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.