such - and it saw the set transition into the home straight, which felt a bit more hard rocking and upbeat. You could hear the sigh of relief from some of the casuals in the cheap seats when Bittan started the familiar piano intro of Because the Night, which was a big sing-a-long and included another Lofgren solo, before the classic rock riffing of Ghosts seems to have become a real setlist staple in recent years. The closing four numbers were the same as the four which have generally closed things out over the past couple of years - with the bombast of Badlands feeling like the glass breaking on the gloom of earlier. Clemons nailed the big saxophone hooks as always - and the mid-section saw the crowd singing the melodies back at the band. A poignant version of Thunder Road followed, closing out the main set, with strains of harmonica and some of the most recognisable piano motifs in rock, and the band took their well-deserved bows afterwards. There was time for a few more, though, and the encore section again largely followed the structure of the past couple of years. The anthemic Born in the U.S.A. kicked things off but it was perhaps Born to Run that really got the Co-op Live on their feet - with the chorus ringing around the room and the famous saxophone solo hitting the spot. The stomp of Glory Days was full of joy, with Springsteen and Van Zandt vamping during the mid-section as they often do, before a spirited Dancing in the Dark had everyone singing along and dancing in the isles due to the synthy beats of the hit single. Tenth Avenue Freeze-Out, with the horn section really filling it out, felt like the true climax of the evening - but on this tour Springsteen has dusted off his old cover of Bob Dylan's Chimes of Freedom to close things out - with the plaintive song returning to some of the set's core vibe following the joyful rock of the rest of the encore. It was a great way to end nearly three hours of music - and as a pretty long-standing fan at this point the setlist felt like a treat. The setlist was:

No Surrender

Land of Hope and Dreams/People Get Ready [The Impressions cover]

Death to My Hometown

Seeds

Something in the Night

Rainmaker

The Promised Land

Reason to Believe

The River

Youngstown

Murder Incorporated

Long Walk Home

House of a Thousand Guitars

My City of Ruins

Because the Night [Patti Smith Group cover]

Ghosts

Wrecking Ball

The Rising

Badlands

Thunder Road

-

Born in the U.S.A.

Born to Run

Glory Days

Dancing in the Dark

Tenth Avenue Freeze-Out

Chimes of Freedom [Bob Dylan cover]

Perhaps the only negative of the night was that, due to Manchester City also playing at home, a large portion of the Co-op Live crowd was funnelled along the canal towpath to get back to the city centre. I am not sure that it was a good idea to encourage so many people to walk down a narrow, poorly lit, and poorly maintained towpath following a show - particularly given some of the very low bridges which people needed to negotiate in the dark. The crowd management on multi-event days likely needs some work, then, but otherwise I was impressed with the venue - and it helped that the show within it was so good. Springsteen never disappoints and I liked this more downbeat show as it was something different compared to the more hit-filled sets of the past couple of years. Whether I get the chance to see him again remains to be seen, but I have now seen four Springsteen shows - and each has been extremely memorable and enjoyable for different reasons.

Mayhem Rock Festival - London Review

There was a time when the Scandinavian hair metal revival seemed to really find a home here in the UK. When I was at university between 2010 and 2013, the whole sleaze revival was very much in full force. It had started a few years prior to my university years - but it perhaps reached its peak during this time, and living close to Nottingham I certainly engaged with it somewhat. I probably did not take advantage of my proximity to Nottingham properly until my second year of university, so I missed out on some of the shows, but I certainly saw Crashdïet, Hardcore Superstar, and Reckless Love around this time - and it helped that there were a few very active UK bands at the time which sat nicely alongside these Scandinavian imports, with Heaven's Basement, Jettblack, and theFALLEN in particular standing out. In fact, my very first trip to Nottingham was to see both Hardcore Superstar and Crashdïet on a bill with The 69 Eyes - a band which was certainly adjacent to the sleaze revival despite being something a bit different overall. The show made an impression, and Nottingham soon started to become a regular gigging destination - and I saw Crashdïet once more during my university life, with a Reckless Love show soon following, too. The bubble of that scene has long burst, though. Crashdïet were possibly its leading lights, but they never truly seemed able to capitalise on their momentum. Losing frontman Simon Cruz in 2015 certainly did not help - and the band essentially entered a hiatus until 2017, but by this time there was not much of a scene left. The band have kept plugging away, though, and I saw them in 2019 for the first time in many years with Skid Row - but since then they have lost another singer and have had to somewhat regroup, kicking off their fifth era last year with current frontman John Elliot. Reckless Love were the other big name, but they have had lengthy periods of inactivity of their own - and are currently on a self-proclaimed indefinite hiatus. As such, then, when the inaugural Mayhem Rock Festival was announced last year - I was excited when I saw the line-up. At first it was just Crashdïet and fellow Swedes Crazy Lixx, a more AOR-influenced hair metal band which I was very late to the party with, which drew my attention - but I soon found lots of enjoy about all five bands on the bill, which was to be an all-Swedish affair to take the UK by storm over three nights. Dates in London, Nottingham, and Wakefield were announced - and it was London that made the most sense to me. I would have preferred to go to Nottingham really, given it really was the centre of the scene at the time, but London made more sense work-wise and it tied in with other plans - although those plans ended up being cancelled. So it was to the 229 on Great Portland Street where I headed on Friday - a venue I had only been to once before. Despite the show being billed as a festival, it was really a triple-headline tour; with Crashdïet, Crazy Lixx, and The Cruel Intentions all topping the bill for one of the three nights; with two opening acts getting the night underway.

With the doors opening at about 5:15pm, and the first band on around five minutes later, the evening really flew by. There was only around 20 minutes between sets, as the bands used the same gear throughout the night, so there generally was very little hanging around. Given the early start, too, it did take a little while for the crowd to swell - but the turnout overall was pretty decent I thought. I was a bit worried that it might be a bit sparse in the room, but that was not really the case - and if the Nottingham and Wakefield shows are similar then perhaps the Mayhem Rock Festival brand will continue on. Opening the show, then, were Smoking Snakes - a pretty new band with only a single album to their name, but they generally put on a strong show despite the crowd being a bit thin on the ground at this point. The first two bands only had 30 minutes each, so they had to cram a lot of music into a short space of time - and Smoking Snakes managed to run through seven songs in their allotted time, showcasing a more traditional heavy metal sound than many of the others on the bill. There was certainly a sleazy edge to their sound, but they were a bit tougher overall - with lots of fast-paced riffing and frontman Brett Martin's raspy voice. Angels Calling and Excited were certainly strong opening cuts, with the first song in particular getting the night off to a strong start, but I felt that single Sole Survivors saw the energy levels lift somewhat - with Leo Razor (guitar/vocals) laying down some impressive leads. It helped, too, that as the band's set went, on the fuller the room got. Given the theme of the bill, too, everyone was there to have a good time. Hair metal is generally feel-good music, and there was pretty much a good atmosphere in the room throughout the night - with even Smoking Snakes' smaller crowd seeming into everything the band were doing. It helped that their material was very energetic, too, with riffy anthems like Run for Your Life keeping the energy levels high - and an extended set-closing rendition of Rocking to the Morning Light even saw the first sing-a-long of the night - even if louder ones were to follow. I was not familiar with this band before they were included on this bill - but I have enjoyed getting to know their first album and they delivered a pretty strong set, which got the night underway nicely. The setlist was:

Angels Calling

Excited

Sole Survivors

Run for Your Life

Who Am I

There Is No Tomorrow

Rocking to the Morning Light

Whilst I would not exactly call ToxicRose's set, which followed, a disappointment - they probably delivered the weakest performance of the night. Despite Smoking Snakes probably feeling heavier overall, ToxicRose's vibe and sound was the darkest of the five bands on the bill - with electronics filling in the gaps between the guitar riffing and outfits which showcased the heavier side of the 1980s hair metal scene. The band's overall vibe was one step removed from corpse paint, and they were easily the most theatrical band on the bill in terms of dress and props, but I am not sure that their music fully lived up to this. The band do have some strong songs, with the anthemic Domination kicking things off and the powerful single Blood on Blood impressing later on - but I was not convinced throughout by frontman Andy Lipstixx. It perhaps did not help that his outfit made him look like a mixture of Shagrath from Dimmu Borgir and the Road Warrior wrestlers, complete with a spiked codpiece, but I also felt that vocally he was a bit weak. He seemed a little under-rehearsed at times and I felt that he generally lacked the power of the night's other singers - despite his dominant stage presence. In fairness, I also felt that Smoking Snakes felt a little under-rehearsed at times, but generally the simplicity of their songwriting and rawer style ensured that this did not matter all that much, whereas when there are gothic electronics blaring away in the background and spikey costumes are being worn I am not sure it is as easy to get away with. I feel harsh saying this really, as I did not hate the band's 30 minute set, but it all seemed a little try-hard at times - particularly when a skull prop which spat blood was brought out which Lipstixx then proceeded to drink from. Blackie Lawless Lipstixx is not - and, despite a pretty healthy crowd in attendance at this point, I would argue that ToxicRose received the most muted reception of the night. The set-closing version of the big A Song for the Weak got things back on track somewhat, though, with the melodic chorus being a memorable end to what was otherwise a bit of a confusing set. The setlist was:

Domination

In for the Kill

World of Confusion

Blood on Blood

Set Me Free

A Song for the Weak

The first of the three headliners was up next - and the London show had them ordered in likely the best order for me in terms of fandom and familiarity, with The Cruel Intentions the first up. I was not familiar with The Cruel Intentions before they were announced as a part of this line-up - but I recognised Lizzy DeVine (vocals/guitar) as the former frontman of Vains of Jenna, a defunct band that many of my hair metal loving friends in the 2000s liked. I never really got into Vains of Jenna at the time, but I have been enjoying The Cruel Intentions of late - and their 14 song set felt like the first real highlight of the night. Playing songs from their two albums, the punk-edged band really roared through memorable tune after memorable tune - with DeVine and Kristian Solhaug (guitar/vocals) churning out riff after riff with ease, whilst big gang vocal-led choruses and the occasional shredded solo filled the room with sleazy hard rock power. By this point the crowd were really fired up, and The Cruel Intentions perhaps received the strongest reception of the night. Crazy Lixx's reception ran them close, but I feel that the hard-driving sound of The Cruel Intentions really fired up the crowd - and there was a lot of movement throughout the band's set, as well as plenty of singing during the big choruses. I had not seen DeVine live before, but he is clearly a frontman with years of experience. He might be a small guy, but he owned the stage with his slightly crazed look and low-slung Les Paul - whilst his raspy and aggressive voice powered through the raw riffing from the rest of the band. The barn-burning City of Lice showcased the band's no-nonsense sound from the off - and there was very little fat at all within the band's set. They played the most songs of anyone throughout the evening, which shows that each of their songs is short and to-the-point - and DeVine did not spend too much time talking either, although he seemed to really lock in with the crowd when he did. I would not call myself an expert in the band's material, but I was still singing along to each and every song - with early highlights like Genie's Got a Problem and Kerosene hitting hard thanks to the band's relentless energy. They can still deliver a strong melodic chorus with ease, though, as Sunrise Over Sunset showcased - even if the caustic punk of Go Fuck Yourself is more typical of the band's raw sound. It is always a sign that a set is hitting the mark when it really flies by. The band's 14 songs all raced past without any lag or moment of respite - meaning that sadly it was over before long. There were plenty of big anthems left towards the end, though, with the massive Jawbreaker allowing the crowd to really help out with the gang vocals - before the closing duo of Check Your Head and Sick Adrenaline brought the curtain down on a great hour or so of live sleaze. The setlist was:

City of Lice

Chemical Vacation

Genie's Got a Problem

Reckoning

Accidentally Intoxicated

Kerosene

Sunrise Over Sunset

Salt I Ditt Sår

Go Fuck Yourself

Borderline Crazy

Chaos in a Bombshell

Jawbreaker

Check Your Head

Sick Adrenaline

Despite really enjoying The Cruel Intentions' set, it was the final two bands that I was really there to see. Whilst I remember friends being into Crazy Lixx in the late 2000s, it was not really until the last five or so years that I started to get into them. Over the years, the band have injected more AOR influences into their music - and I tend to prefer the band's smoother newer albums to the more traditional hair metal of their early years. I essentially like it all now, though, and I was looking forward to seeing the band live for the first time. Of all of the sets played on Friday, I think that Cazy Lixx's might have been my favourite. It being my first time seeing them likely helped, but they also seemed the tightest and slickest of the five - and they brought some stadium-ready anthems and stage moves to the 229. From the moment that the Japanese-esque melodies of intro Final Fury filled the room, the large crowd was fully onboard - and it was clear from the off that the vibe throughout the next hour or so was going to be great. Opening with Whiskey Tango Foxtrot, one of their sleazier pieces, the band roared out of the traps in fine fashion - with frontman Danny Rexon likely the evening's biggest showman. Given how accessible much of the band's music is, Crazy Lixx should really be bigger. Their smooth sound transcends the typical hair metal sound of their peers - and there is plenty of bands like Kiss and Def Leppard in Crazy Lixx's melodic songwriting. There is still plenty of grit, too, as the opening riff of Hell Raising Women proved. Both in terms of riffing and soloing, too, the band's set was likely the best in terms of high-octane guitar playing - with both Chrisse Olsson (guitar/vocals) and Jens Lundren (guitar/vocals) trading leads throughout the night. Most of the band's albums were represented in the set, but their latest effort Thrill of the Bite (which I reviewed here) was the most represented - with three songs included. Up first, then, was the anthemic Little Miss Dangerous - a powerful piece with Def Leppard-esque backing vocals and a soaring chorus. Perhaps the overall highlight for me, though, was the smooth Silent Thunder - a track I have always liked but it came across really well live. It really showcased Rexon's love of a big chorus and AOR hooks alongside some rawer riffing - and in some ways it nicely summed up the band's whole vibe nicely. There were plenty of other hard-hitting and riffy anthems included, though, with the fast-paced Rise Above returning to harder riffing and a fast-paced feeling - whilst the Friday the 13th-inspired XIII provided a similar sharp edge later on, and included Rexon prowling the stage wearing a hockey mask. Perhaps showing a nod to their influences, too, a cover of the Paul Stanley-penned Sword and Stone, which was made famous by Bonfire, was another highlight - and this song in particular saw lots of singing from the large crowd. It was left to perhaps the band's signature anthem, Blame It on Love, and the newer Who Said Rock n' Roll Is Dead to round out what was a triumphant set - and Crazy Lixx were likely the band of the night. The setlist was:

Final Fury

Whiskey Tango Foxtrot

Hell Raising Women

Little Miss Dangerous

Silent Thunder

Enter the Dojo

Rise Above

Sword and Stone [Bonfire cover]

Hunt for Danger

XIII
Blame It on Love

Who Said Rock n' Roll Is Dead

Crashdïet were easily the band I was looking forward to seeing the most - and they were the only band I had seen live before. This was my first time seeing them since 2019, so I was fired up, but sadly the band's set fell a little bit flat following the two which preceded it. I have seen a few of these three-band-bill-type arrangements, and sometimes the band that goes on last actually ends up playing to the smallest crowd. This is because those who are not that bothered about seeing that band tend to leave early - and this certainly happened on Friday. Both The Cruel Intentions and Crazy Lixx played to large crowds - but clearly those who were not so keen on Crashdïet then left, and the remaining crowd was likely around a third (perhaps even more) smaller. This meant that the vibe dropped quite considerably - and those who stuck it out were also tiring given the early start. I do not think that this was especially Crashdïet's issue, as I have seen it happen before at other similar shows, but it did mean that they had to fight harder for a reception - and it did not help that Elliot was having issues with his in-ear monitors at times which meant that he was off-stage for quite a while during a couple of songs which left the band looking a bit lost. Nevertheless, though, I still had a great time with Crashdïet - who are easily my favourite of the newer hair metal bands. Despite his technical issues, I thought that Elliot was a great frontman. I was concerned when the band moved onto singer number five, as the last thing they needed was another frontman change, but he handled the material well - with the anthemic Riot in Everyone and the sleazy Queen Obscene/69 Shots kicking off the set in fine fashion. All of the band's albums were represented in the set - with newer cuts like Together Whatever sitting nicely alongside older tunes like Falling Rain; and it was great that the set included so many songs I had not heard the band do live for a while. In truth, I had only seen them as an opener before, or playing a strangely short co-headline set with Jettblack many years ago, so this 13-song set was the most extensive Crashdïet show I had seen. There was a good mix of vibes throughout the set, too, with bluesy anthems like Cocaine Cowboys and Native Nature showcasing Martin Sweet's (guitar/vocals) riffing style - whilst Peter London (bass guitar/vocals) strutted around the stage following various absences from the band's live shows over the past couple of years. Elsewhere there were poppier moments, too, with the sugary Chemical seeing some singing from the crowd - whilst a re-arranged version of It's a Miracle during the encore opened with a slow version of the chorus which was sung pretty loudly by those remaining. There were also a couple of tracks pulled from the vaults, with both Straight Outta Hell and Change the World featuring for the first time in a number of years. There were plenty of familiar moments, too, though with the main set-closing Breakin' the Chainz and the evening-closing Generation Wild really hitting the spot - even if the calls for an encore following the former were extremely weak. The band powered through a somewhat poor crowd and technical issues to deliver a strong set, though, and I was glad to catch them again after so long. The setlist was:

Riot in Everyone

Queen Obscene/69 Shots

Cocaine Cowboys

Together Whatever

Native Nature

Reptile

Falling Rain

Chemical

Straight Outta Hell

Breakin' the Chainz

-

Change the World

It's a Miracle

Generation Wild

Despite a few niggles as pointed out, as well as Crashdïet's rather tame reception, which was a real shame, I had a good time on Friday at the London iteration of the Mayhem Rock Festival. The bands all complimented each other nicely, and the turnout on the whole was pretty decent. It would be good to see this format returning with similar bands in the future - but perhaps a 'proper' headliner should be booked to limit the likelihood of the last band of the night playing to a smaller crowd. It was great to finally see Crazy Lixx live and I have also become quite a fan of The Cruel Intentions as a result of this show, too. It was a fun night of live music, then, despite it being a long one - and I would certainly be up for going to something similar in the future.